Published by the Association of CorelDRAW® Professionals (ACDRP) / www.coreldrawhelp.com

the entrepreneurial magazine for CorelDRAW®

users worldwideCorelDRAW® Help

Arranging Objects Using Snap to Objects…

Choosing The Right Ink:An Interview With Charlie Taublieb

June 2015

INSIDE: Learning CDR:

Arranging Objects Using Snap to

Objects…

Video of the Month:The CorelDRAW

Workspace – Part 1

Using CorelDRAW:Drop Shadow Effect

Art for Processes:Artwork for Creating

Sandblast Masks

Marketing Secrets:Working Through

Slow TimesA Special Report:

The Rowmark-Johnson Plastics

Partnership - Pg 20

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Stagnation and AdaptationThey say that chronic sitting can lead to acute and long-term pain, decline in mobility, chronic diseases (such as obesity, Type 2 diabetes, heart failure, and cancer), increased mortality risk, and a negative impact on emotions and behavior. That’s a pretty long list of serious damage from something so simple as sitting. But they explain that it’s due to two things: stagnation and adaptation. Much of our daily life is spent in a slumped or flexed position. This limits the range of our muscle movement and leads to imbalance in our joints, muscles, and hormones. Then, the body adapts to this slumped position in a negative way, and we get stuck in problems.

Mobility and StabilityThe solution they say is mobility (stretching muscles that are out of balance) and stability (strengthening muscles that are weak). Realizing that we can’t “give up” our work, they have designed a simple and effective program of taking breaks every 45 minutes during the day, and doing two to four minutes of specific stretches or walking. No equipment is needed, unless you want to use some simple things like a resistance band or foam roll. I believe adopting a simple program like this will give us more energy and thus creativity for our graphic designs and for our business. It will also reduce health care costs for each of us and for our employers. Let’s turn sit-ness into fitness!

All CorelDRAW users spend a lot of time in front of the computer screen. That means we sit a lot, and it takes a toll on our posture and our health.

Is my experience familiar to any of you? I wake up with my hips hurting, or my neck and shoulders ache during the day, especially on the right side because I’m right-handed. Or it’s hard to turn around and look behind me when backing up my car. Or my hands get stiff and ache. Eventually, I realize something is wrong. The body is not moving the way it should.

What to do? I could take painkillers. I could go to a chiropractor. I could get surgery. Yikes! But I’m more interested in finding the cause, then treating the symptoms. If I follow the path of symptoms, then I know it leads to a downward spiral of more and more problems. But if I can locate the cause, then I can prevent future problems and maybe restore proper movement and function to my body.

I believe the cause has to do with sitting. Sitting itself is not the problem; the human body is designed for that. But it is not designed for A LOT OF SITTING.

The Sitting SolutionI recently found a wonderful program that helps every person who sits at a desk become a better sitter. Chad and Brenda Walding, doctors of physical therapy, have recently launched the e-version of The Sitting Solution. (It’s available at www.sittingsolution.com and this is just a free plug because I like their program.)

Sitting Too Much

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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

mikeneer@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. Neermikeneer@coreldrawhelp.com

GRAPhICS – John MiseADVERTISING – Mike Neer

mikeneer@coreldrawhelp.com 559-479-2160

JUNE 2015

HelpCorelDRAW®

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7 CorelDRAW Tips: Drop Shadow Effectsby John Mise

9 Learning CorelDRAW: CorelDRAW X7:Arranging Snap to Objectsby John McDaniel 17 Artwork for Processes:

Artwork for CreatingSandblast Masksby John McDaniel

12 Video of the Month: The Workspace, Part 1by John McDaniel

Special Report20 The Rowmark-Johnson Plastics Partnershipby Mike Neer

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June 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

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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.

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3 Inside: Sitting Too Much

6 Graphics News Wire Product News Headlines

31 Logo-Links 35 Contributing Writers

CONTENTSCorelDRAW® Help

26 Getting Ahead: Choosing the Right Ink:An Interview with Charlie Taubliebby Deborah Saxton

33 Marketing Secrets: Working ThroughSlow Times by Donna Gray

36 Quick Tips:New Projects for Laser Cutters and Layering Vinyl on Garments

June 2015 6Click ads to go directly to advertiser’s web site.HelpCorelDRAW®

GRAPhICS NEWS WIREJune 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)

• Imprintables Warehouse launches new Myogrid Performance Wear

• Workhorse offers 2-day July screen printing workshop

• Rowmark launches Color Snap Match App

• Rowmark announces new Lasermax® DigiCam products

• Laserbits adds new links to its newsletter

• New Spectra Perform Gold, Silver Metallic brings shimmer to performance apparel

• Stahls’ offers Pre-Cut Number Style Display Books

• Stahls’ offers 10% off Pre-Cut Thermo-FILM letters and numbers in June

• Johnson Plastics, Inc. acquired by Rowmark, LLC

• Roland DGA announces OEKO-TEX Class 1 Certification of Texart Dye-Sublimation Ink

• GSG offers Hotronix Fusion Heat Press

• Duets Direct Clean Room Manufacturing ensures high quality ADA and engraving substrates

• InkSoft updates Online Designer with new clipart, layouts, and fonts

• Wild Side offers new Breast Cancer Awareness designs

• Workhorse offers three new videos

• Laserbits announces winners of Young Laser Engravers Contest

• Coastal Business offers TechniPrint HS for color laser transfers for hard surfaces

• ASI Show announces new event format for California and NY in 2016

• InkSoft adds American Apparel catalog to online designer

• Online T-Shirt Fundraiser draws strong community support for family of slain officer

• Workhorse Products offers new Flashback Express

June 2015 7Click ads to go directly to advertiser’s web site.HelpCorelDRAW®

Drop Shadow Effect

Using CorelDRAW®

►

by John W Mise

There are 3 different types of effects that you can use:

Drop Shadows - This option is the most popular and the easiest to use. It gives the viewer the impression that the “light” is coming from the front of the object. A drop shadow is simply a duplicate of an object that is placed behind the object and is offset -- depending on the light source.

The Drop Shadow Tool can be found with all of the interactive tools in the toolbox. When you select the Drop Shadow Tool, additional options will appear on the Property Bar which will allow you to create shadows and glows that are based on your object or objects.

Preset Options

Drop ShadowAngle

Drop ShadowOpacity

Drop ShadowFeathering Direction

Drop Shadow Stretch

Clear Drop Shadow

Drop ShadowOffset Position

Drop ShadowFeathering

Drop ShadowFeathering

EdgesDrop Shadow

Fade

Drop ShadowColor Selector

Copy Drop Shadow

PropertiesMerge Mode

Once you have created a Drop Shadow, interactive markers will appear. These will be to offset the position and color, along with an Opacity slider.

