Corel 09 Iul

Published for the Association of CorelDRAW Professionals (ACDRP) / www.coreldrawhelp.
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CorelDRAW
Help
the entrepreneurial
magazine for
CorelDRAW
users worldwide
J uly 2009
Uni sub
Si l ver f or Phot os
Using CorelDRAW:
Cleaning Up Bitmap Artwork
CorelDRAW Applied:
Imposition Layout for
Full-Color Image Transfers
Inside Color:
Color Correction is Just
the Beginning
Getting Ahead:
Is Auto Digitizing for You?
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July 2009 Help CorelDRAW
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Inside ACDRP
By Mike Neer,
Executive Director
Gain Another Perspective
Published by Association of
CorelDRAW Professionals
President: J ohn H. McDaniel
Vice President: J udith McDaniel
Executive Director: Michael R. Neer
Assoc. Exec. Director: Steven V. Neer
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GRAPHICS J ohn Mise
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JULY 2009
Help CorelDRAW
Last week my oldest son, Matt, turned 21. I wanted to celebrate

his birthday with a gift that hed remember for a long time. After
all, turning 21 is a big deal and I think it means a lot more than
being able to legally buy a beer.
I had always wanted
to take my boys on
a plane ride, and
we hadnt had an
opportunity since they
were little and they
dont remember that.
I always thought wed
travel to Washington,
DC, or Orlando, FL,
or someplace fun. But for this birthday, the idea popped up that
maybe it wouldnt cost too much to charter a fight in the local
area. So I checked it out, and for $150-$200, we could charter
a single-engine prop airplane and go for a one-hour ride above
the Valley.
Both my boys were amazed at how small everything looked from
up there. The checkerboard pattern of farm lands, the spaghetti
lines of roads, the wildly curving San J oaquin River, and even
buildings like City Hall, the baseball stadium, the schools they
saw everything with a new perspective.
And thats my point for this column. Whenever we can step back
from or above the daily routines and conficts, we are able to
put things in perspective. Our everyday problems seem less
problematic.. Our worries are just part of a bigger picture. This
perspective is really comforting, relaxing, and gives us motivation
to take a fresh start at our days activities.
So when were worried about the economy, or about how our
business is doing, or any number of other things in our lives, its
a wonderful tonic to gain another perspective. J ust off the top of
my head, I can think of four great ways to do just that:
1) Take an airplane ride. I dont know about you, but I get
rejuvenated fying up high. I can think more clearly, plan more,
relax more. Its as if Im foating above the heavy stress of earth,
and the inspiration and creativity is greater.
2) Take a vacation. One of our columnists, Donna Gray, plans
at least one vacation every year with her husband Dave and
another with some friends. They have a great time, and in that
relaxed atmosphere they develop a marketing plan for the next 12
months. They come back ready revitalize the business because
they have been revitalized.
3 ) Ta k e a c o u r s e .
Continuing education is
one of the best ways to
gain another perspective.
We discover new ways to
do things in our business,
whether its marketing,
finances, graphics, or
production. We improve
our skills so we have more value to offer our customers, and
more leadership for our employees.
4) Take a daily Quiet Time. We are all so busy doing outward
activity that we seldom take time to go within and be quiet. That
puts us out of balance. However you do it -- meditation, prayer,
walk in nature its valuable to spend some time everyday settling
down and just being. This is an immediate and satisfying way to
gain another perspective. Watching TV and exercising dont count.
Its got to be quiet time where the body and mind really relax.
Ive done all of these at one time or another, and the wonderful
secret about gaining another perspective is that it also opens
the door to creativity. Its like we have to break out of our regular
patterns in order to approach our projects with a creative eye and
energy. For those who use CorelDRAW, its essential to cultivate
another perspective regularly.
See you up in the clouds. Have a nice fight!
July 2009 4
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July 2009 Help CorelDRAW
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July 2009
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3 Inside ACDRP:
Gain Another Perspective
6 Graphics News Wire
26 Logo-Links
30 Focus: Embroidery Products
32 GNN Network
32 Marketplace
33 Contributing Writers
CorelDRAW
Help
CONTENTS
7 Using CorelDRAW:
by Dave Demoret
10 CorelDRAW Applied:
Imposition Layout --
For Full-Color Image Transfers
by John McDaniel
12 Inside Color:
Color Correction is
Just the Beginning
by David Milisock
14 Inside Transfers:
Unisub Silver Shines!
by Bill Leek
16 Inside Screeen Printing:
Setting Up the Press
by Jeff McDaniel
19 Inside Sandblasting:
Mask Equipment
Requirements
by Judy McDaniel
21 Inside
Engraving:
Hardware
Design --
Bearings
Part 2
by John
McDaniel
23 Getting Ahead:
Auto Digitizing:
Is It Right For You?
by Deborah Sexton

28 Marketing Secrets
Staying Sharp in
Summers Slump
by Donna Gray
34 Traveling Tidbits:
Las Vegas, Lone Pine, and
Rising to a New Level
by Otis Veteto
Giving away profts with the hope that
we will make it up in volume is not the
answer for how to get more business.
-- Donna Gray
July 2009 6
Help CorelDRAW
GRAPHICS NEWS WIRE

July 2009
Product News Headlines:
Calendar (Web Link)
Check out the upcoming training
classes and trade shows of
interest to CorelDRAW users.
CorelDRAW
Help
Stahls ID offers CAD-PRINTZ
Wall Graphics
ASI launches email marketing
tool for distributors
Pulse Microsystem adds
Interactive Community to
website
Hirsch adds new color blended
font pack for Tajima units
Printa Systems offers Silver Pad
Printing Package
Floriani Embroidery Commercial
Div. offers No Show Nylon Mesh
Fusible
Digital Art Solutions introduces
Photo Tools Collection
Equipment Zone offers Printer
Support Plans for DTG Units
Imprintables Warehouse has
new premasking application tape
Unisub introduces ChromaLuxe
Clear
Great Dane Graphics offers four
new Kids Theme Stock Art
ASI introduces Distributor
Success System
J ohnson Plastics to distribute
ChromaLuxe Clear
Stahls ID releases new Zebra
Print
RS Owens receives three PPAI
Supplier Achievement Award
Nominations
Scott Fresener introduces
T-Seps Color Separation
Software
Scott Fresener launches T-Biz
Network
Imprintables Warehouse adds
new blog on heat transfers
Cotswold offers new Eco-Stick
NEWS
DETAILS
(Click Here)
July 2009 7
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Using CorelDRAW
Training
By Dave Demoret, Contributing writer
Everyone knows all too well about getting Camera-Ready Art or Well-Scanned Images
from every source there is, including from Professionals who are supposed to know.
So, since we usually dont get the art we need, 72dpi direct from the internet, we need
to re-create a lot of it one way or another.
Lets take a look at one way to take an image in bitmap format and clean it up, change
it to a vector format, and use as little time as necessary for the job. Keep in mind that
this is just one way of doing this and also that you are in business to make money
and not art master pieces. If you cannot proft from your work, you wont work long.
A customer sent in this image to show the kind of artwork they got from their customers
all the time. This image really is in better shape than most and will be relatively easy
to show how this process works.
ASSESSING THE BITMAP
1. Import the bitmap image
2. Check the dpi and the sharpness of the
image edges.
3. Here the original image was 10 x 7 at
72dpi. We have a 72dpi in comparison to a
293dpi image at the right, Figure 1. To get a
higher dpi and sharper image, reduce the size
of the image by selecting and dragging one of
the corner nodes until you have the desired
dpi range.
4. If your image color is fairly solid and the
image is fairly sharp and clear of other debris,
you may choose to do one of the methods to
follow.
5. If you have an image that cannot be reduced
to increase the dpi and sharpness, you may
need to do the following steps.
a) place the artwork in your scanner. you may need to print it frst if the bitmap
was sent to you by eMail.
b) Re-Scan the artwork at a higher dpi of no less than 300 and probably no
more than 600dpi. This will usually allow you
to get a cleaner image to start with.
c) With the artwork at the higher dpi, you
again may choose one of the methods below.
Method 1: Converting the Artwork to Black
& White
The reason you are changing the image to black
& white is for edge defnition, density of color and
speed. Remember, youre in business to make
money. To do this, just follow these steps.
1. Select your new image, click on bitmaps
in the main menu.
2. Then, in the pull down menu select
Mode.
3. In the Mode fyout menu select Black
& White (1bit) as in Figure 2.
4. This will produce a pop-up menu as
in Figure 3 where you will want to select
Line Art in the Conversion Method box
also shown in Figure 3.
5. At this point you will select the new
image, go to the Property Bar and click on
Trace Bitmap and chose Line Art.
6. This will produce the best image in a
vector format as in Figure 4. The image is
clean and solid but the text in the artwork
has been all but totally washed out of the image.
Note: Notice the text has been removed in
Figure 4. This is because the color of the text
was not dark enough to reproduce as black in
the conversion method. Most of the
time you will want to select the proper
July 2009 8
Help CorelDRAW
Using CorelDRAW
Training
font and type it in yourself anyway. We dont worry too much about the text converting since it is more desirable to use a font
so you can do editing later.
7. You may now select the proper color to put back into the new vector image and add the text. (For more on how to add
color & text, call us.)
Method 2: Solidifying the Color
The second method takes just a little more time but it is sometimes necessary due
to very poor color density. you may choose to do the frst part of this method even if
you fnish with the Black & White method. This is just to solidify the color (or increase
the density).
After assessing the bitmap, you may choose to clean up the color. That is, we will
make the bitmap colors more of one solid color as opposed to the hundreds of color
pixels seen in the original.
1. The frst step is to click on the bitmap image to select it.
2. Go to the Property Bar and click on Edit Bitmap. This should take you directly
into Corel PHOTO-PAINT.
3. With the image in PHOTO-PAINT, if you zoom in closely you will easily see
how different your colors are in each pixel as in Figure 5. We want to make them
all the same color or red or blue.
4. While you are still zoomed in close, select the Eyedropper Tool and chose a
dark blue pixel.
5. Notice the blue square at the bottom of your Tool Box on the left. This is the
Foreground Color Square. There is also a double arrow icon next to it. This is
for swapping colors of Foreground and Background Colors.
6. Click on the double arrow icon, placing the blue in the background, and then
select a lighter shade of blue to be placed in the Foreground Color Square.
Note: You may also use any color from the Color Palette to swap colors, as in Figure 7.
7. At this point you are ready to change all the pixels to one color. Simply go to
the Paint Tool Flyout menu, just under the bucket in your Tool Box, and select the
last icon... Replace Color Brush Tool.
8. You may want to increase or decrease your Nib Size from your Property Bar
for this tool. Here I have it at 60 but it will be relative to your zoom level and how
July 2009 9
Help CorelDRAW
fast you want to change color. J ust

