Corel Draw Pro Feb

8/14/2019 Corel Draw Pro Feb

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Published for the Association of CorelDRAW Professionals (ACDRP) / www.coreldrawpro.com

CorelDRAWProthe entrepreneurial

magazine forCorelDRAW

users worldwide

February 2008

New Tone Curve

in X4

New Template

Features in X4

Beauty Masks

Function Keys &

Hot Keys

Cover Artby

RamilBaylonDetails on page 6

NEXT PAGE FULL SCREENCONTENTS


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February 2008 2

Click ads to go directlyto advertisers web site.

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February 2008 3


CONTENTSFebruary 2008

Colorado Heirloom Web Ad

Conde Systems Web Ad

Corel Corp. Web Ad

Custom Graphic Technology Web Ad

Epilog Laser Corp. Web Ad

Geo. Knight & Co. Web Ad

JBL Graphics Web AdJohn E. Lepper Inc. Web Ad

Johnson Plastics Web Ad

Laser Reproductions Web Ad

LaserBits Inc. Web Ad

LaserSketch Web Ad

N&R International Web Ad

Paramount Services Inc. Web Ad

ProLink Graphics Svc Web Ad

SCT Crystal Web Ad

Stahls ID Direct Web AdThe Magic Touch USA-1 Web Ad

The Magic Touch USA-2 Web Ad

Universal Laser Systems Web Ad

ADVERTISER INDEX

DEPARTMENTS

Click Web to go to advertisers website.Click Ad to go to the ad in this issue.Clicking the ad itself will go to website.

TRAINING: How to Use APPLICATIONS:How to Apply OPPORTUNITIES:How to Profit

5 Graphics News Wire7 About the Cover

9 Inside ACDRP:Looking Forward

38 GNN Network39 Marketplace

40 Contributing Writers

26Book

Review: ColorManagementfor CorelDRAWby DavidMilisock

10 Using CorelDRAW: BeautyMasks: Using PHOTO-PAINTsMasking Tools to Perform Digital

Plastic Surgeryby Bill Leek

13 Using CorelDRAW:Function Keys & Hot Keysby Dave Demoret

15CorelDRAW Applied:Creating & Using Templatesby John McDaniel

18Inside Color: The New ToneCurve in CorelPHOTO-PAINT X4by David Milisock

20Sublimation Tip: Pressing2-Sided Metal Tagsby SteveThompson

22 Inside Screen Printing:Four-Color Crayon Drawing:Artworkby Jeff McDaniel

25Inside Sandblasting:Do I Need More Than OneSandblast System?by Judy McDaniel

27Inside Engraving:

Machine Accuracy Reviewby John McDaniel

29Getting Ahead:The Pros and Cons of All-

Inclusive Screen Printing

Systems by Deborah Sexton

34Marketing SecretsMurphys Law and Other Wisdomby Donna Gray

39Traveling Tidbits:50 Years for Awards by Kay inSacramentoby Otis Veteto

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February 2008 5


GRAPHICS NEWS WIRE

February 2008

Product News Headlines:

Calendar(Web Link)Check out the upcoming training

classes and trade shows ofinterest to CorelDRAW users.

New Unisub catalog released

ASI president co-authorsmanagement book

MHM offers Film Positioning Unit

Great Notions offers embroidery-look printable designs

PSI expands Home Dcor line ofsublimatable items

Roland University offers newcolor workshop

IKONICS Imaging introducesInfiniteMarbleTM

Royal Apparel has new retroheather t-shirt

Sawgrass adds CanadianEngravers Supply asChromablast distributor

SanMar launches Spring /Summer Arrivals catalog

Blake & Hollister has new PinDot placket shirt

Vastex upgrades DB SeriesDryers

Vastex releases 2008 equipmentcatalog

Sierra Pacific has ladiessleeveless shirt

Chouinard offers new ladiesscoop-neck tank top

SOS >From Texas has organiccotton youth t-shirts

Laserbits adds maple shapes,coco combo and more

Stahls ID Direct releases newcatalog

R.S. Owens unveils 2008catalog

Transfer Express has EasyPrint soccer numbers


NEWS

DETAILS(Click Here)
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About the Cover

THE FRONT SECTION

First, I copied the original image (downloaded from the internet) into CorelDrawX3.Then I drew the contour line of the car using the Freehand Tool to obtain exact

dimension and proportion. I chose to draw first the front portion of the car the cross-like figure above the bumper. Each rectangular object was drawn carefully. Using theFill Tool, I rendered appropriate color by utilizing the preset fills and customizing untilthe right color combination was obtained. Its frame holding the cross-like figure wasrendered with Mesh, but only to a certain extent.

After this was completed, I built the screen on its radiator. First, I drew a separateshape somewhere outside of the image to spare any unnecessary movements inobjects. Then I created a small rounded rectangular object. I copied one and hadit placed next to the first object. I repeated this action until these small rectangularshapes would be enough to cover the object supposedly where the radiator screenwould appear. Using PowerClip, I placed these objects inside the container.

But before doing so, I converted these rectangular shapes into Objects to maintainthe thickness of lines when resizing is applied, and also applied fountain fill to obtainexact vanishing colors. Then I positioned this into the front of the car and sent it toback. Next was the bumper. Its quite easy. As you could very well see, its just arectangular shape, applying Fountain Fill in it and Interactive Drop Shadow.

THE HOOD SECTION

For this one, I carefully traced the right shape of the hood. There had been twomajor shapes present in here -- the smaller section on the right which is darkened bya shadow and the larger one in which the insignia appeared. There was a lot of Meshmanipulation involved in this particular section. But before going for hours customizingthe Mesh, I applied appropriate color combinations for this the vanishing orange

color into dark yellow.And then came the most intricate part of it all

manipulating the Mesh. I would admit this hasbeen the most difficult thing to do. Tweaking witheffect such as this would need careful attention todetail and tons and tons of patience. Applying onlythe Gradient Fill and render vanishing would not giveyou stunning realistic visuals, only the Mesh could.So, with hours of painstakingly bringing to life theseonce dull objects, the hood came to appear real.

Other effects like the three lines on its surfacewere done pretty easy only the InteractiveTransparency Tool was rendered on these.

Meanwhile, the insignia was actually blurredin the original. I could not find anywhere onlinethe same image with high resolution, so I

assumed this figure may look like this one.The effects involved were Interactive Fill andDrop Shadow.

THE HEADLIGHT SECTION

Like the insignia, the headlight image is also blurry. You could not exactly figure outhow it may look like up close. By zooming out, you could see what the image would belike. The shapes here were easy to draw and so were the effects. I have manipulatedthe preset Fill Tool, and also the Interactive Transparency Tool for this.

