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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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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 they’re 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 let’s 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, what’s important to me is to get enough rest so that I’m 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 we’re 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 can’t 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 don’t have the option to choose what we want. It’s 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 how’s 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 don’t 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. It’s the attention capability of our minds that helps us choose what’s important and what’s 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 can’t create without making choices – and that’s 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 don’t 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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CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 4 .
Creating Holding Fixtures 2 by John McDaniel contents May 2009 grow! SPONSOR INDEX Click “Web” to go to sponsor’s website. Epilog Laser Click ads to go directly to advertiser’s web site. 20 Inside Sandblasting: Sandblasting Equipment by Judy McDaniel 30 Marketing Secrets Get Motivated To Get Through! by Donna Gray 34 Traveling Tidbits: Keys. One can actually sense the joy and the excitement they feel about going to work every day. Johnson Plastics LaserSketch N&R International Paramount Services Inc.Donna Gray DEPARTMENTS 3 Inside ACDRP: How is Your Filter Working? 6 Graphics News Wire 7 Vision: Mike Dean. Geo. Click “Ad” to go to the ad in this issue. Clicking the ad itself will go to website. Custom Graphic Technology Epilog Laser Corp. Just talking to them is inspiring.Part 3 by John McDaniel “In almost all cases. 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 -. JBL Graphics John E. 28 Logo-Links 32 GNN Network 32 Marketplace 33 Contributing Writers CorelDRAW Help ® May 2009 sponsors INFO CONTENTS BACK NEXT FULL SCREEN 5 . Magazine Sponsors Tour Sponsors Logo-Links Logo-Links Web Web Web Web Web Web Web Web Web Web Ad Ad Ad Ad Ad Ad Ad Ad Ad Ad Apply! 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. Knight & Co.CorelDRAW® Help learn! 9 Using CorelDRAW: Positioning Objects as You Draw 10 CorelDRAW Applied: Imposition Layout -.” -. successful companies have leaders who are inspired and passionate about what they do. no matter what challenges the day may bring. Lepper Inc.
sponsors INFO CONTENTS BACK NEXT FULL SCREEN 6 .CorelDRAW® Help 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 NEWS DETAILS (Click Here) ● 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 CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site.
We’re also faced with the fact that it’s harder than ever to stand out in a crowd. 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. What changes do you see in the decade ahead for industry businesses? I do see consolidation as something that’s going to change the industry. The internet is going to facilitate this migration. Unfortunately. In this time of change. good credit. There are a lot of very viable companies in this industry and viability attracts attention. Also. People sponsors INFO CONTENTS BACK NEXT FULL SCREEN ► 7 CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. we are interested in their views on how the industry is changing and how businesses can continue to grow. so the possibilities for cross-pollinization are going to be enormous. 3. Two heads are better than one! Of course. or if you know people that want to invest in something other than the stock market. People want successful companies. This can be extremely hard to do for some. you’re going to be more efficient and hopefully more profitable. but differentiating yourself on a computer monitor is a lot different than differentiating yourself face-to-face. I think we’re also going to see some companies disappear. But looking at it from a different point-of-view. Epilog Laser Corp. Leverage your business with more of what you already know. you could use this difficult business climate to your advantage. 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. but when it comes to growth. and higher demands in quality and service. People get so many ideas off the internet. and in many ways. (Editor’s Note: This column is part of a series of interviews with leading executives in the graphic products industry. That’s a shame. The internet is an essential tool for your business.vision Interviewed by Mike Neer. this could be your chance to expand your business at a discounted price. but famous and successful companies have often been partnerships – Hewlett and Packard come to mind.) 1. the internet provides more opportunities to reach people that you would never see otherwise. business values have declined too. Editor Mike Dean. . Stability can be a perfectly acceptable business strategy for some businesses. but in the long run it’s going to be good for the customers and for the companies that survive. Learning how to invest properly so that technology pays off for you is probably the single biggest challenges we all face. The idea is to expend 50 percent more effort. Keep coming out with new products or developing new markets. lower margins. new products and services are the driving engine behind growth. but it’s absolutely essential if you want to grow your business. 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. there are all sorts of accommodations you may need to make. There are so many different applications for this industry that I think it will spill over into other industries that aren’t yet aware of how this industry’s technology can be used. Merge with or buy your competition. Just like everything else that’s declined in value over the last year. What three things can industry businesses do to accelerate growth? Innovate. This is important because if you can use most of your current knowledge and experience in more than one area. Remember. If you have money in the bank. but produce 100 percent more profit. On the other hand. 2. talk to your competitors. If you’re not growing it could be because you haven’t changed anything for a while. It seems we’re all faced with more competition. the internet is just getting off the ground. I think you’re going to see companies expand into areas they’ve never thought about before.
Newest Product: The Zing 24 6. This is a book about American emigration during the early to mid 19th century into what are now the southwestern states. 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. and that’s going to attract creative minds. 7. Plus. FiberMark 4. Street Address: 16371 Table Mountain Parkway. EXT.com 11. 40. Product Line: Zing 16. Web address: www. This is Epilog’s mid-sized machine with a 24 x 18 inch work area and wattage options of 30. 5. Phone: 303-277-1188 10. the list is endless! 9. Mini 18. It’s such a versatile tool! I’ve used it to design our landscaping. Zing 24.com 12. Company Name: Epilog Laser 2. Email: miked@epiloglaser. inside remodeling projects. Title: Sales & Marketing 3. Recent book read that you’d recommend: Blood and Thunder. It will be fun to watch! QuickView: 1. 50. Your favorite software program: CorelDRAW® (and I’m not just saying this!). trade show booth layouts.epiloglaser. Helix.Vision that might get laid off in the current economy are going to be looking for new ways of doing things and they’re going to be looking at the internet for their ideas. I use CorelDRAW for our laser systems. Historical person you most admire and why: Michelangelo. Of course. Best-Selling Product: The Epilog Helix. but I use it whenever I want to design something or to make anything to scale. 60 or 75. Mini 24. CO 80403 CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. Golden. 8. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 8 . I love history. this is a creative industry.
sponsors INFO CONTENTS BACK NEXT FULL SCREEN 9 . After you position the object. A menu appears. release the right mouse button. 3. CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site.Using CorelDRAW® Positioning objects as you draw Training Here’s a time saving trick! Did you know that you can position an object with any object-creation tool (any tool found in Rectangle. 1. Object. A blue outline of the object follows the pointer as you drag. Ellipse. you can move or copy it to a new location in your drawing. 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. and drag. Choose one of the following: ● Move here ● Copy here The object is moved or copied. 2. right-click the object. With any object-creation tool active.
Following this practice will allow us to duplicate and distribute one layout over the output material. 3. etc. Create a simple product template from a vector outline of the product. and how we can use it to control where on an output page our layout will be printed or engraved. or (3) use the machine’s table size. Picture – this layer contains the photos we have in our layout. Essentially we can use it with any output device that has a print driver for Windows. We then cut the outline and adjusted it as necessary using the Contour tools. and then how it can be modified to create custom layouts. and then in the output device’s printer driver use (1) a standard paper size.. We don’t have anything on this layer in the template. how to modify it for custom product layouts. To review the steps are… 1. Cut a sample outline in a scrap piece of material. we have chosen a 0. we need to use the product’s size as the page size in CorelDRAW. Since we intend to create the fixture using a laser engraver.002” inset from the product outline. 4. The product we selected is an anodized aluminum business card. 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. via export from CorelDRAW and import into proprietary software packages. Having the photos on a separate layer allows us to easily do this.coreldraw applied By Judy and John McDaniel Learn Imposition Layout – Creating Holding Fixtures – Part 2 So far in this series we’ve showed how Imposition Layout in CorelDRAW can be used to duplicate layouts for standard labels. 2. using a lower resolution. Vinyl Cutters. 2. Use imposition layout to distribute the outline over the area of the fixture. This time we will use that final template to create a holding fixture that can be used to process multiple parts at one time. etc. . We send photos to the engraver as a separate job. You’ll notice in the object manager we have several layers. and we outlined the steps necessary to create the fixture. 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. T e x t – t h i s l a y e r contains all the text we intend to engrave. In this example it has a 0.002” inset to compensate for the width of the laser beam for our machine. to effectively use Imposition Layout. and even some that don’t. outline. Sublimation Printers. They are… Picture 1 So far in this process we have created a simple product template using the item’s Page 1 1. Cutout – this layer contains the cutout rectangle we intend to use to create the holding fixture. Sandblast Film Printers. Fit the part to the cutout. Specifically. As we’ve shown before. Picking up from where we left off… Last time we explained why we create and use holding fixtures to process multiple parts. sponsors INFO CONTENTS BACK NEXT FULL SCREEN ► 10 CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. we’ve shown how it can be used with standard label stock. Mechanical Engravers. using custom margins. Guides – this layer is for guides unique to page 1. or (2) enter a custom material size. The Template Picture one shows the template we are using. creating as many copies as will fit. 4. 3. We can use Imposition Layout with Laser Engravers. Picture 2 is a close-up view of the cutout offset.