hold down your left mouse button and
drag to change colors.
8. In some cases you may also want
to increase or decrease your Color
Tolerance, or range. This will accept
or reject certain pixels not falling into
the tolerance you have selected. Play
with this to see the different effect it
will have on your image.
9. Now all you need do is to leave
PHOTO-PAINT with either a copy and
paste method (much safer) or just
click on the X in the red box top left
corner and select yes when it asks if
you wish to save changes. This step
will automatically put you back into
CorelDRAW and place your changed
image on your page.
10. With your colors solid, you can
now Trace Bitmap in color and
fnish your vector image using it as is
or, keep the graphic and ad the text
separately as in Figure 8.
For more information on different techniques or individual questions you may call
direct at the number below. We also have On-Line Training on Tuesdays as well as
one-on-one On-Line Training available.
I would love to hear comments and questions.
Dave Demoret, founded Prolink Graphic Services to help people understand and proft
from learning CorelDRAW. He has been in both the Flat Graphics Industry and the
Decorating Graphics Industry over the past 30 years. Dave has used CorelDRAW
since version 3 and became a CorelDRAW Training Partner in 2006. During the
past 5 years he has been conducting workshops all over the U.S. and is the author
of several Video CDs & Instructional CDs on CorelDRAW. He can be reached at
765-DO COLOR (362-6567) or by email at daved@prolinkgs.com
Using CorelDRAW
The legendary power of CorelDRAW Graphics Suite is
all around you. In promotional items, brochures, logos,
signs and so much more.
2009 Corel Corporation. All rights reserved.

Find out more at:
Dont own a previous version? Get started for free at
www.corel.com/cdprotrial
www.corel.co /cd m pro
With extensive file compatibility and powerful automation
and customization features to optimize your workflow,
CorelDRAW Graphics Suite X4 can deliver on any design
project - from layout and photo editing to illustration and
powerful bitmap-to-vector tracing.

July 2009 10
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CORELDRAW APPLIED
By Judy and John McDaniel Learn
I mposi t i on Layout
For Ful l -Col or I mage Tr ansf er s
So far in this series weve showed how Imposition
Layout in CorelDRAW can be used to duplicate layouts
for standard labels; and then how it can be modifed to
create custom layouts.
To Review
We can use Imposition Layout with Laser Engravers,
Mechanical Engravers, Sublimation Printers, Vinyl
Cutters, Sandblast Film Printers, etc., etc. Essentially
we can use it with any output device that has a print
driver for Windows, and even some that dont.
As weve shown before, to effectively use Imposition
Layout we need to use the products size as the page
size in CorelDRAW; or if we want to introduce a gutter
between pieces, a page size that is slightly larger than
the product size. And then in the output devices printer
driver use, (1) a standard paper size, or (2) a custom
material size, or (3) the machines table size.
Following this practice will allow us to duplicate and
distribute one layout over the output material, creating
as many copies as will ft.
In some of the previous articles we have used this
feature to step and repeat a static layout. Essentially
applications where all the pieces produced are identical.
Last time we showed how Imposition Layout can be
used with variable information.
Up to this point we have concentrated on simple projects
that contain no photographic images, applications
that are designed primarily for engraving.
What we will tackle now is how we can apply
imposition layout tools in full-color image
transfer applications. First, where the image
is static and text information is variable; then
well consider an application where pictures
are a part of the variable data.
Our First Project
The frst project we will tackle is full-color name
badges to wear in the offce and at trade shows.
If you have a retail shop or sell your products
at shows, fairs, etc., wearing company badges
is excellent advertising. If at all possible its
always good to wear your work. It shows
potential customers one of the products you
can create for them.
The frst decision we need to make is badge size and
image transfer method. For our purposes (advertising
and identifcation) we will select a pre-cut 2x3 inch
badge and transfer the image via sublimation. That
will give us lots of area for a full color print with vibrant
colors.
Since we dont want to produce badges one at a time,
our frst task is to create or purchase a holding fxture,
i.e. production jig. For sublimation image transfer
purposes, our fxture needs to be able to withstand
temperatures in a heat press (approximately 400 F),
so it needs to be made from heat resistant materials.
By doing a little research on the web we found a pre-cut
badge blank and production jig fxture available from
Unisub. The product number for the badge is 5530 and
for the fxture is 5941. Basic CorelDRAW templates
are available for both items on their website, and the
products are available from a number of sublimation
material suppliers.
The basic template for the badge is shown in picture
1, and for the production jig is picture 2. Both of these
are OK but need a little more work to make them really
usable.
The Badge Template
Well start by modifying the badge template. Youll
notice its setup on an 8.5 x 11 inch page, with
Basic CorelDRAW template for a name badge.
July 2009 11
Help CorelDRAW
CORElDRAW APPlIED
a text description of the two colored rectangles, a blue rectangle on top of a green one.
lets frst defne what those areas are. The blue rectangle represents the products
size; the green one is a suggested overprint area, otherwise known as bleed.
The purpose of the bleed is
to insure the entire surface
of the badge is printed.
If you dont overprint the
transfer a little, you run
the risk of having a white
edge showing on the
fnished product. That said,
everything that must appear
on the product must ft within
the blue area.
The template is not usable
in its present state, except
as a guide. Any background image can be placed within the green rectangle using
the PowerClip command, and the blue rectangle can be used as a reference for what
will appear on the product.
However, we do not want to print the text, and probably want to print more than one
image on a sheet of transfer paper; or at the very least have the option of using a
smaller sheet.
To make the template more usable I would suggest the following changes:
1. Delete the text -- left click on the text and press the delete key on the keyboard.
2. Resize the page to the size of the green rectangle -- 3.25 x 2.25 inches in
landscape mode, change the page size on the property bar with nothing in the
layout selected.
3. Make sure the rectangles are centered on the new page -- If they are not, select
both rectangles and then press the P key on the keyboard.
4. Give the blue rectangle a blue outline (or any other color you would like) and
remove its fll -- left-click on the blue rectangle, then left-click in the X well on the
color palette to remove the fll, and right-click blue on the color palette to create
a blue outline.
5. Give the green rectangle a green outline and remove its fll -- left-click on the
green rectangle, then left-click in the X well on the color palette to remove the fll,
and right-click green (or any other color you would like) on the color palette to
create an outline.
Production jig available from Unisub.
6. Make sure the Object Manager Docker is visible -- If its not, click on Tools/
Object Manager, or Windows/Dockers/Object Manager
7. In the Object Manager, create a new layer (for convention I have named the
layer Product Outline).
8. Optionally rename the original layer Print Area.
9. Drag the Blue Outline and drop it on the Product Outline layer.
10. Turn the Product Outline layer off for printing and editing. Left-click the printer
and pencil icons next to the layer name in the Object Manager Docker.
11. Create another new layer (Ive named this the Background layer). Drag this
layer below the Print Area layer. We will use this layer to import any background
picture we want to use for the product.
12. Create one fnal new layer to contain any text and additional graphics we want
to print on the product.
13. Make sure the layers
are ordered top down --
Text & Graphics, Product
Outline, Print Area, and
Background; and make
sure Product Outline is
off for printing and editing.
14. Save the layout as a
CorelDRAW Template,
click on File/Save As
Template.
See picture 3 for the
completed template.
Conclusion
What we have accomplished so far is to take a manufacturers product template
and modify it for our use. The original template had a single item on the page and
was not suitable for use with Imposition Layout or Print Merge. We have changed
all of that. Next time we will start with the revised template and populate it with a
background and text for use with Print Merge.
Judy and John McDaniel are owners of JHM Marketing and CorelDRAWhelp,
Inc. They provide consulting and training services for the industry. Currently they
are both Corel Training Partners. They offer private training; as well as one-on-one
application support through an email subscription service. (For information on training
services offered and their application support service visit www.CorelDRAWhelp.
com. (For information on the Association of CorelDRAW Professionals, please
visit www.CorelDRAWPro.com.) They can be reached via email at JHMcDaniel@
CorelDRAWhelp.com.
Completed template.
CDH
July 2009 12
Help CorelDRAW
INSIDE COLOR
By David Milisock Learn
Col or Cor r ec t i on i s
Just t he Begi nni ng
What Ive done here, with the gracious consent of my friend and colleague Nancy
Seibert of Advanced Signs and Graphics, is to set up a situation where we can discuss
not only color correction but simple image manipulation. Captures A and B are the
end result of an image capture of Nancy and some author who thinks he knows some
stuff about color, converted from RAW to Prophoto RGB, with all the details as shown
in capture C and then converted to U.S. coated V2 CMYK.
The most interesting and diffcult concept of color is that in many instances there
is no right or wrong. I left the images on A and B in the fle as high resolution so you
can zoom in on them and examine them more closely. If we place 20 people into a
room and view these two images we may get as many as 20 different opinions. In my
experience youll get 3 to 5 different opinions for sure!

