getting quality under control: an interview with james ... · callouts art for processes: laser...
TRANSCRIPT
Published by the Association of CorelDRAW® Professionals (ACDRP) / www.coreldrawhelp.com
the entrepreneurial magazine for CorelDRAW®
users worldwideCorelDRAW® HelpApril 2015
INSIDE: Learning CDR:
Introductionto the Grid
Video of the Month:How CorelDRAWDraws 1: Simple
Objects
Using CorelDRAW:Working with
Callouts
Art for Processes:Laser EngravedBusiness Card
Marketing Secrets:The Fine Art
of Focus
How CorelDRAW Draws: Bezier Curves, Control Points, and Nodes
Getting Quality Under Control:An Interview with James Ortolani
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training program for using CorelDRAW Graphics Suite. The first few videos have focused on computer art and the differences between vectors and bitmaps. Each month will delve deeper into the program. All of these videos will be posted on our CorelDRAWHelp.com website after the issue comes out. All premium ACDRP members will have
immediate access to them.
Each video features a short but very effective teaching technique presented by ACDRP president and CorelDRAW Trainer John McDaniel. He uses direct video of the CorelDRAW interface while he voices over what is happening. In addition, the cursor is a big yellow dot so you can easily follow the steps. This is like looking over the shoulder of a master trainer while he’s working. If you wish, you can put the video on one side of the screen and open CorelDRAW on the other side and follow along. Great for training your staff too!
New CorelDRAWHelp E-News TemplateEarlier this month saw the unveiling of our E-News template. You receive this issue twice a month, before and after the PDF magazine. That way we can keep you current on all the industry news as it happens during the month. The new template is more colorful, especially featuring the logos of our sponsors. New items include an Association News section where we will feature another CDR Training Video, immediately accessible by all ACDRP Premium Members. But there is also a sample video at the bottom of the left sidebar which is open to all. This way you can see what the training is like, and we hope you’ll take advantage of our low membership dues to become a Premium Member and access our full video training library. As usual, an index with links to the month’s industry news is in the E-News, as well as the up and coming trade shows in the calendar.
Wishing you a great spring, and we hope you’ll take advantage of all our new beginnings. The seeds are planted! Now, let’s water them!
Spring is rolling in here in the Northern Hemisphere of our spaceship Earth. It’s a time of rain (in most places except here in the Western U.S.). It’s a time when nature wakes up after the long winter! It’s a time for planting of seeds! The flowers are starting to bloom. The earth is a alive with color and growing things.
In many ways, it should be the same with our lives and our businesses. It’s a time for new beginnings, for launching new projects, for doing new marketing campaigns, for learning new skills. It’s great if we can take advantage of this cycle in nature and start something new.
Here are CorelDRAWHelp Magazine, we have recently launched several new features and/or looks for our publications and websites.
GNN News PageAs you know, we have always published the month’s news articles in our Graphics News Network in a separate website and linked to it from our E-news or PDF magazine. That news page needed a facelift. So we are pleased to offer you a totally new website at www.CorelDRAWHelpNews.com. It will continue to be linked from our publications, but there are many new features that we think you’ll like.
We have set it up in a blog format so you can access all the past news by month. Also, you can access all the news by searching by news categories that we cover (from apparel to transfers and everything in between). This should make the news more useful for you. In addition, we have adopted a new standard format for the news, and are maintaining the links to the websites of our regular sponsors. You can also link to a full year Industry Calendar of trade shows of interest to CorelDRAW users.
Video of the MonthAlso, since the start of the year, we have introduced a Video of the Month that is accessible from our PDF magazine. This is an ongoing
New Beginnings
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Inside
By Mike Neer, Publisher
Published by Association of CorelDRAW® Professionals
President: John H. McDanielVice President: Judith McDaniel
Executive Director: Michael R. Neer
ACDRP Corporate Office: Philomath, OR
OFFICES Membership & Publishing offices located at:
4549 N. Glenn, Suite 110,Fresno, CA 93704
559-275-3675 Fax 559-272-2134www.CorelDRAWHelp.com
Subscriptions: Free to qualified individuals and businesses. Send change of address to the above.
ACDRP Membership: Basic $60/yr.; Premium $120/yr.See the website for details.
Advertising: Request a Media Guide or download it from www.CorelDRAWHelp.com.
Writers: CorelDRAWHelp accepts articles from industry experts. Email publisher for details.
© Copyright 2015 by ACDRP. All Rights Reserved.
EDITOR / PUBLISHER – Michael R. [email protected]
GRAPHICS – John MiseADVERTISING – John McDaniel II [email protected]
602-502-2717
APRIL 2015
HelpCorelDRAW®
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It will change what you expect from a laser.Improved mot ion con t ro l fo r super io r cu t t ing qua l i t y.
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• 40″ x 28″ engraving area
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• Our highest engraving and cutting speeds
• Engrave items up to 13.25″ in material height
7 CorelDRAW Tips: Working With Calloutsby John Mise
8 Learning CorelDRAW: Arranging Objects Using the Gridby John McDaniel
15 Artwork for Processes: Artwork for a Laser Engraved Business Cardby John McDaniel
12 Video of the Month: How CorelDRAW Draws 1: Simple Objectsby John McDaniel
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April 2015
Magazine Sponsors Logo-LinksOnline Expo Sponsors Logo-Links
Conde Inc. WebCorel Corp. WebEpilog Laser Corp. 1 Web AdEpilog Laser Corp. 2 Web AdIKONICS Imaging WebJohnson Plastics 1 Web AdJohnson Plastics 2 Web AdLaserSketch 1 Web AdLaserSketch 2 Web AdRowmark Inc. WebStahl’s WebTopmost World WebTrotec Laser WebUnisub Web
SPONSOR INDEX
DEPARTMENTS
Click “Web” to go to sponsor’s website. Click “Ad” to go to the ad in this issue. Clicking the ad itself will go to website.
LEARN! APPLY! BUILD!