We use this outline as a reference. the more pieces we can run at one time. click on Template/Document Preview. material size. 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. 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. we can now create a holding fixture. Document Page Size. Using the Fixture Once you have created the holding fixture and CONTENTS BACK NEXT FULL SCREEN ► 11 CorelDRAW Help ® May 2009 . We don’t send it to the engraver. print preview to check what will be sent to the output device. Once you have saved the layout it can be easily recalled from the dropdown list. In Print Preview select the Imposition Layout tool. click on the printer icon or File/Print on the menu. Then from the Printer dialog screen click on Print Preview. We’ve found that 12x12 or 12x24 fixtures represent a good balance. see picture 4. Gutter size (space between pieces) is another consideration. Templates can be easily modified as required. Click on the + icon on the Imposition Layout Command Bar and name the layout in the dialog box. Then press F9. but larger fixtures take more storage space. but we might print it in proofs for the customer. which Click ads to go directly to advertiser’s web site.Coreldraw applied Picture 2 Fixture size is the next consideration. will take you to the Print Preview workspace. Picture 3 If you are starting from scratch you might not have text or pictures in your layout. (We covered templates and layers in the beginning of this article series. see picture 3. click on Maintain Picture 5 5. We would like to fit as many pieces into the fixture as possible. Next. With these decisions made and our materials assembled.25” larger than the product. a solid back piece with a thinner top cap. etc. The first decision is “what material to use”? As we have explained in past articles we’ve created temporary fixtures from cardboard and permanent ones from acrylic. At this point we won’t get into a materials discussion. which in this template are empty. and then enter the number of pages across and down. The red outlines shown in picture 5 are the locations that will be cut.25” gutter. To do that. The larger the fixture. sponsors INFO Picture 6 Next. If you would like to review those articles. the fixture will be weak and perhaps break in handling. For this exercise we’ll plan on using two layers of material with a 0. To automatically introduce the desired gutter we have make the CorelDRAW page 0. For this exercise we’ll use a 12x24 size. To overcome this issue for some fixtures we’ve used two layers of material. Master Page The master page contains 3 layers. We completely cut through the top cap. The Fixture Layout Picture 4 To use the template turn everything off from printing except the Cutout Layer. but leave the back piece intact. Product Outline – this layer contains a vector outline of the product that we originally created.) From Template to Holding Fixture From the template we’ve created. save the Imposition Layout for future use. Select the output device. see picture 6. see picture 7. please contact the publisher for past magazine copies. As you can see we are able to get 30 pieces in our fixture. we can proceed. but if the pieces are too close together. in the Object Manager left click-on the printer icon for each layer except the Cutout layer. see picture 5.
sponsors INFO CONTENTS BACK NEXT FULL SCREEN 12 . and various processes from a user’s point of view. Picture 10 Judy and John McDaniel are owners of JHM Marketing and CorelDRAWhelp. see picture 10. Oregon. They provide consulting and training services for the industry. Inc. focusing on hardware design. Turn off all the layers from printing except for the information you want sent to the output device. Picture 7 Click on the printer icon or File/Print. Open the template you created. see picture 8. They also owned and operated Moments Remembered.CorelDRAWPro. as opposed to business cards.CorelDRAWhelp.) They can be reached via email at JHMcDaniel@ CorelDRAWhelp. select the output device. for example. Name badges. Next time we will look at how well it works with variable information. please visit www.Coreldraw applied saved the layout it’s easy to setup and use. see picture 9. a retail personalized gift shop for over ten years in Sisters. Conclusion As you can see creating a holding fixture for small parts is simple with the power available in Imposition Layout. software reviews. (For information on the Association of CorelDRAW Professionals.com. They are regular columnists for several trade publications. Back in CorelDRAW click on the layout tab in the printer dialog screen and select your imposition layout from the dropdown list. com. So far we have explored Imposition Layout with applications where the information is static. click on File/New From Template… and complete the layout. and setup its operating parameters. (For information on training services offered and their application support service visit www. When you use the fixture make sure it’s placed back in the original location where it was created and the size of the layout template is not changed. CDH CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. Note: as we mentioned before we would actually send each layer as a separate job with different operating parameters. 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. In our example all the information we will send to the engraver is located on the Text and Picture layers.com.
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. Some just do not support ICC profiles at all. 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. however we need to understand how this works or we fail at our color task. color-managed RIP. PERIOD! This creates an absolute color space for which to build the image setter platform. for one fixed-size gamut. 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. sponsors INFO ► CorelDRAW Help ® May 2009 CONTENTS BACK NEXT FULL SCREEN 13 . and that LAB color space and then to the images in the file were converted the media curve. just believe me and that CMYK information is an absolute color space. This is the linearization curve. it was obvious that we need to revisit the Postscript color-managed RIP (Raster Image Processor) for film setters and plate setters subject. The absolute color space is a color space that The RIP for Film or Plate Setter means the same thing universally. and while they may support ICC used for gamuts of different sizes). However. Plates are imaged with the same percentage screen grid and printed to the paper in which you want to design your output curve. curve. total ink of 400. The image setter is calibrated by printing a test grid of screens. so that you understand why it works. I’m almost positive that this is about exciting as watching snails race. 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. Unlike RGB This is a Postscript color-managed device.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. foregoing a certification. I have never seen an image or output device. 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. PERIOD! The CMYK plate setter set up to use ICC profiles. usually a press. Once the proper How these devices handle CMYK is different from ICC-controlled RIPs. it has don’t bother reading the next part of the article. few are set to use them in compliance with shades only. the same for every value along the grid up to 100%. Click ads to go directly to advertiser’s web site. 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. These screened percentages are read and the RIP software allows manipulation so that the final output is linearized. 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). the ICC regulations. or ink limit of the media and it works well for that CMYK space. A 5% value prints at 5%. CMYK uses 100 profiles. However an absolute LAB color space equivalent to which it can the rest of the article will give you enough information be converted. Since So if you want to save some time.
sponsors INFO CONTENTS BACK NEXT FULL SCREEN 14 . They come in web coated and un-coated as well as sheet fed coated and un-coated versions. of Lancaster. For example if the 40% screen now reads 43% on the paper and so on. and Corel color management does all the work for you. as well as Postscript-compliant graphic applications.inside color CorelDRAW Help Bookstore ® ink densities have been reached on press. saving each version. Just build the file right. CDH CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. R0. However finding an individual in a print shop that can tell you what the ink limit is will not be easy. adhering to strict color management principles. The RIP software can now establish a LAB value for the CMYK percentages possible for the media. then open the info docker. David Milisock. He offers technical and color management support for all RIP-driven corporate digital output systems. and the plate or film is imaged. setting the secondary color to read total ink. the percentage where the ink becomes solid establishes the ink limit. Open each CMYK version in PHOTO-PAINT. He started supporting CorelDRAW files for print output with V4. TIP: Some CMYK profiles are labeled as to their TIC. dot gain curve for that paper. president of Custom Graphic Technologies Inc.net. these readings establish a dot gain curve. The only relevant aspect of a CMYK press work flow for a Corel user is the TIC (total ink coverage). Most likely you will get a response that you should use the CMYK commercial profile for your region. You can then read and establish the TIC for all the CMYK profiles in your possession. 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. He can be reached at 717-509-3523 or davidmilisock@comcast. which establishes the ink limit linearization dot gain curve for the paper. He specializes in professional support for CorelDRAW® Graphics Suite. has been in the print production business since 1975. That’s it! You know all you need to know about achieving calibrated output from the CorelDRAW Graphics Suite. Output includes computer to plate processes for all commercial digital front-end applications. most are not. PA. the screen values are read from the paper. This will establish the ink limit. or ink limit of the media curve. G0 and B0 and convert it to multiple CMYK separation printer profiles. Create an Adobe RGB 1988 image. and also offers Giclee printing. The RIP software allows you to create a dot gain curve in which to apply to the linearization curve.
