Gerber OMEGA CP Reference Manual

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Table of Contents

Troubleshooting

Summary of Contents for Gerber OMEGA CP

Page 1 Pantone, Inc. © Pantone, Inc., 2005. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Gerber Scientific Products. to distribute for use only in combination with Gerber OMEGA 2.5. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Gerber OMEGA 2.5.
Page 2 Variables There are many variables in process reproduction of colors generated by the GERBER EDGE and GERBER MAXX, any one of which may affect the quality of the Gerber simulations of PANTONE Colors, including: • Type of media/paper used •...
Page 3: Table Of Contents
Adding a file to an open PLT file (Importing) ....................15 Adding multiple files to an open PLT file (importing)...................17 Placing multiple copies of a file in an open PLT file..................18 Opening Gerber Clip Art (GCA) files .......................19 Closing files ................................21 Chapter 4: Saving Files and Viewing Properties................23 Saving PLT files..............................23...
Page 4 Print Order and Layers Overview........................69 Understanding Print Order in Composer ......................70 Outputting by layers to GSPPlot ........................72 Importing layers..............................72 Chapter 7: Selecting the Elements of the Design ................77 Selecting elements of the design ........................77 Book Three: Creating the Basic Design Text and Shapes..............83 Chapter 8: All About Text........................85 Entering text .................................85 Editing text................................103...
Page 5 Displaying palettes on the Composer work surface ..................175 Making a job palette using Gerber vinyl ......................177 Using Palette Manager ............................179 Using Gerber palettes in Adobe Illustrator and CorelDRAW ..............182 Chapter 15: Understanding Vinyl Colors ..................187 Displaying a vinyl palette..........................187 Assigning vinyl colors to objects ........................187...
Page 6 Chapter 19: Choosing a Fill Color that Matches Printer Output..........221 Printing EDGE Match Color Matching System charts..................221 Choosing and assigning an EDGE Match color.....................222 Chapter 20: Making and Using GerberColor Spectratone Colors..........225 Making a Spectratone chart of all possible colors in inventory..............225 Making a Spectratone chart of some colors in inventory ................226 Printing a chart of Spectratone tints ........................228 Filling objects with Spectratone colors......................229...
Page 7 Exporting to an AutoCAD Drawing Web Format (DWF)................319 Exporting to a DXF (GSP) AutoCAD Drawing Interchange File ..............320 Exporting to AutoCAD Drawing Interchange File (DXF)................321 Exporting to a Gerber Artwork Definition File (GAD).................322 Exporting to Hewlett-Packard Graphics Language (HGL)................322 Exporting to IGES Drawing File Format (IGES) ....................323 Exporting to a Z-soft PC Paintbrush Bitmap (PCX) ..................324...
Page 8 Chapter 29: Using File Converter ....................333 Choosing File Converter options ........................333 Importing multiple files (batch conversion)....................334 Exporting multiple files (batch conversion) ....................334 File conversion troubleshooting ........................335 Chapter 30: Remapping Colors for Imported CMX Files ............337 Understanding color models..........................337 Book Seven: Adding Artwork and Other Files to the Design ............
Page 9 Chapter 37: Using the Edit Menu..................... 405 Using Undo and Redo............................405 Copying parts or all of a design........................405 Using Duplicate to copy and offset an object....................407 Deleting parts of the design..........................407 Chapter 38: Detail Editing Segments and Points of Vector Objects ........409 Selecting objects or parts of objects for editing....................409 Copying and pasting segments........................411 Changing curves to lines and lines to curves....................411...
Page 10 Book Eleven: Managing, Converting, and Designing Fonts ............515 Chapter 47: Managing Fonts......................517 Exploring the Font Manager program ......................517 Viewing Gerber Fonts in Font Manager ......................520 Renaming a Gerber font style...........................522 Chapter 48: Viewing and Printing Installed Fonts ............... 527 Opening Font View............................527...
Page 11 Chapter 51: Sending the Job to a Plotter or Printer ..............593 Thermal printing and cutting the job ......................593 Sending the job to an inkjet printer using Gerber ImageRIP ...............595 Paper printing ..............................595 Chapter 52: Sending the Job to a Person by E-Mail ..............599 Book Thirteen: Printing and Cutting the Job .................
Page 12 Printing a job on heat transfer paper.......................632 Chapter 57: Multiple Copies in GSPPlot ..................633 Creating multiples of a job without panels ....................633 Setting the distance between repeats ......................634 Creating multiples of a job with panels ......................635 Viewing a job with repeats and copies ......................635 Chapter 58: Advanced Setup Options.....................
Page 13 Calibrating the plotter to a printer ........................699 Configuring targets for accurate print-to-cut registration ................703 Centering a job on the vinyl ..........................710 Chapter 65: Gerber Queue Manager ....................711 Installing output devices...........................712 Opening files for printing and cutting ......................712 Pausing and restarting a job ..........................713 Displaying plotting information........................713...
Page 14 Using a dedicated server...........................744 Chapter 69: Network Troubleshooting ................... 745 Book Sixteen: Matching Colors with ColorID................747 Ways to set up ColorID.............................747 Ways to use ColorID............................747 Chapter 70: Using ColorID ......................... 749 Using ColorID alone............................749 Using ColorID with a colorimeter ........................750 Opening ColorID ...............................750 Assigning the colorimeter COM port......................751 Choosing the Source Palette ..........................752...
Page 15: Book One: Welcome
Book One: Welcome Thank you for purchasing OMEGA™, Gerber’s powerful, yet easy-to-use design and production software for the signmaking and graphics industries. This reference manual is divided into books and chapters, presenting information about the hundreds of tools, commands, and features incorporated in OMEGA. If you review the Table of Contents, you’ll see that the topics are short and task-oriented so that you can quickly find...
Page 17: Chapter 1: Introducing The Omega Programs
Matched Technology System™. Teaming OMEGA with a plotter, scanner or digitizing tablet, and a thermal printer such as the GERBER EDGE FX® or GERBER MAXX 2™, and Gerber materials opens the door for you to enjoy unmatched productivity and quality jobs.
Page 18: Running In Demo Mode
ImageRIP™ is a separately-purchased software option used to convert Gerber Plot (PLT) and Gerber Artwork Definition (GAD) files - as well as many other file formats - to halftones so that you can print jobs on a large format inkjet printer.
