Corel 08 Sept

Published for the Association of CorelDRAW Professionals (ACDRP) / www.coreldrawpro.
com
CorelDRAW
Pro
the entrepreneurial
magazine for
CorelDRAW
users worldwide
September 2008
Cover Art by
Scott Phillips p. 7
Facts About Draw Fusion
CorelDRAW
IQ Quiz
Using a
Vector
Service
Laser Mask
Material
Setting up
an Art
Department
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September 2008 2
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September 2008
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
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:
Transformers
33 Product Focus:
Holiday Ornaments
35 GNN Network
35 Marketplace
36 Contributing Writers
CorelDRAW
Pro
CONTENTS
9 Using CorelDRAW:
CorelDRAW Basic IQ Test
by Dave Demoret
11 CorelDRAW Applied:
Using Print Merge - Part 1
by John McDaniel
14 Inside Color: Not a Happy
Ending ... But Future Business
for Me ! by David Milisock
16 Inside Screen Printing:
Choosing A Vector Service
by Jeff McDaniel
18 Inside
Sandblasting:
Laser Mask
Material - Part 1
by Judy McDaniel
20 Inside Engraving:
Drive Unit 3 by John McDaniel
23 Getting Ahead:
Setting Up an Art Dept.
by Deborah Sexton
26 Guest
Column:
The Facts
About Draw
Fusion
by Scott Phillips
31 Marketing Secrets
Lets Get Our Heads
Out of the Sand
by Donna Gray
37 Traveling Tidbits:
Great Service, Hand
Engraving, and a Prayer
by Otis Veteto
Columnist Bill Leek out of
contact in Houston, see
story p. 29
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CorelDRAW
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GRAPHICS NEWS WIRE
September 2008
Product News Headlines:
Calendar (Web Link)
Check out the upcoming training
classes and trade shows of
interest to CorelDRAW users.
PSI adds more mug options for
sublimation
EuroTrophex to open Oct. 11-13
in Netherlands
Hirsch offers Mimaki DTG printer
Hirsch offers Free Webinars in
Oct. and in Dec.
Unisub adds two-sided
aluminum products
Roland adds new Roland
Restyling Solution to media line
Embroidery Training Videos
offers Universal Machine Repair
DVD
Sawgrass releases SubliM for
wide-format sublimation
Great Dane Graphics offers new
How-to T-Shirt Art Book
Pantograms / Toyota hosts free
decorating business workshop
SWF launches educational
searchable database online
Sanmar releases 2008 Holiday
Gift Guide
Roland introduces VersaArt
Series of wide-format inkjet
printers
Transfer Express offers Easy
Prints election transfers
Corel and Wilcom launch
EmbroideryStudio e1.5 and
DecoStudio e1.5
SOS From Texas offer organic
cotton sweat pants
Sawgrass expands Charleston
operations
Roland introduces worlds rst
UV Inkjet Printer / Cutter
NEWS
DETAILS
(Click Here)
September 2008 6
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September 2008 7
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About the Cover

Scott Phillips
This eagle and American ag design, which was originally created from scratch
in CorelDRAW, was a commemorative design for the re and police departments
involved in the 9-11 disaster. Once the original artwork was converted into stitches
using Draw Fusion, I put a lot of my own artistic ability into the digitized version,
says Scott Phillips, owner, JS Digitizing, Williamsport, Pa. I used different types of
stitches including satin, lls, manual stitching, and layering for the feathers on the
eagle. Blending tools also were used to create the blending and highlighting of the
ag areas. I created a lot of layering on the eagles head manually.
The designer, Scott Phillips, has been involved in embroidery
and digitizing for 18 years, and his family has been in the
industry since 1976.
Scott Phillips
JS Digitizing
Williamsport, PA
scott@jsembdigitizing.com
www.jsdigitizing.com
September 2008 8
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Inside ACDRP
By Mike Neer,
Executive Director
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:
4549 N. Glenn, Suite 110,
Fresno, CA 93704;
800-276-8428, 559-276-8494 Fax 559-222-1390
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 2008 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
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SEPTEMBER 2008
Transformers
Recently, I was studying some of the new discoveries in
quantum physics (not your average bedtime reading, I know),
and I was struck by one phrase used to describe the innite
creativity of the Unied Field. It was said that, at that level,
one could transform anything into anything.
Since the quote was dealing with creativity, it got me thinking
about what CorelDRAW users do every day. It occurred to me
that, in many ways, you are master transformers!
Now I know the Transform Effect in CorelDRAW allows you
to De-Interlace, Invert, or Posterize an image. But Im talking
about more than just one set of tools in the program.
The dictionary denes transform as to change markedly
the form, character, or appearance of. Isnt that what you do
when you design a new graphic? And even more so when you
apply it to a product? You change the form or appearance of
the image or product you are working on.
The reason this is important is that I believe the skill and ability
to transform graphics is easily transferred into entrepreneurial
and social activities. It seems that if we fully grasp the
transforming ability that we have, we can also transform our
businesses and our society.
Stay with me for a minute! Lets take a look
at the creative moment when you design
an image. You have an intention to design
something for a particular project. There
may be certain parameters to the job. So you
then put your attention or focus on how lines,
shapes, colors, etc. can meet the needs of
the job. As you focus your attention, you are
ltering out what wont work, and funneling
down closer to what will. At some point, you
let go of your focus, and all of a sudden,
an image pops up that might work. (Quantum physics says
that image pops up from the Unied Field, the source of all
creativity.) If it doesnt quite work, you focus again, and let go,
and another image comes up. You keep doing this till you get
something that works, perhaps drawing possible shapes as
you go to hold your focus.
Okay, thats a description of the mechanics of how I think most
people create. Now what if we apply this same procedure to
how our businesses are run, or how our local communities
are run? In other words, can we apply the same transforming,
creative process to something more than graphics?
What if, instead of worrying about the economy, we were able
to focus on what our business needs, ltering down, until we
let go and see what solution pops up? And what if we did that
to every area of our business? Couldnt we transform our
businesses into something more protable, more effective,
and so on?
This is why CorelDRAWPro focuses on education for both
graphics skills and entrepreneurial skills. Its the same creative
process thats involved in both just in slightly different
arenas. I believe with the right intention and attention, we can
transform one graphic into another, one level
of business success into another, and one
worry-lled economy back into an exciting
growing one.
This is why I believe CorelDRAW users are
perfectly positioned to weather any economic
slowdown. You have the creativity to
transform!
Im ready to take it to the next level. How
about you?
September 2008 9
Pro CorelDRAW
Using CorelDRAW
Training
By Dave Demoret, Contributing writer
CorelDRAW Basic IQ Test
In the graphics industry we sell products, right? Not

exactly. Everyone handles the same, identical, products.
Then why do some sell faster than others? Why is the
guy down the street able to sell his product for $10 to $20
more than you?
Because in this industry, WE SELL GRAPHICS. We are
custom decorators of products. If we do a great design
we sell a lot of product. Even a catchy phrase will sell
product for us, but adding a curve or a cute little emblem
to the phrase will also attract attention and boost sales.
This really means that if you dont know enough about
graphics in this industry, youre shooting yourself in the
foot. That makes it harder to walk.
I knew a gentleman that told me he loves seminars and
that he learned all he knows from attending seminars. He
had been going to them for 30 years. 30 YEARS !
Is that how long you want to take to learn your
graphics?
Seminars are great, if you just want to see what someone
else can do with the product you own. Seminars are great,
if you just want to pick up a tip or two. Seminars are great,
if you just want to learn something about how a tip or trick
can help you out. Seminars are great, if you like crowds,
dim lighting, PowerPoint presentations, and questions
and answers you cant quite seem to hear. Seminars are
great, if you dont mind forgetting 75% of what you heard
(or could hear) before you get home.
Many businesses, whether youre a Mom & Pop shop
or larger, can lose more money in one week struggling
with graphics than it costs to take a Workshop or buy
Training CDs. Most companies will lose this amount within 30 to 90 days. If you
stop to think about this, every quarter of the year you could lose an average of $500.
Thats $2,000.00 a year as a minimum.
Here is an example of what Im talking about:
There were two gentlemen that called me one day about a problem they were having
with a design. I told them how to get their solution within a 5-minute time frame and
they were elated.
Then we discussed what had nally prompted them to call me. In general, this is
what they told me: We started with this design and both of us worked on this for two
days and couldnt gure out how to do it. We nally decided to call you to see if you
could help us out.
Two people, two days! How much money do you suppose they lost here? Including
the loss of time on other money-making projects that they put off to do this?
Take a look at the hearts with this article and see what level you might be.
Then take this short quiz to see if you might not benet from getting some training.
Whether you are just beginning with CorelDRAW or have several years experience,
you may nd that you could be spending less time on computer and more time in
production. Take this simple test to see where you stand in getting the job done quickly
and making more prot.
1. Can you take the rectangle shape in gure 1 and make it into the second design
within 30 to 40 seconds?
YES NO
2. Can you go from any tool you are working with to the Pick Tool within one, or two,
key strokes? That is, without moving over to the pick tool with your mouse.
YES NO
3. Can you knock out an image from a photograph within a few minutes?
YES NO
September 2008 10
Pro CorelDRAW
Using CorelDRAW
Training
4. Can you create a silhouette from an
image in a photograph?
YES NO
5. Can you nd a specic CMYK or RGB
color from a photograph?
YES NO
6. Can you create the frame in gure 2
within 60 seconds or less?
YES NO
7. Can you t text to a path and know how
to eliminate the path and still edit the text
at a later date?
YES NO
8. Can you select and edit an object within
a grouped object (or design) without un-
grouping the design?
YES NO
9. Can you create a design like the one in
gure 3 within 15 to 20 minutes?
YES NO
10. Can you scan an image and auto-trace
it with fairly consistent good results?
YES NO
If you answered NO to 5 or more of these
questions you are probably losing big
money on a daily basis.
There ARE NO guarantees. You cant learn
CorelDRAW in a few hours or a few days.
Also, if you take training or buy CDs and
dont use them, youve wasted your time
and money.
With a little CorelDRAW Training you have
the possibility of cutting your design time as
much as 30% to 50% within 30 to 90 days.
These numbers will depend on how much
(or how quickly) you study and how much
you use CorelDRAW.
For more information on CorelDRAW
Training or Training CDs, contact the author
at the location below.
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 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
September 2008 11
Pro CorelDRAW
CORELDRAW APPLIED
By Judy and John McDaniel Applications
Using Print Merge Part 1
Often we need to create multiples of products where

