Corel Draw Pro Feb

CorelDRAW Pro
the entrepreneurial
magazine for
CorelDRAW®
®
users worldwide
February 2008
► New Tone Curve

in X4
► New Template
Features in X4
► Beauty Masks
► Function Keys &
Hot Keys
Cover Art
by
RamilBaylon
Details on page 6
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February 2008 2
CONTENTS
February 2008
TRAINING: How to Use APPLICATIONS: How to Apply OPPORTUNITIES: How to Profit

ADVERTISER INDEX
Click “Web” to go to advertiser’s website.

Click “Ad” to go to the ad in this issue.
Clicking the ad itself will go to website.
Colorado Heirloom Web Ad

Conde Systems Web Ad
29 Getting Ahead: Corel Corp. Web Ad
10 Using CorelDRAW: Beauty The Pros and Cons of All-
Masks: Using PHOTO-PAINT’s Custom Graphic Technology Web Ad
20 Sublimation Tip: Pressing Inclusive Screen Printing
Masking Tools to Perform Digital Epilog Laser Corp. Web Ad
2-Sided Metal Tags by Steve Systems by Deborah Sexton
Plastic Surgery by Bill Leek Geo. Knight & Co. Web Ad
Thompson
JBL Graphics Web Ad
13 Using CorelDRAW: 34 Marketing Secrets
22 Inside Screen Printing: John E. Lepper Inc. Web Ad
Function Keys & Hot Keys Murphy’s Law and Other Wisdom
Four-Color Crayon Drawing: by Donna Gray Johnson Plastics Web Ad
by Dave Demoret
Artwork by Jeff McDaniel Laser Reproductions Web Ad
39 Traveling Tidbits: LaserBits Inc. Web Ad
15 CorelDRAW Applied: 25 Inside Sandblasting: 50 Years for Awards by Kay in LaserSketch Web Ad
Creating & Using Templates Do I Need More Than One Sacramento N&R International Web Ad
by John McDaniel
Sandblast System? by Otis Veteto Paramount Services Inc. Web Ad
by Judy McDaniel ProLink Graphics Svc Web Ad
SCT Crystal Web Ad
27 Inside Engraving: 26 Book
Stahls’ ID Direct Web Ad
Machine Accuracy Review Review: Color
by John McDaniel Management The Magic Touch USA-1 Web Ad
for CorelDRAW The Magic Touch USA-2 Web Ad
by David Universal Laser Systems Web Ad
18 Inside Color: The New Tone Milisock
Curve in CorelPHOTO-PAINT® X4
by David Milisock
DEPARTMENTS
5 Graphics News Wire 9 Inside ACDRP: 38 GNN Network 40 Contributing Writers
7 About the Cover Looking Forward 39 Marketplace

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February 2008 3
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February 2008 4
GRAPHICS NEWS WIRE
February 2008
Product News Headlines: NEWS

● PSI expands Home Décor line of DETAILS
sublimatable items (Click Here)
● Roland University offers new

color workshop
● IKONICS Imaging introduces

InfiniteMarbleTM
● New Unisub catalog released Calendar (Web Link)

● ASI president co-authors Check out the upcoming training
management book classes and trade shows of
interest to CorelDRAW users.
● MHM offers Film Positioning Unit
● Great Notions offers embroidery-

look printable designs ● Blake & Hollister has new Pin ● SOS >From Texas has organic
Dot placket shirt cotton youth t-shirts
● Royal Apparel has new retro ● Vastex upgrades DB Series ● Laserbits adds maple shapes,
heather t-shirt Dryers coco combo and more
● Sawgrass adds Canadian ● Vastex releases 2008 equipment ● Stahls’ ID Direct releases new
Engravers Supply as catalog catalog
Chromablast distributor
● Sierra Pacific has ladies’ ● R.S. Owens unveils 2008
● SanMar launches Spring / sleeveless shirt catalog
Summer Arrivals catalog
● Chouinard offers new ladies’ ● Transfer Express has Easy
scoop-neck tank top Print® soccer numbers

February 2008 5
February 2008 6
About the Cover Dodge Car Design
by Ramil Baylon
THE FRONT SECTION Meanwhile, the insignia was actually blurred
First, I copied the original image (downloaded from the internet) into CorelDrawX3. in the original. I could not find anywhere online
Then I drew the contour line of the car using the Freehand Tool to obtain exact the same image with high resolution, so I
dimension and proportion. I chose to draw first the front portion of the car – the cross- assumed this figure may look like this one.
like figure above the bumper. Each rectangular object was drawn carefully. Using the The effects involved were Interactive Fill and
Fill Tool, I rendered appropriate color by utilizing the preset fills and customizing until Drop Shadow.
the right color combination was obtained. Its frame holding the cross-like figure was
rendered with Mesh, but only to a certain extent. THE HEADLIGHT SECTION
After this was completed, I built the screen on its radiator. First, I drew a separate Like the insignia, the headlight image is also blurry. You could not exactly figure out
shape somewhere outside of the image to spare any unnecessary movements in how it may look like up close. By zooming out, you could see what the image would be
objects. Then I created a small rounded rectangular object. I copied one and had like. The shapes here were easy to draw and so were the effects. I have manipulated
it placed next to the first object. I repeated this action until these small rectangular the preset Fill Tool, and also the Interactive Transparency Tool for this.
shapes would be enough to cover the object supposedly where the radiator screen
would appear. Using PowerClip, I placed these objects inside the container. THE BODY SECTION
But before doing so, I converted these rectangular shapes into Objects to maintain Basically, the shapes and objects involved in designing the main body were pretty
the thickness of lines when resizing is applied, and also applied fountain fill to obtain simple. There were not many curves to deal with. Like the hood, there was a lot of
exact vanishing colors. Then I positioned this into the front of the car and sent it to Mesh being rendered in here, and for hours, I had to carefully make the surface smooth
back. Next was the bumper. It’s quite easy. As you could very well see, it’s just a with precise application of color as well. The insignia seen here isn’t recognizable, so
rectangular shape, applying Fountain Fill in it and Interactive Drop Shadow. I instead put the Dodge name on it along with the logo.
THE HOOD SECTION THE UPPER SECTION

For this one, I carefully traced the right shape of the hood. There had been two The windshield had actually no transparency visible based on the original image,
major shapes present in here -- the smaller section on the right which is darkened by maybe partly because it was set on a black background. Here, I set the transparency
a shadow and the larger one in which the insignia appeared. There was a lot of Mesh in a way that the glass would appear a bit obvious, without necessarily compromising
manipulation involved in this particular section. But before going for hours customizing its transparent characteristic, thus showing what is inside of the car. The seats were
the Mesh, I applied appropriate color combinations for this – the vanishing orange mostly done with Interactive Transparency Tool as well.
color into dark yellow.
And then came the most intricate part of it all THE HUBS AND TIRES SECTION
– manipulating the Mesh. I would admit this has I had to trace the hubs and applied the color a bit lighter than the original.
been the most difficult thing to do. Tweaking with Although this was simple, careful attention to the details was necessary. Since one
effect such as this would need careful attention to hub comprised several objects, the challenge was how you could arrange each object
detail and tons and tons of patience. Applying only in a way that it is placed on its appropriate layer. Otherwise, one object would cover
the Gradient Fill and render vanishing would not give the other one, making the design simply distorted.
you stunning realistic visuals, only the Mesh could. Now for the tires, which were very tricky because you could not perfectly figure
So, with hours of painstakingly bringing to life these out how the ‘stripes’ or ‘cuts’ or basically the design of the tire would look. It’s difficult
once dull objects, the hood came to appear real. to see it due to its dark color. So I copied the image, pasted on MS Photo Editor and
Other effects like the three lines on its surface adjusted the brightness so that I could see even the slightest hint of the way the tire is
were done pretty easy – only the Interactive designed. I had to crop the image in its tire area and brought it back to CorelDrawX3
Transparency Tool was rendered on these. and traced it. It worked for me although it took me a hell of my time. I copied the

February 2008 7
About the Cover
completed tire and hub and resized them and
changed slightly the orientation.
ADD ONS
The flare effect was added on the highest
possible points where the light would shine
through. Also, by customizing the Interactive
Drop Shadow Tool, the car cast its shadow just
right below on the ground.
My name is Ramil
B. Baylon, 32, single,
a professional Graphic
Design Artist from Iloilo City, Philippines. I finished my Bachelor
of Arts in Mass Communications in 1997 from University
of Iloilo. I started working with the print media in the same
year after a short stint in radio broadcasting. My first formal
employment was with the Daily INFORMER, one of Iloilo
City-based daily newspaper. I was assigned to work first on
daily editorial cartoon, but after a few weeks I trained doing page layout using Adobe
Pagemaker and CorelDraw. With my inherent talent and heart of being an artist and
passion in creative media, it took me just two weeks -- and I took over the position of
graphic artist but it was a very pressure-filled position with daily deadlines.
After 3 years, former colleagues and I jointly founded the Visayan Daily
HEADLINES, now on its 8th year. I am working here as Art Director. Along the way,
I had some part time work with an advertising firm called SignWrite Advertising. We
did graphic designs for sports cars and motorcycles and other outdoor ads. We used
a printer-plotter to cut the stickers. I also had a stint working in a card company,
which is where my skills in CorelDraw jumpstarted. I designed hundreds of logos for
corporations and schools.
Presently, I am still working as Art Director but contemplating in working abroad.
From time to time, I am accepting freelance online design projects. My most loved
design software is CorelDrawX3, but I also use Illustrator if necessary. Other design
programs I am proficient with are CorelPhotoPaint, Freehand, Fireworks, Photoshop,
Pagemaker, QuarkXpress, FrontPage, and Powerpoint.
I can be reached at (+63)(033) 328-5623 / 320-8076 (office numbers) or by email

at [email protected], [email protected]
Here is a link to my work: http://www.flickr.com/photos/18223199@N04/