The arguments will go like this: Well, A or B (depending on the opinion) has more
natural fesh tones, and B or A has more accurate whites.
All of these discussions are wonderful and are the things that build character in
the group. Needless to say, in the end on a calibrated system, it is this character that
will be making the decisions on how the image should be corrected.
I have a very long term relationship with my monitor, a Mitsubishi Diamond Pro
91TXM and know that it and no other monitor display exactly like the print. The display
system is regularly calibrated and work is always checked against the print. In the case
of these two images both display well; image A displays just close to being too fat and
too blue/green, and image B displays just being on the edge of being too warm, but
the contrast value is smoother in the shadow tones. (Not to mention the corrections
for camera faults that we will discuss later.) With that said on the Heidelberg press
that we regularly use when we run to the calibrated densitometer numbers, the slight
color shift will be toward the blue/green. Also I converted these using the Adobe U.S.
Coated V2 CMYK as it is readily available for all to use for proper previewing of this
article. Normally I would have used a Kodak CMyK profle that shipped with an older
version of CorelDRAW which I believe is a superior CMyK profle.
So the argument goes back and forth about the color, and the fact is that while we
may have our opinion, there is a spread in the shifts in the color that are acceptable
because in the end it comes down to our opinion. Among the general opinion of the
population of our client base, repeatable, acceptable or exceptional results in color are
some of what brings them back. So what are some of the other parts that bring the
clients back? In my opinion, achieving the goal of the shot! In this case, we wanted
snap shots that could be used to help promote our companies via print, web and self
promotion. The key word was SNAP SHOTS, to look natural. Not model
shots or product shots. So what we simply do is to try and remove any errors

July 2009 13
Help CorelDRAW
InSIDE COlOR
CDH
induced by the capture
process while retaining the
natural look of the subject.
Notice in image A that there
is a very slight amount of red
eye, on her right cheek and
nose there was a touch of
sheen. Around the mouth
there was some shine that
was also removed. All these
things have been removed
in image B.
Image A has, in my opinion,
issues due to this sheen. Your eye does not properly focus on the center of the face
of the subject. I prefer the focus of an image of a person to be on the subjects eyes
and toward the center, left and right, of the image if at all possible.
The only editing done of this image was to convert from RAW to Prophoto, color
correction using only the tone curves, via LAB, Adobe RGB and U.S. coated V2 color
spaces, and this included the contrast adjustment. There was also a very slight amount
of cloning to remove the refection from the light source. NO SMOOTH SKIN, or any
other effects. Only the tone curves and the aforementioned cloning.
Image B, when almost fnished, displayed one issue that irked me and that was
the shine in Nancys left eye, right as we look at the image. This shine caused the
viewers focus to shift right instead of to the center. You will have to zoom into the eyes
on both images to get the full effect of how subtle this adjustment is. I used the clone
tool and removed just a very slight amount of that shine in her left eye. This brings
the viewers focus back toward the center of the face and creates a more pleasant
experience when viewing this image.
David Milisock, president of Custom Graphic Technologies Inc. of Lancaster, PA,
has been in the print production business since 1975. He specializes in professional
support for CorelDRAW Graphics Suite. He started supporting CorelDRAW fles for
print output with V4. Output includes computer to plate processes for all commercial
digital front-end applications, as well as Postscript-compliant graphic applications.
He offers technical and color management support for all RIP-driven corporate digital
output systems, and also offers Giclee printing. He can be reached at 717-509-3523
or davidmilisock@comcast.net.
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Excellent Content
This magazine is a great resource. I have gained a great deal of insight into the
program, and Ive also found sources of supply. Nelson Wood, Woods Wood
Works, Caledonia MI
I love reading CorelDRAWHelp! Its quite informative and really gets my
creative juices fowing. Debbie Santiago, New J acobs Chapel, Clermont, FL
Keeps me up to date. Look forward to it. Save every issue and print articles of
interest to put into my training book for employees. Chris Williams, Created
For You, Horsehoe Bay, TX
Helps keep me informed about new products and new ways to use CorelDRAW.
Lawrence Coen, Coen Enterprises & Graphics, Elkhart,KS
Your articles help keep me up to date on many new technological methods
which are a tremendous help in my style of business. Gary Whitener, Cody
Tees, Ste. Genevieve, MO
I like all of it! It is [full of] very informative, clear, concise articles. Trish Stuart,
Twisted Threads, Emory, TX
Great info in every issue. Dennis Duval, Duvals Custom Etched Glass, J asper,
TX
CorelDRAWHelp is like a refresher course; it lets me in on better ways to do
graphic techniques. A time saver. Dianne Beck, Poulsbo Church, Poulsbo, WA
I appreciate the fact that CorelDRAWHelp is focused on helping the business
owner become successful. I havent read an issue that hasnt given me
something to assist my business. J im Good, A2Z Engraving, Madison, AL
July 2009 14
Help CorelDRAW
INSIDE TRANSFERS
By Bill Leek Apply
Universal Woods/Unisubof Louisville, KY, has just
released a new series of products built around a great
new silver aluminum substrate with a clear scratch and
UV-resistant sublimation coating that will appeal to both
the photographic and personalized products markets.
The photographic reproduction products are marketed
as CHROMALUXE CLEAR. They provide an exciting
addition to the already highly successful ChromLuxe
white-coated photo product line. The ChromaLuxe
high-defnition photo panels are unlike anything else
available. The special clear coating on silver aluminum
provides photographers with a unique and modern look
to images that cannot be replicated using any other
technique. Photographers have sought a method for
printing their images on silver for some time. Some
silver-coated inkjet papers have been released, but they
have not come close to the look and durability of this
new Unisub product. Black-and-white photographers
will particularly like the highly refective gloss aluminum
fnish. landscapes, product
shots, and portraits come to
life with a stunning, elegant
appearance. ChromaLuxe
Clear opens up a whole new
printing dimension for them.
ChromaLuxe panels are
.045 thick and have .25
rounded corners. They are
available in 8x10, 11x14,
11.5x11.5, and 16x20 sizes.
I would like to see a 12x16
panel that could be printed
on a 13x19 format printer
and transferred on a 16x20
heat press. As with all
Unisub products, pressing
time is only a minute and
obtaining good results is
virtually foolproof.
The panels can be displayed in many different ways.
Unisub offers an inexpensive offset mounting system.
Vintage black-and-white photos can be mounted in a
variety of nostalgic wood frames. I particularly like using
low profle shadowbox modular metallic frames that
complement the image. These are available in many
fnishes and are relatively inexpensive.
HOW TO GET THE BEST RESULTS
ChromaLuxe Clear will work
best with higher contrast,
slightly darker images. Proper
image selection and adjustment
is key for optimum results.
Soft, pastel prints on silver will
appear washed out and kind
of gimmicky. When working
with color, images with more
intense colors and somewhat
harsher light will provide the
most stunning results. Cars,
motorcycles and anything that
has chrome on it are perfect
subjects. Dramatic landscapes
(Ansel Adams) sunsets and
seascapes also look great on this material.
If your source photo does not meet these requirements,
you can add contrast using the TONE CURVE adjustment
in Corel PHOTO-PAINTand apply an S
CURVE. (An illustration of this is included).
UNI SUB SI LVER SHI NES!
Unisubs Brand New Sublimation Substrate Produces Dramatic Results
S CURVE: Using
PhotoPaint apply
an S Curve as
illustrated to
increase contrast
of your image
prior to transfer.

July 2009 15
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InSIDE tRAnSFERS
WAIT.THERES MORE!
In addition, Universal Woods has released license plates,
name badges, id tags and clock kits made from the same
silver aluminum. These are marketed as UNISUB SILVER.
The combination of great looks, durability and the extra
thickness of the .045 aluminum make this product line world
class. The photos in this article speak for themselves.
CONCLUSIONS:
Universal Woods again shines and stands out as a true
innovator and market leader in the sublimation marketplace.
ChromaLuxe Clear and Unisub Silver are exceptional
imprintable substrates. Order some samples today. You wont
be disappointed.
Bill Leek is a industry writer based in Houston,TX. He has over 30 years experience in computer engineering and
graphics design. He has developed several lines of color imprintable products, and has done testing on a variety
of products for different manufacturers. He can be reached at wfeek@jblgraphics.com or 281-970-6677.
CHROME SILVER SATIN: The beauty
of ChromaLux Clear is demonstrated
in this high contrast image with
vibrant colors.
LICENSE PLATE: License Plates produced
with Unisub Silver have a dramatic look and
are extremely durable.
SMALL SILVER ITEMS: Unisub Silver provides
a perfect substrate for these high quality name
badges and id tags.
CDH
July 2009 16
Help CorelDRAW
INSIDE SCREEN PRINTING

By Jeff McDaniel Apply
Background
At the end of our last article, our screens were in the drying cabinet after
transferring the image to our capillary flm. In this article, we are going to re-
install our screens on the screen printing press and set up to print.
Our setup and yours
Our setup is the Printa 770 series screen printing machine from Printa Systems
Inc. All of the supplies and tools we will cover from here on were provided in
the turn-key system from Printa with the 770. Your setup may be from another
source but will most likely contain components of what we will discuss below.

Some specifc features of the Printa 770 that apply to this article
There are a couple of features on the Printa 770 that make re-aligning your
screens very easy. The screens used with the Printa 770 have tapered
alignment pins on the back side that slip into the press armatures (see Image
1). This allows us to be close to aligned simply by placing the screen back
on the press. The armatures have linear, skew, and angle micro adjustments
for easy re-alignment of the screen (see Image 2).
Re-aligning your screens to the artwork
After transferring our artwork from positive to the screen, we need to re-align
our screens. Generally we will leave the exposure unit on the machine with
the trap or choke layer artwork on top. Next we will place our screen back
on the printing press armature and lower the artwork over our exposure
unit. If you look closely at our screen you can see that the artwork is slightly
shifted (see Image 3). This job is fairly simple and we could probably leave
the screen where it is, but we have found that it is always a good idea to line
everything up as closely as possible to avoid halting the production run once
we have started.
To align the artwork on the Printa we simply unlock the armature and adjust
the micro adjustments until our artwork is correctly aligned (see Image 4). The
registration marks we printed on our original artwork and washed out in the
screen are an excellent indicator of how close we are. Once we have our frst
layer done we will proceed to our next screen and check it against
our trap artwork (see Image 5). If necessary, we can again unlock
Set t i ng Up t he Pr ess
Image 1: Tapered alignment pins slip into the

press armatures on the Printa 770.
Image 2: The armatures have linear, skew,
and angle micro adjustments for easy re-
alignment of the screen.
Image 3: If you look closely at our screen you
can see that the artwork is slightly shifted.
Image 4: To align the artwork on the Printa
we simply unlock the armature and adjust
the micro adjustments.
July 2009 17
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InSIDE SCREEn PRIntInG

the armature and use the micro-adjustments to bring the
artwork into proper alignment.
Installing the Platens
Now that we are satisfied with the alignment of our
artwork, we can install the platens. Our press has 4
printing stations on it so we can install 4 platens. We
use a set amount of space between our platen and the
screen armature so that all of our platens have the same
relative distance from armature to platen (see Image 6).
After placing the platens we strip off the old protective
tape and place new tape on the platen surface (see
Image 7). The protective tape we use is a standard
16-18 tack transfer tape that we also use in the shop to
transfer vinyl lettering. Before we fnish preparing our
platens we need to double-check our height
offset between our screen and our platen (see
Image 5: Once we have our frst layer done we will

proceed to our next screen and check it against
our trap artwork.
Image 6: We make sure that all of our platens have
the same relative distance from armature to platen.
Image 7: After placing the platens we strip off the old
protective tape and place new tape on
the platen surface.
Image 8: Before we fnish preparing our platens, we
need to double-check our height offset between our
screen and our platen.
Image 9: To apply platen adhesive simply lay a
bead down on the platen.
Image 10: Use a squeegee to create a thin layer of
adhesive across the entire surface.
July 2009 18
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InSIDE SCREEn PRIntInG