each piece has some slight variation. Name badges, for
example, might all have the same basic layout, with the
just the name being different on each item. Certicates
and award plaques are other products that might also
have this need. Some products require serial numbers
or some other unique identication number on each
piece.
The brute force method is to duplicate the layout changing
each layout for the
variation needed.
This technique is
ne if we only have
a f ew pi eces t o
produce; however
when faced with a
long list of names,
serial numbers, or
ot her var i abl es,
t her e ar e mor e
efficient methods
available.
In the last article,
we discussed how
we can use pages
and layers to meet
the requirement of
introducing variable
data. This time well
start exploring Print
Merge as another
method of dealing
with a list.
Picture 1 shows a snapshot of
the database we used for the
badge example.
Picture 2 shows a snapshot of
the certicate database.
Background
Print Merge in CorelDRAW is a variation of the Mail Merge
function most word processors have. Mail Merge allows
you to send the same letter or other correspondence to
a number of recipients and personalize each piece with
the recipients name and address. Some of the more
sophisticated systems also allow you to incorporate
the recipients name in the body of the letter or other
document.
CorelDRAWs Print Merge allows you to use the same
methods to produce all types of products. It doesnt
matter if your output is going to a printer, engraving
machine, or any other output device, Print Merge is an
efcient method of introducing variable information into
your layout.
Print Merge Basics
There are two elements that are required for Print Merge
to function.
First you need a database, i.e. a list of the variable
information that will be inserted into each item. The
database will be made up of individual records. Each
record will have elds or data elements that contain the
variable information needed for the products.
The database must contain at least one record; it can
contain hundreds or perhaps thousands of records.
The second element required is a basic graphic layout
for the product you are producing. The layout will contain
all the constant text and graphics, along with insert areas
identied by eld-name. These insert areas are where
the variable information will be placed in each individual
piece. As an example if youre creating name badges,
the database will contain at least one data element or
eld in each record; the name eld.
The database might actually contain several data elds.
For a name badge, we might have a rst-name, last-
name, perhaps an employee number, and title. For an
award certicate or plaque, we might have the recipients
name as one eld and a description of the award they
are receiving as another.
Typically each database record will result in one end
product. However, individual records can be turned on
or off for output; more on this later.
The data thats merged into the graphic layout will
assume the characteristics of the text eld its merged
into. This will become clear in the examples.
Database Examples
Picture 1 shows a snapshot of the database we
Picture 3 shows a name badge layout setup
for print merge.
September 2008 12
Pro CorelDRAW
CORELDRAW APPLIED
used for the badge example.

Picture 2 shows a snapshot
of the certicate database.
Each database contains two
records.
Notice the checkmark next
to each record. This mark is
a toggle eld which selects
or de-selects the record for
output. The checkmark, if
present, selects the individual
record for output or merging.
The default state for each
record is on, checked.
If you wish to bypass a record you can turn it off
by left-clicking on the check mark for the record.
Left-clicking a record that is off will turn it on. This
is a useful feature that allows you to run or rerun
individual records.
Database Sources
Databases can be created from scratch; they can
then be saved and then later opened. Databases
can also be digital lists provided by customers that
can be opened into the project. Well cover these
details next time.
Merge Layout Examples
Picture 3 shows a name badge layout setup for
print merge. Notice that the merge eld is identied
in the layout by the text <Name>.
Picture 4 shows a certicate layout. Notice that there are two elds that will be merged
into the layout.
Merging the Database with the Layout
Once you have the database and layout completed and linked, then its time to merge
the database with the layout and produce individual records for output. This is done
with the Perform Print Merge command. Click on File/Print Merge/Perform
Print Merge, see picture 5.
Picture 4 shows a certicate layout.
Picture 5 Use the Perform
Print Merge command to
merge the database with the
layout and produce individual
records for output.
September 2008 13
Pro CorelDRAW
CORELDRAW APPLIED
This command will merge
the database into the layout
and call the Print dialog
screen where you can
select and set up the output
device. By default it will
produce one page for each
record in the database.
Picture 6 shows the first
record of the name badge
merged i nto i ts l ayout.
Picture 7 shows the second
record of the certicate.
New Print Merge features in X4
In older versions of CorelDRAW up to and including X3, when you perform a print
merge, the database is merged into the layout and sent to the output device after
youve selected it and set its parameters.
The only opportunity you have to proof the result of the merge is by using Print Preview.
Unfortunately, at that point there is very limited editing that can be done.
One example of the downside of this method is that if you are merging a long name
into a name badge, and have selected a font size that is appropriate for smaller names,
Print Merge will not resize the name to t the available area, and therefore, the name
may actually be larger than will t on the badge.
X4 has resolved this issue
by adding a new command,
Merge to New Document.
When you select this output
method a new document is
created as an intermediate
step on the way to output.
The intermediate document
wi l l have one page for
each active record in the
database.
This method allows you
to make any adjustments
necessary prior to sending the le to your printer or other output device. You can
change point size, alignment, or anything else you need to. It also allows you to create
a PDF le to send to your customer for nal approval, if necessary.
Other enhancements were also made to Print Merge in X4 which make creating and
opening customer supplied databases easier.
Conclusion
Next time we will continue our exploration of Print Merge. We will create a database,
and import one. We will also create a layout and place our merge elds into the
layout.
Judy and John McDaniel are owners of JHM Marketing and CorelDRAWhelp,
Inc., in Albany, OR. They provide consulting and training services for the industry.
Currently they are both Corel Training Partners. They offer private training at their
facility in Albany and on location for corporate customers; as well as group training
at CorelDRAW
help tour events around the country. (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.
Picture 6 shows the rst record of the name badge
merged into its layout.
Picture 7 shows the second record of the certicate.
Recommended Titles of the Month
To order online, visit www.CorelDRAWPro.com
CorelDRAWPro Bookstore
800-276-8428
www.coreldrawpro.com/AllBookstore.htm
Sandblast Essentials
CD course
by John & Judy
McDaniel
Its Who Knows YOU!
Network Your Way to
Success!
by Chien Wang
September 2008 14
Pro CorelDRAW
INSIDE COLOR
By David Milisock Training
It hardly seems like it but nearly two years have passed