February 2008 8
Inside ACDRP
FEBRUARY 2008
Looking Forward
EDITOR / PUBLISHER – Michael R. Neer
By Mike Neer,
[email protected]
Executive Director
GRAPHICS – John Mise
ADVERTISING – John McDaniel II
[email protected]
It seems that the theme of 2008 is turning out to be Demo (LTD.cdr) on the new CorelDRAW X4 program for 541-990-6687
Growth! Already in the first two months, we are starting to a nominal fee. Plus, the Making Money with CorelDRAW
see some exciting new opportunities start to develop for seminar is being revised and sponsors will be displaying new OFFICES
CorelDRAWPro readers. products. This is a great opportunity to see how X4 works Membership & Publishing offices located at:
Key to this theme is the launch of CorelDRAW X4 last and identify ways to expand your graphics skills for profit. 4709 N. El Capitan, Suite 103,
month which certainly opens the door to more productivity The Road Show will be presented by Corel Training Fresno, CA 93722;
with our graphics skills – and makes getting up to speed on Partners John & Judy McDaniel in 36 cities nationwide. The 800-276-8428, 559-276-8494 Fax 559-276-8496
the new program a priority for most users. dates are still being finalized but these are the first choice www.CorelDRAWPro.com
of cities that will be visited. [email protected]
Inside this issue The Spring Tour will be from April through July, and
We will continue to bring you regular articles that will will visit these cities: Sacramento, Anaheim/Orange Co., Subscriptions: Free to qualified individuals and
help use CorelDRAW X3 and get acquainted with X4. For Phoenix, El Paso, Houston, Mobile, Tampa, Atlanta, businesses. Send change of address to the above.
example, in this issue, you’ll find an excellent article by Bill Charlotte, Washington DC/ Baltimore area, Philadelphia, ACDRP Membership: $60/yr., See the website
Leek on how to use masking to enhance a person’s look Boston, Rochester / Buffalo area, Cleveland, Milwaukee, for details. Includes exclusive content and more.
in a photo. Dave Demoret spells out for you how important Minneapolis, Spokane, and Portland. Advertising: Request a Media Guide or download
keyboard shortcuts are and why you’re “losing time” if you The Fall Tour will be from September through November it from www.CorelDRAWPro.com.
don’t use them. and will visit these cities: Seattle, Boise, Salt Lake City, Writers: CorelDRAWPro accepts articles from
Then John McDaniel starts a new series on CorelDRAW Denver, Kansas City, St. Louis, Chicago, Indianapolis, industry experts. Email publisher for details.
Applied, where he explores how the new template process in Columbus, Nashville, Atlanta, Jacksonville, Baton Rouge, © Copyright 2007 by ACDRP.
X4 can be used to make you more productive. David Milisock San Antonio, Dallas/Fort Worth area, Tucson, Los Angeles, All Rights Reserved.
shows you why the new Tone Curve in X4 is so valuable, and San Francisco / San Jose area.
and demonstrates a few ways to use it. The 2008 sponsors are still being finalized, but the
Also in this issue are stories that show you how to 2007 sponsors included the following companies: Artwork
apply CorelDRAW to specific processes or help you expand Source, Brother Intl., Colorado Heirloom, Conde Systems,
your knowledge of these profit centers – screenprinting, Corel Corp., Epilog Laser, Geo Knight & Co., IKONICS
sublimation, sandblasting, and engraving. In fact, Deborah Imaging, Imprintor, JBL Graphics, Johnson Plastics, Laser
Sexton reviews All-Inclusive Screen Printing equipment. Reproductions, LaserSketch, Media Blast, Permanent
Finally, we have Donna Gray discussing how to prepare Impressions, Printa Systems, Stahls ID Direct, Toujours,
Published by Association of
your business for a visit from the unpredictable Murphy, and Trotec Laser, Universal Laser Systems, and Vapor
CorelDRAW® Professionals
Otis Veteto reports on the 50th anniversary of Awards by Kay Apparel.
in Sacramento.
President: John H. McDaniel
It’s going to be a good year for exploring new
On the road opportunities for growth. Start your education with the articles Vice President: Judith McDaniel
Plans are underway for the 2008 version of the Making in this issue, and we hope we’ll see you on the Road later Executive Director: Michael R. Neer
Money with CorelDRAW Road Show. The format has been this year! Assoc. Exec. Director: Steven V. Neer
changed to offer a full afternoon of Lecture Training with ACDRP Corporate Office: Albany, OR

February 2008 9
Using CorelDRAW® Training
Beauty Masks:
Using PHOTO-PAINT’s Masking
Tools To Perform Digital Plastic Surgery
By Bill Leek
I rarely receive a photo from a client that can’t be improved with a variety of
digital retouching techniques. This is particularly true with portrait photos. Corel
PHOTO-PAINT® comes with a varied assortment of retouching tools. The key is to
use the tools subtly and selectively. Just as in real life plastic surgery, we do not want
Before and After Images
to drastically change a person’s appearance. Plastic surgery, when overdone, can
produce disturbing results. We do not want to lose our subject’s overall appearance
and personality. When digital plastic surgery is done right, the subject should say, REMOVE HOLES: Fills in areas of the painted mask that have been missed by
“That’s a great picture of me!” the paintbrush. We can completely paint the outline of the mask and then use this
selection to fill in the mask. This is a great time saver.
In this article we will use the BRUSH MASK in conjunction with several other tools
to retouch a woman’s face. Our subject is middle aged with a blotchy red complexion Now, Let’s Get Started!
(too much Texas sun) and some wrinkles that need to be smoothed out. We will also
add a little sparkle to her earring to add interest. WRINKLE REMOVAL:
Open up the OBJECT sub menu. Drag the BACKGROUND layer to the CREATE
Definitions NEW OBJECT button to create a new object layer above the background. We will
Before we go forward a few definitions are in order: always apply masks to object layers…not the background image.
MASK: A mask is applied to an image during editing to protect or select the Select The BRUSH MASK TOOL
underlying pixels of the image. In this example, we will apply the mask tool to from the LEFT TOOL BAR. In this
areas we want to modify. The remaining pixels shaded in red will be protected from example, we selected a round brush
adjustments. with a size of 25 pixels.
BRUSH MASK: The brush mask tool allows us to paint the areas we want to Choose + brush mode. Carefully
alter in this example. Brush types and size can be adjusted. The brush mask can paint over the areas around and under
be painted in both + and – modes to add or subtract brush strokes. the eye, cheeks, mouth and neck as
ALPHA CHANNEL: Multiple masks can be saved and reloaded in the same image. shown in the illustration. The mask
We save the images as Alpha Channels. Each Alpha Channel can be saved with a brush will reveal the underlying pixels and remove the red transparency mask. If
distinct name. In our example we will save 3 Alpha Channels. we select too large an area we can come back with the – brush to deselect those
INVERT: Allows us to swap the selected and protected areas. pixels.
FEATHERING: Feathering gradually increases the transparency of the pixels At this point we can click on MASK on the upper menu bar, then select MASK
along the edge of the editable area to soften the transition between the editable and OUTLINE, then FEATHER. Feather the mask a few pixels (10-15) with AVERAGE
protected areas. mode selected.

February 2008 10
Next click on MASK, then SAVE, then select SAVE AS CHANNEL. Save this mask as an alpha
channel named WRINKLE REMOVAL. We can always reload this mask in the future and make
adjustments to it.
To remove the selected pixels we will use Gaussian Blur. Click on EFFECTS on the upper menu
bar, then select BLUR and then choose GAUSSIAN BLUR. In the Gaussian blur dialog box, adjust the
radius control while observing the preview image. Start with just a small radius and watch the wrinkles
disappear. When happy with the results, click OK.
Select MASK again from the upper menu bar, then pick remove. The red transparency mask will
disappear and the entire image will be displayed with the wrinkles reduced in the selected areas. This
step is done. If it is necessary to go back and make more adjustments, we can load the wrinkle removal
alpha channel at any time.
RED FACE ADJUSTMENT

We need to reduce the red in the woman’s face without changing the bright red clothing in the
image.
First we will select the BRUSH MASK tool and specify a slightly smaller brush diameter. Click on
the + mode and then draw an outline of the mask around the face and the neck.
Next click on MASK on the upper menu bar, then select MASK OUTLINE and then REMOVE HOLES.
This will automatically paint in the mask area inside the outline and expose the underlying pixels.
Click on the – button in the brush mask control box and deselect any unwanted areas. When
finished, feather the mask and save it as an Alpha Channel named RED FACE REDUCTION.
We will now click on ADJUST from the top menu bar and then select HUE / SATURATION /
LIGHTNESS. In the dialog box, select the RED channel. Move the SATURATION slider to the left to
a setting of about -25 to -30. The HUE slider can also be adjusted slightly to set the optimum effect.
Click on OK.
Next click on MASK from the top menu bar, then select REMOVE. The red mask will be removed
and woman’s complexion should more closely match that of the little girl.
THE TOUCH-UP BRUSH

The TOUCH-UP BRUSH can be selected
from the LEFT TOOL BAR. This tool allows
you to blend away skin imperfections and
slight wrinkles and is great for making final
retouching adjustments to an image. The
MEDIUM strength setting seems to work well.
Simply brush over skin imperfections and
gently blend them away. ►
February 2008 11
THE SPARKLING EARRING select SHARPEN and then UNSHARP MASK. Using a
This is the easiest step. Zoom very low THRESHOLD SETTING (less than 9), increase the
in on the earring. Select the earring PERCENTAGE SLIDER until you see the desired effect. Then
using a small diameter brush mask click OK.
setting. Save the mask as a We can now remove the mask and we are finished with
channel called EARRING. our retouching exercise.
Click on ADJUST, then HUE
/ SATURATION / LIGHTNESS, SAVING YOUR IMAGE
and then select the YELLOW If you want to retain your saved ALPHA CHANNEL masks,
channel. Increase the HUE, save the image in the program’s CPT file format. You will also
SATURATION and LIGHTNESS wish to flatten the object layers with the background and save
sliders to brighten up the earring. the finished image as a TIF or JPG file.
Then click OK.
Sharpening the selected earring will add some more Conclusions
sparkle. Select EFFECTS from the TOP MENU BAR. Next These retouching techniques can greatly add to the value
of your work. They just take a few moments’ effort. These
articles are brief by necessity. I will continue to add similar
articles that I hope will help you with everyday problems. I’d
appreciate your input. If there are specific areas you want to
cover, I can address them in future articles.
Have a great Spring Season!!
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
[email protected] or 281-970-6677.