Image 8). This screen has a little more than 5/32(about
4mm) of clearance between the screen and the platen.
The clearance allows the screen to snap away from the
garment during the printing stroke. If you are working with
heavier garments like thick sweatshirts a larger clearance
might be required.
Once we are happy with the clearance between our screen
and platen we can fnish preparing the platen for use.
During the printing process we need something that will
hold the garment frmly in place while we screen print our
image. To achieve this we use a platen adhesive. Platen
adhesive is somewhat like the old white wood glue that
we used to use in school. The platen adhesive however
does not completely dry. To apply platen adhesive simply
lay a bead down on the platen (see Image 9) and use a
squeegee to create a thin layer of adhesive across the
entire surface (see Image 10). You can test to see if the
adhesive is suffciently dry for use by touching it with your
fnger. If your fnger comes away wet, the adhesive needs
to dry further. When the adhesive is properly dried, it
should feel sticky but not wet.
Masking off the screens
The parts of the screen that are not covered by capillary
flm must be masked off so that the ink will not fow through
the blank areas onto the work piece. For masking off
our screens we use a special screen masking tape. The
screen masking tape can be overlapped if necessary to
cover wide areas that are not covered by the capillary flm.
Our frst image shows the screen partially masked off (see
Image 11). We will continue to lay down the tape until the
entire blank area of the screen is covered (see Image 12).
Using block out
Block out is a liquid that can be used to cover pin holes
and imperfections in our screen. We generally like to
use block out on the underside of the screen where the
alignment marks are (see Image 13). We apply the block
out with a small squeegee. Once the block out is applied
it takes 10-15 minutes to dry (see Image 14).
Conclusion
In this article we covered re-aligning our artwork, setting
up our platens, and masking out our screens. In our next
article, we will set up our fash cure unit and start printing.
Jeff McDaniel is the Owner/Operator of Creative Graphic
in Philomath, Oregon. Creative Graphic offers services
including laser engraving, rotary engraving, sandblasting,
sublimation, image transfers, vinyl signs, banners, screen
printing, and promotional products. Jeff routinely applies
graphics to a wide variety of materials. You can contact
Jeff by email at Jeff@creativegraphic.net. CDH
Image 11: Our frst image shows the screen
partially masked off.
Image 12: We will continue to lay down the tape until
the entire blank area of the screen is covered.
Image 13: We generally like to use block out on the
underside of the screen where the alignment marks are.
Image 14: We apply the block out with a small
squeegee. Once the block out is applied it takes 10-
15 minutes to dry.
July 2009 19
Help CorelDRAW
INSIDE SANDBLASTING
By John and Judy McDaniel Applications
Mask Equi pment Requi r ement s
In our frst article we explained some of the reasons we

chose sandblasting. We went on to defne decorative
sandblasting as The controlled disruption of a materials
surface resulting in a recognizable pattern. We further
explained that (1) surface disruption is achieved using
a pressurized abrasive air stream; and (2) control is
achieved using masks/resists/stencils, and with artistic
use of the abrasive air stream.

As a result, the basic requirements for a sandblast
operation can be divided into two major categories:
The equipment needed for the sandblast process, i.e.
to create and control the abrasive air stream This
equipment includes:
I. A blast cabinet -- Pressure pot or Siphon system.
II. Nozzles to shape the air stream
III. A dust collector.
IV. An air compressor.
The equipment needed to create sandblast masks/
resists/stencil includes:
I. A computer system with graphic software CorelDRAW,
etc.
II. A mask-making system of some type.
A. For Photo MaskingAn inkjet or laser printer,
and a UV exposure unit
B. For Vinyl MaskingA vinyl cutter
C. For Laser MaskingA laser engraver is required;
A rotary attachment is recommended
As with all equipment purchases, there are various
confgurations you can choose at differing budgets.
You can add a decent sandblasting system with photo
masking capability to your operation, assuming you
already have a computer, for as little as $2500 to $3000.
If youre starting from scratch without anything, plan on
$3500 to $5000. From
there, other features
may be acquired later
which can bring your
total investment closer
to $10,000 to $15,000.
Your equipment choices
should be dictated by
your customers needs
and as always by your
anticipated revenues.
So far we provided
an overview of the
equipment needed for
the sandblast process;
and last time we covered
the basic computer
system requirements.
This time we will provide
an overview of the
equipment needed to
create sandblast masks/resists/stencils.
Mask Creation Systems
Once you have your design completed in the computer,
you need some method to create a sandblast mask from
it. Currently there are 3 main methods of doing that: (1)
photo-masking, (2) vinyl cutting, and (3) laser masking.
Each method has varying artwork and equipment
requirements. The following is a brief overview of the
equipment requirements for each method. We will cover
each in greater detail in future articles.
Photo-Masking
This method uses some type of computer printer and
ultraviolet (UV) exposure unit.
The most basic, cost effective confguration will include
an inkjet printer, inkjet receptive flm, and a simple UV
exposure unit. Costs for such a setup should be less
than $500 for flm sizes up to 8.5 x 10 inches. Inkjet
receptive flm is around $1.00 per sheet and is suitable
for high detailed work. Not all inkjet printers will work
well with inkjet receptive flm; check with the flm supplier
for their recommendations.
A laser printer and velum will also work very well for most
photo-mask applications. However, for very detailed
images, such as photographic halftones, or images
with fne lines, a laser printer and velum wont provide
suffcient detail. For fne detail work, you will need an
inkjet system or direct-to-flm printer.
The advantages of photo-masking are: (1) high detail,
and (2) low initial equipment costs. The disadvantages
are: (1) high consumables costs, and (2) limitations of
image size. For large images, photo-masking equipment
and consumables can be very costly.
Vinyl Cutting
Cutting vinyl for masking has been used for many years
and actually predates all other methods. Some artists
cut vinyl by hand. First they apply it to the product, draw
their design on the surface, and then cut it by hand.
This method is typically used for one-of-a-kind designs.
Computer-controlled vinyl cutters are generally used
for multi-piece production. Desktop vinyl cutters are
available in the $600 to $800 dollar range; foor models
in the $1000 to $5000 dollar range.
The advantages of vinyl-masking are: (1) low cost of
consumable material, (2) large image sizes
are easy to create, and (3) vinyl is suitable to
Example of a glass
with laser masking.
July 2009 20
Help CorelDRAW
InSIDE SAnDblAStInG
CDH
use on materials that can be damaged by water like wood. The disadvantages of
vinyl-masking are: (1) it is not suitable for highly detailed images, and (2) vinyl requires
additional steps in application.
Adding a vinyl cutter to your equipment inventory will have the advantage of giving
you the ability of creating vinyl signs.
Laser Masking
A laser engraver is another device that can be used for creating sandblast masks.
Several companies are producing flms that can be applied to glass and then cut with
a laser engraver. This form of masking can produce excellent detail. To purchase a
laser for this purpose would cost in the area of $10,000 to $15,000 dollars.
Adding a laser engraver will also add all types of laser-engraved items to your available
product offerings and expand your capabilities.
Conclusion
Setting up a sandblast operation is easy and relatively inexpensive. Complete photo
mask startup packages that include some photo mask materials, an exposure unit, a
pressure pot cabinet, and a dust collector start in the $1500 range. To this package
you would only need to add an air compressor and computer, assuming you didnt
already have one.
You could also choose to create masks with a vinyl cutter or laser engraver. Then
you wouldnt necessarily need the photo-masking component of the package. You
could cut masks with the vinyl cutter, or burn them with the laser.
In short, sandblasting is one of the least expensive and most rewarding personalization
processes you can add to your business.
Next time we will describe some of the products that you can create with sandblasting
along with the type of masking that was used for each item.
Judy McDani el and her husband John are owners of JHM Market i ng and
CorelDRAW
help, Inc. They provide consulting and training services for the industry.
Currently they are both Corel Training Partners. They offer private training at selected
locations throughout the U.S., and on location for corporate customers. They have a
series of interactive CDs teaching CorelDRAW
available at the CorelDrawHelp.com

bookstore. In addition, they provide one-on-one CorelDRAW

Application Support
Service through CASS, an email subscription service. (For information on training
services offered and their application support service visit www.CorelDRAWhelp.com.)
You may contact them via email at mail@CorelDRAWhelp.com.
Help CorelDRAW
BOOKSTORE
July 2009 21
Help CorelDRAW
INSIDE ENGRAVING
By John McDaniel Apply
Har dwar e Desi gn: Bear i ngs, Par t 2