THE BODY SECTION

Basically, the shapes and objects involved in designing the main body were prettysimple. There were not many curves to deal with. Like the hood, there was a lot ofMesh being rendered in here, and for hours, I had to carefully make the surface smoothwith precise application of color as well. The insignia seen here isnt recognizable, soI instead put the Dodge name on it along with the logo.

THE UPPER SECTION

The windshield had actually no transparency visible based on the original image,maybe partly because it was set on a black background. Here, I set the transparencyin a way that the glass would appear a bit obvious, without necessarily compromisingits transparent characteristic, thus showing what is inside of the car. The seats weremostly done with Interactive Transparency Tool as well.

THE HUBS AND TIRES SECTION

I had to trace the hubs and applied the color a bit lighter than the original.Although this was simple, careful attention to the details was necessary. Since onehub comprised several objects, the challenge was how you could arrange each objectin a way that it is placed on its appropriate layer. Otherwise, one object would coverthe other one, making the design simply distorted.

Now for the tires, which were very tricky because you could not perfectly figureout how the stripes or cuts or basically the design of the tire would look. Its difficultto see it due to its dark color. So I copied the image, pasted on MS Photo Editor andadjusted the brightness so that I could see even the slightest hint of the way the tire isdesigned. I had to crop the image in its tire area and brought it back to CorelDrawX3and traced it. It worked for me although it took me a hell of my time. I copied the

Dodge Car Design

by Ramil Baylon

http://www.coreldrawpro.com/RE/TMT.htm


8/39February 2008 8


completed tire and hub and resized them andchanged slightly the orientation.

ADD ONS

The flare effect was added on the highest

possible points where the light would shinethrough. Also, by customizing the InteractiveDrop Shadow Tool, the car cast its shadow justright below on the ground.

My name is Ramil

B. Baylon, 32, single,a professional Graphic

Design Artist from Iloilo City, Philippines. I finished my Bachelorof Arts in Mass Communications in 1997 from Universityof Iloilo. I started working with the print media in the sameyear after a short stint in radio broadcasting. My first formalemployment was with the Daily INFORMER, one of IloiloCity-based daily newspaper. I was assigned to work first ondaily editorial cartoon, but after a few weeks I trained doing page layout using AdobePagemaker and CorelDraw. With my inherent talent and heart of being an artist and

passion in creative media, it took me just two weeks -- and I took over the position ofgraphic artist but it was a very pressure-filled position with daily deadlines.

After 3 years, former colleagues and I jointly founded the Visayan DailyHEADLINES, now on its 8th year. I am working here as Art Director. Along the way,I had some part time work with an advertising firm called SignWrite Advertising. Wedid graphic designs for sports cars and motorcycles and other outdoor ads. We useda printer-plotter to cut the stickers. I also had a stint working in a card company,

which is where my skills in CorelDraw jumpstarted. I designed hundreds of logos forcorporations and schools.

Presently, I am still working as Art Director but contemplating in working abroad.From time to time, I am accepting freelance online design projects. My most loveddesign software is CorelDrawX3, but I also use Illustrator if necessary. Other design

programs I am proficient with are CorelPhotoPaint, Freehand, Fireworks, Photoshop,Pagemaker, QuarkXpress, FrontPage, and Powerpoint.

I can be reached at (+63)(033) 328-5623 / 320-8076 (office numbers) or by [email protected], [email protected]

Here is a link to my work: http://www.flickr.com/photos/18223199@N04/

About the Cover

mailto:[email protected]%22%20\o%20%22mailto:[email protected]:[email protected]%22%20\o%20%22mailto:[email protected]://www.flickr.com/photos/18223199@N04/%22%20/o%20%22http://www.flickr.com/photos/18223199@N04/%22%20/t%20%22_blankhttp://www.coreldrawpro.com/RE/TMT.htmhttp://www.flickr.com/photos/18223199@N04/%22%20/o%20%22http://www.flickr.com/photos/18223199@N04/%22%20/t%20%22_blankmailto:[email protected]%22%20\o%20%22mailto:[email protected]:[email protected]%22%20\o%20%22mailto:[email protected]


9/39February 2008 9


Inside ACDRP

By Mike Neer,

Executive Director Looking Forward

FEBRUARY 2008

Published by Association of

CorelDRAW Professionals

President: John H. McDanielVice President: Judith McDaniel

Executive Director: Michael R. NeerAssoc. Exec. Director: Steven V. Neer

ACDRP Corporate Office:Albany, OR

EDITOR / PUBLISHER Michael R. Neer

[email protected]

GRAPHICS John Mise

ADVERTISING John McDaniel II

[email protected]

OFFICES

Membership & Publishing offices located at:4709 N. El Capitan, Suite 103,

Fresno, CA 93722;800-276-8428, 559-276-8494 Fax559-276-8496

www.CorelDRAWPro.com

[email protected]

Subscriptions: Free to qualified individuals andbusinesses. Send change of address to the above.

ACDRP Membership: $60/yr., See the websitefor details. Includes exclusive content and more.

Advertising:Request a Media Guide or downloadit from www.CorelDRAWPro.com.

Writers:CorelDRAWPro accepts articles fromindustry experts. Email publisher for details.

Copyright 2007 by ACDRP.All Rights Reserved.

It seems that the theme of 2008 is turning out to beGrowth! Already in the first two months, we are starting tosee some exciting new opportunities start to develop forCorelDRAWPro readers.

Key to this theme is the launch of CorelDRAW X4 lastmonth which certainly opens the door to more productivitywith our graphics skills and makes getting up to speed onthe new program a priority for most users.

Inside this issueWe will continue to bring you regular articles that will

help use CorelDRAW X3 and get acquainted with X4. Forexample, in this issue, youll find an excellent article by BillLeek on how to use masking to enhance a persons lookin a photo. Dave Demoret spells out for you how importantkeyboard shortcuts are and why youre losing time if youdont use them.

Then John McDaniel starts a new series on CorelDRAWApplied, where he explores how the new template process inX4 can be used to make you more productive. David Milisockshows you why the new Tone Curve in X4 is so valuable,and demonstrates a few ways to use it.

Also in this issue are stories that show you how to

apply CorelDRAW to specific processes or help you expandyour knowledge of these profit centers screenprinting,sublimation, sandblasting, and engraving. In fact, DeborahSexton reviews All-Inclusive Screen Printing equipment.

Finally, we have Donna Gray discussing how to prepareyour business for a visit from the unpredictable Murphy, andOtis Veteto reports on the 50th anniversary of Awards by Kayin Sacramento.