February 2008 12
Function Keys & Hot Keys

By Dave Demoret, Contributing writer
Using Your Keyboard each time you mouse your way to these pull-down menus. Without anymore effort
WHY? than that,you will find that in a short time you will think…’I need to undo what I just
I get along just fine with my mouse and the pull-down menus! did…Oh, Ctrl+Z’.
I don’t want to have to memorize all those key strokes.
You need a lot of experience to know which keys to hit. Still Need to Know Why?
Okay, here is why and the advantage to using the keyboard.
These are common excuses for not using the function keys and hot keys. That’s Let’s take the common step of ‘copy’ & ‘paste’. Many people do this several times
the simple truth. Most people (yeah, probably you) are afraid of using the key board a day. This is the usual procedure and I’m going to do this step by step.
to do anything else but type in the fonts. I see you shaking your head.
Listen, if you are in the business to make money you need every single advantage 1. Move your mouse to select the object.
you can get. However, this is not just another little “trick or tip” in Corel. Using the 2. Left click on object
keyboard is a HUGE advantage AND can make a substantial impact on your daily 3. Move mouse to Edit on Menu Bar
work schedule as well as you bottom line profit !! 4. Left click on Edit
5. Move mouse to Copy
First Step Made Easy 6. Left click on Copy
Allow me to make 7. Move mouse to Edit on Menu Bar again
this simple for those who 8. Left click on Edit
are intimidated by the 9. Move mouse to Paste
keyboard. Don’t Try To 10. Left click on Paste
Memorize. The simple fact 11. Move mouse to object
is that if you will just read 12. Left click and drag object to place
you will automatically begin
using the function keys Here is the difference using the keyboard.
and hot keys, without any
noticeable effort ! 1. Move your mouse to select the object
Take a look at the pull- 2. Hit Ctrl+C
down menu shown here. 3. Hit Ctrl+V
Select a function you might 4. Left click and drag object to place
use on a daily basis. Now
look to the right side of That’s it. I just save myself 8, count ‘em, eight steps. Ahh, so what? It only takes
the column for a shortcut a second to do it with a mouse.
key. If you see one, like Sorry, it’s a little more than that. Actually, I’ve timed myself several times to see
F4 or Ctrl+Z, just take a how much time I’ve saved and when I tell people that if they take my workshops that I
second to read it. Realize can save them as much as 30 to 50% of their design time, I’m not kidding. Any course
that these are given to you you take will help you cut your design time but using the keyboard is where it’s at.

February 2008 13
The time for this one task is this: time or not, someone pays for this time. It either comes out
Using the mouse to copy and paste takes 6-7 seconds if of your customer’s pocket or yours, whether you charge them
you’re on your game. It can take up to 9-10 seconds. for it or not.
Using the keyboard takes 2-3 seconds if you’re on your I once had a person tell me that they would not pay for
game and 3-5 if you think about it. the art time I was charging. Their reason was this: ‘When I go
Again, this doesn’t sound like a lot but, given that you do to the newspaper and place an ad, they don’t charge for art!’
this several times a day and several times per design, this is a Again, sorry, but they do. They just don’t show it on the bill
lot of time. If you begin using the keyboard on a constant basis as a separate charge. They have to pay the illustrators and it
you will save time in almost all your tasks. If you break this isn’t coming out of the profits without being passed on to the
down to a percentage, you will see that 6-7 seconds –vs- 2-3 customer.
seconds is as much or better than 50% savings in time. Same If you are a mom & pop shop and you don’t think you’re
with 9-10 –vs- 6-7. Again 50% or better! charging for your art or design time, you are. If you don’t have it
One of the nice ancillary benefits of using the keyboard that built into the bill, you’re losing profit. Therefore it is coming out
I’ve noticed in myself and others is that once you start using of your pocket. It a screen printer didn’t charge for art, screen
it regularly you are less intimidated by designs and you will making, & prep time (to cut it short) he couldn’t afford to be in
be much more confident in using CorelDRAW for any graphic business. Neither can you.
application. So how is the guy down the street able to charge less than
me when I don’t charge art fees? Hidden or shown? Simple, he
BOTTOM LINE is either not making much profit and will soon be out of business
This is what we are all concerned about if we are in (relatively speaking) or, he is using his keyboard !!! LOL
business to make a profit. I’ve seen many people increase Of course, there are a lot of reasons he might be less
their designing speed and reduce the amount of time spent on expensive but in this day of speed and low-cost items, again I
the computer. This translates into more time spent on other stress, the importance of using every advantage you can get.
things like production, getting the books or paperwork done, Using the keyboard, function keys and quick (or hot keys) is
and even more time with family, or leisure time. one that will help you in many ways.
One gentleman, after taking a workshop, came up to me
and said this: ‘Dave, I have a staff of graphic artists and we Dave Demoret, founded Prolink Graphic Services to help
can do everything you did here today, but you just showed me people understand and profit from learning CorelDRAW. He
how to do in 20 to 30 minutes what takes us an hour or more. has been in both the Flat Graphics Industry and the Decorating
Do you know how much time savings that is? I could have paid Graphics Industry over the past 30 years. He has written
twice what you charged for this class and been happy.’ several articles for Screen Graphics Magazine on Color
There was nothing special about his workshop. Nothing Control & Matching in the past. Dave has used CorelDRAW®
special in what or how I taught, other than stressing and using since version 3 and became a CorelDRAW Training Partner
throughout the workshop the need and the uses for utilizing the in 2006. During the past 5 years he has been conducting
keyboard. Function Keys and Hot Keys can save you enough workshops all over the U.S. and is the author of several Video
time to affect your profit. CDs & Instructional CDs on CorelDRAW. Dave continues to
conduct workshops in the U.S. & also worldwide online. He
TIME IS MONEY can be reached at 765-DO COLOR (362-6567) or by email at
Whether you think you are getting paid for your art or design [email protected]

February 2008 14
CORELDRAW APPLIED
By Judy and John McDaniel Applications
Creating & Using Templates

Last time we provided an overview of what’s new years that we’ve been helping folks figure out “How do I Starting a New Project with a Template
in CorelDRAW Graphics Suite X4. This time we’ll start get CorelDRAW to …” (fill in the blank). The questions Templates have existed in CorelDRAW for a
exploring some of the new features that we like and we’ve answered have been primarily focused on number of versions. They are designed to speed up
think you might find helpful. applications. your workflow. Rather than having to create everything
But, we’re not going to just explain a feature, and One of the most frequent objections we’ve heard in your layout from scratch, they give you a framework
let you figure out how it might be useful. In the many about manuals is; “I know the tools are explained in that you can modify -- and perhaps some inspiration for
the manual, but that doesn’t help me.” The other issue your own creation.
with manuals is terminology. “What is the tool called In some cases, templates are also useful to show
that I need?” When you are first starting out, what customers alternate possibilities. It can help them arrive
you may need to know can be buried behind layers of at a decision. For many years, we had customers visit
terminology you are not familiar with. To find what you our store looking for an award plaque and not quite
need to know may take reading the entire manual. knowing what they wanted to say. That prompted us to
What we’ve found is that most people need to know create the Words for Plaques CD and Manual which
how to do a job that’s due soon, perhaps tomorrow! provides suggested plaque layouts by category. Once
We all seem to be controlled by the TYRANNY of the your customer makes a decision, then the template
URGENT! To get the job done, you need to know the provides a base graphic you can modify to get the job
tools to use, and how they work! So we’ll try to make done. [Editor’s Note: Words for Plaques is available
the tools in CorelDRAW and PHOTO-PAINT relevant in the CorelDRAWPro Bookstore.]
Picture 1: The New from Template to the types of jobs you face.
dialog screen for X3. ►
To that end, over the years, we’ve collected a number
of questions from our students in classes and emails.
We’ll include answers to some of those FAQs in future
articles. We would also welcome any questions you
might have. If you would like to ask something, please
email your question to JHMcDaniel@CorelDRAWhelp.
com. We don’t promise that we’ll answer all of your
questions in print, but we are interested in topics you
would like to see addressed.
One final point before we get started exploring
templates. We will primarily show how to accomplish
tasks in X4; however, in some cases, if there are
differences, we’ll show how the same tasks can also
be accomplished in older versions. We won’t go back
Picture 2: The New from Template screen for X4. It beyond 12. Most people we’ve talked with are using
has been greatly enhanced, allowing you to see all X3; a few are still using 12. So we’ll cover those Picture 3: X4 also allows you to access
templates, templates by type, or by industry. versions in addition to X4. templates that you have created.

February 2008 15
CORELDRAW APPLIED
If you are just starting out with CorelDRAW, explore the stock templates that are
available. In most versions, you can access templates from the welcome screen, or
from the file menu, by clicking on New from Template.
Picture 1 shows the New from Template dialog screen for X3, version 12 is
similar. This screen consists of tabs that are arranged by template category. The
Browse tab opens an Explorer screen that allows you to access your hard drive or
other storage medium to locate CorelDRAW (.cdr) or CorelDRAW Template files
(.cdt) that you may have created. In essence any CorelDRAW file may be used as a
template. That’s true in all versions including X4.
Picture 2 shows the New from Template screen for X4. As you can see it has
been greatly enhanced. It allows you to see all templates, templates by type, or by
industry. It also allows you to access templates that you have created, see picture 3.
To make use of layouts that we had previously created, before we had templates,
we simply opened a file, made our changes, and then saved it under a different file
name. This procedure is short and useful as long as you can remember what file you
need and you also remember to use Save As. There have been a number of times
I’ve overwritten a file I didn’t want to by clicking Save instead of Save As.
Starting with versions 12 and X3, we have made a concerted effort to save files
as templates for layouts we knew we wanted to use again. To create a template
in versions 12 or X3, once you have your layout completed, click on File/Save As;
and select CDT – CorelDRAW
Template from the drop-down
list. See picture 4.
Templates can be multi-page
documents. So you can save
a company’s awards for this
year as a template for next year,
complete with run instructions.
Templates in X4
Going back to X4, you’ll notice
in picture 3 I’ve created my own
categories -- engraving and t-
shirts. In X4 I can create as
many categories as I’d like. I
can create categories for product
Picture 4: To create a template in versions types or perhaps customers.
12 or X3, once you have your layout When I want to find a template,
completed, click on File/Save As; I can use the search box in the
and select CDT – CorelDRAW Template upper left corner to narrow my
from the drop-down list. choices. This will help me in the

February 2008 16
CORELDRAW APPLIED
future after I’ve created lots of templates.