3 Inside: New Beginnings
6 Graphics News Wire Product News Headlines
18 Production Tips30 Logo-Links
38 Contributing Writers
CONTENTSCorelDRAW® Help
20 Getting Ahead: Getting Quality Under Control: An Interview with James Ortolaniby Deborah Saxton
28 Marketing Secrets: The Fine Art of Focus by Donna Gray
34 Traveling Tidbits:Will Return Next Monthby Otis Veteto
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GRAPHICS NEWS WIREApril 2015
Product News Headlines:
Calendar (Web Link)Check out the upcoming training
classes and trade shows of interest to CorelDRAW users.
CorelDRAW® HelpNEWS
DETAILS(Click Here)
• Stahls’ adds CAD-COLOR TEK Series to CAD-PRINTZ Digital Transfer Service
• Scott Fresener releases T-Rip 2.0 for film output
• Stahls’ releases 2015 catalog
• Duets Direct announces DuetTactiles substrates for ADA, Wayfinding, and Applique Engraving
• InkSoft offers 30 Marketing Tips in 30 Days
• StahlsTV.com releases April-June 2015 Quarterly Guide
• GSG offers Ulano Orange Direct Emulsion
• Coastal Business offers ChromaLuxe Sublimation Natural Wood Panels
• Hotronix debuts new can cooler platen
• Hotronix releases new Air Fusion Family brochure
• GSG video reviews film positive options
• GSG offers AlbaChem Vinyl Letter Removing Solvent
• Conde announces date for annual open house
• Gemini recognized as Top Sign Manufacturer and Service Provider with Three Awards
• Dalco adds new Jackpot Glitz Applique Material
• Johnson Plastics to Host Laser Engraving Seminar in Mpls, May 1
• Roland DGA announces imagination 2016 Inkjet User Conference
• Coastal Business offers ChromaLuxe iPhone 6 plastic inserts
• Wild Side offers new Marilyn Stock Transfers
• Coastal Business celebrates 25 years with party and Sublimation Printing Workshop
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Working With Callouts
Using CorelDRAW®By John W Mise
Sometimes, your drawings may need text to explain or point out something within your drawing. If this is the case, you can use a Callout to do that. A callout is a type of label or text box used to identify or call attention to parts of an illustration or picture.
CorelDRAW offers 2 options to create a Callout. The Callout Shapes tool which creates a type of “speech bubble” to place your text in, or you can use the 3-Point Callout tool.
When using the Callout Shapes tool, the Property Bar will show you style options that you can choose from. Then, just click and drag the tool to size the callout. Once drawn,
the callout can be re-sized using the Pick tool. You can then use the text tool to place your text within the bubble. Since these are 2 separate objects independent of each other, they will need to be grouped in order to be moved together.
When you are using the 3-Point Callout Tool, there are two
components to it: a line composed of two segments, and the control text. The callouts that you create are not bound to any object which means that they can also be moved around and placed anywhere on the page. However, the text and the line are linked and can not be moved separately.
With the Callout Tool selected, you will have a selection of arrowhead lines to choose from. You can choose the type of line style you want to use for your connector, the width of the connector, the type of arrowhead, and the typeface of your text
There are a number of options to choose from on the Property Bar when one of the Callout Tools has been activated or when a callout has been selected.
● Callout Line Width - The default setting for a callout is the Hairline width and it is blue. Do Not adjust the width of the line before you start your drawing. You can make adjustment to the width of the line after you have drawn it. Adjusting the line width before you start drawing will bring up an attention box asking you if you want to change the default line width - for any object that you draw, not just the callout. Callouts are line objects, so you can change the color of the line by right-clicking a color on the Color Palette when the line is selected.
● Start Arrowhead - A drop-down list will appear when selected. The same styles are available as they are from the Start Arrowhead collection. You can also use the arrow tail for your callout.
● Line Style - When using this, a pop-up box will appear giving you thumbnail options to choose from. Just click on the style you want.
● Callout Symbol - When using this, a pop-up list will appear giving you style options to choose from. The symbol is a “style”, so it will not affect your font selection in any way.
● Callout Gap - This will set the distance between the tail of the callout line and the beginning of the text.
Once you have created a callout, you can select your text with the Pick Tool, then right-click to choose the Object Properties from the pop-up menu and edit your text. You can change the font size and color, apply a gradient fill, or anything else that is available to you.
The text labels for callouts will always remain upright, even after you have rotated the line. And, the Callout Control Line can be edited at anytime using the Shape Tool.
Callout Line WidthStart Arrowhead
Line StyleCallout Symbol
Callout Gap
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Arranging Objects Using the Grid
LEARNING CORELDRAWBy Judy and John McDaniel, Contributing writers
In using CorelDRAW to create layouts, there is, and has always been, a need to align, arrange, and distribute objects in the layout.
Sometimes you need to simply align them on a page -- perhaps in the center of the page, perhaps some distance from the edge of the page, etc. When creating objects in a layout, perhaps it would be helpful to be able to create them in some relationship to the page, or to some existing object.
If you have multiple objects in the layout, then arranging them to one another is usually a requirement. Or perhaps there is a need to arrange the white space between objects ►
for aesthetic appeal, balance, etc. For this task, you may need to align or distribute objects in the layout.
Within CorelDRAW there are helpful tools for all of these tasks. In this series of tips, we will explore all of these tools, and how they can help with Aligning, Arranging, and Distributing objects.
In this article, we will consider the Grid and snapping to it…
Picture 1: New Picture 2: Grid Visible
LEARNING COREL
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►
The GridFrom the very beginning, CorelDRAW has had a Grid. By default, the grid is turned off from both view and action. Picture 1 shows the start of a new project in CorelDRAW X7.
To access the grid, click on the Object Manager’s Docker tab. Notice that there are three layers on the Master Page one of which is labeled Document Grid. By default, the eye icon next to the Document Grid layer is shut. That means it’s turned off from visibility.