Page 19 printing, an OMEGA shop can generate front office paper prints and customer proofs on a system that is not dedicated to designing or outputting signs. Before running in demo mode, OMEGA will always alert the user that the security key has been removed or cannot be detected.
Page 21: Chapter 2: Where To Get Help
Chapter 2: Where to Get Help OMEGA software is user friendly while providing the most powerful package in the industry. However, you may have a question about the purpose of a command or the use of a tool. Help is available for you when you need it. These resources include: About the manuals Three manuals support OMEGA −...
Page 22: Keystroke And Menu Choice Formats
Chapter 2: Where to Get Help Keystroke and menu choice formats The keystroke format shows how keys are used in combinations and sequences. ♦ A plus sign (+) between two key names means to press and hold the first key while pressing the second key.
Page 23: Mouse Terminology
Mouse terminology Mouse instructions use the following conventions: Click means to quickly press and release the mouse button. This is the left (or primary) mouse button unless otherwise stated. Click right or right-click means to quickly press and release the right (or secondary) mouse button.
Page 24 Chapter 2: Where to Get Help To find a topic 1 Click the Contents, Index, or Search tab to display the choice. 2 Scroll through the list. 3 Click a topic in the list to display it in the Topic pane. Tip: If you open the Index tab, a quick way to find a topic is to type a word related to what you want to do.
Page 25: Other Information On The Omega Cd
Other manuals and additional topics are available on the OMEGA CD as PDF files. Browse the CD for the How To’s folder for Accelerator key charts, Distortion charts, and application tips. Gerber FastFacts Gerber FastFacts™ provides answers to technical and service questions. FastFacts are available on the OMEGA installation CD.
Page 26: Specific Technical Support
If you are a Support First™ member, use your toll-free assistance number. For more information on Support First, call 860-644-6971. Gerber web site Visit the Gerber web site to learn about new products, download update files, and e-mail comments and inquiries to us. www.gspinc.com...
Page 27: Chapter 3: Opening And Closing Files
Opening an existing file Open saved Gerber plot (PLT) files or any other file type with the Open command in the File menu. If you already have a saved file open, the Open command opens another file in a new window.
Page 28 Chapter 3: Opening and Closing Files Opening files with layers active in Composer When working with layers, OMEGA assumes that all jobs have at least one layer. Depending on the file type that you are opening, the following applies: ♦ For a file type that does NOT support layers, the file opens in Composer with a single layer which has the same name as the file.
Page 29: Adding A File To An Open Plt File (Importing)
The factory default is to link images. You can set this option as the default using the Preferences button in the Import or Open dialog box. If you import an existing Gerber plot (PLT) file, the state of images in the file is maintained (embedded or linked). The Embed Image checkbox in the Open and Import dialog boxes is only for opening or importing image files.
Page 30 Chapter 3: Opening and Closing Files ♦ For a file type that supports layers you can choose to: ♦ Turn on Keep Layers and the file imports maintaining layers and existing layer names. ♦ Clear Keep Layers and choose Flatten layers to: New Layer to merge all layers.
Page 31: Adding Multiple Files To An Open Plt File (Importing)
Adding multiple files to an open PLT file (importing) You can add multiple files to an open PLT file using the File > Import command. Select multiple files in the Import dialog box using the Shift+click or Ctrl+click method. The files do not have to be of the same type.
Page 32: Placing Multiple Copies Of A File In An Open Plt File
Chapter 3: Opening and Closing Files 7 The next file name to import displays next to the import cursor. Repeat importing all selected files. Press Esc to skip a file. Press Shift+Esc to end all imports. Placing multiple copies of a file in an open PLT file Use Import Continuous in the File menu to add multiple copies of a file to a PLT file.
Page 33: Opening Gerber Clip Art (Gca) Files
GCA files in that folder are included. You can use the Gerber Library files off the OMEGA 2.5 Font CD or you can copy the Library folders from the Font CD and paste them onto your computer in the following location:...
Page 34 4 Enter the password provided when you purchased the Library pack. If the password is missing, contact your Gerber distributor or Gerber Technical Support. 5 Click OK and the chosen GCA file imports into Composer. The other GCA files in the...
Page 35: Closing Files
Closing files After saving a file, close it in File menu. To close a file Click File > Close. Note: If you have modified a file but have not saved it before closing, a message box appears giving you the opportunity to save the file.
Page 37: Chapter 4: Saving Files And Viewing Properties
Chapter 4: Saving Files and Viewing Properties To avoid accidentally losing data, it is important to save your work frequently. Use the Save command in the File menu to save an existing file. Use the Save As command to make a copy of the file with a different name so that you can edit it without changing the original file.
Page 38: Autobackup Feature
Chapter 4: Saving Files AutoBackup feature AutoBackup saves an open document to a temporary file in a user selectable folder. You can specify the interval between AutoBackups (from five to thirty minutes) and have the ability to turn the automatic back up on or off. AutoBackup will not clear the undo stack. For more information refer to “Setting Preferences using Tools >...
Page 39: Saving Files In Formats Other Than Plt
You can choose how to export Small Text and multiple spot color fills through the Export Options dialog box, that can be accessed in the Save As dialog box by clicking Options. ♦ Turn on Convert small text to shapes or clear this option to save the Small Text as Small Text, but you will lose any OMEGA 2.0 formatting.
Page 40: Viewing Document Properties
Chapter 4: Saving Files Viewing Document Properties Click File > Properties to view details of a document including the following: ♦ Date created and modified ♦ File size ♦ Elapsed design time ♦ Print Order vinyls ♦ Fonts used in the file ♦...
Page 41: Tracking Elapsed Design Time
Tracking elapsed design time Design Time Tracking tracks the amount of time spent designing a job and displays it in Composer's Properties dialog box or on the Job Information tab of Windows' Properties dialog box. Click Copy to Clipboard in either location to use this data in other documents. Design Time Tracking is enabled and options are set on the File tab of the Tools >...
Page 42 Chapter 4: Saving Files...
Page 43: Book Two: Understanding Composer Tools
Book Two: Understanding Composer Tools This book describes the basic tools of Composer including how to set up the work surface to suit your working environment and maximize your productivity. You will find all you need to know about working with layers and information on using the basic selection tools in Composer.