Cast Shadows - This is more of a perspective shadow and it tends to anchor your object(s) to the page adding interest and dimension. A drop shadow will sometimes give the illusion that an object is floating in front of or above the surface. However, if you use a Cast Shadow, the shadow stays attached to the object while the rest of the shadow

skews away from the object giving it more of a three-dimensional look. You can also adjust your shadow from its light source by rotating, stretching and skewing the cast shadow.

Glows - A glow effect is a soft shadow around an object. Whenever a shadow is created, black is automatically applied but this can be adjusted or changed to create the effect you want. There are also

Drop Shadow

Cast Shadow

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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Using CorelDRAW®

Glow Presets on the Property Bar to help get things started for you. Glow Shadows can be done on almost any background but they work best on darker backgrounds.

Drop shadows have a dynamic link so when you make changes to your object, your shadow will automatically be updated as well. You can customize the shadow position, color, opacity, and feathering along with changing the angle, stretching and fading properties to come up with the perfect shadow effect.

Glow Shadow

Offset Marker

Opacity Slider

Position Marker

Picture 1: Options dialog.jpg

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Arranging Objects Using Snap to Objects…

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, you might find it helpful to be able to create them in some relationship to the page, or to other objects.

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 and/or distribute objects in the layout.

Within CorelDRAW, there are helpful tools for all of these tasks. In this series of Learning CorelDRAW articles, we will explore all of these tools, and how they can help with Aligning, Arranging, and Distributing objects.

In this article, we will consider snapping to objects.

Snapping to ObjectsEvery object has a variety of points that can be used to snap to. You might want to snap to the Center of an object, perhaps a node point, perhaps the edge, perhaps the midpoint. In short, snap to objects is a collection, or group of points, that exist on or in an object.

To see all the points an object has that can be used as snap points, click on Tools/Options/. That will call the Options dialog screen. In that screen, click on Workspace/Snap to Objects. This will display the Snap to Objects dialog screen. See picture 1. The snap to objects dialog screen allows you turn snap points on and off. By default, they are all turned on.

Some snap points only exist on certain types of objects. For example, the Quadrant

►

point only exists on ellipses and arcs. Text Baseline only exists on text objects.

You will notice, in picture 1, that the document page can also be treated as an object. By default, it’s turned off. To turn it on, click the square in the dialog screen or use the dropdown menu on the standard command bar.

lEARninG COREl

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To use object snap points, select the object and release. Then hover the cursor over the object and you will see snap points light up with a description of what they are.

If you want to use snap points to align objects to one another, then…1. Select the object you want to move with the Pick Tool and release. That will

simply select the object. The object you are moving we’ll call the source object.

2. Hover your mouse pointer over the point you want to use for alignment. When it lights up, select the object at that snap point (left click and hold).

3. Drag the source object, the object you want to move, over the target object, i.e. the one you want to snap it to. You will notice snap points will light up on the target object as you do this.

4. When you have the source object’s snap point aligned with the desired snap point on the target object, simply release the mouse button and your objects will be aligned.

In picture 2, we created a rectangle and circle, then did the following…1. Selected and released the circle.2. Hovered the mouse pointer over the center of the circle to find the center snap

point.3. Selected the circle at its center snap point.4. Dragged the circle over the right side of the rectangle until the midpoint snap

point on the rectangle’s left side lit up. Released the circle at that point.5. With the circle still selected, we duplicated it using the shortcut key CRTL+D.

(We did this to insure both circles were identical in size.)6. We selected the 2nd circle at its center snap point and dragged it to the left

side of the rectangle.7. When the 2nd circle was aligned with the midpoint snap point on the rectangle’s

left edge, we released it. That created the alignment of objects you see in picture 2.

8. We then selected everything and picked all the objects at their center point, identified by the center X.

9. Dragged all the objects together to the center of the page.10. When the page’s center snap point lit up, we released the mouse to drop the

collection of objects in the center of the page.

By adding more objects we can take our drawing a little further. In picture 3, we’ve added a simple polygon shape, and we have the beginnings of Cinderella’s carriage.

ConclusionSnapping to objects is an extremely powerful tool to help you arrange objects in your layouts, and create new ones.

Picture 2: Simple 3 Object Drawing.jpg

Picture 3: Simple Carriage.jpg

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The CorelDRAW workspace is a customizable user interface. It consists of a drawing space, surrounded by tools and reference points to help you quickly create a layout.

Elements of the WorkspacePicture 2 shows the default CorelDRAW X7 workspace with most elements labeled.

The elements are as follows:1. The Windows program command bar. This bar contains the file

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VIDEO OF ThE MONThby Judy and John McDaniel, Contributing writers

The CorelDRAW Workspace – Part 1

►

VIDEO OF ThE MONThLink to Video Run time: 11:30

Synopsis: Understand the many elements of the CorelDRAW workspace – both the default workspace and the new optional workspaces. See which features are new for CorelDRAW X7.

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.

Picture 1: The CorelDRAW Workspace

viDEO OF tHE MOntH

name and other program controls.2. Just below the Windows bar is the Menu Bar. The Menu Bar is common

to most Windows programs. It presents a drop-down list of commands arranged by category.

3. Below the Menu Bar is the Standard Command Bar. This bar is static for any given workspace. That means, the command icons remain unchanged. That said, the Standard Command Bar can be customized for a particular workspace.

4. Right below the Standard Command Bar is the Property Bar. The Property Bar is dynamic. It presents commands appropriate for the Tool, Object or Objects selected. In CorelDRAW X7, the Property Bar has approximately 89 different states that it can be in.

5. Located at the far right of the Property Bar is a plus sign in a circle. This is a new command in X7. It’s a “add command” icon. It can be used to add commands to the Property Bar. More on that next time when we explore modifying the workspace.

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Picture 2: CorelDRAW X7 Default Workspace Labeled

►

viDEO OF tHE MOntH

6. Number 6 is also a new feature in CorelDRAW X7. It’s a tab that has all of the open documents listed. To switch from one document to another simply click on the tab. You can also easily close any open document by hovering over the tab and left clicking on the little X that appears to the right of the document name.

7. The little plus symbol on the far right of the Open Documents Bar is a New Document command. This is another new feature of CorelDRAW X7.

8. To the immediate right of the workspace is the Dockers panel. The Dockers panel has tabs identifying open Dockers.

9. Number 9 is also a new feature in CorelDRAW X7. It’s a plus symbol at the bottom of the Dockers’ tab list. The plus symbol allows the user to easily open a Docker that is not currently on the list. More on that next time when we explore customizing the workspace.

10. To the far right of the workspace is the standard color palette. In all the recent versions of CorelDRAW, you can have multiple color palettes open.

11. Number 11 identifies the standard scrollbars. Where the scrollbars meet, in the lower right corner, is a Desktop View Controller. This is very useful tool when zoomed in. You can left click and drag the desktop view wherever you need it.

12. Below the scrollbars is the document color palette. Colors will be automatically added to this bar as they are used in the layout. Since there are no colors in the layout, this palette is currently empty.