To see the grid, left click on the eye icon one time; that will make the grid visible. See picture 2. Notice the grid is now shown as gray lines in the workspace. Also notice that the line spacing is on 1/4 inch on both the horizontal and vertical. That is the default grid spacing.
Making the grid visible doesn’t activate it, i.e., objects will not snap to it. To turn Snap-to-Grid on, click on the Snap-to icon on the Standard Command bar. That action will reveal a drop-down menu where you can select various elements in the workspace to snap to. By default, all snaps are turned off except snap-to objects. To turn on Snap to Document Grid, left click the check box next to it. See picture 3. Be aware that the grid does
not have to be visible for Snap-to-Grid to function. As long as Snap to Document Grid is check marked, the grid is active.
Next, try drawing various objects in the workspace. Notice that the cursor will now snap to the closest grid location and that location will light up in the workspace and display a small hash mark. With the grid visible, you can easily see where the snap locations are. Turn the grid visibility off, left click one time on the eye icon next to the layer name. Now create some more objects. You will see that the effect remains the same, the grid is still active. Visibility does not affect snapping.
Finally try moving an object in the layout. First grab one on the edge and start moving it around. You will notice that as you move it, the upper left corner snap point will snap-to the grid. If you grab the object by its center, i.e. the center X, and start moving it around, you’ll notice that both the center and upper left corner points will light up as you move the object.
Changing the GridThe grid can be changed in both spacing and appearance. ►
Picture 3: Turn Snap-to Grid on
Picture 4: Grid Options
LEARNING COREL
Picture 5: Grid Visible as Dots
Picture 6: Set New Document Options
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To do that, click on Tools/Options, which will call the Options dialog screen. In the Options dialog screen, select Document/Grid. See picture 4. In the Options screen, you can change spacing, either by points per measurement unit or by distance apart. Since the unit of measurement in our example is inches, our choices are “grid lines per inch” or “inches apart”. If your drawing is in some other unit of measurement, your choices will be appropriate for those units.
Notice you can have different grid spacing on both the horizontal and vertical axes. You may also choose how the grid is displayed when visibility is turned on. It can be displayed either as lines or dots. Picture 5 shows the grid as dots.
As a final point, be aware that grid visibility and snapping-to-grid follow the document. New documents will not have the same parameters.
If you want to modify the settings for new documents to include Snap-to-Grid by default, then click on Tools/Options. And then, in the Options dialog screen, click on Document. That screen will give you the opportunity to change some of the defaults for new documents, including grid and rulers. See picture 6.
ConclusionThe grid is only one of many powerful tools for arranging objects in CorelDRAW.
For ACDRP Video Members:This article is available on Video.
Click HERE to open and view.To become an ACDRP member, click HERE.
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In the video that accompanies this article, we will explore the basic fundamentals of how CorelDRAW draws.
Bezier CurvesCorelDRAW uses a type of vector drawing known as Bezier curves. Bezier curves are made of numbered points (called nodes), control points, and paths or lines which
connect the points. See picture 1. The object in picture 1 has 6 nodes and 5 paths.Node points are points in a vector drawing where lines start, connect, or end. They can be thought of as dots in a child’s connect-the-dot drawing. Lines in the drawing start, pass through, or end at node points.
Just like a connect-the-dot drawing, node points are numbered. In a vector object, the vector line originates at node one. If the object is open, the line then proceeds through each node in ascending sequence until it reaches the end node where it stops. If the object is closed, the line proceeds through each node in ascending sequence, and then returns back to and ends at node one.
In CorelDRAW, lines between nodes are best described as paths. That’s because paths between nodes can either be curved or straight. When editing a vector object, paths between nodes are called lines if they are straight; or curves if they curve. In addition, the most basic vector object in CorelDRAW is referred to as a curve, even if it’s just a single straight line between two node points.
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VIDEO OF THE MONTHBy Judy and John McDaniel, Contributing writers
How CorelDRAW Draws 1: Simple Objects
►
VIDEO OF THE MONTHLink to Video
Synopsis: Understand how CorelDRAW draws using simple objects. Learn about Bezier curves which are made up of nodes, control points, and paths or lines. See how to work with Cusp, Smooth, and Symmetrical nodes.
Note: The link to this video will be active only until the next issue of the magazine comes out.Archived issues and videos will be available after that to all ACDRP Premium Members.
VIDEO OF THE MONTH
Control points “control” how a curved path enters and exits a node. Each path will have 2 control points associated with it, one controlling the exit from the origin node and another controlling the entry into the destination node.
Control points control the direction and angle of exit from, or entry into, the node point. The distance between the control point and the node affect the amount of influence the control point has on the path. The closer the control point is to the node the less effect it has; and conversely, the greater the distance the greater the effect on the path.
Besides a child’s connect-the-dot drawing, another simple way to visualize vector drawings is as string and thumbtacks. The thumbtacks are node points through which the path or string must travel. The thumbtacks (nodes) can be moved around, but the string (path) always travels through it.
Control points are like magnets (we have magnetic string) which pull on the string and shape it. The dashed lines which connect the control points to the nodes are only for identification. They show which path and node intersection they affect.
Control points can only be manipulated for paths that are curves. Paths that are lines exit a node on a straight path to the next node, without being shaped. Therefore, control points for paths that are straight lines are not visible.
Types of Nodes and PathsIn CorelDraw both nodes and paths have characteristics. Nodes can be defined as cusps, smooth, or symmetrical. Paths can be lines or curves. Lines are straight between nodes. Curves can curve between nodes.
Cusp nodes allow the path to enter at one angle and leave at another angle. In other words, the path can change direction in the node, like on the corner of a square. Any node can be a cusp node. See picture 2.
Smooth nodes require that the path travel smoothly through it, like the curve in the letter S. Any node can be a smooth node. However, a smooth node only is effective where at least one of the paths connected to the node is a curved path.
If a smooth node happens to be at the intersection of a curved path and a straight-line path, then the control point for the curved line will be locked in a straight line extending out from the node. See picture 3.
