Corel 08 April

Published for the Association of CorelDRAW Professionals (ACDRP) / www.coreldrawpro.
com
CorelDRAW
Pro
the entrepreneurial
magazine for
CorelDRAW
users worldwide
April 2008
Cover Art
by
Gary Hardwick
Details on page 7
Fitting Text to
Paths
Adjusting
Photos Easily
Object
Sequencing
Green
Apparel
GPS Systems
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April 2008
Brother IntL. Web Ad
Conde Systems Web Ad
Corel Corp. Web Ad
Custom Graphic Technology Web Ad
Epilog Laser Corp. Web Ad
Geo. Knight & Co. Web Ad
JBL Graphics Web Ad
John E. Lepper Inc. Web Ad
Johnson Plastics Web Ad
Laser Reproductions Web Ad
LaserBits Inc. Web Ad
LaserSketch Web Ad
N&R International Web Ad
Paramount Services Inc. Web Ad
ProLink Graphics Svc Web Ad
SCT Crystal Web Ad
Stahls ID Direct Web Ad
The Magic Touch USA-1 Web Ad
The Magic Touch USA-2 Web Ad
Universal Laser Systems Web Ad
ADVERTISER INDEX
DEPARTMENTS
Click Web to go to advertisers website.
Click Ad to go to the ad in this issue.
Clicking the ad itself will go to website.
TRAINING: How to Use APPLICATIONS: How to Apply OPPORTUNITIES: How to Prot
5 Graphics News Wire
7 About the Cover
8 Inside ACDRP:
On the Road & the Internet
43 Product Focus: Laser Wood
44 GNN Network
44 Marketplace
45 Contributing Writers
CorelDRAW
Pro
CONTENTS
9 Using CorelDRAW:
Create Professional Photos with
3 Easy Adjustments
by Bill Leek
12 Using CorelDRAW:
Fitting Text to Paths
by Dave Demoret
15 CorelDRAW Applied:
The Object Manager: Sequencing
by John McDaniel
18 Inside Color: Rendering
Intents by David Milisock
20 Inside Screen Printing:
From Positive to Screen 2
by Jeff McDaniel
23 Inside Sandblasting:
Gun versus regular hoses and
nozzles for blasting
by Judy McDaniel
24 Inside Engraving:
Hardware Design 1: Motors
by John McDaniel
26 Laser Tip:
PhotoGrav 3.0: Why You Need It
and How It Works
by Kathryn Arnold
29 Getting Ahead:
Decorated Apparel Goes Green!
by Deborah Sexton
33 Electronic Frontier:
Global Positioning Systems
by Louie Alvarez
38 Marketing Secrets
Creating The Vision
by Donna Gray
40 Show Recap:
New Products from Las Vegas
Awards Show
46 Traveling Tidbits:
Golden Desert, Business
Commandments, Being
Pro-Active by Otis Veteto
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CorelDRAW
Pro
GRAPHICS NEWS WIRE
April 2008
Product News Headlines:
Calendar (Web Link)
Check out the upcoming training
classes and trade shows of
interest to CorelDRAW users.
Dalco Athletic offers pre-spaced
mascot combo designs
EmbSupplies.com offers
Hoopmaster
Conde introduces Wrought Iron
Products for Tiles
Euro Trophex Show to be held
Oct. 11-13 in Holland
Epilog Laser launches the Zing
Laser
LaserSketch adds High-End Black
and Green Award Plaques
GCC LaserPro introduces 3 new
laser models
Workhorse offers CapMax ash
cure unit
Vastex has new handy Squeegee
Rest
Ballstars adds new Photo
Templates Graphics Program
SWF improves technology for
Dual-Function 2-Head Embroidery
Brother International announces
Garment Decorating Road Shows
ASI Launches Fall Holiday Expo in
Las Vegas
American Embroidery Supply
offers Magna-Glide Ribbons
Cotswold introduces new Press
and Tear Hoopless Adhesive
Stabilizer
U.S. Screen offers golf ball printing
kits
NEWS
DETAILS
(Click Here)
April 2008 6
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April 2008 7
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About the Cover

Gary Hardwick
The Image:
Im Narcoleptic. To Me, Reality Is
Always Lost Somewhere Between Awake
And Asleep.
Im a full time graphic designer with
Narcolepsy. I work for a sign company
& freelance as well. Most of the work I
do is very mainstream & protable, but
sometimes I see things in my sleep that
just have to come to life and I become
obsessed to make it so...
Im almost haunted by these images
until I give them life. Dita was one of those visions. Inviting & sensual, this piece has
a lot of emotion tied to it. It best represents that spiraling-out-of- control feeling I get
during a sleep attack, and the crazy chaos that awaits me in the realm of sleep &
dreams. At rst it felt like a curse, now I use that emotion to create works like Dita.
The Process:
I created this Image in CORELDRAW X3 & Corel PHOT0-PAINT while on a short
break between jobs. I started off by importing a photo of model Dita Von Teese into
CorelDraw 13.
I then converted that photo to an RGB bitmap with a resolution of 200 dpi. I then
made 4 copies of the original photo that would later become separate layers of the
nal output le. The original stays on bottom as a guide.
The second Image I open in PHOT0-PAINT, go to Image adjust, and play around
with the Brightness and Color saturation settings until Im pleased with the results.
The next step is to take the same image while still in PHOT0-PAINT and open
the Effects menu. Using the Texture option, select Plastic and adjust the settings
until the desired results appear. Next save back into CorelDRAW using the Ctrl S
command.
Next in CDR I take one of the other layers and open the Bitmaps Option, and go
to Plug-ins where I have my KPT Filters. I then use the lter called Hyper Tiling. There
is an option in this lter that lets me fade the original image away so all you see are
the ghostly-looking images being sucked into a void.
The next step is a variation of the last. I select the last of the 4 layers and again
using the KPT lters found under the Bitmap menu in CDR I select the option of
lightning. Again with this one, I adjust the lters so that the original image is faded
away in the background.
Next I used my transparency tool on all but the original image which stays to the
back of the order. Each Image has a varied degree of transparency this gives the
piece its depth. Next is to layer the images and save the nal output in the desired
format.
About the Artist
I have spent the majority of my life in Illinois, but love to travel. I have been drawing
since pre-school. Art has always been and always shall be a part of my life. In my
teen years I began drawing logos for area punk bands, comics, yers, skateboards,
and hand painting my art. Id draw or paint on just about anything. I graduated from
high school in 1988. I had planned on attending art school, but instead I went to a
trade school and worked in a union out of Chicago, which was the economically safe
thing to do.
I worked from 1988-1996 in Power Plants & Construction, but missed the freedom
to express my creativity. I was seeing a lot of industrial decay, rusting iron, and pollution.
Realizing my talent was being wasted, I decided to apply for a job at a local sign ship
in 1996. It was American Dowell Signcrafters who gave me my big break.
In no time I had gone from installing signs to creating them using a program called
CorelDRAW 7. I have used all the versions between 7 and 13, and believe it or not
I am self taught. My experience comes from over a decade of using Corel design
software everyday hands on.
I came into the sign business as many of the old ways were being phased out and
computers were taking over. We were still using Xerox machines and projectors for
a lot of our work. So I focused on learning the new tool Id been given (CorelDRAW).
Corel made so many of the tasks we were doing much more efcient and gave things
a nice nished quality that was easy to reproduce if necessary.
In fact, I loved what I was doing at the shop so much I started my own little graphics
studio at home in 2003. My client base has been growing every year. What can I say,
I love what I do and that is the best part of it all. I work full time at the sign shop and
part-time at home. It seems my work is in high demand these days. I am planning on
opening a shop in the near future that specializes in logo design,
vehicle wraps, and custom made signs and graphics.
I can be reached at this email address (grakpro2002@yahoo.
com). My shop phone number is 217-377-4336. A website is
currently in the works.
SDO Graphics, Gary Hardwick, 608 S. Emerson,
Monitcello IL 61856
April 2008 8
Pro CorelDRAW
Inside ACDRP
By Mike Neer,
Executive Director
On the Road and on the
Internet Superhighway!
Published by Association of
CorelDRAW Professionals
President: John H. McDaniel
Vice President: Judith McDaniel
Executive Director: Michael R. Neer
Assoc. Exec. Director: Steven V. Neer
ACDRP Corporate Ofce: Albany, OR
OFFICES
Membership & Publishing ofces located at:
4709 N. El Capitan, Suite 103,
Fresno, CA 93722;
800-276-8428, 559-276-8494 Fax 559-276-8496
www.CorelDRAWPro.com
editor@coreldrawpro.com
Subscriptions: Free to qualied individuals and
businesses. Send change of address to the above.
ACDRP Membership: $60/yr., See the website
for details. Includes exclusive content and more.
Advertising: Request a Media Guide or download
it from www.CorelDRAWPro.com.
Writers: CorelDRAWPro accepts articles from
industry experts. Email publisher for details.
Copyright 2007 by ACDRP.
All Rights Reserved.
EDITOR / PUBLISHER Michael R. Neer
mikeneer@coreldrawpro.com
GRAPHICS John Mise
ADVERTISING John McDaniel II
jhmcdaniel2@coreldrawpro.com
541-990-6687
APRIL 2008
Pro CorelDRAW
APRIL 2008
The 2008 Spring Tour of the Making Money with
CorelDRAW Road Show (MM.cdr) is now underway. First
stop is Phoenix April 24.
This years Road Show features a new format that
will give attendees an opportunity to check out the new
release of CorelDRAW X4 as well as getting questions
answered.
MM.cdr Morning Session
The morning session, called MM.cdr, will offer an
updated presentation on numerous ways to Make
Money with CorelDRAW, and will feature
product displays by Road Show sponsors.
This session is free to all attendees, and
each one will receive the 2008 Resource
Guide CD Package (a $49.95 value) just
for attending. This valuable collection
of CDs/DVDs includes a video of the
MM.cdr presentation, a recent issue of
CorelDRAWPro magazi ne, compl ete
catalogs or flyers from the sponsors, and
more.
LTD.cdr Afternoon Session
The afternoon session, called LTD.cdr, will offer
Lecture Training with Demonstration of CorelDRAW X4,
and a chance to ask individual questions of Corel Training
Partners John & Judy McDaniel. There is a $50 fee per
company for this session, and that is redeemable for
selected training CDs that will be available on site.
Road Show Sponsors
This years sponsors, to date, include: Artwork Source,
Brother International, Conde Systems, Corel Corp., Epilog
Laser Corp., Geo. Knight & Co., JBL Graphics, Johnson
Plastics, Laser Reproductions Inc., LaserSketch Ltd.,
TheMagicTouch USA, Trotec Laser Inc., Universal Laser
Systems Inc., and Vapor Apparel.
Spring Tour Sites & Dates
The schedule for the 2008 Spring Tour is as follows:
Phoenix April 24; El Paso May 1; HoustonMay 6;
Mobile May 12; TampaMay 15; AtlantaMay 19;
CharlotteMay 22; Washington/Baltimore May 26;
Philadelphia May 29; BostonJune 2; Rochester/
Buffalo areaJune 5; Cleveland June 9; Milwaukee
June 12; MinneapolisJune 16; Spokane
June 23 or 26; PortlandJune 26 or 30;
SacramentoJuly 10; and IrvineJuly
14. You can register for the Road Show
at www.coreldrawpro.com
Introducing the MM.cdr Digital
Road Show
To make the Mm.cdr Road Show
accessible for those not near a Tour site or
who live outside the US, we are now launching the
Digital Road Show.
This is a unique site that presents the highlights of
the Physical MM.cdr Road Show. It offers a way for any
CorelDRAW user to order the 2008 Resource Guide CD
Collection, and it offers direct links to all the sponsors
many of whom offer special coupons.
The Digital Road Show can be accessed directly from
the CorelDRAWPro website at www.coreldrawpro.com.
Now every CorelDRAW user can attend either the
Physical or Digital Road Show in 2008.
Its a show that is On The Road, or On the Internet
Superhighway! See you there!
April 2008 9
Pro CorelDRAW
Using CorelDRAW
Training
By Bill Leek
Create Professional Photos Using 3 Easy Adjustments
in Corel PHOTO-PAINT X4
Our photographs come from a variety of
sources. Some come from digital cameras starting
with lower-resolution handhelds up through
sophisticated state-of-the-art professional and
prosumer digital SLRs. Many images have
been scanned from recent and older photo
prints, negatives and slides. Other images are
affected by poor lighting conditions and poor
ash performance. Still others show signs of a
photographers poor decisions or a jittery hand.
Virtually all photos need some adjustment. Most, but not all can be saved and
improved. Some require fairly complex adjustments that will covered in future articles.
In this issue though, I would like to review three simple, quick adjustments I perform
on almost all photos. These must be applied in the following order:
SET BLACK AND WHITE POINTS
APPLY AN S TONAL CURVE
SHARPEN USING THE UNSHARP MASK FILTER
Before you start, lets make an important change to PHOTO-PAINTs default
settings.
The foreground and background
squares on the left tool bar have
default RGB values of 0,0,0 and
255,255,255 respectively. These
are not appropriate values for actual
print on a desktop printer. You need
to change the values to 10,10,10
and 245,245,245. These values are
referenced in PHOTO-PAINTs Image
Adjustment Lab where you will utilize
them to set the black and white points.
To change these default values:
Original photograph of Aiden
Double left click on the black foreground square. The foreground color picker
palette will appear. Select RGB as the model. Enter 10,10,10 for the black RGB
values. In like fashion left double click on the white background square. Set the white
RGB values to 245,245,245. Unless you reset these settings, they will be saved when
you load PHOTO-PAINT again. Its always good to check them to make sure they
have not reverted to the factory defaults.
SETTING BLACK AND
WHITE POINTS
This is a very easy step. You
will use PHOTO-PAINTs Image
Adjustment Lab. This is accessed
by left clicking on ADJUST on the
top menu bar and then left clicking
on IMAGE ADJUSTMENT LAB from
the drop-down menu. The only controls you will
use are the BLACK and WHITE eyedroppers
at the top of Adjustment Lab Palette. Using
the black eyedropper, click on the blackest
(darkest) area in your photo. Using the white
eyedropper, click on the whitest (brightest)
area. The eyedroppers display the RGB values
as you drag them over the photo to help you
make your selection. You may have to try this
a few times to nd the best points. Sometimes
with the white eyedropper you get better results
The black reference default is set to
a RGB value of 10,10,10.
In the IMAGE ADJUSTMENT LAB, the
black and white eyedroppers are
used to select the darkest and
lightest areas in a photo.
Photo after Black and White
points have been adjusted.
April 2008 10
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Training
Using CorelDRAW
clicking on an area you feel should be the whitest. You should immediately notice that
the photo has more pop and clarity. Pretty easy!!!
IMPROVING CONTRAST WITH
AN S TONAL CURVE
OK, now raise your right hand
and swearI will never use a
Contrast Slider Adjustment.
The slider is tempting and easy
but does not provide the best
method for adding a little contrast
to an image.
The best method for subtly
applying contrast is to employ an
S Tonal Curve as shown in the
included screen shot.
Select ADJUST from the top
menu bar, then click on TONE
CURVE from the drop-down
menu. Click and set a point
on the center of the diagonal
tone curve. The XY coordinates are 127,127.
Click and set a point between this center point
and the lower left-hand corner of the curve.
This is 63,63. Drag this new point diagonally
downward so that its new coordinates are
approximately 67,59. Click and set a point
between the center point and the upper right
hand corner (190,190). Drag this new point up
and left diagonally to 186,194.
The bottom half of the curve controls
shadows. The upper half of the curve controls
the highlights. Dragging the points to make
the S more or less pronounced increases or
decreases the degree of contrast. The initial
points in this example are good starting points.
Click on the disk symbol to name and save the
S Curve for future reference.
SHARPEN YOUR PHOTOS WITH THE UNSHARP MASK
The UNSHARP MASK
provides the best technique
for sharpening most images.
It should always be performed
as the very last step in any
adjustment sequence. If you
think you will need several
different resolutions of an image
in the future, save a copy of the
le without the unsharp mask
applied. There is no unsharp
mask lens that can be placed in a sandwich of object layers.
To access the UNSHARP MASK, click on EFFECTS from the top menu bar,
then click on SHARPEN from
the drop-down menu, and nally
click on UNSHARP MASK from
the next drop- down menu.
Yo u c a n c o n t r o l 3
parameters:
AMOUNT of sharpening
contrast.
THRESHOLD l ocates
the pixels that differ from the
surrounding pixels by the amount
you specify.
RADIUS species the radius
in pixels of the region in which
each pixel is compared.
If this is confusing, think of
it this way:
The lower the THRESHOLD,
the greater the sharpening.
The higher the RADIUS, the
greater the sharpening.
These controls have to be
used with care. Typical Radius
An S CURVE designed to improve contrast is
applied in the TONE CURVE adjustment palette.
An S Tonal Curve is applied to
improve contrast.
Using the recommendations in this article,
experiment with the AMOUNT, RADIUS and
THRESHOLD sliders.
The Unsharp Mask effect is applied
as the last step.
April 2008 11
Pro CorelDRAW
range is 1 to 4. Threshold should normally be between 3 and 20. Settings outside