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Picture 3: Lite Workspace

Picture 4: Classic Workspace Picture 5: CorelDRAW X7 Default Workspace

►

viDEO OF tHE MOntH

13. At the very bottom of the workspace is the Object Information, or Status Bar. This bar has various states that are user selectable.

14. Moving up and to the left, number 14 identifies the rulers. The rulers are graduated in whatever measurement is in use for the layout -- inches, millimeters, etc. The default in this case is inches.

15. To the far left of the workspace is the Toolbox. It contains all of the available tools for any given workspace.

16. Number 16 identifies another new feature in CorelDRAW X7. The plus symbol can be used to customize the toolbox by adding tools that are frequently used.

17. Sharing the space with the bottom scrollbar (number 11) is the Page Navigation area. Here there are tabs to move from page to page, and command icons to create new pages.

18. In the center of the workspace is the layout page.19. All of the open space surrounding the layout page is considered the Desktop.

Objects placed on the desktop are page independent. That means if you want to move an object from one page to another, one way to do it is to move it off the page, then go to the page where you want it, and drag it back onto that page from the desktop.

Standard WorkspacesAll versions of CorelDRAW come with a default workspace. Newer versions,

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►

Picture 6: Adobe Illustrator Workspace Picture 7: Illustration Workspace

Picture 8: Page Layout Workspace

viDEO OF tHE MOntH

like X6, also included an Adobe Illustrator workspace.

With the release of CorelDRAW X7, Corel has expanded the number of workspaces included with the program. The workspaces that come with X7 are:

1. Lite – The Lite workspace is designed for new users. It is simple with a minimum number of tools, commands, and Dockers. See picture 3.

2. Classic – The Classic workspace is essentially the default workspace that is provided in CorelDRAW X6. See picture 4.

3. Default – The Default workspace was redesigned for X7 to include some of the newer features. See picture 5.

4. Adobe Illustrator – The Adobe Illustrator workspace is categorized as Other (as shown in picture 1). The Other category will also include any custom workspaces you create. See the Adobe Illustrator workspace in picture 6.

5. Illustration – The Illustration workspace is new in X7. It’s designed for users who are creating illustrations for print applications. See picture 7.

6. Page Layout – The Page Layout workspace is another new workspace in X7. It’s designed for creating a variety of business documents. See picture 8.

My Custom WorkspacePicture 9 shows my custom workspace. It’s designed for my computer display which has a maximum resolution of 1920 x 1280. In my custom workspace I have…

1. Displayed some toolbars I find useful.2. Added commands to existing toolbars.3. Docked some of the Dockers to the left side of the

screen.4. Created and displayed a new custom toolbar.

Keep in mind, all workspaces are customizable.

ConclusionIn next month’s video, we will continue our exploration of the workspace. We will cover some ways to customize a workspace to suit your workflow.

HelpCorelDRAW®

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Picture 9: My Workspace

Artwork for Creating Sandblast Masks

In this article, we will focus on how we make the decision as to which mask material is best for a given project. As you will see, the artwork and the material being blasted both influence that decision.Sandblast Mask Materials…Materials that can be used to create sandblast masks include:

1. Vinyl2. Laser-Mask3. Photo-Mask a. Traditional b. Self-adhesive i. Water wash out ii. Non-wash out

We’ve arranged these in order of increasing cost. So you might ask… “Why not use vinyl all the time?” There are some very good reasons for choosing a masking method other than vinyl. Each type of mask material has its own advantages and disadvantages. In order to decide which mask you will use for a given project, consider the following…

Artwork Image Size?The first consideration is size. Is the image small enough to print on an available laser/film printer, or send to a laser engraving machine? If it is, then any masking method may be suitable. If the image is large, then vinyl cutting may be the only appropriate method.

It is possible to tile an image on a laser or film printer, and then produce photo masking in segments. However, this method assumes you can assemble the tiled segments

onto the product you intend to blast. The more segments needed, the greater the opportunity for distortion in assembly.

Artwork Image Complexity?Vinyl cutters do not do small images or letters very well. Vinyl cutters tend to pull up the corners if the letters are too small. Unless you’re

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ARTWORK FOR PROCESSES

►

by Judy and John McDaniel, Contributing writers

ARtWORk FOR PROCESSES

producing sandblasted signs, large rock faces, or large glass panes, most images will be small enough that most methods will work. If you intend to blast large images on a regular basis, than a full-sized vinyl cutter (36” or wider) should be on your list for consideration.

The Product to be Blasted?The next consideration is the material to be blasted, and its reaction to the masking adhesive, and post-blasting cleanup. Most hard materials will be receptive to any type of masking; however, softer and porous materials can be problematic.

Most traditional photo-masking requires the application and removal of water-based adhesives. This may not be suitable for some materials. Raw wood, for example, will absorb the adhesive, which can present a problem for clean-up and finishing later. Even finished wood can present a problem for water-based adhesives. The action of sandblasting removes the finish in the area that’s blasted. This allows the wood to absorb moisture in the mask removal process potentially damaging the product.

On metals such as stainless steel or silver, the brush-on water-based adhesives used with traditional photo-mask will bead-up on the surface and not cover evenly. This will cause an adhesion problem for the mask material.

For wood, metal, or stone, a self-adhesive vinyl, self-adhesive photo mask, or laser mask would be better choices. They will adhere well and can be peeled off without having to use water.

Material Porosity?Another consideration is surface porosity. Brush- or spray-on photo mask adhesives can be difficult to remove from porous surfaces. Even soaking the product may not remove all adhesive residues. We’ve experienced this with some brick and rock surfaces.

Other considerations…Wine bottles, where decorative sandblasting is added; and an existing label is to be left intact, is yet another example where water-based adhesives can be problematical.

In short, any item or material that can be altered or damaged by water, or adhesive, may not be a good candidate for regular photo masking where glue is applied to the product. A better choice might be a self-adhesive photo resist film or laser masking material.

With self-adhesive photo resist film, after the film is dry, you apply it to the bottle, blast it, and then you can peel it off without having to use water.

In the case of the laser mask material, you first apply blank mask material to the object; laser the image, blast it, and then you can remove the mask without water, just peel. Any glue residue left after removal of laser mask or self-adhesive photo resist can be removed with a damp cloth.

If the object you are decorating cannot be washed with water, for example, wood or sometimes silver, then we suggest cleaning off any remaining residue glue with wood polish or silver cleaner/polish.

The Sandblast Mask Decision Tree…See picture 1, the mask type decision tree. The decision tree, and outline below, may be helpful in choosing a masking method.

1. Decision 1 = Large -- If the image is larger than what can be printed or sent to a laser engraver, the only option may be cutting the mask in vinyl.

a. Is the Artwork Complex? -- If the image is complex, it will be difficult to cut it in vinyl. If vinyl is the only choice, then the artwork complexity must be reduced.

b. Does the Substrate Require heavy Masking? -- This includes materials like rock, stone, etc. Any material that requires heavy blasting will require a heavy mask that has an aggressive adhesive and will resist blasting longer than normal.