since I started writing the technical articles on color for
this publication. Im sure that few of you readers know
that a great deal of my work is consultation on business
matters concerning graphic technology. Since Ive
recently run into similar situations at multiple companies
I thought it might be interesting to share the insights of
some of the conversations.
CLIENT: My business coach recommended that I hire a
production manager and a controller so I could improve
my efciency.
CGT (CUSTOM Graphic Technologies): Has your
business coach ever run a graphics company or even
a small business of 5 employees like yours?
CLIENT: Well, I dont know, he came highly recommended
by our local Chamber of Commerce.
CGT: Did he have a resume listing the companies similar
to yours that he has owned or managed in the past?
CLIENT: No, he listed companies he has consulted
for.
CGT: Any of them what you would consider successful
graphics companies?
CLIENT: No.
CGT: Well then, while there are always similar business
situations in all businesses, like insurance regulations,
documentation, and leadership, no recommendation
can be valid unless they follow a complete survey of the
business done by a professional that has a complete
understanding of the technologies required to produce
your products as well as extensive experience within the
graphics industry. In my opinion your business coach
may not have any valid qualications for your industry.
Not a Happy Ending
but Future Business for Me!
CLIENT: Would you consider helping us with our
problem?
CGT: What do you see as your problem?
CLIENT: We sell $535,000 a year but NET only
$36,000 a year including the companys owner yearly
compensation and we have 4 full-time employees.
CGT: We will need to start with a complete work ow and
pricing survey, including all software, communication
processes, and management structure.
CLIENT: We have scheduled the interviews for the
controller and production manager. Would you help us
with them?
CGT: Yes, I can schedule meetings and create a
questionnaire.
CLIENT: What di d you thi nk of the control l er
candidates?
CGT: They were all wonderful people, however none of
them had any experience in your industry. According
to our survey of your business practices, the tasks that
the proposed candidates will perform are already being
handled by one of your staff. You simply need to allot
more time for detailed examination of the data and make
decisions on the results.
CLIENT: What about the producti on manager
candidates?
CGT: Every candidate interviewed came from another
company in the area that has undergone some serious
cutbacks, consolidations, or actual closings. My rst
thought is that everyone interviewed is currently or
has been part of an unsuccessful management team,
possibly causing the failure of the companies that they
were now seeking to abandon. We need to remember
that bad leadership habits are learned over long
periods of time and all these candidates may need to
be retrained.
The results of the questionnaire filled out by the
candidates were less than impressive. None of the
candidates had any real working understanding of
graphic applications, color management, Postscript
technology, bindery technology, large format printing,
or any of the manufacturing processes used by your
company. The results of my interviews suggested
no real understanding of basic team leadership.
Basically, they were all data processors that relied on
the knowledge of others and none of them could add
any real technological or leadership assets to your
company.
CGT OBSERVATIONS:
After my survey I observed that you have ONE KEY
sales person who happens to be the owner and ONE
KEY production person. Both literally work many hours.
The most serious issue is that these individuals have no
time to actually manage the company because they sell,
produce, deliver, and install most of the work. Also the
skill sets identied by your original business coach as
needed by the company not only already exist within the
company but exist within uniquely qualied individuals.
These individuals simply lack the time to assign more
hours to management and less to manufacturing.
Another serious observation was that the competitive
pricing structure was about 11% low when
compared to your regional competition.
September 2008 15
Pro CorelDRAW
INSIDE COLOR
By David Milisock
Managing color is a big mystery for many
graphic designers and printers. But author David
Milisock says it doesnt have to be. In this new
book Milisock aims to take the guesswork out of
color management in the CorelDRAW Graphics
Suite. His goal is not so much to give you a tutorial
on color, but rather to provide a clear guidebook
for making the best decisions to achieve the most
accurate color for your purposes.
Designed for the color professional and
the le creator in small and home ofces, this
book provides a detailed explanation of how the
CorelDRAW Graphics Suite color management
interface reacts with the graphics environment
today. Author David Milisock is a trainer and consultant on color management,
who also writes the Inside Color column for CorelDRAWPro.
In this book, you will learn the definitions of key terms used in color
management, such as color space, color model, gamut, proles, saturation, hue,
brightness, and more.
Then youll learn how to use the Color Management Interface controls for
different kinds of situations. It offers step-by-step instructions for using the color
management dialogs, and shows how to work with color proles for camera and
scanner proles, for monitors, and more.
The major part of the book, then focuses on Workow Calibrations. This
describes actual setups for monitors, Postscript and non-Postscript printers,
as well as RIP drivers. Hell show you how to do color space conversions and
general le processing so you get the color the way its supposed to be. He also
discusses digital photography, settings for Internet and presentation work, as well
as for spot colors and remote proong.
The nal section shows you how to coordinate with Adobe applications,
including PDFs.
All instructions are enhanced with friendly screen captures, and the book is
published in PDF format for ease of use and affordability.
Color Management for the CorelDRAW Graphics Suite can by ordered from
the CorelDRAWPro Bookstore for $29.95. It is currently available for immediate
download.
Color Management for the
CorelDRAW
Graphics Suite CGT RECOMMENDATIONS:

I nd it impossible to recommend any hires that place over $100,000 per year salary
increase on this company because Im positive that there is insufcient ability to
enhance manufacturing efciency to pay for those costs.
INSTEAD:
A modest 5% price increase will raise $25,000 per year. Use those funds to hire two
part-time utility people, one from morning start up for four hours and the second for
the four hour before evening closing. These individuals will do all possible inventory
stocking, pick up, maintenance work and deliveries. Freeing up time the sales person
and the production person spent on these many time consuming, but mundane
responsibilities.
The pricing study also suggested that you could purchase your large format output
from a trade service only provider for a modest 2% increase in cost. Doing this would
relieve your large format output person of up to 20 hours of work per week where the
individual could be re-tasked to handling installations.
Utilize third party sub-contractors for your large installations and production of product
outside of your capabilities to enhance your market share.
THE CLIENTS POSITION:
This goes against what my coach said and I believe that I need to give that a try
rst.
THE RESULT:
Slightly over two years later and the impetus of this article, I was asked to assist in
the liquidation of this company. The owner couldnt make the leap from doing the
work to managing the staff to do more of the work.
My recommendations from a technical standpoint to you, our loyal readers, is that
you identify the core technologies that govern your industry and nd consultants that
fully understand what those needs are. Our industry has evolved to a point where
the need of management to understand the technology is growing at a rate that
exceeds all other changes in the industry combined. One wrong decision on a
RIP, color management, output device, or management team can permanently cripple
a company beyond the ability to survive.
David Milisock, president of Custom Graphic Technologies Inc. of Lancaster, PA,
has been in the print production business since 1975. He specializes in professional
support for CorelDRAW Graphics Suite. He offers technical and color management
support for all RIP-driven corporate digital output systems, and also offers Giclee
printing. He can be reached at 717-509-3523 or davidmilisock@comcast.net.
September 2008 16
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INSIDE SCREEN PRINTING

By Jeff McDaniel Applications
Choosing a Vector Service
Background
In addition to screen printing our shop offers laser
engraving, rotary engraving, sand blasting, digital
printing, signs, banners, stickers, awards and retail gifts.
Often we will have a heavy work load with at least one
of our processes. When a new customer comes in for
screen printing, the artwork is usually not truly up to
snuff for the screen printing process.
What we started with
Our customer provided us with a shirt produced by one
of our competitors to bid against (see Image 1). Most
screen printers and graphic artists will not release
artwork to the customer. We took a digital photo of
the shirt and kept it against the eventuality of getting
the job.
Getting the vector art you need
If you need to create vector art from a scanned piece
of art or a photo, it can take a lot of time and expertise
to get your artwork vectored. Another option is to use
a vector art service. We spoke with Artwork Source
(www.artworksource.com) and actually got hold of a real
person on the rst try. The people at Artwork Source
will produce the artwork in a variety of formats (including
CorelDRAW format) for a variety of processes.
Choosing a vector service
Our priorities in choosing a vector service are quality,
service, post-vector processing, and price. Your
priorities may be listed in a different order. We generally
judge the quality of a vector image based on both the
accuracy to the original and the number of nodes used
to create the image. If the image comes back with a lot
of nodes in it, then it was probably machine generated
and may cause problems for some processes. Service
for a good vector company should be completed within
24 hours of original transmission. We always like to call
the vector service on the phone to verify we can actually
get hold of someone. Post-vector processing has to
do with the amount of work required after receiving
the le back from the vector service to get it ready for
production; we will cover the post production on this
graphic later in this article. Prices vary from service to
service; we avoid the $5 companies.
Transmitting the artwork to your vector service
To start with, we need to crop out the unnecessary
information and export the image as a 300 dpi jpg (see
images 2 and 3). Once we log onto the Artwork Source
web site we will give the vector service some specics
about what we want to do with the le (see Image 4).
One of the things we like about this particular
vector service is the specication of le type,
Image 1: Photo of customers shirt
Image 2: We crop unnecessary information
from the photo.
Image 3: We export it at 300 dpi.
September 2008 17
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INSIDE SCREEN PRINTING

color scheme, and le purpose. By asking this set of questions, the vector
service is able to provide les that require less post-processing and less time
to prepare for production. We uploaded our image at 8:43 AM and did not
select RUSH JOB.
Post Processing
Artwork Source sent us an email at 11:40PM and we downloaded our artwork
(see Images 5 and 6) the next morning. Since the artwork was converted to
spot colors and created for the purpose of screen printing, we can go right to
a print separation preview (see Image 7). All of the colors in the design are
spot colors so there are no CMYK or RGB layers in the separations print list.
We have one more color than we want and will need to cut it down to 4 colors.
The only other thing we need to do with this le is select everything and tell
CorelDRAW we want to overprint our outlines.
Conclusion
Our company is often too busy to sit down and manually draw artwork. We are
also not yet large enough to afford to have a designer on board full time. Vector
services provide an excellent resolution to the problem of time and artwork.
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 4: We provide specics the to
vector art service, such as removing
the background.
Image 5: We download our artwork
from the service
Image 6: We then check the new artwork
on our system.
Image 7: Then we go to a print separation preview.
September 2008 18
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INSIDE SANDBLASTING
By Judy McDaniel Applications
Laser Mask Material Part 1
At most of our classes we tell people that if they own a laser, they should consider
adding sandblasting for glass and other hard materials. Sandblasting produces a
smoother nish; and since it removes material, with it, you can achieve depth in
engraving.
If people are already sandblasting and looking to expand, we suggest they should
consider adding a laser and use laser mask.
What is laser mask?
Laser mask material is a exible sandblast resist lm that you apply to your product
blank; and then burn your design through it using a laser engraver.
It is a non-PVC material that wont damage you laser machine because it is non-
corrosive. PVC materials, like sign vinyl and contact paper, give off a gas when
burned that is very corrosive, can damage the machine, and is very hazardous
to your health. Never use PVC materials in your laser!
Other Useful Qualities!
Laser mask material is extremely easy to work
with and apply. It is a single layer self-adhesive
material. It has a certain amount of stretch so
it will conform nicely to the project. You can
lift it and reposition it if you have bubbles or
creases in the engraving area that need to be
removed. You can even reposition the mask
after low power test engraving; however its
best to do any repositioning before the nal
engraving. Remember, you burn the image
in after you apply it to the product.
I use a squeegee on at projects to apply it,
remove bubbles, and to smooth it. On curved
glasses I remove both carriers and I use my
ngers instead of the squeegee. I nd that by
removing both carriers, on smaller projects,
that I can control the laser mask material better when applying it. On one project,
for example, which was a curved ute, after doing the test run, I realized that the
creases in the outer edge of the laser mask tape were going to be in the engraving
area. I removed the laser mask in the creased area, reapplied it on the glass, making
sure that I wouldnt have creases where I was going to be engraving, and then ran
it. Repositioning is not possible with photo mask material after the carrier has been
removed.
On another project, my engraving area was wider than the 4-inch tape I
had so I overlapped the tape in that area with a second piece. It was a at
Rayzists
Laser
Mask
Material
Laser mask material applied to a wine glass and set in the laser.
September 2008 19
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INSIDE SANDBLASTING
piece of glass so I didnt have to worry about repeatability. I
engraved the image twice to make sure that I had removed all
of the overlap tape in the engraving. (Note, I am not advocating
overlapping the mask; however, it did work out in this case.
You should use wider mask material if possible.)
Who makes this material?
There are two major manufacturers of the material, Rayzist
and IKONICS Imaging. Rayzists laser mask has changed
from a black opaque lm to a translucent red and IKONICS
is transparent green.
Conclusion
I had an opportunity to test some of Rayzists new improved
tape a few weeks ago. The sample that I had was a few shades
lighter than the nal product; however, I really liked the new
sample color and its transparency. I applied it to a couple of
items, a wine glass and a mug. I liked the results on both. I
picked a black mug, because I have had numerous times when I
couldnt see the edge of my mask material on a dark item, such
as wine bottles or mugs, and didnt get my masking tape over
the edge of the mask before blasting it. The result, of course,
was a ruined piece. With their new material, I was able to see
The same wine glass after lasering.
the edge very well because it has a sort of pearl look to the
surface and is transparent.
Next time we will continue with our discussion of laser tape
and how to use it.
Judy McDaniel, with her husband John are owners of JHM
Marketing and CorelDRAW
help, Inc., in Albany, OR. They