Individual machine components work together to
produce the engraved products we sell. These
components include Motors, the Drive Unit, Guide
Rai l s, Encoders, Tachometers (Speed Control ),
Bearings, Spindles, Material Hold Down, and the
Electronic Interface.
Many engineering techniques are used in different
machines to accomplish a similar result. The
differences between these techniques determine the
machines Accuracy, Reliability, Serviceability, and
Obsolescence.
The quality and accuracy of machine components,
properly chosen during the design of the machine, have
a direct effect on the reliability of our machine, and the
quality of our products.
In past articles, weve discussed Motors, the Drive
Unit, Guide Rails, Encoders, and touched on Bearings.
This time well conclude our look at bearings and their
application in spindles that are used in mechanical
engraving machines.
Parts Move on Bearings
As we pointed out last time, every part that moves in
an engraving machine moves on a bearing. Bearings
are in the motors; they attach the table or gantry to the
lead screws. They allow the gantry or table to move on
the rails. They attach the Z platform to the frame. In
mechanical engravers, they are contained within the
spindle, and allow the cutting tool to rotate.
The type and quality of bearings used in a machines
design have a tremendous impact on the type of work
the machine is capable of; and the quality of work
the machine will produce. For mechanical engraving
equipment, lightweight bearings will not stand up under
the loads produced in deep 3D cutting or in shallow
cutting of some materials. In laser engraving equipment,
transport bearings keep the laser beam properly
positioned. Sloppy bearings will always produce sloppy
work.
In previous articles, weve discussed the lead screw and
lead screw nut, lead screw bearings, and rail bearings.
The last remaining area for discussion of bearings is
the spindle.
Spindle Bearings
In a mechanical engraver, the cutting tool must be free
to rotate without wobble; while at the same time, it must
not be able to move in an axial direction. Cutting tool
wobble is referred to as run-out, and axial movement is
movement in the direction of the axis of a shaft. (See
Picture 1)
Largely, the bearings used in a spindles design
determine how well it can perform its functions and
overcome natural mechanical forces exerted during
cutting.
Rotational Movement
The frst and primary motion of a spindle is rotational.
Every spindle is equipped with some type of radial
bearing (picture 2), which permits shaft rotation in a
stationary fxture.
The radial bearing must permit the cutting tool to rotate
on the exact center of the shaft. If it doesnt, and
the cutter wobbles, it will produce little donut-shaped
movements, which will at least, widen the cut path, and
at worst, produce visible irregularities.
Radial bearings can be sleeve or ball bearings. Sleeve
bearings are less expensive to implement, but will wear
over time and produce run-out. Ball bearings provide
superior wear and tighter tolerances.
An ABEC number grades ball bearings in quality; ABEC
stands for Annular Bearing Engineers Committee.
ABEC-1 is standard; ABEC-3 is a precision bearing and
has less looseness and run-out than ABEC-1. ABEC-3,
-7, and -9 progressively decrease looseness and run-
out, and increase their degree of precision as
the dash number increases.
July 2009 22
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InSIDE EnGRAvInG
Axial Movement
Another motion the spindles cutting tool is subject to
is plunging into the material. This motion creates an
upward push on the cutter. If the cutter is loose in the
shaft, it will simply move up and not cut into the material.
In addition, if the cutter were a spiral futed end mill,
once it began cutting, it would tend to pull itself down
into the material. In either case, the depth of cut would
not be consistent.
Standard radial bearings are not designed to resist axial
movement. No matter how precise the bearing, all radial
bearings will allow some axial movement.
There is a special class of bearings, known as thrust
bearings (picture 3), which do resist axial movement.
Thrust bearings can be as simple as brass-washers,
wave-washers; or as sophisticated as angular contact
ball bearings. All are designed to resist axial movement.
Many spindles are produced without any form of
thrust bearings. They rely on the resistance of the
radial bearings for thrust movements. This design is
acceptable for very light duty engraving.
Some spindle designs incorporate brass washers
or wave washers to resist thrust movement. These
designs, although an improvement, are not much better;
they should only be considered for light to medium work.
The most rugged designs will incorporate angular
contact ball bearings. Angular contact means that the
bearing race is offset on an angle.
An angular contact ball bearing will resist axial
movement in one direction. They are designed to be
used in pairs, one to resist movement in one direction,
the other to resist movement in the opposite direction.
The bearing pairs are preloaded, that is locked together
on the spindle shaft, thereby resisting axial movement
in either direction.
Conclusion
The most critical bearing in a spindles design is the
radial bearing(s). In any engraving application, a poor
quality radial bearing will produce run-out, which in turn
can affect engraving quality.
As far as thrust bearings are concerned, if your primary
application is diamond drag, and you are using a spring-
loaded tool; or if youre using a nosecone that rides
on the materials surface, then you shouldnt be too
concerned about minor axial movement.
On the other hand, quality thrust bearings are vital if
your work requires precisely controlling cutting depths.
As with any design feature, it is important to decide the
type of work your machine will be required to perform.
Spindle designs that incorporate high quality, heavy-
duty bearings will generally cost more. In fact, precision
spindles can cost more than some entire engraving
machines. However, if performance, quality, and
versatility are requirements, theyre worth every penny.
Next time well conclude our look at spindles, and focus
on tool holding methods.
Judy and John McDaniel are owners of JHM Marketing
and CorelDRAW
help, Inc. They provide consulting

and training services for the industry. Currently they
are both Corel Training Partners and offer private and
group training seminars. They also offer one-on-one
application support consulting through CASS, an email
subscription service. (For more information, please
visit www.CorelDRAWhelp.com.) They can be reached
via email, at JHMcDaniel@CorelDRAWhelp.com. CDH
July 2009 23
Help CorelDRAW
GETTING AHEAD
By Deborah Sexton Grow
Auto Digitizing: Is it Right for You?
A look at the pros and cons of automatic digitizing software.

E
veryone loves the fantasy of simply pressing
a button to complete a task, no matter its
complexity. Imagine quickly cleaning your messy
offce by just hitting a button. Or fnishing all of your
incomplete orders at the touch of a button. Or digitizing
designs with the press of a button.
Good news: You really can convert artwork into an
embroidery-ready design with just a few button presses,
thanks to auto digitizing software. However, you
must have a realistic understanding of the
strengths and limitations of the technology if
you want to get the most out of it instead of
getting distracted by fantasies, suppliers say.
Many people get the impression that they
just scan in the design, and theres nothing
more that needs to be done, says Toby
Diamond, software support specialist, Brother,
Bridgewater, N.J . Thats not the case.
Beyond the Fantasy
Basically, auto digitizing softwares magic is
that it converts artwork into embroidery with
only limited user input. This type of program,
which generally is part of a larger embroidery
design software package, also can do lettering
using any True Type font from your computer.
The software does all the thinking and heavy
lifting,explains Preeti Suri, director, marketing
services, Pulse Microsystems, Mississauga,
Ontario. It automatically applies stitches to
segments based on mathematical algorithms.
However, the seemingly straightforward promise of
auto digitizing software converting graphics into
embroidery-ready digitizing is sometimes either
misrepresented or misunderstood. You have to make
sure you understand what youre getting, says J osh
Orosco, support manager and education director,
Pantograms, Tampa, Fla. Its not going to take care of
all your digitizing needs.
Adds Suri: Some companies give people a false
belief that they can magically transform artwork into
embroidery with just the click of a button. No technology
available today can create stellar designs from artwork
in a completely hands-free, automated way, she
says. Technology cannot substitute for the skill and
experience of a digitizer but it can come close in
some cases, depending on the artwork.
It does speed up the process, but it will never replace
the quality of manual digitizing, notes DJ Anderson,
director, Floriani Embroidery, Knoxville,
Tenn. However, some elements convert
properly and you can use it along with manual
digitizing.
Whats most important to understand about
auto digitizing software is that it doesnt
magically eliminate the variables involved in
embroidery, including type of fabric, artwork
size and quality, and stitch densitybut
that its still a useful tool, if used for the right
applications.
In the absence of human judgment and input,
an automatic digitizing tool can only follow its
basic written instructions, says J oe Wirsing,
sales manager, Compucon, Greensboro,
N.C. It requires intelligent human evaluations
for decisions such as the best sequence for
sewing color blocks, ideal placement of the
frst/last stitch locations for each color, or
efficient routing from one block
of color to the next.
Some auto digitizing programs will let you choose from a limited
selection of fabrics that the design will be sewn on. But even if it has
a piqu knit selection, for example, there are many varieties of piqu
knits that will require digitizing adjustments that the program can not
automatically compensate for. Photo courtesy of Wilcom, Norcross, Ga.
July 2009 24
Help CorelDRAW
GEttInG AHEAD
Charuta Maranthe, product manager, Wilcom