these ranges may cause excessive noise and halos. Here are some settings to try:
GENTLE SHARPENING AMOUNT 150 RADIUS 1 THRESHOLD 10
PORTRAITS AMOUNT 85 RADIUS 2 THRESHOLD 4
MEDIUM AMOUNT 125 RADIUS 1 THRESHOLD 3
STRONG AMOUNT 75 RADIUS 4 THRESHOLD 3
These settings are for a 300ppi image. Experiment a little and come up with
settings you feel comfortable with.
CONCLUSIONS:
Hopefully this has provided you some expanded knowledge of PHOTO-PAINTs
capabilities. If you have any questions, please feel free to contact me.
Next issue we will delve into some new adjustments and techniques and use
scripts to automate some multi-step tasks.
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 week@jblgraphics.com or 281-
970-6677.
Using CorelDRAW
April 2008 12
Pro CorelDRAW
Using CorelDRAW
Training
By Dave Demoret, Contributing writer
Fitting Text to Paths
Text to a Simple Path
Before jumping into tting text to a simple path, I want to let you know that
we will be manipulating the text in various ways. This will help you to design
and re-design to t your needs as well as tting the text to the paths.
HINT: If you have not upgraded to CorelDRAW X3 or X4 as yet, now is a
good time to do so. What this article will be featuring today is very simple to
do in X3 and takes more steps and is more cumbersome in CorelDRAW 12
and below.
The rst thing we need to do is to create a path of course. In gure 1 we
have a sea turtle and we want to put the words UNDERSEA LIFE across the
turtles shell. As always, if there is one way to do something in Corel, there
are usually four or more ways to do the same thing. This is one way.
3-Point Curve Tool
In CorelDRAW 11 there was a tool introduced that, to me, made more
sense than the Bezier Tool and seems to be very easy
for the beginner to comprehend and use as well. It
is called the 3- Point Curve Tool. That is the tool Im
going to use here to create my path.
In gure 2 we start with the 3-Point Curve Tool
and click and drag from our start point to the end point
of our desired path. (For the purpose of this article I
have thickened the line and changed color for better
visibility.) When you release the left mouse button,
you can now move the mouse and the line will follow.
When you have it in the position you want, simply click
the left mouse button to set the line as in gure 3.
We just want a general shape of the shell here, but
you can be more exact if you wish to learn more about
this tool.
Adding the text
The next thing we need to do is choose a font and
type our text. In CorelDRAW X3 they have made this
very easy and efcient for the user.
Select the text tool and position it over the line you
just created. When you are close enough to the line
the cursor will change from the regular text tool cursor
to a cursor with an A and a little sign like this ~ under
it. At this point, you can type in your text as in gure
4. Now you may change your font, re-size, color and
position it. Heres how:
1. Choose your font.
Click on the path/text once and you will be
selecting both. While still there, click on text itself and
you will have chosen the text alone. To make sure,
look at the bottom of your screen and you will see the
information saying Text on a Path. Now you can go
to the property bar and select the font you want. Here
we are choosing a font called ArnoldBoeD.
2. Resize it
While the text is still selected, go back to the
property bar and select a general point size for the
text. This can be adjusted, if you like, with the re-sizing
nodes later.
3. Color it
Again, while it is still selected, you may want to change the text color
to something different. See gure 5.
4. Now you will want to position the text itself.
Since it is still selected you can do this by click, hold and drag the little
red diamond in the lower left hand corner of the text. You can move it above or
April 2008 13
Pro CorelDRAW
Using CorelDRAW
Training
below the line as far as you want as in gure 6. The red
line in the middle of the text will appear when you have
the text centered between the two end points of the line.
This tells you that you have equal spacing on either end
of the text.
Dealing with the line
You have just completed
the Fitting Text to a Path as in
gure 7, but... you still have a
line that is visible and you may
not want that in a display ad,
direct to garment t-shirt print,
or a print-and-cut vinyl cut. In
vinyl you could cut the text out
to let the color of the sign or
vehicle show through or you
may want to ad it to a print,
as in a separate vinyl cut, for
dimension.
Here is what you need to
do for these situations.
For the display ad or t-shirt
it is a simple x. Just click on
the path/text. Click a second
time, this time on just the line.
Again, you can read information
at the bottom of your screen to
see if you have chosen just the
line or not.
Now go to the top of your color palette at the right and
right click on the white box with the black X to give the
line a no-color selection. This will allow you to print the
image without printing the line as in gure 8. However,
the line is till there and will be needed if you have to do
any editing to the text at a later time.
If you are going to do a vinyl cut with this text, you
will need to make a copy of the graphic as a template or
original copy. This way you can actually delete the line
when selected so you wont have a cut line in the vinyl
from it. Remember to save two copies rst. One original
and one cut copy.
We will discuss tting text to a circle or oval in the
next article.
Dave Demoret, founded Prolink Graphic Services
to help people understand and profit from learning
CorelDRAW. He has been in both the Flat Graphics
Industry and the Decorating Graphics Industry over the
past 30 years. He has written several articles for Screen
Graphics Magazine on Color Control & Matching in the
past. 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. Dave continues to
conduct workshops in the U.S. & also worldwide online.
He can be reached at 765-DO COLOR (362-6567) or by
email at daved@prolinkgs.com
April 2008 14
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April 2008 15
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CORELDRAW APPLIED
By Judy and John McDaniel Applications
The Object Manager:
Object Sequence
In the last article, we looked at objects in
CorelDRAW and started to explore the Object
Manager. This time well take a look at some of
the additional features of the Object Manager, and
how those features might be useful in your artwork
preparation.
The Sequence of Objects
Picture 1 shows the simple layout in X3 that we
used last time for our business card, along with some
important features of the Manager. Picture 2 shows
another layout we created to demonstrate object
sequence.
Youll notice in both pictures there is a list of
objects in our layout. The list reveals the type of
objects we have and their sequence.
If we create a layout from scratch, then object
order is determined by the sequence that we use to
add objects to, or create objects in the layout. That
is, the rst object created (or imported) is placed in
the active layer (in this example its layer 1). The next
object is stacked on top of it; the next on top of those;
and so on. That means the last object you created
or added to your layout is at the top of the list. Its on
top (or in front). The rst object you started with is at
the bottom (or in back).
In our sample layout shown in picture 2, the red
rectangle was created rst, so its at the bottom of the
list. The next object created was the cyan ellipse,
and its covering part of the red rectangle. Next was
the green perfect shape, then the text, and so on up
the list.
As you can see in the graphic display, objects that
are on top (or in front) of other objects may obscure
those that are in back (or behind). For example, if
we were to add another object to our layout, and that
object was larger than all the other objects in our
layout, it would hide all of them.
You can see in picture 3 weve added a blue
rectangle to our layout. Since it was the last thing
created its in front. Its at the top of the list and is
hiding everything else.
Reordering Objects in the Object Manager
In picture 3 we can see all the objects in our
layout listed in the Object Manager; however, the
blue rectangle is the only object visible in the graphic
display, because its on top, hiding everything else.
If thats not the effect were looking for, then we need
to re-order the objects in our layout.
Before we reorder the objects we may want to
view all of them. There is a simple way to do that.
Click on View/Wireframe or Simple Wireframe and
the path of all vector objects will be revealed. See
picture 4. If we choose to work in Wireframe view,
then we can see what will print by pressing F9 (Print
Preview) on the keyboard.
There are a number of CorelDRAW tools we can
use for arranging the order of objects. One method is
to select the object, and then click on Arrange/Order
and select the appropriate command. See picture
5.
A much simpler and more powerful method is to
click on the object in the Object Managers list and
drag it to the location in the list where you want it. As
you drag an object up or down in the list youll notice
Picture 1: Simple business card layout with important
features of the Object Manager.
Picture 2: The layout we created to
demonstrate object sequence.
Picture 3: A blue rectangle has been added,
and it hides everything else.
April 2008 16
Pro CorelDRAW
CORELDRAW APPLIED
an I-bar appears between other
objects in the list. When you
release the object, it will be re-
ordered in the list to the position
of the I-bar.
In picture 6 we are dragging
the blue rectangle down through
the list, notice the I-bar. In
picture 7 weve released it at
the bottom of the list. So now
its behind all the other objects
in our layout.
If you dont recognize the
object you want to move from its
description in the list, but you can see it in the layout; then you can select it on the layout
screen and drag it from the screen into the Object Managers list for placement.
Another function we can accomplish in the
Object Managers list is grouping objects. As
you drag an object up and down in the list, if you
drop it onto another object, then you will create a
group of those two objects. See pictures 8 and
9. Notice in picture 9 the group I created has
two objects in it.
We can drag and drop additional objects
into the group weve started. We can also drag
and drop objects out of the group. And we can
re-order objects within a group in the same way
as we can order them in the list.
Once we have a group of objects,
then we can drag and drop the entire
group in the sequence of objects in the
layout; to do that, click on the group
name instead of an individual item in
the group.
As you drag objects up and down in
the list, be careful to release the object
at the correct location; if it is between
other objects, it changes the order; if on
top of other objects, it creates groups.
Picture 4: All objects can be viewed
in wireframe mode.
Picture 5: One way to order
objects is the Arrange / Order
menu item.
Picture 6: Notice the I-bar that displays
when we drag the blue rectangle
down through the list.