provide consulting and training services for the industry.
Judys background includes many forms of art and retail
sales. Currently they are both Corel Training Partners. They
offer private training at their facility in Albany, and at selected
locations throughout the U.S., and on location for corporate
customers. (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.
IKONICS Laser Mask Material
September 2008 20
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INSIDE ENGRAVING
By John McDaniel Applications
The Drive Unit Part 3
In this series were exploring the components of

engraving machines to see how they contribute to
the quality of the machine and its nished products.
Were considering Motors, the Drive Unit, Guide Rails,
Encoders, Tachometers, Bearings, Spindles, Material
Hold Down, and the Electronic Interface. This is the last
of three articles focused on the Drive Unit.
Definition (review)
We have dened the Drive Unit of a machine as consisting
of all the components that contribute to the mechanical
movement required for positioning the cutting (or laser
beam) relative to the material to be cut.
Each axis requires an individual drive unit to push, pull,
or rotate the material and/or cutting tool to the proper
coordinates. The denition of the drive unit does not
include the spindle system in rotary engraving machines.
It only includes the components necessary to position
the tool.
In Part 1, we considered motors and the conversion
of rotary motion to linear/axial motion. In Part 2, we
began our discussion of lead screw bearings. Now
well look at various types of ball bearings suitable for
our purposes.
Lead or ball screws are primarily used in rotary engraving
machines and not laser engravers, since lasers dont
encounter cutting resistance. Given that, the following
discussion is focused on lead screws and principally
applies to rotary engravers.
The Problem
We have a turning motor with a big bolt attached (lead
screw). On this bolt we have a nut attached to a table
or gantry which moves when the motor rotates. For this
discussion, we will assume a perfect t between the lead
screw and nut. Our focus is the attachment of the lead
screw to the machine. It must be held securely, and at
the same time, allowed to rotate. Therefore, we need a
bearing to hold the lead screw in place, allow it to turn,
and prevent it from moving in an axial direction.
Two types of bearing blocks
Two types of bearing blocks are used to keep the lead
screw from moving. The Radial Bearing Block (Diagram
A) resists primarily radial movement (side pressures).
The Thrust Bearing Block (Diagram B) resists both radial
and axial loads. Axial loads are back and forth pressures
against the ends of the shaft.
A Thrust Bearing Block is usually comprised of two back-
to-back angular contact bearings held together with a
bearing nut. The bearing nut is adjusted to eliminate any
axial movement (hysteresis) in the lead screw bearing
assemblies. Angular contact bearings are designed for
much higher axial loads than standard radial bearings.
Supporting the lead screw
Here are four primary methods of supporting a lead
screw (Diagram C):
1. Rigid-Free. A thrust bearing block on one end
the other end free.
Advantage: It eliminates the cost of a second bearing
block
Disadvantage: As the rotary speed of the shaft
increases, the unsupported end of the shaft will
vibrate or whip. The closer the lead screw nut gets to
the thrust bearing block, the longer the unsupported
length becomes, which magnies the problem. This
can cause a vibration between the cutting bit and
the material, thereby reducing the quality of the cut.
Application: This method should only be used
i n machi nes l i mi ted to very sl ow speed and
where a low machine cost is extremely important.
2. Simple-Simple. A radial bearing block is used at
both ends.
Advantage: Radial bearing blocks are less expensive
than thrust bearing blocks.
Disadvantage: Radial bearing blocks support the
shaft in the radial direction but have little support in the
axial direction. Since this method allows axial shaft
movement, it will result in positioning error.
Application: This method should only be
Diagram A- Radial Bearing Block
September 2008 21
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INSIDE ENGRAVING
used in machines that make products which can tolerate positioning error. For
example this is probably okay for routers used to produce large signs; however,
in a machine used for ne detail engraving, such as jewelry, this method is
unacceptable.
3. Rigid-Simple. A thrust bearing at one end and a radial bearing at the other
end.
Advantage: This method is superior to methods one and two. It supports both ends of
the shaft in a radial direction, and the thrust bearing block eliminates axial movement.
Disadvantage: It is more expensive that either methods one or two.
Application: It is commonly used in high quality machines.
4. Rigid-Rigid. A thrust bearing on both ends.
Advantage: This method will allow the highest shaft speeds if the two thrust
bearing blocks are pre-loaded to stretch the lead screw shaft; and thus reduce
vibration at the Critical Speed. Critical Speed is a condition where the rotary speed
of the lead screw shaft sets up harmonic vibrations in the center area of the shaft.
Characteristics that increase harmonic vibrations are; smaller shaft diameters, longer
unsupported length, position of the lead screw nut, and error in shaft straightness.
Disadvantage: This is the most expensive of all methods. The bearings are more
expensive, and it normally
requires the machine base
plate to be made from steel,
adding cost and weight. If
the drive unit is mounted
to an aluminum plate; the
pre-load (that is lead screw
stretch) of two thrust bearing
blocks will be modied by
changes in temperature.
Application: This design
is appropriate when high
speed movement is required.
Its not required for normal
engraving applications.
A fifth method
A fifth method which has
been used in the past is
Si mpl e - Fr e e .
This method is the Diagram B Thrust Bearing Block

September 2008 22
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INSIDE ENGRAVING
cheapest to produce. However, its the worst. It combines all
of the disadvantages of methods one and two above. Any
machine which uses this design should only be considered for
low precision, light load work that can be accomplished with
slow movements.
Recommendations
Supporting the lead screw properly is a very important
consideration in the machines Drive Unit design. Any
component that allows looseness will affect the quality of the
products produced. If jobs are large and/or offer little cutting
resistance, some looseness may be tolerated. If, on the other
hand, jobs include ne detail work, or work in materials that offer
some cutting resistance, a machine that uses a Rigid-Simple
bearing structure would be optimum
Finally, lets not forget bearing quality. As we discussed in
earlier articles, bearings are graded in quality by the ABEC
number. ABEC-1 is standard. As the number increases (up
to ABEC-9), precision increases and bearing looseness is
reduced.
As always the best test of a machine is its ability to produce
products acceptable to your customers; with time and effort
thats reasonable to you. Next time well consider guide
rails.
Judy and John McDaniel are owners of JHM Marketing and
CorelDRAW
help, Inc., in Albany, OR. They provide consulting