I can also save notes along with the template.
X4 allows me to save notes that might remind me of
tips, or help anyone else in my company that uses this
template. These notes might be how to run the job,
i.e. power and speed settings for a laser; or perhaps
temperature and time settings for a heat-press transfer.
I might also include run times that can be used in
pricing.
Picture 6: When you click on save in X4, you

get the Template Properties Dialog Screen.
This is where you can set the category and
add any notes you want.
Judy and John McDaniel are owners of JHM
Picture 5: To create a template in X4 use the new Marketing in Albany, OR. JHM provides consulting
Save as Template short-cut command. This calls the and training services for the industry. They have been
Save dialog screen and sets the file type to template. using CorelDRAW since 1989 and teaching it for
engraving, sandblasting, sublimation, etc. since 1991.
To create a template in X4 we have a new Save They can be reached by phone at 541-967-4271,
as Template short-cut command available on the file via SKYPE (user name JHMcDaniel), or via email at
menu. This calls the Save dialog screen and sets the [email protected]. See full bio on
file type to template, see picture 5. Then when you the Writers Page.
click on save, you get the Template Properties Dialog
Screen, see picture 6. This is where you can set the
category and add any notes you want. After you’ve run
the job, if you want to change or add more notes, like
run times, simply open the template and save it again
as a template replacing the original.
Using templates can be a great time saver no
matter what version you’re using. The new template
structure in X4 can help you organize and streamline
your work.

February 2008 17
INSIDE COLOR
By David Milisock Training
The New Tone Curve in

CorelPHOTO-PAINT® X4
The discussion on RAW in the last two Phase tungsten RGB conversion correctly gray balanced, and #3 is the Phase RAW
articles and the discussion of tone curves conversion converted to LAB, gray balanced and converted to Adobe RGB. Notice
must go hand in hand. One cannot correct how #2 and #3 display nearly identical, while #1 is significantly different.
an image without individual control over This captured subject, wood paneling, is a difficult subject. It was captured in
the RGB or LAB channels in a tone curve. a sophisticated studio with a very expensive camera, lens and lighting equipment.
The largest downfall I see in any RAW However a mere 2-point variation of the gray balance has created the shift that you see
converter is that NONE OF THEM allows here from #1 to #2 and #3. Can you imagine what is happening to RAW conversions
control of the three channels during the where you have no ability to balance the gray completely across the entire gamut?
conversion process. The truth be told, we get images in from cameras that range in price significantly,
The concept is to balance the gray from a high of $30,000 to a low of $100. We also get images in from photographers
scale at the bottom of the Munsell card who have skill sets that range just as wide. The problems are mostly the same --
that you see in the right middle of each the images need to be balanced for correct color first, so we can adjust for color the
capture. By gray balance I mean equal client likes second.
RGB components of each square from This is where the shoot-RAW-it’s-better mindset goes awry. A good TIF capture
white at left to dark gray at right, or specific that can be gray balanced has a serious chance of being a great image. A RAW
LAB values for each square. The bottom conversion that has the gray balance screwed up beyond repair will NEVER be a
image #1 is the RAW capture from a Phase great image.
capture back, converted to an RGB image
using the Phase RAW converter that The new tone curve
comes with the camera.
Incidentally, the eyedropper readings This is where the new tone
of the TIF capture straight from the camera curve in Corel PHOTO-PAINT
matched the RAW conversion point for X4 comes into play. Whether
point. There were no more than 2 points of you use RAW, JPG or TIF as
variation between the 3 channels of each your captures, you will use the
gray swatch. By that I mean the far right tone curve to correct the color.
gray swatch reads, R35, G35 and B37. Here, in the screen shot, we
All the gray and white swatches shared see the new tone curve in X4. In
similar readings; this is an amazingly well PHOTO-PAINT X3 and X4 it is
balanced capture. under the Adjust menu, but the
With that said, look at capture #2 and new curve is only in X4.
#3. The #2 image is the Phase RAW to

February 2008 18
INSIDE COLOR
Notice that the grid is now defaulted to a pattern the X, Y reading remains identical for each new control
of 10 squares, about 25 points per square. This can point. I then return to the first edit point, selected with
be altered by holding the ALT key down and clicking the eyedropper tool, and make color corrections. I can
the grid; it will temporarily go back to a 4-square grid read the before and after reading in the Info docker. I
pattern. I prefer the 10-square pattern as I find it easy continue this until the image is balanced according to
to be more accurate. the Info docker.
The new eyedropper tool found at the bottom right of
the grid allows you to click on the image and identify the In the wreath image, we see this in practice. The
exact area of the RGB, R, G, or B curve that you wish top image is from a $99 digital camera. The bottom left
to edit. I use the curve this way: I open the Image Info is the image with a proper sRGB gray balance. Notice
docker, (Windows, Docker, Info). With the eyedropper the changes in the wreath and the Munsell card. The
tool, I select a point of the image I want to edit; I then click card shows the bottom left image has a proper gray
the curve at other points on the curve, making sure that balance and the image truly does reflect the cheap
corporate wreath that was captured. However the end
user preferred the bottom right image with the 3/4 tone on the stand. Also there is subtle shading in the black
enhanced. on the high resolution version of the image, allowing us
Using the above procedures with the eyedropper to read the model number cast into the housing.
tool and the Info docker this took 4 minutes. This new These new tone curve and eyedropper tools are
feature will be very useful for those who do on-site certainly enough reason to upgrade to the CorelDRAW
captures and prints, such as garments, mugs, and other Graphics Suite X4. The procedures and the tool make
promotional printing. a couple-minute job out of a poor image.
As we can see, only a couple points on the RGB or
LAB curves separate the quality of captures. But now Next month we will talk about the support in X4 for the
you can use the new eyedropper tool in the new tone Adobe Color Engine (ACE), black point compensation
curve to your advantage to improve not only your images (BPC), relative colorimetric and perceptual rendering
but most importantly your profit margins. intents. Maybe I’ll call the article – the perceived BS
A prime example of this is much more easily seen about BPC – Is it relative to our conversions?
when we are correcting images that are dominated by
white and areas of high contrast. The first image is of a David Milisock is president of Custom Graphic
restored 100-year-old blower from a local company, and Technologies Inc. in Washington Boro, PA. He has
the second is a quick 2-minute correction of that image been in the print production business since 1975, and
using the new tone curve eyedropper tool to read the specializes in professional support for the CorelDRAW®
swatches of the Munsell gray-to-white swatches only in Graphics Suite. He can be reached at 717-509-3523 or
sRGB. Then I used the tone curve to adjust the reading [email protected].
to match the sRGB reading that the Munsell card should
have for each swatch.
The white walls, the colored swatches, and the black
and silver machine make a clear demonstration of how
well properly adjusting the gray balance works. Neither
the white paint on the walls nor the silver blower stand
has any tints to them. The white is a clean white, no red,
green, or blue tint. The same can be said for the silver

February 2008 19
SUBLIMATION TIP
By Steve Thompson Training
Pressing 2-Sided Metal Tags

Gaining in popularity over the past few years, pertain to that specific substrate. Before trying these This makes it easy to do a full bleed image, or center a
especially with the younger crowd, ID Tags have procedures with other products, be sure to consult your design that is not.
provided a great means for add-on sales. Be it for people supplier for proper pressing information. But remember to allow room on all sides to make
or pets, these small gems are quick, easy, and fun to sure what you want fits on the tag without problems.
make. They also offer a nice profit margin. Two-sided The first step naturally is to create your graphic in the The holes designating the opening for the chain or
tags double your area and are no more difficult to print program of your choice. We offer templates in several split ring can be deleted prior to printing, but they are
than one-sided tags. formats, but the .EPS files will be most commonly used small enough to fall inside and can actually be helpful
We’ll demonstrate with our Military Style ID Tags, and can be easily opened in Photoshop or imported in aligning your transfer.
and one of our Dawg Tags. Both are made out of into CorelDRAW. The templates are slightly oversized
aluminum from Rallye Productions so the instructions and designed to fall outside of the actual tag (see fig.1). Once the design phase is complete (See fig.2), print
Figure 1: The templates are slightly oversized and designed Figure 2: Complete the design and then press like
to fall outside of the actual tag. any other sublimation transfer.

February 2008 20
SUBLIMATION TIP
as you would any other sublimation transfer, taking care to mirror your image and and then press upside down with the same directions as above.
print with the appropriate profiles for your inks.
After trimming, fold the transfer along the centerline allowing both sides to align Last but not least, the only remaining step is to attach the supplied bead chain
properly (see fig 3). A flat ruler or straight edge can be a big help in getting a good or spilt ring to the tag (see fig. 5). Now you’re all set for some excellent add-on sales
crease, and then check the alignment on a light table or hold up to a bright light to and a happy customer! You can also add an edge guard and trim to the military style
make sure it is even. ID Tags for a nice finished
Once you are satisfied that both sides are even, the next step is to apply adhesive. look (see fig.6) that helps
We recommend a spray protect the edges and keeps
such as the Wilflex Hot-Tak© multiple tags quiet when
Adhesive, available in 13 oz hanging together. One note
aerosol cans. It is important concerning the design -
to use a very light mist on the - if you are going to use a
transfer itself and then allow colored trim be sure to allow
20 to 30 seconds for it to dry. an extra margin on all sides
You can then remove the to keep from covering any
protective film, place the tag part of your image or text.
on one side making sure to
line it up within the template, Beyond these steps, all
and then simply fold over that’s needed is your basic
the other half (see fig.4). graphics skills to create
After checking for proper a wonderful memory that
Figure 3: After trimming, fold the transfer along the alignment, you’re ready to will adorn your customer’s Figure 5: The last step is to attach the supplied
centerline to align both sides. A flat ruler or straight press! neck in full color. Utilizing bead chain or spilt ring to the tags; edge guards
edge can help in getting a good crease. the proper tools, such as and trim can also enhance the tags.
For this metal, the the templates, can make
temperature should be about easy work of producing
375°F., allowing enough these tags, and you’ll be
warm-up time to make sure surprised how quickly the
your heat is distributed add-on sales add up!
evenly across your upper
platen. Before placing your Steve Thompson is
tags on the press, it’s often the owner of Paramount
beneficial to close your press Services Inc., a supplier of
for about 10 seconds to get unique sublimation products
the bottom platen hot. Press and supplies based in
your tags for 80 seconds Hollywood, FL. He can be
with a medium pressure; reached at 800-455-7212
then allow them to cool or www.Dye-Sublimation-
some before removing the Products.com.
transfer while warm. If you
Figure 4: Once you are satisfied that both sides are only pressing one side,
are even, apply adhesive, place the tags, you can apply your transfer Picture 6: Military style ID Tags finished
fold over, check the alignment, and press. with the spray or heat tape, with edge guard and trim.