Symmetrical nodes are smooth nodes that also require the control points controlling entry into and exit from the node to be equal distance from the node point, like the nodes in a circle or ellipse. Symmetrical nodes only have an impact on nodes that join two curved paths. See picture 4.
Node points can make a difference in our finished products. For example, if our path is vector engraved, either laser or rotary, cusp node points may be visible as little bumps in the line. Just as the path changes direction through the node point in the drawing, so will our engraving tool or laser-beam as it cuts.
The same caution applies for any process. If our process is some type of printing process, cusp node points may also be visible in the printed output. If it’s a print and cut operation, cusp node points may be visible in the print, and/
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►
Vector Object
VIDEO OF THE MONTH
or show up in cutting. Suffice it to say, smooth and symmetrical nodes are best, unless an abrupt change is required, like at a corner. Smooth and symmetrical nodes will remain hidden in any output.
ConclusionIn summary, paths in CorelDRAW are either lines or curves. Lines are straight paths between node points. Lines have no control points for adjusting shape. Curves are paths with control points which can be used to shape the path.
Nodes, paths, and control points can all be manipulated using the shape tool. We’ve also seen how the type of nodes in our artwork can have an effect on our graphic products. Cusp nodes may be visible.
How CorelDRAW draws using Bezier curves is important to understand when you begin to take clipart apart or when your customer presents you with camera un-ready artwork to process, i.e., when you have to re-draw it, or have it redrawn, to make it useful. We’ll get into that in future articles.
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Artwork for a Laser Engraved Business Card
We’ve seen many new laser owners create engraved business cards in wood; so a layout for that project is what we will cover here. Picture 1 shows the completed layout for our business card. The following is how we got there.
Creating the layout…If you’d like to follow along, open CorelDRAW and select New Graphic. If you’re working in version X7, your screen should look something like picture 2.
First, we’ll set the page size. Standard business cards are usually 3-1/2 x 2 inches; so set the page size to 3.5” horizontal and 2” vertical. Picture 3 shows the result.
Next, we will include the following:1. At the top, we have a brief description of the types of products we sell. Some
we make; some we purchase and resell. Some are personalized; others are not. Our major product line is gifts; for life’s special moments, i.e. Life’s Moments Remembered.
Some business cards we’ve seen in the industry focus on processes, i.e. laser engraving, sublimation, etc. We don’t necessarily recommend that you focus on processes on your business card. In our experience, some customers can relate to processes, especially engraving, but most don’t know, or care, what process you use to meet their needs. Processes like engraving and screen printing enjoy a level of public awareness, but other processes are less well known. Few know the differences between rotary and laser engraving; many people mistake sandblasting for acid etching or parts cleaning (bead blasting); and very few, outside the industry, know what sublimation is. It’s much better to focus on the products you produce: awards, gifts, trophies, signs, etc. We’ve found these are things our customers can relate to.
2. Across the center we’ve included our logo and business name. In every layout, especially ones that we’ve designed, we like to include some graphic. The function of the logo is to keep the card from being drab and boring, like some all text layouts are. You are a graphic product producer, so include some picture. If you don’t have a logo, then some simple clipart image might do.
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ARTWORK FOR PROCESSES
►
By Judy and John McDaniel, Contributing writers
Picture 1: The Layout
ARTWORK FOR PROCESSES
You’d be surprised how many times we’ve been asked by customers, “Can you engrave my logo?” Don’t forget, not many years ago when most things were engraved using pantograph equipment, it wasn’t easy to include graphics in engravings. Having your logo on an engraved business card may suggest that you can do things other than text. You’ll also notice we have varied the text size. This is another technique used for interest.
3. At the bottom we have included our contact information, telephone numbers and email address. We have not included an address; our business is online only. We have also not included a name. This is a generic company business card, not a personal one.
4. Note: Since this layout is designed for laser engraving, we haven’t used color. In a print process design, we would have.
Please also note the groupings of elements in the layout. See picture 1 again. We’ve named them in the Object Manager for easy identification. The Products group is simply the text at the top. The Logo is a group of some 67 graphic objects that make up the little girl. The Center Text group contains our company name and web address.
Picture 2: Getting Started
Picture 3: Business Card Page Size
The contact group includes our telephone numbers and email address.
Visual Arrangement…Elements within each group were arranged in relation to one another for visual balance; then grouped. The groups were then arranged in the layout allowing for some space between elements.
Finally, all 3 groups were grouped into one overall group. This was to be able to center the entire layout on the page. To achieve all of this visual alignment, we used the Align and Distribute docker extensively.
CutoutThe last element we need to add to the layout is a vector cutout line. For this layout it will simply be a page frame. We want the cutout rectangle (page frame) to reside on its own layer, so first add a new layer, name the layer Cutout, and then add the page frame.
To add a page frame, you can click on Tools / Options / Document / Page / Size, and then click on the Add Page Frame button and finally the OK button to close the Options dialog box. As an alternate method, you can quickly navigate to the Page area of the Options dialog box by double clicking on the page
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►
Visit CorelDRAWHelp.comYou are invited to check out the helpful information on the
CorelDRAWHelp website. Some of the useful features include:
For All Visitors:• Download the Current Magazine• Table of Contents of all magazines since 2006• Proposed CorelDRAW Video Training Curriculum• Online Expo featuring products of sponsors• Membership Information
For Members:• Complete archives of all magazines• Video Training courses on Sublimation, Laser Engraving, and CorelDRAW
CorelDRAWHelp Magazine Table of Contents since 2006
Example of Video Training Courses
Example of Online Expo featuring Sponsors Products
border. You can also quickly add a page frame by double clicking on the rectangle tool.
We don’t like square corners; so using the Shape tool we’ve rounded the corners (see picture 1 again). Lastly make sure the line weight of your cutout rectangle is light enough so that it will be recognized by the laser as a vector line not a raster. For our machine that means it needs to be under 0.001 inches. We also made the cutout line red. That is required for some laser engravers.
