Skycut D Series User Manual
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Skycut D Series User Manual

With sure cuts a lot
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You can expect updates to this manual over the next few months
Do NOT read this entire manual... unless you want to.
•
At the start of Chapters 1 - 4 are short sections with references to find what you need plus some important
reminders. PLEASE read these short sections at the very least and refer back to them, when needed.
•
Chapters 1 and 2 are very important in terms of correctly setting up your Skycut to work with SCAL and
learning the ins and outs of cutting.
•
Chapter 3 is for those owners wanting to perform print and cut applications.
•
Chapter 4 covers using the Skycut accessory tools and dual head applications.
•
Chapters 5 – 12 are specific to SCAL and present every function in the software, many of which you may
never need.
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This manual will be updated from time to time.
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© 2018-2020
Sunrise Electronic Technology Co., Ltd. All Rights Reserved

Skycut Series D with Sure Cuts A Lot

August 20, 2020
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Summary of Contents for Skycut D Series

  • Page 1: Skycut Series D With Sure Cuts A Lot

    PLEASE read these short sections at the very least and refer back to them, when needed. • Chapters 1 and 2 are very important in terms of correctly setting up your Skycut to work with SCAL and learning the ins and outs of cutting.

  • Page 2: Table Of Contents

    Table of Contents SKYCUT SERIES D WITH SURE CUTS A LOT ........... 1 1. INTRODUCTION AND SETTING UP ......................... 9 1.00 Q ......................9 UICK EFERENCE FOR HAPTER 1.01 S ............................... 9 UPPORT 1.02 S ..........................9 AFETY AND ARNINGS 1.03 W...
  • Page 3 MPORTANT HECKLIST EFORE 2.08 R ........................ 60 ESOLUTION CALE ALIBRATION 2.08.1 Skycut Resolution Using Millimeters for Measurement ..............61 2.08.2 Skycut Resolution Using Inches for Measurement ................62 2.09 T ....................65 UTTING HART FOR THE KYCUT 2.10 S ....................66...
  • Page 4 5.06 D ............................. 114 OCUMENT ANEL 5.06.1 Mat Size ............................114 5.06.2 Orientation ............................115 5.06.3 Units ..............................116 5.06.4 Show Grid ............................116 5.06.5 Show Guidelines ..........................117 5.06.6 Workspace Alpha ..........................118 5.06.7 Show Outlines Only .......................... 118 5.06.8 Show Print Margins ...........................
  • Page 5 7.04 M ..............................152 OVING 7.05 R ........................154 ESIZING CALING UTO FIT 7.05.1 Resizing ............................154 7.05.2 Scaling .............................. 155 7.05.3 Auto Fit .............................. 156 7.06 R ..............................157 OTATING 7.07 S ......................... 158 KEWING AND ISTORTING 7.07.1 Skewing ............................. 158 7.07.2 Distorting ............................
  • Page 6 8.10 S ..........................202 TENCILING ETTERS 8.11 O (OPF) .......................... 203 ONTS 8.12 K ..............................204 NOCKOUT 8.13 T ............................. 205 ITLE RAWL 8.14 A ....................206 PPLICATIONS SING THE IZING UNCTION 8.14.1 Sizing Lettering for Particular Fonts ....................206 8.14.2 Sizing Letters for Welding Inside Rectangles ...................
  • Page 7 11.05 S ............................269 HADOW AYER 11.05.1 Shadow Layer Settings ........................269 11.06 B ..........................272 OOLEAN PERATIONS 11.06.1 Union ............................... 272 11.06.2 Intersection ............................273 11.06.3 Exclude ............................274 11.06.4 Front Minus Back ..........................275 11.06.5 Back Minus Front ..........................275 11.07 C ........................
  • Page 8 12.10 P ..............................355 IERCE 12.11 N ............................... 356 APPENDIX A SHORTCUTS AND ICONS IN SCAL5 ..................360 APPENDIX B TROUBLESHOOTING FAQ’S ....................367 B1 C ..........................367 OMMUNICATION SSUES B2 O ............................368 PERATING SSUES B3 C ........................... 370 UTTING RAWING SSUES...

  • Page 9: Introduction And Setting Up

    • If you run into difficulties with the operation of your Skycut, turn off the power and look for a solution in this manual. Note that Appendix B is a Troubleshooting section. If you continue to have technical questions or issues, please contact your dealer as soon as possible.

  • Page 10: Warranty

    Always turn off the Skycut before unplugging or removing the power cable from the wall outlet or power strip. • Unplug the Skycut from a wall outlet or power strip during an electrical storm or when the cutter will not be used for an extended period of time. •...
  • Page 11 Description Image Quantity Power cable USB Cable 60° Blade(blue cap) 45° Blade(red cap) Blade Holder Test Pen and 1 Refill 2 sets Cutting Mat Scoring Tool...

  • Page 12: Parts Of The Skycut

    USB Flash Drive Port: used to load PLT files via control panel for cutting • USB Port: option to connect computer to Skycut with included USB cable • Reset Button: used to reset Skycut’s cutting buffer (does not reset calibrations) Reset USB Flash USB Port Button...

  • Page 13: Left Side

    • The screws required for attaching are already installed in the Skycut. They will be removed and then, after aligning the holes in the table, replaced to securely attach the table. •...

  • Page 14: Test Pen

    1.07.2 Test Pen • The test pen should be used until you are comfortable with the operation of your Skycut and know, with certainty, where images will cut. The test pen should arrive pre-assembled. However, if you want to change...

  • Page 15: Skycut Blades

    1.07.3 Skycut Blades • There are three kinds of blades that fit inside the Skycut blade holder: Blue Yellow  The 45 capped blade is suited for cutting thinner materials such as paper, all cardstock types, heat transfer vinyl, and wall/auto/decal vinyl.

  • Page 16: Preparing And Caring For The Cutting Mat

    • Do not leave the pinch wheels in a down position when the Skycut isn’t in use. This warps the plastic sooner, shortening the useful life of the cutting mat. 1.08.2 Cleaning and Replenishing the Cutting Mat •...

  • Page 17: Pinch Wheels

     Virtually any repositionable adhesive may be used on the cutting mat. Some of the popular choices include: Krylon Easy Tack, Aleene's Tack It Over and Over (view the video at the start of this section), Crafter's Companion Stick and Spray, Zig 2 Way Glue with wide tip, Craft Smart Off 'N On, and Scotch Repositionable Craft Stick.

  • Page 18: Control Panel

    1.10 Control Panel • When you first turn power on the Skycut, after several seconds, the following Main Screen or Home Screen will be displayed: Repeat last cut. While cutting, this icon and function changes to Pause.

  • Page 19: Set Screen

    Install the downloaded file and open SCAL. The software will run in DEMO mode for only 15 days unless a registration is purchased. For step-by-step details on activating SCAL, refer to Section 5.01.2. • To add Skycut to SCAL, go to Cutter>My Cutter>Manage Cutters and the following window will open:...

  • Page 20: Connecting The Skycut To Your Computer

    • Powering On:  Plug the power cord into a wall outlet or power strip. Connect the power cord to the Skycut D on the left side end cap.  Turn on the power using the power button that is also on the left side end cap. After several seconds, the light inside the Skycut will turn on and the head will do a slight jog.

  • Page 21: Usb Connection

    • Note: Not all routers have the same signal strength. It’s usually best to connect the Skycut while it is in the same room with the router. Once connectivity is established, you can then experiment to see how far from the router the Skycut can be located.
  • Page 22 Click on Scan Click on Wifi (2) Click on the Scan button and a list of the available networks will appear. Select your home/office network and click on Apply. You will then be returned to the Wifi screen: Select your network Click on Set Click on Apply...
  • Page 23 IP Address, if needed (6) Next check the IP Address that will be assigned to the Skycut. The Skycut will automatically pick up the first three sets of digits from your router but will continue to display them as shown above. You only need to decide if the last set, which should be defaulting to “200”, can be used.

  • Page 24: Wireless Stand-Alone

    • To reset the Skycut so that it will be found as an available network, press and hold the Default button for 3 seconds. Release and you should see the Apply button now displays Wait.. In a minute the Apply should return and you can then proceed back to A and use the same procedure as if the Skycut was never set up on a network.
  • Page 25 (1) Design or open a file in SCAL. After making any changes, go to Cutter>Cut with Skycut or click on the Cutter icon at the top of the screen. The Cut Settings window will open: Verify shape(s) appear in Preview...
  • Page 26 Press Open File Set up repeats, refer to Section 1.14.1 Click here and cutting will begin (5) Double tap on USB DISK and a screen will open showing any folders and PLT files on the flash drive. Double tap a folder to open it, as needed. Drag the scroll bar on the right to see more files: Double tap here Drag here to scroll (6) Once you have located the PLT file you want to cut, double tap the name.

  • Page 27: Verify Communication And Test Draw Shapes

    In Landscape mode, the arrow/triangle on the Cutting Mat will point to the left. When you draw or cut out the “ABC” shown on a Landscape Cutting Mat, it will be drawn or cut top to bottom as you face the Skycut:...

  • Page 28: Drawing Your First Shape

    In Portrait mode, the arrow/triangle on the Cutting Mat will point upwards. When you draw or cut out the “ABC” shown on a Portrait Cutting Mat, it will be drawn or cut left to right as you face the Skycut: The shape will be drawn Portrait.
  • Page 29 (2) Use any of the horizontal markings at the front of the Skycut (such as the ruler) to align the mat so that it’s straight. Lift the pinch lever to drop the pinch wheels onto the cutting mat. Most of the mat and the paper should now be behind the cutter, not in the front.
  • Page 30 (4) The arrow keys on the Skycut’s control panel will always be used to set the origin for cutting: Press this green circle so that the left head will be used The middle button can be toggled, if needed, so that...
  • Page 31 (6) Use any of the horizontal markings at the front of the Skycut (such as the ruler) to align the mat so that it’s straight. Lift the pinch lever to drop the pinch wheels onto the cutting mat. Most of the mat and the paper...
  • Page 32 (Style Panel) (11) Change the Cut Line Type to Draw (Pen): Change to Draw (Pen) (12) In Section 1.11 you installed the Skycut in SCAL. To now open the Cut Settings window, either: • Go to Cutter> Cut with Skycut •...
  • Page 33 Blade, would have been used if the Cut Line Type on the Style Panel had been left at the default of Cut. (14) The arrow keys on the Skycut’s control panel will always be used to set the origin for cutting: The middle button can be toggled so that the movement is much slower.
  • Page 34 Feed the mat this direction into the Skycut Move the pen tip Move pen tip to this corner of to this corner the paper of the paper.  Once the pen tip is in the lower right corner, you are ready to proceed with the test.

  • Page 35: Default Settings To Consider

     In the above screenshot, the shape sent to the Skycut would cut 3 across and 7 up & down, for a total of 21 shapes. The spacing between each shape would be 0.20 inches (Note: to use mm instead of inches, switch the Units setting.
  • Page 36 • To right power on: With this setting turned on, the cutting head will move to the far right whenever the Skycut is powered on. • Y Key Mode: This setting controls the movement of the material or cutting mat when using the up and down...

  • Page 37: General Settings

    Pressing an UP arrow will move Pressing an UP arrow will move the the material forward material towards the back of the cutter Pressing a DOWN arrow will move material towards the back Pressing a DOWN arrow will move of the cutter material forward •...
  • Page 38 • LED set allows you to change the brightness of the light inside the Skycut or even turn it off: Drag to change the intensity of the light Turn off light • Screen and alarm has two settings:  Screensaver time: Set a black-out time, in minutes, for the control panel ...

  • Page 39: Sys Information

     This initial screen displays current version numbers.  If you ever need to reset your Skycut, press and hold Default All until it turns red. Then wait for the button to update to Success!  If you ever need to change which software is in use with your Skycut, press and hold SOFT for two seconds and release.

  • Page 40: Maintenance

    1.15 Maintenance Skycut machines do not require any kind of lubrication or routine checks. However, here are a few things to keep in mind for successful operation of your cutter: •...
  • Page 41  Lint-free Cloth: (1) for dusting off your cutter and cleaning pinch wheels and grit shafts  Awl or Paper Piercer (or other sharp pointed tool): (1) to pick or lift out a test cut to verify results  Stabilizers: A stabilizer is an adhesive material that is applied to the bottom of the material you are cutting so that cleaner cuts can be achieved.

  • Page 42: Cutting

    • The key to becoming successful at cutting is to do a lot of it! Those who shy away from using their Skycut will never get to the stage of mastering it. It’s very normal for new owners to be intimidated by their cutter, so remember the following key things: ...

  • Page 43: Record Your Successes

    The recommended method for loading the test pen or another accessory: Place the spacer on top of the material, with the material loaded into the Skycut. Loosen the screw on the blade holder seat and insert the tool so that the tip of the tool is touching...

  • Page 44: Adjust The Speed, Force, And Number Of Passes Based On The Material And Shapes

    • You have two options: (1) Perform the built-in test cut on the Skycut itself using the Test option on the Main Screen or from within the Speed/Force Screen. (2) Select a shape from the SCAL Library and size it to be around 0.3” – 0.5” (~ 8 mm – 13 mm): I personally like using one of the shapes with an internal circle (such as a ring).

  • Page 45: Choices Before Cutting

    2.02 Choices Before Cutting • There are a number of factors under your control for cutting:  What shapes to send to the cutter: Section 2.02.1  Where the shapes will be cut from the material: Section 2.02.2  What tool(s) will be used for cutting (or drawing, scoring, engraving, etc.): Section 2.02.3 ...