DecoStudio and EmbroideryStudio, Wilcom, Norcross,
Ga., agrees. You still need to understand what makes
embroidery-friendly artwork and adjust your designs
before converting to embroidery.
At Its Best
Which applications make the most sense, then for
auto digitizing software? Suppliers say that its ideal for
simple, clean artwork with a minimum of colors, often
requiring only a minimum of adjustments. It works well
for smaller orders, Diamond says, as well as simple
designs like lettermans jacket logos and block or script
lettering.
The software lends itself well to simple designs and
bolder shapes, as well as fll stitches and satin stitches,
Diamond says. Higher-end auto digitizing
software also works well with small
lettering.
An educat i onal t ool . Auto digitizing
software also can serve as a learning tool,
industry veterans say. I wouldnt consider
it a digitizing lesson, but it might tell you
on a small shape that you shouldnt use
silk, for example, Diamond says.
You can get up to speed a lot quicker
and its a less daunting way to start
embroidery. It doesnt replace human
creativity or judgment, but is a tool to
improve productivity or to help beginners
create embroidery designs with little or
no experience, Maranthe says. Start with the auto
digitizing, and when youre ready, you can learn more
advanced, feature-rich programs.
However, some suppliers say that auto digitizing
software is a less-than-ideal way to learn digitizing.
It helps you get a leg up while youre learning how to
digitize, but your time is better spent with a full-featured
program, Orosco says. Theres only one way to learn
to digitize, and thats to sit down and do it.
A starting point. The software can be extremely helpful
in digitizing a design that users can then edit to create
a fnal design. you cant tweak density or underlay or
add pull compensation but you can do basic editing,
Orosco says.
Professionals can speed up their digitizing time by
using the automatic conversion to stitches as a starting
point, Maranthe suggests. Then they simply edit and
add more creativity to it using manual digitizing tools.
J ust be sure that youre aware of the true extent to which
you can edit designs using auto digitizing software. You
cant edit your way to paradise, Wirsing says. But you
can edit your way to an improvement.
Small orders. Auto digitizing software is great if you
dont want to wait for turnaround on digitizing, or you
dont want the expense of sending it out for just one or
two pieces, Diamond says.
Est i mat es. For complex designs, auto digitizing
software can be helpful as a stitch estimator, suppliers
say. Embroiderers can use the program to estimate the
number of stitches the fnal design will have, Suri says.
This saves them a lot of time and effort, as they dont
have to digitize the design frst and the estimates are
quite accurate for the purpose of quoting.
Adds Wirsing: In two minutes, you can have an idea of
the designs stitch count. Auto digitizing is a very quick
way to get an overview of the count for pricing purposes.
Best Results
Users who get the most satisfaction from their auto
digitizing software are those who understand where it
shines, and where its less than optimal. For instance,
it does well at digitizing artwork in the most effcient
manner possible. For example, the software might not
put an even number of points on both sides of a column
in a satin stitch, requiring the user to make
manual adjustments. However, such limitations
Shopping for Software
According to some industry veterans, many auto
digitizing programs offer comparable features, so
shoppers should focus more on the entire digitizing
package rather than just the auto digitizing module.
However, others frmly disagree: There is a wide
spectrum of quality that youll achieve in different
auto digitizing packages; they are not all created
equal, says Charuta Maranthe, product manager,
Wilcom DecoStudio and EmbroideryStudio, Wilcom,
Norcross, Ga. The quality of the stitchout is the
real test.
According to Maranthe, questions to consider when
choosing an auto-digitizing program include:
Does it maintain individual objects and
layers so you can move them and adjust
them independently?
Does it factor in the underlay, pull
compensation, and stitch densities to suit
the fabric you will be stitching the design on?
Does it automatically create appliqu from
your artwork?
Does it stitch well?
Auto digitizing doesnt
replace human creativity
or judgment, but is a
tool to improve
productivity or to
help beginners
create embroidery
designs with little
or no experience, says Charuta
Maranthe, product manager, Wilcom.
Photo courtesy of Wilcom, Norcross, Ga.
July 2009 25
Help CorelDRAW
GEttInG AHEAD
may be less of an issue for smaller shops, Diamond says. If youre doing one
piece, you may not care about sewing ineffciencies.
Youll also get higher-quality results by starting with higher-quality artwork,
Maranthe says. If you use a scanned-in blurry image, you will not get a good
result compared with a clean vector
image, she says. Rubbish in, rubbish
out, so to speak.
Finally, stick with simple, solid color,
shapes, text and logos, Maranthe says.
Depending on the sophistication of the
software, you can get great results with
more complex designs also.
By understanding these limitations
and strengths, youll be able to make a
better-informed decision about how auto
digitizing software may be able to help
your shop.
Deborah Sexton, former editor of Impressions Magazine, has been in the
apparel graphics industry since 1981. She currently does marketing and public
relations for apparel graphics companies. She can be reached at dsexton@
sbcglobal.net.
The pur pose of an aut o
di gi t i zi ng pr ogr am i s t o
scan i n artwork and have
the program automati cal l y
conver t i t t o st i t ches. It
cannot replace the sewing
qual i t y and ef f i ci ency of
manual digitizing, but may
be useful for simple shapes
and lettering. Photo courtesy
of Pul se Mi cr osyst ems,
Mississauga, Ontario.
What an auto digitizing program
shoul d not be expect ed t o
do is replace an experienced
digitizer. Sophisticated designs
such as t hi s one can onl y
be cr eat ed by usi ng a f ul l -
f eat ur ed manual di gi t i zi ng
program. Photo courtesy of RNK
Distributing, Knoxville, Tenn.
CDH
Share CorelDRAW Tips
In recent surveys, readers of this magazine have said theyd like to have
more tips on CorelDRAW, and theyd like to know how other people
are using the program for different projects. So we invite you to submit
examples of artwork youve created, along with a description of how you
did it, and your bio with a photo. We are looking for everything from
brochures and flyers to sign and t-shirt artwork.
To share your tips, just send an email to the editor at editor@coreldrawhelp.
com . Thanks much!
July 2009 26
Help CorelDRAW
SPONSORS: MAGAZINE
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SPONSORS IN THE NEWS
This month, our sponsors have been making these headlines:
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new Kids Theme
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new blog on heat transfers
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CAD-PRTINZ Zebra Fill
July 2009 27
Help CorelDRAW
The Association of CorelDRAW
Professionals is The Education & Business Resource for CorelDRAW Users Worldwide.
Its goal is to help: 1) IMPROVE your CorelDRAW skills, and 2) MAKE MONEY with those skills! You can participate in ACDRP services in four ways:
THE WORLDS ONLY ASSOCIATION FOR CORELDRAW
USERS
INVITES YOU TO MAKE MORE MONEY WITH CORELDRAW!
CorelDRAWHelp E-News is a free digital newsletter delivered
to you twice a month focused on Industry news via the Graphics
news Wire, links to valuable resources, and a complete educa-
tion and show Calendar. S
CorelDRAWHelp, the Entrepreneurial magazine for CorelDRAW
users, features in-depth content on:
How to Use CorelDRAW -- tips, tricks, advanced
ar t wor k, success st or i es, i nt er vi ews, and mor e.
How to Apply CorelDRAW -- for graphic production
processes such as embroidery, engraving, heat printing, laser,
promo products, printing, sandblasting, signmaking, sublimation,
and screenprinting.
How to Proft from CorelDRAW -- Product news, business
columns, reviews, profles, and advertising with live links.
SUBSCRIBE -- NO CHARGE JOIN -- $60 PER YEAR
All users of CorelDRAW Graphics Suite are qualifed to
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newsletter only available to members.
GSG Basic Listing. You can list your
services in the Graphic Services Guide
in one category as part of membership (a
$25 value).
Access to QuickLearn. A keyword
searchable database of 100s of articles
on CorelDRAW, graphics production, and
business.
All users of CorelDRAW are invited to join the Association and
take advantage of exclusive content, discounts, and profes-
sional recognition. ACDRP membership includes:
TTF
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Archives
BASIC GSG LISTING -- $25 PER YR
the Graphic Services Guide is the Industry Yellow Pages for
Services and Finished Goods. GSG is promoted in all our publi-
cations and our website to the world of CorelDRAW users. Your
listing gives you the opportunity to promote your services (in any
of 40 categories) to other CorelDRAW users.
the basic listing includes:
your company description
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listing in one category.
Additional service categories are $10 each per year.
the Enhanced GSGlisting is for companies that want to list in
two categories and add a photo or logo.
ENHANCED GSG LISTING -- $50/$75 PER YR
Classifeds
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fne points of the program, and templates
that can be downloaded to speed up your
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Access to Archives. Past issues of
CorelDRAWHelpare available to members
with live links.
Bookstore Discounts. Members receive
a 10% discount on all products in the Corel-
DRAWHelpbookstore.
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on business cards, websites, and letterhead.
You also receive a membership certifcate.
Classified Ads. Members can place
one classifed ad per year at no charge with
photo, and run it till the item is sold! (a $35
value)
HOW TO PARTICIPATE
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($25 Basic $50/$75 Enhanced,
or $120/145 for Multi-Service)
CorelDRAWis a registered trademark of Corel Corp., and is used with permission.
Visit www.coreldrawhelp.com
and click on the appropriate links.
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the Multi-Service GSGlisting allows you to list up to 40 differ-
ent service categories with detailed descriptions and add a photo
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MULTI-SERVICE GSG LISTING -- $120/$145 PER YR
July 2009 28
Help CorelDRAW
MARKETING SECRETS
By Donna M. Gray, CRM Grow
St ayi ng Shar p i n Summer s Sl ump