Page 45: Chapter 5: Setting Up Composer's Work Surface
Chapter 5: Setting Up Composer's Work Surface OMEGA’s Composer program is where you design jobs. Composer allows you to customize the work surface and change your view of the job while you are working on it. Composer work surface On the left side of the work surface is the Toolbox toolbar and the Layer Manager (if active), across the top are the main menu selections.
Page 46: Displaying Information
Chapter 5: Setting Up Composer's Work Surface Displaying information In Composer, you have the choice to display or hide the status bar, the rulers, and warnings. In most cases, you will want to see the status bar information which includes: ♦...
Page 47: Window Controls
To return the toolbar display to the original preferences Click Tools > Options > View and turn on Restore Original Position. Window controls Composer allows you to have multiple windows open at the same time. These can be either different files or the same file in two windows. One reason to have the same file open in two windows is to work in wireframe in one window and display the job as filled in the other window.
Page 48 Chapter 5: Setting Up Composer's Work Surface To add a reference frame 1 Click Tools > Options > View. 2 Turn on Reference Frame and then click Apply. 3 Click the Layout tab. 4 In the Default Frame for New group box, enter the X and Y coordinates for the lower left corner.
Page 49: Using The Natural Layout Option
Aligning an object in the working area Use the Change Baseline command to automatically align an object in the working area exactly horizontal (parallel to the bottom of the working area). This is especially useful if you accidentally tilt an object when digitizing it. The left end of the baseline is always located at the 0,0 position and the baseline is always exactly horizontal in the working area.
Page 50: Viewing The Design
Chapter 5: Setting Up Composer's Work Surface Viewing the design You can work in the wireframe or filled mode. Filled mode displays the job with the vinyl and fill colors visible. Wireframe mode displays objects as outlines. Wireframe can be modified to suit the way you work through the View menu or on the View tab of the Tools >...
Page 51 ♦ Cut Print Colors causes all objects to be drawn with a solid line using the Cut Only, Print Only, and Cut Print colors. The default colors can be set on the Tools > Options > General tab. ♦ Vinyl Colors causes the objects to be drawn with a solid line using their assigned vinyl colors.
Page 52: Zooming In Or Out On The Design
Chapter 5: Setting Up Composer's Work Surface Zooming in or out on the design Composer provides several ways of zooming in or out on objects. Click one of the Zoom tools or click View > Zoom > Zoom tool to activate the tool. Zoom In magnifies the area where you click one level, or the area that you surround with a rubber band box.
Page 53: Setting Preferences Using Tools > Options
Click OK to close the Options dialog box. General tab The General tab of the Options dialog box contains settings for Composer modes on start-up, Undo, palette scroll speed, colors and sounds. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults.
Page 54 Chapter 5: Setting Up Composer's Work Surface Settings group box Turn on Emulate OMEGA CS (i.e. vinyl only) to force OMEGA CP (Cut/Print) to display jobs as vinyl only, thus imitating the behavior of OMEGA CS (Cut Solution). Turn on Suppress Fill Cuts to create new objects and text that are print only. Suppress Fill Cuts is also a command in the Arrange Menu.
Page 55 File tab The File tab of the Options dialog box contains settings for Composer modes on start-up and save options. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults. General group box Turn on Maximize Work Area at Startup to open Composer with the work space maximized to fill the window.
Page 56 Chapter 5: Setting Up Composer's Work Surface You can specify the location to save the AutoBackup files in the AutoBackup Directory box. Design Time Tracking Turn on Enable Tracking to track the amount of time spent designing a job. Enter the number of Idle Minutes (inactive time in OMEGA) after which to Suspend Tracking.
Page 57: View Tab
The View tab of the Options dialog box contains settings for displaying images, design creation tools, drawing modes, window settings, and toolbars. Click Apply to confirm the settings. Click Defaults to return to Gerber factory defaults. Show group box Turn on Guidelines to display guidelines on the Composer work surface. Turn off this option to hide the guidelines.
Page 58 Chapter 5: Setting Up Composer's Work Surface Turn on Keyboard Rotate Dialog to automatically display the controls for keyboard rotation when you click Shape > Keyboard Rotation. Window group box Turn on Status Bar to display the Status Bar along the bottom of the Composer work space. The Status Bar includes: ♦...
Page 59 place holders use a dotted black line; spot color image place holders use a solid color line in the assigned spot color. Small Text is drawn solid in the color that reflects the fill. Gradient fills are drawn as a cross hatch pattern and clear fills (or no fills) are drawn using diagonal lines.
Page 60: Layout Tab
The Layout tab of the Options dialog box contains settings for tool constraints, Reference Frame settings and Layers options. Click Apply to confirm the settings. Click Default to return to Gerber factory defaults. Constraints Turn on On Axis to allow only vertical or horizontal movement of objects. When adding dimensions to a job, On Axis should be turned OFF to allow the dimension tools to snap to nodes.
Page 61 Layers Turn on Edit All Layers to allow editing on all layers in the job. When this option is disabled, you can only edit the active layer. The default setting is turned on. Group Layers when Merging puts all objects on the same layer and into the same group when merging layers using the Merge Selected Layers or Merge All Layers commands.
Page 62 The Images tab of the Options dialog box contains settings for importing and editing images, Thumbnail settings, and control of temporary embedded images files. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults. Color Type Choose the default Color Type to apply to imported images: ♦...
Page 63 The Detail tab of the Options dialog box contains settings for Detail Edit. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults. Turn on Retain to maintain a closed object when moving a segment. Turn off Retain to create...
Page 64 Chapter 5: Setting Up Composer's Work Surface Turn on Use Select Menu's All/Cancel/Reverse to activate Composer's Select menu shortcuts within Detail Edit, i.e. F2, Select All, F3, Cancel Selection, F4, Reverse Select. Turn on Warning Beeps to activate audible warning beeps. Turn on When Joining, Copy Partially Selected Shapes (Via Menu Command “Join Selected Segments J”...
Page 65 Text tab The Text tab of the Options dialog box contains settings for Fonts and Layout for text. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults. Font group box Default Font for Enter/Edit Text Box Choose a default font to use in the Enter/Edit Text Box from the drop down list.