  • Page 46: Controlling Where Shapes Will Cut

    • A fourth mode is called Print+Cut (aka Print and Cut or PNC):  This is the mode selected when you want to print images on your printer and then have the Skycut cut them out.  Four registration marks are printed, along with your images, from SCAL to your home or office printer.
  • Page 47 • You have a choice of three blade types to use in your Skycut blade holder, as was covered in Section 1.07.3. Based on the blade type, you will need to set a Blade Offset value for that type of blade (refer to Section 2.03.3).

  • Page 48: Determining The Cut Settings

    Before presenting the various settings, note that the Pressure/Force and Speed settings can be set on the control panel itself. In order to cut from SCAL and use the settings on the Skycut, uncheck this box in the upper half of the Cut Settings window:...

  • Page 49: Speed And Up Speed

    • On the Skycut control panel, the default setting is to have the Up Speed and Cut Speed the same and referred to as SPEED. This can be adjusted by pressing the Force/Speed icon and then setting the SPEED to the desired level.

  • Page 50: Overcut

    • Any time you order new blades, check for the recommended Blade Offset on the packaging. However, it’s not unusual for blades to be slightly off-spec. Based on cutting a rectangle or square, increase or decrease the Blade Offset in increments of 0.1 or smaller until the shape has perfectly square corners. 2.03.4 Overcut •...
  • Page 51  If both sides are in use, then after setting the Multi-Cut of the left side, switch to the right side and choose the same or a different number of passes: Select right side under Tool Select number of Passes here •...
  • Page 52 • If you are planning to use both heads, make sure Use Double Head is activated on the control panel’s Main Screen. If you do not see this option (as shown in the following screenshot), click on Set>Advanced settings>System mode and select double. Then, back on the Main Screen, the following options should now appear: Select Use Double Head ...

  • Page 53: Presets

    Passes for each side • IMPORTANT: Currently the Open recut option will default to unmarked (off) whenever the Skycut is first powered on. Thus, make a mental note (or, even better, put a Post-It note on your cutter) to turn this option on when needed.
  • Page 54 Click here to delete the Blue Capped Blade preset • Presets can also be saved on the Skycut control panel. However, they only include Force, Cut Speed and Up Speed, if Up Speed is set to show (refer to Section 1.14.1). To create a preset: ...
  • Page 55 Select an Select unused box Rename  Press one of the unused preset boxes, e.g. name5, and it will turn blue indicating it is highlighted. Select Rename.  A window opens where you can enter the name for the new Preset. The characters are entered in the same manner as the Password entry window in Section 1.12.2.

  • Page 56: Setting The Origin Before Cutting

    • IMPORTANT! The D24 Skycut has a maximum cutting width of 24 inches. If you move the head too far to the left to begin the cut and your project is wide, you may exceed the left side limit and cutting will stop at that point with no option but to abort.

  • Page 57: Setting An Origin Using The Camera

    If you do choose the latter, make sure there’s a way to clearly distinguish which intersection you want to use. (3) On the Skycut’s Main Screen, use the arrows to move the center of the blade holder roughly over the origin target. In this example, a dot will be used.
  • Page 58 (6) Press OK. In the new photo, the blue dashed + should be close to the origin target. Press X3 to zoom in: (7) Use the arrow buttons to move the red + as close as possible to the center of the origin target: (8) Press OK.

  • Page 59: Other Cut Setting Functions

    2.07 Important Checklist Before You Cut! • Do you have your material on the mat and the mat inserted into the Skycut? (Note: materials with a backing sheet, such as vinyl and iron-on transfer do not require a mat for cutting) •...

  • Page 60: Resolution/Scale Calibration

    Now this might be perfectly acceptable for the type of cutting you do. Therefore, it may not even be necessary to do this particular calibration. However, if you do want to make sure your shapes are cut precisely to scale, the following procedure will allow you to calibrate your Skycut. •...

  • Page 61: Skycut Resolution Using Millimeters For Measurement

    2.08.1 Skycut Resolution Using Millimeters for Measurement • In SCAL, go to View>Ruler Units and select Millimeters (mm). • To resize the square, select it and then click on the Position & Size icon to display that panel. Change the size (W and H) to the largest size that will fit on the paper you have available.

  • Page 62: Skycut Resolution Using Inches For Measurement

    • Once you have your calibration set, please record these values in your “little black book” in case you ever need to reset your Skycut to default settings or install a firmware update. 2.08.2 Skycut Resolution Using Inches for Measurement •...
  • Page 63 Height (the top-to-bottom length that drew. Note that it doesn’t matter if you had Portrait or Landscape selected in SCAL. It’s the same as shown below: Feed the mat this direction into the Skycut Width, X Height, Y •...
  • Page 64 Draw the square again and measure to verify the square is now 10 in x 10 in. • Once you have your calibration set, please record these values in your “little black book” in case you ever need to reset your Skycut to default settings or install a firmware update.

  • Page 65: Test Cutting Flow Chart For The Skycut

    • Select a small test shape. You can use the built-in test on the Skycut. However, a shape w ith an internal path, such as a ring, works better as it allows you to more easily check to see if the blade is cutting into the backing sheet or cutting mat.

  • Page 66: Settings Form For Cutting Materials

    2.10 Settings Form for Cutting Materials Material Brand or Blade Material Type Blade Force Speed Other Comments Source Offset Passes *Number of Post-It notes used to set blade tip distance above material.

  • Page 67: Suggested Settings For Various Materials

    2.11 Suggested Settings for Various Materials IMPORTANT: These settings should be used for the initial test cut only. Adjustments may be necessary based on the condition of the blade, variations in the material, humidity, condition of the cutting mat, blade tip height, etc.
  • Page 68 Material Type Material Brand/Source Blade Passes Force Speed Other Comments Tracing Paper Helix Vellum Paper Vinyl - Heat Transfer Siser EasySubli - with the mat Cut on the mat Siser Glitter - Gold - No cutting 2 passes makes it easier to weed, also slight Vinyl - Heat Transfer 35-40 scratch cut in the backing layer...

  • Page 69: Print And Cut (Contour Cut)

    The print and cut process (also called contour cutting) involves printing an image from SCAL to any printer you own and then, with the aid of the Skycut’s camera, have the image or images cut out with perfect precision. Below are three typical kinds of print and cut applications but there can be other kinds.

  • Page 70: What Is Apnc Calibration

    Test pen that came with your Skycut (1) Insert the test pen into the left side seat on the Skycut. Place the sheet of paper into the Skycut. You can use the cutting mat to hold the paper or insert the paper directly.
  • Page 71 This is where photo will be displayed Two different screens based Magnify photo by 300% on Align versus Adjust Retake photo Align is normal mode Change brightness of LED light Adjust is calibrate mode Update blue dashed + alignment (6) Press Adjust to switch to calibrate mode. Press and hold the OK button for several seconds until it and the arrows around it turn red: 1.
  • Page 72 Press OK. A new photo will be taken and one of two things will happen:  red + is so close to the center that the Skycut will now take over and find the true center on its own. You will see the red +...

  • Page 73: Performing Apnc In Scal

    (10) Once the alignment is in place and the arrows have turned blue, press the Home button and then press Stop on the Main Screen to save the calibration and conclude the process: Press Stop 3.04 Performing a PNC in SCAL 3.04.1 Summary of Steps •...

  • Page 74: Step-By-Step Sample Pnc Project

    3.04.2 Step-by-Step Sample PNC Project (1) If you are new to SCAL, you may want to read a few sections in order to be more familiar with certain functions. The following are recommended: 5.02, 5.04, 5.05, 5.06, 6.04, 7.02.1, 7.04, 7.05.1, and 7.17.4. (2) The Cutting Mat dimensions can be any size you choose.
  • Page 75 Landscape Orientation Portrait Orientation (6) Open up the Layers Panel. As mentioned earlier, PNG files with a transparent background import and have cut lines added. Click on the down arrow to open up the grouped layer to see that there is both a cut layer and a print layer within that group: Two layers Click on...
  • Page 76 Portrait Orientation Landscape Orientation (9) If you want to make copies, select the grouped shape and resize as desired by dragging the lower right corner. Then, to open the Duplicate window, either go to Object>Duplicate or use the shortcut key Ctrl+D.
  • Page 77 (13) Place the blade holder into the Skycut and move the head until the blade holder is over the lower right printed registration mark as shown in the prior screenshot. Note that you can also set this same origin from within SCAL’s Print+Cut window, as will be shown later in this tutorial.
  • Page 78 Enter settings Click here (15) The following window opens where you’ll again see the cut settings and some instructions. There’s also a Print button in case you want to print your project from here versus using File>Print. Note how the middle circle between the arrows appears in this window.

  • Page 79: Additional Information On Print And Cut Applications

    Click on Start Scan (17) Click on Scan and the Skycut’s camera will now move over each registration mark and take a photo and make an adjustment. Once it has read all four marks plus the first one a second time, it will proceed to cut out the printed shapes.

  • Page 80: Inaccurate Tracings

    If a PNC is not precise and the cause is not the alignment of the trace lines, then try slowing down the speed. If the mat is moving numerous times, in and out of the cutter, a slight shifting can occur, especially at high speeds. On the Skycut, use a speed of 7 or lower.

  • Page 81: Printing Apnc Project From Outside Of Scal

    3.06 Printing a PNC Project from Outside of SCAL • Sometimes users prefer to print their designs from other applications, such as Adobe Illustrator or Photoshop. The following procedure cover this process somewhat generically. (1) Open the file in the alternative program. To make things easier, make sure the document size matches that which will be used for printing.

  • Page 82: Pnc From Usb Flash Drive

    (7) In the design software, import the PDF file. Make sure the imported cut lines are properly aligned with the shapes to be printed so that the registration marks will print in the correct location. This is where having the document sizes match should allow for easy placement. But you may want to do a complete test print and cut on copy paper before printing on expensive materials.

  • Page 83: Pnc From Flash Drive - Using Array Mark For Repeats

     Verify that AutoMark box is checked. Then click on Home. • Insert the flash drive into the right side of the Skycut and use the instructions in Section 1.12.4 to open the file into the Skycut: File name should...
  • Page 84 Reg marks One set of reg marks printed around on a large PNC each repeat project • The Array Mark window on the control panel can be opened in two ways:  Go to Set>Advanced Settings>Array>Array mark  Go to USB>Array Set>Array mark •...
  • Page 85  Alternate: Combination of 4 Mark Alternate between scanning all 4 and 1 Mark options marks and scanning only 1 mark, based on a set Interval Interval set to 1: Interval set to 2: 1. Marks in green set scanned and first three shapes cut. 2.

  • Page 86: Mark Set Options

     Large scale printing: Some printing services offer the ability to print a file of repeats such that the offset between the repeats is set to 0. Thus, the printout would resemble those in the prior screenshots in this section. Performing a Print to PDF is probably the approach to use. However, contacting the printing service would be the best first step and always plan to do a full start-to-finish test first before printing a large number of sheets.
  • Page 87 Select Custom Select + and – buttons to change start and ending sets Default settings  The resulting sets will be sent versus the entire project: With M2 and M7 entered, these sets will be cut • To tweak the calibration after a cut has begun: ...
  • Page 88 Mark this option Adjustments to be made to cut line Click the arrow buttons to move the cut line in the direction needed.  Δ Δ Important: Remember that the x and y values will return to 0 at the conclusion of the cut. •...

  • Page 89: Accessory Tools

    Select Use Double Head (2) Insert a sheet of paper into the Skycut, either on the cutting mat or directly inserted. Load a test pen into both the left and right-side blade holder seats, making sure the pen nib is a little ways above the paper, as you did in Section 1.13.
  • Page 90 This is where photo will be displayed Two different screens based on Align versus Adjust Magnify photo by 300% Retake photo Align is normal mode Change brightness of LED light Adjust is calibrate mode Update blue dashed + alignment (5) Press Adjust to switch to calibrate mode. Press and hold the OK button for several seconds until it and the arrows around it turn red: 1.
  • Page 91 (9) Press OK. A new photo will be taken and one of two things will happen:  red + is so close to the center that the Skycut will now take over and find the true center on its own. You will see the red +...

  • Page 92: Drawing With The Test Pen

    4.02 Drawing with the Test Pen • With the Skycut, you can draw shapes and lettering with the test pen. • If you wish to fill in a drawn shape, refer to Section 12.09 which covers how to add a Line Fill pattern to a shape.

  • Page 93: Draw And Cut

    4.02.1 Draw and Cut • A draw-and-cut application involves using the test pen to draw shapes and then using the blade holder to cut them out. This rest of this section covers the process. • Create the shape(s) to be drawn along with the shape(s) to be cut. In this case a football helmet will be drawn followed by having a shadow layer cut around it.

  • Page 94: Embossing And Scoring

    • Insert the pen into the Skycut and use the control panel to move the pen to the location for the origin. Click on Cut in SCAL and the shape will be drawn and cut out.

  • Page 95: Score And Contour Cut (Print And Cut) Project

    4.03.2 Score and Contour Cut (Print and Cut) Project • When a project involves both scoring and contour cutting a pre-printed project, the layers need to be assigned appropriately on the Layers Panel. There should be at least 3 layers: one for printing the project design, one for scoring fold lines, and a third for the cut lines.
  • Page 96 Decide if you want to use the Software Speed and Pressure (as indicated above) or assign it on the Skycut’s control panel. Remember that if you plan to use a different number of passes for left and right sides, then you must use the control panel instead. Otherwise, if setting within SCAL, mark the box and...

  • Page 97: Embossing Paper Or Cardstock

    • For your convenience, a checklist for this print-and-score-and-cut process can be download at the following link: https://www.iloveknk.com/Support/Tutorials/Skycut/Skycut-D-Print-Score-Cut-Checklist.pdf 4.03.3 Embossing Paper or Cardstock • When embossing paper or cardstock, it is recommended that you use the Shadow Layer effect to create several very small outlines at a thickness of, say, 0.01”...