An advantage of placing the cutout on a separate layer is that it can be turned off. This is useful if we intend to engrave on anodized aluminum, or some other material we don’t intend to cut.
Next time, we’ll send the layout to the engraver, and show how to engrave multiples.
ARTWORK FOR PROCESSES
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CorelDRAWHelp Association Video Training Courses
The following courses are available to Premium ACDRP members. Check out the details and consider joining for $120 a year ($10 a month).
Artwork Course – Learning Computer Art & CorelDRAWThe curriculum for this course was developed as part of a hands-on training class, which taught the application of computer art and CorelDRAW for laser engraving and decorative sandblasting. The course curriculum makes the assumption that the student is starting with no prior knowledge of either CorelDRAW or computer art. The original hands-on course was 3 full days of intensive training. The video adaptation of the course contains 26 videos. The course videos were developed using CorelDRAW version 12. That said, the basic concepts for computer art have not changed at all. In addition, the basic concepts demonstrated using CorelDRAW version12 have not changed in newer versions. What has changed is that some of the newer versions have improved tools which make a few of the procedures simpler. See the notes following some of the lesson titles. This course is available to Premium ACDRP Members.
Overview Course – Highlights of What’s New in Each CorelDRAW Version Videos in this section cover some CorelDRAW features that have been introduced, or improved, since version 12. We chose that as a starting point since version 12 was used in our Learning CorelDRAWvideo series. In general, features introduced in one version carry forward into the next version. In other words, New and Improved features introduced in CorelDRAW X3, are also in X4. Improvements in X4 are carried forward into X5, and so on. Therefore… Watching Videos showing…What’s New in X3, X4, X5, etc., can help you learn how to do things in CorelDRAW X7. Each section is labeled by CorelDRAW version. This is available to Premium ACDRP Members.
X7 Curriculum Course -- CorelDRAW X7 Curriculum We have outlined a complete training course for CorelDRAW X7 with a curriculum that includes 16 different sections of knowledge and a total of 116 videos. Two sections are completed now, and we invite any suggestions on the curriculum outline. This is available to Premium ACDRP Members.
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PRODUCTION TIPS
From time to time, we are pleased to provide educational tips provided by industry suppliers. Here are two tips offered by: Chuck Maulsby, a screen territory manager for GSG of Dallas, TX; and Jim Tenholder, sales manager for Imaging Supplies Warehouse of Maryland Heights, MO. TIP #1: How to Load a Shirt on a Screen Printing PlatenExperienced screen printers all have their own technique for loading a shirt on a platen. But newcomers may find it takes a bit of experimentation if they have no one to show them. Chuck Maulsby, screen territory manager, GSG, Dallas, Texas, a full line distributor of equipment and supplies for textile and sign screen printing, embroidery, digital printing and electrical signage, offers this advice:
An easy way to center a shirt for printing while loading is to gather the body toward the top. Then pull it over the platen toward the press until it is stretched tightly from the neck. If necessary, then grab the shoulders and pull the shirt right or left to center it. Then pull the shirt back toward you until the image area is on the platen. Submitted by Chuck Maulsby of GSG, Dallas, TX. Visit www.gogsg.com MORE INFO
TIP #2: Understanding Color Laser Printers Q. What does the term “LED printer” mean? A. There are different technologies and methods used in today’s color laser printers. LED, which stands for light-emitting diode, is one of them. It is the newest technology and considered to be cutting edge.
Printers with LED technology have a light-emitting diode in the printhead, which is used as a light source within the imaging device. Unlike laser systems, the LED print head is solid state and has no moving parts. The LED bar pulse-flashes across the entire page width and creates the image on the print drum as it moves down.
Q. What are the advantages of LED as a light source?A. With a LED printhead the dot size is smaller (compared to other methods), which results in more accurate output. Smaller dots allow for a wider range of shading, which also improves print quality. Because LED light sources have no moving parts, they are more reliable than other technologies that have moving parts, which can break down over time. LED also is smaller and more compact using less energy and material resources.
Submitted by Jim Tenholder, [email protected], Visit www.goisw.com MORE INFO
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GETTING AHEADBy Deborah Sexton, Contributing writer Grow
Getting Quality Under Control: An Interview With James Ortolani
By establishing standards and having a well-thought-out procedure for implementing them, you can avoid losing money
from rejected shirts and dissatisfied customers.
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James Ortolani has been involved in the decorated apparel industry since 1985. After learning about screen printing in fine arts courses in college, Ortolani went to work for Hix Corp., Pittsburg, Kansas, a manufacturer of textile screen printing equipment and heat presses, as a salesperson.
After 10 years, he worked for J&S Ink (later sold to TW Graphics) as its Midwest sales manager and then National Mills, Pittsburg, Kansas, (which closed in 2009) where he learned the complete process of making T-shirts from the yarn to the finished product.
In 1998 he returned to Hix where he worked for the next 10 years. In 2012, he accepted a position with Stahls’, St. Clair Shores, Michigan, as the North American ink and process development manager. His current posi t ion is product development specialist for Stahls’ Transfer Express, Mentor OH.
Throughout his career, Ortolani has been a frequent contributor to industry trade magazines as well as presenting educational seminars at industry trade shows. You can contact him at [email protected].
About James Ortolani
In garment printing, as in many things, quality is subjective. Quality control, however, is not. While people’s perception of quality depends on product and individual preferences, specific factors enter into achieving whatever level of quality you’re targeting. And knowing what those factors are and how to effectively address them enables you to hit your mark consistently and makes for satisfied customers, reduced waste, and increased profits.
Ultimately, each customer determines what is acceptable quality -- from the material and construction of the garment to the look and feel of the printed image. But it is the standards the printer sets, and the systems in place for meeting them, that ensure the customer’s expectations are met.
Quality control needs to be encouraged in every department. For the most part, not enough people in screen print shops are involved in quality control. Part of the reason is that a lot of printers have downsized their staffs.