Page 66 The Palettes tab of the Options dialog box contains settings for background, vinyl and process palettes. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults. See the topic: Setting the default for background and vinyl for details.
Page 67 Note: If you have the OMEGA Monument option, the default Monument settings are loaded on start up. When Use Default Monument Settings on Start is turned on (on the General tab) the default vinyl palette is 220 – GA3.5. You can change the Default Vinyl Color and the Default Background Color, but you must choose a color within this palette.
Page 69: Chapter 6: Using Layers
Chapter 6: Using Layers When working with complex signs it is often difficult to organize and control all of the objects on the work surface. Small objects can get “lost” behind larger objects. Selecting and editing objects can become cumbersome as the number of shapes increases. Layers provide a way to manage complicated jobs.
Page 70: Rules For Designing With Layers
Chapter 6: Using Layers Rules for designing with layers ♦ The layers capability is turned OFF by default. To use layers, you must turn on the Layer Manager in View > Layer Manager. You can change the default setting on the Tools >...
Page 71 objects on that layer. Lock or unlock all layers simultaneously using the Lock All Layers or Unlock All Layers commands in the Layers Menu. ♦ Expand or collapse layers in the Layer Tree by clicking the +/- icon. Use the Expand All Layers or Collapse All Layers options from the Layer Menu to open or control all layers at once.
Page 72: Using The Layer Manager
Chapter 6: Using Layers ♦ Multiple objects on different layers cannot have shape effects such as: Outline, Shadow, Distortion, Warp, or other Effects applied to them. Either move objects to the same layer or handle each layer separately. ♦ Smart Edits cannot be performed if original objects and results are moved to different layers.
Page 73 command in the Layer Menu. Displaying object properties in t Layer Tree The Layer Tree now displays detaile object properties for each item in the tree including vinyl, fill, and stroke information. This information can viewed by holding the mouse over an object in the laye r tree which causes a yellow tip box to display the entire line...
Page 74 Chapter 6: Using Layers Tip: Turning on Object Prope rties can reduce the performance of Composer as the Layer Tree is refreshed with object information. Turning off Object Properties can improve the Composer's performance. Selecting layers and objects Click a layer or object name to select it. Use the Windows Shift+click and Ctrl+click to select multiple layers or objects.
Page 75 Select All The Select All command in the right-click context menu provides an easy way to select all of the objects on a particular layer. Any prior selection is cleared. If one or more objects on the layer are locked, all objects are selected but surrounded by X handles to indicate that there is a locked object in the selection.
Page 76 Chapter 6: Using Layers Changing the order of objects and layers in a job The stacking order of objects and layers in a job corresponds with the order of the objects in the Layer Tree. You can reorder the layers or objects on layers in several ways: Layer Tree Click and drag objects or layers to their new position in the Layer Tree.
Page 77 Arrange menu commands/Arrange toolbar Reorder objects on a layer using the Arrange menu commands or the Arrange toolbar. To Front, To Back, Front 1, and Back 1 commands only work on the layer on which the object resides. The In Front Of or In Back Of commands in the Arrange menu allows you to move the selected object to a different location on the work surface.
Page 78 Chapter 6: Using Layers retain the Smart Edit attributes. If you attempt to move partial blocks of text or partial smart edit results you will be warned that the Smart Edit links will be broken. When creating a job using a series of Smart Edit operations, moving partial results to a different layer results in warnings.
Page 79 Moving combines and layers Combines must reside on the same layer. Combined shapes create this object. If you attempt to move part of a combined group to a differe nt layer you will break the combine and the following warning displays. Turning warnings on and off The layers warning boxes can be turned off using the checkbox in each warning box.
Page 80: Using The Layer Menu
Chapter 6: Using Layers Dimming layers ront of Dimming objects on a layer makes it easier to see objects in f it on the work surface. Layers and their objects can be dimmed t preset dim levels b etween 10 and 90% or to a preset Default dim level.
Page 81 New Layer command Creates a new layer at the top of the stacking order and in front of all existing layers. The layer is named Layer # where # i s the next unused layer number. The new layer automatically becomes the active layer.
Page 82 Chapter 6: Using Layers Duplicate Layer command Creates a copy of the selected layer and inserts it in front of (on top of) the original layer. The copied layer is named Layer X Copy (followed by a number is there is already a copy of the layer, i.e.
Page 83: Object Properties
Grouping objects when merging Objects on a layer can be automatically grouped before layers are merged. Grouping Layers when Merging is controlled on the Layout tab of the Tools > Options dialog box. By default this option is turned off and objects are not grouped when layers are merged. Object Properties…...
Page 84: Print Order And Layers Overview
Chapter 6: Using Layers Print Order and Layers Overview The addition of layers to Composer provides new ways to organize, design, and view your job. You can choose to work with multiple layers or to work on a single layer as done in previous versions of OMEGA.
Page 85 Under standing Print Order in Composer A vinyl co lor can be assigned to objects on different layers and each layer may have different foils assigned to that vinyl. You could also have the same foils in a different stacking order on a different layer.
Page 86 Chapter 6: Using Layers Turn on the Output by Layer oose which checkbox to use laye r to display a layered Print om the drop Order. down list. earrange the foils by d ragging and droppi ng in ck a vinyl to the list or by disp lay the list...
Page 87: Outputting By Layers To Gspplot
Outputting by layers to GSPPlot You can output one or more layers to GSPPlot using the Output by Layers command in the File menu of Composer. Locked or hidden layers are indicated by an asterisk and are automatically deselected on the Output by Layer dialog box. You can choose to send these layers to be output by checking the box preceding the layer name in the layer tree.
Page 88 Chapter 6: Using Layers Keep Layers Flatten Layers Keep layers Turn on the Keep Layers checkbox in the Import or Open dialog boxes to import any existing layers into Compo ser. If an imported layer has the same name as a layer in the Composer job, the name is appended with the next sequential number, i.e., Candy H eart.tif-2, Candy Heart.tif-3, Candy Heart.tif-4.
Page 89 Importing files with cut layers Composer can recognize existing layers and cut information embedded in some Adobe Illustrator (AI), Encapsulated Postscript (EPS), and Corel Draw (CMX) files. When importin the AI or CMX Import Options dialog box displays. Choose the Layer/C ut Options tab to modify the import settings.