On the roadPlans are underway for the 2008 version of the Making

Money with CorelDRAW Road Show. The format has beenchanged to offer a full afternoon of Lecture Training with

Demo (LTD.cdr) on the new CorelDRAW X4 program fora nominal fee. Plus, the Making Money with CorelDRAWseminar is being revised and sponsors will be displaying newproducts. This is a great opportunity to see how X4 worksand identify ways to expand your graphics skills for profit.

The Road Show will be presented by Corel TrainingPartners John & Judy McDaniel in 36 cities nationwide. Thedates are still being finalized but these are the first choiceof cities that will be visited.

The Spring Tour will be from April through July, andwill visit these cities: Sacramento, Anaheim/Orange Co.,

Phoenix, El Paso, Houston, Mobile, Tampa, Atlanta,Charlotte, Washington DC/ Baltimore area, Philadelphia,Boston, Rochester / Buffalo area, Cleveland, Milwaukee,Minneapolis, Spokane, and Portland.

The Fall Tour will be from September through Novemberand will visit these cities: Seattle, Boise, Salt Lake City,Denver, Kansas City, St. Louis, Chicago, Indianapolis,Columbus, Nashville, Atlanta, Jacksonville, Baton Rouge,San Antonio, Dallas/Fort Worth area, Tucson, Los Angeles,and San Francisco / San Jose area.

The 2008 sponsors are still being finalized, but the2007 sponsors included the following companies: Artwork

Source, Brother Intl., Colorado Heirloom, Conde Systems,Corel Corp., Epilog Laser, Geo Knight & Co., IKONICSImaging, Imprintor, JBL Graphics, Johnson Plastics, LaserReproductions, LaserSketch, Media Blast, PermanentImpressions, Printa Systems, Stahls ID Direct, Toujours,Trotec Laser, Universal Laser Systems, and VaporApparel.

Its going to be a good year for exploring newopportunities for growth. Start your education with the articlesin this issue, and we hope well see you on the Road laterthis year!



10/39February 2008 10


Using CorelDRAWTraining

By Bill Leek

Beauty Masks:Using PHOTO-PAINTs Masking

Tools To Perform Digital Plastic Surgery

I rarely receive a photo from a client that cant be improved with a variety ofdigital retouching techniques. This is particularly true with portrait photos. CorelPHOTO-PAINT comes with a varied assortment of retouching tools. The key is touse the tools subtly and selectively. Just as in real life plastic surgery, we do not wantto drastically change a persons appearance. Plastic surgery, when overdone, canproduce disturbing results. We do not want to lose our subjects overall appearance

and personality. When digital plastic surgery is done right, the subject should say,Thats a great picture of me!

In this article we will use the BRUSH MASK in conjunction with several other toolsto retouch a womans face. Our subject is middle aged with a blotchy red complexion(too much Texas sun) and some wrinkles that need to be smoothed out. We will alsoadd a little sparkle to her earring to add interest.

DefinitionsBefore we go forward a few definitions are in order:MASK: A mask is applied to an image during editing to protect or select the

underlying pixels of the image. In this example, we will apply the mask tool toareas we want to modify. The remaining pixels shaded in red will be protected fromadjustments.

BRUSH MASK: The brush mask tool allows us to paint the areas we want toalter in this example. Brush types and size can be adjusted. The brush mask canbe painted in both + and modes to add or subtract brush strokes.

ALPHA CHANNEL: Multiple masks can be saved and reloaded in the same image.We save the images as Alpha Channels. Each Alpha Channel can be saved with adistinct name. In our example we will save 3 Alpha Channels.

INVERT: Allows us to swap the selected and protected areas.FEATHERING: Feathering gradually increases the transparency of the pixels

along the edge of the editable area to soften the transition between the editable and

protected areas.

REMOVE HOLES: Fills in areas of the painted mask that have been missed bythe paintbrush. We can completely paint the outline of the mask and then use thisselection to fill in the mask. This is a great time saver.

Now, Lets Get Started!

WRINKLE REMOVAL:

Open up the OBJECT sub menu. Drag the BACKGROUND layer to the CREATENEW OBJECT button to create a new object layer above the background. We willalways apply masks to object layersnot the background image.

Select The BRUSH MASK TOOL

from the LEFT TOOL BAR. In thisexample, we selected a round brushwith a size of 25 pixels.

Choose + brush mode. Carefullypaint over the areas around and underthe eye, cheeks, mouth and neck asshown in the illustration. The maskbrush will reveal the underlying pixels and remove the red transparency mask. Ifwe select too large an area we can come back with the brush to deselect thosepixels.

At this point we can click on MASK on the upper menu bar, then select MASKOUTLINE, then FEATHER. Feather the mask a few pixels (10-15) with AVERAGE

mode selected.

Before and After Images



11/39February 2008 11


TrainingUsing CorelDRAW

Next click on MASK, then SAVE, then select SAVE AS CHANNEL. Save this mask as an alphachannel named WRINKLE REMOVAL. We can always reload this mask in the future and makeadjustments to it.

To remove the selected pixels we will use Gaussian Blur. Click on EFFECTS on the upper menubar, then select BLUR and then choose GAUSSIAN BLUR. In the Gaussian blur dialog box, adjust theradius control while observing the preview image. Start with just a small radius and watch the wrinklesdisappear. When happy with the results, click OK.

Select MASK again from the upper menu bar, then pick remove. The red transparency mask willdisappear and the entire image will be displayed with the wrinkles reduced in the selected areas. Thisstep is done. If it is necessary to go back and make more adjustments, we can load the wrinkle removalalpha channel at any time.

RED FACE ADJUSTMENT

We need to reduce the red in the womans face without changing the bright red clothing in theimage.

First we will select the BRUSH MASK tool and specify a slightly smaller brush diameter. Click onthe + mode and then draw an outline of the mask around the face and the neck.

Next click on MASK on the upper menu bar, then select MASK OUTLINE and then REMOVE HOLES.This will automatically paint in the mask area inside the outline and expose the underlying pixels.

Click on the button in the brush mask control box and deselect any unwanted areas. Whenfinished, feather the mask and save it as an Alpha Channel named RED FACE REDUCTION.

We will now click on ADJUST from the top menu bar and then select HUE / SATURATION /LIGHTNESS. In the dialog box, select the RED channel. Move the SATURATION slider to the left toa setting of about -25 to -30. The HUE slider can also be adjusted slightly to set the optimum effect.

Click on OK.Next click on MASK from the top menu bar, then select REMOVE. The red mask will be removedand womans complexion should more closely match that of the little girl.