For example, when the economy was booming, a shop may have had three people on an automatic—one loading, one unloading and a “floater” inking screens and keeping an eye out for printing issues; now it might have only two. This puts quality control after printing. It contributes to an environment in which it’s easy for printers to become lax in keeping up their standards. And it can make for a rude awakening when 200 shirts are sent back.
The solution lies in assessing your quality control shop-wide and getting your people actively engaged in improving it. For starters, you need to determine the weak areas in your operation. Look at jobs where there have been issues or returns and invest the time to identify the points in the process where the problems have occurred. Try to pinpoint your weaknesses from the art department through shipping.
Staff involvement is key. It is critical that the people doing the work buy in. Getting them onboard is essential to truly changing the way things are done, and their experience and perspective is invaluable.
Get Customer ApprovalThe first step is to make sure everyone is clear on the desired outcomes. This starts with customer approval. A procedure I’ve seen used successfully is to send the customer two ►
Testing is critical to quality control. One testing device you should have in your screen room
is a hygrometer. This is used to measure the moisture content in the atmosphere. The
humidity plays a major role in how fast and how well emulsion coated screens will dry. Photo
courtesy of Kiwo, Seabrook, Texas
The use of an exposure calculator ensures a perfect exposure resulting in better-quality prints and saves time from having
to redo screens due to poor exposure.
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GETTING AHEAD
strike-offs to approve for art, color, placement, etc. Have the client literally sign off on the shirt with a permanent marker. The customer keeps one signed shirt and returns the other, which then hangs at the end of the dryer. This reminds everyone on the shift that this is what the cured prints should look like.
Establish A StandardNext, it’s important to meet with everyone who will be involved with a job from beginning to end and to have standards for them to go by. If they have a question, they need to raise it upfront, before it evolves into an issue.
You have to establish tolerances regarding the number, type, and degree of imperfections that are acceptable and a method for checking for them. Some of the giant fashion retailers developed quality programs based on the military garment
control standard, which was established when it was one of the largest buyers of garments in the country. It was used to standardize the making of uniforms by various vendors and to ensure consistent quality.
This “controlled audit” involves inspecting a percentage (typically either 2.5 or 4 percent depending on the organization) of a garment run to evaluate its conformance to military standards. But instead of focusing primarily on shirt quality, a printer also might include standards regarding image clarity, placement, color matches, and printing defects.
On a scale of 100, points are deducted for major and minor defects. In a screen printing context, a major defect might be something like an ink spot on the front of the garment near the image area. A little bit of ink or a small needle cut on the hem might be only a minor defect that would not make it fail the audit, but would be called to your attention.
But inspecting the garment after it’s been printed should be the final step in quality control. Too often, the individual who is primarily responsible for quality control knows that the person at the end of the belt will catch a problem, but at that point, it’s too late.
The issue has to be remedied or the shirt will have to be sold at a discount or go into the reject pile. In any case, it cuts into your profits. And if a ►
To ensure quality control in the ink room, it’s ideal to have an ink mixing system with a scale, ink knives, small plastic containers and a Pantone Matching System
book. This also can save money by not having to buy large quantities of a custom color when you only need a small amount.
Photo courtesy of QCM Inks, Pineville, NC
Ensure you are getting the color the client requires by using the Pantone color-matching system (PMS). It is the most widely used system for specifying colors in the graphics, print, and apparel industries.
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mistake is made printing 20,000 shirts, and it’s not caught until the end of the run, any mistake is a major one.
Evaluating Your ShopThere are a number of ways to go about evaluating shop quality control. One is by hiring an outside consultant. In addition to offering an objective perspective that’s not colored by personalities and internal politics, an independent consultant has a wider
frame of reference to draw on. Another option is for the owner of the company to meet with principals from each department and ask for their recommendations on how things in their area could be improved.
The two most important things are for people to take on the task of improving as their own and not to attempt making too many changes at once. Let your employees know they are doing a great job, but ask them what they think could be done to make things in their area go even better.
Incremental changes are easier to implement. It’s a good strategy to start by going after the low-hanging fruit—changes that are simple to make that yield results quickly. A good example is sharpening squeegees. Then advance to more technical issues, such as better screen tensioning.
A good place to start building a quality control mindset in your company is with your team leaders, crew chiefs, production or department managers, etc. They are the ones who are ultimately responsible for the quality of the output in their area. What you want is for them to be excited about doing this, rather than it being a chore.
A great way of fostering enthusiasm about quality and sparking ideas for improved quality control among employees at all levels is by opening their eyes to the possibilities. Trade magazines and shows are tailor-made for this.
Try the “wish list” technique. Ask your department heads—and have them ask their staffs—what they wish they had in their department that could help improve their work. Make sure to share trade magazines with employees so they’re aware of tools and techniques.
A l s o , b r i n g s o m e production people to a trade show at least once a year. You’l l see a big difference when they come back. They will have seen new things, and being able to share those things will empower and engage them, as well as potentially making you aware of new technologies that
could improve your operation.
Ultimately, a quality control audit should encompass all of your departments. It should include an exploration of the variables involved in each area and tools available for addressing issues and achieving better quality. Here are some ideas to get the ball rolling:
In the art department, you’ll want to make sure you’re up to date with the latest graphic software and that everyone knows how to use it. Everyone also needs to understand how to make sure the artwork is set up for accurate registration on the press. You also might have an expert check film output for density/opacity, using a densitometer. Consider moving to a computer to screen (CTS) system. The investment can pay off in film savings and higher-quality prints.
In the screen-making area, you’ll want to look ►
A reliable predictor of print quality is how well the screens
are tensioned. To know this, you need a screen tension meter. Screens should be regularly
tested to ensure the tension has not dropped below acceptable
limits. Photo courtesy of Newman Roller Frames,
Philadelphia, Pa.
A scoop coater, which is used
for applying emulsion, is necessary to make quality
screens. Without one, it’s difficult to attain an even coat of consistent thickness, which is necessary if you
want to avoid problems later in the screen printing process.