April 2008 17
Pro CorelDRAW
CORELDRAW APPLIED
The Importance of Object Sequence for Cutting Applications
For printing or raster engraving processes, the order of objects is only important
because of what may be hidden by objects on top. For cutting applications, like vector
engravi ng, l aser cutti ng,
vinyl cutting, embroidery,
etc., object sequence can
signicantly impact machine
time.
Using a laser engraver as
an example, if you choose to
raster-engrave a layout; then,
what you see in the layout is
what you get in the engraving.
However, if you choose to
vector cut a design; then, the
elements of that design are
cut in sequence from bottom
to top, (or back to front).
A Real-World Application
Picture 10 shows a snowake design that we used one Christmas to produce
fundraising items for a local organization. We produced several hundred pieces in
a variety of materials. Some materials required that we vector cut the snowake
design.
We used a piece of clip-art for the snowake. The rst time we ran a cut job
the laser jumped around cutting the design elements. The object order in the layout
required the laser to move back and forth across the design. It was very inefcient in
terms of machine movement. Object sequence was simply the order the artist used
in creating individual design elements.
In the Object Managers list (Picture
10), the group of 57 objects is the
snowflake design that is vector cut.
Everything else is raster engraved. By
taking a little time to logically sequence
the cuts, we were able to minimize
machine movement from one cut to
another. Doing so cost a little time in
sequencing, but saved a great deal of
production run time.
Picture 10: There are
57 objects in the group
for this snowake
design.
Picture 7: The blue rectangle is released
at the bottom of the list, and now its
behind the other objects.
Picture 8: You can drop one object
onto another to create a group.
Conclusion
Identifying and sequencing objects in your layout is one of the most powerful
features of the Object Manager. Next time well look at layers and why you may want
to use them.
Judy and John McDaniel are owners of JHM Marketing in Albany, OR. JHM
provides consulting and training services for the industry. (For information on training
services offered and their application support service visit www.CorelDRAWhelp.com.)
They can be reached by phone at 541-967-4271, via SKYPE (user name JHMcDaniel),
or via email at JHMcDaniel@CorelDRAWhelp.com. See full Bio on Writers Page.
Picture 9: This
group has two
objects in it.
April 2008 18
Pro CorelDRAW
INSIDE COLOR
By David Milisock Training
Rendering Intents
Youll nd below an excerpt from my book, Color
Management in the CorelDRAW Graphics Suite for
Professionals, Small Ofce and Home ofce. The
link to purchase the book is http://www.coreldrawpro.
com/AllBookstore.htm.
Okay, so, besides plugging the book, what does this
have to do with you? Fair question and the Advanced
Settings dialog seen here (accessed be selecting the
Tools menu/Color Management, and double clicking
the RGB icon in the center) allows you to choose your
rendering intent. Corels default is automatic which is
saturation for vectors and perceptual for images.
Herein lies the rub! When we use transparency, the
transparent area of the image or object is actually an
image. Therefore the default rendering will render it as
perceptual. However if that transparent object is set on
top of a vector, that object will render using saturation.
OUCH! What this means is that a serious color shift can
happen to the area of the objects that is affected by the
transparency. The most serious aspect of this problem
is that the amount of color shift is totally unpredictable,
depending on the device, driver and other factors.
Familiarize yourself with rendering intents (as
described below) and then, please continue.

The objects here are an example. The transparent
ower rests on top of an RGB square (A). We can see
the screen capture of the transparent CPT showing the
transparency grid (B). Square (C) is a screen capture
of (A) in wireframe mode, and (D) is a screen capture
of a PDF viewed in PitStop Professional in wireframe
mode.
Rendering Intents
Absolute Colorimetric
This is the conversion of color relative to
(attempting to reproduce) the source colors white
point with an exact match of the colors of the source
that are within the destination profiles gamut.
Colors from the source that are out-of-gamut for the
destination are mapped to their nearest equivalent.
Many times this is used in proong when trying to
match the white point of a magazine or newsprint on
a different proong paper. It will produce a window
pane effect on the proong paper which is caused by
the attempt to print what the intent sees as white.
Relative Colorimetric
This is the conversion of color with a remapping of
the source colors white point to the destinations white
point, with an exact match of the colors of the source that
are within the destination proles gamut. Colors from
the source that are out-of-gamut for the destination are
mapped to their nearest equivalent. Most often this is
used in proong general commercial work and in basic
RIP or driver setup.
Perceptual
This is the conversion of color that tries to preserve
the perceptual relationship of color. All colors in the
source, both those that are in- and out-of-gamut for
the destination prole, are manipulated to maintain
the perceptual relationship, (the feel), of the colors
from one space to another. Most often, this is used
in images when converting RGB files that are
signicantly out of the CMYK gamut. It is my choice
for all-around work.
Saturation
This is the conversion of color that tries to
preserve the saturation properties (color depth) of
color, even at the expense of hue accuracy. Most
often, this is used in signs or the reproduction of maps.
It is the least accurate of the rendering intents but with
signicant value in some processes.
April 2008 19
Pro CorelDRAW
INSIDE COLOR
The capture (C) and (D)
demonstrate the bounding box of
the transparent image and there i s
where the color shift will take place.
Anything inside the bounding box will
be different than anything outside
due to the rendering intents being
different. The other issue may b e
that your RIP will simply provide
poor transparency transitions.
The fix is to test your RIP;
if it likes the transparency, set the
rendering intents of Corel to be
all one setting. I use perceptual
rendering. If the RIP does not like
your transparency, then still set your rendering to one setting, but before RIPPING the
le, select all transparent objects and the
objects below them and convert them to a
attened bitmap without any transparent
background.
These are simple procedures but
it is rarely explained as why they are
required.
Corel is working on a service pack (SP) for X4. Look for expanded support for
many RAW camera le formats, improvements in RAW white point identication,
as well as some xes to improve the Suite.
Testing of a new release can only encompass a few hundred system congurations.
Now that the release has been out to tens of thousands of congurations, Corels
continuing commitment to superior customer service has them identifying issues and
releasing this SP in a very short time, making the release of X4 fully serviceable in
record time. Thank God, I dont have to regularly use the other guys product!
April 2008 20
Pro CorelDRAW
INSIDE SCREEN PRINTING

By Jeff McDaniel Applications
From Positive to Screen
Background
In our last article, we applied capillary lm to our screens and transferred the artwork
from our photo positive to the capillary lm. In this article, we will re-align our screens,
mask off the artwork and get ready to screen 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.

Getting Started
At the conclusion of our last articles, we left our screens in the dryer after wash out.
Now we will need to place our screens back on the press. NOTE: it is important to
place the screens back on the press in the original locations we used to expose the
screens in earlier steps.
Image 1: Our unit
has a built-in micro
adjustment feature.
Image 2: The
screen can be
slightly skewed or
off center.
Image 3:
Adjustments can
be made to bring it
back into alignment.

April 2008 21
Pro CorelDRAW

Re-aligning the screens
Now that our screens are back on the press, we have to
check to be certain they are all still correctly aligned. In
order to align our screens, we like to leave the exposure
unit on one of the arms of the machine and re-align
our screens using the trap layer artwork (in this case
black). We will take each screen and lower the screen
down over the artwork and verify the correct position.
If the artwork is off a little bit we will need to adjust the
location. The Printa 770 has built in micro adjustment
for this nal step (see image 1).

Generally we will need to re-adjust the screens
at this point at least a little bit. Sometimes the
screen will be slightly skewed or off center
(see Image 2). By using the micro adjust for
either skew or center we can bring the image
back into alignment (see Image 3). In our
wash-out step we made sure to wash out the
alignment marks as well as the image (see
image 4). By lining up all of the alignment
marks with the trap layer, our screens will all
be true to each other. Here is a view of the
alignment mark over the trap layer artwork
correctly aligned (see Image 5).
Image 4: Be sure to wash out the alignment marks too.
Image 5: The alignment mark should be aligned
over the trap layer artwork.
Image 6: Then
we mask the
screen with
special tape.
Masking off the screens
Once the artwork has been re-aligned we can mask
the screen off. We mask the screen to be sure that
the ink only ows thru the parts of the design we want
transferred to the work piece. In this case we used some
special screen printing tape that is fully sticky on one
edge and half sticky on the other edge. We found the
wider tape works well when using capillary lm to cover
the entire excess area without having to use additional
pieces (see Image 6). Note that the screen tape is
applied on the top side of the screen; when properly
applied, the tape will create a trough for us to place the
screen inks in later.
Final screen location check
One thing that carpenters, machinists, and tradesman
everywhere can tell you is check 3 times, cut 1 time.
The other thing I often heard/said was you can always
take more off, but you cannot put it back on. The same

April 2008 22
Pro CorelDRAW

things are true for screen printing. By taking the time to
check your setups thoroughly BEFORE the screen ink is on
the press, you can eliminate issues ahead of time and save
production time in the long run. Once the screen inks are in
the press, it can be much more difcult to re-align or adjust
location for any of the screens. With the exposure unit still
on the press we will take one nal look to verify that the
screens are all in the proper locations and will be covered
by our trap layer (see Image 7). The screen we have down
right now is the red for the falcons mouth and tongue. The
trap layer will cover the red layer nicely and we can move
on to verify the next color.
Covering pin-holes and imperfections
The last thing we generally do before inking our screens is
lling in pin holes, imperfections, and our registration marks
with a screeners block out. The block-out product is applied
to the bottom side of the screen (garment contact side). We
use a small squeegee for this purpose to get an even layer
(see Image 8). After applying the block out we let it dry for
20-30 minutes before moving on to the next steps.