  • Page 98: Scratch Engraving

    Important: don’t forget to mark the Mirror H option in the Cut Settings window so that when you flip over the cardstock, after embossing, the design will “read correctly.” 4.04 Scratch Engraving • The Skycut engraving tool can be used to engrave vellum, foils, acrylic, and most metals, including trophy labels, dog tags, and jewelry charms. •...

  • Page 99: Engraving A Metal Tag

    When engraving items that are already cut (such as metal tags, trophy plates, charms, etc.), it’s very important to have precise alignment before proceeding. Therefore, the camera on the Skycut will be used to set the origin for engraving. If you haven’t already calibrated the camera, go to Section 3.03.
  • Page 100 Change Fill to None Shape is now clear • Create the design. In this case both text and a vector shape of a bone are added: • Because a filled engraving is desired, select the text and the bone shape and go to Effects>Line Fill. The following window suggests some settings to use.
  • Page 101 Suggested settings • On the Skycut, the metal tag needs to be very firmly attached to the cutting mat. Place strips of double-sided tape onto the mat, where the tag will be mounted: Double sided tape is placed on the mat to cover the size of the tag (note: the pink liner hasn’t yet been removed...
  • Page 102 The origin will be set at this intersection • Load the mat into the Skycut and be very precise in alignment by using the ruler to make sure the mat is perfectly straight: Align the mat with the ruler •...

  • Page 103: Settings Form For Accessory Tools

    4.04 Settings Form for Accessory Tools Speed Application/Material Tool Force Surface Other Comments (Cut/Up) Passes © 2009- 2020 Sandy McCauley, All Rights Reserved...

  • Page 104: Scal: Installation, Preferences, And Workspace

    5. SCAL: Installation, Preferences, and Workspace The following chapters 5 – 12 are a complete coverage of Sure Cuts A Lot 5 version 5.009. Do I Have to Read All of this Manual? • Not unless you need it as a sleeping aid! :P Here are the recommended sections for a new SCAL user: ...

  • Page 105: Activating The Software

    Click on New Project Accept whatever settings are shown. Later in this chapter, details about these settings will be covered. • The software will run in DEMO mode until a registration is purchased. This mode will have the following limitations: ...
  • Page 106 Enter your name and purchased serial number Check this box to Click OK to activate activate manually • If you do not have an Internet connection on this computer or the automatic activation fails, use the Activate manually option in the prior screenshot. ...

  • Page 107: Installing The Usb Driver

    3. Click on Add to list 4. Click on Done • Click on Done to save and close the window. Now, when you are ready to cut, the Skycut will be located and marked in the Cutter>My Cutter menu: Skycut is now in the menu 5.02 Main SCAL Screen...

  • Page 108: Library

    Toolbar Menu Bar Properties Panel Tool Options Document Panel Project Tools Panel Cutting Mat Rulers Library Layers Panel Shapes Page Bar Status Bar • Hovering your mouse over most of the screen icons will pop up the icon’s name and, in some cases, details about usage.

  • Page 109: Properties Panel

    Drag the top or bottom of the window to expand Shapes Library subfolders Shapes inside the Basic Shapes subfolder: Left click on a thumbnail to add to the Cutting Mat  It contains a collection of over 300 pre-installed shapes, organized into 16 subfolders ...

  • Page 110: Customizing The Properties Panel / Workspace

     Style Panel : contains properties pertaining to how selected shapes will be cut or printed. Refer to Section 8.01.  Text Panel : contains properties pertaining to how text will appear. Refer to Section 8.05.  Layers Panel : lists all shapes in the current project with options to organize, hide/show, lock/unlock and more.
  • Page 111 Advanced Workspace Basic Workspace Layers Panel • To switch to other panels, click on the icons along the right side. If there’s a particular panel you access often, then you can create a custom workspace. For example, let say you want the Fill & Stroke Settings panel to always be open.
  • Page 112 Double click on an icon appears here Fill & Stroke is now open, as well as Document and Layers • These separate panels can also be resized by dragging them up or down: Drag up/down on the line between the two panels Do the same here...
  • Page 113 Double click this bar to close the panel below that bar • By default, the SCAL Library opens every time you open the software, start a new project, or open an existing project. You might prefer to have the Library closed and only open it when needed. This can be accomplished by having it either opened or closed and then saving it along with your preferred Properties Panel layout.

  • Page 114: Document Panel

    Options to Rename or Delete selected Workspace 5.06 Document Panel • The Document Panel contains settings for the Cutting Mat which serves as a design area for the software as well as to indicate, in some cutting modes, where the shapes will be cut. 5.06.1 Mat Size •...

  • Page 115: Orientation

    • The following window will open where you can enter the dimensions of the mat and provide a name, if you wish to store it for future use: Enter dimensions for the mat Check this box, if you want to save it Enter a name for the new mat Click OK.

  • Page 116: Units

    Portrait Landscape The black triangles show the direction the actual cutting mat should be fed into the cutter • There are three ways to change the mat orientation:  On the Documents Panel under Mat Size: Select Portrait or Landscape here ...

  • Page 117: Show Guidelines

    Check or uncheck • The grid lines can also be customized. For example, with this 12” x 12” mat, major grid lines are set at 6” and then minor grid lines are set at 1” (by specifying 6 Subdivisions be used): Minor grid lines Major grid line (slightly darker)

  • Page 118: Workspace Alpha

    • Details on adding, changing, and deleting guidelines is covered in Section 11.03. 5.06.6 Workspace Alpha • The Workspace Alpha setting on the Document Panel affects the opacity of filled shapes on the Cutting Mat: Workspace Alpha = 100% Workspace Alpha = 50% •...

  • Page 119: Show Reg Marks

    Current printer This rectangle indicates the part of the screen that will be printed. 5.06.9 Show Reg Marks • This option will show the registration marks that will be printed and used in a print and cut application: • The number of reg marks, their location, type, length, thickness, etc. will vary depending on the selected cutter in use, as well as properties that can be changed under Cutter>Cutter Settings.

  • Page 120: Snap To

    • SCAL5 has the ability to add templates to the Cutting Mat that are non-selectable shapes to aid in designing. Typically these templates are representations of actual objects onto which cut shapes will be applied. Here are several examples:  Designing an etching stencil for a champagne glass ...

  • Page 121: Zooming And Panning

    • Under Edit>Preferences, you will find a number of other options, some of which you will probably never need to change. Others will be covered in later sections, as they pertain to the function involved. • For now, note the following preferences that do relate to the material covered so far. These should be self- explanatory based on their names: Note these options related to the Cutting Mat and the...

  • Page 122: Zooming

    5.09.1 Zooming • To zoom in and zoom out, use any of the following methods:  Hold down the Alt key (Option key on a Mac) while rolling the mouse wheel  Access the Zoom menu on the Status Bar in the lower left corner of the screen ...

  • Page 123: Undo/Redo

    5.10 Undo/Redo 5.10.1 Undo • As with most Windows applications, there is an Undo function to reverse the most recent steps performed. You can use any of the following to execute the Undo function:  Click on the Undo icon on the upper Toolbar ...

  • Page 124: Help Resources

    Change Name, if desired Change Color, if desired Click OK when done  Either accept the default Page number as the new Name or provide your own. The same with color – you can click on the default color provided and select a new color from the Color Picker window that opens.
  • Page 125  Go to Help>Online Video Tutorials to access a page with links to both videos and written tutorials  Go to Help>Support>Technical Support for the following: Contact the SCAL team Retrieve your serial code Download latest updates Access the forum Access tutorials •...

  • Page 126: Scal: Handling Files And Organizing Layers

    6. SCAL: Handling Files and Organizing Layers 6.01 Opening Files 6.01.1 Opening a New File/Project • When you launch SCAL, a popup window appears where you can choose if you are starting a new project, opening an existing project, or recovering a project after a software crash: o If you choose New Project, the following window opens where you can specify the following settings.

  • Page 127: Saving Scal Files

     Go to File>Recent Projects, if the file is one of the last five you had open in SCAL  Double-click a .SCUTx file in Windows Explorer or attached to an email  Drag and drop a .SCUTx file onto the main screen of SCAL ...

  • Page 128: Shapes Tab

    • The Library consists of three tabs: Shapes, Fonts, and Projects. Each is covered in the following subsections: 6.03.1 Shapes Tab • When you first open the Library, the Shapes tab will be selected. • In order to see all of the contents under this tab, drag the top of the window upwards until you see the following screenshot.
  • Page 129 Shape name Hover the mouse over a shape • You can toggle between the thumbnail view and a list view using these icons at the top Click here to change to list view • A search function enables you to see all of the shapes with a particular word in the name. For example, enter the word leaf and click on the search button: 1.
  • Page 130  This popup menu also has these options: Delete File (only active in the My Designs folder) Reveal File – opens the location on your computer where file is stored Instructions – some files from the eshape Store may include instructions for the user •...
  • Page 131 Continued from prior page Folder name will appear here. You can change the name, if desired. New subfolder Folder Click OK address  Note that the Folder Name was changed to Force PNC Files before clicking on OK. The name will have a .lnk extension added indicating that it is linked to another folder on your computer.

  • Page 132: Fonts Tab

    6.03.2 Fonts Tab • The Fonts tab lists all of the currently installed fonts on your computer. Selecting any font in the list will show the entire character set on the right side of the window. It will also then make it the default font that will be used when adding text with any of the methods available in SCAL.
  • Page 133 • As with the Shapes tab, there are no default categories or pre-added files. However, you will notice these other similar features:  Favorites folder – select any project, right-click, and select Add to Favorites from the popup menu  My Projects folder –...

  • Page 134: Layers Panel

     To add files to a folder inside My Projects: Select the folder and do either of the following: ▪ Click on the Add File icon ▪ Right-click and select Add File from the popup menu A window will open where you can then browse to find the SCUT file to be added. You also have the option of selecting multiple files at once to import into that folder.

  • Page 135: Parts Of The Layers Panel

    Double click to hide Layers Panel Double click to display Layers Panel Note that single clicking the icon will hide other panels, allowing the Layers Panel to fill the right column. • You do not have to worry about adding shapes to the Layers Panel. They will automatically be assigned to new layers as you add them.
  • Page 136 Layers Menu Layer Type Layer Double click to hide Thumbnail Layers Panel Double click to display Layers Panel Layer Color Layer Name: double click to Hide/Show Layer change name and/or properties Lock/Unlock Layer Delete selected layer Add a new folder •...
  • Page 137  Hide/Show Layer: Click on the eye icon to hide that layer. The icon will be replaced with a dot as shown for the Red Hearts layer and the shapes on that layer will no longer be seen on the Cutting Mat and will not be included when printing or cutting the project.

  • Page 138: Creating Folders And Moving Layers

    Click here to open/close a grouped layer This shape is hidden Individual shapes within a group This shape is locked 6.04.3 Creating Folders and Moving Layers • As mentioned in Section 6.04.1, each new shape added to the Cutting Mat will initially be assigned to a new layer.
  • Page 139 • The way to control where the layer “lands” is by moving it straight up and down or by dragging a little to the left while moving it up and down.  If you drag a layer without moving to the left, you will see a short line with an open square. This means it will be added to the folder directly above it: Short line with open square: Asterisk layer will be dropped into the Yellow Shapes folder...
  • Page 140 Asterisk layer is moved; Yellow Shapes folder is gone • Layers can also be moved out of an existing folder into other folders. In this example, the yellow centers of the flowers in the layers named Flower 1 and Flower 2, can be similarly dragged and dropped into the Yellow Shapes folder: ...

  • Page 141: The Eshape Store

     Repeat for the yellow shape inside the Flower1 folder. • Note: This was just one way to achieve this goal. Another way would have been to ungroup the Flower 1 and Flower 2 layers. Then to select all of the yellow shapes on the Cutting Mat and go to Object>Group. A new group folder would be added to the Layers Panel with those shapes moved to it.
  • Page 142  AI (Adobe lllustrator): common format due to the popularity of Adobe Illustrator  EPS: another common export format for many vector programs  Nine embroidery file formats: .DST, .EXP, .HUS, .YEF, .PEC, .PES, .SEW, .VIP, .XXX  FCM: format used by the Brother ScanNCut machines ...

  • Page 143: Importing Raster Files

    6.06.2 Importing Raster Files • There are several ways to import a raster file (JPG, BMP, GIF, PNG) depending on the intended purpose for that file:  File>Import: will import PNG files with a transparent background, simultaneously adding a vector cut line along the transparent border.

  • Page 144: Exporting In Svg Format

    • Depending on the type of file selected, an export window will open. The following subsections will cover these types in more detail. 6.07.1 Exporting in SVG Format • The SVG Export Options are shown in the following screenshot: Select a Resolution based on the program which will be importing the file Check this box to include PNC registration marks...

  • Page 145: Exporting In Fcm Format

    Export Settings Preview of image to be exported (note the drop shadow) Drop Shadow settings Click here to see effect of Click on OK settings if Auto Preview is not checked 6.07.3 Exporting in FCM Format • The FCM format is used by the Brother ScanNCut models. To export a project, go to File>Export and, in the drop down menu, change from SVG(* .svg) to ScanNCut (*.fcm).

  • Page 146: Exporting To Scal2

    • Note: the Skycut cutters utilize a Save to File function in the Cut Settings window for exporting a project with its cut settings to load from a USB flash drive directly on the cutter itself. Refer to Section 1.12.4.

  • Page 147: Scal: Manipulating And Coloring Shapes

    7. SCAL: Manipulating and Coloring Shapes This chapter covers all of the ways to modify shapes. Note that while the singular term “shape” will be repeatedly used when describing various functions, it also refers to a selection of shapes. For example, resizing a selection of three shapes uses the same menu functions or mouse movement as a single shape.