Page 90 Chapter 6: Using Layers Creatin g a Cut Contour in Adobe Illustrator define cut objects in Adobe Illustr ator, you must create a layer called CutContour that will contain the cut shapes. The shapes must be filled with a spot color called CutContour. The default color in OMEGA is white (CMYK: 0,0,0 ,0 or RGB: 255,255,255).
Page 91 10 Turn on Cont our Cut Color (RGB or CMYK) and enter the color definition that matches the f ill color defined in Adobe Illustrator. 11 Click OK to import the file. Creating a Cut Contour in CorelDRAW To define cuts in CorelDRAW, create cut objects that have no fill and no stroke. To create a Cut Contour in CorelDRAW 1 Create a new layer to hold the cut objects.
Page 93: Chapter 7: Selecting The Elements Of The Design
Chapter 7: Selecting the Elements of the Design Selecting elements of the design There are several tools and commands that can be used to select elements of the design. Selecting objects with the Selection tool or the Color Selection tool provides access to different functions.
Page 94 Chapter 7: Selecting Elements of the Design Selecting objects on the work surface with the Color Selection tool Use the Color Selection tool to select combined objects. Click an object that has been combined and all objects combined with it are also selected. Note: Objects are automatically combined when they are selected together and filled using the Assign Colors dialog box.
Page 95 C anceling all objects selected 1 1 6 B The Cancel command in the Select menu cancels all objects that are selected. You can also click an empty area of the work surface or Layer Manager window to deselect all. S electing Locked Objects 7 1 B Use the command Select >...
Page 96 Chapter 7: Selecting Elements of the Design...
Page 97: Book Three: Creating The Basic Design Text And Shapes
Book Three: Creating the Basic Design Text and Shapes This book presents OMEGA solutions for basic job design tasks. Whether you need information about something simple, like drawing a box, or something more complicated, such as working with connected fonts and special characters, the chapters in this book tell you what you need to know.
Page 99: Chapter 8: All About Text
Chapter 8: All About Text Entering text You can enter text for the job using three methods - directly on the screen using Text on the Work Surface (TOWS), in the Enter/Edit Text dialog box, or in the Enter/Edit Small Text dialog box (for text smaller than .25 inch (.635 cm or 18 points).
Page 100 Chapter 8: All About Text To enter text in the Enter/Edit Text dialog box 1 Click the Enter/Edit Text tool. The cursor changes to a cross hair with the text symbol. 2 Position and click the cross hair where you want the text to appear on the work surface.
Page 101 To enter text in the Enter/Edit Small Text dialog box 1 Click the Enter/Edit Small Text tool. The cursor changes to a cross hair with the text symbol. 2 Position and click the cross hair where you want the text to appear on the work surface.
Page 102 Chapter 8: All About Text You can adjust the position of each line of text at initial entry or when Smart Editing. In the Enter/Edit Text dialog box, position the cursor in a specific line of text and enter an X,Y position.
Page 103 4 Click OK to return to the work surface. Only the fonts in the chosen categories display in the font list. Tip: After choosing the filter categories you can save the selections as the default by clicking Preferences and OK at the confirmation prompt. The next time you open the Filter by Category dialog box, the preferenced settings remain, as well as the next time you enter TOWS, only the chosen font categories display.
Page 104 Chapter 8: All About Text 3 Click a font category you want to make available in the font list. Use the Windows convention of Shift + click or Ctrl + click to choose multiple font categories. Note: If the current font is not in the selected font category you will see the following warning. This warning can be activated or deactivated in the Enter/Edit Text dialog box.
Page 105 Choosing the font The Most Recently Used (MRU) fonts can be displayed or not displayed in your font drop down list. Click Tools > Options > Text tab to activate the Show Most Recently Used checkbox. For displaying the MRU fonts turn on the box, keep the box unchecked if you don’t want the list displayed.
Page 106 Use the Gerber Installed Fonts selection from GSPTray to access the Fonts Selected for Printing dialog box. This dialog box allows you to: ♦ View a list of all the fonts you have access to. Whether Gerber installed fonts or TrueType fonts converted through the TrueType converter, you can see both the titles and file names of each font.
Page 107 1 Right-click the GSPTray icon to open the Gerber Tray menu. 2 Click Gerber Installed Fonts to open the Fonts Selected for Printing dialog box. 3 If you wish to print the titles and file names of all the available fonts, click Select All.
Page 108: Slanting The Text
Chapter 8: All About Text Slanting the text If you want to add a slant to your characters it can be done at the same time you choose the font and size. To slant a character in TOWS 1 In the TOWS toolbar, highlight the slant box. 2 Enter degree of character slant.
Page 109 To superscript characters in the Enter/Edit Text dialog box 1 In the Enter/Edit Text dialog box, enter text in the Text box. 2 Select the characters for superscripting. 3 Click F6 to open the Superscript dialog box. 4 Choose desired Superscript Type. 5 Click F3/Size Factor.
Page 110 Chapter 8: All About Text Entering and justifying text in lines or columns Text can be justified as you enter it or after you enter it. The controls for justifying are the same in either case. The following procedures are for justifying text as you enter it. There is a tip at the end of each procedure explaining how to justify after entering.
Page 111 3 Choose F3 or F4 for horizontal or vertical alignments and click the alignment choice. Use the preview box on the right of the dialog box to see the effect of choices. 4 Click F11, then enter the text in the Text box. The text does not appear with the selected justification as you type it in.
Page 112 Chapter 8: All About Text ♦ Shift+F11/Composer: Type the text in the Enter/Edit Text dialog box without using connected font character symbols and press Shift while clicking the F11/Composer button with the mouse. In most cases the text is automatically connected as shown in the following illustration.
Page 113 5 Click Esc/Cancel in the Font Select dialog box. 6 Put the cursor next to the character that needs connecting. 7 Click Ctrl + V to copy the connected font character. 8 Repeat steps 4 through 7 until all fonts are connected. Tip: The majority of connected fonts use the left and right parentheses as the closure characters.
Page 114 Chapter 8: All About Text Using the ASCII number to connect fonts Use the ASCII code to enter a character symbol to close a connected font. (If the ASCII number is only two or three digits, add initial zeros so that the number is four digits.) Once you have typed the text in the specified script font, review the text and determine which letters need closure.