THE TOUCH-UP BRUSH

The TOUCH-UP BRUSH can be selectedfrom the LEFT TOOL BAR. This tool allowsyou to blend away skin imperfections andslight wrinkles and is great for making finalretouching adjustments to an image. TheMEDIUM strength setting seems to work well.Simply brush over skin imperfections and

gently blend them away.

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TrainingUsing CorelDRAW

THE SPARKLING EARRING

This is the easiest step. Zoomin on the earring. Select the earring

using a small diameter brush masksetting. Save the mask as achannel called EARRING.

Click on ADJUST, then HUE/ SATURATION / LIGHTNESS,and then select the YELLOWchannel. Increase the HUE,SATURATION and LIGHTNESSsliders to brighten up the earring.Then click OK.

Sharpening the selected earring will add some moresparkle. Select EFFECTS from the TOP MENU BAR. Next

select SHARPEN and then UNSHARP MASK. Using avery low THRESHOLD SETTING (less than 9), increase thePERCENTAGE SLIDER until you see the desired effect. Then

click OK.We can now remove the mask and we are finished with

our retouching exercise.

SAVING YOUR IMAGE

If you want to retain your saved ALPHA CHANNEL masks,save the image in the programs CPT file format. You will alsowish to flatten the object layers with the background and savethe finished image as a TIF or JPG file.

ConclusionsThese retouching techniques can greatly add to the value

of your work. They just take a few moments effort. Thesearticles are brief by necessity. I will continue to add similararticles that I hope will help you with everyday problems. Idappreciate your input. If there are specific areas you want tocover, I can address them in future articles.

Have a great Spring Season!!

Bill Leek is a color consultant for JBL Graphics in Houston,TX, and has over 30 years experience in computer engineeringand graphics design. He has developed several lines of

color imprintable products, and does testing on a variety ofproducts for different manufacturers. He can be reached [email protected] or 281-970-6677.

http://mailto/http://www.coreldrawpro.com/RE/customgraphic.htmhttp://mailto/http://www.coreldrawpro.com/RE/jbl.htm


13/39February 2008 13



By Dave Demoret, Contributing writer

Function Keys & Hot Keys

Using Your KeyboardWHY?I get along just fine with my mouse and the pull-down menus!I dont want to have to memorize all those key strokes.You need a lot of experience to know which keys to hit.

These are common excuses for not using the function keys and hot keys. Thatsthe simple truth. Most people (yeah, probably you) are afraid of using the key boardto do anything else but type in the fonts. I see you shaking your head.

Listen, if you are in the business to make money you need every single advantageyou can get. However, this is not just another little trick or tip in Corel. Using thekeyboard is a HUGE advantage AND can make a substantial impact on your dailywork schedule as well as you bottom line profit !!

First Step Made EasyAllow me to make

this simple for those whoare intimidated by thekeyboard. Dont Try ToMemorize. The simple factis that if you will just readyou will automatically begin

using the function keysand hot keys, without anynoticeable effort !

Take a look at the pull-down menu shown here.Select a function you mightuse on a daily basis. Nowlook to the right side ofthe column for a shortcutkey. If you see one, likeF4 or Ctrl+Z, just take asecond to read it. Realize

that these are given to you

each time you mouse your way to these pull-down menus. Without anymore effortthan that,you will find that in a short time you will thinkI need to undo what I justdidOh, Ctrl+Z.

Still Need to Know Why?Okay, here is why and the advantage to using the keyboard.Lets take the common step of copy & paste. Many people do this several times

a day. This is the usual procedure and Im going to do this step by step.

1. Move your mouse to select the object.2. Left click on object3. Move mouse to Edit on Menu Bar4. Left click on Edit5. Move mouse to Copy6. Left click on Copy7. Move mouse to Edit on Menu Bar again8. Left click on Edit9. Move mouse to Paste10. Left click on Paste11. Move mouse to object12. Left click and drag object to place

Here is the difference using the keyboard.

1. Move your mouse to select the object2. Hit Ctrl+C3. Hit Ctrl+V4. Left click and drag object to place

Thats it. I just save myself 8, count em, eight steps. Ahh, so what? It only takesa second to do it with a mouse.

Sorry, its a little more than that. Actually, Ive timed myself several times to seehow much time Ive saved and when I tell people that if they take my workshops that Ican save them as much as 30 to 50% of their design time, Im not kidding. Any course

you take will help you cut your design time but using the keyboard is where its at.

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The time for this one task is this:Using the mouse to copy and paste takes 6-7 seconds if

youre on your game. It can take up to 9-10 seconds.

Using the keyboard takes 2-3 seconds if youre on yourgame and 3-5 if you think about it.

Again, this doesnt sound like a lot but, given that you dothis several times a day and several times per design, this is alot of time. If you begin using the keyboard on a constant basisyou will save time in almost all your tasks. If you break thisdown to a percentage, you will see that 6-7 seconds vs- 2-3seconds is as much or better than 50% savings in time. Samewith 9-10 vs- 6-7. Again 50% or better!

One of the nice ancillary benefits of using the keyboard thatIve noticed in myself and others is that once you start using

it regularly you are less intimidated by designs and you willbe much more confident in using CorelDRAW for any graphicapplication.

BOTTOM LINEThis is what we are all concerned about if we are in

business to make a profit. Ive seen many people increasetheir designing speed and reduce the amount of time spent onthe computer. This translates into more time spent on otherthings like production, getting the books or paperwork done,and even more time with family, or leisure time.

One gentleman, after taking a workshop, came up to me

and said this: Dave, I have a staff of graphic artists and wecan do everything you did here today, but you just showed mehow to do in 20 to 30 minutes what takes us an hour or more.Do you know how much time savings that is? I could have paidtwice what you charged for this class and been happy.

There was nothing special about his workshop. Nothingspecial in what or how I taught, other than stressing and usingthroughout the workshop the need and the uses for utilizing thekeyboard. Function Keys and Hot Keys can save you enoughtime to affect your profit.

TIME IS MONEYWhether you think you are getting paid for your art or design

time or not, someone pays for this time. It either comes outof your customers pocket or yours, whether you charge themfor it or not.

I once had a person tell me that they would not pay forthe art time I was charging. Their reason was this: When I goto the newspaper and place an ad, they dont charge for art!Again, sorry, but they do. They just dont show it on the billas a separate charge. They have to pay the illustrators and itisnt coming out of the profits without being passed on to thecustomer.

If you are a mom & pop shop and you dont think yourecharging for your art or design time, you are. If you dont have itbuilt into the bill, youre losing profit. Therefore it is coming outof your pocket. It a screen printer didnt charge for art, screen

making, & prep time (to cut it short) he couldnt afford to be inbusiness. Neither can you.So how is the guy down the street able to charge less than

me when I dont charge art fees? Hidden or shown? Simple, heis either not making much profit and will soon be out of business(relatively speaking) or, he is using his keyboard !!! LOL

Of course, there are a lot of reasons he might be lessexpensive but in this day of speed and low-cost items, again Istress, the importance of using every advantage you can get.Using the keyboard, function keys and quick (or hot keys) isone that will help you in many ways.