  • Page 148: Circle And Oval

    7.01.3 Circle and Oval • After selecting the Circle shape , drag the left mouse button to form an oval. • Holding the Shift key while dragging the mouse will constrict the proportions, resulting in a circle: Freely dragging mouse Holding Shift key 7.01.4 Triangle •...

  • Page 149: Spiral

     The Star points setting can be used to change the number of points on the star. The Inner radius setting can be used to change the angle of the inner points: 8 Points 5 Points 4 Points, Radius: 10% Radius: 38% Radius: 47% 7.01.7 Spiral...

  • Page 150: Basic Selection Handles

     Click anywhere on the shape (along an edge or inside a closed shape): Click here, Or click here, along an edge. inside the shape.  Note that the cursor will change once the shape can be selected. For example, when selecting a line, wait for the cursor to change before clicking: Shape cannot yet be selected.
  • Page 151 • While in the Selection Tool mode, the Tool Options bar indicates a setting called Handles. The drop- down menu offers another option called Advanced: • In Advanced mode, a selected shape will appear with six identical handles. However, each handle now has two functions, depending on whether the mouse hovers directly over the handle or is moved slightly away from the handle: Cursor indicates...

  • Page 152: Deleting

     “Click away” – click anywhere else on the screen and the shapes will be de-selected  Press Ctrl+Shift+A  Go to Edit>Deselect All 7.03 Deleting • To delete a selected shape, use any of the following options:  Press the Delete key on the keyboard ...
  • Page 153 Based on center of bounding box New locations for X and Y are entered • The Nudge icons, which are just below the X and Y entries, can also be used to move a selected shape. These move in the same increments as the keyboard arrows: •...

  • Page 154: Resizing, Scaling, Auto Fit

    Right side of shape is at X: 3” Bottom of shape is at Y: 4.5” • Finally, you can add guidelines to the Cutting Mat at specific locations and then turn on Snap To in order to move shapes to snap to those guidelines. Refer to Section 11.03. 7.05 Resizing, Scaling, Auto fit 7.05.1 Resizing •...

  • Page 155: Scaling

    • If you prefer that proportional sizing be the default, thus not requiring the pressing of the Shift key, go to Edit>Preferences and click on the Edit tab. Uncheck the box shown below: Uncheck this box • Important: Unchecking this box does not then affect shapes created using the Shapes tool on the Tools Panel.

  • Page 156: Auto Fit

     Keep Proportions: Leave the option checked if you want to enter into either W or H and have the other automatically calculated so that the aspect ratio remains the same.  Apply to all page: Mark this option and the dimension change or percentage will be applied to every shape in the project that is showing and not locked.

  • Page 157: Rotating

    • A practical example might be something like this: You have one 12 x 12 sheet of cardstock and you want to cut out 16 stars for a party decoration and you want those stars as large as possible. Rather than having to “do the math”, you can create a grid of stars (refer to Section 7.17.4) and then use the Auto Fit function to resize them for the cut: 7.06 Rotating...

  • Page 158: Skewing And Distorting

    While rotating, angle will be shown here  Note: the Status Bar will continue to show the last degree of rotation until another shape is selected and rotated. • A selected shape can be rotated exactly 45 clockwise or counter-clockwise, by clicking the Rotate icons on the Position &...

  • Page 159: Distorting

    Or… drag right or left here Drag up or down here  With the shape selected, open the Rotate window by using one of these two methods: Right-click and select Transform>Rotate Go to Object>Transform>Rotate  Then switch from Angle to Skew and enter a skew angle: Switch to Skew Enter angle here Enter angle here...

  • Page 160: Mirroring And Flipping

    7.08 Mirroring and Flipping • To horizontally mirror a shape, select it and then use one of the following:  Right-click on the screen and select Transform> Flip Horizontal (Mirror)  Go to Object>Transform> Flip Horizontal (Mirror)  Click on the Mirror icon, next to Flip, on the Position & Size Panel: Mirror •...

  • Page 161: Hiding And Showing

     Right-click on a selected unlocked shape and select Unlock All from the menu  Go to Object>Unlock All  Press Ctrl+Shift+Alt+L  Click on the Layers Menu icon and select Lock/Unlock>Unlock All Layers • To toggle the lock/unlock status of all layers on the Layers Panel, click on the Layers Menu icon select Lock/Unlock>Toggle All Layers 7.10 Hiding and Showing •...

  • Page 162: Ungroup

    • The following example shows three shapes before and after grouping. Before applying Group After applying Group 7.11.2 Ungroup • The Ungroup function is used to separate a grouped layer of shapes into individual layers. • After selecting a group, the Ungroup function can be applied in any of the following ways: ...

  • Page 163: Break Apart

    7.12.1 Break Apart • The Break Apart function goes one step further than Ungrouping. It is used to separate a combined shape into the individual parts that make up that shape. • After selecting a combined shape, the Break Apart function can be applied in any of the following ways: ...

  • Page 164: Arranging (Ordering) Shapes

    • If the Merge function is applied to the prior “Bob” example, after having Break Apart applied, the word will now become all one shape again. Separated child paths no longer exist and even the individual letters can no longer be selected: Before applying Merge After applying Merge On the Layers Panel, this is what will appear:...
  • Page 165 From top to bottom: red heart blue star yellow triangle The order of the 5 shapes purple square on the Layers Panel green circle matches the overlap on the Cutting Mat • In Section 6.04.3, moving layers was presented and could be used here to change the order of the shapes. However, another way to reorder these shapes is to select one and then access the Arrange functions using one of the following: ...

  • Page 166: Fill & Stroke: Fill

    Send Backward Triangle moves below purple square but is still above green circle Send to Back Triangle moves to the bottom • It is worth noting that if any of the other layers had been locked or hidden, the movement of the triangle would have been the same.

  • Page 167: No Fill

    • Shapes can be filled with nothing, a solid color, a pattern or a gradient: No Fill Solid Color Fill Pattern Fill Gradient Fill With and without the grid showing • By default, only closed shapes can display a fill. However, you can opt to have open shapes filled by going to Edit>Preferences, clicking on the Edit tab, and then unchecking the box next to Never fill open paths.

  • Page 168: Color Fill

    7.14.2 Color Fill • From the Fill menu, select Color and then click on the color box to the right: Click on the colored square Select Color • The following Color Picker window opens where you have the option to select a basic color or create a custom color: Option 1: Select one of the Basic...

  • Page 169: Pattern Fill

    New color based on current settings Drag this circle Click on Add to Custom Colors and New color appears here Click OK when done Note that a new Custom Color will only be saved and available in the current project. 7.14.3 Pattern Fill •...

  • Page 170: Gradient Fill

    • The other tab, Load image, can be used to load a raster file to use as a pattern, if you do not wish to save it under My Patterns. It has pattern settings, as well: Select the Load Image tab Click here to load a raster file Uploaded image...
  • Page 171 Linear Radial  To change colors, click on one of the markers, then click on the color selector box and choose a color from the Color Picker window. Repeat for the other marker. As with other color selections, you can choose a base color or create a custom color.

  • Page 172: Opacity

     The Position can also be changed after the shape is filled and the Gradient window is closed. On the Tools Panel is a Gradient tool. After selecting the shape, click on the Gradient icon and then drag the mouse across the shape to change the Positions and even rotate the gradient: ...

  • Page 173: Fill & Stroke: Stroke

     Lowering the Opacity can be applied to shapes filled with Patterns and Gradients, as well: Opacity: 100 Opacity: 70 Opacity: 100 Opacity: 70  If you want to decrease the Opacity for all shapes, the Workspace Alpha setting on the Documents Panel can be reduced from 100% to the desired level: Adjust Opacity here 7.15 Fill &...
  • Page 174  Color: Once Color is selected, click on the box to the right and the Color window will open. This is the same window that opened when Color was selected under Fill. As with other color selections, you can choose a base color or create a custom color. ...
  • Page 175 Switch to the new Pen Set  Again, click on the small icon in the upper right corner and you can begin adding pen colors with their respective color values or just scroll to create colors you like: Click on Add Color Click on OK ...
  • Page 176 • Width: Increasing the Width will make the Stroke thicker. The units are in pixels thus the same values give the same results whether your SCAL Units are set to inches, cm, or mm. Stroke Width: 1 Stroke Width: 10 Stroke Width: 20 Stroke Width: 20 Opacity: 100%...

  • Page 177: Stroke Line Style

    End Cap: Square – cap extends beyond end End Cap: Butt – cap ends at the line end 7.15.2 Stroke Line Style • One additional Stroke setting deserves its own subsection because it also affects how a shape will be drawn or cut by your cutter.

  • Page 178: Dropper Tool

    7.16 Dropper Tool • Shapes can also have the Fill, Stroke or both changed based on the settings for another shape. This is accomplished using the Dropper tool on the Tools Panel. • To use this function:  Select the shape to be recolored. In this example, it will be a yellow triangle with no Stroke: Select the shape to change ...

  • Page 179: Cutting, Copying, Pasting, Duplicating

    7.17 Cutting, Copying, Pasting, Duplicating 7.17.1 Cutting to the Clipboard • To cut shapes to the clipboard (copy to the clipboard and delete from the Cutting Mat), first select the shape or shapes and then use any of the following: ...

  • Page 180: Duplicating - Duplicate

    7.17.4 Duplicating – Duplicate • The Duplicate function allows you to make multiple copies of a shape aligned in rows and/or columns, with the spacing you desire. To access Duplicate, first select the shape(s) and then use either of the following: ...

  • Page 181: Align To Page

    Click on Position & Size Choose between To Alignment icons Selection and To Page • The following three shapes, in their current relative positions, will be used to illustrate what happens when each alignment function is applied. Note that a small custom mat was created to facilitate screenshots: 7.18.1 Align to Page •...

  • Page 182: Align To Selection

     Align Vertical Center aligns shapes through the center of the Cutting Mat.  Align Bottom aligns shapes along the bottom side of the Cutting Mat. Align Top Align Vertical Align Bottom Center • To center all three shapes in the middle of the Cutting Mat, use either: ...

  • Page 183: Distribute

     Align Top aligns shapes along the top side of the uppermost shape of the group.  Align Vertical Center aligns shapes to a horizontal axis through the center.  Align Bottom aligns shapes along the bottom side of the bottommost shape of the group. Align Bottom Align Top Align Vertical Center...

  • Page 184: Distribute To Page

    7.19.1 Distribute to Page • Select the shapes and go to Object>Distribute and then make sure the Distribute to Page option is checked. In this mode, the two outermost shapes will align with the Cutting Mat and then other shapes will be evenly spaced from one side of the mat to the other, according to which additional option is chosen.

  • Page 185: Distribute To Selection

     Distribute Center Vertically: spaces shapes so that the centers of each shape are the same distance apart:  Distribute Bottom: spaces shapes so that the bottom sides of each shape are the same distance apart:  Distribute Space Vertically: spaces shapes so that the gaps between the shapes are the same. 7.19.2 Distribute to Selection •...
  • Page 186  Distribute Center Horizontally: spaces shapes so that the centers of each shape are the same distance apart:  Distribute Right: spaces shapes so that the right sides of each shape are the same distance apart:  Distribute Space Horizontally: spaces shapes so that the gaps between the shapes are the same. •...

  • Page 187: Distribute To Selection Below

     Distribute Bottom: spaces shapes so that the bottom sides of each shape are the same distance apart:  Distribute Space Vertically: spaces shapes so that the gaps between the shapes are the same. 7.19.3 Distribute to Selection Below • This function is, hands down, the strangest function I have encountered in 10 years of writing technical manuals.
  • Page 188 Distribute Left Distribute Top  Distribute Left: Note that the up/down Y locations remain the same for all of the circles.  Distribute Top: The left/right X locations remain the same for all of the circles. • Now, let’s make the purple circle that’s both furthest to the right and furthest towards the bottom equal to 3” in size instead of just 1”...
  • Page 189 purple circle was the rightmost shape. When applying Distribute Top, the purple circle was the bottommost shape. • If another one of the 1” circles had been the outermost, then both of those Distribute options would have yielded the same alignment when all of the circles were the same size. Note also that the bottommost red circle doesn’t have to be on the far left or on the top.

  • Page 190: Scal: Working With Text

    8. SCAL: Working with Text 8.01 Text Options • There are four modes for adding text to the Cutting Mat:  Type Tool: normal left to right typing of text  Vertical Type Tool: vertical aligned lettering  Type on Path Tool: text is aligned along the path of your choosing ...
  • Page 191 Click to change to a Text in current font: different font Click here to change to Option to view only those another font you have highlighted • You can expand this window and decrease the size of the fonts by scrolling the size bar to view mores samples.

  • Page 192: Temporarily Installing A Font

     At this point, as you left click any sample, it will be removed from the display, allowing you to refine your selection:  Once you are down to a single sample, you can then click on Change Font: After deselecting all but on sample, Change Font will no longer be grayed out Click on Change...

  • Page 193: Adding Text Options

     Open the Library, click on the Fonts tab, and then click on the Menu icon • Any font file with a format of .TTF, .OTF, or .OPF) can be opened and will be available until SCAL is closed. • When you open a font file for temporary use, that font will be uninstalled upon closing SCAL.

  • Page 194: Four Modes Of Text

    Select a font Click on individual characters to add them to the Cutting Mat 8.04 Four Modes of Text 8.04.1 Type Tool • Hold down the mouse button on the Type Tool icon on the Tools Panel and select the top choice: Type Tool.

  • Page 195: Type On Path Tool

    8.04.3 Type on Path Tool • Determine which shape you want to use for the path. In the prior screen shot, ovals, spiral and a rectangle were used. But it could have been a square, triangle, or any other shape, even a curve path: •...