February 2008 21
INSIDE SCREEN PRINTING
By Jeff McDaniel Applications
Four-Color Crayon Drawing: Artwork

Background
In this article we will take our artwork, prepare it for screen printing, and
print out our positive images. The artwork that we had converted to vector
in our last article needs to be properly formatted for screen printing.
Getting Started
After sending our artwork out and having it converted to vector, we will
still need to modify the artwork before we can print our positive images. The
first thing we will need to do is change the colors to Pantone spot colors.
Changing the colors over to spot colors allows our printer to print each color
as a solid black separation so we can process our capillary film later.
Here is the artwork we received from the vector service (see Image Image 4
1).
Image1 By opening up the OBJECT MANAGER in CorelDRAW we can look at
the colors assigned to each curve (see Image 2). Note that the color fills
are currently all assigned as CYMK values.
When we start the printing process we will need to select PRINT
Image 2
SEPARATIONS on our printer properties. If we look in the separations dialog, Image 5
the separations shown currently are cyan, magenta, yellow, and black (see Image
3).
If we attempt to print our photo positives using the artwork as it is right now,
Image 3 we will produce shades
of grey on our films (see
Image 4). Since we are
trying to produce solid
screen color art, we will
need to replace the CYMK
colors with Pantone spot
colors.
Using color replace

If your vector service
has done a nice job, then
all of the colors will be
stacked neatly and can
easily be selected and

February 2008 22
Image 8
Image 6
manually replaced. Another easy way to replace colors is by using
the FIND AND REPLACE option under the EDIT command on the
CorelDRAW tool bar. We selected one of the orange fills and found
the CYMK values to be 9,60,92,1.
Find and replace allows us to search the document for color fills that
have the 9,60,92,1 value and select a replacement. In this case we will
be replacing with Pantone Orange 021 CVU. Once we have selected
the color to be searched for and the replacement color (see Image 5), we
will search and replace all curves with the specified CYMK values.
After replacing the orange, blue, red and black colors with Pantone
equivalents, our Object Manager will look something like this (see Image
6). Before moving to the next step, we like to verify that all colors have
been replaced by going through a print preview and looking at the
available separations.
If we have replaced all of the colors properly we should not see
cyan, yellow, magenta, or black in our separation list. In this case, we
should have all Pantone colors available (see Image 7).
Trapping the artwork

Screen printing is generally run from lightest color to darkest color.
On this piece of artwork, the order will be orange, red, blue, then black.
The black layer is what we will be using as a trap layer. A trap layer is a
layer that overprints the other layers to make the printing process easier.
Without a trap layer, it can be VERY difficult if
not impossible to keep all of the screens in line Image 9
through a print job.
Image 7 We like to use a 2 point (.027”) outline so we
have plenty of room to keep our artwork aligned.
Creating the trap layer depends on how the
artwork is created. If the bottom layer is black
and all of the colors are placed as curves above
the black layer, then we will need to add a black
outline to the colored curves. By selecting all
of the curves of a given Pantone color and then
adding a Pantone black outline of 2 points we
will create an overprint for our trap layer. After
adding a black overprint outline to all of our
colors the Object Manager looks like this (see
Image 8).
Printing the artwork

Now that we have our colors replaced and

February 2008 23
Image 11
our trap layer set, we can get ready to print the artwork. We
usually select everything and then, under EDIT on the command
bar, we select OVERPRINT OUTLINES (see Image 9).
Once we bring up the print queue and look at our
separations we should see only Pantone colors. We also
need to be sure that the document Overprints button is set to
PRESERVE (see Image 8).
If we take a look at the Print Preview we should see a solid
black print out for each color (see Image 10).
While we are in Print Preview we will need to setup our
registration marks. We can set up our registration marks by
selecting the MARKS PLACEMENT TOOL in Print Preview and
moving the marks to the desired location (see Image 11). The Image 12
actual printer settings used depend on the printer. The film
manufacturers generally state that as much ink as possible and
as high a quality setting as possible yield the best results.
After printing the artwork out as separations we have 4
photo positives printed on film (see Image 12).
Conclusion
Even when we have artwork converted to vector format,
there is often still work that needs to be done before it can be
printed out. Spot colors and artwork trapping are important
considerations. In our next article, we will apply capillary film
to our screens and transfer the artwork from our photo positive
Image 10
to the capillary film.
Jeff McDaniel is the Owner/Operator of Creative Graphic in

Philomath, Oregon. Jeff has been working with computers since
the age of 5 and was a journeyman machinist before working
in the graphic arts business. Creative Graphic offers services
including laser engraving, rotary engraving, sandblasting,
sublimation, image transfers, vinyl signs, banners, screen
printing, and promotional products. Jeff routinely applies
graphics to a wide variety of materials. You can contact Jeff
by email at [email protected].

February 2008 24
INSIDE SANDBLASTING
By Judy McDaniel Applications
Do I need more than one

sandblast system?
Many of you have been sandblasting for some time You may also want to switch from 180-grit to 220- New pot or new system
now and are looking to expand that operation into other grit for pictures. If you use 180-grit for pictures you may What all this means is that, as your business grows,
products. As you do this, you will find that some products lose some of the fine detail dots because the 180-grit and you start using different grit media, you’ll either have
are best blasted with different abrasive grits. Abrasive abrasive media is larger and more aggressive than 220- to clean out your cabinet and pressure pot each time you
grits are rated by their number, the lower the number grit. You stand the chance of losing some of the pixels want to change abrasive media, or you’ll need to set up
the larger the individual pieces are and the faster the in the cheek area of the face if the grit you use is too separate cabinets for each product line. Or if your cabinet
abrasive cuts. For example, I use 80-grit for brick and aggressive, and there is also the chance that you won’t has a separate pressure pot, you’ll need a dedicated
stone; 180-grit for general glass work; and 220 for fine be able to get into some dots/pixels because they are pressure pot for each type of grit. Since emptying and
detailed work like photographs. smaller than your grit. cleaning a pressure pot can be time consuming and
Glass messy, I recommend that you purchase a separate pot
Cleaning your system or cabinet for each media type.
If you have only one cabinet or pressure pot, and
Cabinet If your cabinet has a separate pressure pot, and
want to change abrasive media for different applications, you want to use only one cabinet, you can easily switch
you will soon discover the joys of cleaning out your blast between pots using quick connectors. To switch between
cabinet and pressure pot as you make those changes. pots, shut off the media supply from the pot you’re
For a long time that is what I did because we only had switching out (leave the air supply on) and clear out the
one cabinet and one pressure pot. If I had a brick job line by stepping on the foot pedal. After the media line
to do, I would completely clean out my cabinet and my is clear, clean out the cabinet. If you have an air hose
pressure pot, save the 180-grit in a bucket, and screen in your cabinet for cleaning off product, it is a snap to
in the 80-grit. After I was done with that job I would just blow out the media. Empty the cabinet of all the old
reverse the operation. If you don’t clean out the cabinet media and hook up the new pot. Each pot will need its
and pressure pot each time you switch media, you will own pressure gauge, on/off valve and control, hoses,
contaminate the media and take the chance of damaging and quick connect adapters.
the next piece you are going to work on. If you have one of the newer cabinets with an
If you switch from doing brick and stone to glass integrated pressure pot, then you will either need to
(80-grit to 180-grit), without cleaning your equipment out, manually change the abrasive media in the pot, or
you may see little sparkles on your glass pieces; and you consider separate cabinets for each grit. These pots are
will not be able to get crisp clean edges. This is caused somewhat easier to change out because most have an
by small pieces of rock/stone that are dislodged by the access port on the front of the pot. Manually changing
blasting operation, and are able to go through your filter the abrasive is about a 20-minute operation for these
screen. (You are all screening your media each time units.
you put it back into the pressure pot, right?).

February 2008 25
INSIDE SANDBLASTING
Our solution unit with 180-grit that we use for glass and general blasting
In our shop, we have chosen to have a cabinet dedicated to needs; we have a smaller CrystalBlast self-contained cabinet
each type of grit. We have a large CrystalBlast self-contained loaded with 220-grit that we use for sandblasted photos. Finally,
we have a large Econoline cabinet with 80-grit that we use for
brick and stone. This cabinet is vented to the outdoors to help
Rock keep the mess to a minimum.
No matter which way you decide to go -- multiple cabinets,
Cabinet
or if you have a tight budget, a single cabinet with multiple
pressure pots -- remember to always screen your media, and
thoroughly clean out the cabinet and your hoses with air to
prevent cross contamination.
Judy McDaniel is the co-owner of JHM Marketing in Albany,

OR. JHM provides consulting and training services for the
industry. Judy’s background includes many forms of art
and retail sales. She and her husband John have been
using CorelDRAW since 1989 and teaching it for engraving,
sandblasting, sublimation, etc. since 1991. She can be
reached at 541-967-4271, fax 541-967-4272, or via email at
[email protected].
Color Management for the CorelDRAW® Graphics Suite