and training services for the industry. They offer private
training at their facility in Albany and on location for corporate
customers; as well as group training at the CorelDRAWhelp
Tour, events around the country. In addition, they provide
one-on-one application support through an email subscription
service. (For information on training services offered and
their application support service visit www.CorelDRAWhelp.
com.) (For information on the Association of CorelDRAW
Professionals, please visit www.CorelDRAWPro.com.) They can
be reached by phone at 541-967-4271, via SKYPE (user name
JHMcDaniel), or via email at JHMcDaniel@CorelDRAWhelp.
com. Diagram C Supporting the Lead Screw
September 2008 23
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GETTING AHEAD
By Deborah Sexton Opportunity
Before spending a dime on equipment
and supplies, make sure you have a
solid plan for the physical layout of
your new creative team.
At one point or another, every decorator and award
dealer must answer the question: Should I use freelance
artists to do artwork and separations, or should I handle
it myself? If your shop is considering bringing artwork in-
house, youre in for a challenging yet rewarding journey
one that requires some smart decision-making in
terms of design and layout but ultimately will help take
your shop to the next level.
Your rst step is to determine the size of art department
thats appropriate for your shops needs. Do you need a
small, one-man department or a full-blown staff with four
or more artists? In all likelihood, if youve been handling
art via freelancers up to this point, youll probably want
to start with a single in-house artist, but theres certainly
no right or wrong way to approach it. For a start-up,
youre talking about adding an art station the basics,
says Thomas Trimingham, consultant, Art4Screen.com,
McHenry, Ill.
Determining your art departments needs lets you move
on to the next big question: Where are you going to put
everything? It should be near customer service but
separate enough so that its not in a high-trafc area,
Trimingham notes. Make sure it ts into trafc ow of
your sales and production departments.
A few extra footsteps to take between the art department
and other key areas of your shop may not seem like a
big deal, but order after order, day after day, those steps
add up to a huge waste of time. Ive seen shops set
up art departments on a separate oor, which makes it
difcult, because you have to walk a long distance to
get to sales or production, Trimingham says. It slows
things down.
Youll obviously want to keep artists away from
excessively noisy areas (right by the embroidery
machines, for instance), as their job requires considerable
concentration. Also, if at all possible, avoid putting them
next to exposure units, dryers or inks hardly a setting
for creative stimulation.
Setting Up an Art Department
You may want the art department located a good
distance away from the lobby where your clients will
normally visit. I say this because most creative people
listen to music, and depending on the mood for the day,
it may be loud music, says Dane Clement, president,
Great Dane Graphics, Maple Grove, Minn. Let them do
it provided, of course, that its not disruptive to other
departments.
One handy technique for determining art department
layout is to plan out the artists location and seating
conguration by using grid paper to diagram different
options. Use the grid to look at how various placements
affect traffic flow, as well as practical
considerations such as whether a desk will
Ideally, you want your art department to be close to sales and
production but not in an area where there is a lot of in and out
trafc, which will be very distracting to working artists. Photo
courtesy of Minds Eye Graphics, Decatur, Ind.
For art departments with multiple artists, its great when they
can all be in the same room. You want each artist to have his
own area but be able to see each others monitors so they can
bounce ideas off one another during the day. Mitch Different,
far left, is the art director at Sunline Products, Katy, Texas,
where he supervises four other artists.

September 2008 24
Pro CorelDRAW
GETTING AHEAD
t comfortably in a particular area. A lot of people get all their

furniture, and then they set it up and shufe it all around,
Trimingham says. Use the grid to explore the possibilities.
The Right Arrangement
You should be mindful of the typical workow for artists,
possibly creating a drawing station and a scanning station,
advises Clement. A typical scenario for an artist working on a
job is to sketch an idea and then revise it to nished pencil on
tracing paper, he says. Then he scans it into the computer
and turns it into a nished piece.
The drawing area should include all necessary art supplies
(pencils, markers, straight edges, sketch pads, etc.) so that
all the artists tools are ready to go when inspiration strikes.
One of the biggest time wasters is having to locate all the
appropriate tools and supplies and then start sketching,
Clement says. One area devoted to this task will greatly
enhance productivity.
Shops with especially large art departments may want to group
artists together in clusters, with a designated team leader for
each area. Spread them out so they dont distract each other,
Trimingham says. Its effective to have them in a horseshoe
conguration, so they can talk to each other when they need
too, but they still have separation.
Not Too Far Apart
If at all possible, avoid putting artists in cubicles with high
walls, as creative types typically dont like to feel walled in or
trapped. Also, remember that artists need to be in a quiet
area, but not necessarily totally secluded.
An art department should be one room if possible; however
each artist should have his own area, divided by a
counter or walls so that others can see over them
ABOUT THE EXPERTS
Dane Clement is president of Great Dane Graphics, a company
specializing in high-quality preseparated artwork that is
specically designed for use by screen printers, embroiderers,
and digital decorators. He also is the direct-to-garment digital
printing application specialist for SPSI, an equipment and supply
distributor in Minnesota (www.sps-i.com). He has been in the
industry for more than 20 years designing artwork. He also is
a frequent speaker at the Imprinted Sportswear Shows as well
as a regular contributor to industry trade publications. You can
contact Dane at dane@greatdanegraphics.com or visit the Web
site at www.greatdanegraphics.com.
Thomas Trimingham has been doing artwork for screen printing
for the past 17 years. Hes worked as an art director, program
director, illustrator, high end-separator, and head of R&D for
one of the worlds largest apparel companies. He has been a
regular contributor to IMPRESSIONS magazine since 1999 with
more than 50 articles to his credit. He has been consulting in
the areas of art, separation, and screen printing efciency for
the past six years. You may contact him at ttrimingham@yahoo.
com or visit his Web site and blog at www.art4screen.com.
Sometimes, the artist owns the company, as is the case
with Richard Reilly, Liquid Designs, Jacksonville, Fla. In
the event the owner isnt an artist, he may want to get
some input from his incoming artist, hire a consultant, or
talk with other shops that already have an art department
for advice.
September 2008 25
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GETTING AHEAD
from a sitting position, Clement says. This will allow the
artists to bounce ideas off of each other without having to
leave their station. One can offer suggestions to another
by simply looking at the others monitor. A design will
always benet from the input of more than one person.
On the other hand, some artists may prefer complete
seclusion when theyre working. Regardless, while you
want to give creative types a fair amount of latitude, its
probably not a good idea to let them work in isolation.
You want to minimize distractions but you have to make
sure theyre staying on task, Trimingham says. Its
important to have accountability.
An easy way to make sure your artists arent spending
the day playing solitaire or goong around on Facebook
is to set up their monitors facing out, so that you can see
the screens as you walk by. For some people, these
sites are an addiction, and they dont shut them off,
Trimingham says.
Lighting
As youre developing your area for the art department,
be especially mindful of the spaces lighting. In general,
the art department should be a low-light space, as
strong lighting can cause glare and eye strain, Clement
says. Each station should have its own desk lamp for
workable light, he says.
Ideally, the area also shouldnt have uorescent lighting,
which flickers extremely rapidly, giving employees
headaches. Thats why your eyes get so tired. Your eyes
YOU ARE NOT ALONE
If you have enough experience with artwork, you may feel
comfortable doing the bulk of the planning about your new
art department. However, if youre not comfortable going it
alone, or if you simply dont have time to research all the
various factors that go into setting up an art department,
you dont have to tackle it by yourself.
In fact, as with any business endeavor you undertake,
its a good idea to consult with others in the industry
whove already tackled the task. Talk with decorators
whove successfully integrated an art department into
their company, and talk in depth about the challenges
they faced, and how they overcame them.
Besides relying on industry consultants, its also helpful
to work with your prospective artists to set up their
department. After all, who knows better what works for an
artist than the artist himself? Hes the one whos going to
be doing the work, so his input is primary, says Thomas
Trimingham, consultant, Art4Screen.com, McHenry,
Ill. But some owners are artists, and theyll make the
decisions themselves.
Deborah Sexton, former editor of Impressions
Magazine, has been in the apparel graphics industry
since 1981. She currently does marketing and public
relations for apparel graphics companies. She can be
reached at dsexton@sbcglobal.net.
are actually dilating really quickly, Trimingham says.
Worse yet, uorescent lighting can distort the way colors
look on the monitors. In other words, it may make a
burnt orange look like a deeper shade of orange, which
in turn could lead to color-matching problems during the
printing stage. The ideal scenario is for the artist to have
natural light, either from windows or skylights; ambient,
non-directional lighting also works well.
Natural light coming from the window is good, unless
theres a lot of trafc buzzing by, or other distractions,
Trimingham says. Also, you dont want windows on the
east or west side of the building or get some good
blinds to keep the glare away.
Clearly, creating an art department isnt as simple
as setting up a desk and a computer in a corner and
letting the designer do his thing. But with some careful
forethought, you can make sure that the process of
creating an efcient layout is a painless one and
you can ensure that your new department is creative
and productive.
Its very important that the artist have a desk and a chair that
are adjustable so he or she is comfortable, which will avoid
overuse injuries such as carpel tunnel syndrome and neck
pain. It is recommended that the computer monitor be at eye
level so the artist does not need to look down. Photo courtesy
of Minds Eye Graphics, Decatur, Ind.
Ideally, if artists cannot have space to draw right at their desks,
you can provide a drawing station, which is a separate drawing
board or table that is stocked with any supplies an artist might
need such as pencils, markers, and tracing paper. Photo
courtesy of Minds Eye Graphics, Decatur, Ind.
September 2008 26
Pro CorelDRAW
GUEST COLUMN
By Scott Phillips Opportunity
For shops already using CorelDRAW, Draw Fusion is an easy and fast way to
convert existing artwork into stitches.

If you are a shop that uses CorelDRAW as your standard graphics program and
you want to branch out into embroidery, there is a digitizing program that has been
designed specically for you: Draw Fusion.

Draw Fusion, which has been developed by Pulse and distributed by Hirsch
International, is specically designed to cater to the CorelDRAW users who need to
convert existing artwork into embroidery. This versatile feature is included in all four
levels of software that is part of the Tajima DG/ML by Pulse 2009 suite of products.
Draw Fusion supports all le formats currently supported by CorelDRAW, including
the latest versions of those formats.

The process isnt completely auto-pilot as it still requires some digitizing input. Users
need a basic understanding of the embroidery process and how stitches are formed,
or can work with an embroiderer to ne tune designs
for the type of apparel. But, the format will be very
familiar to anyone who knows CorelDRAW, and Draw
Fusion gives the artist a big head start in getting
a design converted into stitches, saving time and
increasing quality.

Here is a look at the hard facts about Fusions
capabilities.