  • Page 196: Type On Arch Tool

    • In a similar manner, using Reverse Path can change how text is applied along a spiral:  After applying Text>Convert Text to Outlines: 8.04.4 Type on Arch Tool • With this function, text is typed as if it were following an imaginary circle. •...

  • Page 197: Text Settings

    Changing Text from Outside to Inside: • When done, either press the Esc key or click on the Select icon on the Tools Panel. 8.05 Text Settings • The Text Panel offers an array of settings related to the creation and editing of text. To open, click on the Text icon on the Properties Panel: Click here to open...
  • Page 198 This Project: Displays all fonts currently used since starting this particular project during this session  Font: Menu of installed fonts which can be used for new or existing text. Note that you can also add to your Favorites list by selecting a font and then clicking on the icon to the right.

  • Page 199: Other Text Editing

    Tracking: 100% Tracking: 120% Tracking: 80%  Leading: Changes the spacing between lines of text: Leading: 0 inches Leading: 0.3 inches  V Offset: Raises or lowers a line of text or, more commonly, can be used to raise and lower individually words or selected letters: ...

  • Page 200: Creating A Connected Letter Title

    • For more information on Ungroup and Break Apart, refer to Sections 7.10.2 and 7.12.1. 8.07 Creating a Connected Letter Title • Using the instructions from Section 8.04.1, type the letters of your title: • Because you will be working with the letters individually, select the title and apply Ungroup (Section 8.06). •...

  • Page 201: Incorporating Shapes Into A Title

    • When you are satisfied with the overlap, select all of the letters and go to Path>Union. The overlap will be removed: • Alternatively, if you do not want to make the weld permanent, you can select the shapes and mark the weld option on the Style Panel: •...

  • Page 202: Welding Titles In Imaginative Ways

    • Note that dingbat fonts and Library shapes are not the only shapes that can be welded to letters. Any shape imported or created within SCAL can be used! 8.09 Welding Titles in Imaginative Ways • Some fonts simply do not work well with the traditional overlapping of the letters to be welded into one piece for cutting.

  • Page 203: Open Path Fonts (Opf)

    • Zoom in close on the lettering so that you’ll be able to see exactly where you need to connect. Click on the Stencil Bridge icon and, in the Tools Options at the top, a setting for the width or thickness of the bridge can be set: Enter the Size (thickness) to use •...

  • Page 204: Knockout

    TTF version OPF version of the same font • These fonts are useful when using a pen or engraving tool in your cutter or for designing single line rhinestone titles: • Currently, this font type only works in a few applications like SCAL and does not install into Windows or on a Mac O/S for use in programs such as Word.

  • Page 205: Title Crawl

    • IMPORTANT! When you click on Preview, it will take a few seconds or longer for the image to update. Be patient. Also, in cases where you have multiple images on top, such as the hearts in the prior screenshot, it is recommended that those shapes be joined first using Object>Merge.

  • Page 206: Applications Using The Sizing Function

    Preview Adjust these according to the information that follows Check this box to have the preview update with changes Click on OK Click here to manually when done update the preview  Angle: As the Angle setting is increased, the top of the title will rotate towards you. Decreasing the Angle setting will rotate away: Angle: -45 Angle: -25...

  • Page 207: Sizing Letters For Welding Inside Rectangles

    • The word “Great !” is typed using this font: • I recommend making a copy of the text and then applying both the Fixed Height option and the Fixed Height Proportional option for comparison: Fixed Height Proportional Fixed Height •...

  • Page 208: Scal: Tracing And Drawing

    9. SCAL: Tracing and Drawing 9.01 Raster versus Vector • All graphics are either raster or vector and there is no third type. While you can often tell by the file format, even that isn’t always a good way to know for certain. For example, a PDF file can be made from either raster images or vector images and some PDF’s will contain both types.

  • Page 209: Finding Easy Images To Trace

    9.02 Finding Easy Images to Trace • What qualifies as an easy image? The obvious answer is “an image which gives you the results you want!” But those who are new to the vectorizing process do not always realize which images are going to be easy and which ones are not.

  • Page 210: Trace Function

    9.03 Trace Function Images used in this tutorial can be downloaded here. 9.03.1 Trace Settings • To begin the tracing process, open the Trace Image window using one of the following ways:  Click on the Trace icon on the Toolbar ...
  • Page 211 • Image Settings Mark this box if imported file is a PNG with a transparent background Choose from three modes: Monochrome, Color Layers, or Single Color Increase Contrast, if needed to control what is included in trace Increase when a more precise tracing is needed Ignore tiny specks in the imported image...
  • Page 212 Tracing of image if Original image only blue is selected Tracing of image if each Original image Colors separated color is selected Tracing of image if Original image only pink is selected Original image Tracing of image if each Colors separated color is selected ...
  • Page 213 • Output Settings Sharp or smooth curves Use to filter out small specks Prevent double line tracing Use to remove child shapes Apply Break Apart when Include the original image multiple paths are traced  Smooth: Adjust according to type of image. For example, decrease (make sharper) if tracing a shape with sharp corners like an envelope template.

  • Page 214: Monochrome Trace Of A Colored Image: Effects Of Contrast

    Select Crop Drag the black squares on this box until only the image(s) you wish to trace are inside the box  Edit Mode: Draw Mask This option allows you to add or subtract parts of the image you want to include or exclude from the trace.

  • Page 215: Monochrome Trace Of A Silhouette Image: Effects Of Smooth

    Monochrome is selected Contrast is at default of 127 Single trace line • Let’s experiment with the Contrast setting to fully understand how it works on an image of this type. Note that as you drag the Contrast scroll bar, the original image disappears so that you only see the trace lines: Contrast set at 5 Contrast set at 75 Contrast set at 100...

  • Page 216: Monochrome Trace Of A Detailed Image: Effects Of Despeckle And Detail

    Use Smooth to change the sharpness of the trace lines • To soften the outline of the cat, zoom in on that area and then increase the Smooth setting until a desired result is obtained. In the following screenshot, the Smooth setting is increased from 75 to 85. Remember to click on Update Preview after every adjustment to settings: Click here to zoom in...
  • Page 217 Despeckle • Since Despeckle is simply an on/off option, it makes sense to try it first when you see a lot of tiny unwanted shapes being included in the trace. For example, with the following clipart image of an angel fish, tiny specks surround the image in the Preview: ...

  • Page 218: Monochrome Trace Of A Coloring Book Image: Single Line Threshold And Blackout

     Even with Detail set at 0, there are still shapes of a certain size in that particular image that will be included in the trace. Again, there are editing tools that can be used in case more of the small shapes need to be removed.

  • Page 219: Monochrome Trace Of A Png File With A Transparent Background

    With Blackout unchecked With Blackout checked  However, if the T-shirt had internal details, such as a pocket, then Blackout could not be used as the entire pocket would have been ignored. In this situation, Single Line Threshold is the better choice: Original image Preview of trace with Preview of trace with...

  • Page 220: Monochrome Trace For A Print And Cut Application: Effect Of Resample

    9.03.7 Monochrome Trace for a Print and Cut Application: Effect of Resample • In many print and cut applications, a raster image is imported with the intention of printing that image and then cutting precisely along the edges of that image. For this reason, it’s very important to get as accurate of a trace as possible.
  • Page 221 Print Layer Assignment • Returning to the Resample setting, the same image is traced again, but the Resample will be set at a maximum value of x4: Select Monochrome Resample is changed to x 2.0 Preview...

  • Page 222: Resample Versus Smooth And The High Pass Filter

    • If you compare the Preview in both cases, there doesn’t appear to be a difference in the trace. However, if you select the Print + Cut Cut layer on the Layer Panel and change the Stroke to a bright color and then zoom in closely, you can clearly see places where the x 2.0 Resample resulted in a tighter fit: X 1.0 Resample X 2.0 Resample...
  • Page 223  By increasing the Resample to x 2.0, the shape of the hat and the face become closer to the original image: X 1.0 (None) Resample X 2.0 Resample  On the other hand, if one leaves the Resample at x 1.0 and, instead, decreases Smooth from 75 to 70, the hat becomes too pointed/angular without improving the shape of the face: Smooth = 70 Smooth = 75...

  • Page 224: Color Layers Trace

    After applying and getting the trace onto the Cutting Mat, you’ll need to apply Object>Break Apart and eliminate some unwanted paths. Alternatively, you can use the Draw Mask option to edit while still in the Trace Image window. Refer to Section 9.03.11. ...
  • Page 225 • After accepting OK in both cases, the layers are ungrouped and compared: Max Colors = 4 produces 3 layers Max Colors = 6 produces 5 layers • You can also turn off colors by clicking on them. For example, if you do now want the black background traced: Click once on a color to remove it...

  • Page 226: Single Color Trace

    After cutting and assembling 9.03.10 Single Color Trace • With the Single Color option, each desired color is selected and traced individually. The advantage is that only the visible part of each color is traced. The disadvantage is that it takes a bit more effort. •...
  • Page 227 Contrast = 26 Outline of leaves and stem appears  With a Contrast of 41, the leaves and stem fill: Contrast = 41 Leaves and stem fill with color • Once you are satisfied, click on OK and you will be asked if you wish to continue tracing. Answer Yes: Click on Yes so that Trace Image window remains open and another color can be traced.
  • Page 228 The petals fill out a bit Contrast = 30 more at a higher Contrast • If the Contrast is increased even higher, the center part of the flower gets added. Just as in the case of using Color Layers, this is optional. The center of the Contrast = 45 flower is now added...

  • Page 229: Draw Mask Function

     Forgo using the Trace window. Select the layers traced so far and use the Shadow Layer function to add a black outline. Details of this procedure are covered in Section 11.05. • The final results, using the three options, are virtually identical: 9.03.11 Draw Mask Function •...
  • Page 230 Line is not complete  Zoom in using the Zoom In icon and change the Size setting until the circle ~ matches the size of the fishing line. In this instance, the minimum of 1 will work best because the fishing line is so thin: Set the Size of the tool Click here to zoom in Draw tool...
  • Page 231 • Background: This option allows you to erase anything that’s not wanted in the current tracing. For example, the bird just to the right of the tree, can be removed.  As before, zoom in and set a Size for the tool: Set the Size of the tool Click here to zoom in Erase tool...

  • Page 232: High Pass Filter Application

    • Click on OK and the resulting changes from both masks have been applied: 9.03.12 High Pass Filter Application • The High Pass Filter setting is used to improve the tracing of photographs and other challenging images. The setting ranges from 0 to 20. Improved Detail •...
  • Page 233 • The first step is to lower the Contrast back to the default setting of 127. The High Pass Filter setting is then set at 1 and a double trace line appears. As High Pass Filter is increased, the internal lines start to diminish: •...

  • Page 234: Draw Functions

    Converting a Photo to a Digital Stamp • The High Pass Filter setting will allow a much better conversion of a photo to a black and white image. The following photo of a rose will be used as the example: •...
  • Page 235 Drawing Straight Lines • To draw a single straight line, use your mouse to click once where you want to start the line and click again where you want to end the line. Then immediately press Esc or the Enter key: Left click once Move cursor to where you want To stop drawing, press Esc or the Enter key...
  • Page 236 Drawing Bézier Curves • Drawing curves is a bit more difficult. The key is to take it one step at a time, practice the technique a lot, and remember that you can later correct your curves using the Shape Tool (refer to Section 10.10). •...

  • Page 237: Freehand Drawing

    • To delete a node, move the cursor over an existing node until the cursor changes and you can see the node turn blue. Left-click once to delete that node: Once the cursor changes and the The node is deleted and the node turns blue, left click curve will change accordingly 9.04.2 Freehand Drawing...

  • Page 238: Manual Tracing Of An Imported Image

    • One fun application is to use the Brush tool to easily add circles to a design. Select the Size and then just left-click without dragging the mouse. For example, the tree drawn with the Freehand tool in the prior section is now decorated: •...

  • Page 239: Manual Tracing Using The Draw Tool

    Lock the layer 9.05.2 Manual Tracing Using the Draw Tool • Make sure you have read Section 9.04.1 to learn how to comfortably and successfully use the Draw Tool. • Now, the best method for tracing a symmetrical image is to only trace one half. Then you can make a copy of it, mirror the copy, and weld the two together to create a perfectly symmetrical shape.

  • Page 240: Editing The Trace

     Once you’ve reached the next to the last node, click as close as possible on the first node and the shape will close and fill with color (based on the color currently assigned on the Fill & Stroke Panel Move as close as possible to the first node Click a final time and the closed...
  • Page 241 Use the arrow keys to Click on this node move the node, as needed to select it only  Next, click on the second icon on the Tool Options:  Then click again on the neckline path and you will see Bézier control points. This means you can now drag the middle of the path inwards to form the neckline: Drag the curve Control...

  • Page 242: Using Symmetrical Mirror To Complete The Trace

     Repeat on the bottom of the dress. The shape you traced should now fit the original image. If it’s not a perfect fit, don’t worry about it! No one will ever know. ☺ 9.05.4 Using Symmetrical Mirror to Complete the Trace •...
  • Page 243 Other applications for Symmetrical Mirror are covered in Section 11.23.

  • Page 244: Scal: Editing

    10. SCAL: Editing This chapter covers functions that are used to modify shapes in SCAL as well as prepare shapes for cutting. For functions used in designing, refer to Chapter 7. 10.01 Simplify • The purpose of the Simplify function is to reduce the number of nodes. This can be important when cutting small vector shapes in which clustering of nodes in tight locations can sometimes lead to poor cutting.