► 15 CorelDRAW Help ® May 2009 . All effects may now be applied to this new duplicate layer. In each example. SOFT LIGHT and HARD LIGHT blending modes for a range of sharpening effects. When used as object layer above the background it can be effectively used for sharpening an image without creating much noise. The background layer will remain intact and unchanged. Next. The power of this capability will become apparent after we review a few examples. when using certain blending Background and Effects modes the 50% black background Objects displayed. You can use this effect with the OVERLAY. In this article. We will then apply different blending methods to establish how the effect layer will interact with the bottom background (original photo) layer.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. and set the sponsors INFO CONTENTS BACK NEXT FULL SCREEN I have used PHOTO-PAINT for some time. click on EFFECTS on the PHOTO-PAINT top menu. OVERLAY. We will utilize the following modes: ADD. (1) BLENDING MODE (2) TRANSPARENCY (3) COMBINE OBJECTS TOGETHER Click ads to go directly to advertiser’s web site. To duplicate this layer and place it above the Background. In the past I never paid much attention to why certain effects were applied to a gray. then select SHARPEN. we will duplicate the base background object and then apply an effect to the duplicated layer. 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. Here’s Object Docker with why. set PERCENTAGE to 100. simply right click on the Background Object and then choose DUPLICATE SELECTED. Using the HIGH PASS control panel. all available blending modes will be displayed. SOFT LIGHT. THE HIGH PASS FILTER The high pass filter emphasizes the highlights and luminous areas of an image. Select the effect object above the background object layer. Blending Objects to Create Unique Effects When you click the dropdown arrow in the blending mode box. The OBJECT DOCKER controls we will use are labeled as follows: List of available Object Blend Modes. we will further investigate several effect filters and experiment with the use of varied blending methods and object transparency settings. 50% black background. This means the effect can be applied without the color component. Next select HI PASS from the list High Pass Effect Control Panel of sharpening methods. is treated as transparent. This is the first step in applying all the effects below. THE OBJECT DOCKER The OBJECT DOCKER is displayed showing the base BACKGROUND OBJECT and the DUPLICATED OBJECT above it. DIVIDE.
and has over 30 years experience in computer engineering and graphics design. In the ETCHING CONTROL PANEL. Bill Leek is a color consultant for JBL Graphics in Houston. It is best to de-saturate this effects object to remove any generated color. In the EMBOSS CONTROL PANEL. and does testing on a variety of products for different manufacturers. Select the blending mode and then vary the transparency slider in the OBJECT DOCKER to control the sharpening effect. He has developed several lines of color imprintable products. You may be surprised with the results. CONCLUSIONS: PHOTO-PAINT offers you a very full set of image manipulation tools. Original Photo of Lighthouse Here’s a brief summary on how to use the EMBOSS. He can be reached at support@jblgraphics. Click ads to go directly to advertiser’s web site. ETCHING and RELIEF SCULPTURE EFFECTS. ETCHING Click on EFFECTS on the top menu bar. Then select TEXTURE and next ETCHING. ETCHING and RELIEF SCULPTURE effects. An important caveat for all effects: USE LESS OF AN EFFECT THAN YOU THINK YOU NEED. set DETAIL to 100 and depth to 15. Try some more blending options with different effects. Hard Light and Soft light blending modes. In the RELIEF SCULPTURE CONTROL PANEL. No residual colors are generated with these effects. DEPTH to 15 and SMOOTHNESS to 0 Lighthouse with Relief Sculpture effect applied using the Divide Blending mode. These will add texture and depth to your images using the Overlay. you may wish to try the ADD and DIVIDE blending modes. EMBOSS Click on EFFECTS on the top menu bar. it’s worth experimenting a little. DESATURATE after applying. With all three of these effect filters. Screen shots of their control panels have been included. Some tools and techniques are not well documented.com or 281-970-6677. Using these modes and varying transparency will allow you to generate a muted.corel photo-paint RADIUS to 10-14. TX. set DETAIL to 75. set DEPTH to 5 and LEVEL to 60. Then select TEXTURE and next RELIEF SCULPTURE. The printed result will appear artificial when you overdo it. These same steps can be followed with the EMBOSS. Then select 3D EFFECTS and next EMBOSS. The DESATURATE step is not required with Etching and Relief sculpture. When using ADD and DIVIDE you will normally need to use a TRANSPARENCY setting of less than 50. When you have time. RELIEF SCULPTURE Click on EFFECTS on the top menu bar. Many others you will probably never use. acrylic look to your images. sponsors CorelDRAW Help ® May 2009 INFO CONTENTS BACK NEXT FULL SCREEN 16 . Many of them you will use on a regular basis.
magenta. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 17 . Image 3: The Find Wizard will ask you what type of search you are performing. or starting a search based on a selected object (see Image 3). We are going to start a new search. CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. 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. and print out our positive images. yellow. prepare it for screen printing. If the printer is showing us separation values for cyan. Using Find and Replace If your vector service has done a nice job. and black. ► Image 2: Access the Find and Replace tool by selecting EDIT…FIND AND REPLACE…FIND OBJECTS. A nice feature in Corel is the Find and Replace tool. Since we are going to run this job with 3 colors we want to verify we don’t have any RGB or CMYK value colors in our drawing. then we know there is a CMYK value color in our image somewhere. The artwork that we had converted to vector in our last article needs to be properly formatted for screen printing. This will search the entire page no matter what the object type is. then all of the colors will be stacked neatly and can easily be selected and manually replaced.inside Screen printing By Jeff McDaniel Apply Prepping the artwork for printing Background In this article we will take our artwork. Access the Find and Replace tool by selecting EDIT…FIND AND REPLACE…FIND OBJECTS. loading an old search from disk. (see Image 2) This will bring up the FIND WIZARD which will guide you through the search process. An easy way to check this is to select print and then look at the separations tab for the printer (see Image 1). Getting Started After sending our artwork out and having it converted to vector. Image 4: We will select Find any type of object. 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. First the wizard will want to know if we are performing a new search.
we can get ready to print the artwork. Printing the artwork Now that we have our colors replaced and our trap layer set. we can click next. our customer decided to use a navy blue shirt for this project and felt that the black color would not show up very well. There are also tabs for outlines and special effects available to narrow down the search. we will have the opportunity to review our search choices and also save our search for future use (see Image 6).. If we take a look at the print preview we should see a solid black print out for each color. 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. Otherwise our red color may not be red. 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. The customer CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. our search box will show up and we can select Find all (see Image 7). 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. Often we use the darkest color as our trap color. This will search the entire page no matter what the object type is (see Image 4). While we are in print preview. After clicking finish. In this case we will need to print a white base layer since we are printing on a dark-colored garment. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 18 . ► Double checking the artwork can be easily accomplished by Image 6: We will have the opportunity to running the same search again. our we can open up our print preview again. we select OVERPRINT OUTLINES. we should only see Pantone colors listed in our separations list. In this case we will select Find any type of object. we should only see Pantone colors listed in our separations list (see Image 8). but in this case they will not be necessary. Here is what our design looks like after performing the customers requested modifications (see Image 10). the FIND WIZARD should not find any objects. we will need to set up our registration marks. Image 5: We will select the Fills tab and open the General Fill Color Model group to select CMYK. Now that we have our parameters set. Now Image 7: After clicking finish. Now we will select the Fills tab and open the General Fill Color Model group to select CMYK (see Image 5). search box will show up and we We need to be sure that the Document can select Find all. review our search choices and also save our If we have done our job correctly search for future use. 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. When we select print and look at the separations tab now. Overprints button is set to PRESERVE. It is similar to painting red paint on a blue wall.inside Screen printing type of objects we are looking for. Normally we print our colors from lightest to darkest. We usually select everything and then under EDIT on the command bar. Before we click finish. requested that we convert the black outlines to white instead.
sublimation. Jeff McDaniel is the Owner/ Operator of Creative Graphic in Philomath. 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.inside Screen printing 11). Jeff routinely applies graphics to a wide variety of materials. The film manufacturers generally state that as much ink as possible and as high a quality setting as possible yield the best results. banners. CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. After printing the artwork out as separations. vinyl signs. there is often still work that needs to be done before it can be printed out. Creative Graphic offers services including laser engraving. and promotional products. sandblasting. Jeff has been working with computers since the age of 5 and was a journeyman machinist before working in the graphic arts business. Conclusion Even when we have artwork converted to vector format. we have 2 photo positives printed on film (see Images 12 and 13). Image 13: Photo positive 2 printed on film. sponsors INFO CONTENTS BACK NEXT FULL SCREEN Image 9: This is what our artwork looks like now with all of the colors converted to spot colors. Image 12: Photo positive 1 printed on film. In our next article we will apply capillary film to our screens and transfer the artwork from our photo positive to the capillary film. You can contact Jeff by email at Jeff@creativegraphic. rotary engraving. Spot colors and artwork trapping are important considerations. screen printing. net. 19 . Image 10: This is what our design looks like after performing the customers requested modifications. Oregon. image transfers. The actual printer settings used depend on the printer.