Page 115 Entering special characters Most fonts contain special characters normally used with international languages. The following chart provides the ASCII codes for the accented characters for all fonts. The following chart provides ASCII codes for particular alternate characters, such as an additional capital A or S, in all fonts.
Page 116 3 Release the Alt key to have the special character appear in the text box. Entering EDGE fonts Special enhanced EDGE fonts are available for use with Gerber's thermal printers. These fonts are designed to make spectacular painted results as simple as possible. EDGE fonts include pre- assigned colors, tints, and contour cuts.
Page 117: Editing Text
Editing text Once your text is on the work surface you might want to go back and edit any of the following items in your text: font, height, slant, spacing, or wording. You can edit your text right on the work surface using the TOWS tool or you can Smart Edit your text by double clicking on any of the characters in your text.
Page 118: Using Change Case To Alter The Case Of Text
Chapter 8: All About Text 4 Enter the new value. A change symbol will appear where your cursor was placed or at the beginning of the highlighted area. 5 Click F11/Composer to return to the work surface. Note: Click Char Mode button to display Line Mode to change an entire line of text at the same time.
Page 119 To change the spacing between characters in TOWS 1 Click the Text on the Work Surface tool to open the TOWS toolbar. 2 Enter text on the work surface. 3 Click the Character Spacing tool. 4 Click and drag the spacing handles to evenly space the text. 5 Click the Character Spacing tool to return to the work surface.
Page 120 Chapter 8: All About Text To use character kerning in Small Text 1 In the Enter/Edit Small Text dialog box, enter text. 2 Turn on the Enable True Type Kerning check box. 3 Click OK to return to the work surface. Changing the spacing between lines When entering text in TOWS, you can alter line spacing using the Line Spacing text box in the TOWS toolbar.
Page 121: Resetting The Line Spacing
Changing the spacing between columns Use the Column Spacing text box in the Enter/Edit Text dialog box to set horizontal distance between two lines of text. There must be more than one column of text to use the text box. To change the spacing between columns in the Enter/Edit Text dialog box 1 In the Enter/Edit Text dialog box, enter text.
Page 122 Chapter 8: All About Text To set the length of the line in TOWS 1 Click the Text on the Work Surface tool to open the TOWS toolbar. 2 Enter text on the work surface. 3 Put the cursor anywhere in the line of text. 4 Enter a value in the Line Length dialog box.
Page 123: Arranging The Text In The Design
Arranging the text in the design There are different ways of arranging your text in the design. You can move the text around the work surface, rotate the text line by line, and arc the text. Moving the text For details on moving text, refer to “Grouping, Moving, Justifying, and Spacing.” Rotating text You can rotate text on the work surface or through the dialog boxes at the time of entry.
Page 124: Converting Text To Shapes
Converting text to shapes Use the Remove Text Smart Edit command to change either a Gerber font or small text to a series of shapes for ungrouping and detail editing. Once you have used this command it permanently removes the ability to Smart Edit the text.
Page 125: Working With Spell Check
Working with Spell Check Use the Spell Check command to find and correct mistakes. It searches for spelling and capitalization errors, unknown jargon, technical terms, abbreviations, and hyphenations using a primary and custom user dictionary. The primary dictionary is chosen from one of the language dictionaries that come with OMEGA.
Page 126 Chapter 8: All About Text ♦ Start Click this button to begin to spell check the text shown in the dialog box. ♦ Ignore Click this button to skip the highlighted word indicating that the word is spelled correctly. ♦ Ignore All Click this button to skip all instances of this word in the selection. ♦...
Page 127 Setting the Spell Checker Options You can use the Spelling Options dialog box to specify various spell checker options. These options affect the way the spell checker operates. ♦ Ignore Capitalized Words When enabled, any words beginning with a capital letter are ignored (i.e., are skipped over without being checked).
Page 128 Chapter 8: All About Text ♦ Case Sensitive: When enabled, a distinction is made between capitalized and non- capitalized words. For example, canada is considered different from Canada, so canada would be reported as a misspelling. When the option is disabled, canada and Canada are considered identical.
Page 129 Creating a new User Dictionary Click the New Dictionary button in the Spelling Dictionaries dialog box to open the New Dictionary dialog box. You can use the New Dictionary dialog box to specify the attributes of a new user dictionary. ♦...
Page 130 Chapter 8: All About Text ♦ Words list Contains the list of words in the currently selected user dictionary. ♦ Replacement word(s) This field contains an alternate word or words associated with the currently selected word. The replacement word is used in the "Auto change" and "Conditionally change"...
Page 131 ♦ Conditionally change (use case of checked word) This action allows you to optionally replace one word with another. For example, if you often type recieve instead of receive, you might enter the word recieve with receive as the Replacement word and "Auto change (use case of checked word)" as the action.
Page 133: Chapter 9: Creating Shapes
Chapter 9: Creating Shapes Shapes such as rectangles, circles, borders, multi-sided shapes, and lines are easy to draw. The tools required for drawing are in the Construction and Line toolbars. Techniques for drawing on the work surface Construction or Line toolbar tools start the shape where you first click on the work surface. Several techniques can assist you in drawing.
Page 134: Circles And Ellipses
Chapter 9: Creating Shapes Circles and ellipses Use the Circle tool in the Toolbox to draw circles and ellipses. If the Construction tool is not displayed, click the arrow at the lower right corner of the Construction tool or click and hold anywhere in the tool to access the fly-out Construction toolbar.
Page 135 3 Choose a Corner Type in the Corners Type combo box. 4 If the corner type is other than square, type the radius in the Radius text box. 5 Enter a Height and Length to precisely size the border. 6 Enter a border Thickness or enter zero (0) to create a rectangle without a border. 7 Click OK to return to the work surface.
Page 136: Creating A Surround Shape
Chapter 9: Creating Shapes Setting the thickness of the border Use the Thickness text box to set the thickness of the border. Creating a border with no thickness creates a rectangle. The sum of the thickness, inset, and radius values must be less than 50% of the smaller height or length value.
Page 137 3 Choose Surround and click OK to open the Create Surround Shape dialog box. 4 Enter a value in the Margin box to determine the distance from the selected shapes to create the surround box. 5 Turn on Apply current style to create the box using the currently active vinyl, fill and stroke.