Conclusion
In this article we took our screens from the dryer unit, re-
aligned them and masked them off. We also blocked out any
pin holes and imperfections in the capillary lm. In our next
article, we will ink our screens and start printing.
Jeff McDaniel is the Owner/Operator of Creative Graphic in
Philomath, Oregon. Jeff has been working with computers
since the age of 5 and was a journeyman machinist before
working in the graphic arts business. Creative Graphic
offers services including laser engraving, rotary engraving,
sandblasting, sublimation, image transfers, vinyl signs,
banners, screen printing, and promotional products. Jeff
routinely applies graphics to a wide variety of materials. You
can contact Jeff by email at Jeff@creativegraphic.net.
Image 7: We take one nal look to verify
everything is set up right.
Image 8: We use a small squeegee to apply block
out to pinholes, etc.
April 2008 23
Pro CorelDRAW
INSIDE SANDBLASTING
By Judy McDaniel Applications
Gun versus regular hoses
and nozzles for blasting
Our rst cabinet had a very large, stiff hose and a big
heavy nozzle. It was very hard to move in the cabinet
and I would just be exhausted after large projects. After
doing the cornerstone for a house, which barely t in the
cabinet, we decided that we needed to nd something
else. We purchased a smaller hose from the compressor
supply store and John installed a connector to make the
smaller diameter hose work. The difference was like
night and day. With a exible hose I could now reach
everywhere in the cabinet with ease.
The next change that we made came after we
started sending equipment to shows to use in our
sandblasting classes. We kept looking for smaller more
compact units. In our research we came across a small
pressure pot manufactured by Bob Pickard of Pickard
Artistic Blasting. The pressure pot comes equipped
with a handgun- shaped blaster. The PAB BLASTING
GUN has a pistol grip and trigger for variable control of
the abrasive ow (see picture). It works like the trigger
sprayer on a garden hose. The more you squeeze
the trigger the more abrasive ow you get. You can
use it instead of, or in conjunction with, a standard foot
pedal.
The gun gives you more control over the abrasive
stream ow than does the conventional on/off foot
pedal alone. Because you have more control, you can
achieve a variety of effects using it. In addition to single
and multi-stage carving, the gun is an excellent tool
for shading. By squeezing or releasing your grip, you
automatically increase or reduce the ow of abrasive.
When you pull the trigger only part of the way back, you
get a partial abrasive ow.
The gun is available in 1/4 and 1/8 size tubing and
has a continuous tube going through it to the blasting tip,
so there is no abrasive wear on any metal parts in the
gun. The only wear you have is in the tube at the pinch
point. When it wears, you just pull out about 4 inches
of the tube and cut off the worn spot. Then you just pull
the tube back into the gun, put the tip and retainer nut
back on and you are ready to go. You can purchase the
gun only for an existing machine or you might want to
check out their small pressure pot system. You can get
replacement hoses for the gun from PAB, and at $1.50
to $2.00 per foot it is relatively inexpensive.
The only other unit that I have found to have as
much control as this gun, is my CrystalBlast machine
by Media Blast, because I can take the pressure down
to as low as 5 pounds and still blast, it gives me almost
the same exibility. I personally have weak hands and
ngers, so I nd the gun hard for me to use for a long
period of time. I think, however, that it is a good option
for you to look at if you are currently using a conventional
sandblast system and need more control for doing
techniques in abrasive blasting like airbrush, silhouette,
multi-stage, and glass carving.
Judy McDaniel, with her husband John are owners of
JHM Marketing in Albany, OR. JHM provides consulting
and training services for the industry. Judys background
includes many forms of art and retail sales. They have
been using CorelDRAW since 1989 and teaching it
for engraving, sandblasting, sublimation, etc. since
1991. Currently they are both Corel Training Partners.
(For information on training services offered and their
application support service visit www.CorelDRAWhelp.
com.) They can be reached at 541-967-4271, fax 541-
967-4272, or via email at mail@CorelDRAWhelp.com.
April 2008 24
Pro CorelDRAW
INSIDE ENGRAVING
By John McDaniel Applications
Hardware Design Part 1 Motors
Last time we concluded our discussion of the
Mechanics of Machine Accuracy with a review of what
weve covered to date. We are now going to focus our
attention on individual components and their contribution
to the quality of the machine and nished products. Well
look at Motors, the Drive Unit, Guide Rails, Encoders,
Tachometers, Bearings, Spindles, Material Hold Down
methods, and the Electronic Interface.
The thing that makes a machine possible is a motor,
so thats where well start.
Background
Electric motors are designed to convert electrical
energy into mechanical energy to perform some
physical work. The origin of the motor can be traced
back to disk-type machines conceived of and tested by
Michael Faraday, the experimenter who formulated the
fundamental concepts of electromagnetism.
In the 1880s when Direct Current (DC) power was
the principal form of electric power generation, the DC
motor was devised. Years later, with the advent of 60hz
Alternating Current (AC) power as the standard in the
United States, the invention of the induction motor with
its lower manufacturing costs became more popular.
During the aerospace technology explosion starting
in the 1950s, a multitude of different motors were
developed to meet various rst-time applications. As
a result of this development, we now have a variety of
different types of motors to select from when designing
a machine.
Applications in Engraving
A machine designed for the purpose of engraving
needs mechanical energy to (1) rotate the cutting bit, if
its a mechanical engraver, and (2) move the engraving
tool in relation to the material being engraved.
Spindle Motors for Mechanical Engravers.
The rst engraving machines were pantographs.
They use a single motor to rotate the cutter. Turn the motor
on, lower the bit, and manually move the tool by tracing a
master pattern. Pantographs typically use a small, single
speed, low power, low cost, AC motor to drive the spindle.
In many of todays machines, this spindle motor
design remains unchanged, or has been slightly
modied with the addition of a manual speed control.
Its a carryover from the pantograph. In some simple
applications, thats ne.
However the pantograph design relies on an
experienced human operator to maintain the proper
material feed rate. If the cutter begins to slow down and
stall, with a pantograph, the operator will slow the feed
rate. He can listen to the sound of the motor and feel
the material being cut. From experience, he knows how
fast he can push it.
Now that weve replaced the operator with motors
to move the material or tool, a better design would
include some way for the machine to know how it
was doing. This improved design would include
a variable speed/power control for the motor, and
feedback in the form of a tachometer for the spindle.
Variable speed control of the spindle can be manual
or automatic. Manual systems simply provide a dial, like
the volume control on a radio, which the operator adjusts
manually. For a fully automatic system, an external
servo feedback circuit is needed. This circuit will set a
given speed and maintain that speed through all cutting
bit loads and primary line power uctuations. This type
of circuit uses a digital or analog tachometer to measure
spindle rpm. A feedback circuit then compares the rpm
called for with actual rpm. This circuit would then apply
more or less power to the motor, if necessary, to maintain
the proper spindle speed.
In short, the spindle motors duty is to provide the
speeds necessary for different types and sizes of cutting
bits interacting with the types of materials to be cut. It
must have sufcient power to maintain the assigned
speed through the most difcult cutting task. Brush
and brushless type, both AC and DC, universal motors
have been popular for this application. They have the
highest horsepower ratings per pound and per dollar of
any motor that operates directly from standard power.
The spindle motor has a less demanding task than
motors that move the axes.
Axis Motors All Engravers
The motors that are commonly used to move the
axes are either Stepper Motors or Servo Motors. Servo
motors can be AC or DC, brush or brushless. Stepper
motors are the easiest to use, are less costly, and do
not use brushes.
April 2008 25
Pro CorelDRAW
INSIDE ENGRAVING
With the advent of stepper motors, a simple, inexpensive
way became available to add material/tool movement to the
pantograph and replace the need for a human operator to
manually feed the material.
A stepper motor is different from a conventional motor in
that you give it a command and it moves a xed amount. As
the frequency of step commands change, the motors speed
will also change.
A common design is to use a stepper motor that rotates
1.8 degrees per step command. Such a motor takes 200
steps to rotate one complete revolution or 360 degrees. A lead
screw connected to this motor, which has a thread spacing of
.2 inches, results in a resolution of 0.001 inches per step. So
now we can tell the machine how far to go in steps and it goes
there; pretty simple.
But wait, a stepper motor doesnt store commands. We
have to make sure we dont give it a new command before its
nished with the last one. If we arent careful, well create an
error. We must give the motor time to complete its instructions,
time to nish. This time is referred to as dwell time. All thats
needed is a little delay between commands.
One additional thing with the stepper motor is that we cant
accelerate or slow down too quickly. Stepper motors have an
inherent design problem. The characteristic of the motor that
creates a problem is that the torque (force) drops drastically
at certain frequencies or shaft speeds. During that frequency,
when the torque is very low, the probability of the machines
axis position losing its place is at its highest. This can result
in an unrecoverable position error.
For a stepper motor design, acceleration, deceleration,
and command timing are all functions of the motor controller.
A well designed controller will minimize if not eliminate these
problems.
Next time well continue with servo motors, compare steppers
and servos, and discuss advertised motor horsepower.
John McDaniel with his wife Judy are owners of JHM Marketing
in Albany, OR. JHM provides consulting and training services
for the industry. They have been using CorelDRAW since 1989
and teaching it for engraving, sandblasting, sublimation, etc.
since 1991. (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 by phone at 541-967-4271, via SKYPE (user name
JHMcDaniel), or via email at JHMcDaniel@CorelDRAWhelp.
com.
See full bio on Writers Page.
April 2008 26
Pro CorelDRAW
LASER TIP
By Kathryn Arnold Training
PhotoGrav 3.0:
Why You Need It & How It Works
Compare to version 2.11

All I can say is, What a difference a version can make! If you are familiar with
PhotoGrav software, you will quickly notice the differences in the newest version. In
2.11 there was a process set in cement that one had to follow to prep a photo before
PG (PhotoGrav) would even accept the image for processing. Now, with PG 3.0 the
program has so much more exibility.

Some of the features over the previous version include:
-the ability to use either color or B&W photos
-the ability to use standard image formats such as tif, jpg, png and bmp
-built-in resize original image tool
-expanded and updated laser system list
-expanded and updated materials list
A great product made even better, PhotoGrav 3.0 is designed for novice and expert
engravers to produce rst run, professional results.
How it works
If you are totally new to PG, let me explain further. The basic of idea of PhotoGrav is
to remove all the variables in the process of laser engraving photos. Over the years,
PG has established itself as the standard for laser-engraved photo quality. Born from
necessity over 10 years ago, the need for quality laser photos continues to expand.
The solution for success in any process is to remove the variables. The fewer
the variables, the less the human interface is required to make questionable
judgments.
Three major variables are present in the laser engraving process:
1) the laser system PG can be set up to your specic laser manufacturer and
other settings
2) the material through an extensive list, the needed material is selected in
PG. This applies lters to the image for optimum engraving results. These
lters compensate for the absorption factor of each material.
3) the photo each photo has a range of highlight, midtone and shadow
values. PG creates a histogram based on algorithms to accommodate these
values.
PG 3.0 reduces the variables in the production process using these three main areas.
The user will nd much more consistent results over a wide range of materials and
customer-supplied photos. Each of these three is further addressed in the remainder
of this tutorial.
See the example below for a series of photos that were processed with and without
PhotoGrav.
Without PhotoGrav
With PhotoGrav
The second example has much more clarity and detail in the ner points of the
images. Compare the rst image in the series. In the PhotoGraved example, my
sons facial features are much clearer. Now look at the third image in the series.
In the PhotoGraved example, his mouth can be seen amidst the paint on his face.
Hands down the second example is the one a client would pay great sums to have
of their loved one.
April 2008 27
Pro CorelDRAW
With the image open, click on

the Select Material button at
the top of the screen. Highlight
one of the 29 materials on the
pop-up menu and click OK.
The next step will be
resizing the image to
the actual engraving
size. Click the Resize
Image button and
enter the engraving
si ze. Change the
Resol uti on to the
corresponding value
for your brand of
laser system. For
i nst ance, i f your
l as er wor k s i n
250/500/1000 dpi
rat i os, choose a
setting of 500 dpi. If
your laser works in 300/600/1200 dpi ratios, choose a setting
of 600 dpi. These were the same settings used during set up
in Machine Properties.
Note: once the image has been processed by PhotoGrav, it
can not be made larger or smaller. The highly modied format
does not allow scaling.
1: Set Up
Installation starts with inserting the disk into the CD drive on your
computer. The installation software will launch automatically
and a screen will prompt for the serial number.
After the installation of the software, PhotoGrav will
automatically start and present the Machine Properties
screen. Click on the make and model of your laser system.
Specify the Resolution, Lens and Wattsthen click OK. These
settings will be remembered for the next time you launch
PhotoGrav.
Should you want to change these settings, go to File>System
Default>Select Machine to nd the same screen used in the
initial set up.
2: Processing
Start by clicking on the Open Image button at the top of the
screen. Digital camera or scanned photos can be used as well
as any clip art or logos. The image should be in one of the four
format types to be opened by PhotoGrav.
LASER TIP