In addition, rock and stone blasting is generally accomplished using a coarser abrasive, 80 grit for example, delivered at pressures higher than those used for blasting other materials, like glass and ceramics. This combination of factors generates considerable force on resists; therefore, heavy masking materials are required.

i. yes -- Final decision = Large Image – Not Complex – Heavy Masking Required…for this instance – cut heavy mask on heavy- duty vinyl cutter.

ii. No -- Final Decision = Large Image – Not Complex – Standard Masking OK…for this instance – cut standard vinyl on any available cutter.

2. Decision 1 = Small -- If the image is small enough to print or send to an available laser, then many masking options may be available.

a. Does the Substrate Require heavy Masking? -- This question is the same as 1b. the only difference is that now we are dealing with an image size that can be printed or sent to a laser engraver; so vinyl cutting is not the only option.

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►

i. yes -- we have a small image that requires heavy masking. At this point we can proceed with at least 3 different masking methods.

1. If the image is not complex, we may proceed with cutting it in heavy vinyl.

2. As an alternative, within the last couple of years photo-vinyl -- a heavy photo-mask material -- has come on the market. Photo-vinyl is thicker than normal and provides excellent resistance to the abrasive stream. Our experience is that this material performs well, but requires a heavy-duty UV exposure unit and takes a long time to develop.

3. Another option is to use multiple layers of laser mask material. This works as long as the laser engraver has sufficient power to penetrate thicker materials; and that multiple layers can be applied without bubbles or wrinkles.

ii. No -- we have a small image that does not require heavy masking. At this point only one more question is relevant…

1. Is the Artwork Image Complex?

a. yes -- if we have a small complex image, that does not require heavy masking, then our best choices are Photo-Masking or Laser Masking.

b. No -- if the image is not complex, then in addition, we may choose to cut it in vinyl.

ConclusionAs you can see, artwork size and complexity impact sandblast masking choices.

ARtWORk FOR PROCESSES

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Special Report

Interview with Duane Jebbett, President and CEO of Rowmark

Why and how did this acquisition take place?“We have had a wonderful relationship for over 30 years with Tom, Margaret, and Mike Johnson at Johnson Plastics,” said Jebbett. “Our strategy is to continue to support our distribution channel just as we always have. Johnson Plastics provides value to end user customers at the local level with their professional sales and service efforts. Rowmark works hard to support our loyal distributors that deliver our products to the market. Recently, competition has changed the market dynamics. We will ensure that our mutual customers receive the high quality products and service they have come to depend on from Rowmark and our Authorized Distributors. Rowmark has been looked to as an innovator in the industry, and we see this as an opportunity to gain a better understanding of market trends, product needs, and provide value to our customers.

how will this change affect the daily operation of each company? “Rowmark will remain a full line engraving sheet manufacturer, and we will continue to support our entire network of Authorized Rowmark Distributors as we always have,” he said. “We strive to be consumables experts in the engraving and signage markets. Johnson Plastics will operate as a full service distributor, just as they always have. Johnson Plastics will be a separate division of Rowmark focused on the distribution of products and service to the end user.”

how does the new GoVivid product line factor into this change?“GoVivid is a new UV printer and consumables division launched by Rowmark in January 2015. We believe the direct-to-product (DTP) and the small-format digital printing market will continue to develop, which is exciting,” said Jebbett. “We expect this division to grow quickly and want to make sure we deliver technical expertise to the market. Small, medium and large shops have shown great interest in this product. If we help them to grow, then we should also grow.”

Does this mean you will also branch into soft goods or digital printing for the Direct-to-Garment market? “Right now, we want to make sure we do a good job in the products we have. We certainly have expertise in sheet goods and we want to stay focused to be a great supplier to the industry,” said Jebbett. “We will stay in areas we understand. We want our customers to be thrilled with us.”

The Rowmark-Johnson Plastics Partnership: A Special Report

ThE NEWSOn June 2, a joint press release announced that Johnson Plastics, Inc. was acquired by Rowmark, LLC.

Rowmark (a leading manufacturer and marketer of engravable plastic sheet materials based in Findlay, OH) and Johnson Plastics (a leading distributor of engravable sheet materials, sublimation products and related accessories based in Minneapolis, MN) announced that Rowmark had purchased Johnson Plastics, which includes its nine regional sales and distribution offices, effective June 1, 2015.

ThE REPORTOn June 3, CorelDRAWHelp Magazine held an exclusive interview with Duane Jebbett, Rowmark President and CEO, to ask about this acquisition and its effect on the market. Follow-up interviews were conducted a few days later with Mike Johnson, President of Johnson Plastics, and Rich Zydonik, Vice President of Global Sales and Business Development for Rowmark. Their interviews and a brief history of the companies are featured on the following pages of this special report.

Duane Jebbett ►

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Special Reporthow does your new facility help with this acquisition? “We have been very fortunate because of the distributors we have, and because of the loyal customers who have blessed us with their business over the years,” said Jebbett. “In late summer, Rowmark will move into a new 85,000 sq. ft. plant just ¼ mile from our current facility. This will be the headquarters for our engravable sheet and GoVivid business. This new facility will provide space for high quality production and warehousing to be even more efficient in our manufacturing processes and delivery. Our current facility will become the exclusive home to our custom division, Premier Materials Concepts (PMC), which sells sheet and roll stock products into the thermoforming market. Our business partner, Bertram Capital, has a growth-oriented approach that makes all of this possible. We are proud of this significant commitment to our customers, our distribution, industry and their belief in our dedicated team.”

Interview with Rich Zydonik Vice President of Global Sales & business Development for Rowmark

What are the advantages of this acquisition for Rowmark?I really look at it as an advantage to our customers! When we have distributors even as professional as Johnson Plastics is, we’re still one step removed from the customer. This acquisition gets us closer to the customer. It will make us better. We will do customer surveys, examine their sales data, and see where the ups and downs were over the years. This will give us less filtered data and a good view of the market’s needs. That means it will be an advantage to the customers as much as anybody!

Will you now distribute the GoVivid UV printer and consumables through Johnson Plastics?We will put the GoVivid brand in branches where we can take advantage of the Johnson Plastics team’s capabilities. We

might not need to put it in all branches as we have other distributors around the country, but there are voids in some parts of the country that we will want to fill. The GoVivid line will be a blend of direct and dealer sales. We look forward to their good service educating customers and supporting the product. It’s a great product; people want it to help expand their business or replace older technologies. The most important component of the offering is the ability for the customer to receive service. That’s #1. If I have a machine, I have to be able to be up and running quickly and have a resource to help me achieve the best printing results. As a result of the acquisition, we will have the locations needed to provide that service.