Page 138: Multi-Sided Shapes (Stars And Polygons)
Chapter 9: Creating Shapes Multi-sided shapes (stars and polygons) Polygons are multi-sided shapes such as pentagons and stars. If the Construction tool is not displayed, click the arrow at the lower right corner of the Construction tool or click and hold anywhere in the tool to access the fly-out Construction toolbar.
Page 139 Dividing the polygon into equal segments Turn on the Add Segments check box in the Polygon dialog box to divide the shape into equal segments from the points to the center. Rotating the polygon Turn on the Point at Top check box in the Polygon dialog box to rotate the polygon so that one of the points is at the top of the shape.
Page 140 Chapter 9: Creating Shapes Selecting polygons and stars Polygons with an odd number of segments, and all polygons and stars without segments, are selected in the usual way by clicking near them. (You must turn on Add Segments when creating a polygon to have them appear in the shape.) Polygons with an even number of segments, and all stars with segments, come into Composer with an automatic grouping that makes them easier to fill.
Page 141: Adding Gerbercut Targets
Polygon dialog box (in the case of the slant example). Adding GerberCUT Targets GerberCUT is an option for the Gerber Sabre router which permits contour cutting of rigid graphics. GerberCUT uses a vision registration system to automatically locate targets printed on the graphic.
Page 142 Chapter 9: Creating Shapes selected for Automatic Targets is large, the time to generate the targets could be long and OMEGA displays a warning. It is recommended that you select only the surrounding cut shapes rather than all objects in the job. Target Types Targets can be one of three types: filled circles, stroked circles, or inverted (black square with white filled circles).
Page 143: Freehand Drawing
Deleting existing GerberCUT targets There are several ways to delete existing GerberCUT targets. ♦ Select and delete targets as you would any object in your job. ♦ Perform another Corner Target or Automatic Target procedure. Any existing targets will be deleted and replaced with the new targets. ♦...
Page 144 Chapter 9: Creating Shapes 3 Move the mouse to another location and click again to create a line between the two points. Continue clicking to create a series of lines joined by sharp corners. 4 When you are done drawing, click Line toolbar > End Shape Open or End Shape Closed to finish the shape.
Page 145 2 Click Line toolbar > End Shape Open. The shape remains open without connecting the last drawn point to the start point. To create a closed shape 1 Draw a shape. 2 Click Line toolbar > End Shape Closed. The shape automatically closes by connecting the last drawn point to the start point.
Page 147: Chapter 10: Sizing, Slanting, Flipping, And Rotating
Chapter 10: Sizing, Slanting, Flipping, and Rotating You can change the appearance of individual design objects – shapes and text – to modify the original design. You can also change the appearance of groups of objects. There are several ways to change the appearance of groups of objects: for example, you may need to mirror (flip) the word Ambulance so that a car driver can read it in his rearview mirror, you may want to size a circle to make it an ellipse, or change the size and rotation of objects.
Page 148 Chapter 10: Sizing, Slanting, Flipping, and Rotating Changing the size to an exact measurement Precisely size shapes or text to an exact measurement in the Absolute Size dialog box. To change the size proportionally, choose the Uniform Type in the dialog box. To expand or contract from the corner, choose the Lower Left Corner to Size From.
Page 149: Slanting
3 Choose the Size Type. 4 Choose the position to Size From. 5 If you are sizing uniformly, enter the percentage in Size %. If you are sizing non- uniformly there are two Size % boxes to enter both the height and length percentages. 6 Click OK.
Page 150: Flipping Or Mirroring
Chapter 10: Sizing, Slanting, Flipping, and Rotating 3 Choose an Anchor Point option. 4 Enter the number of degrees to change the object in the Angle text box. 5 Click OK. Tip: To slant an object so that its angle matches other objects, use Toolbox > Measure Mode to determine the angle of the others.
Page 151: Rotating
Rotating You can rotate shapes, images, or text visually or precisely (in standard angle degree groups or to a specific angle). Rotation can be around the center of the object or another point on the work surface. Visually rotating around the center of the object Visually rotate shapes, images, or text by selecting and dragging on the work surface.
Page 152 Chapter 10: Sizing, Slanting, Flipping, and Rotating Rotating to a standard angle degree A standard angle degree is a preset (not infinite) rotation selection. Precisely rotate shapes, images, or text to a new standard angle degree by using the computer keyboard. Tip: If the Keyboard Rotate dialog box does not appear, click Tools >...
Page 153 8 Press Esc or Shape > End Keyboard Rotate to complete the rotation sequence. Tip: If the Keyboard Rotate dialog box does not appear, click Tools > Options > View and turn on the Window > Show Keyboard Rotate Dialog Box check box. Tip: You can also select objects in the Layer Tree and right-click to display the context menu where you can select Shape >...
Page 155: Chapter 11: Grouping, Moving, Justifying, And Spacing
Chapter 11: Grouping, Moving, Justifying, and Spacing Objects such as text, single shapes or groups of text and shapes can be moved, aligned and justified, spaced, and measured. The tools used for these actions are the Group and Ungroup commands, the Justify and Spacing dialog boxes, and Guidelines. Grouping and ungrouping After you create shapes and text, you may want to select, move, or align (justify) them as a single unit.
Page 156: Locking Or Unlocking Objects
Chapter 10: Sizing, Slanting, Flipping, and Rotating To temporarily ungroup objects 1 Press and hold down Ctrl. 2 Select the object to ungroup and release Ctrl. 3 Take action on the object. 4 Deselect the object. Tip: You can assign a vinyl color to just one member of a group by using Ctrl+click to select one member and then assigning vinyl to it.
Page 157: Moving Objects On The Work Surface
Moving objects on the work surface There are several ways to move objects on the Composer work surface: dragging the object to a new location or moving the object to an exact location. Visually moving an object Move an object on the work surface by selecting and dragging it. If you need to move several objects, select all of them prior to moving them.
Page 158: Justifying
Chapter 10: Sizing, Slanting, Flipping, and Rotating Moving an exact distance Incremental in the Absolute Move dialog box moves an object by a specific distance from its current position. 1 Select an object. 2 Click Shape > Absolute Move to open the Absolute Move dialog box. 3 Click Incremental, and then enter the X and Y coordinates for the move distance.