  • Page 245: Split Path

    • To see the effect of Threshold, uncheck the Show Nodes box. Make sure the shapes haven’t become distorted as a result of applying the current Threshold setting: Uncheck this box Compare this image to the one on the left •...
  • Page 246 The left side of this paneled door will be separated and made dashed so that the door can be folded to open instead of being cut out  Select the shape and click on the Shape Tool icon on the Tools Panel. The nodes will appear on the shape: ...

  • Page 247: Close Path

    Left side won’t cut at all Left side will cut dashed Left side will be scored separately IMPORTANT: Use this function cautiously. In some cases more than one break can occur on a closed path. 10.03 Close Path • The Close Path function can be applied to any open shape, other than a straight line, to join the start and ending nodes with a straight line: •...

  • Page 248: Path Offset

    10.05 Path Offset • Path Offset creates an outline or inline of a shape and will delete the original upon clicking on OK. Note that if you want the original, either make a backup copy or use the Shadow Layer function presented in Section 11.05.
  • Page 249 Inline version Inline appears as Check this box a black line • A practical example of using Path Offset is when you have a font that is too thin to cut at the size you need. Applying a very small Offset can make the difference in whether or not text can be cut at certain small sizes.

  • Page 250: Eraser

    Select the Cut layer only  Open the Path Offset window. Set the Offset to a small size, such as 0.03”. Be sure to mark the box for Inset Offset. The result is a cut line which will eliminate that white border around the image: Zooming in on the image shows the cut line is now inside the boundaries of the printed image...

  • Page 251: Knife And Crop

    Keep closed paths Keep closed Keep closed paths Keep closed checked paths unchecked checked paths unchecked  Inverse: when this option is marked, the Eraser will “add to” shapes. This can be used to fill in holes connect broken paths, serve as a brush tool, etc.: Inverse erase is used to Initial trace left this part of complete the path to better...

  • Page 252: Using Knife

    10.07.1 Using Knife • The Knife tool always makes a straight line cut. Starting outside the shape, click and hold the left mouse button and drag across the shape at the desired location for the cut. When you release the mouse button the cut will be applied and one shape can be moved away from the other: Cut line was released here...

  • Page 253: Which Cutting Tool To Use

    IMPORTANT: If left unchecked, only the marquee- If checked, the marquee-selected part of selected part of the shape will be retained. The rest of the selected shape will be retained, as well that shape and every other shape on the page will be as all other shapes on the page.

  • Page 254: Ruler

    • The following table summarizes the capabilities of the various options for cutting shapes. Note that Boolean Join has also been added but isn’t covered until Section 11.06 because it is more often used for designing than for editing. Can make Can force Can do Can change...
  • Page 255 Starting location Angle formed by the on the screen W & H move Distance moved in the X Distance from starting location direction and in the Y direction to the current location • To better illustrate these variables, the following shape will be used and the various measurements will be determined using the Ruler: ...

  • Page 256: The Shape Tool - Path And Node Editing

    If the measurement had been vertical, then the Angle would have read 90 if measured from the top to the bottom. It would have read -90 if measured from the bottom to the top. In the example being used, the angle “c” is measured to be -128.24: …to here The mouse is dragged from here…...
  • Page 257 Extend the right section to here  Select the Shape Tool on the Tools Panel and then click on that path: As you move your mouse near a path, the cursor will change. Then you can click and select that path. ...

  • Page 258: Reshaping A Path

    You can use your mouse to drag the path anywhere • Some practical examples of moving paths include resizing boxes and envelopes where you need the overall dimensions of the final project to be different but you do not want to change the size/thickness of the flaps. 10.10.2 Reshaping a Path •...
  • Page 259 Bézier control Separately drag the control points points to reshape the left side In the case where there is a single Bézier control point on the right side, you can again drag the control point to create a curve: Drag the right-side control point Bézier control point...
  • Page 260 Convert Node to Corner: Apply Select the two nodes on the right Convert Node to Cusp: Select all of the nodes Apply Convert Node to Smooth: Select the middle two lower nodes Apply Convert Node to Symmetric: Select the upper three nodes Apply •...

  • Page 261: Examples Of Smoothing Curves

    • You will recall that when a node is in either Smooth or Symmetric mode, adjusting one Bézier control point will automatically affect the other one and the curves on either side will change. To avoid this, hold the Alt key while dragging the control point and the other control point will remain in place: ...

  • Page 262: Applications For The Shape Tool

    Right side is angular compared to left side • Using the Shape Tool, the nodes causing the angular shape are marquee-selected and deleted. Then the path is reshaped: Shape Tool shows nodes After reshaping the After deleting the nodes causing angular shape line into a curve the right side is flat 10.10.4 Applications for the Shape Tool...

  • Page 263: Scal: Designing

    11. SCAL: Designing 11.01 Where Do I Start with Learning to Design? • SCAL offers some excellent easy-to-use designing tools to assist you in creating whatever you can imagine. The best way to learn these tools is to focus on only one at a time and play with settings. You aren’t going to break anything in the software by experimenting and you never know what you might discover! 11.02 Project Info •...

  • Page 264: Guidelines

    Rhinestones Tab Total number of circles/stones Page Colors used Number of circles/stones in each color Diameter of the circles for that color • Note: When changing tabs, such as from Colors to Fonts, always take note of the Page number. It will not automatically update to the page you were just checking.

  • Page 265: Templates

    • This window serves three functions:  Ability to delete guidelines: Select a guideline on the left and then click on Remove. You can also remove all of the horizontal guidelines and/or all of the vertical guidelines using the buttons shown. ...
  • Page 266 Search for a template by name Click on thumbnail to select a template Zoom tools Tools for adding Current template custom name templates Template folders Image of current template Position of template on Cutting Mat Option to rotate Mirror or Flip options Click OK Change Fill...

  • Page 267: Template File Settings

    Name of selected mat template Larger thumbnail appears when mouse cursor is over image  Templates can be displayed either with a thumbnail image or a list view: Thumbnail List view view  You can assign templates to a Favorites folder for quicker access. To do that, right click on a thumbnail image and select Add to Favorites.

  • Page 268: Importing Your Own Templates

    • To replace the template, reopen the Mat Template window and select a different template file. • To remove the template from your Cutting Mat either uncheck the Show Template option on the Document Panel or return to the Mat Template window and click on Remove button. 11.04.3 Importing Your Own Templates •...

  • Page 269: Shadow Layer

    • IMPORTANT! As mentioned before, when an SVG file is imported, its file format changes to SCALMAT. This is important to note because this is where a significant difference lies between the Mat Template window and the Library. Referring back to Section 6.03.1, it was noted that you can import an entire folder at one time into My Designs in the Library.
  • Page 270  The Layers Panel shows the addition of a new Shadow Layer: • Type controls the style or shape of the shadow at the corners. There are three choices: Shadow Shadow (Rounded) Shadow (Straight)  Note that the first choice, Shadow, also has a Miter setting which should work in the same way as Miter affects the Stroke (refer to Section 7.15).
  • Page 271 Shadow has no Fill Check this box • Blackout Shadow can be used to remove any interior shadow lines, leaving only a single outset: Interior is filled Check this box • Print +Cut Outline creates a shadow with a Fill and Stroke both set to None. The shadow will be invisible unless you hover the mouse over the shadow: Shadow is invisible unless you hover your mouse over it.

  • Page 272: Boolean Operations

    11.06 Boolean Operations • Under Path on the Menu Bar, there are five Boolean operations that are very useful when designing cutting files. This section illustrates how each works and provides a practical example for each one. 11.06.1 Union • The Union operation, also commonly called welding, removes the overlap between two or more selected shapes.

  • Page 273: Intersection

     Add a long rectangle and align with the pattern of circles. Apply the Union function: 11.06.2 Intersection • The Intersection operation is the opposite of the Union operation. Instead of removing overlap, the overlap is what remains. The color of the new shape will be that of the bottom shape: With no Fill: before and after Intersection With a Fill color: before and after Intersection •...

  • Page 274: Exclude

     Recolor the spare flower white with a red Stroke. Then center the pattern with the spare flower. Perfect for a print and cut! 11.06.3 Exclude • The Exclude operation subtracts the intersection of two shapes from both of the shapes. The color of the new shapes will be that of the upper shape.

  • Page 275: Front Minus Back

    11.06.4 Front Minus Back • The Front Minus Back operation subtracts the intersection of two shapes from the front (or upper) shape, leaving only that front shape: With no Fill: before and after Front Minus Back With a Fill color: before and after Front Minus Back •...

  • Page 276: Clip Path And Clip Mask

    • To apply this operation, select two shapes and use one of the following  Go to Path>Back Minus Front  Right-click and select Back Minus Front • Any examples for Back Minus Front are essentially the same as for Front Minus Back. When choosing which to use, check the Layers Panel and think about which one you need to remain.

  • Page 277: Clip Mask

    Change to Print + Cut Print on the vector shape that is not to be cut  When applying the Duplicate or Rotated Duplicate function on shapes that have Clip Path applied, you will initially see the copies in their original “unclipped” format. But once you click on OK, the correct result will appear: Before clicking on OK After clicking on OK...

  • Page 278: Duplicate Rotated

    • In the following five examples, the color of the heart ranges from white to dark gray. Notice the differences in the five results after Clip Mask is applied: • To restore the original shapes, either:  Go to Object>Clip Mask>Release Clip Mask ...
  • Page 279  Start by increasing the number of copies. If the shapes are overlapping too much, increase Rotate V Offset which is the distance from the center. Increasing the Rotate H Offset setting shifts the center of rotation toward the right, leaving the original in the same location on the Cutting Mat: Original star Original star Original star...

  • Page 280: Using Duplicate Rotated To Design A Wreath

    Change the Rotate to Custom and then, because you want a semi-circle of shapes, divide that value by 2. Thus, in this example, it will be changed to 30: If you want the shapes to be grouped, mark the Group duplicate box. Otherwise leave it unchecked.

  • Page 281: Object On Path

    Set Total Copies to 4 • Begin increasing the Offsets until the four corners overlap evenly: Frame is formed Increase V Offset until the four corners look perfect • Click on OK and then apply Path>Union. 11.09 Object on Path •...
  • Page 282 • To open the Object on Path window, select both the path and the shape to be repeated and go to Effects>Object on Path. Because there are so many settings in this window, only about half will be explained at this point: Location of first shape If using Count, number of Repeats...

  • Page 283: Designing A Scalloped Oval

    Offset = 0.15” Offset = 0.25” Offset = 0 11.09.1 Designing a Scalloped Oval • Create an eyelet circle like the one shown in Section 11.06.1. Also, use the Circle tool to create an oval for the path: Shape Path •...

  • Page 284: Warp A Shape To A Path

    Lowering the Offset makes the scallop less acute Lower the Offset Removes overlap Removes original path Removes original shape  Weld: Mark this option if you want the repeated shapes welded together, as shown in the screenshot  Remove path: Mark this option if you will no longer need the path shape (in this case, the oval) ...
  • Page 285 Repeat is set to Count but the number of repeats is set at 0 Original arrow appears positioned at start of spiral Mark this first • Next, two new settings are applied: Arrow is now curved and stretched to fit the spiral Mark these two options ...

  • Page 286: Remaining Settings

    11.09.3 Remaining Settings • The two remaining settings in the Object On Path window are:  Follow path orientation: With this setting turned on, the repeats will rotate so that they stay aligned with the path. With the setting turned off, the shapes never rotate: Stars rotate Stars do not rotate Follow path...
  • Page 287 Enter Top and Bottom Diameters, as well as the Height of the Tumbler, along the actual surface. Add Template will create the cut line for the tumbler X Offset will move the design left or right on the template. Y Offset will move the design higher or lower on the template Check this box to have Y Scale Resize the design using...

  • Page 288: Lattice

     Adjust the X Scale and/or Y Scale to resize the design, if needed. If you want to scale proportionately, mark the Keep Proportions box: • After clicking on OK, the fill color returns to the design and the project is ready for completion: 11.11 Lattice •...
  • Page 289 Choose Normal, Horizontal or Vertical Settings which will alter the appearance of the lattice Change type of lattice fill Click on OK when done. Click on Preview After clicking on Preview, selected shape will display lattice based on current settings ...
  • Page 290  The Angle setting will skew the lattice shape while the Rotate setting will simply rotate the overall pattern: Angle: 0 Angle: 45 Angle: 0 Rotate: 0 Rotate: 0 Rotate: 45  Inverse is used to create a kind of negative lattice. An example will follow later in this section: Inverse not checked Inverse checked •...
  • Page 291  Align the latticed heart in the center of the ring and weld using Path>Union: Remove Fill from ring After applying Set Fill to red again to make overlap easier Path>Union to see • An example of when Inverse would be checked is when you want a lattice aperture cut from the front of a greeting card: ...

  • Page 292: Rhinestones

     Select all and go to Object>Merge. The card is complete: • If you have a shape that has the Lattice effect applied and want to remove it (even after the file has been saved and re-opened), select the shape and go to Object>Remove Effects. 11.12 Rhinestones •...

  • Page 293: Rhinestone Outline

     When selecting a font to use, be leery of “fancy fonts.” You want the lettering to be readable after it is converted to circles. When in doubt, have someone who doesn’t know the words you’ve used attempt to read the rhinestone design on your monitor or from a printout of the design. If they cannot easily decipher the words, then try a more basic font.
  • Page 294 Slight adjustments needed Preview of design • The preview shows that the spacing is off a bit at the top of the “D” and the “S”. There is an option which can be used to make adjustments. Check the box next to Adjust spacing to fit path and additional settings will appear: Check this box Additional setting...

  • Page 295: Rhinestone Fill

    11.12.3 Rhinestone Fill • Another option in the Rhinestone window is Fill shape with stones. Instead of outlining the shape, the image will be filled with circles in horizontal rows. In our prior example, the same letters will now appear like this: Check this option Lots of gaps appear with...