For high-quality prints, screens must be stretched and re-stretched after a certain
period of use to maintain proper tension. A screen stretching device makes
this faster and easier.
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►
at what you’re doing to achieve proper tension. That means getting a tension meter if you don’t have one. Stretching tables and fabric panels that can be snapped into place also are available that can facilitate the process. A good scoop coater with a dull edge for laying down a lot of emulsion and a sharp edge for applications like halftones that require a thinner laydown also may be worth adding to your arsenal.
Stencil thickness gauges and moisture meters may be worth checking out as well, depending on the issues you’re experiencing. And a hygrometer to measure your humidity and, possibly, a dehumidifier, can be other valuable assets in the quest for quality, as can an exposure calculator.
For quality results in ink mixing, you’ll need a digital scale, a mixer that’s slow enough not to heat the ink, small plastic containers, ink knives, etc., as well as a PMS (Pantone Matching System) book. Doing it yourself keeps you from having to meet manufacturers’ minimal quantity requirements for custom colors.
A good commercial ink-mixing system helps, with finished inks often being the best way to go for smaller or less-experienced shops. Various types of equipment, such as devices that replicate different types of light are also available for color-matching.
A number of tools also are offered for the production area. Among those with the broadest application are various devices—infrared laser temp gun, probes and strips—for ensuring accurate dryer temperatures.
And last, but not least, there are post-production quality control tools—most prominently, the spot-cleaning gun. A must for every shop, these handy tools can avert disaster resulting
Stencils should be checked for pinholes and other signs of breakdown before being put on the press. This will go a long way toward ensuring a trouble-free press run. This is a shot
of a stencil inspection station using magnification to check for pinholes, edge definition and halftone resolution to
ensure a quality screen.
Oftentimes a spot of ink, grease, or even certain stains can be quickly removed with a spot-cleaning gun. Having one handy should be part of anyone’s quality control program. Photo courtesy of Tekmar, Santa Barbara, CA
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from glitches like an ink spot on a long shirt tale.
The key thing to remember with any tool for enhancing or measuring quality is that it’s only as good as the individual using it. And that means constant, ongoing training.
Tests, as well as tools, can be an important aspect of quality control. They can be extremely specific, such as those required by various brands, or as simple as an old school dry crock test for ink that involves rubbing your thumb hard against the cured print to see if pigment comes off, or a wet crock test where you run a wet rage over the print.
In either case, the object is to detect whether there is an issue impacting quality, so you can bring it under control. The frequency and types of tests are determined by your standards and those of your clients. What matters is that you identify what needs to be tested to ensure quality. Tests don’t take long, and their value is preventative; using them is being proactive vs. reactionary.
Throughout the process, documentation is another important tool, and one you don’t buy. Using some form of job tracking keeps you from having to reinvent the wheel and allows you to accurately repeat jobs. It also can support you if disagreements arise between you and a customer. How detailed this documentation needs to be varies. But it’s generally a good practice to document the authorization of changes by the client and keep samples.
It’s been estimated that more than 50 variables are involved in screen printing. Some—like print presentation and image placement—are obvious in the perception of quality. Others, the customer may not even notice, at least not immediately. Controlling those variables is our business, and how well we do it is key to our success.
Mistakes happen no matter how good your quality-control procedures are. A good spot-cleaning station can rescue
misprints and help maintain profitability. Photo courtesy of Tekmar, Santa
Barbara, CA
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Nowadays with instant technology and instant gratification being so prevalent in society, and because we are constantly bombarded with an overload of information, it’s easy to see why many of us have become addicted to multi-tasking.
Many business coaches will suggest that multi-tasking is less efficient, more complicated, and much more prone to cause mistakes along with severe stress. And, yet, even knowing this, many of us, especially at this time of year, are constantly doing more things at once that we should.
In his book, Dombey and Son, Charles Dickens wrote, “He did each single thing as if he did nothing else.” Can anyone in our industry imagine being able to do this? Everyone I’ve had the chance to chat with lately is happily lamenting that they are so busy they can’t turn around. What a great problem! This is also a great invitation for mistakes in the form of “Murphy’s Law”, to be part of the “busyness”.
Business coaches tell us that focusing on one task at a time, with full attention to detail, will help one to do a better job, be more effective at one’s work, and be less distracted when interruptions happen.
I was a proud multi-tasker. I would brag to my husband, Dave, about how “cool” it was to be able to juggle more than one important thing at a time. I could tackle more than one task at a time…or I could switch back and forth from several tasks, all the while feeling stressed but productive. I was certain that my productivity was above average. Then, one day at a breakfast meeting with other area business folks, our discussion centered on getting rid of stress and getting our mojo back. What an eye opener to learn that multi-tasking could cause not only a serious toll on real productivity, but the stress from constant distractions can impact on creative thinking, planning and acting on important parts of daily business…and life.
Now, that’s not to say that stressful distractions don’t ever enter the daily game…we
The Fine Art of Focusall know they do…with everything from late deliveries, to forgetting a deadline, or an important part of an order, to a personal or family challenge.
According to Julie Morgenstern, productivity expert and author of five books including Never Check E-Mail in the Morning, there is an email addiction epidemic and we are being pulled in a million different directions. Nowadays, with Smart Phones we never really “get away” from distractions.
Morgenstern, in a recent article by Jessica Kleiman, co author of Be Your Own Best Publicist said, “It has been scientifically demonstrated that the brain cannot effectively or efficiently switch between tasks, so you lose time. It takes four times longer to recognize new things so you’re not saving time; multitasking actually costs time.” According to researchers Joshua Rubinstein, Jeffrey Evans, and David Meyer, “Productivity can be reduced by as much as 40 percent by the mental blocks created when people switch tasks.” Now that I have become aware of how multitasking impacts on my day…I agree with this finding. Now that I’ve had this reality check, I’m working on ways to quit multitasking and concentrate on “Unitasking”. Here are some suggestions I’ve received from others who are working towards this same goal:
• Block out distractions while at work. Turn off phones (desk and cell), turn down email notifications.