B. 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. Your equipment choices should be dictated by your customer’s needs and as always by your anticipated revenues. Blasting Equipment. As a result.000. Eventually these pieces become so fine they’ll create a cloud in the cabinet. Then at some point they realize they will also need an air compressor.(a vinyl cutter) 3. A mask-making system of some type.(A laser engraver is required and a rotary attachment is recommended) As with all equipment purchases. the basic requirements for a sandblast operation can be divided into two major categories: I. to create and control the abrasive air stream… this equipment includes: A. this time we’ll summarize the equipment necessary to set up a sandblast operation. assuming you already have a computer. for as little as $2500 to $3000. If you’re starting from scratch without anything. When most people think of sandblasting they immediately focus on the equipment needed for the process. Pressure pot systems operate at 10 to 40psi and therefore use significantly less compressed air. They operate at pressures of 80 to 100psi and consume considerable amounts of compressed air. C. The equipment needed for the sandblast process. A dust collector. Sandblast media as it impacts the surface of the product will break into small pieces.inside sandblasting By John and Judy McDaniel Applications Sandblasting Equipment In our last article we explained some of the reasons we chose sandblasting. etc. and with artistic use of the abrasive air stream.000 to $15. We like to define decorative sandblasting as. For Laser Masking -. Control is achieved using masks/resists/stencils. They include reciprocating piston. However. Nozzles to shape the air stream. For Vinyl Masking -. there are various configurations you can choose at differing budgets. II. In a pressure pot system the abrasive media is loaded into a container that’s pressurized and the media is forced into the air stream under pressure. sponsors INFO effect. some do not. plan on $3500 to $5000. the blast cabinet and dust collector is what they think of first. A blast cabinet (Pressure pot or Siphon system) B. and scroll. and because they operate at lower air pressures. For Photo Masking -. from bench top to freestanding. An air compressor. There are at least three different types of air compressors available. Blast Example of a cabinets have either a siphon sandblast cabinet.000. A siphon system circulates the abrasive media in the cabinet. The Air Compressor An air compressor is the essential engine for a sandblast operation. The lower part of the cabinet is filled with abrasive that is drawn into the air stream through a Venturi vacuum Click ads to go directly to advertiser’s web site. You can add a decent sandblasting system with photomasking capability to your operation.” Surface disruption is achieved using a pressurized abrasive air stream. ► 20 CorelDRAW Help ® May 2009 CONTENTS BACK NEXT FULL SCREEN . screw. From there. A computer system with graphic software – CorelDRAW. if you never expect to blast anything larger than drinking glasses a smaller bench-top unit may suffice. D. Masking Equipment. they put less strain on the sandblast mask and compressor.(an inkjet or laser printer or a UV exposure unit) 2. The equipment needed to create sandblast masks/resists/stencils…which includes: A. The size of the cabinet needed will be determined by the size of the largest object you expect to blast.e. 1. Dust Collectors A dust collector is essentially a vacuum cleaner attached to the sandblast cabinet. system or pressure pot system for injecting abrasive media into the air stream. A freestanding 24” x 36” cabinet is a reasonable size that will accommodate most projects. These types of cabinets are typically used for part cleaning and not for decorative sandblasting. Stand-alone dust collector prices range from $200 to $2. An overview of the equipment needed for the sandblast process. they cut faster. other features may be acquired later which can bring your total investment closer to $10. “The controlled disruption of a material’s surface resulting in a recognizable pattern. Many cabinets have integrated dust collectors as part of their design. i. The Sandblast Cabinet Sandblast cabinets come in various sizes. In addition. More important than size is the type of cabinet you select.
Oil-less models use graphite cylinder walls and bearings. Your contact information will be listed so others in the CorelDRAW community can contact you for more details or just to congratulate you! CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site.com. In addition most oil-less models are significantly louder in operation then oil-lubricated units. (www.) You may contact them via email at mail@CorelDRAWhelp.htm) There will also be a short About the Cover article on the inside that identifies you as the artist. depending on size and airflow capacity. Conclusion To get started. and describes briefly how you created it. with her husband John are owners of JHM Marketing and CorelDRAW®help. and on location for corporate customers.S.CorelDRAWhelp. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 21 . They cost between a few hundred to a few thousand dollars. We will cover the screw and scroll compressors a little later when we go deeper into compressors. They also offer group training at CorelDRAW®help tour events around the country.. They are available in oil lubricated as well as oil-less models. Oil-lubricated models are generally designed to be repaired if necessary and will typically provide a longer life. com. the more expensive cabinets will include integrated pressure pots and dust collector systems.com/coverart. Currently they are both Corel Training Partners. Next time we will present an overview of the equipment necessary to produce sandblast masks/resists/stencils.inside sandblasting Reciprocating piston compressors are the most common. (For information on training services offered and their application support service visit www. In addition. Some packages will also include basic photo-resist creation equipment. plan on spending $2500 to $5000 for a sandblast cabinet. 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. When these surfaces wear out you typically replace the entire unit.coreldrawpro. Judy McDaniel . They offer private training at selected locations throughout the U. if you don’t have an air compressor. We would recommend that you consider a compressor capable of delivering a minimum of 8 to 12cfm at 40psi. plan on another $500 to $1000 for a good quality commercial unit. They provide consulting and training services for the industry. Inc.
In this example if we assign a value of one to the speed of movement.. Since stepper motors move at full power and speed each time they are pulsed. not that you would ever use such a slow feed rate. then each of the little squares will be much smaller. Reliability. Overall axes feed rates are achieved by controlling the pulse rates. the Drive Unit. In past articles. Assuming a linear relationship between power and rotational motion. For example. These machines are equipped with servo controls to: (1) monitor axis speed. can move at various rates. As I pointed out in our last discussion. The combined X and Y steps. stepper motors are pulsed. The quality and accuracy of machine components. and the relational movement of X and Y is one to one. If each of the squares in diagram A is 0. less power = slower speed.001”. This is similar to how some simple engraving machines control spindle speed. more power = greater speed. and use some type of speed control mechanism to maintain constant feed rates through a range of cutting loads. the original “Incredible Machine” used motors that can move as slowly as one revolution in 24 hours. result in a 45° vectored movement. Servo Motor Designs In the previous example. Guide Rails. properly chosen during the design of the machine. They move one-step at full speed each time they are pulsed. Many engineering techniques are used in different machines to accomplish a similar result. it can be expressed as X/Y.e. on the other hand. i.inside engraving By John McDaniel Apply Hardware Design: Speed Control – Part 3 Individual machine components work together to produce the engraved products we sell. heavy-duty rotary engraving and cutting machines. The differences between these techniques determine the machine’s Accuracy. thereby keeping feed rates constant. Guide Rails. Review The primary applications for speed control devices are for machines where resistance to movement can vary substantially. the smaller the step the more continuous an engraved curve will appear when produced with a stepper motor system. These machine designs incorporate servomotors and encoders for motion control. Material Hold Down. which equals 1/1 or simply 1. Tachometers (Speed Control). The components include Motors. Bearings. two axis stepper motor systems in reality can only produce straight or 45-degree line segments. This time we will conclude our discussion of tachometers and other speed control mechanisms. In terms of a PFR. Proportional Feed Rates If we can control the motors’ speeds. without getting into the math. using a manual potentiometer. they move simultaneously at the same speed. when both X and Y stepper motors are pulsed simultaneously. In essence. To achieve smooth-looking curves these tiny line segments should be invisible to the unaided eye. sponsors INFO CONTENTS BACK NEXT FULL SCREEN ► 22 CorelDRAW Help ® May 2009 . we will produce a one to one. The way machines with servomotors vary speed is by varying levels of power. and the Electronic Interface. individual line segments may be visible. Serviceability. then both X and Y each move at the rate of one. and the quality of our products. it is just that its motors are capable of a full range of speeds. If we have a micro-stepping motor. and Obsolescence. except that the speed controls are automated. we have discussed Motors. Encoders. see diagram A. A one to one speed will always produce a 45° vector. if we apply full power to both X and Y-axis. This technique is called Proportional Feed Rate (PFR) control. if we apply 100% power Click ads to go directly to advertiser’s web site. Spindles. and touched on Bearings. we can change their relative movement and produce other angles. Servo speed controls typically are not used in stepper motor designs. the Drive Unit. and (2) regulate power applied to the drive motors. Curves are achieved by combining these steps. Servomotors. In fact. encoders. and individual steps would not be visible. have a direct effect on the reliability of our machine. or 45° angled movement (just like the stepper motors).