Book Review by Mike Neer controls for different kinds of situations. It offers step-by-step
instructions for using the color management dialogs, and shows
Managing color is a big mystery for many graphic designers how to work with color profiles for camera and scanner profiles, for
and printers. But author David Milisock says it doesn’t have to monitors, and more.
be. In this new book Milisock aims to take the guesswork out of The major part of the book, then focuses on Workflow
color management in the CorelDRAW Graphics Suite. His goal is Calibrations. This describes actual setups for monitors, Postscript
not so much to give you a tutorial on color, but rather to provide a and non-Postscript printers, as well as RIP drivers. He’ll show you
clear guidebook for making the best decisions to achieve the most how to do color space conversions and general file processing so
accurate color for your purposes. you get the color the way it’s supposed to be. He also discusses
Designed for the color professional and the file creator in small digital photography, settings for Internet and presentation work, as
and home offices, this book provides a detailed explanation of how well as for spot colors and remote proofing.
the CorelDRAW Graphics Suite color management interface reacts The final section shows you how to coordinate with Adobe
with the graphics environment today. Author David Milisock is a applications, including PDFs.
trainer and consultant on color management, who also writes the All instructions are enhanced with friendly screen captures,
Inside Color column for CorelDRAWPro. and the book is published in PDF format for ease of use and
In this book, you will learn the definitions of key terms used affordability.
in color management, such as color space, color model, gamut, Color Management for the CorelDRAW Graphics Suite can
profiles, saturation, hue, brightness, and more. by ordered from the CorelDRAWPro Bookstore for $29.95. www.
Then you’ll learn how to use the Color Management Interface coreldrawpro.com/allbookstore.htm

February 2008 26
INSIDE ENGRAVING
By John McDaniel Applications
Machine Accuracy Review

Last time we concluded our discussion of the machine design elements which - spindle speed combinations for rotary engraving machines are
contribute to a machine’s accuracy. To review and recap they include: discovered by trial and error. They are not at the maximum speed
a machine is capable of, so advertised speeds can be misleading.
1. Resolution is the smallest incremental positioning movement of a specified
axis. It is a design target which typically reflects the minimum step value 3. Repeatability is the ability of a machine to duplicate a previous position without error.
of stepper motors, in machines that use them for motion control. For As we learned in part 3, repeatability is important for multiple pass jobs, special
machines that use servos and encoders in their motion control design, it’s effects, clean-out passes, part cutouts, and re-engraves. In part 4 we explored
the minimum readable movement that can be reported by the encoder. the most common motion control designs and their impact on repeatability.
The designs we discussed were open-loop stepper motor and servo/encoder.
The advertised resolution of a machine does not take into consideration The conclusion is that servo/encoder designs are best for repeatability.
any elements of structural integrity or tolerances of a specific machine. We
discussed resolution in part 2. 4. Hysteresis was the subject of parts 5 and 6. It is the “slop” or “play” in
motion control components; and most often
2. Speed is the ability to complete a task shows up in axis motion when an axis reverses
in a reasonable amount of time without direction under load. We touched on lead screw
sacrificing accuracy or creating damage machine design elements which contribute to
to the machine or product. A machine’s hysteresis. We compared recirculating ball bearing
advertised speed is basically how fast a and acme screw designs and concluded that
given axis can travel. It doesn’t mean the recirculating ball screw was a better design.
that the machine can produce acceptable
work at that speed; so buyer, beware. 5. Structural Integrity is the stiffness or
strength of a machine. It measures the ability of a
For rotary engraving machines, spindle machine to cut materials without error or damage.
rotational speed is another advertised Essentially it’s a machine’s ability to resist distortion
speed. But as we learned in part 2, the key and keep the tool and material in the proper
to producing excellent work is a combination relationship while performing normal cutting or
of spindle rpm and overall feed rate which engraving operations. In part 7 we learned that all
will depend on the tool selected, the the components of a machine, including its frame,
depth of cut, and will vary from material to contribute to, or detract from its structural integrity.
material. This ideal cutting rate is referred
to as surface feet per minute, or SFM. 6. And finally, last time in part 8 we considered
structural tolerances; which are the sum accuracy
For most materials in the engraving of a machine’s mechanical components. As
world, feed rate - power combinations we learned, in essence, a machine’s structural
for laser machines; and feed rate tolerance is the total of all individual component

February 2008 27
INSIDE ENGRAVING
inaccuracies, added to inaccuracies that occur during d. Box Rails

the assembly process. e. Recirculating Ball linear rails
i. Round rail
[Editor’s Note: The past articles in this series are available ii. Profile rail
in the Archives on the ACDRP member website. Members
can login; other readers are welcome to join ACDRP for $60/ 4. Encoder types, both Rotary and Linear, and
year and gain access to the Archives and much more.] implementation methodologies which include
incremental or absolute.
Starting next time we’ll consider the impact of specific machine
components. We’ll examine nine component variations 5. Tachometers and other methods which are used for
that determine accuracy; they include: speed stability, acceleration, and braking control in
servo systems.
1. Motors, including DC Stepper,
DC Brush, DC Brushless, DC 6. Bearings, including Sleeve, Ball, and
Servo, and AC Servo, and their Linear Recirculating Ball.
application in: a. Applications – including Radial,
a. Spindles – motors that Thrust, and Linear.
rotate the cutting bit. b. Quality – Standard thru Ultra
b. Axis Drives – motors Precision.
that position the
material in relation 7. Spindles, including top/bottom
to the cutting bit. loading; Collets and Sleeves; and
c. Horsepower ratings nosecones.
– real versus
advertised. 8. Material Hold-Down
methodologies, including mechanical
2. The Motion Control Drive Unit, clamps, vacuum systems, and
including Geared Belt, Acme table vises. T-slot, bolt-down-hole
Lead Screws, and recirculating patterns, magnetic, and vacuum tables.
ball screws.
a. Acme Lead Screws 9. And the Electronic Interface, i.e. Computer
b. Recirculating Ball Screws – control methods and smart motors.
Rolled; Rolled and Ground; and
Ground. Next time we’ll start with motors.
c. Mounting – including Simple, Fixed, and Thrust
bearing types. John McDaniel and his wife Judy are owners of JHM
d. Protection – Open or Closed. Marketing in Albany, OR. JHM provides consulting and training
services for the industry. They have been using CorelDRAW
3. Guide Rail types, including: since 1989 and teaching it for engraving, sandblasting,
a. V Bearing Rails sublimation, etc. since 1991. They can be reached by phone
b. Bushing Shaft at 541-967-4271, via SKYPE (user name JHMcDaniel), or via
c. Dove Tail Slides email at [email protected].

February 2008 28
GETTING AHEAD
By Deborah Sexton Opportunity
The Pros & Cons of All-Inclusive

Screen Printing Systems
Your market, future growth, space availability, and budget are all factors that
need to be considered when deciding on an all-inclusive printer.
When you’re getting started in the decorated apparel necessary, accompanying supplies. Others advocate Simplicity
industry, you’ll face what assuredly will be one of your purchasing an all-inclusive printing system, which Above all, purchasers of any type of all-in-one-
most difficult business decisions — and you’ll have to combines a manual press with an exposure unit, screen system are generally looking for — and will find — a
answer it before you’ve ever printed a single shirt. The rack, and other equipment supplies. While there’s simple solution. Rather than piecing together a screen
decision: which screen printing equipment you should certainly no right or wrong answer, each avenue does printing system from a bewildering array of equipment
purchase. have its pros and cons. Here, then, is a look at the options, you simply pony up the cash for a single
Some printers will suggest purchasing a separate plusses and minuses of purchasing an all-inclusive system.
screen printing press, dryer, flash-cure unit, and the system. The system’s simplicity makes the printing process,
not just the shopping experience, easier, says Duke
Goss, president, Printa Systems, Kirkland, Wash.
Most all-inclusive For instance, one of the most challenging aspects
systems include of screen printing for newcomers is registration, he
says, something that all-inclusive systems simplify.
a rotary printer,
“Registration takes 70% to 90% of the setup time in a
a light exposure screen print job, and we virtually eliminate that.”
system, a screen David Landesman, president, Lawson Screen
rack, and a flash Printing, St. Louis, Mo., points out that all-inclusive
cure. Purchasing systems are fully assembled, adding to their simplicity.
“You uncrate them, unbox them, and you’re basically
an optional
ready to go,” he says. “There are no installation
conveyor dryer issues.”
will increase
production Space
capabilities. Another big plus: All-inclusive systems, which
Printa offers in four-, six- and eight-color options, offer
Photo courtesy
a relatively small footprint. “I’d say that 75% of our
of Printa customers start with the six-color, four-station unit,” Goss
Systems. says. “In any case, they can print low volumes of shirts
in a very small space for a very low investment.”

February 2008 29
GETTING AHEAD
Printa’s compact, all-inclusive systems take about However, according to Landesman, many all-
49 square feet, Goss says, “and that includes everything inclusive systems — which range from about $6,500 to
it takes to screen print except for a place to stand.” $10,000 — are actually more expensive than separate
Adds Landesman: “It can have a place for somebody pieces. “Most people think, ‘Hey I’m saving money,’
who’s very cramped in space. The real advantages of when in reality most of the systems out there actually
an all-in-one is simply space saving.” cost more,” he says. “You buy individual components
frequently at a similar price — sometimes less,
Investment sometimes slightly more — and they’re more versatile.”
Cash-strapped decorators, as well as those just Also, the resell market for an all-in-one printer is
looking to dip their foot in the decorating pool, may find relatively low.
the low cost of an all-inclusive system appealing. “The Still, Landesman acknowledges, an all-inclusive
No. 1 reason people get an all-inclusive system is that system’s relatively low investment may be appealing to
they have an idea,” Goss says. “They may have contacts people looking to explore the screen printing industry.
for selling screen printing, or it’s something they want “It’s good if it gets them into the industry and they see
to try without spending $500,000. It could be a couple how much money can be made, how much fun they can
of high school buddies that have an idea for a T-shirt have, what types of new markets they can develop, and
line, or an embroidery shop that realizes that it’s been so on,” he says. “However, it’s not really good for any
subcontracting screen printing for years and decides to type of production work whatsoever.”
take control.”
Production Capabilities
All-inclusive systems give users many of the same
types of features and capabilities found in larger shops,
such as an exposure system/light table, and a light-
safe heated air system for storing screens, Goss says. According to Landesman, Lawson Screen Printing,
“You can dry and store up to eight screens for weeks,” many all-inclusive systems — which range from
Goss says. “The system also has micro-adjustment about $6,500 to $10,000 — are actually more
registration, so you can do beautiful process work.” expensive than separate pieces. His company offers
Further, depending on whether or not you’re using a start-up packages with separate equipment that is
conveyor dryer, you can do from 60 to 200 shirts an hour, comparable to the price of his all-inclusive system.
Goss says. However, he admits, all-inclusive systems
do sacrifice some production power for low price and says that all-inclusive systems are just as well suited for
convenience. production as any manual press. “Yes, it’s more effective
For example, while Printa’s all-inclusive system on an automatic, but we have lots of customers doing
comes with a flash-cure unit to dry garments, it’s “not 1,000-piece print jobs, and doing very well at it,” he
the most production-oriented,” Goss says, adding that says.
the majority of his customers also purchase a conveyor However, Landesman says, unless you purchase a
system for drying. “But for the amount of space and conveyor dryer, an all-inclusive system’s drying capacity
All-inclusive printers are ideal for start-up shops, investment required, it gets you started.” will severely hamper your production numbers. “You can
prototype departments, and schools. They are Still, even the most ardent fan of an all-inclusive print them quickly, but you’re limited by this tiny little
small and light enough for one person to system would be hard-pressed to try printing orders flash,” he says. “You’re limited by how large the imprint
move anywhere it’s needed. larger than 500 to 1,000 pieces on it. Goss, however, area is, and your mesh count, and the thickness of the