April 2008 28
Pro CorelDRAW
Now, click the Final Process button. When the

processing window goes away, a simulation of the
engraving will be displayed. This is the easiest way to
process the image. The Interactive Mode button can also
be used by more experienced users for further tweaking
of the image for unique effects.
PhotoGrav has created a highly modied version of
the original image and this will need to be saved and
imported into your layout software. This example has
been processed for the material Black Granite.
Cl i ck t he Save I mage
button and a pop up window
will appear. Click on the
Engraved button in this
window and click OK. The
next window will ask you
where you want to save the Engraved Image. Save it
in an easy-to-nd folder.
3: Engraving
The processed or Engraved Image will need to be
imported into your layout software. If you are using
CorelDRAW, click File>Import and nd the folder you
saved the Engraved Image in.
LASER TIP
The Engraved Image will display on your DRAW page.
Its highly modied format will look grainy but engrave
exceptionally well.
Use the same power and speed settings you would use
for engraving text to engrave the photo.
Overview:
In my toolbox I have several tools I use over and over
and rely upon them. PhotoGrav 3.0 is in my toolbox of
software programs and I have found it to be reliable and
easier to use than the previous version.
The goal is to focus on the protability of creating laser
engraved products our customers will love. The simple
work ow makes the engraving process of photos easy
for rookies or experts. PhotoGrav 3.0 is an excellent
production tool for low to high volume needs and is a
valuable asset for any laser system owner.
Kathryn Arnol d i s t he Seni or Devel oper at
LaserUniversity, sponsored by LaserBits Inc. of
Phoenix, AZ. She can be reached at 1-800-733-7705 or
laseru@laserbits.com. Or visit www.laseru.com
April 2008 29
Pro CorelDRAW
GETTING AHEAD
By Deborah Sexton Opportunity
Decorated Apparel Goes Green!
Think of all the T-shirts hanging in your closet or
folded in your drawers. (Dont forget to check for any
under the bed.) Multiply that number by hundreds of
millions of people, all of whom have countless T-shirts,
as well as tank tops, caps, and other garments. Think of
the resources, harmful chemicals, and associated waste
disposal that go into making all of those untold millions,
perhaps billions, of garments.
Now imagine the difference that people could make
in terms of the environmental impact if their garments
were constructed from organic materials, skipped
processes like bleaching and nishing, and were colored
with earth-friendly dyes. Such idealism fueled by the
countrys increasingly vocal, even feverish focus on all
things environmentally friendly or green has led
to an explosion of demand for organic apparel in the
decorated apparel industry.
The whole industry is moving toward organic, says
Donny McCullough, regional sales manager, Staton
Wholesale, Dallas. He estimates that about one-third
of decorated apparel suppliers are already offering
organic apparel. Everybody wants to help out the earth.
People are asking for organic cotton and organic inks
and dyes.
The country seems to be going green, agrees Lori
Reilly, Texas account representative for Alstyle Apparel,
Houston, whose company introduced organic mens and
youth T-shirts in 2008.
While the organic movement may have originated
on the fringes with college kids, tree-huggers, and
other progressive thinkers or, some might say,
environmental alarmists it has moved to the forefront
of many Americans thoughts in recent years, especially
as the effects of global warming begin to take center
stage.
Witness the huge popularity of Al Gores award-
winning documentary, An Inconvenient Truth, which
sounded an alarm about the signicant harm that people
are doing to the planet. For the decorated apparel
industry, the movements transition into the mainstream
means that not just neo-hippies but customers ranging
from schools and local businesses to corporate
organizations are all clamoring for green garb.
Theres an i ncreasi ng concern about the
environment, and presumably it will be a growing
area, says Ira Neiman, president, Vantage Apparel,
Avenel, N.J. His company offers organic apparel made
in the United States, including T-shirts, wovens, and
dress shirts. More fabrics that are eco-friendly will be
developed, and it will be benecial for everybody.
Getting on Board
While organic items represent only a fraction of
the industrys overall sales, the percentage is climbing
rapidly and many suppliers expect it to continue
growing. Chris McConnell, executive vice president
sales and marketing, Outdoor Cap, Bentonville, Ark.,
A look at the explosion of interest in environmentally-friendly apparel
and how industry suppliers are responding.
Women will love the soft feel of this scoop-neck T-shirt
made of 100% certied organic cotton grown in the
Panhandle of Texas. Completely American made, this
top, style SW130, features a tapered cut designed
to t a womans body, double-needle stitched hems,
narrow neckband, and short sleeves. It comes in four
sun-washed colors: Red River, Panhandle Blue, Prairie
Sage, and Texas Sunset. Visit www.sosfromtexas.
com.
Vantage Apparel added organic cotton Ts in a natural
color for 2008. They also added organic cotton polo
shirts, woven shirts, and eece made from PET, recycled
plastic. President Ira Neiman pointed out that packaging
that emphasizes the fact that the shirt is organic can add
to its value. In this example, this rolled T-shirt has an
organic hang tag afxed to the shirt with green rafa.
April 2008 30
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GETTING AHEAD
says that suppliers feel compelled to jump on the
bandwagon. In our industry, lots of things are going
green. You need to be a part of it to keep up with whats
going on and be forward thinking, he says. Outdoor Cap
offers a 100% organic cotton, low-prole cap, available
in mens and womens sizes.
Adds McCullough: This is a long-term trend. Every
major label will have organic lines within three years.
To be sure, some suppliers are taking a fairly
cautious approach to the organic movement, offering
a smattering of items to test the market. For instance,
KatiCap recently added 100% organic cotton caps in
three styles: an unstructured six-panel, a visor, and a
Fidel (as in Castro) style. Were wading our feet in to
see how it goes, says Gary Mosley, KatiCap, Houston.
If it goes well, well expand.
Another roadblock, albeit hardly an insurmountable
one: Being organic isnt cheap. In fact, some organic
items cost double their non-organic counterparts,
even though the finished products are virtually
indistinguishable to the eye. Its one of the realities of
organic items. Because youre not using chemicals that
are harmful to people and the environment, you get less
yi el d, says Joseph Reboy, sales
and marketing manager, New
Age/KNP Headwear,
Niagara Falls, N.Y.
Earth-Friendly Options
Customers have an increasingly broad array of
materials to choose from and still meet their demands
for environmental friendliness. Organic cotton is the
leader of the pack, but its hardly the only option. For
instance, bamboo reportedly one of the worlds
most sustainable fabrics is soft and has natural anti-
microbial properties, meaning it ghts odor without the
addition of special chemical treatments.
Los-Angeles based apparel supplier Alo which
stands for air, land and ocean offers a line of womens
T-shirts, tanks and long-sleeve shirts made from a
bamboo/cotton/Spandex blend. Suppliers, including
Towel Specialties, also are offering bamboo robes and
towels. Thats why theyre so soft and feel almost like
cashmere, says Murray Siegal, marketing director,
Towel Specialties, Baltimore.
And while one might not think of old soda containers
as organic or conducive to garment making, for that
matter items made from recycled plastic (PET) do
help the environment by keeping the material out of
landlls. New Age, which recently joined the Organic
Exchange and the Organic Trade Association, has
offered organic caps for four years. This year, however,
the company took another step forward by introducing
hats made from PET plastic. Landlls are just lling up
with bottles, so this is a great way to take something
and make it useful, Reboy says. Its actually very
comfortable too.
For those who prefer to stick with organic cotton,
one consideration is whether the material is grown
domestically or sourced globally. While some suppliers,
including Alstyle Apparel, SOS From Texas, and Royal
Apparel, offer domestic-sourced organic cotton, in
some cases the material is sourced offshore. Youre
paying more for organic, so theres already a premium
associated with it. Having it made in the United States
would increase the cost to where its almost impossible
to buy it, Reboy says.
Dr i Duck of f er s a Wi l dl i f e Ser i es
collection that includes four caps each featuring a
different endangered animal. They include peregrine
falcon, eastern cougar, gray wolf, and grizzly bear.
Their likenesses in surrounding habitat are meticulously
embroidered on the side of each cap. The caps are made
of 100% organic cotton chino twill. For more information,
visit www.driducktraders.com.
Royal Apparel offers a full line
of organic cotton apparel in its
most popular styles including
this ladies crew-neck jersey
T-shirt. The fabric is 100%
organic cotton in a 4.4-ounce
weight made of 30/1 singles
fine jersey. Colors include
salt, night, rose pink, heaven,
bark, avocado, and natural.
Sizes range from small
through 2XL. Visit www.
royalapparel.net.
Fast Facts
Derived from www.wikipedia.com
Worldwide, cotton is a pesticide-intensive crop,
using approximately 25% of the worlds insecticides
and 10% of the worlds pesticides.
According to the World Health Organization
(WHO), 20,000 deaths occur each year from pesticide
poisoning in developing countries, many of these from
cotton farming.
Organic agriculture uses methods that are
ecological, economical, and socially sustainable and
denies the use of agrochemicals and articial fertilizers.
Instead, organic agriculture uses crop rotation, the
growing of different crops than cotton in alternative
years.
The use of insecticides is prohibited; organic
agriculture uses natural enemies to suppress harmful
insects.
The production of organic cotton is more
expensive than the production of conventional
cotton.
Although toxic pollution from synthetic chemicals
is eliminated, other pollution-like problems may remain,
particularly run-off.
April 2008 31
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GETTING AHEAD
Given the importance that some customers place on getting organic products,
some suppliers take pains to prove to customers that they are, in fact, completely
organic. For instance, New Ages caps have a tag inside with a tracking number that
customers can use to see where the fabric came from, how it was grown, and how
it was dyed. Thats the whole point: Its a completely certiable organic product,
Reboy says.
Color My World
Organic apparel used to be a rather vanilla affair, with garments available
only in natural colors. However, as demand soars, suppliers are nding creative
ways to expand their
color palettes without
detracting from their
organic mission. For
exampl e, Ameri can
Apparel is expanding
i t s col or st or y by
experimenting with low-
reactive dyes in about
20 colors. Eventually
we would like to include
organic properties in
t he maj ori t y of our
products, says Andre
Horton, sales manager,
who adds t hat t he
companys current 15 or
so organic products are
increasing in sales.
Morey Mayeri, president, Royal Apparel, says he saw requests for organic apparel
start about 10 years ago and build to a crescendo in the past year or so. Along the
way, his companys offering of organics in colors has increased, too, with new additions
such as night (black), rose (light pink) and bark (brown), all using a ber-reactive dye
process. At rst, it was all natural, but everybody wants colors, he says. They want
more earth tones, browns, khakis, pale yellows, and greens. People are so excited
to see some colors in the organic world.
Meanwhile, some suppliers are waiting for soy-based and vegetable-based dye
technology to progress to a point where colors are more varied and consistent.
The Future of Green
While many companies may be concerned about the environment, the
Is All Organic Cotton Certied?
As the popularity of organic cotton grows, some sourcing has already begun
overseas. While there are organizations and governments that regulate and set
standards for what denes organic cotton, domestic organic cotton farmers, such
as Gary Oldham, owner, SOS From Texas, question whether all overseas sources
are holding to the same standards as U.S. suppliers.
According to Oldham, U.S. Organic Standards require a three-year chemical-
free farming period before being allowed to be certied organic. With the sudden
explosion in organic cotton demand, one has to question how quickly some of
these new sources of supply have popped up.
Authentic organic cotton farmers use crop rotation, green manure, compost,
biological pest control, and mechanical cultivation to maintain soil productivity
and control pests and weeds instead of dangerous chemicals.
Oldhams farm, which has been in his family
for 90 plus years, is located in Samnorwood in the
Texas Panhandle. It has been certied organic
by the Texas Department of Agriculture since
1992. This certication information is provided
with our products to show our authenticity, says
Oldham. We are nding organic products in the
market with very vague organic credentials.
Our cotton is planted in mid-May and harvested after frost in November,
adds Oldham. The harvested cotton is ginned at our certied organic gin and
then shipped to a certied mill in North Carolina for spinning into yarn. The yarn
is also knitted, nished, and sewn in the Carolinas.
So a good rule of thumb to follow when purchasing organic cotton products is
Buyer beware. Request proof of certication and if documentation looks iffy, you
may want to spend some additional time investigating the certifying organization
to see if it really exists and what its standards are.
For investigating offshore organic cotton, there is an international framework
for organic farming that is provided by the International Federation of Organic
Agriculture Movements (IFOAM), which is an international democratic umbrella
organization established in 1972.
According to Demaris Wilson, Assistant Deputy Administrator, Transportation
and Marketing Programs, Agricultural Marketing Service, U.S. Department of
Agriculture, The National Organic Program regulates the production, handling,
labeling, and certication of all agricultural products, including cotton in the United
States. There are no specic standards for cotton. They fall under crops. For more
information, you may access the NOP website at www.ams.usda.gov/nop.
In Your Face Apparel
offers a ladies organic
cot t on T- shi r t t hat
i s made out of 30/ 1
singles ne jersey 100%
certied organic cotton.
The dye pl ant uses
biodegradable surface
agents that enable the
water treatment plant to
release the waste water
as 2
nd
grade water. It
also is made with no
formaldehyde, chlorine,
bl each, pl ast i sol , or
AXO dyes. Visit www.
inyourfaceapparel.com.
April 2008 32
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GETTING AHEAD
r eal i t y i s t hat most
businesses are adding
organic apparel due to the
practical business reality
of increasing customer
demand. Many of the
suppl i ers cust omers
have corporate programs
that ask for organi c,
says Margaret Crow,
marketing director, S&S
Activewear, Bolingbrook,
Ill. And theyre going to
be demanding it in all
kinds of products. Its here
to stay.
However, because
the demand is borne of
idealism, not the latest
f ashi on t r ends, t he
movement i s l i kel y to
conti nue. As demand
surges, prices for organic apparel will fall which, in turn, will likely lead to even
higher demand. Right now its a least 10% higher, but its going down, says Crow.
The organic push may even spread into other areas of idealism, with some
suppliers already combining the feel-good philosophy of environmental friendliness
with other sociopolitical and ethical issues. For instance, edun LIVE a company
created by Bono and his wife, Ali Hewson aims to drive employment in sub-Saharan
Africa via sales of its 100% cotton T-shirts. The garments, sourced entirely from
Africa and distributed by S&S Activewear, use organic materials whenever possible,
according to the company, and its partners are held to very high environmental and
social standards.
For now, though, the focus remains overwhelmingly on all things organic. The
entire organic business is growing, from food to vitamins to apparel. People are more
in tune with it and trying to make a difference, Mayeri says. It will keep growing. It
will double in sales in the coming year.
Reboy compares the environmental push to cleaning your own home. If you dont
clean your bedroom, after awhile it will ruin the house. Its so much more comfortable
and nicer looking when its clean, he says. And lets face it: We cant just go to
another planet.
A l u x u r i o u s
bathrobe made out
of environmentally
friendly bamboo is
now available from
Towel Specialties.
Bamboo is more
absor bent t han
cotton, soft, and
extremely durable.
The pl ush t erry
i s made of 70%
b a m b o o / 3 0 %
cotton and it comes
in a unisex size
that is 48 inches long. It comes in a natural color. For
more information, visit www.towelspecialites.com.
April 2008 33
Pro CorelDRAW
ELECTRONICS FRONTIER
By Louie Alvarez Opportunity
In this vast planet of ours we call Earth, have you
ever wondered where you are or how youre going to
get somewhere? That is, what is your precise physical
location in relation to your city, your state, your country,
your world?
Historically, navigators and explorers had searched
far and wide seeking a system that would enable them
to locate their position on the planet with the utmost
accuracy in order to reach their destination in the fastest
and safest manner possible. These days the answer to
that desire or need would seem quite simple, but that
wasnt always the case, at least up to 1993.
The satellites are launched
So what happened
in 1993 that changed this
to fact from ction? The
first operational GPS
satellite was launched
in 1978, but the system
didnt reach full satellite
capability until 1993.
That was when the U.S.
Air Force launched the last-needed satellite into orbit,
thereby completing a network of 24 satellites known as
Global Positioning System, or GPS. Originally designed
by the Department of Defense to assist soldiers and
military vehicles, planes, and ships in accurately
determining their locations world-wide, the system has
now been extended to include both the commercial and
scientic communities.
So why does GPS matter to us? Heres a short story
to describe where my GPS experience, fascination, and
infatuation began. Years ago, around 2001, I was on the
road in the L.A. area making my rounds when I received
a call from a prospect that happened to be in a nearby
Global Positioning Systems (GPS)
city. They were pretty
jazzed that I was close
enough to drop in on them
at a moments notice.
Needless to say, they
were very impressed with
the fast customer service I
was about to impart upon
them. Now mind you, this was back when there wasnt
any type of mapping system worthwhile. There wasnt
any WIFI, no wireless Internet cards, no broadband, so
even if there were any online mapping service there
would have been no way to get to it short of a desktop
computer with painfully slow dialup (remember AOL?).
And there certainly werent any affordable GPS-enabled
units or cell phones.
So I used Delormes Street
Atlas USA software application
on my laptop to print up maps of
everywhere I planned or expected
to travel, such as, warehouse, hotel,
restaurants, customers, prospects,
family, friends, etc. This call was
unexpected so I didnt have printed
directions to their location. So with
only verbal directions and a quick
glance at Street Atlas USA on my laptop, I got terribly lost
and confused. My rst impression on the prospect didnt
go so well. Let me tell you that was a wakeup call.
So although I had never used GPS up to this point,
I realized that it was essential, at least for my business
purposes. Today in the hustle and bustle of everyday life,
its a given; cities continue to grow with new construction
of buildings, homes, entire communities, new streets,
and even redesigning of highways. With so much trafc
moving at such a fast pace, its easy to get lost, miss a
turn, and be late for an appointment. But in your day to
day life, why would you need a GPS system?
Do you often drive alone and need a map. A
GPS device allows you to focus on the road,
not a map. Much safer especially in this day
and age.
Are you a salesman who travels? Never be late
for an appointment because you got lost;, you
can even calculate ETA quickly and easily.
Do you travel a long distance to work? GPS
systems can calculate the shortest route, a route
avoiding highways, toll booths, even congested
trafc.
Are you an eBay seller who buys items at
yard sales, estate sales, etc? Just plug in the
addresses and go! This is so much better than
following signs.
Are you a Real Estate agent? Be the ultimate
professional; always know where listings are in
relation to your current location.
A portable unit is perfect for the traveler! When
you rent a car in a foreign location, you will
always know how to get where you want to
be.
If you look at your day to day activities, you may nd
a GPS could t your situation as well. Here is a guide
to assist you in choosing the appropriate GPS unit to t
your lifestyle or needs.
IN-DASH, PORTABLE, HANDHELD OR ADD-ON,
WHICH TO CHOOSE?
Factory option
Many of todays cars offer in-dash GPS as an
April 2008 34
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ELECTRONIC FRONTIER
option, while others offer it
as standard equipment. Early
model s requi red mul ti pl e
CDs to map out the entire
country. Today all quality units
use DVD, which can hold the entire country on 1 to 2
DVD discs. Although more expensive, they do offer
large screens and integrate perfectly into the vehicles
electronics.
Professionally installed
Even if you dont order your new car with a GPS
option, aftermarket in-dash models are available; they
usually require professional
installation and can be just
as expensive as the factory
models. I purchased and
installed the Panasonic
AVIC-Z2 which features a
7-inch touch screen; DVD
CD player, AM/FM tuner
with numerous accessories available; such as, XM or
a SIRIUS tuner, Bluetooth connectivity, iPod interface,
remote control, and even a rear-view camera. The AVIC-
Z2 can also incorporate trafc reports from the XM Trafc
network onto the navigation maps.
The beauty of an in-dash system is how well it
integrates with your vehicle. On the exterior there are no
wires or 12-volt power adapters to contend with and no
beanbag, suction cup, or adhesive mounts cluttering up
the dashboard. Installation was clean and professional-
looking. However, they are still susceptible to theft,
regardless of how well they are installed, and you cant
take them with you to use in other vehicles.
Portable units
Portable GPS may not
look as cool and are not as
large as some of the pricier
in-dash models, but they can
be easily moved between
vehicles. Some high-end models provide nationwide
coverage with maps stored on an internal hard drive.
They also offer a user-friendly interface, and are ready
for use right out of the box with no need to download
or unlock maps. These usually feature bright, colorful
touch-screen displays and are easy to install and remove
using a suction cup mounting mechanism. Plus, they
provide voice-guided driving directions.
Smaller and less expensive
models are neat little plug-and-play
devices that use internal memory to
store maps. Most systems are icon-
driven and very easy to use. To nd a
destination, simply touch an onscreen
button (for example, Where To?); select an icon, such
as fuel, lodging, restaurants, or another point-of-interest
(POI) category; and press Go to receive directions.
These systems are generally half the price of their
more advanced, feature-rich siblings, but there are
trade-offs. For example, some can store only one route
at a time and have screens that tend to wash out in direct
sunlight. Still, these systems are an affordable way to
bring accurate GPS navigation with voice-prompted
driving directions to any number of vehicles.
Handhelds and add-ons
If you dont want to
spri ng for a dedi cated
GPS system for your car,
or simply want a more
versatile unit, there are
alternatives. There are
pocket-sized navigation
devices offering many of
the features that youll nd in most of todays in-car
navigators, including voice-prompted turn-by-turn
directions, detailed street maps, and an extensive POI
database. These handy little gadgets can also be used
as a pedestrian navigator and are particularly helpful
when visiting new towns or cities. They have a built-in
MP3 player, photo viewer, and play audio books; some
even have a currency and measurement converter and
a calculator. You can even download European maps
and a language guide if youll be traveling abroad.
Another alternative and my
personal choice that will be more
useful in everyday life is a PDA
with an integrated GPS receiver.
The models come with built-in
antennas and mapping software,
and they feature productivity and
connectivity tools, so you can stay
on track in your life and on the road.
If you already happen to have a
PDA, you can turn it into a powerful
handheld GPS system simply by
adding a compact GPS receiver
add-on which utilizes Bluetooth
technology to connect your PDA
and GPS receiver without the need for wires. A plus
with PDAs and add-on receivers is they allow you to
choose the mapping software you desire and not the
bundled software built into in-dash, portable and hand-
held devices.
Okay, now youve decided to
purchase a GPS, and based on
your lifestyle or requirements
have decided on which type
of unit. So what would the
directionally challenged
look for in features when
shopping for a GPS?
FEATURES TO LOOK FOR:
Form factor
Choose a GPS unit to t your traveling habits. If you
do a lot of long-distance driving, consider a model with
a dedicated hard drive that stores maps of the entire
country. Otherwise, a model that uses an SD card to
April 2008 35
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ELECTRONIC FRONTIER
From the large....
Although supposed
to be an automotive
model with a huge
5 screen this model
is better suited for
permanent mounting
such as into my
custom bike
....to the small
This is an
automotive model
as well yet very
small and portable,
making for easy
sharing between
multiple vehicles.
store maps is a good bet, and you can buy additional cards to load more maps when
necessary.
As described above, GPS devices come in all different shapes and sizes.
If you want to share one unit between many vehicles, look for a model that
is lightweight and easy to install and remove from your vehicle. Stay away from
permanent mounting devices unless you plan on using the unit in just one vehicle.
Although I installed my own unit into my bike and truck, I would recommend, for
an in-dash model, to pay the extra money to have it professionally installed. Unlike
car stereo systems, which can be fairly easy to install, a GPS system requires careful
placement of the antenna, and some systems require a special cable hookup to your
vehicles speedometer mechanism.
Maps
Look for a model that includes street-level maps that, at the very least, cover the
areas youll use regularly. Some manufacturers charge extra or charge a subscription
to unlock maps from their websites or CD-ROMs, while there are others that include
only specic cities or regions. This can save you money if you need only local maps
but can get expensive if youre planning cross-country trips. Make sure you keep the
unit updated with current rmware and mapping data. Most portable models use a USB
to connect to your PC, allowing you to upload the latest maps and system software
as they become available. In-dash models typically have maps read from integrated
DVD or CD players and require only the latest discs to be brought up-to-date.