How It Works
Draw Fusion gives CorelDRAW users a quick, easy
way to create embroidery designs, making it ideally
suited for decorators who havent yet developed
digitizing skills. The software comes with literature
and on-screen help menus that make it easy to begin
converting shapes into stitches with no digitizing
training.
The importance of this point cant
be overstated: A time-pressed
shop can allow graphic artists to
change images into embroidery-
ready designs without having to
learn an entire new program. They can take the artwork knowledge they already have
and essentially apply it into the embroidery world.

Of course, its not quite as simple as just opening an image in CorelDRAW and pressing
convert to stitches. Users need to understand and set a number of parameters in
advance pull compensation and stitch density, for instance. Those parameters
can be saved as presets, making it easy to open the settings for, say, eece or nylon.
User-dened parameters include underlay control, density, and pull compensation.
You also can tweak the softwares default settings to increase underlay for ne silks,
for instance.

The learning curve for Draw Fusion is minimal: Experienced CorelDRAW users should
be able to start converting images into stitches on day one. Where the learning curve
enters is making sure those designs sew out as intended, gradually discovering
that knits, wovens, and eece all interact with stitches in different ways. In order to
avoid a design looking distorted or out of registration, some trial and error will have
to occur.

The Human Touch
Embroidery is a skill and, in some ways, an art form one with countless variables
and nuances. Thats why no software can completely
replace the human touch provided by an embroiderer with a
good understanding of the decoration process. Meanwhile,
automated digitizing makes certain assumptions or decisions
about a design, some of which may not always t what youre
embroidering.

As with any kind of articial intelligence, software
can only take you so far. Undoubtedly, Draw Fusion
The Facts about Draw Fusion
September 2008 27
Pro CorelDRAW
GUEST COLUMN
does a great job of dramatically
simplifying and speeding up
the digitizing process but
there are still points in the
process where the decorator
will need to intervene; think
of it as ne-tuning it after the
initial conversion. Software
simply cannot anticipate every
situation and vendors who
promise otherwise are selling
the embroidery equivalent of
snake oil.

For instance, you might decide
to move an outline out a bit
further, or change its shape
slightly, given your experience
with how the stitches will
interact with the particular
fabric youre stitching. Clearly, a rich knowledge of embroidery will help users make
necessary adjustments to Draw Fusions output, thereby helping them make the most
of the softwares automated features.

Draw Fusion also provides
t he abi l i t y t o convert a
Corel DRAW graphi c i nto
a Tajima DG/ML by Pulse
artwork segment to provide
total user control over the
graphic from start to nish.
The user can make t he
conversion to stitches by
applying the stitch types
manual l y. So you have
the option to have artwork
automatically converted into
stitches or it can be done
using Tajima DG/ML program,
using the traditional manual
method.
One of the great features of Draw Fusion is its

ability to take an embroidered design and turn
it back into a graphic. So if a customer wants
embroidered and screen-printed shirts, you have
the capability to convert the embroidery le to
a vector le to use it for screen printing. Photo
courtesy of Hirsch International, Hauppauge, NY
This image shows the original graphic artwork on
the right and the converted-to-stitches le on the left,
which was done using Draw Fusion. Draw Fusion
works with all le formats supported by CorelDRAW.
Photo courtesy of Hirsch International, Hauppauge, NY
September 2008 28
Pro CorelDRAW
GUEST COLUMN
Saving Time
Whether youre a veteran digitizer
or youve never even opened a
digitizing program in your life, Draw
Fusion can save considerable time.
For veterans, they can rely on
the software to do the heavy
lifting and then make tweaks a n d
adjustments manually, based on their years of digitizing
experience. And for beginners, they can immediately get
stitch-ready results, without spending months or even
years learning the ins and outs of a particular digitizing
program. Draw Fusion can essentially serve as the new
digitizers training camp, introducing him to the art of
digitizing while hes creating good-quality designs.

Another time-saver:
Art i st s who have
little or no digitizing
and embr oi der y
experience can use
Draw Fusion to get
an understanding of
how images interact
with stitches. In other
words, theyll see
how Draw Fusi on
interprets their images, and they can start factoring that
in when theyre creating artwork; over time, theyll learn
to make their images more appropriate for embroidery,
which makes the Draw Fusion conversion process
even more efficient. The more knowledgeable the
artist becomes about embroidery and Draw Fusion, the
more intelligently he can prepare his designs, including
the way in which he arranges layers and connects
segments.

Convenience Vs. Power
Again, Draw Fusion is not intended to replace a
seasoned digitizing expert or a top-notch digitizing
program with all the bells and whistles. However, a
decorator who has some familiarity with CorelDRAW and
wants to quickly move into creating
embroidery designs without yet
learning complex new software and
techniques will nd Draw Fusion
to be an ideal solution.

That said, if youre not already familiar with CorelDRAW,
Draw Fusion may not be the most obvious software
choice. Thats because Draw Fusion is specically
designed to bring experienced CorelDRAW users into
the embroidery world.

Some decorators may nd that it makes sense to use
the high-end digitizing software, keeping full control of
the conversion process, and at the same time, have
Draw Fusion for automated conversion. This way,
the decorator can examine the artwork supplied by
customers and determine which solution will be the
fastest and most efcient.

Artwork Considerations
Most decorators have heard
the saying, Garbage in,
garbage out, and that
time-proven maxim also
holds true with automated
digitizing software. The
quality of Draw Fusions
embroidery is affected by
the quality of the vector
le you feed it. The vector
fi l es shapes shoul d be
smooth and clean, with even lettering. If you scanned
a customers business card, for instance, it will need
to be cleaned up and in vector format before putting it
through Draw Fusion.

Once the artwork is cleaned up, little or no editing may
be required for simple designs; complex ones, however,
are where the user will need to make adjustments. For
example, a simple logo or silhouette of a
plumber may require little or no adjustments
September 2008 29
Pro CorelDRAW
GUEST COLUMN
in Draw Fusion, where as a
more complex one like an
eagle or an American ag
images with details, outlines,
and multiple segments and
layers will almost certainly
require some adjustments.

On the topic of artwork,
Draw Fusion has another
powerful feature: It allows
users to take designs converted into stitches and convert
them back into CorelDRAW artwork. This versatility allows
you to vectorize many existing embroidery images with a few
adjustments.

Decorators who screen print can create designs that integrate
screen printing with embroidery using Draw Fusion. Draw
Fusion also allows integration of other types of garment
decoration so users can create multimedia designs.

As with any kind of software, Draw Fusion isnt a magical
solution for every possible situation a decorator may
encounter. However, it is a truly powerful feature that can
save decorators serious time and money by quickly and easily
converting their artwork into stitches. The program uses the
same logrithms as Tajima DG/ML by Pulse, meaning youre
able to get professional-quality results. For decorators with
CorelDRAW experience, theres perhaps no faster, simpler
way to begin creating top-quality embroidery designs.