variable. PFR distortion can also destroy repeatability. and speed control servo mechanisms. This change will result in a distorted angle that may or may not produce a visible defect in the work. then we will also want servo controls on the axis motors.5° angle. If the computer calls for a PFR of 2. Next time we’ll expand our look at bearings and their importance to the quality of our products. and power control from the servo circuits. or engraving some metals deep enough to accept paint for color filling. a PFR of 2 (X/Y=2/1=2). Click ads to go directly to advertiser’s web site. Without positioning feedback.5° angled movement. For light-duty engraving applications. This is a two to one combination. encoders. motor loads can change from one pass to another. In much of this work. changes in motor load can affect PFRs and tool positioning. and will produce a 67. see diagram B. The heart of a servo control is a tachometer or some other speed sensing mechanism. com. it is important to decide the type of engraving you intend to do with your machine. it’s necessary to engrave items in multiple passes. Without feedback from the speed monitor. a PFR of 0. With a hardware and software design that provides infinite. like 3D engraving.com. sponsors INFO CONTENTS BACK NEXT FULL SCREEN CorelDRAW Help ® May 2009 23 . one axis slows. (For more information. Whatever device is used. from encoders (see previous articles). It does this by increasing or decreasing power to the motor as the load on the motor changes. if we apply 50% power to the X-axis and 100% power to the Y-axis. the actual PFR will change. computer control of the axis motors’ speeds. Judy and John McDaniel are owners of JHM Marketing and CorelDRAW®help.5). they host and are available to answer questions at the CorelDRAW®help Tour events around the country. and servo speed controls will generally cost more. They provide consulting and training services for the industry. Conclusion As with any design feature. The servo control circuit’s job is to maintain motor speed.inside engraving to the X-axis motor. for applications that require precision. In addition. moderate to heavy cutting loads.) They can be reached via email.CorelDRAWhelp. these features may not be required. Servo Controls If the machine’s design includes servomotors with computerized speed control. however. or multiple pass engraving. please visit www. As material is removed. The resulting movement is one to two.. at JHMcDaniel@ CDH CorelDRAWhelp. then the X-axis will move twice the distance of the Y-axis in the same amount of time. and because of cutting load. and will produce a 22. these elements will help us create the high quality work our customers will appreciate. it measures the speed of the motor and reports it to the servo control circuit.. Inc. Conversely.5 (X/ Y=1/2=0. which in turn will destroy repeatability. Repeatability is essential in jobs that require multiple passes to complete. and 50% power to the Y-axis motor. speed. and the control software provides Proportional Feed Rate control. cutting loads can affect motor speeds and thereby alter proportional feed rates. lines and curves at any angle can be faithfully engraved or machined. Machine designs that include servomotors. the Y-axis will move twice the distance of the X in the same time.
decorators were asked about their experience with direct-to-garment printing. another i-Dot owner. Miss. Pawtucket. Not surprisingly. “And it printed flawlessly. “Take your own artwork. president. 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. had offered only embroidery for apparel decoration options before it added an AnaJet printer in June 2008. Keltex Imprinted Apparel. Palomar Printing. Wildt tested the machine with several designs that he had previously screen printed for customers. Should they purchase a digital printer for their shop? If they purchase one. many decorators are eager to learn more about what the technology can really do. says that it pays to find out what other decorators are saying about the equipment you’re considering. and have it printed in each digital printer. Mass.” he notes. “I don’t have time to mess with bottles. RI.” says Rick Roth.. Pawtucket.” Chris Kelly. it’s all right there. and the fact that they offered a complete software package with it. and what advice they have for others considering following in their footsteps. president.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. Hauppauge. Plus. the key to picking the right printer is doing your homework.” he says.” Katy Trophies & Awards.J.. Mirror Imagine. has found that by experimentation. Picayune. manufacturers will continue to make the machines more user-friendly. “We chose a Mimaki because it’s very heavy-duty. Oceanview. NY Chris Kelly. “We wanted to see how it worked with real-life artwork. the AnaJet is user-friendly. who uses a DTG Kiosk. and getting your artwork printed out on models more than a half-dozen you are interested in.” he says. Owner Roxanne Before purchasing it. Etc. given the number of available options. Donna’s Decorated Apparel.” Donna Tarter. I’m not very computer literate and it was still really easy. he continues to get better looking prints from his Mimaki GP604 printer.” Rick Roth. “Check on the customer support and sponsors INFO CONTENTS BACK NEXT FULL SCREEN ► 24 CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. “You don’t have to buy a separate computer. Photo courtesy of Hirsch Intl.” Sam Wildt. owner. When choosing a printer. Choosing a Printer Picking the right digital printer can be a bit daunting. N. Oceanview. Worcester.. R. Mirror Image. It’s a serious machine. “I looked really hard at all of the digital printers. “What drew me to this unit was M&R’s quality and customer service. has been very happy with his M&R i-Dot digital printer. “Shop around at the trade shows. 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. owner..I.. Katy. Texas..J. “As printers give suppliers feedback. he recommends shopping trade shows To answer those questions. Keltex Imprinted Apparel.” he says. studied numerous suppliers’ offerings before deciding on the M&R i-Dot. stresses the importance of testing a variety of printers. N.” she says. When it comes to digital direct-to-garment printing. .
For example. will go a long way in determining how painful or pleasant this step will be. even taking off the print head and replacing it.” he says. faced a significant learning curve with his high-end Kornit unit. Also. “You have to look at them as two separate products. digital technology is simply not a substitute for screen printing. be prepared for a learning curve. Minn. “Anyone in the market for DTG should get to know the true cost of operating the equipment. president.” ► Know your costs. “It was very methodical and painless. Oceanview.” Kelly says. controlled environment. Dubow Textile. “Determine if you want to do dark garments. you need transparent backgrounds. but we continuously had issues. He estimates that 75% of his orders are for colored garments necessitating a need for a printer that could do darks. It is going to happen. “The first buyers of digital printers were guinea pigs.” Mark Francis says. it didn’t meet my expectations. “Initially. runs two Kornit printers. Cloud. Today. you could have problems down the road. St. Minn. “After the machine was converted to water-based inks.” Wildt says. CorelDRAW Help ® May 2009 sponsors INFO CONTENTS BACK NEXT FULL SCREEN 25 . “We’ve had days where the humidity was 20%. Rob Dubow.J. “Make sure you know how to clean it and take it apart and do maintenance yourself. “It might be able to print 30 shirts an hour.” Adds Roth: “The cost of the machine is hardly the whole picture. 1.” Part of Dubow’s challenges stemmed from the fact that he was one of the early adopters of digital direct-to-garment technology.” Getting Up and Running Choosing a machine is just the beginning of your journey. but if you can only heat press 12 per hour. Cloud. “We got way into it. “No. president.” Dubow says. Cloud.” Wildt attended two days of training at M&R to get up to speed with his machine. “We were producing sellable garments right away.” Wanja says.” he says. who may expand his shop’s use of the direct-to-garment printer to include production of customizable garments for union.” ► Additional Advice Kelly loves his digital printer for doing small runs of multicolor jobs. leading to many days of frustration. “Print on the front. figure out what you plan to do with it.” ► Know the limitations. “It’s not like you open a Click ads to go directly to advertiser’s web site. Find some decorators who actually use it and ask them about their ink costs. The sophistication and complexity of the unit you choose. Dubow Textiles. Roth. especially with white ink printers — and 75% of my orders are for colored garments. Photo courtesy of Dubow Textiles.” he says. Rob Dubow. box and magic happens.” Kelly says that training and patience are absolute musts.. many of the “bugs” that plagued those early systems have long since been addressed and overcome. For example a sixdozen run with six colors. “When they tell you that humidity needs to be above 45%. and you can’t just stick it out in the shop — you need an enclosed.” he recalls. “You need a controlled environment. “It doesn’t really look the same. and plan on wasting some shirts.” “Know what your market is.” ► Learn the machine. and if you’re trying to replace screen printing. on the back. You need a humidifier. “You can’t just throw any image in there and put it on anything you want. your next step is actually learning to operate your shiny new directto-garment printer. and we had nothing but trouble all day long. St. Without this kind of training. you have to know how to handle the art files. St. Minn. they mean it. ► Have a plan. Now it absolutely meets my expectations.” ► Consider the environment. I’ll do that type of order digitally all day long. as far as labor. “Go on the forums and see what everybody’s saying about their printers: what kind of issues they are having and what kind of support they have. that’s your true production time. in which case you’d want a higher-end unit. “Research your machine.” he says.getting ahead service on each brand.” Trammel advises. and turn them inside out so that you can get a few prints on each one as you’re testing. with the humidity above 30% so that the head doesn’t dry out.” Trammel says.” Photo courtesy of Keltex Imprinted Apparel. says that despite its many benefits. N. “There are certain jobs that show up that I couldn’t do because of the quantity and number of colors..” A big decision to make when adding a digital printer is if you want a model with the capability to do dark garments. things changed.” she says. “Don’t expect to buy a digital printer and have people flock to you. because it’s not plug and play. as well as the amount of training you receive from the supplier.