April 2008 36
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ELECTRONIC FRONTIER
Navigation features
Like anything else, the more bells and whistles
included in your GPS system, the more youll end up
paying. But there are certain features that are more or
less standard equipment these days. Street-level maps
with voice and text-prompted driving directions are the
foundation of any in-car GPS system worth its salt,
and Im starting to see systems that use text-to-speech
technology to deliver specic street names rather than
generic instructions, such as Turn right in 0.5 miles.
A comprehensive Point
of Interest (POI) database
containing airports, hospitals,
dining options, shopping,
service stations, and more,
is a must if youre traveling
in unfamiliar territory, as is
automatic routing from a
POI, an address book, or
your present location. Look
for a device with touch-screen controls, automatic
rerouting when you veer off course, and variable map
perspectives, such as 3D and birds-eye views. As you
get into the high-end models, look for big daylight-
readable screens and real-time trafc and weather
alerts, which usually require an annual subscription
fee.
Accessories
Most companies include the basic accessories such
as vehicle mounts and car chargers in the box. Most
in-car navigation systems are ready to use right out
of the box and come with
everything you need to get
up and running in a matter
of minutes.
St i l l , t h e r e a r e
accessori es avai l abl e
that will help you get the
most out of your GPS
i nvest ment , i ncl udi ng
auxiliary antennas that can
be mounted at the base of
your windshield to improve
si gnal recept i on, and
carrying cases to protect
your GPS unit when not in
use. You can also pick up
various mounting devices,
i ncl udi ng mot orcycl e-
mounting kits and low-prole external antenna mounts
that adhere to the trunk of your car. Additionally, you
can purchase more maps on CD media or ash memory
cards, as well as AC adapters that let you use your GPS
unit at home.
As you can probably tell by now I know GPS rather
well, having done my due diligence homework. After
that bad experience in L.A. so many years ago, Ive
ALWAYS got GPS with me in some shape or form. For
my laptop I have a compact GPS receiver and just for
backup purposes a CF card GPS receiver as well. I own
the HP iPAQ hw6925 PDA cell phone with built-in GPS; I
never leave home without it. Plus Ive added an in-dash
GPS system to my truck in addition to even building a
custom gas tank around a GPS system for my custom
motorcycle. With ve different GPS devices always
ready to go I pretty much never get lost or ustered
any more. Needless to say GPS is near and dear to my
heart, quite literally!
Louie Alvarez began acquiring his experience
in the awards and engraving industry over 18 years
ago, rst as an employee of the largest and oldest
trophy shop in Central California and then as owner
of one of the rst laser engraving businesses. Louie
has been a featured workshop instructor and seminar
speaker throughout the industry in addition to being a
contributing writer to numerous industry publications.
Louie is based in Las Vegas, NV, and can be reached
at alvarezwriting@gmail.com.
April 2008 37
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April 2008 38
Pro CorelDRAW
MARKETING SECRETS
By Donna M. Gray, CRM Opportunities
Creating The Vision
Donna Grays 2nd book, Its All Relative!