Donna Grays 2nd book, Its All Relative!
Surviving & Thriving in a Family Busi-
ness, was published in September 2007.
It describes her
quest to identify the
keys to success for
small business, and
family businesses in
particular. She inter-
viewed top businesses
nationwide and dis-
covered fve common
qualities implemented
by successful business
owners. Check it out
at the CorelDRAWPro
Bookstore, www.corel-
drawpro.com/AllBookstore.htm
It doesnt take a genius to recognize the symptoms
the summer slump has arrived. Customers are either
on vacation or just lookingbut not ready to order
products for their fall projects. Business friends are
complaining to one another about how slow things are.
Those that use our kinds of products and services are
not in a hurry to buy.
Staying sharp during the summer slump is diffcult in
ordinary years. This year, with a diffcult economy, its
downright painful for some. Its affecting every business,
in every industry. Its a challenge for most every
company to get customers to sign on the dotted line.
But even with all the whining and complaining about how
bad it isIm still seeing those who are holding their own.
New ways to sell
Theres no doubt that times are tough. Companies
and organizations are cutting back on their spending.
Cities, counties and states are tightening their belts.
Decision makers are holding off on making buying plans.
So companies have to look for and fnd new ways to
increase productivity and make more money. Selling,
in this diffcult economy, requires a different approach
than the way many of us grew our businesses.
Remember the old sell the sizzle not the steak
advertising rule? Well, value and benefts (the sizzle)
are now important pieces of our selling tool box.
Our industrys sizzle is sometimes appreciation and
applause. Sometimes our sizzle is ideas. Sometimes
its our ability to take that idea and turn it into a whole
program. Sometimes its all of the above and more.
New stories for our products
J uly is historically a slow month in our trade except,
maybe, for those who are big into summer sports
awards. Some of us have time to create some sizzle
to sell. Ive heard that when things are slow, its time
to create a new story for each of our products and
servicesthat means writing down all the benefts, the
points that stand out, the things that make us unique.
Mary Kay Plantes, in her new book, Beyond Price,
explains why we should not consider our products and
services to be commodities. Companies should work to
differentiate themselves from the competition; however,
selling in this economy does not mean we should make
ourselves different by giving away the store. Giving
away profts with the hope that we will make it up in
volume is not the answer for how to get more business.
Companies, all over the world, spend millions of dollars
telling their team what to say, but much less than that
on educating them about the companys history, its
mission, and about the value of their product or service.
None of us should assume that everyone has the same
knowledge of what our company is about. Summers
slump is a good time to train and share. Its also a
great time to get team members ideas on new products,
ways to improve production techniques, and their input
on prospective customers. Team members, because
they can see the forest for the trees, have good input
on ways to:
Find new product ideas for customers.
Find ways to increase customer contacts. Even
when we have all the business we can handle,
we need to keep that customer contact going
strong.
Develop ideas for special customer events.
Find products to use as leave behinds at
customer visits.
Find information we can pass on that will be
valuable to customers and prospects.
Plan unique ways to follow up after a sales call.
Develop questions to ask at after sal e
opportunities.
July 2009 29
Help CorelDRAW
MARkEtInG SECREtS
Get back to basics
Because the selling / buying environment is not the
same as it was a couple years ago, its time to get back
to basics. Staying sharp in summers slump includes
basics like:
Choose where we spend time prospecting.
It doesnt make a lot of sense to waste time
chasing business that we really dont want
just to make a sale. Its better to concentrate
on romancing existing clients or to dig deeper
into those accounts. Remember 80% of good
business comes from 20% of our customers.
Find ways to get our offerings to the top of the
customers priority list. Since many clients are
waiting and seeing, fnd ways to show them the
beneft of placing their order and getting it off
their to-do list.
Plan and practice for the objections. Avoid
being negative.
Look for and present exciting new product ideas
for the coming season.
Draft some good questions to ask customers.
Good questions and good listening skills often
get the sale were looking for.
Communicate with prospects. Create proposals.
Follow up with details.
Find ways to make it easy for customers to
buy. If you dont already take credit cards, get
a program in place.
Ask for referrals.
Dont get discouraged. This too shall pass.
Time for R&D
Summers slump will fade away, however, while were in
the middle of a slow time why not invest in research and
development? This is a great time to go through all last
years industry information with an eye to fnding new
vendors, new product ideas, and reading about all the
changes that took place in the industry when we were
too busy to look. This is a good time to do research on
how good your support team of accountants, attorneys,
bankers, attorneys and insurance companies are doing
for your company.
Are they on top of your needs? Are they looking for ways
to help your company succeed? Are they introducing
your business to their contacts? Have you asked
them to introduce your company to their connections?
Typically, J uly and August are our companys time
to make sure were getting our moneys worth from
our support team. Thats when we get our insurance
(both business operating and health) renewal rates.
That means we really look at what were getting and,
if necessary, negotiate for something betteror make
necessary changes. Theres never really time to give
this a good R&D look during busy season.
Fill the pipeline
Summers slump is also a good time to develop some
sharp marketing ideas for fall and winter. During the slow
times, we want to keep our marketing functions going
strong so we can keep the pipeline flled for the coming
months. Its also a good time to connect with other area
business people to keep tabs on how the local market
is surviving, thriving, or making it through. Connecting
with fellow business people is a good way to increase
the companys visibility within the business community.
Working to be sharp through summers slump will get
results. Use this time to connect with industry peers.
While were all competitorswere all professionals
and professionals help each other succeed. Staying
sharp requires us to have a focus on exactly what we
expect for a bottom line at the end of summer. Its time
to get savvy. Use this time to develop world class sales
skills. Create a new marketing plan that will get your
companys foot in the doors that have been closed.
Refuse to participate in tough times. Get tough and
get going. Summers slump doesnt bother those who
stay sharp.
Donna Gray is the president of Total Awards, Promotions,
& Gift (aka AwardsMall.com) in Madison, Wis. She and
her husband Dave have run their full service awards and
personalization business since1977. She has presented
seminars nationwide, won awards as Business Woman
of the Year, Retail Marketer of the Year, and Sam Walton
Business Leadership Award. She is also the author
of two books on family business, Its Al l Rel ati ve!
Surviving & Thriving in A Family Business (2007),
and Never Quit: The Ups & Downs of Running a
Family Business (2004). She has earned professional
credentials as a Certifed Recognition Master. She can
be reached by email at donna.gray@AwardsMall.com.
CDH
PUT YOUR ART ON THE COVER
You are invited to submit your artwork for the
cover of future issues of CorelDRAWHelp! Each
issue will highlight the artwork of one selected
CorelDRAW user. (www.coreldrawpro.com/
coverart.htm)
There will also be a short About the Cover article
on the inside that identifies you as the artist,
and describes briefly how you created it. Your
contact information will be listed so others in the
CorelDRAW community can contact you for more
details or just to congratulate you!
July 2009 30
Help CorelDRAW
PRODUCT FOCUS
Opportunity
To request information from any of the suppliers in the Product Focus, simply
click here on INFO REQUEST. It will open an electronic request card, which you can
minimize at the bottom of the page and then check when you want more info.
Embr oi der y Pr oduc t s
IMPRINTABLES WAREHOUSE HAS POLY-TWILL
BACKING FOR EMBLEMS AND MORE
Poly-Twill is a 100% polyester twill material with a
thermal-adhesive backing from Imprintables Warehouse
of Masontown, PA, that can be used to make emblems,
patches, appliqus, letters, and numbers. It works on 100%
cotton, 100% polyester, poly/cotton blends, feece, nylon,
and polyester knits.
Poly-Twill comes in 20 of the most popular athletic
and fashion colors including metallic gold and silver.
Imprintables Warehouse also sells 100% polyester
embroidery thread for sewing the emblems down.
Poly-Twill is a great way to keep stitch counts low by
using the twill as a background for designs instead
of stitches.
Imprintables Warehouse is a full-service
distributor of equipment and supplies to create a wide range of heat-applied graphics
including digital inkjet and laser transfers, digital cutters, digital cutting software, heat-
applied materials, and heat presses. For more information, contact the company at
800-347-0068 fax: 724-583-0426; e-mail: info@imprintableswarehouse.com; or visit
www.imprintables.com.
COTSWOLD OFFERS FUSIBLE DIAGONAL MESH
Diagonal No Show Nylon Mesh, offered by Cotswold Industries of New York, NY,
which is specifcally designed to be used with light-colored fabrics where traditional
stabilizer shows through the front of the shirt, is now available in a fusible version. By
fusing the stabilizer to the garment, it prevents the fabric from shifting or stretching in
the hoop, which can affect registration.
Another advantage of the fusible version of this versatile stabilizer is that you can
avoid using messy adhesive sprays for the same purpose. Overspray often lands on
fabric, the machine, and needles, leaving gummy residue that attracts dust and lint
and can affect the performance of the embroidery machine.
Fusible Diagonal Mesh is made with a specially formulated low-melt adhesive. It
bonds at only 260 degrees F, which ensures
it will not scorch or shrink the fabric. When
an embroidery is fnished, the edges can be
re-fused and the excess can be trimmed.
In addition to being an ideal support
for left chest logos on polo shirts made of
piqu knit, jersey, or micro mesh, its also
great for T-shirts, infant items, and all types
of micro-fber performance wear. Its super
softness makes it ideal as a covering to use
over stitching that may feel scratchy next to
the skin. It also drapes very well and is almost invisible from the front.
One layer of Diagonal Fusible Mesh supports between 10,000 and 12,000 stitches
in a moderately dense design. If you need support for a higher stitch count, an additional
layer of tearaway works well. Diagonal Fusible Mesh comes in 15-inch width by 25
yards and 100 yards; 20-inch width by 25 yards, 50 yards and 100 yards, and 30-inch
width by 50 yards. All stabilizers can be custom cut upon request.
MARATHON AMERICA OFFERS THERMAL STICK
Turn your embroidery designs into appliqus or patches with Thermal
Stick, a brand-new, unique, pressure-sensitive, fusible stabilizer offered
by Marathon America of Carrollton, TX. Thermal Sticks specially
formulated adhesive keeps the stabilizer frmly in place while
embroidering, but at the same time makes it easy to
reposition multiple pieces as necessary. It also wont gum
up your needles causing thread breaks, needle breaks,
or damage to garments. It is machine washable and
dry-cleanable.
With Thermal Stick you can make emblems that
can be applied to jackets, jeans, tote bags, sweat shirts,
and more. Once heat is applied, Thermal Stick creates a
permanent bond with almost any fabric.
Thermal Stick comes in a range of the most popular quantities and sizes. A
40-inch roll comes in 25 yards, 50 yards, and 100 yards. A 20-inch roll comes in 25
yards, 50 yards, and 100 yards. Precut squares in an 8-inch by 8-inch size
are available in packages of 250 sheets.
July 2009 31
Help CorelDRAW
PRODUCT FOCUS
Opportunity
HIRSCH OFFERS THE VERSATILE THIRD HAND
AIR CAP FRAMING SYSTEM
With The Third Hand from Hirsch International of
Hauppauge, NY, you can hoop caps quickly, easily, and
perfectly every time. The Third Hand is an air-driven
hat and cap framing system designed by contract
embroidery shop Campus Chalet. The device
can be used anywhere. It can be attached to an
embroidery machine or to a table to create an
instant, convenient, cap-hooping station.
It eliminates back strain and reduces stress
on the hands due to the normal stretching and
pulling needed with traditional cap hooping systems.
Another beneft of The Third Hand is that it hoops
caps tighter and more accurately, which eliminates loss
of registration and results in higher quality embroidery overall.
Help eliminate workers compensation costs and improve your
cap embroidery with The Third Hand.
Hirsch International offers a full line of embroidery, screen
printing and textile laser equipment, accessories, and supplies.
It has 25 locations throughout the United States, more than 50 technicians in the field,
and 80 plus customer service operators providing phone support.
AMERICAN EMBROIDERY SUPPLY OFFERS
SUPER BRITE POLYESTER THREAD
For a durable thread with a super bright shine, Super Brite Polyesterfrom
American Embroidery Supply in Columbus, GA, has a high tensile strength with a
sheen similar to rayon. The thread is 120 denier two-ply 40 weight thread that is
designed to work with an 11.75 needle.
Its bleach resistant so it can be used for uniforms that will go through industrial
laundering as well as hold up to everyday wear and tear. Thread colors can be matched
to 450 Pantonelicensed colors so you can accommodate logo colors for any client.
It comes in two sizes: a king-size spool that contains 5,500 yards and a mini-king
spool that holds 1,000 meters of thread.
All online orders are shipped the same or next business day. Detailed instructions
on how to use many of the specialty stabilizers are available on the Web site.
BROOKS INDUSTRIES OFFERS DIAGONAL NO-SHOW NYLON MESH
Diagonal No Show Nylon Mesh offered by Brooks Industries of Vernon, CA, is
specifcally designed to be used with light-colored fabrics where traditional stabilizer
shows through the front of the
shirt. It is ideal for left chest
logos on polo shirts made of
piqu knit, jersey, or micro
mesh. Other uses include
T-shirts, infant items,
and all types of micro-
fiber performance
wear. Its super softness makes it ideal as a covering to use over stitching that
may feel scratchy next to the skin. It also drapes very well and is almost invisible
from the front.
What is unique about Diagonal No Show Nylon Mesh is its construction. Its made
of nylon mesh with a diagonal embossed pattern, which makes it more directionally
stable. This allows it to hold more stitches per single layer than traditional perpendicular
patterned mesh. The result is tighter registration and more defnition per layer. It
also can easily support higher stitch counts by adding a mid-weight tearaway as a
sandwich layer.
DALCO ATHLETIC HAS LETTER PLACEMENT ADHESIVE SPRAYS
Adhesive sprays can make the job of appliqu placement easier and faster. They
help keep fabric in place while its being tacked down and fnished. Dalco Athletic of
Dallas, TX, offers two adhesive sprays for embroiderers.
The AADH Letter Placement Adhesive Spray is designed for temporary appliqu
placement. Its ideal for sewing, quilting, embroidery, appliqu, and craft projects. To
use, simply apply a light coat on the back side of the fabric. It can be repositioned
and it contains no ozone-depleting chemicals.
The MSA 1000 Madeira Letter Placement Adhesive Spray is clear, repositionable,
and non-staining. It has a pleasant fresh lemon scent and a quick tack. It is ideal for
any type of appliqu work, and the spray does not build up on needles or machine
parts. It also does not contain any CFCs or corrosive chemicals that could harm your
equipment.
Dalco Athletic offers a full line of officials uniforms and accessories as well as
die-cut, water-jet cut, and kiss-cut letters, numbers, shapes, and mascots in a range of
materials for creating team and spirit wear. They also offer roll materials to cut your own.
To request information from any of the suppliers in the Product Focus, simply
click here on INFO REQUEST. It will open an electronic request card, which you
can minimize at the bottom of the page and then check when you want more info.
July 2009 32
Help CorelDRAW
GRAPHICS NEWS NETWORK