if you want big letters. and that she hasn’t had a single maintenance issue. Ohio. but it will get there. “It doesn’t do a great job on big areas of vibrant color. it’s not going to look that good. who estimates that he digitally prints about 400 shirts a day. so I think we’ll get it to print better and better. We did an order for 300 shirts right away. the color of the ink needs to be darker than the shirt you print on.” she says. “We run the machine all the time. Roth readily acknowledges that he expects to get better-looking prints out of the machine as he continues to work with it. “They’ve improved the inks. and ink heads that need purging. says he hasn’t had a single maintenance issue with his machine. maintenance doesn’t seem to be much of an issue — assuming they’re using the equipment regularly.” However. “We’ve learned that as a rule of thumb. It’s a good idea to keep spare parts on hand. Marietta. a darker purple looks great on it. you need to print regularly. Fla. president. after more than two years of using it. she was printing within a week of getting her digital machine.” Roth says. “We do about 60 left-chest designs in an hour. and it doesn’t have the depth that you get with screen printing. typing a Word document. who has a Brother. “The machine uses water-based ink.” Scott Trammel. it’s probably 42 an hour. Here a newly printed shirt was compared to a washed shirt with the same design.” he says. “Keep the ink fresh.. may have set an industry speed record with his learning curve: “It took me about 20 minutes to get up and running. so you need to use it every day.” Adds Wanja: “The more you print.” Maintenance on Dubow’s high-end equipment has been relatively straightforward. has been drop-dead simple. Adds Wanja: “We had one day of training. and we felt up to speed.” Brad Alpers.” Maintenance Issues Once decorators get their machines up and running. “You couldn’t ask for it to be any easier than that. “I really have no dislikes. I’m in love with my printer. Ind. and we were running orders the next day. it doesn’t print with quite the same intensity as screen printing.” The ultimate test of a printer’s quality is multiple wash tests. Decatur. the better quality shirts you get. and you have filters that need replacing. Dennison.” Maintenance on Alpers’ printer. so clogging is a non-issue.000 prints before I had to replace the black print head — and that’s all the maintenance I’ve done since I got it. “It shuts off automatically when I leave.” Trammel says. “It’s like taking your Epson printer. wiping and flushing. “We’re still playing around with the color curves and saturation. keep everything moving along. “I did around 40.getting ahead Tarter says that even without training.” Trammel. This allows you to see how the inks’ opacity and brightness hold up. and printing it.” he says. And as printers give suppliers feedback.” Color and Image Issues Decorators also have discovered that getting high-quality images from a digital printer requires a solid understanding of artwork. “For example. Photo courtesy of Mind’s Eye Graphics. Dennison T-Shirt Graphics. and I’m thoroughly pleased with the washability. “On a full-front design.” he says. and plenty of practice with the equipment. sponsors INFO CONTENTS ► CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. BACK NEXT FULL SCREEN 26 . manufacturers will continue to make the machines more user-friendly. and it does its own head cleaning. Digital prints also readily lend themselves to multimedia.” Wildt says. he says. It couldn’t be easier. Repla Prints.” Roth says that while his machine offers a wide range of color and extreme detail. “You do have some parts that go out. which he uses to do about 30 to 45 shirts per hour on average. if you print on a lavender shirt. Tampa.” Trammel says. Ga. “Right now. also had an especially smooth learning curve with his Brother printer. Photo courtesy of DTG/SWF East.” he says.” 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. “We did the install one day.
“We can do darks now using print-and-cut technology. R. and a digital printer is the only viable option. “I’d guess that only 5% of the time do they insist on having a dark shirt.” he says. who has three T-Jets. With Brother’s equipment. “You have to learn through trial and error how much to put on the garment. Roth says. the challenges associated with printing darks are worth it.” he says.” says Rick Roth.000 for it. “You can’t put on too much or too little of it. it’s what people want. “You can get acceptable results by using exactly what people send you. then run it again. It does more than we thought it would. a challenge that’s more vexing than color intensity is printing on dark garments. so we don’t do it. who uses a Mimaki GP604. but it still looks like a transfer..” Repla Prints doesn’t do any digital printing on dark garments. Jonesboro. president.” he says.” Adds Tarter: “I stay away from darks.R.” Kelly agrees that the hardest part of printing on dark shirts is the pretreatment. but it’s not really quite there yet on darks. We use a spray bottle. “There is a market that needs full-color prints in small quantities.” Still. “It doesn’t work very well right now. Trammel’s older Brother unit doesn’t do dark garments.getting ahead Roth also has been pleased with the quality of print results he can get with a minimum of artwork tweaking. “Ninety percent of our orders are for dark garments.” he says. “You cannot set up screen printing fast enough to print under 300 shirts profitably. it’s just unbelievable. because the spraying and wiping is a pain.I. “It’s just a pain. In fact. The profit margin is good. “It works well on naturals and whites. CorelDRAW Help ® May 2009 sponsors INFO CONTENTS BACK NEXT FULL SCREEN 27 . “A lot of shops can really make some money with it.” Dubow says he’s able to get “phenomenal results” using a split-belt gas dryer. “I was leery of it.” CDH This art shirt was created on the Mimaki by Mirror Imagine. I rarely lose customers because of it.. “There’s too much maintenance on machines that print white.” he says.” he says.com.” A Dark Cloud For some decorators. you just get better and better at it. but it’s not for me. We’re learning more and more things that we can do with it. If the customer wants a black garment.” he says. Pawtucket. and then over time. instead steering customers either to light garments or to screen printing. Pawtucket. I know that some people have had success with it. “You can use the machine right away.I. afrocubanevans. 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. “For dark garments.” And while Trammel was initially wary of the pretreatment involved in doing dark garments. “That would open up tons of avenues for us. Francis says. but it’s hard to swallow $5. “We can charge $25 for one dark shirt printed on one side.” Pretreatment — a necessary step for printing on darks — has been a challenge for Mark Francis. “It’s trial and error. and we mist water on the shirt first. You get inconsistent results doing the pretreatment manually. decorators who purchase a digital printer may be surprised to discover how versatile the machinery is. I think more and more decorators will use them because you can immediately get results. but after seeing the results.” 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.” Adds Wildt: “Dark garments have been a sticking point for me. we can run the belt slower. Click ads to go directly to advertiser’s web site. he has warmed to the idea. I talk him into a lighter-colored shirt. “It’s a solution to more than you’re imagining.” Alpers says. the image looks like it has been screen printed. president. Creative Concepts of Jonesboro Inc. Plus you have to print the white underbase.” Roth says. so he’s considering making the move to the company’s newer equipment. Mirror Imagine. Ark. Suppliers offer automated pretreatment machines.
sponsors INFO CONTENTS BACK NEXT FULL SCREEN 28 .Sponsors: Magazine Click these Logo-Links to go directly to sponsor websites These are the proud sponsors of CorelDRAWHelp magazine. our sponsors have been making these headlines: Johnson Plastics announces special pricing on ClearPath Portico Poly Frames and Sublimation Mugs from Thailand Great Dane Graphics offers motorcycle stock art Imprintables Warehouse offers new Faux Print CAD-PRINT® material Stahls’ ID launches Seasonal Patriotic Heat Transfers for US & Canada sponsors: tour Click these Logo-Links to go directly to sponsor websites Visit the CorelDRAW Digital Help Tour! CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. Sponsors in the News This month. Be sure to thank these companies for bringing you this magazine free of charge.