Scott Phillips family has been
in the embroidery industry since
1976. He has been involved
in embroidery and digitizing for
the past 18 years. He started
his own company, JS Digitizing,
Wi l l i amspor t , Pa. , i n 1990
which offers full embroidery and
digitizing services. Phillips also
is an independent sales consultant for Hirsch International,
a distributor of Draw Fusion. For more information about
the program, visit www.HirschInternational.com. To contact
Scott Phillips, e-mail: scott@jsembdigitizing.com or visit his
company on the web at http://www.jsdigitizing.com to see
more samples of his embroidery work.
Columnist Bill Leek out of contact in Houston
Editor s Note: We wanted to let our readers know that
CorelDRAWPro columnist Bill Leek, who writes a regular column
about transfers and Corel PHOTO-PAINT, is alive and well at his
home in Houston, But
Since Hurricane Ike hit in early Sept., they have been without
power, without water, and with sewage backing up at the ofce.
One tree was blown down and hit his roof and destroyed his air
conditioner. Other than that, there was minimal damage. Houses
all around him sustained much more serious damage.
After ve days, he was able to get a cell phone connection working
and let us know how hes doing. He said as of Sept. 17, there is
one grocery store open near them (where I assume theyre buying
water), but he laughingly said everyone will have to be a vegetarian
as they cant keep any meat in stock. He said there are about 150
cars lined up at every gas station, and the station often runs out
before all the cars get serviced.
He said Houston is the fourth largest city in the U.S., and is
spread out over a wide area of the Gulf plain. The power outages
and ooding have impacted millions of people there. Because of
hurricane clauses in many insurance policies, many people will
have to pay cash for repairs.
Bills company, JBL Graphics, a well-respected
supplier of color laser transfer and sublimation
supplies, imprintables, and services, is obviously
down for a while. He says he can receive orders
via his Internet site at www.jblgraphics.com, but not
by phone. We urge you to save up some orders for him and for
others in the area when they get back on their feet.
September 2008 30
Pro CorelDRAW
The Association of CorelDRAW
Professionals is The Education & Business Resource for CorelDRAW Users Worldwide.
Its goal is to help: 1) IMPROVE your CorelDRAW skills, and 2) MAKE MONEY with those skills! You can participate in ACDRP services in four ways:
THE WORLDS ONLY ASSOCIATION FOR CORELDRAW
USERS
INVITES YOU TO MAKE MORE MONEY WITH CORELDRAW!
CorelDRAWPro E-News is a free digital newsletter delivered to
you twice a month focused on Industry News via the Graphics
News Wire, Links to valuable resources, and a complete educa-
tion and show Calendar. S
CorelDRAWPro, the Entrepreneurial magazine for CorelDRAW
users, features in-depth content on:
How to Use CorelDRAW -- tips, tricks, advanced
ar t wor k, success st or i es, i nt er vi ews, and mor e.
How to Apply CorelDRAW -- for graphic production
processes such as embroidery, engraving, heat printing, laser,
promo products, printing, sandblasting, signmaking, sublimation,
and screenprinting.
How to Prot from CorelDRAW -- Product news, business
columns, reviews, proles, and advertising with live links.
SUBSCRIBE -- NO CHARGE JOIN -- $60 PER YEAR
All users of CorelDRAW Graphics Suite are qualied to
subscribe free to CorelDRAWPro magazine (PDF format) and
CorelDRAWPro E-News.
Subscription to CorelDRAWPro &
CorelDRAWPRo E-News
TTF Newsletter. Subscription to the
monthly Tips, Templates & Fixtures
Newsletter only available to members.
GSG Basic Listing. You can list your
services in the Graphic Services Guide
in one category as part of membership (a
$25 value).
Access to QuickLearn. A keyword
searchable database of 100s of articles
on CorelDRAW, graphics production, and
business.
All users of CorelDRAW are invited to join the Association and
take advantage of exclusive content, discounts, and profes-
sional recognition. ACDRP membership includes:
TTF
QuickLearn
QuickTNT
Archives
BASIC GSG LISTING -- $25 PER YR
The Graphic Services Guide is the Industry Yellow Pages for
Services and Finished Goods. GSG is promoted in all our publi-
cations and our website to the world of CorelDRAW users. Your
listing gives you the opportunity to promote your services (in any
of 40 categories) to other CorelDRAW users.
The Basic Listing includes:
your company description
email link, and
listing in one category.
Additional service categories are $10 each per year.
The Enhanced GSG Listing is for companies that want to list in
two categories and add a photo or logo.
ENHANCED GSG LISTING -- $50/$75 PER YR
Classieds
Access to QuickTnT. A growing database
of CorelDRAW tips for understanding the
ne points of the program, and templates
that can be downloaded to speed up your
production.
Access to Archives. Past issues of
CorelDRAWPro are available to members
with live links.
Bookstore Discounts. Members receive
a 10% discount on all products in the Corel-
DRAWPro Bookstore.
Professional Recognition. Use of the
ACDRP logo for professional identication
on business cards, websites, and letterhead.
You also receive a membership certicate.
Classified Ads. Members can place
one classied ad per year at no charge with
photo, and run it till the item is sold! (a $35
value)
HOW TO PARTICIPATE
To Subscribe (no charge)
To Join ($60/yr)
To List in the Graphic Services Guide
($25 Basic $50/$75 Enhanced,
or $120/145 for Multi-Service)
CorelDRAW is a registered trademark of Corel Corp., and is used with permission.
Visit www.coreldrawpro.com
and click on the appropriate links.
800-276-8428
The Multi-Service GSG Listing allows you to list up to 40 differ-
ent service categories with detailed descriptions and add a photo
or logo.
MULTI-SERVICE GSG LISTING -- $120/$145 PER YR
September 2008 31
Pro CorelDRAW
MARKETING SECRETS
By Donna M. Gray, CRM Opportunities
Lets Get Our Heads Out of the Sand!
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 dis-
covered ve common
qualities implemented
by successful business
owners. Check it out
at the CorelDRAWPro
Bookstore, www.corel-
drawpro.com/AllBookstore.htm
Slumping sales in almost every industry in the country,
along with rising prices for everything from apples to
air fares, are taking their toll on our economy. Most
people have heard the story of Chicken Little and
the proclamation The sky is falling! The sky is falling!
This year, Ive run into a few people with that frame of
mind. Burying our heads in the sand doesnt help the
situation.
No doubt about itits been a tough year! I havent
talked to many companies that are bragging about
prots. Some say, Business is different this year.
Some are wording it differently with, Business is a little
off this year. Ive even heard, Business stinks! Ive
chatted with some who are into obsessive worrying
something small business owners can do quite nicely
during tough times. Some people dont even need
the excuse of tough times to make minor challenges
and/or frustrations become desperate situations. They
automatically have this kind of reaction when stuff
happens. And, lately, stuff happens!
Everyones feeling the pinch. Although, this week, the
price of oil has gone down a bit (lets not celebrate yet),
the cost of anything and everything fuel associated,
continues to escalate. This past week Ive been
trying, with no luck, to use some frequent yer miles
to arrange a trip to an industry conference. Since my
husband, Dave, and I travel quite a bit, one would think
that one of the three airlines we favor would be able to
accommodate our plans. Not so. In fact, no matter how
hard Ive tried to accommodate their new schedules, I
now think its time to use miles for travel in 2015 or the far
distant future. Its the only way one can guarantee using
the miles for when one really wants to travel. And then,
one has to be prepared to ante up for additional fees for
things that used to be gratis. Ive just recently booked
new travel for an early winter trip and I had to pay extra
for our seats. That smacks of the old car salesmans
joke Oh did you want tires with that? By the way, I
read, not too long ago, that it might be good to get travel
insurance since these policies cover much (or all) losses
if plans change. My travel agent friends are saying, its
futile to count on getting any refunds.
An article I read shouted the headline, In tough times,
airlines get tougher with refunds. I used to think we
were in a refund proof industry. Who would think
they could return something thats been personalized?
Well, folks, Ive heard a couple stories, this year, about
this very situationlike the non-profit agency that
overbought medals, engraved with the year, (in case
they needed more) and tried to return the un-used
pieces. My private reaction to this is, Were not a non-
prot industry, although, on some days, it might feel like
it. Some small business owners / managers might
react to circumstances like this, with great drama, while
others are able to cope, no matter what comes down
the pike?
Companies that are keeping their existing business, and
getting new business, have not buried their heads in
the sand. Theyre looking forward, focusing on a good
outcome for everything. Theyre prepared. Theyve
made their disaster plan. The skys the limit for what they
can accomplish, no matter what the economy. Theyve
got a handle on exactly how many sales days in each
month. Theyve planned for every available selling
second in the day. Their time is organized around the
money hours. Instead of moaning and groaning about
the high cost of doing business, theyre using their time
talking to prospects and existing clients.
Its time to get our heads out of the sand. Time is
money. One important survival strategy for a depressed
economy is the practice of good time management.
Success depends on:
Maki ng t i me t o t al k t o prospect s and
customers.
Taking care of all non-revenue generating work
either before or after taking care of business.
Keeping track of where you are in the timeline
for each sale youre working on.
Making time for follow up. Companies