Surviving & Thriving in a Family Busi-
ness, was published in September 2007.
It descri bes her
quest to identify the
keys to success for
small business, and
family businesses in
particular. She inter-
viewed top businesses
nationwide and discov-
ered ve common qual-
ities implemented by
successful business
owners. Check it out
at the CorelDRAWPro
Bookstore, www.corel-
drawpro.com/AllBookstore.htm
Were creating a new vision. Why now? Because
we need a new strategic plan for our companys growth
in this troubled economy.
The kind of customers we dont like
We started by ring a customer today! We all have
at least one customer like this. You know the onethe
customer that nickel and dimes us, always with a
promise of orders to come if we will only meet or beat
the competitions prices. This is an old line that many
of us have fallen for, including us, in our earlier, more
nave days. When we play into this scenario, we have
to cut our prots to a minimum. In doing this we may
think were going to romance and cultivate this prospect
into a great customer. It might take a little while, or
a couple of orders, before we realize that this great
customer always has a reason for why the big order is
just around the corner. There always is an excuse for
why we arent in the running for the good stuff yet.
When were in this cultivating mode, we never
cut back on our service, or our quality, to match the
cutback and loss of prots, and because we want to
trust that our prospects really do have that huge carrot
of an order theyre dangling, we keep trying. Many of
us have discovered, over time, that this betting on the
come, hoping that our quality, service and the discount
pricing, will earn the favor of the decision makers, and
pay off for us in a long and protable great customer
relationship, doesnt always end the way we hoped it
would.
The kind of customers we like
When we take the time to gure out what this really
costs a company in dollars and cents, we can see that
this opportunity is not only unprotable, but usually, we
decide that we dont even enjoy serving customers like
this! Working with those who always push for better
pricing, better deals, better delivery, better everything
drains prots, and it takes a toll on team enthusiasm.
I think we need to think about ring all the customers
who try to take unfair advantage of us.
Then we should begin working hard to over satisfy
our protable, interesting, and appreciative customers
customers we really like to servicewho make us
feel good to go above and beyond for them. Can we
really do this? Its probably not a good idea to go off
willy-nilly ring clients if we want to stay in business.
But its absolutely a good idea to create a vision that
reminds us that our customers have great value over
time, way beyond the rst sale, and to make a plan for
marketing deeper into existing customer sources that
have potential for increased sales.
How to re a customer
So how do we re a customer? Its simple, experts
say. All we have to do is just raise the price to where we
make a very decent prot. Then, if they take the deal
we dont mindif notwe havent really lost. Win-win-
win.
Nowadays, with the economy in crisis mode, where
we have frequent cost of goods price increases, and
at least some cutbacks in our customers budgets for
the products and services that we sell, we may be
challenged to keep existing revenue streams owing and
customer pipelines lled. One cant pick up a newspaper
or turn on the news, without reading and/or hearing that
cash is scarce, outside sources of funding have dried
up, internal sources of funding are inadequate to cover
needs, and lenders are so nervous they wont help small
companies.
This is no time to be betting on the come to win a
new customer. I think its time to re those un-protable
clients and concentrate on building relationships with
the ones that can support a company, no matter what
the economy brings.
A vision of how we want to do business
It might be tough times, but it can be good times
if we play our cards right. I think its time to create a
vision for how we want to do business, which includes,
not only updating our pricing, and the way we sell, but
also creating a description of the kind of customers we
want, and how we will get and keep them. Along with
this comes deciding on the perception we want them to
have of us and the way we do business with them
Creating the perception of our business
Customers buy perceived value. Human beings
April 2008 39
Pro CorelDRAW
MARKETING SECRETS
always have been, and always will be, very inuenced by
perception. One of the greatest salesmen I ever knew, my
father, long gone, but whose entrepreneurial spirit I try to
copy every day, used to love driving his Buick Road Master.
The automobile industry would describe this as adventure
on the open road! He would have loved and related to that
descriptionand it would have been a buying trigger for him.
Andre Heineger, former chairman of Rolex, was quoted in
What They Dont Teach You at Harvard Business School
by Mark McCormack, as saying, Rolex is not in the watch
business. We are in the luxury business.
Since were in the Customer Appreciation Business,
the Employee Recognition Business, the Promotional Tools
business, the Employee and Facility ID Business, etc., each
of us has to nd the best way to describe what we do so our
prospective great customers will see us that way. Each of us
has to develop our own 30-second commercial to brand our
company and the way we want our prospects to view us.
Nowadays, our customers perception of good value comes
from several things which include not just product and price,
but also:
How we put our products together and present them
at delivery.
The appearance of our store showroom.
The appearance of the person doing the selling.
Meeting or exceeding the customers expectations.
Helpfulness of the company in solving a customers
problems.
Knowledge of company representatives.
Consistency of product and performance.
Honesty and integrity of the company and its people.
Little extras like gift wrapping, order delivery, special
hours or appointments for those who cant shop during
regular hours.
Quality of the companys web site.
Ask your customers what they want
While were creating the vision, we can invite our existing
customers to help us grow by answering some questions like:
Do you like our products and/or services?
What would you be willing to pay for upgraded products
and/or services?
How often do you buy products/services like those we
provide?
If you are delighted with our products/services, will
you refer our company to others?
A little bit of test marketing like this can be helpful when
youre making a game plan for future growth projects, like
whether or not its time to invest in a new piece of equipment, or
whether or not to expand a product mix. Right now, especially
during hard times, it might not be a good idea to spend, but
rather nd other alternatives that can work, like partnering with
a company that has the right equipment.
Its time to have an action plan for generating ongoing
revenue. If were not attracting and retaining profitable
customers, we need to re-think our strategy. I dont know
about you, but I want to feel good about going to work.
I want our action plan to be followed each day prospecting
for great customers.
I want to be energized when I make a sale.
I want to know in my heart that our company is following
our mission in creating delighted customers.
I want us to be on the same page with our customersboth
sides winning.
The vision Im creating is for us to be exactly what the
customer wants!
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 Never Quit: The
Ups & Downs of Running a Family Business (2004), and
Its All Relative: Surviving & Thriving in a Family Business
(2007). She has earned professional credentials as a Certied
Recognition Master. She can be reached by email at donna.
gray@AwardsMall.com.
April 2008 40
Pro CorelDRAW
SHOW RECAP
Opportunity
The International Awards Market, sponsored by the
Awards & Recognition Association (ARA), was held in
Las Vegas, NV, Feb. 27-29. This report will highlight
many of the new products featured at the show. Both
new equipment and new substrates attracted the
attention of buyers at the show, and this is a list of items
that seemed most newsworthy to our writers.
LaserPro introduces three new laser systems
GC C L a s e r P r o , w i t h
headquarters in Taiwan and U.S.
ofce in Walnut, CA, has introduced
the C180, S290, and the upgraded
Spirit GX. The C180 is a new desktop
laser engraver that measures 28.3 x
25.2 x 14.8 and offers a work area
of 18 x 12. It runs on a servo motor,
is air-cooled, and features a 12 to
40-wattt power range. The Spirit
GX is the new bigger and faster
version of the companys award-
winning Spirit model. The work area
is 38 x 24 and is extendable with
open doors, and the power ranges
from 30 to 100 watts. The
maximum speed is 60 ips.
The S290 uses a DPSS laser
marking (Nd:YV04) system
to mark on metallic surfaces.
It features a spacious 29 x
18 work area and is servo controlled for precise and
rapid movement.
New Glowboards and LED Picture
Frames from A2Z
A2Z Engraving from Madison, AL, introduced a
new line of LED-based awards and frames, many of
New Products from Las Vegas Awards Show
By Mike Neer
which are offered for the
rst time in the U.S. The
Glowboards consist of
a 2mm thick cast acrylic
sheet that is perfect for
l aser engravi ng. The
acrylic is edge-lit using blue LEDs
within the plastic base. They are
powered by three AA batteries or an
optional AC adapter. There is also
an on-off switch. The LED Picture
Frames come in three styles with
a laserable acrylic border illuminated by blue LEDs, with
a glass front with a black paper mat and engravable
edge-lit acrylic sheet, and a larger version of the rst
one. The company also offers LED-lit tablets for writing
and artwork.
Six new plastic substrates from Rowmark
Rowmark of Findlay, OH, introduced six new plastic
engraving materials. LaserGlow is a photoluminescent
sign-making material that stores ambient light then glows
in the dark to light your way. It is reverse engravable and
also available as a single-ply appliqu with adhesive
sheet. SafeTMark is a fabrication-ready alternative
to traditional phenolic materials, making it the ideal
choice for industrial
t a g s , e q u i p me n t
i d e n t i f i c a t i o n ,
el ectri cal tags, and
control panel s. The
new Frosted Acrylics
are great for poi nt-
of-purchase displays
and ar chi t ect ur al
signage. Its a 2-sided
frosted substrate that
is resistant to ngerprints,
scratches, and is virtually
maintenance free. Rowmark
has also added The Varsity
Collection of 42 popular
high school and college
col or combi nati ons, the
Co n t e mp o r a r y Wo o d
Collection with newly designed finishes that rival
Mother Nature, and three new colors Gold, Silver, and
Graphite in the ADA Alternative Collection.
New cast marble from John Wills Studios
John Wills Studios
of Virginia Beach, VA,
introduced a collection of
premium cast marble and
granite engraving blanks.
The products are available
in popular shapes such as
round paperweights, oval
decorative box, plaques,
desk mementoes, and more. The company also offers
Hand Cast Marble Etchings with meticulously hand
drawn artwork etched into the surface of each casting.
New Vortex Sandcarving System from Rayzist
Rayzist Photomask Inc. of
Vista, CA, introduced an advanced
system cal l ed Vortex Ai rwash
Reclaimed Media. It automatically
separates usable and unusable
media, maximizing the recycle rate
of your sandblasting abrasive. The
inside work space is also bigger
than previous models, measuring
22 d x 34 w x 23 h. The Vortex
April 2008 41
Pro CorelDRAW
SHOW RECAP
Super Grit Pit (shown here) is a larger unit with many
adjustable features for better viewing, more workspace,
etc.
New ContourJet and Nail Art Printer
from OFM Imaging
OFM I magi ng of
Rolling Meadows, IL,
offers the ContourJet
flatbed inkjet printing
system. It can print onto
acrylic or crystal, and on
such things as cellphone
covers, woods, IPODS,
pendants, ti l es, and
more even golf balls
in full color! It is half
the price of most systems on the market, and the owners
are looking for distributors. The company also sells a
unique Nail Art Printer that prints computer images onto
ngernails, making it the perfect add-on for nail and
beauty salons.
New PhotoLaser Plus from EngraveLab
EngraveLab, a division of CADLink Technology
Corp., based in Ottawa, ON,
and Clinton, MA, and UK, is
a new companion product for
CorelDRAW. You design
your artwork and scan your
i mages i nt o Corel DRAW,
then seamlessly transfer your
j ob i nto PhotoLaser Pl us.
This program then outputs
your photo to your laser
engraver. It supports both
rast er engravi ng and
vector cutting, and offers
a range of bitmap editing
tools.
New FabPlaques from Etchcraft
Etchcraft of Portland, OR, introduced FabPlaques,
which are ne quality leatherette and foil plaques. They
come in a variety of textures and colors to create a rich
and luxurious award
or sign backing. Its
a perfect match to
the companys high-
end, chemi cal l y
etched plates.
New AcrylaStone
TM
Awards
AcrylaStone of Wellington,
CO, introduced their unique
substrate that blends natures
t echnol ogy wi t h modern
technology for contemporary,
yet timeless designs. Available
in ve plaque sizes or custom,
AcrylaStone comes in Solid
Almond or Solid White as
well as 10 other colors. These plaques offer an image
of affordable elegance.
New Power Cube for Satellite Heat Presses
Nova Chrome of Pleasant
Hill, CA, offers an innovative
Power Cube for providing the
core power and timing control
for all satellite heat presses,
including the mug press, plate/
tile press, and the bat press.
The Power Cube is designed
to work with all future satellite
heat presses needed to keep
up with the explosion of new sublimatable products.
By independently monitoring temperatures 60 times
per second, the Power Cube assures consistent results
with speed and accuracy unmatched by conventional
heat presses. Also, if you run two mug satellites with
one Power Cube, it cuts production time in half on large
mug orders.
PlaqueMates Voted Best New
Product of the Year!
PlaqueMates of Sterling
Hts., MI, offers ful l col or
designer plaque plates for all
occasions. These unique plates
combine crisp and vibrant
photos with an innovative
border that sets a new standard
in plaque design. They can be
personalized with a rotary or
laser engraver, and have a
large area for personalization.
The base metal is aluminum,
and when rotary engraved
the brilliance of the cut sets
off the design. When lasered,
the engraving is a matte grey
finish that compliments the
graphic. The company offers
150 designs to choose from,
and all designs are available
in ve sizes, and themes of
sports, achievement, borders,
cer t i f i cat es, mi l est ones,
holidays, sacred, awareness,
education, music, games, and hobbies.
New AnyJet Flatbed Printer from J Lee / AnyPic
J Lee Photoland Inc., aka Anypic USA of Brooklyn,
NY, offers the AnyJet 200/300 atbed printer that prints
any photo or image directly onto any material plastic,
wood, metal, crystal, tile, stone, etc. 3-D items, such
as golf balls, are also
possible. The printing is
fast A4 image within
one minute at 360 dpi. It
is the perfect equipment
for a retail shop, kiosk,
or small business.
April 2008 42
Pro CorelDRAW
SHOW RECAP
Fleece Blankets with Lasered or Sublimated Images
Col orado Ti mberl i ne of
Denver, CO, introduced Fleece
Blankets that can be lasered or
sublimated as a service they
provide. The blankets are 50
x 60 and are a great memento
f or t eams,
s c h o o l s ,
event s l i ke
car shows,
and company logos. There are no minimums
or setup fees. Ordering can be done online.
Pricing per decorated blanket is $13.00 (for
sublimation in 13-100 quantity) and $11.50
(for lasered 7 -250 quantity). Also, ask about
the companys life-size action gures made
from your photos.
Epilog introduces their Laser Dashboard
Epilog Laser Corp. of
Golden, CO, unveiled their
new Laser Dashboard, which
is a never-before matched
combination of user-intuitive
design in a feature-filled
package. In fact, they call
it the most intuitive and
exible laser print driver ever designed. It controls your Epilog
laser parameters whether you are printing from graphic design
programs (like CorelDRAW), or from spreadsheets or CAD
packages. The new interfaces allows you to use common
features from one user-friendly screen, access your pre-saved
congurations, and color map for multiple laser functions.
Epilog releases new Zing Laser
Epi l og Laser of
Golden, CO, the leading
producer of ying-optics
based CO2 and fiber
laser systems, recently
launched the Zing Laser,
the newest addition to
the companys product line. Competitively priced, the Zing
Laser boasts 25 watts of power, an all-metal, air-cooled laser
tube, and several standard features such as Air Assist and a
motorized engraving table.
A machine of this caliber and at this price point has not
been seen on the market before, said Mike Dean, director of
sales and marketing for Epilog. We have successfully designed
and built a high-quality, entry-level machine with capabilities
that were previously unheard of.
April 2008 43
Pro CorelDRAW
LASERABLE WOOD PENS, PENCILS, AND