Dave Demoret, founded Prolink Graphic Services to helppeople understand and profit from learning CorelDRAW. Hehas been in both the Flat Graphics Industry and the DecoratingGraphics Industry over the past 30 years. He has writtenseveral articles for Screen Graphics Magazine on ColorControl & Matching in the past. Dave has used CorelDRAWsince version 3 and became a CorelDRAW Training Partnerin 2006. During the past 5 years he has been conductingworkshops all over the U.S. and is the author of several VideoCDs & Instructional CDs on CorelDRAW. Dave continues toconduct workshops in the U.S. & also worldwide online. Hecan be reached at 765-DO COLOR (362-6567) or by email [email protected]


CORELDRAW APPLIED
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15/39February 2008 15


CORELDRAW APPLIEDBy Judy and John McDaniel Applications

Last time we provided an overview of whats new

in CorelDRAW Graphics Suite X4. This time well startexploring some of the new features that we like andthink you might find helpful.

But, were not going to just explain a feature, andlet you figure out how it might be useful. In the many

Creating & Using Templates

years that weve been helping folks figure out How do I

get CorelDRAW to (fill in the blank). The questionsweve answered have been primarily focused onapplications.

One of the most frequent objections weve heardabout manuals is; I know the tools are explained inthe manual, but that doesnt help me. The other issuewith manuals is terminology. What is the tool calledthat I need? When you are first starting out, whatyou may need to know can be buried behind layers ofterminology you are not familiar with. To find what youneed to know may take reading the entire manual.

What weve found is that most people need to knowhow to do a job thats due soon, perhaps tomorrow!We all seem to be controlled by the TYRANNY of theURGENT! To get the job done, you need to know thetools to use, and how they work! So well try to makethe tools in CorelDRAW and PHOTO-PAINT relevantto the types of jobs you face.

To that end, over the years, weve collected a numberof questions from our students in classes and emails.Well include answers to some of those FAQs in futurearticles. We would also welcome any questions you

might have. If you would like to ask something, pleaseemail your question to [email protected]. We dont promise that well answer all of yourquestions in print, but we are interested in topics youwould like to see addressed.

One final point before we get started exploringtemplates. We will primarily show how to accomplishtasks in X4; however, in some cases, if there aredifferences, well show how the same tasks can alsobe accomplished in older versions. We wont go backbeyond 12. Most people weve talked with are usingX3; a few are still using 12. So well cover those

versions in addition to X4.

Picture 1:The New from Templatedialog screen for X3.

Picture 2: The New from Template screen for X4. Ithas been greatly enhanced, allowing you to see all

templates, templates by type, or by industry.

Picture 3:X4 also allows you to access

templates that you have created.

Starting a New Project with a Template

Templates have existed in CorelDRAW for anumber of versions. They are designed to speed upyour workflow. Rather than having to create everythingin your layout from scratch, they give you a frameworkthat you can modify -- and perhaps some inspiration foryour own creation.

In some cases, templates are also useful to showcustomers alternate possibilities. It can help them arriveat a decision. For many years, we had customers visitour store looking for an award plaque and not quiteknowing what they wanted to say. That prompted us tocreate the Words for Plaques CD and Manualwhichprovides suggested plaque layouts by category. Onceyour customer makes a decision, then the templateprovides a base graphic you can modify to get the jobdone. [Editors Note: Words for Plaques is availablein the CorelDRAWPro Bookstore.]


CORELDRAW APPLIED
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CORELDRAW APPLIED


CORELDRAW APPLIED
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CORELDRAW APPLIED


INSIDE COLOR
http://www.coreldrawpro.com/RE/PSI.htmmailto:[email protected]://www.coreldrawpro.com/RE/GeoK.htm


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INSIDE COLORBy David Milisock Training

The New Tone Curve in

CorelPHOTO-PAINT X4

The discussion on RAW in the last twoarticles and the discussion of tone curvesmust go hand in hand. One cannot correctan image without individual control overthe RGB or LAB channels in a tone curve.The largest downfall I see in any RAWconverter is that NONE OF THEM allowscontrol of the three channels during the

conversion process.The concept is to balance the gray

scale at the bottom of the Munsell cardthat you see in the right middle of eachcapture. By gray balance I mean equalRGB components of each square fromwhite at left to dark gray at right, or specificLAB values for each square. The bottomimage #1 is the RAW capture from a Phasecapture back, converted to an RGB imageusing the Phase RAW converter that

comes with the camera.Incidentally, the eyedropper readingsof the TIF capture straight from the cameramatched the RAW conversion point forpoint. There were no more than 2 points ofvariation between the 3 channels of eachgray swatch. By that I mean the far rightgray swatch reads, R35, G35 and B37.All the gray and white swatches sharedsimilar readings; this is an amazingly wellbalanced capture.

With that said, look at capture #2 and

#3. The #2 image is the Phase RAW to

Phase tungsten RGB conversion correctly gray balanced, and #3 is the Phase RAWconversion converted to LAB, gray balanced and converted to Adobe RGB. Noticehow #2 and #3 display nearly identical, while #1 is significantly different.

This captured subject, wood paneling, is a difficult subject. It was captured ina sophisticated studio with a very expensive camera, lens and lighting equipment.However a mere 2-point variation of the gray balance has created the shift that you seehere from #1 to #2 and #3. Can you imagine what is happening to RAW conversionswhere you have no ability to balance the gray completely across the entire gamut?

The truth be told, we get images in from cameras that range in price significantly,from a high of $30,000 to a low of $100. We also get images in from photographerswho have skill sets that range just as wide. The problems are mostly the same --the images need to be balanced for correct color first, so we can adjust for color theclient likes second.

This is where the shoot-RAW-its-better mindset goes awry. A good TIF capturethat can be gray balanced has a serious chance of being a great image. A RAWconversion that has the gray balance screwed up beyond repair will NEVER be agreat image.

The new tone curve

This is where the new tonecurve in Corel PHOTO-PAINTX4 comes into play. Whetheryou use RAW, JPG or TIF asyour captures, you will use thetone curve to correct the color.

Here, in the screen shot, wesee the new tone curve in X4. InPHOTO-PAINT X3 and X4 it isunder the Adjust menu, but thenew curve is only in X4.