  • Page 296: Editing Rhinestone Designs

    11.12.4 Editing Rhinestone Designs • Before editing, make a backup of the design created by the Rhinestone function. As was mentioned earlier you can resize rhinestone designs but if certain editing has occurred, you might or might not get the results you want after editing.

  • Page 297: Adding An Outline To A Rhinestone Design

    • The following list shows the most common functions applied when editing rhinestone designs:  Use the Zoom functions (Section 5.09) to move in close for easier selection of individual or small groups of circles  Use the Lasso Selection tool (Section 7.02.2) to more easily select a group of circles ...
  • Page 298 Switch to mm here • For the following example, a swirl design from the Library is added to the Cutting Mat and sized for a T- shirt. The same settings for SS 10 stones will be used - the circles will be 3.4 mm in diameter and the spacing will be 0.5 mm.

  • Page 299: Using Purchased Rhinestone Fonts And Designs

    • However, additional editing is needed to improve the overall look. After removing some of the circles, the final design is ready to cut: • If the stones are not the same size, the average should be used, plus the spacing: Shadow Size = (Size of circle for smaller stone + Size of circle for larger stone) / 2 + Spacing ...
  • Page 300 • If the circles seem too close together, set the Stroke to None on the Fill & Stroke panel: • Remember that it’s pointless to resize the design. The goal is to scale it so that the circles will be the correct size for the rhinestones you plan to use.

  • Page 301: Jigsaw Puzzle

    Select Percentage Enter calculated Scale Click on Apply and tthen OK Mark Keep Proporations • The text is resized. You can then select a single circle and verify the new size is what you need (3.4 mm in this example) or within several hundredths of a mm. •...
  • Page 302 Preview based on current settings Enter desired Width and Height (can be changed later, if needed) Roundness of the 4 corners Enter desired Columns and Rows Variance: select randomly Click here to see a preview based on current settings. Click on OK when done •...
  • Page 303  Select the shape and, on the Fill & Stroke Panel, select Pattern from the Fill menu: Select Pattern  The Pattern Fill window will open. Click on the Load Image tab and then click on the Load Image button to browse and find the image you want to use. It will then appear on the right side and can be selected: Select Load Image tab Click on Load Image...

  • Page 304: Rotate

    11.14 3D Rotate • The 3D Rotate function is used to rotate a shape along the X, Y, and/or Z axis. To access this function, select a shape and go to Effects>3D Rotate. In the following example, text will be used to show the effects of the settings: Rotate along the 3 axes, as desired...

  • Page 305: Extrude

     Perspective: This is where the fun begins. Combining this setting with another rotation provides the 3D illusion. Here are examples: X: 0 Y: -50 Z: 0 X: 0 Y: 50 Z: 0 X: 50 Y: 0 Z: 0 X: -26 Y: 26 Z: -20 Perspective: 65 Perspective: 65 Perspective: 100...
  • Page 306  Depth: Adds the actual 3D effect by increasing the extension of the extrusion: X Offset = 0.35 X Offset = 0.35 X Offset = -0.35 X Offset = -0.35 Y Offset = 0.35 Y Offset = 0.35 Y Offset = -0.35 Y Offset =-0.35 Depth = 0.25 Depth = 0.5...

  • Page 307: Barrel Distortion

    11.16 Barrel Distortion • The Barrel Distortion feature will warp a shape by narrowing or thickening the middle part of the shape: • In the following example, text will again be used to show the effects of the settings. To open the Barrel Distortion window, select the text and go to Effects>Barrel Distortion: Increase or decrease to apply the Barrel...

  • Page 308: Bulge

    11.17 Bulge • The Bulge feature allows you to apply various expanding or shrinking distortions to a shape. These distortions can be applied to the top side of the shape, the bottom side, or both. They can be applied to the left side, the right side, or both.
  • Page 309 Top Offset = 1.0 Top Offset = 2.0 Top Offset = -0.5 Bottom Offset = 0 Bottom Offset = 0 Bottom Offset = 0 Top Offset = 0.0 Top Offset = 0.0 Top Offset = 0.0 Bottom Offset = 1.0 Bottom Offset = 2.0 Bottom Offset = -0.5 •...

  • Page 310: Canned

    Left Offset = 1.0 Left Offset = 1.0 Right Offset = 1.0 Left Curve = 50 Left Curve = 90 Right Curve = 75  Or just have some fun with it: 11.18 Canned • The Canned effect will curve lettering as if it were wrapped around a cylinder (can) and viewed at an angle: •...

  • Page 311: Wave

    • The Diameter of the cylinder can be increased or decreased, as well. A larger Diameter, applied at the same Angle, will lessen the roundness, while a smaller Diameter will increase it. Angle = -30 Angle = -30 Angle = -30 Diameter = 3.0 Diameter = 7.5 Diameter = 3.5...

  • Page 312: Bridge Warp

    11.20 Bridge Warp • The Bridge Warp function will transform shapes into the following styles: • For this example the following text will be used: • To open the Bridge Warp window, select the shape and go to Effects>Bridge Warp: Check this box if you want straight effects versus curved Option to have both top and...

  • Page 313: Drop Shadow

    • With these same settings, note the difference if the Straight Warp setting is marked: Top Offset = 0.3 in Top Offset = 0.6 in Top Offset = 1.0 in • In a similar way, when Bottom Offset is increased the bottom is warped: Bottom Offset = 0.3 in Bottom Offset = 0.6 in Bottom Offset = 1.0 in...
  • Page 314 • For this example the following shape from the Library will be used: • To open the Drop Shadow window, select the shape and go to Effects>Drop Shadow: Drop Shadow offset and insets Change the color of the shadow Option to have overlap removed from the shadow Click OK when done Check this box to have the...
  • Page 315 • The Inset option can be used to create a gap between the original and the shadow, similar to the Knock Out function in SCAL: X Offset = 0.5 X Offset = 0.5 X Offset = 0.5 Y Offset = 0.2 Y Offset = 0.2 Y Offset = 0.2 Inset = 0...

  • Page 316: Qr Code

    11.22 QR Code • A Quadratic Response Code is a machine-readable optical label that contains information about the item to which it is attached. They have become quite commonplace in product advertising. One can download free apps for smart phones and tablets to scan these codes with a camera to obtain that additional item of information about the product.

  • Page 317: Symmetrical Mirror

    11.23 Symmetrical Mirror • The Symmetrical Mirror function creates a symmetrical copy of a selected shape and welds that copy onto the original. • For example, when tracing symmetrical images, the resulting trace may not appear perfectly symmetrical when can then appear unbalanced and unappealing. For example, here is a trace of a vase from a photo: ...
  • Page 318  Zoom tools can be used on either or both of the Input and Output views to more accurately position the mirror and to verify the resulting shape is what you need it to be.  Add Center Line: This will add a single line at the location of the mirror. This line might be needed as either a cut line or a fold line, depending the application for the design.

  • Page 319: Scal: Output

    12. SCAL: Output 12.01 The Style Panel • The Style Panel has various settings that are typically, but not necessarily, applied for the purpose of cutting and printing:  Set a contour cut (Shadow)  Remove any interior shapes (Blackout) ...

  • Page 320: Preview

    Refer to last part of Section 12.06.3. • Tool: for cutters with more than one head, such as the Skycut D Series, choose if the layer should be executed by the left side or by the right side.
  • Page 321 Any lines assigned as Any lines assigned as Cut appear in red Pen appear in blue Check this box for a Check this box to show the Print Preview: refer to Stroke for that shape Section 8.03 Option to show registration marks in the Preview Option to show the printing boundaries:...

  • Page 322: Printing

    Registration mark Printer border Preview options for printing  NOTE: If you mark the option for Show Print + Cut registration marks and they do not appear: Verify that you have set up a cutter (refer to Section 1.01.4) Verify that the layer(s) with cut lines are not hidden on the Layers Panel In the Cut Settings window, verify that you have not marked the option for Cut selection only 12.03 Printing •...
  • Page 323  Print registration marks: If your application is a print and cut, then you will want to check this option. Refer to Chapter 3 for details on PNC calibration and how to set the properties for the registration marks. Also note that If you have not yet set up a cutter (refer to Section 1.11 then registration marks will not be sent to the printer.

  • Page 324: Weeding (Scal Pro Only)

    Option 1: Switch to Landscape Option 2: Rearrange the shapes under File>Print Setup 12.04 Weeding (SCAL PRO only) • Weeding is an important function for those who do vinyl applications. When removing the waste vinyl from around the cut shapes, it’s very helpful to have extra cut lines. This way you don’t end up trying to weed out large pieces at one time.
  • Page 325 example are also shown. Note that once you select an option, you can click at the desired location on the preview image to add the cut line or lines: 1 or 5: Add horizontal or vertical weed cuts between shapes and outer weed border 2 or 6: Add horizontal or vertical weed cuts inside the shapes (this is used for applications such as glass etching where the outside “waste vinyl”...

  • Page 326: Tiling (Scal Pro Only)

    • On the Layers Panel you will observe a new layer called Weeding: 12.05 Tiling (SCAL PRO only) • The Tiling function is used to split large designs into rectangular sections for cutting. This is usually needed either because the cutter isn’t wide enough to cut the design or the material being used isn’t wide enough for the design, or both! ...
  • Page 327  Columns and Rows: Under both of these you have the following choices: Evenly spaced: Enter a number and that many columns (or rows) are created, all the same width. For example, you could enter 3 columns and 2 rows: Select Evenly spaced and then 3 Columns and 2...

  • Page 328: Cut Settings

    When you are ready to execute a cut (or draw), the cut window can be opened using either of the following:  Click on the Cutter icon on the Toolbar  Go to Cutter>Cut With Skycut (or whichever model of cutter you have added)
  • Page 329 Select Connection Click here to activate a settings. Refer to Section small movement 1.12 Cutter Settings, which can also be accessed by going to Cutter>Cutter Settings, opens a new window with additional settings relevant to that model. For the Skycut:...
  • Page 330 Print and Cut Sizing Calibration: settings: Refer to Refer to Section 2.08 Section 3.05.1 Baud Rate: do not change See explanations below Jog Distance: The following settings apply when moving the head left/right or moving the mat or material in and out of the cutter: ▪...
  • Page 331 Save to File: Click on this button to export and save the cut project as a PLT file onto a USB flash drive. That file can then be directly loaded into the Skycut control panel. Refer to Section 1.12.4 and Section 3.07.2.

  • Page 332: Presets

    Portrait orientation Shapes will cut in the upper left corner of the actual mat, just as shown in the screenshot of the Cutting Mat Cutting Mat in SCAL is set to Mat is fed this direction Portrait orientation Using the same WYSIWYG cutting mode, but having the Cutting Mat orientation set as Landscape, the Preview changes indicating the shapes will be cut in a landscape position: Shapes will cut sideways (landscape-style) if you...

  • Page 333: Cut By Color (Scal Pro Only)

    Enter settings and click here: Enter a name Select which settings to include: Click on OK • After clicking on OK, the new preset will be found at the bottom of the list. • In a similar manner, you can also add other Holders to your list, which would typically be blades with other Blade Offset values.
  • Page 334 Click on this tab Select either Cut all colors or Cut each color separately Colors in project Option to Check All or Uncheck All colors listed • Cut all colors (Single job): In this mode all of the colors marked in this window will be cut at one time. ...
  • Page 335 The Preview shows where the shapes will cut and shows that The yellow shapes the yellow ones are excluded are turned off  The cut is executed and the red, orange, and lilac shapes are cut. Then the same procedure can be used for the remaining yellow shapes: Only the yellow shapes are...
  • Page 336  However, before sending the project to the cutter, take note of any colors that might have shapes that need to be moved. In this example, the thin red lettering “Jurassic Park” would cut through the background red circle, hence it needs to be moved away: ...
  • Page 337  And the process continues until all colors have been cut. • In Section 12.01, Color Layer Alignment was mentioned as one of the options under Cut Line Type on the Style Panel. In applications, such as the one just presented, it can be tricky aligning the various colors after cutting.

  • Page 338: Tiles (Scal Pro Only)

    Triangles appear here Alignment triangles are not in the menu  Then, as each color window opens, the triangles will appear in the Preview for that color: White shapes are sent to cut Triangles plus white shapes appear in Preview 12.06.4 Tiles (SCAL PRO only) •...

  • Page 339: Extras (Scal Pro Only)

    • Open the Cut Settings window, click on the Tiles tab and check the box next to Cut Tiles to then open a menu showing the individual tiles with additional options: Select Tiles tab Click here to reopen the Tiling window Preview of the tiles- The one outlined in green Partial menu of tiles with...
  • Page 340 Select Extras tab Check this box first to then activate other settings Mark this option to use Cutting Mat dimensions or enter actual size of material Mark Auto fit or enter Enter desired Spacing for desired numbers of The Preview will update both Columns and Rows Columns and Rows as settings are changed...

  • Page 341: Cut Order (Scal Pro Only)

    • Make sure you have all of the cut settings made under the General tab of the Cut Settings window. Once you click on Cut, all of the duplicates will be cut out and it appears that using Cancel, in the current version of SCAL, will not abort the cut.

  • Page 342: Layers (Scal Pro Only)

    The green path indicates that the cut order will be: Star, Triangle, Circle Square On a Skycut, the origin is in the lower right corner. Thus, the green path starts from the lower right corner in the Preview window.
  • Page 343  Cutting adhesive stickers where by you only want to kiss cut the stickers themselves, but then full cut around groups of them.  Cutting a thick or dense material whereby you might want the first few passes to be at a lower pressure, followed by a heavier pressure for the last few layers.
  • Page 344 Preset Preset assigned… assigned… … to … to these these layers layers  Order the layers so that those cutting with the kiss cut blade holder are at the top and the layers with the more-exposed blade holder are at the bottom: ...