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” Alvin Toffler. and the excitement they feel about going to work every day. through bonuses and other motivational tools.marketing secrets By Donna M. and they value their people (employees) skills. success is all relative) are using. They ask team members about their ideas for making the company’s vision work. She interviewed top businesses nationwide and discovered five common qualities implemented by successful business owners. They all value their company’s products and services. One can actually sense the joy. so they won’t give it away just to get business that next time around will go shopping for price again.com/AllBookstore. On the same subject of you get what you pay for …they hire the best team members they can because they ► CorelDRAW Help ® May 2009 CONTENTS BACK NEXT FULL SCREEN 30 . CRM Grow Get Motivated to Get Through! President Harry Truman kept a small sign on his desk that read. It’s All Relative! Surviving & Thriving in a Family Business. They dream. I can imagine that if a mistake got as far as the customer. successful companies have leaders who are inspired and passionate about what they do. they would step up immediately to make things right and accept accountability without embarrassing a team member. I’ve been in many shops where people aren’t hustling. author of The Third Wave. and thrive when customers are cutting back. Even when not in season. they spend their time wisely by continually prospecting to keep the pipe line full. and secrets that successful companies (by the way. “You get what you pay for!” They make sure their products and services are fairly priced so the company will make a fair profit. and membership into business organizations and activities. I’ve heard from a few industry colleagues who are looking for ways to do business without giving away the store. “You cannot escape the responsibility of tomorrow by evading it today. Gray. They decide where they want their companies to be in one year. In a deadline-driven industry like ours. President Abraham Lincoln said. Check it out at the CorelDRAWPro Bookstore. if you’re not hustling. just tire kicking. Some are looking for ways to survive. in detail.” It’s a guessing game to wonder how prominent people of the past would motivate themselves to guide a small business through today’s tight economical times. They don’t waste time. When something did go wrong. three years. to bring in business. They listen. They delegate effectively so other team members get to work on interesting orders and projects. hints. If the knight didn’t deliver.htm • • • • a good example. They know the saying. They use praise and rewards for team members who perform well for the company. Just talking to them is inspiring. said “Human beings were held accountable long before there were corporate bureaucracies. and they remember they are professionals. They never bid low just to get an order. and the way he “ran” the country. www. So I decided to put on my detective’s hat and interview them for tips. They write it down. and in some cases. They make their plan with something in it to excite every team member. was published in September 2007. they shared the responsibility. “The buck stops here. There are good leaders with some or all of the following: • They have vision. They don’t call unnecessary meetings. They frequently ask team members about their needs. you’re not taking the money wheelbarrow to the bank. achieve. And.coreldrawpro. some of them think it’s great to work every day. In almost all cases. no matter what challenges the day might bring. sponsors INFO • • Donna Gray’s 2nd book. It describes her quest to identify the keys to success for small business. and to reach their goals.” He took complete responsibility and accountability for his decisions. Good leaders set Click ads to go directly to advertiser’s web site. They are humble. the king cut off his head. I saw more successful people giving credit to their team members than those who took the credit themselves. or waiting to sign off on orders. My investigations produced some interesting information. talents and time. and aspirations… even about their worries and frustrations. now. actions. and five years. desires. and get excited about it. Some even give important team members a piece of the pie. and family businesses in particular. They sponsor continuing education for good workers.
” Instead of holding the carrot of more dollars in the air. And. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 31 . some spend time helping non-profit agencies with fund raising efforts. “If money were such a good motivator. (besides my husband. True leaders know what’s going on in the work place. They ask team members for their support of change by getting them involved in designing the changes. They also know that success is a daily practice of wise choices. they believe that anyone who works at it can and will succeed. No matter what kind of real (not monetary) contribution these folks make.marketing secrets know their investment will come back to them in spades. 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. CDH • CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. the one who signs the checks has to know what’s coming down the pike.” Every one of the successful business leaders I chatted with has a definite plan for where they are going. They know that avoiding a decision is equal to deciding to do nothing. I recently had the pleasure of attending the 2009 Wisconsin Family Business of the Year Awards dinner. Some leaders serve on community boards. they all practice the old adage. Wis. woman worked for ten years. They have fun. They know the best time to change is before you are forced to. Not only does this kind of service give back to the community. Every leader I spoke to is playing a role in community volunteer agencies. can impact on their company. Retail Marketer of the Year. They are practicing sustainability…going green at work and at home…even if it’s only creating recycling bins for all the paper they use. It’s All Relative! Surviving & Thriving in A Family Business (2007). and Never Quit: The Ups & Downs of Running a Family Business (2004). & Gift (aka AwardsMall.gray@AwardsMall. and Sam Walton Business Leadership Award. There’s an old saying. it’s appreciated. had a very wise woman at its helm. And. valued. we would all be bank robbers. in an industry with very few females in leadership roles. the bottom line of what I learned is that most great leaders know that success doesn’t require succeeding 100% of the time. even in trying times. In other words.com. So. They get involved. “All work and no play makes Jack (or Jane) a dull person. like the famous leaders before them. and displayed the attitude that while they take running their business seriously. Yogi Berra. It’s a win-win-win situation. They all have an eye to the future and what it will bring. said. “If you don’t know where you are going. had a laugh that invites one to laugh with them. While some might call it micro-managing . She has earned professional credentials as a Certified Recognition Master. you might wind up someplace else. Promotions. They serve the community. some volunteer in their churches.com) in Madison. some change is necessary during hard times. are taking today’s world very seriously. They. let’s all take a lesson from the leaders and get motivated to get through. third generation. won awards as Business Woman of the Year. They know how to stay motivated no matter what the challenge. and talked about. She is also the author of two books on family business. They motivate their team members with the potential to be part of something great. They believe that the decisions they make today.” Donna Gray is the president of Total Awards. with the tools and knowledge to take advantage of the opportunity. They’re encouraging everyone they “touch” to use sustainable products. They give back. in today’s challenging business climate. it gives credibility to the company that allows the time to volunteer. They motivate change within the company. their industry and themselves. They know that to have a “hit show” they have to get the “best performers”. She has presented seminars nationwide. She can be reached by email at donna. they pay fairly and they give their team members a chance to shine. They motivate team members to celebrate change. She and her husband Dave have run their full service awards and personalization business since1977. They know that while change can be very unpleasant. Dave). CDH • • • • Another wise man of note. Before taking over as president from her father. this very smart. both professionally and personally. Every leader I spoke to smiled a genuine smile. they know that life is meant to be enjoyed. The grand award winner for the large company category.
developed for ACDRP. searchable by keyword.htm) your home page or favorite to gain access to: Breaking news. www. Generate new business by doing jobs for others! List your company in GSG. All the Time — For the World of Graphics.” MARKET PLACE Quality Engravable Jewelry Hand-crafted in New England Some Things Were Meant To Be In Etched in Stone Importers & Wholesalers of Marble/Onyx Gifts & Accessories N&R International 1155 Allgood Rd. The Industry’s Most Comprehensive & Easy-To-Use Search Engine It gives you one-click access to suppliers. Inc. Find out how by calling our Ad Representative John McDaniel II. The goal is “All the News. and accessible from your desktop! QuickSource TM The Graphics News Wire is the always live. the Digital Yellow Pages for the industry. Find out how by calling our Ad Representative John McDaniel II.coreldrawpro. and how to profit from CorelDRAW.htm The world’s only association for CorelDRAW® Users! www. & Resources for CorelDRAW Users CorelDRAWHelp E-News is a free digital newsletter delivered to you twice a month — about the 15th and 25th. extensive product news. Lepper. It brings you highly targeted content that you won’t find elsewhere. and a calendar of shows and training. updated regularly. New Classified Ads New Job Announcements Supplier Specials All news is related to graphic products! GRAPHICS NewsWire Genuine White-tone Pewter & Gold Gifts & Accessories For Women And Men John E. 541-990-6687 541-990-6687 CorelDRAW Help ® May 2009 sponsors INFO CONTENTS BACK NEXT FULL SCREEN 32 . including CorelDRAW Tips.com/ListGSG.coreldrawpro. CorelDRAW Help ® The Entrepreneurial Magazine for CorelDRAW Users CorelDRAWHelp Magazine is delivered to you once a month in PDF format. QuickLearn TM CorelDRAW Help ® CorelDRAW Help ® The Industry’s Newest Resource for Graphics Tips & Templates Gain access to a growing library of CorelDRAW tips and templates that will make your work easier.com/Join. Quick TnT the entrepreneurial magazine Your ad here could reach thousands of potential customers.com/ NewsPage.GRAPHICS NEWS NETWORK All these news and information products and services are part of the Graphics News Network. and more. products. #13 Marietta. technology. and live links to ACDRP Member Suppliers. the entrepreneurial magazine TM Sponsor the magazine with a Logo-Link for $100/month. links.htm The Industry’s Most Comprehensive and Easy-To-Use Article Library Gain access to hundreds of articles on graphics-related and business topics. 800-835-3623.jelepper. Fax 508-222-2732 www. Tips. always updated source for graphics news — products. phone numbers. It features in-depth content that readers rave about.com GET LISTED TODAY! JOIN TODAY! CorelDRAW Help ® E-News News. equipment. GA 30062 678-560-4088 Fax 678-560-1157 Call for a free color catalog. searchable by keyword. how to apply CorelDRAW. including articles on how to use CorelDRAW. Make it (CorelDRAWPro. It’s always up-todate. Click ads to go directly to advertiser’s web site.