INSIDE COLOR


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INSIDE COLOR

mailto:[email protected]


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SUBLIMATION TIP


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SUBLIMATION TIP


INSIDE SCREEN PRINTING
http://www.dye-sublimation-products.com/http://www.dye-sublimation-products.com/


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INSIDE SCREEN PRINTINGBy Jeff McDaniel Applications

Four-Color Crayon Drawing: Artwork

BackgroundIn this article we will take our artwork, prepare it for screen printing, andprint out our positive images. The artwork that we had converted to vectorin our last article needs to be properly formatted for screen printing.

Getting StartedAfter sending our artwork out and having it converted to vector, we will

still need to modify the artwork before we can print our positive images. Thefirst thing we will need to do is change the colors to Pantone spot colors.Changing the colors over to spot colors allows our printer to print each coloras a solid black separation so we can process our capillary film later.

Here is the artwork we received from the vector service (see Image

1).By opening up the OBJECT MANAGER in CorelDRAW we can look at

the colors assigned to each curve (see Image 2). Note that the color fillsare currently all assigned as CYMK values.

When we start the printing process we will need to select PRINTSEPARATIONS on our printer properties. If we look in the separations dialog,the separations shown currently are cyan, magenta, yellow, and black (see Image3).

If we attempt to print our photo positives using the artwork as it is right now,we will produce shadesof grey on our films (seeImage 4). Since we aretrying to produce solidscreen color art, we willneed to replace the CYMKcolors with Pantone spotcolors.

Using color replaceIf your vector service

has done a nice job, thenall of the colors will bestacked neatly and can

easily be selected and

Image1

Image 2

Image 3

Image 4

Image 5




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INSIDE SANDBLASTING
http://www.coreldrawpro.com/RE/StahlsCADLab.htmmailto:[email protected]


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INSIDE SANDBLASTINGBy Judy McDaniel Applications

Do I need more than one

sandblast system?Many of you have been sandblasting for some time

now and are looking to expand that operation into otherproducts. As you do this, you will find that some products

are best blasted with different abrasive grits. Abrasivegrits are rated by their number, the lower the numberthe larger the individual pieces are and the faster theabrasive cuts. For example, I use 80-grit for brick andstone; 180-grit for general glass work; and 220 for fine

detailed work like photographs.

Cleaning your systemIf you have only one cabinet or pressure pot, and

want to change abrasive media for different applications,

you will soon discover the joys of cleaning out your blast

cabinet and pressure pot as you make those changes.For a long time that is what I did because we only hadone cabinet and one pressure pot. If I had a brick jobto do, I would completely clean out my cabinet and mypressure pot, save the 180-grit in a bucket, and screen

in the 80-grit. After I was done with that job I wouldreverse the operation. If you dont clean out the cabinetand pressure pot each time you switch media, you willcontaminate the media and take the chance of damaging

the next piece you are going to work on.If you switch from doing brick and stone to glass

(80-grit to 180-grit), without cleaning your equipment out,

you may see little sparkles on your glass pieces; and you

will not be able to get crisp clean edges. This is causedby small pieces of rock/stone that are dislodged by theblasting operation, and are able to go through your filter

screen. (You are all screening your media each time

you put it back into the pressure pot, right?).

You may also want to switch from 180-grit to 220-grit for pictures. If you use 180-grit for pictures you may

lose some of the fine detail dots because the 180-gritabrasive media is larger and more aggressive than 220-

grit. You stand the chance of losing some of the pixelsin the cheek area of the face if the grit you use is tooaggressive, and there is also the chance that you wontbe able to get into some dots/pixels because they are

smaller than your grit.

New pot or new systemWhat all this means is that, as your business grows,

and you start using different grit media, youll ei ther have

to clean out your cabinet and pressure pot each time you

want to change abrasive media, or youll need to set upseparate cabinets for each product line. Or if your cabinet

has a separate pressure pot, youll need a dedicatedpressure pot for each type of grit. Since emptying and

cleaning a pressure pot can be time consuming andmessy, I recommend that you purchase a separate potor cabinet for each media type.

If your cabinet has a separate pressure pot, andyou want to use only one cabinet, you can easily switchbetween pots using quick connectors. To switch between

pots, shut off the media supply from the pot youreswitching out (leave the air supply on) and clear out theline by stepping on the foot pedal. After the media lineis clear, clean out the cabinet. If you have an air hosein your cabinet for cleaning off product, it is a snap to

just blow out the media. Empty the cabinet of all the oldmedia and hook up the new pot. Each pot will need itsown pressure gauge, on/off valve and control, hoses,and quick connect adapters.

If you have one of the newer cabinets with anintegrated pressure pot, then you will either need tomanually change the abrasive media in the pot, orconsider separate cabinets for each grit. These pots are

somewhat easier to change out because most have anaccess port on the front of the pot. Manually changingthe abrasive is about a 20-minute operation for theseunits.

Glass

Cabinet


INSIDE SANDBLASTING
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INSIDE SANDBLASTING


INSIDE ENGRAVING
http://www.coreldrawpro.com/RE/LaserRepro.htmhttp://%20www.coreldrawpro.com/AllBookstore.htmhttp://%20www.coreldrawpro.com/AllBookstore.htmmailto:[email protected]


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INSIDE ENGRAVINGBy John McDaniel Applications

Machine Accuracy Review

Last time we concluded our discussion of the machine design elements whichcontribute to a machines accuracy. To review and recap they include:

1. Resolution is the smallest incremental positioning movement of a specifiedaxis. It is a design target which typically reflects the minimum step valueof stepper motors, in machines that use them for motion control. Formachines that use servos and encoders in their motion control design, itsthe minimum readable movement that can be reported by the encoder.

The advertised resolution of a machine does not take into considerationany elements of structural integrity or tolerances of a specific machine. We

discussed resolution in part 2.

2. Speed is the ability to complete a taskin a reasonable amount of time withoutsacrificing accuracy or creating damageto the machine or product. A machinesadvertised speed is basically how fast agiven axis can travel. It doesnt meanthat the machine can produce acceptablework at that speed; so buyer, beware.

For rotary engraving machines, spindlerotational speed is another advertisedspeed. But as we learned in part 2, the keyto producing excellent work is a combinationof spindle rpm and overall feed rate whichwill depend on the tool selected, thedepth of cut, and will vary from material tomaterial. This ideal cutting rate is referredto as surface feet per minute, or SFM.

For most materials in the engravingworld, feed rate - power combinations

for laser machines; and feed rate

- spindle speed combinations for rotary engraving machines arediscovered by trial and error. They are not at the maximum speeda machine is capable of, so advertised speeds can be misleading.