Do you see any limitations to either company from this acquisition?There are no limits on either company’s growth. In fact, what we really get is great synergy! When we have a nucleus of great people in both of our companies, then it becomes a gravitational pull. Other companies see what we’re doing, and they want to partner with us. As an example, this can be in the area of consumables where we can bring new products to the market to help our customers grow. Basically, we will get more opportunities because of who we are and our customers benefit.

Will this affect your operations in Europe?We have a good distribution network in Europe already. We have over 200 distributors in 85 countries. We may be able to offer select Johnson Plastics products to our European distributors. We could run them through our existing worldwide channel where there are market voids.

Will there be any changes in personnel?There are no plans to make any personnel changes. We will support Johnson Plastics, our distributor, and we may add more people, more talent as required. As you get bigger, there is more to do. We will reach more markets together.

how will this affect the industry?We will support all of our distributors, not just Johnson Plastics. Our plans are to keep the model we have built over the past 30 years. We are the manufacturer, and we support all our distributors to meet the market’s needs.

Rich Zydonik is the Vice President of Global Sales and Business Development for Rowmark. He has been with the company since 2000. During that time, he has helped the company launch many products and develop its global reach into 85 countries. He also served on the Board of Directors of the Awards & Recognition Association from 2001 to 2007, serving as president of the association in 2006. Prior to Rowmark, he was the General Manager for Vision and was previously the President of Dahlgren Control Systems, one of the early leaders in computerized engraving. Rich Zydonik ►

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Special Report

Interview with Mike JohnsonPresident of Johnson Plastics Inc.

how was this news about the acquisition received at the recent trade show in Indianapolis?Customers were certainly curious about how the acquisition would affect their dealings with JP. We re-assured them the change would be transparent to them and that it will be business as usual at Johnson Plastics. Rowmark and Johnson Plastics will operate independently, and we will take care of our customers as we always have!

Will you be adding Rowmark’s new Go Vivid UV printer and consumables to your product mix?GoVivid is an exciting new venture for Rowmark that I believe has great potential. We will be working closely with the GoVivid team in the coming

months to determine a long-term strategy that works best to service the existing and potential GoVivid community. What are the advantages to Johnson Plastics from this acquisition? We have had a great manufacturer-distributor partnership with Rowmark for over 30 years. As they approached us, it felt like a natural fit and a win-win for both of us. It

made sense to take our partnership to the next level and look for ways to improve the supply chain. For example, automating our replenishment process will provide production efficiencies and give Rowmark visibility to the sales trends. Sharing the sales trends will help Rowmark develop new products and improve their delivery to the marketplace, which means new sales opportunities for JP and our customers.

Will this change any of your current product lines?We’ve discussed the buyout with our key vendors and we plan to continue all of the relationships we have developed over the years. We will also continue to evaluate new products and bring them to market as opportunities present themselves

you also acquired companies in the past. Now, you are acquired. how does that work out?After acquiring many competitors over the years, it has been interesting to experience a buyout from this perspective. Even though we are excited about the opportunity this presents for our employees and our company, it wasn’t an easy decision. Having said that, I truly believe it was the right decision for Johnson Plastics, with the right partner, and we look forward to growing our business together with the Rowmark family. you mentioned elsewhere that this acquisition would help in streamlining operations. What does that mean?We will work closely with Rowmark to do such things as improve inventory levels, replenishment time, and other processes over time. Our goal is to constantly find better ways to serve the evolving needs of our customers.

Mike Johnson is the second generation of leadership at Johnson Plastics. He officially became president in Fall 2014, but had been running the day-to-day operations for the last few years as Chief Operating Officer. He grew up in the business and worked in many parts of it while going to school. After graduating college, he started full-time as the manager of the Dallas branch office. After that, he opened and ran their new Atlanta branch until moving back to Minnesota as the COO.

Mike Johnson

►

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A bRIEF hISTORy OF ROWMARK

Rowmark got its start in the vision of Fred Kremer, the CEO of Hancor, Inc., a pipe manufacturer in Findlay, Ohio. With the growth of computerized engraving, he saw a need in 1987 for extruded sheet materials in the engraving market. He established a working relationship with Don and Audrey Morrison of Rowland Inc., an early developer of engraving materials. With this partnership in place, Fred acquired a plastic sheet extrusion line and formed the Hancor Sheet Division. The early product lines included Co-Extruded Satins, Color Tones, Metal Tones, and Wood Tones. The California Collection made its debut in 1990, and the ADA Alternative was introduced in 1992.

In 1993, he purchased the sole sales and marketing rights for the awards and engraving market from Rowland. He created a new company, established it as a division of Hancor, and named it Rowmark. A European division was established in The Netherlands in 1996. In 1997, the LaserMark and Reverse LaserMark lines were launched. Also in 1997, Fred resigned as CEO of Hancor and purchased Rowmark outright from Hancor. He also bought a state-of-the-art building in a nearby industrial park. Then in December 1997, tragically, Fred and two pilots were killed in a plane crash.

Employees and the Kremer family continued with Fred’s dream, and in 1998, Duane Jebbett, who was a protégé of Fred, was named president of Rowmark. Milestones since then include:

1999 – Colorine sublimatable products introduced.2000 – Established joint venture with Spectrum Marking Materials to introduce LaserLIGHTS

2003 – Launched new custom sheet products division for thermoform products in the sports, RV, and music markets 2005 – Added new extrusion line increasing capacity2006 – Launched MetalGraph Plus® 2007 – Introduced LaserGlow®; private equity firm,Clearview Capital, takes a controlling interest in the company2008 – Acquired 100% of Tromark in Europe; acquired Leathertone Plastics Supplies; added Contemporary Wood Collection, Safe-T-Mark, and Frosted Acrylics. 2009 – Launched ClearPath Signage Systems for the architecturalsignage market; acquired Troy Industries, a decorative film manufacturer; acquired Delmar Products’ Engravable Division.2011 – ColorHues line launched; started consolidating all European facilities into one location in Belgium; added fourth extrusion line2012 – Introduced Ribbon Pink and DigiMark OSi. 2013 – Introduced Hardwood Collection and FusionGrafix; private equity firm, Bertram Capital, acquires Rowmark. 2014 – Introduced Heavy Weights Products and announced expansion into new 85,000 sq. ft. facility2015 – Acquired Johnson Plastics Inc. MORE INFO

Special Report

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A bRIEF hISTORy OF JOhNSON PLASTICS

Johnson Plastics was founded by Tom and Margaret Johnson in 1970 in Minneapolis, Minnesota. The Johnson family began the business selling plastic and magnetic products used by sign shops to produce vacuum formed signs. From the beginning, the business was built on the belief that personal service and a strong customer focus are as important to the business as the products that are sold.