All these news and information products and services are part of the
Graphics News Network, developed for ACDRP.
The goal is All the News, All the Time For the World of Graphics.
GRAPHICS NewsWire
the Graphics News Wire is the always
live, always updated source for graphics
news products, equipment, technology,
and more. Make it (CorelDRAWPro.com/
newsPage.htm) your home page or favorite
to gain access to:
breaking news, updated regularly.
new Classifed Ads
new Job Announcements
Supplier Specials
All news is related to graphic products!
QuickSource
TM
The Industrys Most
Comprehensive & Easy-To-Use
Search Engine
It gives you one-click access to suppliers,
products, phone numbers, and live links to
ACDRP Member Suppliers. Its always up-to-
date, searchable by keyword, and accessible
from your desktop!
Quick TnT
TM
The Industrys Newest Resource
for Graphics Tips & Templates
Gain access to a growing library of CorelDRAW
tips and templates that will make your work
easier.
QuickLearn
TM
The Industrys Most
Comprehensive and
Easy-To-Use Article Library
Gain access to hundreds of articles on
graphi cs-rel ated and busi ness topi cs,
searchable by keyword.
MARKET PLACE
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for CorelDRAW Users!
www.coreldrawpro.com/Join.htm
GET LISTED TODAY!
Generate new business
by doing jobs for others!
list your company in GSG,
the Digital Yellow Pages for the industry.
www.coreldrawpro.com/ListGSG.htm
Sponsor the magazine with a
Logo-Link for $100/month.
Find out how by calling our Ad
Representative J ohn McDaniel II.
541-990-6687
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Some Things Were Meant

To Be In Etched in Stone
Call for a free color catalog.
N&R International
1155 Allgood Rd. #13
Marietta, GA 30062
678-560-4088
Fax 678-560-1157
Importers &
Wholesalers of
Marble/Onyx
Gifts &
Accessories
July 2009 33
Help CorelDRAW
CONTRIBUTING
WRITERS
Louie Alvarez started in the industry working for one of the largest trophy shops
in Central California, and then opened one of the frst retail laser engraving
businesses. He has given seminars and workshops on CorelDRAW and
Laser for many years, and has written for several publications. He is now with
Vytek Industrial Lasers and is based in Las Vegas, NV. He can be reached at
alvarezwriting@gmail.com.
Dave Demoret founded Prolink Graphic Services to help people understand
and proft from learning CorelDRAW. He has been in both the Flat Graphics
Industry and the Decorating Graphics Industry for 30 years. He has written
articles for several publications, is a Corel Training Partner, and conducts
workshops nationwide and online. He is the author of several CD Instructional
programs on CorelDRAW. He can be reached at 765-DO COLOR (362-6567) or
daved@prolinkgs.com
Donna Gray is the president of Total Awards, Promotions, & Gift (aka AwardsMall.
com) in Madison, Wis. She and her husband Dave have run their full service
awards and personalization business since 1977. She has presented seminars
on a variety of topics nationwide, and has won many marketing awards. She
is the author of two books on family business, and can be reached at donna.
gray@AwardsMall.com.
Bill Leek is a color consultant for JBL Graphics in Houston, TX, and has over 30
years experience in computer engineering and graphics design. He has developed
several lines of color imprintable products, and does testing on a variety of
products for different manufacturers. He can be reached at wfeek@jblgraphics.
com or 281-970-6677.
Jeff McDaniel is the owner of Creative Graphic in Philomath, Oregon. He
worked as a journeyman machinist before getting into the graphic products
business. Creative Graphic offers laser engraving, rotary engraving,
sandblasting, sublimation, image transfers, vinyl signs, banners, screen printing,
and promotional products. Jeff routinely applies graphics to a wide variety of
materials. Contact him at Jeff@creativegraphic.net.
John McDaniel is the co-owner of JHM Marketing in Albany, OR, which provides
consulting and training services for the industry. He worked for many years with
computers in electronic data processing and pioneered the use of CorelDraw
for engraving applications. He owned a retail personalized gift shop for over ten
years, and writes about hardware design, software, laser engraving, sublimation,
and more. He is a Corel Training Partner, and co-founder of the Association of
CorelDRAW Professionals. For information on training and more, call 541-967-
4271, or write to mail@CorelDRAWhelp.com.
Judy McDaniel is the co-owner of JHM Marketing in Albany, OR, which provides
consulting and training services for the industry. Her background includes many
forms of art and retail sales, as well as the operation of a retail personalized gift
shop for over ten years. She is a regular columnist on sandblasting, sublimation,
and diversifying business, as well as a Corel Training Partner, and co-founder of
the Association of CorelDRAW Professionals. She can be reached at 541-967-
4271, fax 541-967-4272, or via email at mail@CorelDRAWhelp.com.
David Milisock is president of Custom Graphic Technologies Inc. in Pennsylvania.
He has been in the print production business since 1975, and specializes
in professional support for CorelDRAW Graphics Suite. Output includes
computer-to-plate processes for all commercial digital front-end applications, as
well as Postscript-compliant graphic applications. He offers technical and color
management support for all RIP-driven corporate digital output systems. He can
be reached at 717-509-3523 or davidmilisock@comcast.net.
Deborah Sexton, former editor of Impressions Magazine, has been in the
apparel graphics industry since 1981. She currently does marketing and public
relations for apparel graphics companies, and is a columnist for several industry
publications.. She can be reached at dsexton@sbcglobal.net.
Otis Veteto is the Western Regional Manager for the R.S. Owens & Co. Inc.,
manufacturer and supplier of the Elegance in Awards & Gifts line. With more than
30 years experience in the industry, he offers the PROspective of a veteran
sales rep in reporting on ideas, people and places that he visits. Otis also presents
sales and motivation seminars. He can be reached in Sacramento, CA when
not on the road at 916-567-1867.
CorelDRAW
Help
July 2009 34
Help CorelDRAW
by Otis Veteto
Traveling Tidbits
Otis Veteto is the Western
Regional Manager for the
R.S. Owens & Co. Inc.,
manufacturer and supplier of
the Elegance in Awards & Gifts
line. With more than 30 years
experience in the industry, he
offers the PROspective of a
veteran sales rep in reporting
on ideas, people and places
that he visits. Its a fun and
informative column focusing
on the human-interest side of
the industry. Otis also presents
sales and motivation seminars
for industry organizations,
and some of that knowledge
will rub off as well. He can be
reached in Sacramento, CA
when not on the road at
916-567-1867.
Las Vegas, Lone Pine, & the Next Level
NBA in Las Vegas
Here is something you might consider putting in your traveling plans
for J uly, 2010.IF you really like NBA Basketball. What I am talking
about is the NBA Summer League in Las Vegas, Nevada. This is a
1-week league in J uly, for newly drafted players, mixed with a few
1
st
and 2
nd
year veterans. Its exciting, fast-paced entertainment. The
prices are very reasonable, and there was no charge for parking.
You also have in-out privileges, so you can watch a game, leave,
and come back for another game later the same day.
Some of the more notable players I had a chance to watch recently
were J ason Thomson and Omri Casspi from the Kings; Stephen
Curry/Clippers; the #1 draft pick Blake Griffn/Clippers, and 73
Hasheem Thabeet/Grizzlies. Like I said, if you really like NBA
basketball, this might be a good place to visit next year in J uly
Oh yeah, the casinos are open also.
Lake Mead Food & Sights
And, as the saying goes if you want a good place to eat, fnd where
the locals go. Well, in the Lake Mead area, not far from the Hoover
Dam, the locals eat at the Harbor House Caf, located right on the
water in Horsepower Cove. Betty Gripentog owns the Las Vegas
Boat Harbor at Lake Mead and runs it with the help of her children,
their children, and even their children.
At the Marina you can rent a boat, take a sight-seeing cruise or
enjoy a nice meal. you can even feed the fsh off the pier. lake
Mead is 110 miles long and in some places over 500 feet deep.
Not too bad considering its in the desert. If you like to fsh, lake
Mead has trout, striped bass, bluegill, catfsh and boasts some of
the best largemouth bass in the country.
Lone Pine, Calif.
On the way back to Sacramento from Las Vegas I stayed overnight
in Lone Pine, CA, where they have a real unique movie museum.
The lone pine area has long been a favorite spot for flming both
movie and television westerns. Classics like Ambush starring
Hopalong Cassidy, and Charge of the Light Brigade starring Errol
Flynn, was flmed there. The Rawhide series for television was
flmed in the Alabama Hills around lone pine. Steve McQueen, Roy
Rogers, Kirk Douglas, and too many more to mention have chased
bad guys all through the hills around this little town.
Lone Pine is located at the base of Mt. Whitney. An interesting
tidbit: Mt. Whitney is the highest point in the contiguous United
States, at 14, 496, and it is only 90 miles from there to Death
Valley, which boasts the lowest point in the contiguous United
States at a spot called Badwater, which is at 282 below sea level.
If you are a western movie buff, on Oct 10-11, 2009, there is the
Lone Pine Film Festival featuring bus tours into the Alabama Hills,
movie stars, stuntmen, producers ad more. Check it out at www.
lonepineflmfestival.org
Taking it to the next level
I will close with a unique birthday gift idea. Editor Mike Neers
oldest son Matthew turned 21 this month, and Mike wanted to do
something special as a birthday gift. He chartered a single engine
Cessna prop airplane for a 1 hour fight over the Fresno, CA valley.
To Matthews surprise, the pilot let him handle the take-off and
landing. Talk about taking a birthday gift to the next levelhmm,
maybe thats what we all need to do with our businessesthink
about how to take our marketing to the next level with some kind
of unique promotion.
Thats all for now. Remember to save some time for yourself and
your family. And when you travel, please travel safe.

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

Last week my oldest son, Matt, turned 21. I wanted to celebrate

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