• Make a priority list and don’t include everything you can possibly think of that might need doing. Be clear and be firm about what can really be accomplished each day. Peter Bregman, a consultant who advises executives and the author of 18 Minutes: Find Your Focus, Master Distraction, and Get the Right Things Done, tells us, “People like the idea that they can juggle many balls at the same time. It can make us feel like we’re more important. But the truth is, you may not actually need to do everything you’re trying to do, and cutting items off your list can be a good thing.” He suggests identifying tasks that may not be worth the time and eliminating them.
• Clear out clutter. Find a place for everything that belongs on your desk and keep paperwork in order so time isn’t wasted searching for needed information.
• Close extra browser screens.• Don’t monitor email inboxes.• First tackle the most important tasks (Sometimes these are the most
difficult or they might be the ones you hate to do)
Multi-tasking is less efficient, more complicated, and much more prone to cause mistakes
along with severe stress.
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MARKETING SECRETSBy Donna M. Gray, CRM
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Visit the CorelDRAWHelp Online Expo• Set time limits. This can help one stay focused on completing a task within a set deadline. This works for me since I like to work in time increments. A time management expert I know suggests that some tasks need focused attention for longer than others and one shouldn’t let a preset amount of time interrupt focused attention if you feel like you can keep working on that task for a longer period.
• Get into a habit of concentrating on and completing one task at a time.• Keep a notebook handy to write down any “stray” thoughts. • Take breaks. Experts suggest that we will be more productive if we give
our brains some “down time”. Being overtired, overworked, and lost in the multitude of things that “must be done”, is not helpful to focused work.
We live and work in a busy world where a multitude of things are happening at once. Sometimes multitasking becomes a way of life, especially at this time of year, when our businesses are full of priority orders…some that come after months of planning with customers who couldn’t make a decision until now and want their products tomorrow. This seems to be the norm for many industries, not just ours, now that we’re in the “Instant Gratification Age”. The problem, according to experts, is that only two percent of us can multitask effectively. That says that many of us are running around like chickens with our heads cut off trying to accomplish everything on time.
Gary Keller, author of The One Thing: The Surprisingly Simple Truth Behind Extraordinary Results said “Juggling is an illusion…in reality the balls are being independently caught and thrown in rapid succession…it is actually task switching.” While we all have stacks of tasks to accomplish each day during our busy season, when we get rattled by all these items on the “to-do list” we’re in trouble. Monotasking…focusing on just one thing at a time…will help to get through each item on the priority list and time will fly by. This is part of “Flow”…the “zone” that helps us to be fully immersed in the work, be deeply engaged in getting more done…and getting it done right.
Marilyn Vos Savant, writer and mathematics expert, said “Many people feel they have to multi-task because everyone else is multi-tasking but this is partly because they are all interrupting each other so much.” This is so true!!!
Peter Bregman tells us “You are a limited resource, so you have to be strategic about what you’re going to do.” This really puts things into perspective for me. I know there are only so many hours in the work day, even though at this time of year, we all seem to push the envelope trying to squeeze in a few more. I’m going to keep in mind that I am a limited resource, and I’m going to really work at being strategic and doing each single thing as if I have nothing else to do. I’ll kick this addiction to multitasking…right after I get a few things done. How about 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 since1977. She has presented seminars nationwide, won awards as Business Woman of the Year, Retail Marketer of the Year, and Sam Walton Business Leadership Award. She is also the author of two books on family business, It’s All Relative! Surviving & Thriving in A Family Business (2007), and Never Quit: The Ups & Downs of Running a Family Business (2004). She has earned professional credentials as a Certified Recognition Master. She can be reached by email at [email protected].
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CONTRIBUTING WRITERS
Donna Gray is the president of Total Awards, Promotions, & Gift (aka AwardsMall.com) in Madison, Wis. She and her husband Dave have run their full service awards and personalization business since1977. She has presented seminars nationwide, won awards as Business Woman of the Year, Retail Marketer of the Year, and Sam Walton Business Leadership Award. She is also the author of two books on family business, It’s All Relative! Surviving & Thriving in A Family Business (2007), and Never Quit: The Ups & Downs of Running a Family Business (2004). She has earned professional credentials as a Certified Recognition Master. She can be reached by email at [email protected].
Bill Leek of Houston, TX 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 281-257-0695.
John and Judy McDaniel are owners of CorelDRAW® Help, Inc. They started in the personalization business in 1989 with CorelDRAW version 1.0. In their businesses they apply CorelDRAW! They’ve used it with—mechanical and laser engravers— to produce Awards, Gifts, and Industrial Products. They’ve also used it with all types of printers and vinyl cutters—for creating sublimation and other image transfers—for making sandblast masks—screen-printing screens—pad-printing plates—signs and banners—sales literature and flyers. In essence, they have over 20 years of experience in applying CorelDRAW! They have written hundreds of articles and tips; lectured across the country; and have been teaching CorelDRAW since 1991.. For information on training and more, call 541-967-4271, or write to [email protected].
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].
Mike Neer is the editor of CorelDRAWHelp magazine and Executive Director of ACDRP. He has more than 25 years experience in writing and publishing in the personalized products industries. He is the author of the CD, Creative Showroom Display, and the booklet, The Professional Edge. He can be reached at the ACDRP office in Fresno, Calif., at 800-276-8428 or [email protected].
Deborah Sexton, former editor of Impressions Magazine, has been in the apparel graphics industry since 1981. She currently does marketing and public relations for apparel graphics companies, and is a columnist for several industry publications.. She can be reached at [email protected].
Otis Veteto is a sales consultant with more than 30 years experience in the awards and promotional products industry. He offers the “PROspective” of a veteran sales rep in reporting on ideas, people and places that he visits. Otis also presents sales and motivation seminars for industry organizations. He can be reached in Sacramento, CA – when not on the road – at 916-396-3009. Or email [email protected].
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