In 1983 Johnson Plastics became one of the charter distributors of Rowmark engraving materials. The addition of the Rowmark product line re-directed the emphasis of the company toward the engraving industry. Since that time, Johnson Plastics has become the largest Rowmark distributor, as well as the largest supplier to the engraving industry.In 2002 Johnson Plastics entered the sublimation arena. Partnering with Unisub, Sawgrass, Geo Knight, Vapor Apparel and several other vendors the company has become a dominant force in sublimation.

To adequately serve its national customer base, Johnson Plastics added additional branch offices and warehouses. Their eight locations, in addition to headquarters in Minneapolis, include: Concord, California (1975), Dallas, Texas (1986), Troy, Ohio (1987) - moved to Columbus, Ohio (1990), Atlanta, Georgia (1996), Algonquin, Illinois

Special Report

(1996), Phoenix, Arizona (2000) , Winston-Salem, North Carolina (2004), and Albany, NY (2014).

Over the years, the company responded to changes in the marketplace and customer needs by expanding their facilities, broadening their market share, and acquiring other companies as needed. The company is highly valued by their customers as Johnson Plastics was voted as Supplier of the Year by the members of the Awards & Recognition Association in 2006, 2008-09, and 2010-11. Also, founder Tom Johnson was inducted into the ARA Hall of Fame in 2003 for his contributions to the industry and the association.

Each branch is staffed with knowledgeable customer service representatives who are eager to help their customers and aim to develop lasting relationships. Online ordering is available 24/7. Orders are normally shipped within 24 hours of receipt of order. Johnson Plastics is always happy to provide technical support, and will try to answer every question. Their motto is that they are your “Blue Chip Distributorship”!MORE INFO

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GETTING AhEADby Deborah Sexton, Contributing writer Grow

An Interview With Charlie Taublieb

Learn what factors should be your primary concern when choosing a screen printing ink for a job.

Choosing The Right Ink:

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Industry consultant Charlie Taublieb, president of Taublieb Consulting, began his screen printing career in 1976 as co-owner of a company specializing in screen printing rock concert shirts, much of which was on dark shirts with difficult and interesting art. After moving to Colorado, he opened a screen printing supply company. His first screen printing consulting assignment came in about 1978, and he has been a full-time screen printing consultant since 1995. Since his first seminar in 1980, Charlie has conducted hundreds of seminars and workshops at trade shows for ISS, SGIA and DAX in the United States. He also speaks at shows for PSI and TV TecStyle Visions in Germany, CO/CT in France and FESPA in Mexico, Europe and Asia. Taublieb writes for a variety of decorated apparel and screen printing publications throughout the world and is translated in many languages. He has consulted for many shops throughout the years focusing on improving productivity, profitability, and streamlining operations. Taublieb Consulting is located in Greenwood Village, Colorado, and can be contacted via the following: 303-618-8955; email: DrPrint@aol.com; Skype: drprint2001, or visit his website at www.TaubliebConsulting.com

About CharlieTaublieb

►

There are a lot of options when it comes to ink for screen printing textiles. Selecting the best one for the job is critical to achieving optimal results and maximizing efficiency—not to mention profits. Your choice affects the look, feel, and durability of the print, as well as turnaround time; so the impact on your bottom line extends beyond the cost of the ink itself.

Although it’s the number one consumable in the process, the amount of ink on a shirt comes to only a few pennies. The real savings are found in ease of use, and the gains are in the appearance and quality of the print.

The primary thing to consider in choosing an ink is how it responds when you print it. This involves looking at the color, opacity, and hand that can be achieved and what it takes to get them. It also requires examining job specifics such as fabric, artwork, and garment function and your shop’s equipment and capabilities.

The type of fabric you’ll be printing on is key. Some fabrics, such as nylon, require special inks for adhesion. Conversely, the components in an ink that address a printing issue on one type of fabric can lead to a different problem with another.

For instance, an ink made for printing on poly/cotton may bleed on 100% polyester. Similarly, some—although not all—low-bleed (white) plastisol inks for cotton-poly blends have agents that can pull out color and cause ghosting on 100 percent cotton.

You can test for this by printing the low-bleed white ink on 100 percent cotton, putting a sheet of the same fabric over it, spraying it with water, and putting it in a heat press machine at 250 degrees for a half hour to see if the ink ghosts.

To produce ghosting, you have to have heat and humidity combined with a specific low-bleed ink. In theory using a single (white) ink for everything is great; in practical application, it doesn’t work.

Whether you’ll be printing on a manual or an automatic press is also something to consider. On a manual printer, you might prefer an ink that is a bit thinner to reduce fatigue and help maintain speed and print quality.

On an automatic, having an ink that doesn’t creep up the back of the squeegee and flood bar or clog the open areas of your screen by sticking to the bottom and creeping can be a concern. It could be thicker, which would slow down your printing, but also could enhance your coverage. The same ink may or may not work for both, but it’s worth thinking about when evaluating the options.

While water-based inks, as shown in printed sample, are prized for a soft hand, they are not opaque; they require a water-resistant

emulsion; and they can dry in the screen if left too long.

Photo courtesy of Forward Printing, Oakland, Calif.

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►

Screen tension can also factor into your ink choice, as can variables such as climate. Moisture in the garment in a humid location like Florida may cause the ink to respond differently than in a dry environment like Denver, for example. And many other factors can impact performance as well. So while each manufacturer can show you samples of how its ink prints, it makes sense to test it under your own shop conditions.

One way to compare how different inks respond is to print them side-by-side on the same screen at slow, medium, and fast speeds, and then evaluate the cured results. This lets you base your choice on brightness/opacity and ease of use. Most manufacturers will send you a sample of their white—ranging from a pint and up, depending on the size of your shop— with an eye toward getting your other ink business.

While it can make for big savings in ink-related slowdowns and rejects, testing does take time. It can be difficult to squeeze in the time to try out a new product into the workday, and if you put it off until you simply run out of what you usually use, it’s hard to make a valid comparison.

One approach is to designate a time during your slowest period for testing. Let your suppliers know that if they have a product they want you to try, they need to get it to you by a given date, or wait until next year. This also puts competitive new products in front of you at the same time so you can compare them.

Plastisol Versus Water-based InksDifferent ink types/chemistries respond differently when printed and have different production requirements. Here, we’re basically talking about plastisol and water-based inks. Plastisol can provide great opacity and coverage.

You can run your press faster with it, and it’s easier to hold fine detail. It also does not dry and requires heat to fuse and solidify. This means you can walk away and leave your screen with ink in it without it drying out; but it also means the ink won’t dry up if you spill it.

Water-based inks are known for producing a soft hand. They are not opaque, however. Water-based inks also require making screens with a water-resistant emulsion that can handle them without breaking down during printing. And water-based inks will dry in the screen if you stop printing. Overall, printing with a water-based ink is slower.

On an automatic press, you want to choose an ink that doesn’t creep up the back of the squeegee or flood bar or clog the open areas of the

screen by sticking at the bottom and creeping.

Plastisol inks, shown in printed sample, provide the best opacity and coverage of any type of ink. They also allow for faster speeds on press.