February 2008 30
GETTING AHEAD
ink deposit. When you’re curing with a flash unit, you’re limited Adds Landesman: “Training is very important. I wouldn’t buy
to two shirts a minute, at most.” anything without it. The best golfer in the world, Tiger Woods,
In addition, all-inclusive systems’ screen exposure pays a whole bunch of money to his swing coach to give him
methodology is “fundamentally weak because they’re not lessons every week. Training is critical to success, and I can’t
using traditional systems,” Landesman says. “Most don’t have emphasize that enough.”
vacuum systems, so you don’t get strong contact. Almost
anything is better then quartz, which is bottom of the barrel.” Long-Term Appeal
All-inclusive systems aren’t really intended for veteran
Training decorators; rather, they’re aimed squarely at newcomers to the
Printa Systems provides training to those who purchase decorated apparel industry. Still, Goss says, many of Printa’s
its all-inclusive system. While suppliers of conventional screen customers include veteran decorators and repeat customers
printing equipment may offer similar training, there’s something who prefer the all-inclusive system’s simplicity.
to be said for the sole supplier of your entire production system Landesman counters that most successful screen printers
— including ink, squeegees, exposure unit and so on — being will quickly outgrow an all-inclusive system. “If you’re still in
the one to train you on it. business, you’ll upgrade. The all-inclusive system has a place
“All of our packages include a minimum of two days’ — it’s a very narrowly defined niche market.”
training. We give them the absolute control that they need to Further, some items, including screens, are limited to
be successful,” Goss says. “When you’re getting started [on a
system that’s not all-inclusive], you don’t know what you need, Mini Directory
and there are four different CDs and different training manuals.
You can spend weeks in frustration.” These are some manufacturers of all-inclusive
systems.
Lawson Screen & Digital Products

St. Louis, MO
314-382-9300, 800-325-8317
[email protected]
www.lawsonsp.com
Morantz Inc.
Philadelphia, PA
215-969-0266, 800-695-4522
[email protected]
www.screenaprint.com
Printa Systems
No matter what system you buy, screen print equipment Kirkland, Wash.
suppliers agree that training is critical to being successful. 425-828-8933
Often packages come with one or more days of training [email protected]
included in the package price. www.printa.com
Photo courtesy of Printa Systems.

February 2008 31
GETTING AHEAD
An ideal market for an all-inclusive printer is

orders for small businesses ranging from 24-48 pieces.
Many larger shops turn these down making this a viable niche.
Photo courtesy of Frog Prints, Walnut Creek, Calif.
use strictly on the all-inclusive system, meaning decorators can’t use them on other
equipment later if they decide to upgrade.
Durability
Despite their low price, Printa’s all-inclusive systems are built to last and come
with a lifetime warranty, Goss says. “For example, we have special self-lubricating
blocks that capture the heat- treated aluminum lifts, so there’s no wear between a
self lubricating plastic gate and a heat treated block,” he says.
Your ultimate decision on whether or not to start out with an all-inclusive system
should be based on through research of the equipment, your market, and the
companies you are considering buying from. One of the biggest decisions you’ll need
to make is what size orders do you want to do?
If you want to focus on smaller-size orders, which is a viable niche in the decorated
apparel industry, an all-inclusive unit may fit your needs and budget perfectly.
Do you want to be a full-time printer or a part-time or weekend printer? Maybe
you only want to go to events and print on site. Compare all-inclusive equipment to
full-scale start-up machines, talk to referrals, and make the decision that is best for
you.

February 2008 32
THE WORLD’S ONLY ASSOCIATION FOR CORELDRAW® USERS
INVITES YOU TO MAKE MORE MONEY WITH CORELDRAW!
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February 2008 33
MARKETING SECRETS
By Donna M. Gray, CRM Opportunities
Murphy’s Law and Other Wisdom

Meet Mr. Murphy have” data, I’m, now, just finishing re-creating the end of Just because we might not wear white coats or suits to
Last month I had an encounter with Murphy. He the year in a new hard drive. Fortunately I save paper work doesn’t mean we’re any less professional in what
snuck right up when I wasn’t looking and wiped out my back ups! And, being the kind of person he is, Murphy’s we do.
computer’s hard drive. While he was at it, he made also reminding me that, “Everything takes longer than We can’t let Murphy get into our companies. He’s
sure that none of my back ups, after October, were any you think!” not a good employee. The fact is that everything doesn’t
good. go according to plan. Sometimes the most unexpected
That Murphy! He’s famous for letting us mere Types of Crises challenge works its way into a project. We shouldn’t
humans know that “If anything can go wrong, it will!” When crises occur, it’s good to know that somehow have to learn the hard way to have a “crisis prevention”
Was I ready for this insult? Absolutely not! I had done we have what’s needed to get through them. We have plan in place, so when Murphy pays a visit, we’re
what I thought I was supposed to do…back up daily. to be ready and we have to have the right attitude. prepared.
What I hadn’t done was to check the back ups to make Since our crisis happened, I’ve been hearing about
sure they worked. Oh well…lesson learned. lots of others who have been through similar or worse When our crisis occurred, we knew we had to
After my hard drive spent a long “vacation” at a situations. I did a bit of research and found out crises do something quickly…something that would help us
recovery firm which couldn’t recover any of my “must and conflicts occur most frequently in the areas of keep going. It doesn’t take a genius to know that had
scheduling, project priorities, technical options, human we neglected or avoided the inevitable…a manual
resources, procedures and systems, and cost. restoration of data…we’d be out of business in a short
Donna Gray’s 2nd book, It’s All Relative! This last one doesn’t surprise me at all because time. Immediately alerting all our vendors and starting
we’ve been there, done that. In fact, this is one area a manual input of data into a new hard drive were the
Surviving & Thriving in a Family Busi- we have identified as a major source of crisis and we’re choices for us.
ness, was published in September 2007. dedicated to being on watch with this. No more “Just We had thirty years behind us and we weren’t going
give me a ball park figure.” No more, “I won’t hold you to let a “little thing” like a visit from Murphy get in our way!
It describes her to it. I just need to give a quick report to my committee.” I did a lot of moaning and groaning through the process.
quest to identify the No more, “Can’t you give me a quote over the phone?” It’s time consuming and I’m the one elected to do the
keys to success for Does any of this sound familiar? input. Everyone else was busy with sales, production
small business, and and all the other things needed to run the business. So,
family businesses in Crisis Prevention Plan I bit the bullet and put pictures of our kids, our grand
particular. She inter- Murphy says, “Left to themselves, things tend to kids and, of our last vacation on my desk to remind me
viewed top businesses go from bad to worse.” Well, my mother used to say, that it’s all worth the effort! And, I called for help from
nationwide and discov- “There’s more than one way to skin a cat!” (Don’t get our accountants…just to make sure I didn’t make any
ered five common qual- on my case, cat lovers…I’m a cat lover too…our “Sassy” mistakes.
ities implemented by runs our home and lets us live here.) I could translate
successful business what mother meant, into, if we’re having a challenge with I took breaks during my entry work to make sure I
owners. Check it out customers who are in too much of a hurry to wait for a didn’t enter something twice or something wrong. During
at the CorelDRAWPro real, thought out, well planned quote, remind them that these breaks, I made a list of things we should do, and
Bookstore, www.corel- we are professionals. We hung our shingles out just like people we know, that could help prevent another crisis.
drawpro.com/AllBookstore.htm other professionals. Who would ever rush a doctor into My list included:
a “quick diagnoses” or an attorney into a “quick opinion”. ►
February 2008 34
MARKETING SECRETS
● Identifying our company’s most vulnerable areas. Making myself that, once done, we’d be on our way to a good year.
sure there are sand bags handy in case of flooding. The fact that there was “too much to do and not enough
● Identify what is most likely to go wrong. time to do it” had me in “over-drive” for a time, but as soon
● Identifying people who can help us out in case of a real as I had a plan that showed the light at the end of the tunnel,
crisis or a real bind. things fell into place. I had to make time to do the work. Time
● Drafting a written contingency plan for just in case. opened up for me because everyone on our team made time
● Schedule weekly team meetings to review how things are to make it happen, even if they had to come in earlier or stay
going. It’s a good thing to be prepared. later to take up the slack. We, luckily, had the right people to
step up to the plate.
Teamwork helps Our entire team helped to create our contingency plan.
I had to stay focused on the project at hand, but I still had Everyone played a role in looking for and fixing any possible
time to think about and learn from the situation. crisis alarm. We hope we won’t have Murphy pull the rug out
Recognizing that Murphy’s Law is funny, but true, gives us from under us again, but just in case, we’re determined to be
a different mindset about how to deal with crises. How we deal prepared. And he’s not going to pull the wool over our eyes
with them is very important in the way we get to the end result. anymore. We’re backing up and checking our back ups, daily!
A positive, can-do attitude is a must. Every time I balked at When push comes to shove, we’re going to be the ones doing
the amount of work that had to be re-created I had to remind the pushing!
The Last Laugh

If I’ve given you nothing else but the good information
to watch your back, I’ve done the job I set out to do. We all
need to learn from each other’s mistakes. We don’t have to
re-create the wheel.
Murphy predicts that “If there is the possibility of several
things going wrong, the one that will cause the most damage
will be the one that goes wrong!” Ahhh, Mr. Murphy, I know
you’re not exaggerating. I’ve danced with you before. But,
now, I’m sharing your most devious ways of sneaking up -- and
hopefully, all our readers will be ready to laugh at you!
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 is also the author
of two books on family business – Never Quit! The Ups and
Downs of Running A Family Business(2004), and It’s All
Relative! Surviving and thriving in a Family Business
(2007). She has earned professional credentials as a
Certified Recognition Master. She can be reached by email
at [email protected].