Deborah Sexton. and specializes in professional support for CorelDRAW® Graphics Suite. He has written articles for several publications. Judy McDaniel is the co-owner of JHM Marketing in Albany. sublimation.CorelDRAW® Help Louie Alvarez started in the industry working for one of the largest trophy shops in Central California. and more. screen printing. Creative Graphic offers laser engraving.com. as well as Postscript-compliant graphic applications. She has presented seminars on a variety of topics nationwide. Owens & Co. contributing writers John McDaniel is the co-owner of JHM Marketing in Albany. and co-founder of the Association of CorelDRAW Professionals. She is the author of two books on family business. former editor of Impressions Magazine. in Pennsylvania. She currently does marketing and public relations for apparel graphics companies. software.. image transfers. Dave Demoret founded Prolink Graphic Services to help people understand and profit from learning CorelDRAW. which provides consulting and training services for the industry. He can be reached at 717-509-3523 or davidmilisock@comcast. and co-founder of the Association of CorelDRAW Professionals. Inc. and has written for several publications. and then opened one of the first retail laser engraving businesses. He can be reached at 765-DO COLOR (362-6567) or daved@prolinkgs. banners. and can be reached at donna. and conducts workshops nationwide and online. NV. He has given seminars and workshops on CorelDRAW and Laser for many years. CA – when not on the road – at 916-567-1867. has been in the apparel graphics industry since 1981. as well as a Corel Training Partner. and has over 30 years experience in computer engineering and graphics design.com. He is a Corel Training Partner. TX. With more than 30 years experience in the industry. Otis also presents sales and motivation seminars. He is now with Vytek Industrial Lasers and is based in Las Vegas.S. and does testing on a variety of products for different manufacturers.net. She can be reached at dsexton@sbcglobal. Jeff McDaniel is the owner of Creative Graphic in Philomath. Otis Veteto is the Western Regional Manager for the R. She and her husband Dave have run their full service awards and personalization business since 1977. and is a columnist for several industry publications. and writes about hardware design. com) in Madison. He offers technical and color management support for all RIP-driven corporate digital output systems.com. Wis. Output includes computer-to-plate processes for all commercial digital front-end applications. as well as the operation of a retail personalized gift shop for over ten years. OR. David Milisock is president of Custom Graphic Technologies Inc. and has won many marketing awards.. com or 281-970-6677. He worked as a journeyman machinist before getting into the graphic products business. gray@AwardsMall. people and places that he visits. Oregon. call 541-9674271. She is a regular columnist on sandblasting. or via email at mail@CorelDRAWhelp. CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. Contact him at Jeff@creativegraphic. Bill Leek is a color consultant for JBL Graphics in Houston. He can be reached at firstname.lastname@example.org. Jeff routinely applies graphics to a wide variety of materials. sublimation. He is the author of several CD Instructional programs on CorelDRAW. sandblasting. is a Corel Training Partner. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 33 . laser engraving. which provides consulting and training services for the industry. & Gift (aka AwardsMall. sublimation. or write to mail@CorelDRAWhelp. and diversifying business. He can be reached at email@example.com. rotary engraving. He has developed several lines of color imprintable products. Her background includes many forms of art and retail sales. She can be reached at 541-9674271. Promotions. vinyl signs. fax 541-967-4272.com Donna Gray is the president of Total Awards. OR. he offers the “PROspective” of a veteran sales rep in reporting on ideas. For information on training and more. and promotional products.net. He owned a retail personalized gift shop for over ten years. He has been in both the Flat Graphics Industry and the Decorating Graphics Industry for 30 years. He can be reached in Sacramento. He worked for many years with computers in electronic data processing and pioneered the use of CorelDraw for engraving applications. He has been in the print production business since 1975. manufacturer and supplier of the Elegance in Awards & Gifts line.
and actually made copies of peoples house key. he pulled out an old Samsonite briefcase. Owens & Co. On my birthday for the next twenty years. Jeff Gidre of 02 Marketing & Design. he called me for an appointment. It opens up a great new sales opportunity for you. Unfortunately. keys! Tim Flynn of Relkey. 2009. When I got the chance.relkey. people were actually standing in line. etc. opened it up and pulled out a blank 3”x 5” card and began asking me questions. home improvement shows. friends. CA – when not on the road – at 916-567-1867. Tim would duplicate a key for them right on the spot. he added them to the mix. I had a booth at an end user show. he took a trip around the world. Ehmann. It’s a fun and informative column focusing on the human-interest side of the industry. No one cared as much as Norm! What a legacy! I will miss Norm and his cards. was that it was to begin one of the most incredible and memorable mailing programs that I have ever been the recipient of. CorelDRAW Help ® May 2009 Click ads to go directly to advertiser’s web site. But they sure know him!” Jeff Gidre has been in the promotional products industry since 1984. In fact. “The cards and letters you have been receiving from our father have come to an end. I wandered over to see what was drawing all this attention. He was an entomologist by training and the Vice President of Marketing for Van Waters and Rogers Pest Control Supply Department. He made a house key for me (which I gave to my wife). and family he corresponded with. vendors. travel shows. manufacturer and supplier of the Elegance in Awards & Gifts line. who sponsor the broom at Illinois State University basketball games. spouse’s birthdate. please travel safe. The TDA and TDMA. Norm proved over and over again that the power of the handwritten card far outweighs any other form of contact. or maybe a great new line? Before you say no. The thing that made these keys unique was that each key was imprinted with advertising for the company sponsoring the booth. I had a meeting with a man named Norm Ehmann. The trophy industry. and I would like to pass it along. in early February of this year. right after graduating from college. Looking for a great give away. Cards. people and places that he visits. and we have lost one of our own.. I received a note from his family that simply said. they also received one dollar for each year of their first 5 years of life. can use this. We received an anniversary card each year too! When my children were born. He told me once that he spent all his extra time at airports buying greeting cards. After about a year of sporadic contact. anniversary date. it seems to me we have lost a lot of that old fashioned personal touch. spouse’s name and spelling. sponsors INFO CONTENTS BACK NEXT FULL SCREEN 34 . Rest in peace. Otis Veteto is the Western Regional Manager for the R. 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. now the ARA. children if any. Here is another great way to promote your business. and she absolutely loves it. he offers the “PROspective” of a veteran sales rep in reporting on ideas. What I didn’t know. I received a card from Mr. and some of that knowledge will rub off as well. With today’s technology. and noticed a lot of traffic at one of the other booths. Don! That’s all for now! Remember to save some time for yourself and your family. & Don Neer Promotional keys In last month’s column I wrote about a unique self-promotion idea by B&B Awards in Bloomington. He can be reached in Sacramento. My wife received a card on each and every birthday as well.Traveling Tidbits by Otis Veteto Keys. gift shows…you get my drift. and worth thinking about. check it out at www. and has been with 02 Marketing & Design as part owner since 2000. he told me that he already had a vendor. recently shared this great personal touch story. is like one large family. before talking about his needs. At our first meeting. and the advertising was on this key they would use over and over and over.S. at that moment. but lots of good info! Don Neer We also have lost one of the great pioneers of the Trophy Industry…. And when you travel. Spelling of my name. I would also imagine that he spent all his spare time writing personal notes to the hundreds of customers. He sent my son 6 postcards during that trip. enjoyed some great years and memorable shows under the leadership and guidance of Don Neer and his association management firm. which is of course. birthdate. (He said he couldn’t afford to pay after age 5!) When Mr Ehmann finally retired. Heavy stuff. Otis also presents sales and motivation seminars for industry organizations. Norm passed away on February 3. Inc. With more than 30 years experience in the industry. “Early in my career. It’s worth reading. com was working the booth. if you wish to expand your business.MR DON NEER. When I met with him. The guy in the booth was giving away keys! That’s right. and can also be used by your customers to promote their business as well. or car key while they waited. Not only did they receive a card. but that his vendor was not well and to stay in touch. Recently.com The Norm Ehmann Greeting Card story Speaking of keys…we all know two of the key elements for success in any business is marketing and follow up. 1919-2009. as it was known then. Illinois. Anyone who has a need for an inexpensive give-away at trade shows. The funniest thing of all was that my wife and my children never met him.
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