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There are also differences in the way the two types of inks are printed: with plastisol, you finish with a print stroke; with water base, you finish with a flood stroke.

Discharge is a subset of water-based ink. It yields an extremely soft hand because it extracts the dye from the shirt and replaces it with ink. It does not require an underbase, which dramatically decreases the hand. However, you are limited to printing on 100 percent cotton fabrics colored with reactive dyes that are dischargeable.

Although plastisol is still predominant over water base in the U.S. market (unlike in many other countries), it’s becoming more common to find shops that print both. Even using a discharge underlay with plastisol on top is not uncommon anymore.

Color-MatchingThe ability to match colors is more important than ever. In today’s market, every shop needs a good, opaque color-matching system to be competitive. The days of getting by with an inventory of popular ready-to-use colors are pretty much past, with even

small-town customers requesting specific colors.

All the major ink manufacturers offer color-matching systems. They generally include around 12 to 18 colors and “recipes” for mixing PMS colors. What’s important here is that you keep in mind—and you make your customer understand—that the colors in the PMS book are printed on paper, and the “C” or “U” following the color number have no relevance for fabric. These letters stand for uncoated or coated paper. The ink you use will look like a C color in the bucket, and a U color on the shirt if it’s printed correctly.

In general, I lean toward using the formula with the fewest components and the least amount of fluorescent, because it tends to be sticky. Typically, I would choose a formula that has three components without a fluorescent over one that has two components with a fluorescent.

Opacity is also something I look for in a color-matching system. You can always cut an opaque ink to make it more transparent, but you can’t make a transparent ink opaque.

Mixing SystemsMixing systems come in three types: ready-to-use, concentrated color ink, and concentrated pigment. Ready-to-use, as the name implies, can be used right out of the can, or it can be mixed with another color to create a third.

Both concentrated color and concentrated pigment are designed to be mixed with a transparent or opaque base. You can add up to 15 percent concentrated pigment to the base, but after that you start to change the balance. And if you use the pigment straight out of the can, it will wash out. But if you make a mistake and use the concentrated color straight out of the can, it will still work. This can make the concentrated color a safer way to go.

Similarly, there are a lot of additives for various purposes on the market. I try to discourage people from doing anything other than popping the lid and putting it in the screen if possible. If you cut the ink, you may save money, but (1) it may not have the desired effect, and (2) you’re likely to end up with two different buckets on the shelf, and somebody is going to grab the wrong one.

I believe in the old theory of keeping it simple stupid. Any time you have to remember something about a random thing like a can of ink, you’re courting trouble. Slapping on a label doesn’t guarantee anyone will read it.

Inks For Process And Simulated Process When choosing an ink, the type of printing also makes a difference. Full-color

When it comes to choosing an ink, some printers are penny wise and pound foolish. The amount of ink on a shirt comes to a few pennies. The advantages of a more expensive ink are speed and quality, which often far outweigh the

lower cost of a cheaper ink. Photo courtesy of Wilflex, Kennesaw, Ga.

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process requires a very specific ink. Each manufacturer has its own idea of what this type of ink should look like, and there is no universal standard. It’s up to each printer to decide whose process ink provides the response he is looking for. It is not uncommon for printers to use a process color ink that is a different brand than he uses for other types of work.

For simulated process work, it’s important that the ink be opaque, but not so opaque that the colors override each other. The exception might be for vector work with large flat laydowns, where opacity may be a plus.

Finding A SourceIt’s typical for printers to stick to one brand of ink, with the possible exception of a second for printing process colors. There are several reasons for this. If you’re using a color-matching system, it requires you use that manufacturer’s products for the formulas to come out right.

Another reason might have to do with technical assistance. Sticking to a particular brand makes troubleshooting easier, avoids accidentally mixing brands, and helps minimize finger-pointing if there’s an issue. Every brand has strengths and weaknesses,

and working with a single company can avoid a lot of headaches.

Trade shows are a good place to check out your options. A big advantage is that ink companies come with their distributors, and you can go straight to the manufacturer with questions and problems. You should always check out who the distributors are for the brand in your area. It’s important to know how close they are and the availability of product and assistance.

Deborah Sexton, former editor of Impressions Magazine, has been in the apparel graphics industry since 1981. She currently does marketing and public relations for apparel graphics companies. She can be reached at dsexton@sbcglobal.net.

This shirt, printed by Andy Anderson, is

a good example of a simulated process

design. This type of work requires an ink

that is opaque but not to the degree that the colors will override each other. Photo

courtesy of Anderson Studio, Nashville, Tenn.

The Association of CorelDRAW Professionals (ACDRP) is pleased to announce the availability of the Video of the Month Archive online. The archive is available to all Premium ACDRP members.

The new Video of the Month archive includes the complete video that was published each month in the magazine as well as the article and photos that accompanied each Video of the Month. This is like a handout to go with the video for outstanding educational training on CorelDRAW.

The Video of the Month program was launched in October 2014 to help members and subscribers learn CorelDRAW features. As always the current Video of the Month is available free to all members and subscribers. A link to that video is in the current CorelDRAWHelp Magazine.

In addition to the Video Archive, a complete Magazine Archive (dated from October 2006) is also available online to both Basic and Premium ACDRP members.

New Video of Month Archive Posted Online

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These are the proud sponsors of CorelDRAWHelp magazine. Be sure to thank these companies for bringing you this magazine free of charge.

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Summertime has arrived, bringing a slow-down season in many industries, including ours. This “down time”, besides allowing for time to “de-stress” from the typical spring workload, gives us time to work on plans to cultivate future business.

I recently spent some time with our advisory team, who are all very successful, savvy business people. These folks, in my opinion, “have it all together” and it’s very clear that they keep their priorities straight. It’s interesting that they all find ways to make their “down time” work for them both professionally and personally, and this “life and business management” doesn’t just apply to summertime.

One very important point these folks kept stressing is that we can’t get back the time we “spend” on things that don’t count for personal enjoyment or business gain. There are only so many hours in a day, and only so much we can perform/change, and a

limit to the reach we can cover during that time. One of these folks gave up watching television some years ago and is very happy with the ways she can accomplish the things she sets out to do on a daily basis without distractions.

This illustrious team reminded me that any business is only as strong as the loyalty of its customers. The general discussion topic turned to what to do in a summer slow time that will pay off when customers are ready to buy again.

Since a good majority of my own business day is spent in developing and cultivating customers, part of my “take away” from this get-together centered on ways to create customer experiences that “delight” and that get the “most bang for my buck” of time.

Some suggestions they gave me were:• Ask our own team members to list ways that make it easy for our customers

to buy from us. This includes everything from how we answer our phones to

Working Through Slow Timeshow quickly we respond to email or web inquiries, how good our systems are working, and how knowledgeable we are about our products and services.

• Ask our customers for feedback. They’re the ones who can tell us everything from “have we ever let them down,” “to how can we exceed their expectations,” “to how can we improve?”