  • Page 345: Controlling Where Shapes Will Cut

    Landscape – Shapes will cut 90 clockwise to the orientation you see on the Cutting Mat • There are 4 available Cut Modes when cutting to the Skycut:  WYSIWYG – Shapes will cut relative to their position on the virtual Cutting Mat ...
  • Page 346 • IMPORTANT: All three Cut Modes are based on setting an XY origin on the cutter. On the Skycut, this origin is set by moving the blade tip to a chosen location on the mat grid or on the material, depending on the application or your preference.

  • Page 347: Origin Point

    Cutting Mat matches actual mat  Material Method: Create a custom virtual Cutting Mat that matches the dimension of the material to be cut: Cutting Mat matches material on mat • The best way to learn how these settings affect where shapes cut is to recreate what you see in these screen shots and test them out with the test pen and paper.
  • Page 348  Origin Point – Portrait Mode Feed the mat this direction into the cutter Indicates Portrait mode Shapes are cut to align with the origin you set on the cutter Origin set here Location of shapes in SCAL Where shapes will draw or cut on the material ...

  • Page 349: Wysiwyg

    • Also, note that the material can be located anywhere on the cutting mat because you are setting the origin on the material itself. It is usually advisable to set that origin just a little way inside the corner of the material so that you do not inadvertently cut off the edge.
  • Page 350  WYSIWYG – Portrait – Cutting Mat Method Feed the mat this direction into the cutter Indicates Portrait mode Shapes are cut in the same location on the actual mat as positioned on the SCAL custom Origin set here Location of shapes in SCAL Where shapes will draw or cut on the material This corner corresponds to the origin on the actual mat...

  • Page 351: Center Point

     WYSIWYG – Portrait – Material Method Feed the mat this direction into the cutter Indicates Portrait mode Shapes are cut in the same location The Cutting Mat is on the material as now letter sized to positioned on the match the material SCAL custom mat Origin set here...
  • Page 352 • Shapes can be located anywhere on the virtual Cutting Mat. The shapes will be moved and centered around the origin you set on the material. While in the other two cut modes, the origin is typically set just inside the lower right corner of the mat or material, with Center Point mode, you want to set the origin in the center of the material or mat: Feed the mat this direction into the cutter Center Point - Portrait...

  • Page 353: Path Details And Reverse Path

    The center of the bounding box Bounding box around the shapes  Also, note that the material can be located anywhere on the cutting mat because you are setting the origin on the material itself. If you need the centering to be perfect: Measure the material with a ruler to determine the center and mark the center with a pencil dot Use the alignment pin in the blade holder to set the origin.

  • Page 354: Line Fill

    12.09 Line Fill • The Line Fill function creates a line or hatch fill pattern, typically used for engraving with an engraving tool. It can also be used for coloring in shapes with a pen or embossing some materials with an embosser. •...

  • Page 355: Pierce

    • For more information on using an engraver, refer to Section 4.03. 12.10 Pierce • The Pierce function creates holes for punch tools. This can be used to create Pergamum designs and paper embroidery patterns. • To access this function, select a shape and go to Effects>Pierce: Enter desired spacing between holes Click here to manually...

  • Page 356: Nest

    • If you have a shape that has the Pierce effect applied and want to remove it (even after the file has been saved and re-opened), select the shape and go to Object>Remove Effects. • If you are unable to get an even pattern, then try using the Rhinestone effect instead. Refer to Section 11.12 and enter the smallest rhinestone circle size available: SS000.
  • Page 357  Area Width and Area Height: Enter the dimensions of the material from which you will be cutting so that the nesting will arrange the shapes within that available area, if possible.  Spacing: Enter the minimum distance allowed between shapes. ...
  • Page 358  This could also have been caught while still in the Nest window by carefully checking the Preview and zooming in, as shown above. • Nesting isn’t restricted to identical shapes. In this next example, Christmas shapes are to be cut from red and green cardstock: ...
  • Page 359 Ungroup not checked: Ungroup checked: shapes are not nested shapes are nested  The process is repeated for the green shapes, again making sure there are no other hidden layers and that the Ungroup box is checked before applying Update Preview. End result: two pages with the red shapes nested on one and the green shapes nested on the other:...

  • Page 360: Appendix A Shortcuts And Icons In Scal5

    Appendix A Shortcuts and Icons in SCAL5 Shortcut Icon Description Menu (m:) and/or Icon (i:) Location Main Screen and Project Functions m:File>New Project Ctrl+N Open a new file/project i:Toolbar m:File>Open Project Ctrl+O Open an existing .scut file/project i:Toolbar m:File>Save Project Ctrl+S Save a file/project i:Toolbar...
  • Page 361 Shortcut Icon Description Menu (m:) and/or Icon (i:) Location Help Open Hints window i:Properties Panel Open Help window m:Help>Help Importing and Exporting m:File>Import Ctrl+Shift+I Import a file i:Toolbar Ctrl+Shift+E Export a file (save in a different format) m:File>Export m:File>Trace Image Ctrl+Shift+T Open Trace Image window i:Toolbar...
  • Page 362 Shortcut Icon Description Menu (m:) and/or Icon (i:) Location Cutting/Deleting Shapes Ctrl+X (or right click>Cut) Cut to clipboard m:Cut to clipboard Del (or right click>Delete) Delete selected shape(s) Hold Del and click on one shape at a Deletes each shape as it is left clicked time Text and Font Icons Open Text Panel...
  • Page 363 Shortcut Icon Description Menu (m:) and/or Icon (i:) Location Library (cont.) i:Library>Shapes tab Change to List View i:Library>Project tab i:Library>Shapes tab Change to Thumbnail View i:Library>Project tab i:Library>Shapes tab Search on keyword i:Library>Project tab Sync with eStore or access Download i:Library>Shapes tab Manager i:Library>Project tab...
  • Page 364 Shortcut Icon Description Menu (m:) and/or Icon (i:) Location Manipulating and Coloring Shapes (cont.) Open Fill & Stroke Panel i:Properties Panel Stroke with pointed corners i:Fill & Stroke Panel Stroke with rounded corners i:Fill & Stroke Panel Stroke with beveled corners i:Fill &...
  • Page 365 Shortcut Icon Description Menu (m:) and/or Icon (i:) Location Designing Tools Alt+U (or right click>Path>Union) Weld selected shapes to remove overlap m:Path>Union Apply the Boolean Join intersection to two Right click>Path>Intersection m:Path>Intersection shapes Apply the Boolean Join exclude to two Right click>Path>Exclude m:Path>Exclude shapes...
  • Page 366 Shortcut Icon Description Menu (m:) and/or Icon (i:) Location Editng Tools (Cont.) Reduce the number of nodes in the selected Right click>Path>Simplify m:Path>Simplify shape Break the path between the two selected m:Path>Split Path Right click>Path>Split Path nodes i:Tools Panel Right click>Path>Reverse Path Reverses the direction the path will cut m:Path>Reverse Path Right click>Path>Object to Path...

  • Page 367: Appendix B Troubleshooting Faq's

    Make sure the power cable is securely plugged into the adaptor. • Make sure the adaptor light is a steady blue light and it is plugged securely into the Skycut. • If you still cannot get the Skycut powered on, contact your dealer.

  • Page 368: B2 Operating Issues

    Skycut setup wirelessly and need TCP/IP selected. • There is a reset button on the right side of the Skycut D. Use a pen or pencil to press and hold for one second. You should hear a beep.
  • Page 369 ____________________ The Skycut stopped during a cut. • If the Skycut stops with the head over on the left side of the cutter, you have most likely exceeded the cutting range. Several things to consider:  Check the width (W) of your project (or the height H if in Landscape mode). It cannot exceed 21.95”...

  • Page 370: B3 Cutting/Drawing Issues

    • Make sure you raise the pen in the blade holder seat on the Skycut before tightening the screw. The blade holder seat needs to be able to drop the tool down when it reaches the spot to start the shape.
  • Page 371 • Make sure your material is pressed firmly onto a clean and sticky mat (assuming you are cutting a material such as paper or cardstock). • Try increasing the cutting force and slowing the speed. • Your material may require two passes if it’s not homogenous or if it is heavily textured. Sometimes intricate shapes also cut better with two passes.

  • Page 372: B4 Software Issues

    • Make sure you have set an appropriate Overcut setting. • Make sure the mat is not skewing during the cut. This can happen if even one of the pinch wheels is no longer centered under a white arrow. It can also happen if the speed and/or pressure is set too high. _____________________ My cardstock is not cutting all the way through.
  • Page 373 • SCAL allows you to open a font for temporary use but once you close SCAL, it is uninstalled. That’s why you also need to convert any text that was created with that font before saving your file. Refer back to Section 8.02.3 for more details.
  • Page 374 • That feature never seems to work in SCAL. Instead, check this link to download the latest version. http://www.craftedge.com/download/download.html • Also note that it probably doesn’t show the latest version at the web site. For example, in this screenshot, it indicates that 5.000 is the latest version but when the download is made, the version is actually 5.020: Not updated regularly...

  • Page 375: Appendix C Scal Details

    Appendix C SCAL Details C1 Screenshot of SCAL Screen Below is a screen shot of the main screen in SCAL identifying ONLY Bars and Panels. Menu Bar Toolbar Properties Panel Tool Options Document Panel Position & Size Panel Project Bar Fill &...

  • Page 376: C2.2 Toolbar

    C2.2 Toolbar • The Toolbar is located at the top of the screen, just below the Menu Bar. Import another Paste from Cut to clipboard: Trace a raster file type: clipboard: Open a saved 7.17.1 import: 9.03 Access eshape 6.06 7.17.3 file: 6.01.2 Store: 6.05...

  • Page 377: C3.2 Properties Panel

    Upper part Selection Tool: Lower part 7.02 Lasso Selection: 7.02 Dropper Shape Tool: 7.16 10.10 Gradient: Type Tool: 7.14.4 8.04.1 Knife/Crop Draw Tool: 10.07 9.04.1 Distort: Freehand: 7.07.2 Stencil Bridge 9.04.2 8.10 Brush: Zoom In Tool: 9.04.3 Eraser: 1.09.1 Ruler: 10.06 Rectangle (and 10.09...

  • Page 378: C4.2 Preferences: Edit Tab

    Click on General 6.06.1 PC Only Self-explanatory See below Self-explanatory PC only See below Restore original Click on OK when done defaults, if needed • Automatically switch Property tabs based on current selection: with this option turned on, the Properties Subpanel related to the task at hand will open. For example, when you select a shape, the Position &...
  • Page 379 • Keep objects on mat when dragging: With this option checked, you cannot drag shapes beyond the outside borders of the Cutting Mat. You can, however, move them beyond the Cutting Mat by entering the desired X, Y location on the Position & Size Panel. •...

  • Page 380: Appendix D Original Camera Calibration

    Appendix D Original Camera Calibration D1 Camera Calibration Procedure (1) Insert the test pen into the Skycut. Place a sheet of paper into the Skycut. You can use the cutting mat to hold the paper or insert the paper directly.
  • Page 381 (7) Press Start. The test shape, which is a square with a inside, will be drawn on the paper and the camera will move over the test shape, take a photo, and display the photo on the control panel. If you cannot see the test shape clearly, press the LED button once so that it reads LED 50% and press the Get PIC button.

  • Page 382: D2 Tweaking The Calibration Values

    (13) Press X3 to return to normal magnification. Click on the Home icon to return to the Main Screen. Your Skycut is now calibrated for print and cut (PNC) applications. D2 Tweaking the Calibration Values IMPORTANT: The following adjustment method only applies if you are on an older firmware version which required you to use the procedure in Section D1 to calibrate the camera.
  • Page 383  In this example, let’s say the red cut line is about 0.5 mm too high and about 0.3 mm too far to the left. Thus, you need the cut line to move down and to the right. • On the control panel, change the Units to millimeters by going to Set>General Settings and choosing millimeters, as was shown in Section 1.14.2.

  • Page 384: D3 Dual Head Calibration

    Select Use Double Head (6) Insert a sheet of paper into the Skycut, either on the cutting mat or directly inserted. Load a test pen into both the left and right-side blade holder seats, making sure the pen nib is a little ways above the paper, as you did in Section 1.13.
  • Page 385 This is where photo will be displayed Two different screens based Magnify photo by 300% on Align versus Adjust Retake photo Align is normal mode Change brightness of LED light Adjust is calibrate mode Update blue dashed + alignment (5) Press Adjust to switch to calibrate mode and a new Start button will appear in the lower right corner of the Camera Screen: Press Adjust button…...
  • Page 386 (7) Tap your finger near the middle of the drawn test shape. This will move the red + to that location. Then press OK. A new photo will be taken: Red + is now much closer to the middle of the test shape Blue dashed + is also much closer to the middle of the test...
  • Page 387 (13) Press OK and the camera will move to the left side test square and will post an image. Repeat Steps (7) – (11). Once the blue dashed is near-perfectly centered in the test shape, click on the Home icon to return to the Main Screen. Your Skycut is now calibrated for dual head applications.

  • Page 388: Appendix E Activating Commands

    Appendix E Activating Commands • This section shows you how to activate commands in order to add certain functions to the control panel. • Go to Set>Advance settings>System Mode and press the cmd… button: Press cmd… • The following screen opens. Press Input: Press Input •...
  • Page 389 030: Deactivate Passes (Quantity Set) • After entering the Input code you need, click on OK and the Input screen will return. The word RUN will now be highlighted and you can press it. The Skycut will beep once. Enter code by pressing keys Press RUN…...

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