3. Repeatability is the ability of a machine to duplicate a previous position without error.As we learned in part 3, repeatability is important for multiple pass jobs, specialeffects, clean-out passes, part cutouts, and re-engraves. In part 4 we exploredthe most common motion control designs and their impact on repeatability.The designs we discussed were open-loop stepper motor and servo/encoder.The conclusion is that servo/encoder designs are best for repeatability.

4. Hysteresis was the subject of parts 5 and 6. It is the slop or play inmotion control components; and most oftenshows up in axis motion when an axis reversesdirection under load. We touched on lead screwmachine design elements which contribute tohysteresis. We compared recirculating ball bearingand acme screw designs and concluded thatthe recirculating ball screw was a better design.

5. Structural Integrity is the stiffness orstrength of a machine. It measures the ability of a

machine to cut materials without error or damage.Essentially its a machines ability to resist distortionand keep the tool and material in the properrelationship while performing normal cutting orengraving operations. In part 7 we learned that allthe components of a machine, including its frame,contribute to, or detract from its structural integrity.

6. And finally, last time in part 8 we consideredstructural tolerances; which are the sum accuracyof a machines mechanical components. Aswe learned, in essence, a machines structural

tolerance is the total of all individual component


INSIDE ENGRAVING
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S G G


GETTING AHEAD
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GETTING AHEADBy Deborah Sexton Opportunity

When youre getting started in the decorated apparelindustry, youll face what assuredly will be one of yourmost difficult business decisions and youll have toanswer it before youve ever printed a single shirt. Thedecision: which screen printing equipment you should

purchase.Some printers will suggest purchasing a separate

screen printing press, dryer, flash-cure unit, and the

The Pros & Cons of All-InclusiveScreen Printing Systems

Your market, future growth, space availability, and budget are all factors that

need to be considered when deciding on an all-inclusive printer.

necessary, accompanying supplies. Others advocatepurchasing an all-inclusive printing system, whichcombines a manual press with an exposure unit, screenrack, and other equipment supplies. While therescertainly no right or wrong answer, each avenue does

have its pros and cons. Here, then, is a look at theplusses and minuses of purchasing an all-inclusivesystem.

SimplicityAbove all, purchasers of any type of all-in-one-

system are generally looking for and will find asimple solution. Rather than piecing together a screenprinting system from a bewildering array of equipment

options, you simply pony up the cash for a singlesystem.

The systems simplicity makes the printing process,not just the shopping experience, easier, says DukeGoss, president, Printa Systems, Kirkland, Wash.For instance, one of the most challenging aspectsof screen printing for newcomers is registration, hesays, something that all-inclusive systems simplify.Registration takes 70% to 90% of the setup time in ascreen print job, and we virtually eliminate that.

David Landesman, president, Lawson ScreenPrinting, St. Louis, Mo., points out that all-inclusivesystems are fully assembled, adding to their simplicity.You uncrate them, unbox them, and youre basicallyready to go, he says. There are no installationissues.

SpaceAnother big plus: All-inclusive systems, which

Printa offers in four-, six- and eight-color options, offera relatively small footprint. Id say that 75% of ourcustomers start with the six-color, four-station unit, Gosssays. In any case, they can print low volumes of shirts

in a very small space for a very low investment.

Most all-inclusivesystems includea rotary printer,a light exposuresystem, a screen

rack, and a flashcure. Purchasingan optional

conveyor dryerwill increaseproductioncapabilities.

Photo courtesy

of Printa

Systems.


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MARKETING SECRETS


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MARKETING SECRETSBy Donna M. Gray, CRM Opportunities

Murphys Law and Other WisdomMeet Mr. Murphy

Last month I had an encounter with Murphy. Hesnuck right up when I wasnt looking and wiped out mycomputers hard drive. While he was at it, he madesure that none of my back ups, after October, were anygood.

That Murphy! Hes famous for letting us merehumans know that If anything can go wrong, it will!Was I ready for this insult? Absolutely not! I had donewhat I thought I was supposed to doback up daily.What I hadnt done was to check the back ups to makesure they worked. Oh welllesson learned.

After my hard drive spent a long vacation at a

recovery firm which couldnt recover any of my must

have data, Im, now, just finishing re-creating the end of

the year in a new hard drive. Fortunately I save paperback ups! And, being the kind of person he is, Murphysalso reminding me that, Everything takes longer thanyou think!

Types of CrisesWhen crises occur, its good to know that somehow

we have whats needed to get through them. We haveto be ready and we have to have the right attitude.Since our crisis happened, Ive been hearing aboutlots of others who have been through similar or worsesituations. I did a bit of research and found out crises

and conflicts occur most frequently in the areas ofscheduling, project priorities, technical options, humanresources, procedures and systems, and cost.

This last one doesnt surprise me at all becauseweve been there, done that. In fact, this is one areawe have identified as a major source of crisis and werededicated to being on watch with this. No more Justgive me a ball park figure. No more, I wont hold youto it. I just need to give a quick report to my committee.No more, Cant you give me a quote over the phone?Does any of this sound familiar?

Crisis Prevention PlanMurphy says, Left to themselves, things tend to

go from bad to worse. Well, my mother used to say,Theres more than one way to skin a cat! (Dont geton my case, cat loversIm a cat lover tooour Sassyruns our home and lets us live here.) I could translatewhat mother meant, into, if were having a challenge withcustomers who are in too much of a hurry to wait for areal, thought out, well planned quote, remind them thatwe are professionals. We hung our shingles out just likeother professionals. Who would ever rush a doctor into

a quick diagnoses or an attorney into a quick opinion.

Just because we might not wear white coats or suits to

work doesnt mean were any less professional in whatwe do.We cant let Murphy get into our companies. Hes

not a good employee. The fact is that everything doesntgo according to plan. Sometimes the most unexpectedchallenge works its way into a project. We shouldnthave to learn the hard way to have a crisis preventionplan in place, so when Murphy pays a visit, wereprepared.

When our crisis occurred, we knew we had todo something quicklysomething that would help us

keep going. It doesnt take a genius to know that hadwe neglected or avoided the inevitablea manualrestoration of datawed be out of business in a shorttime. Immediately alerting all our vendors and startinga manual input of data into a new hard drive were thechoices for us.

We had thirty years behind us and we werent goingto let a little thing like a visit from Murphy get in our way!I did a lot of moaning and groaning through the process.Its time consuming and Im the one elected to do theinput. Everyone else was busy with sales, production

and all the other things needed to run the business. So,I bit the bullet and put pictures of our kids, our grandkids and, of our last vacation on my desk to remind methat its all worth the effort! And, I called for help fromour accountantsjust to make sure I didnt make anymistakes.