• Act on the feedback.• Show our customers how much we value their relationships with a thank

you gift at pick up, mailing a funny thank you card, sharing their company’s good news in a blog, on our website, or in eblasts, inviting them to different functions, hosting a coffee and rolls tour of the production space…in fact any special way that can help build a relationship that makes them know they are more than just a customer.

• Make at least four customer contacts each year, starting right now. Each contact should end with the question “What single thing do you think our company can do to improve our service to you?” Then act on the answer.

• Revisit the company’s systems. Look for ways to improve everything from order flow, to bookkeeping tasks, to cleaning/dusting, and rearranging showroom samples.

• Dig through desk drawers and find business cards from past events and make a first connection.

• Reach out to old customers and prospects.• Review sales reports to see which activities, products and/or services are

earning the most money. This could help one discover things that might get lost in the shuffle of everyday business. I have a few industry friends who have recently discovered how important it is to keep tabs on the time vs money spent on doing research to find unusual products for customers who are not sure exactly what they want…or in our case a client that wants an exact replica of a piece that was discontinued years ago.

• Set targets for the next half year. Decide where the business is going, put figures on the plans, and use this guide for taking the business in new directions.

There are a lot of things one can do during a slow business cycle that will

… a “summer slump” is not all bad. It can be a great time to reposition the company for growth

during the coming better times.

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MARKETING SECRETSby Donna M. Gray, CRM

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SPONSORS: ONLINE EXPOclick these Logo-Links to go directly to sponsor websites

Visit the CorelDRAWhelp Online Expoadd value to the company; however, not every one of these things is exciting. The advisors reminded me that even “busy work” can help with the need to accomplish things when the front counter isn’t busy, and phones aren’t ringing. This is the time to:

• Clean desk drawers, organize, and purge files. One might be surprised at the things one has filed away for later reference that are not important any longer.

• Totally clean the store…even if the dusting has been kept up, it’s amazing how samples can look old and out of date if they’re not clean and polished. Showcases need more than a dusting…how about a good clean with something like Rainex to keep them in more sparkling clean mode?

• Catch up on reading trade publications. One can find lots of new ideas for success that have been waiting for the time to sit and read.

• Work on updating the company website. If you can, do it yourself. If you can’t, make notes to give to your website developer.

• Take a course, in person or online, in something that will add value to the company at a later time. Many trainers of CorelDRAW regularly schedule training sessions. YouTube has information and tutorials on all kinds of programs. Bookkeeping tutorials are available through the programs one uses. This is a perfect time to find out about new tools with the programs used by the company.

• Act like an expert. Write blog posts on topics of interest to your clients and prospects. Giving useful information brings good attention to you and your company.

• Examine all the company’s systems to make sure they all still work the way they’re supposed to work. Things get “out of kilter” during busy times when “short-cuts” come into play.

• Write a new marketing plan. Things change. It may be time to upgrade the way the company looks for new customers. Homework for this kind of project can be done online, or my favorite, at a local bookstore or library.

This slow period may be the perfect “vacation time” for team members. There are some industry peers who close their stores twice a year, Christmas/New Year’s week, and Fourth of July week, so everyone must take vacations then.

There is no getting around the fact that all business is cyclical, no matter the products or services. I have a good friend who owns a chain of clothes cleaners. She tells me that they get very busy in late summer/early fall…kind of like our industry’s spring. Busy periods take care of themselves. Slow periods can be “nerve wracking” as one watches the sales pipeline dwindle and profits fall.

My advisors convinced me that a “summer slump” is not all bad. It can be a great time to reposition the company for growth during the coming better times. I came

away from our get together with ideas for useful, productive ways to work through these slow times. My husband, Dave, always says, “Thank goodness there are more busy times than slow times.” Here’s wishing you all a great summer season filled with lots of good ideas for the coming good times!

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 donna.gray@AwardsMall.com.

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MARkEtinG SECREtS

your Logo could be here

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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 donna.gray@AwardsMall.com.

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 wfleek@jblgraphics.com 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 mail@CorelDRAWhelp.com.

Jeff McDaniel is the owner of Creative Graphic in Philomath, Oregon. He worked as a journeyman machinist before getting into the graphic products business. Creative Graphic offers laser engraving, rotary engraving, sandblasting, sublimation, image transfers, vinyl signs, banners, screen printing, and promotional products. Jeff routinely applies graphics to a wide variety of materials. Contact him at Jeff@creativegraphic.net.

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 mikeneer@coreldrawhelp.com.

Deborah Sexton, former editor of Impressions Magazine, has been in the apparel graphics industry since 1981. She currently does marketing and public relations for apparel graphics companies, and is a columnist for several industry publications.. She can be reached at dsexton@sbcglobal.net.

Otis Veteto is 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 olveteto@gmail.com.

CorelDRAW® Help

Create presentation models using different materials.

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qUICK TIPS

LAyERING VINyL ON GARMENTS

Layering multiple colors or materials to create a single design is not difficult using heat-applied graphics materials, but it does require specific techniques to ensure the best outcome. One tip to remember is when you are peeling off the carrier sheet after an application. You want to peel the carrier sheet carefully and slowly so as not to stretch the garment any more than is necessary. If the sheet is grabbed and ripped off and the material stretches too much, it can cause misalignment when applying the second color or a different material. Be especially careful with super stretchy performance wear fabrics.

Submitted by Courtney Kubitza, Sales and Business Development Manager, Stahls’, St. Clair Shores, MI MORE INFO

New Projects for Laser Cutters and Layering Vinyl on Garments

USE LASER CUTTING MAChINES FOR NEW PROJECTS

Consider using laser cutting m a c h i n e s f o r F a b l a b s , Schools and Universit ies, Digi tal Fabricat ion of 3D Models, Prototyping, Industrial Design and DIY.

Laser Cutters for Fablabs and Educational SettingsL a s e r M a c h i n e s a l l o w for insp i r ing appl icat ion capabilities. Art and design projects once thought to be far-fetched are now made possible with laser technology. In Fablabs and Educational sett ings, laser machines are used for model making, prototyping, industrial design, and DIY.

DIy Projects Using a Wide Range of MaterialsMaterials used in prototyping can vary considerably from job to job, acrylics being among the most commonly used. However, materials can range from Paper, Cardboard, Wood, MDF, Textiles, Synthetics Materials, Plastics, Polystyrene, Films and Foils, and more. All which are perfectly processed on a Laser Cutter Machine.

Laser cutting for rapid prototyping.

Laser engrave on yearbooks and theses.

Prototyping and Industrial DesignLasers are a flexible tool suited for working with prototypes and experimental setups. When using graphics programs, for example CAD, your drawings and designs will be sent directly to the laser, allowing your ideas to be recognised and tested instantly.

Submitted by Trotec Laser Inc., Canton, MI, MORE INFO