September 2008 32
Pro CorelDRAW
MARKETING SECRETS
focused on getting through any challenge,
successfully, consider follow up to be an
essential tool.
Making a daily schedule of to-dos and sticking
to itbut leaving a little time in it for the
surprises.
Keeping all options open for new ways to
produce product, show product, sell product.
Planning ahead for up-coming interruptions
to your sales cycle, like holidays, travel days,
etc.
Starting as soon as possible on projects.
Theres no room for procrastination when
success is the goal.
Not wasting time. Getting projects going.
Keeping projects on scheduleon your end.
Setting the example, for other team members,
on every point on this list.
Keeping the sand out of our customers eyes, and
keeping ourselves in the top of their minds should
be a top priority. If possible, increase the advertising
budget, but only use methods that have worked for
your business. This isnt a good time to try out billboard
advertising if youve only used direct mail marketing in
the past.
This is the time to explore creative ways to increase
revenue and reduce costs. Increase the number of
hours you spend at workespecially in the sales and
marketing area. Remember, your customers may
be keeping longer hours too. Get out and network.
Someone called me The Queen of Networking
recentlyI love thatit means our company is visible.
So, put your companys networking efforts on steroids
just do it!
Be positive! People are attracted to cheerful,
enthusiastic, positive people. They like working with
people who demonstrate an upbeat attitude. Think
long term. Look at past trends. Remember the old
saying, What goes around comes around. If youve
done some business favors for some one, it might be
the time to call in the chits and ask for a referral or an
introduction.
It might be time to get our heads out of the sand and
start cold calling again. Most of us did that when we
were rst getting our businesses off the ground. When
the terms Tele-marketing and Tele-selling rst appeared,
many of us decided that real businesses didnt have to
cold call, but cold calling put the bacon on the table in
our house for a long timeand every time I get on the
phonesour phones start to ringa lot!
Every now and then, we see clear signs that business
is going to pick upthat good times are coming, then,
there are days when some of us are pretty sure our
industry is in a recessionand then, bam, the phones
start ringing off the hook again. Those people who
claim, Business is different this year. may be telling it
like it is! Lets all get our heads out of the sand and see
the light at the end of the recession tunnel. Its there!
Its bright! Its waiting! Get organized! Get your ducks
in a row! Good times are right around the corner!
Donna Gray is the president of Total Awards,
Promotions, & Gift (aka AwardsMall.com) in Madison,
Wis. She and her husband Dave have run their full
service awards and personalization business since1977.
She has presented seminars nationwide, won awards
as Business Woman of the Year, Retail Marketer
of the Year, and Sam Walton Business Leadership
Award. She is also the author of two books on family
business, Its All Relative! Surviving & Thriving in A
Family Business (2007), and Never Quit: The Ups
& Downs of Running a Family Business (2004).
She has earned professional credentials as a Certied
Recognition Master. She can be reached by email at
donna.gray@AwardsMall.com.
September 2008 33
Pro CorelDRAW
PRODUCT FOCUS
Opportunity
Holiday Ornaments
To request information from any of the suppliers in the Product Focus, simply
click here on INFO REQUEST. It will open an electronic request card, which you can
minimize at the bottom of the page and then check when you want more info.
DECK THE HALLS WITH JOHNSON PLASTICS
Personalized gifts are always in style
and this holiday season will be no exception.
Get ready for the rush with porcelain and
plastic holiday ornaments from Johnson
Plastics based in Minneapolis, MN, with
warehouses nationwide. Each becomes a
treasure when it is personalized with photo,
artwork, or message to commemorate a
special person, occasion or event. Choose
from an assortment of holiday shapes
including Unisub bells, tree, star, snowman and dog bone; FR plastic bell, tree and
top; porcelain heart, star, snowake, circle and openwork ornaments in a variety
of sizes to t most needs. For more information or to place an order, go to www.
johnsonplastics.com or call Johnson Plastics at 1-800-869-7800.
20% OFF SALE ON CRYSTAL ORNAMENTS FROM TOPMOST
Topmost World, Inc., a leading manufacturer
and supplier of PRISM crystal and glass engravable
blanks awards based in Montclair, CA, is celebrating
this holiday season with an amazing sale. From
October thru November 2008 all Jade Glass and
Optical Crystal ornaments are 20% off! With an
amazing assortment, and a variety of shapes and
sizes, these ornaments provide an excellent canvas
for both laser and sandblasted images. Each Jade
Glass ornament is decorated with a gold ribbon and
our Optical Crystals are adorned with a gold metal
clip, packed in a deluxe gift box for the ultimate gift-giving solution. We always keep
plenty of stock to ensure same-day shipping.
LASERGRADE ENGRAVABLE ORNAMENTS FROM LASERSKETCH
LaserSketch Ltd. of Lemont, IL, offers laser engravable high-
quality Jade Glass Ornaments, and beautifully beveled edge Clear
Glass Ornaments. Each ornament comes with a blue velvet bag
and gold stretch string for hanging. The glass
ornaments are 1/8-inch thick, and available in
minimums of 10. Fourteen different styles are
available. They include: oval, heart, Teardrop,
circle, tree, hexagon, lemon, stocking, heart,
clover, octagon, cross, star, tear, church
window, and diamond. For details, call 630-243-6360 or visit www.
lasersketch.com.
COLOR LASER OR SUBLIMATION ORNAMENTS FROM JBL
JBL GRAPHICS of Houston, TX, offers a
wide widest range of glass imprintable ornaments
and holiday plaques for both COLOR LASER and
SUBLIMATION transfer. The glass items are
competitively priced and have been thoroughly
tested in their production lab to optimize production
efciency and consistency. They also provide
design, color management and transfer instructions
to guide you
to obtain the
best results. The COLOR LASER Glass,
Ceramic, and Bisque Products that include
various shapes of at holiday ornaments which are
available uncoated and are therefore signicantly
less expensive. Color density and denition are
better than sublimation. Colors stand out against
the clear glass. The SUBLIMATION Glass
Products include frosted glass ornaments and
suncatchers. For details, call 866-830-4258 or
visit www.jblgraphics.com.
September 2008 34
Pro CorelDRAW
PRODUCT FOCUS
Opportunity
SUBLIMATABLE GLASS ORNAMENTS FROM LRI
LRI, the Dye-Sub Experts,
based in Skokie, IL, offers a
line of new Sublimatable
Glass Ornaments. They are
available in five different
shapes diamond, circle, oval, hexagon, and star.
Each piece is beveled on the front side, and has a hole drilled for easy hanging.
They are 1/8 thick, and 3.5 at the widest point. They sublimate from the back of the
ornament. Ten different styles of ne porcelain ornaments are also available. Design
templates or transfer instructions are available online. For details, call 877-795-1500
or visit www.dyesubexperts.com
PORCELAIN ORNAMENTS FROM PSI
Celebrate the holidays year round with these ne
porcelain ornaments from PSI (Paramount Services Inc.)
of Hollywood, CA. They are image ready in six different
designs medallion, ball, lacey, heart, oval, and star --
that make wonderful gifts and keepsakes. Each comes
with a red ribbon and are in case lots of 24. All ornaments
are coated on both sides for sublimation. For details, call
1-800-455-7212 or visit www.Dye-Sublimation-Products.
com.
LASERBITS ORNAMENT DESIGNS CD
Add a new prot center to your shop by offering laser cut
ornaments with the Ornament Designs CD from Laserbits
of Phoenix, AZ! Over 40 new templates have been added
to this CD making the total template count at more than 80
designs for many types of ornaments including holiday and
interesting shapes. Each design is ready for vector
cutting thin wood and has engraving details for
highlights. Each design is ready to use and opens
in CorelDRAW version 10 - X3. More information
on using the Template CDs is available in their Tech
Tips section on the web. Call 1-800-733-7705 or visit
www.laserbits.com.
ORNAMENTS FOR SUBLIMATION IMPRINTING FROM CONDE
Holiday ornaments are the perfect gift for
grandparents, aunts, uncles and godparents.
Your customers can commemorate each holiday
season with a new personalized ornament. The
ornaments from Conde Systems of Mobile, AL, are
coated on both sides, so theres room for a holiday
message on one side and a photo on the other.
FRP ornaments also make a great advertising
item for businesses, just add logos and companies
can give them out free to clientele. Dont overlook
the school kids; these ornaments make great
fundraisers for schools, just add the school photo
on one side and childs picture on the other. For
more details, call 1-800-826-6332 or visit www.conde.com.
CHROMA-CRYSTAL ORNAMENTS FROM QLT
CASI/QLT of Mount Vernon, NY,
has introduced the Chroma-Crystal
i mage-to-crystal manufacturi ng
system. A fast process that produces
stunning color crystal gifts and awards
in just minutes at a quality and price
that will meet the needs of the most
demanding customers. Utilizing a
standard ink jet printer and CASI/QLT
UV, paper and chemical technologies,
it produces the highest resolution
photo crystal awards and gifts in the
industry. A line of ve ornaments is
available heart, bell, oval, arch, and teardrop.
September 2008 35
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
FOR WOMEN AND MEN
John E. Lepper, Inc.
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September 2008 36
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.
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
September 2008 37
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.
Great Service, Hand Engraving, and a Prayer
Great Service
On a recent trip from Seattle, Washington to Denver, Colorado, I
made a stopover at Bonners Ferry, Idaho. Bonners Ferry is about 30
miles south of the Canadian border on Highway 2, and north of Coeur
dAlene, Idaho. The Kootenai River ows through the historic little town.
Located alongside the river is a great restaurant called Springs.
The reason I mention this is the waitress who works there. She has
a way of making you feel welcome, giving off the impression she really
likes what she is doing. Great smile, super personality, and at the same
time, very professional! After my wife Emily and I had received our food,
I mentioned to our waitress how really great she is. A few minutes later
some people sat at a table next to us, and when she waited on them,
they told her they had requested her station because she was so nice
to them the last time they were there.
Her name is Alanna Mangus, and has been working at Springs for
about 3 years. She is married to husband Jason, and has a 9 year old
son Jason, and a 7 year old daughter Tianna.
We all know the importance of good customer service -- Great
investment with proven return on investment. A Traveling Tidbits kudo
to Alanna Mangus at the Springs restaurant in Bonners Ferry, Idaho.
Hand Engraving
On the way from Bonners Ferry, I stopped by Silvertip Engraving
in Kalispell, Montana, to see Jack and Beth Lynch. I had not seen them
since the days when there was a trade show in Tukwilla, Washington
(really miss those). Beth is one of the last true hand engravers (that
I know of) in the awards industry. When I asked her how she prices
her work, she said, By the job. There is no set price. She evaluates
each situation and then determines the price. When engraving on the
customers merchandise, Beth is very careful to have the customer sign
a liability release. Good to see old friends.
Yellowstone
One would be negligent while traveling this route if you did not
take a scenic tour through Yellowstone National Park. Its not far out
of the way, and you dont even have to stop, and still be able to enjoy
a lot of Yellowstones many wonders. Way too much to write about
here, but I will tell you about a great publication. It is 99 Things to Do
in Yellowstone Country. Publisher Shelli Johnson has a great article
in the magazine, with a checklist for all 99 things. Even if you arent
planning a Yellowstone trip, it is great reading. For more information
and to read the article, go to www.YellowstonePark.com.
Prayer for Hotel Guests
I will close with this special message I found at the Best Western
Butte Plaza Inn in Butte, Montana.

To our Guests:
In ancient times, there was a prayer for The Stranger Within our
Gates.
Because this hotel is a human institution to serve people, and not
solely a money-making organization, we hope that God will grant you
peace and rest while you are under our roof.
May this room and hotel be your second home. May those you love
be near you in thoughts and dreams. Even though we may not get to
know you, we hope that you will be as comfortable and happy as if you
were in your own home.
May the business that brought you our way prosper. May every
call you make and every message you receive add to your joy. When
you leave, may your journey be safe.
We are all travelers. From birth till death we travel between
eternities. May these days be pleasant for you, protable for society,
helpful for those you meet, and a joy to those who know and love you
best.
A Traveling Tidbits thanks to Kami Johnson, general manager of
the hotel, for making this available to all their guests.
Thats all for now. Remember to save some time for you and your
family. And when you travel, please travel safe.

Corel 08 Sept

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