I took breaks during my entry work to make sure Ididnt enter something twice or something wrong. Duringthese breaks, I made a list of things we should do, andpeople we know, that could help prevent another crisis.My list included:

Donna Grays 2nd book,Its All Relative!

Surviving & Thriving in a Family Busi-

ness, was published in September 2007.

It describes herquest to identify thekeys to success forsmall business, andfamily businesses inparticular. She inter-viewed top businesses

nationwide and discov-

ered five common qual-

ities implemented bysuccessful businessowners. Check it outat the CorelDRAWProBookstore,www.corel-drawpro.com/AllBookstore.htm


MARKETING SECRETS
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PRODUCT FOCUS
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PRODUCT FOCUSOpportunity

INFO REQUEST

For more information on the products in this Product Focus section, click on the Info

Request button at the bottom of the page, and select by company name or product.

NEW INFINITEMARBLETM

FROM IKONICS IMAGINGIKONICS Imaging of Duluth,

MN, has announced a wide-ranging line of premium marbleaward blanks. The companyis offering a vast selection ofshapes and sizes to choose from,as well as exceptional pricing.The attraction to fine productslike marble is timeless, and these

designs will appeal to a varietyof customers. The line includesDesigner Awards and Clocks, Promotional Products, Plaques,Crosses, Obelisks & Pyramids, Desk Accessories, and Bases.

Awards & Gifts

NEW WOOD PRODUCTSFROM JOHNSON PLASTICS

Mothers Day, FathersDay, graduations -- celebrateall these spring occasionswith personalized gifts fromJohnson Plastics new lightmaple wood products line.These attractive products comewith a sublimatable metal insertfor a special photo or message.Customers will love the set offour coasters in a small stand,the handsome valet tray to hold

a wallet, keys and more, and the recipe box with lid and insert for photo. The twosquare pencil holders with room for four pictures (one rotates on its base) will makegreat gifts. Each comes in its own individual box. For more information or to place

an order, call Johnson Plastics at 952-898-7800 or visit www.johnsonplastics.com.

REDESIGNED OBELISKAWARD FROM RS OWENS

The word obelisk, in ancientEgyptian, is synonymous withprotection or defense but wasused to honor a deity or they were placed in a large open area to honor a ruler or

king. Almost 4,000 years later, the obelisk is used to honor individuals. The CairoAward, from R.S. Owens, has been redesigned using sophisticated style and boldshapes to recreate the timeless obelisk. This award is perfect for honoring a specificindividual, a team accomplishment, or the achievements of a large company. TheCairo is made from R.S. Owens award-winning Stonecast material and has anacrylic riser affixed to the front for engraving a name, logo or image for a specialevent or accomplishment.

http://www.johnsonplastics.com/http://www.johnsonplastics.com/


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by Otis Veteto

Traveling Tidbits

Otis Veteto is the Western

Regional Manager for the

R.S. Owens & Co. Inc.,manufacturer and supplier of

the Elegance in Awards & Gifts

line. With more than 30 years

experience in the industry, he

offers the PROspective of a

veteran sales rep in reporting

on ideas, people and places

that he visits. Its a fun and

informative column focusing

on the human-interest side ofthe industry. Otis also presents

sales and motivation seminars

for industry organizations,

and some of that knowledge

will rub off as well. He can be

reached in Sacramento, CA

when not on the road at

916-567-1867.

50 Years for Awards By Kay in Sacramento

HAPPY VALENTINES DAY TO YOU ALL!

See you at the show!If you are planning on attending the ARA convention in Las Vegas,

please stop by the R.S. Owens booth and say hi. Our booth is # 700.Hope to see you there.

50 years in SacramentoLets take a trip down memory lanethe year is 1958. American

Bandstand was huge, Elvis was inducted into the Army, Connie Franciswanted to know where the boys are and Van Cliburn had a top hitwith his Tchaikovsky #1 Piano Concerto.

1958 also marked the beginning for Awards By Kay Inc. inSacramento, California, under the ownership of Ray and Kay Boron.Their daughter Darlene, sent me this history, and I am honored to shareit with you.

Awards By Kay Inc. is celebrating its 50 th year in the recognitionbusiness. The family legacy continues. Ray and Kay Boron, whosevision, creativity and selfless efforts built not only Awards By Kay, butalso, as pioneers, helped build the Northern Californ ia Trophy DealersAssociation, Trophy Dealers of America (TDA), and the Trophy Dealersand Manufacturers Association (TDMA), which is now known to all as

the Awards And Recognition Association (ARA).Kay and Ray served in administrative roles beginning in 1964,

founded the Sacramento Chapter, and traveled the whole West Coasthelping form other chapters and expanding the membership of the earlyawards organizations. Around 1969, they initiated the first newsletter.They wrote it, edited it, printed it, and watched the fruits of their laborgrow. In 1972 and 1973 Ray served as President of Trophy Dealersof America.

In 1981 Ray and Kay were awarded the Associations FoundersAward. In 1992-1994, Kay served as Treasurer on ARAs board, whichwas one of the highlights of her life. This was during the transition fromTDMA to ARA.

Sadly, Kay passed away in 2002. We miss her gentle spirit,

wisdom and business savvy, but we know she will always be a specialpart of Awards By Kays success, says Darlene.

So, what are they doing for their 50 th, you might ask? Darlene says,We are continuing to create awards for those who deserve the finest,which was Kays motto from the beginning, and we are continuing togrow and expand into continued care for our customers.

It is an honor to continue to run a company that my mom & dadstarted in 1958, says Darlene, the oldest of Kay and Rays children.Together with her husband, Jerry, her brother Mark and her sisterValerie, they plan to carry on the torch that Kay and Ray lit so manyyears ago.Ray is retired, but still remembers fondly their awards family, his tenureas President of TDA, and the friendships he and Kay made.

With our great employees and wonderful customers, we are alllooking forward to continuing to be A Tradition in Recognition for thenext 50 years.

We sell goodness and gratitude, and recognition and memoriesthat will remain long after we are gone..we touch peoples hearts..that is what Kay and Ray taught usthat is what we will continue todo.Love is all you need.

If you are ever in Sacramento, stop in at 1941 El Camino Ave,

Sacramento, CA 95815, and say hello. Or call Darlene at 916-927-4533. HAPPY 50th ANNIVERSARY, AWARDS BY KAY!

Being busyI will end the months column with this little bit of advice from the

late Gary Lannigan, who was the national sales manager for the BruceDiamond Corporation. Gary gave a lot of seminars for the industry andone of his main points was If you are too busy, your prices are toolow. Think about it. See you in Vegas!!!

Thats all for now. Remember to save some time for yourself and yourfamily. And when you travel, please travel safe.

Date post:	30-May-2018
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Corel Draw Pro Feb

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