February 2008 35
PRODUCT FOCUS
Opportunity
Awards & Gifts

NEW INFINITEMARBLETM
FROM IKONICS IMAGING
IKONICS Imaging of Duluth,
MN, has announced a wide-
ranging line of premium marble
award blanks. The company
is offering a vast selection of
shapes and sizes to choose from,
as well as exceptional pricing.
The attraction to fine products
like marble is timeless, and these
designs will appeal to a variety
of customers. The line includes
Designer Awards and Clocks, Promotional Products, Plaques,
Crosses, Obelisks & Pyramids, Desk Accessories, and Bases.
NEW WOOD PRODUCTS REDESIGNED OBELISK

FROM JOHNSON PLASTICS AWARD FROM RS OWENS
Mothers Day, Fathers The word obelisk, in ancient
Day, graduations -- celebrate Egyptian, is synonymous with
all these spring occasions “protection” or “defense” but was
with personalized gifts from used to honor a deity or they were placed in a large open area to honor a ruler or
Johnson Plastics’ new light king. Almost 4,000 years later, the obelisk is used to honor individuals. The Cairo
maple wood products line. Award, from R.S. Owens, has been redesigned using sophisticated style and bold
These attractive products come shapes to recreate the timeless obelisk. This award is perfect for honoring a specific
with a sublimatable metal insert individual, a team accomplishment, or the achievements of a large company. The
for a special photo or message. Cairo is made from R.S. Owens’ award-winning Stonecast material and has an
Customers will love the set of acrylic riser affixed to the front for engraving a name, logo or image for a special
four coasters in a small stand, event or accomplishment.
the handsome valet tray to hold
a wallet, keys and more, and the recipe box with lid and insert for photo. The two INFO REQUEST
square pencil holders with room for four pictures (one rotates on its base) will make
great gifts. Each comes in its own individual box. For more information or to place For more information on the products in this Product Focus section, click on the Info
an order, call Johnson Plastics at 952-898-7800 or visit www.johnsonplastics.com. Request button at the bottom of the page, and select by company name or product.

February 2008 36
GRAPHICS NEWS NETWORK MARKET PLACE
All these news and information products and services are part of the
Graphics News Network, developed for ACDRP. Some Things Were Meant
The goal is “All the News, All the Time — For the World of Graphics.” To Be In Etched in Stone
GRAPHICS NewsWire
The Graphics News Wire is the always
Importers &
Wholesalers of
Marble/Onyx
Gifts &
The Entrepreneurial Magazine
live, always updated source for graphics Accessories
for CorelDRAW Users
news — products, equipment, technology, N&R International
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CorelDRAWPro Magazine is delivered to Marietta, GA 30062
NewsPage.htm) your home page or favorite
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February 2008 37
CONTRIBUTING
WRITERS
Louie Alvarez started in the industry working for one of the largest trophy shops John McDaniel is the co-owner of JHM Marketing in Albany, OR, which provides
in Central California, and then opened one of the first retail laser engraving consulting and training services for the industry. He worked for many years with
businesses. He has given seminars and workshops on CorelDRAW and computers in electronic data processing and pioneered the use of CorelDraw
Laser for many years, and has written for several publications. He is now with for engraving applications. He owned a retail personalized gift shop for over ten
Vytek Industrial Lasers and is based in Las Vegas, NV. He can be reached at years, and writes about hardware design, software, laser engraving, sublimation,
[email protected]. 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-
Kathryn Arnold is the Senior Developer at LaserUniversity, sponsored 4271, or write to [email protected].
by LaserBits Inc. of Phoenix, AZ. She can be reached at 1-800-733-7705 or
[email protected]. Or visit www.laseru.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
Errol Barr has a wide range of experience in sales & marketing, eventually forms of art and retail sales, as well as the operation of a retail personalized gift
getting into laser systems in 1999, currently with Vytek Industrial Lasers. He also shop for over ten years. She is a regular columnist on sandblasting, sublimation,
sold extensively in the CNC router industry selling the machines as more of a and diversifying business, as well as a Corel Training Partner, and co-founder of
business opportunity wrapped around the machine. He can be reached by email the Association of CorelDRAW Professionals. She can be reached at 541-967-
at [email protected]. 4271, fax 541-967-4272, or via email at [email protected].
Dave Demoret founded Prolink Graphic Services to help people understand David Milisock is president of Custom Graphic Technologies Inc. in Pennsylvania.
and profit from learning CorelDRAW. He has been in both the Flat Graphics He has been in the print production business since 1975, and specializes
Industry and the Decorating Graphics Industry for 30 years. He has written in professional support for CorelDRAW® Graphics Suite. Output includes
articles for several publications, is a Corel Training Partner, and conducts computer-to-plate processes for all commercial digital front-end applications, as
workshops nationwide and online. He is the author of several CD Instructional well as Postscript-compliant graphic applications. He offers technical and color
programs on CorelDRAW. He can be reached at 765-DO COLOR (362-6567) or management support for all RIP-driven corporate digital output systems. He can
[email protected] be reached at 717-509-3523 or [email protected].
Donna Gray is the president of Total Awards, Promotions, & Gift (aka AwardsMall. Deborah Sexton, former editor of Impressions Magazine, has been in the
com) in Madison, Wis. She and her husband Dave have run their full service apparel graphics industry since 1981. She currently does marketing and public
awards and personalization business since 1977. She has presented seminars relations for apparel graphics companies, and is a columnist for several industry
on a variety of topics nationwide, and has won many marketing awards. She publications.. She can be reached at [email protected].
is the author of two books on family business, and can be reached at donna.
[email protected]. 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
Bill Leek is a color consultant for JBL Graphics in Houston, TX, and has over 30 30 years experience in the industry, he offers the “PROspective” of a veteran
years experience in computer engineering and graphics design. He has developed sales rep in reporting on ideas, people and places that he visits. Otis also presents
several lines of color imprintable products, and does testing on a variety of sales and motivation seminars. He can be reached in Sacramento, CA – when
products for different manufacturers. He can be reached at wfleek@jblgraphics. not on the road – at 916-567-1867.
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 [email protected].

February 2008 38
Traveling Tidbits
by Otis Veteto
50 Years for Awards By Kay in Sacramento

HAPPY VALENTINE’S DAY TO YOU ALL! wisdom and business savvy, but we know she will always be a special
part of Awards By Kay’s success,” says Darlene.
See you at the show! So, what are they doing for their 50th, you might ask? Darlene says,
If you are planning on attending the ARA convention in Las Vegas, “We are continuing to create awards ‘for those who deserve the finest’,
please stop by the R.S. Owens booth and say hi. Our booth is # 700. which was Kay’s motto from the beginning, and we are continuing to
Hope to see you there. grow and expand into continued care for our customers.”
“It is an honor to continue to run a company that my mom & dad
Otis Veteto is the Western 50 years in Sacramento started in 1958,” says Darlene, the oldest of Kay and Ray’s children.
Regional Manager for the Let’s take a trip down memory lane…the year is 1958. American Together with her husband, Jerry, her brother Mark and her sister
Bandstand was huge, Elvis was inducted into the Army, Connie Francis Valerie, they plan to carry on the torch that Kay and Ray lit so many
R.S. Owens & Co. Inc.,
wanted to know “where the boys are” and Van Cliburn had a top hit years ago.
manufacturer and supplier of with his Tchaikovsky #1 Piano Concerto. Ray is retired, but still remembers fondly their awards family, his tenure
the Elegance in Awards & Gifts 1958 also marked the beginning for Awards By Kay Inc. in as President of TDA, and the friendships he and Kay made.
line. With more than 30 years Sacramento, California, under the ownership of Ray and Kay Boron. “With our great employees and wonderful customers, we are all
experience in the industry, he Their daughter Darlene, sent me this history, and I am honored to share looking forward to continuing to be ‘A Tradition in Recognition’ for the
it with you. next 50 years.”
offers the “PROspective” of a Awards By Kay Inc. is celebrating its 50th year in the recognition “We sell goodness and gratitude, and recognition and memories
veteran sales rep in reporting business. The family legacy continues. Ray and Kay Boron, whose that will remain long after we are gone…..we touch people’s hearts…..
on ideas, people and places vision, creativity and selfless efforts built not only Awards By Kay, but that is what Kay and Ray taught us…that is what we will continue to
that he visits. It’s a fun and also, as pioneers, helped build the Northern California Trophy Dealers do….Love is all you need.”
Association, Trophy Dealers of America (TDA), and the Trophy Dealers
informative column focusing
and Manufacturers Association (TDMA), which is now known to all as If you are ever in Sacramento, stop in at 1941 El Camino Ave,
on the human-interest side of the Awards And Recognition Association (ARA). Sacramento, CA 95815, and say hello. Or call Darlene at 916-927-
the industry. Otis also presents Kay and Ray served in administrative roles beginning in 1964, 4533. HAPPY 50th ANNIVERSARY, AWARDS BY KAY!
sales and motivation seminars founded the Sacramento Chapter, and traveled the whole West Coast
for industry organizations, helping form other chapters and expanding the membership of the early Being busy…
awards organizations. Around 1969, they initiated the first newsletter. I will end the month’s column with this little bit of advice from the
and some of that knowledge They wrote it, edited it, printed it, and watched the fruits of their labor late Gary Lannigan, who was the national sales manager for the Bruce
will rub off as well. He can be grow. In 1972 and 1973 Ray served as President of Trophy Dealers Diamond Corporation. Gary gave a lot of seminars for the industry and
reached in Sacramento, CA of America. one of his main points was “If you are too busy, your prices are too
– when not on the road – at In 1981 Ray and Kay were awarded the Association’s Founders low.” Think about it. See you in Vegas!!!
Award. In 1992-1994, Kay served as Treasurer on ARA’s board, which
916-567-1867.
was one of the highlights of her life. This was during the transition from That’s all for now. Remember to save some time for yourself and your
TDMA to ARA. family. And when you travel, please travel safe.
Sadly, Kay passed away in 2002. “We miss her gentle spirit,

February 2008 39

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