KEYCHAINS FROM JOHNSON PLASTICS
Think of Johnson Plastics (of Minneapolis, MN)
for much appreciated, yet affordable, ad specialty
and promotional products. The company offers a
line of high-quality laserable wood ballpoint and
rollerball pens, pencils, and keychains anyone would
be proud to put their name or logo on. The pens and
pencils offer a sophisticated look with gold accents;
each keychain has a clear nish for easy clean-up after engraving. All come in a
choice of rosewood or maple. All are in stock and ready to ship from 8 branches
nationwide. For complete information, contact Johnson Plastics at 1-800-867-7800
or www.johnsonplastics.com.

NEW COLORED LACQUERED PLAQUES
FROM COLORADO HEIRLOOM
Colorado Heirloom Inc. of Loveland, CO, has introduced
their new Color Lacquered Frames. This is an option to
add color your unique creations. It is not color ll. Colored
lacquer is sprayed on their high quality wood frames.
Because lacquer is used instead of paint, any design can
be lasered on these frames. The possibilities are endless! These colorful creations
are offered in two different designs -- a designer frames and a frame with an insert.
LASERBUZZ LASERABLE WOOD SOFTWARE
LaserBuzz Software features Products you
can make on your laser. A wide variety of CD
packages is available that feature pre-built, ready-
to-cut designs in CorelDRAW format. All les open
easily in CorelDRAW 10 or higher. You simply
install, personalize the design for your customer,
and laser it. Themes available include Military &
Organizations, Sports & Hobbies, Horses, Dogs, Toy Chest,
and Paper Products. Each design is incredibly detailed, and
offered with 3-dimensional layering, or in 1-dimension. You can make
clocks, ornaments, frames, wall tributes, and more for your customers.
PRODUCT FOCUS
Opportunity
INFO REQUEST
For more information on the products in this Product Focus section, click on the Info
Request button at the bottom of the page, and select by company name or product.
Laserable Wood
LASERBITS HAS ALDER PET URNS AND ALDER WOOD SHEETS
LaserBits of Phoenix, AZ, offers beautiful Alder Pet Urns, constructed of
solid American Red Alder. They are available in three sizes and two styles, and
are grain matched for consistency and finished
with a clear lacquer coating. For the standard Pet
Urns a wooden plate for the pet image and text
is engraved separately and mounted into the urn.
The Deluxe Pet Urn arrives with an area at the top for
storing your favorite mementos and an option of engraving
the face plate, as with the standard Pet Urns or inserting
a photograph with the included glass. The top of the
Deluxe Pet Urn can be engraved when the glass and photo are being utilized. Pet ashes
are securely sealed from the bottom of all the Pet Urns.
Prices have also been reduced on Alder Wood
Sheets! This high-quality laserable wood is ideal for
cutting and engraving with precision. Milled at and
warp free, this American Alder wood is specially chosen
for laser cutting and engraving. The sheets are sanded
smooth with a clear nish. Sealed and packaged in
bundles of 20 sheets. Contact them at www.laserbits.
com or call 623-879-0005.
HIGH QUALITY LASERABLE GIFTS FROM LASERGIFTS
LaserGifts of Prescott, AZ, a division of Orion Photo Industries
Inc., offers a wide range of laserable wood products. Items include a
variety of pens in rosewood or maple, key tags, magnets, rulers, lighter
cases, knives, money clips, bottle stoppers, pencil cup holders, a variety
of boxes, and unique items like a tooth fairy box, y box for shing,
executive 7-day pen set, compass key ring, photo frame magnet, and
more. Check out the possibilities. Good prices and volume discounts
are available.
April 2008 44
Pro 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 Classied 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.
The Entrepreneurial Magazine
for CorelDRAW Users
CorelDRAWPro Magazine is delivered to
you once a month in PDF format. It features
in-depth content that readers rave about,
including articles on how to use CorelDRAW,
how to apply CorelDRAW, and how to prot
from CorelDRAW.
News, Tips, & Resources for
CorelDRAW Users
CorelDRAWPro E-News is a free digital
newsletter delivered to you twice a month
about the 15th and 25th. It brings you
highly targeted content that you wont nd
elsewhere, including CorelDRAW Tips,
extensive product news, links, and a calendar
of shows and training.
MARKET PLACE
Quality Engravable Jewelry
Hand-crafted in New England
GIFTS & ACCESSORIES
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JOIN TODAY!
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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
April 2008 45
Pro 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 rst 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.
Kathryn Arnold is the Senior Developer at LaserUniversity, sponsored
by LaserBits Inc. of Phoenix, AZ. She can be reached at 1-800-733-7705 or
laseru@laserbits.com. Or visit www.laseru.com.
Errol Barr has a wide range of experience in sales & marketing, eventually
getting into laser systems in 1999, currently with Vytek Industrial Lasers. He also
sold extensively in the CNC router industry selling the machines as more of a
business opportunity wrapped around the machine. He can be reached by email
at errolbarr@gmail.com.
Dave Demoret founded Prolink Graphic Services to help people understand
and prot 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 week@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
Pro
April 2008 46
Pro 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.
Golden Desert, Business Commandments, Being Pro-Active
Desert Carpeted in Gold
Earlier this month, I was traveling west out of Lancaster, California,
headed for the I-5 freeway, through the southern tip of the Mojave Desert
when, all of a sudden, the desert landscape was covered with beautiful
California Golden Poppies. The day was warm and still, and the poppies
were at their glorious best, opening their petals to the sun, and turning
the desert into a photographers delight.
I had come upon the Antelope Valley California Poppy Reserve.
Since the day was warm with no wind, the poppies were at full regalia.
When it turns windy and chilly, the poppies will close their petals, and
wait for the weather to change back to warm and still. Antelope Valley is
just off Highway 138 about 15 miles west of Lancaster, on the western
tip of the Mojave Desert, and spans about 2200 square miles. You can
easily make it a day trip out of the Los Angeles area. Worth the trip, but
check the weather report rst. Check it out at www.californiapoppies.
com.
Spring & Customers
I love Spring. What a great time of the year, warm days, cool nights,
owers in bloom, and business picking up with the end-of-year school
award banquets right around the corner. Your customers coming in with
lists of names on napkins, scratch paper, old programs, and sometimes
even neatly typed and correct. We put up with a lot sometimes, but after
all, they are still our customers.
That brings me to my next item. I was in a Les Schwab Tire Store
in Sacramento, California, not too long ago, and noticed this document
on the wall behind the counter. I thought I would pass it along. It is worth
reading over and over and over.
Commandments Of Good Business
CUSTOMERS
1. Are the most important people in any business
2. Are not dependent upon u; we are dependent upon them
3. Are not an interruption of our work; they are the purpose of it
4. Do us a favor when they call; we are not doing them a favor by
serving them
5. Are a part of our business; they are not outsiders
6. Are not cold statistics; they are esh and blood
7. Are not people to argue or match wits with
8. Are individuals who bring us their wants; it is our job to ll those
wants
9. Are deserving of the most courteous and attentive treatment
we can give them.
10. Are the lifeblood of this and every other business
Taking business to the customer
The good folks at All Things Engravable/3D Graphics in Lancaster,
California, are expanding their customer outreach to include car shows,
fairs, festivals, and other weekend events around their area. They
purchased a 16 utility trailer with concession windows to take to these
weekend events. They have a new Brother GT-541 Digital Garment
Printer and will be able to put a persons picture on a t-shirt, or other
garment with just about any background. They will also take an engraving
machine with them in the trailer, so they will offer on-site engraving as
well, while the customer waits.
Sharon and Doug Avant are the owners, with sons Doug and Derek
sharing the load. They have been in business for 25 years, and have a
beautiful showroom. They offer multiple services in their shop including:
glass etching, executive gifts, promotional products, custom embroidery,
custom screen printing, photo mugs and shirts, vinyl signs and graphics.
Sharon and Gary are a great example of being pro-active. They like to
make things happen, not wait to see what happens. As Sharon says,
You gotta keep movin on. Good luck on your new, exciting venture.
The Question is
I will close with this question for you to ponder. Are you Pro-active, Re-
active, or In-active?
See ya next month.
Thats all for now. Remember to save some time for yourself and your
family. And when you travel, please travel safe.

Corel 08 April

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Donna Grays 2nd book, Its All Relative!

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