Page 159: Adding And Removing Guidelines
Justifying objects using Center of Gravity When center justifying complicated shapes the result is most likely a center justification of the bounding boxes of the objects rather than the objects themselves. The Center of Gravity button provides a more natural looking stack of geometric objects. Normal center justification Center of Gravity justification Adding and removing guidelines...
Page 160: Spacing
Chapter 10: Sizing, Slanting, Flipping, and Rotating To add horizontal or vertical guidelines at an exact position 1 Click Layout > Horizontal or Vertical Guideline to open the dialog box. 2 Enter the position of the guideline in the Location text box. 3 Click OK.
Page 161 ♦ The last selected object is the anchor object. All other objects move in relationship to it. The object closest to the anchor object moves first followed by the next closest, and so ♦ Positioning is based on either the top or left edge of the object. ♦...
Page 163: Chapter 12: Measuring And Dimensioning
Chapter 12: Measuring and Dimensioning Composer has several measure and dimensioning tools to assist you in the layout of jobs. Use these guidelines when choosing which tool is right for your task. ♦ The Measure tool is used to quickly measure objects, distances, or angles on the work surface.
Page 164 Chapter 12: Measuring and Dimensioning Tip: The Measuring tool displays as a yellow measuring tape as shown in the following illustration. If you prefer a thin black line which does not obscure the work surface click the Rubberband Black Line button on the far right of the Measure Mode Property Bar. 3 To turn the displayed measurements into printable objects, click the Convert Tape to Objects button on the Property bar.
Page 165 Measure Mode Property Bar Auto-Retract Measuring Tape ⎯ When the button is turned on (down position) the tape is automatically removed from the screen on the second mouse click. When the button is up, the tape measure and measurements remain on the screen after the second mouse click.
Page 166: Measuring The Distance Around Objects
Chapter 12: Measuring and Dimensioning Measuring the distance around objects Measure the distance around an object using the command in the Shape menu. This information can be useful if you are working with neon signage and you need to determine the amount of glass tubing required.
Page 167: Dimensioning Summary
Dimensioning Summary Dimensioning tools are used to show the actual output sizes of objects in Composer. Dimensions are commonly used to aid in the installation process and as a sales tool for use in customer proofs. Dimension objects can be paper printed from Composer. You must be in Composer's Design View to display dimensions in Print Preview and paper print them.
Page 168 Chapter 12: Measuring and Dimensioning 4 For Angular Dimensions. ♦ Position cursor at vertex, click left. ♦ Move cursor to set the first extension of the angle, click left. ♦ Move cursor to set the second extension of the angle, click left. ♦...
Page 169 6 For Object Dimensioning. ♦ Select the object. ♦ Position cursor on one of the handles, than move and click left to set both the horizontal and vertical dimension. Selecting dimensions Select existing dimensions to edit them. You can select individual dimension objects by double clicking them using the shape pointer.
Page 170: Understanding Dimensioning
Chapter 12: Measuring and Dimensioning To edit existing dimensions Using the shape pointer, double click on an existing dimension object. The active tool becomes that dimension tool and the edit circles are made available to change the dimension object size or extension lines.
Page 171: Dimensioning
Dimensioning Terminology Annotation – A job or drawing related note created with the annotation dimension tool. Arrowheads – Termination symbols, arrowheads mark the intersection of the dimension line with the extension lines. The arrowheads indicate the end points of the measurements. Constraints –...
Page 172: The Dimensions Toolbar
Chapter 12: Measuring and Dimensioning Leader Line – A line leading from an annotation to an arrowhead marked point on the drawing. Linear Dimension – The form can be horizontal, vertical, or aligned. Prefix – A constant text string attached in front of the dimension text. Suffix –...
Page 173 Horizontal Dimension tool The horizontal dimension tool allows the user to create and edit horizontal dimensions. A horizontal dimension has a horizontal dimension line, measuring a distance parallel to the x-axis. Refer to the illustration below for an example of a horizontal dimension.
Page 174 Chapter 12: Measuring and Dimensioning Angular Dimension tool The angular dimension tool allows the user to create and edit angular dimensions. An angular dimension indicates an angle in the drawing. The creation procedure of an angular dimension with this tool depends on the state of the Set Vertex button, which is found on the Dimension property bar.
Page 175 Annotation tool The annotation tool allows the user to create and edit annotations. An annotation is a note attached to a drawing. Object Dimension tool Note: On Axis must be turned OFF in Composer to allow dimension tools to snap to the corners or nodes of objects.
Page 176: Dimensioning Properties Toolbar
Chapter 12: Measuring and Dimensioning Dimensioning Properties Toolbar Each tool in the Dimension Toolbar has customizable properties that will present themselves when you have chosen one of the dimensioning tools. These properties can be found on the Property tool bar. Below is the Dimension Tools properties box in its entirety. Global Changes –...
Page 177 Arrowhead features: ♦ Extension lines travel past dimension lines by a default distance of 0.18". ♦ The arrow filled, arrow blanked, arrow closed and arrow open all have an 18 to 20 degree angle. These types have a default arrow height (base to tip) of 0.18" ♦...
Page 178 Chapter 12: Measuring and Dimensioning Representation – The Representation drop down list allows the user to configure the representation of the measurement. Two styles are available for distance measurements, decimal and fractional. If using angular dimensions, the measurements will appear in degrees, either decimally or fractionally.
Page 179 Vertical Text Position – This drop down tool bar allows the user to set the vertical position of the text relative to the dimension line. Three settings are available, Above, Center, and Below. Text Angle – This drop down list allows the user to set the text angle.
Page 180 Chapter 12: Measuring and Dimensioning Font Style – This button allows the user to select a font style (Regular, Bold, Bold Italic, or Italic) for the dimension text. Font Height - This button allows the user to select the height of the dimension text. Convert to Objects –...
Page 181: Book Four: Adding Color To The Design
PANTONE® and Gerber’s trademarked EDGE Match™ and Spectratone color charts ensure that the color you design in is the color you print. OMEGA even provides a color management system that allows you to calibrate the monitor, scanner, and printer to each other for maximum viewing and designing accuracy.
Page 183: Chapter 13: Current Style Affects The Color In The Design
Chapter 13: Current Style Affects the Color in the Design The current style is comprised of the following items: vinyl, fill, stroke, and background color. Composer assigns a style to the object when you create it. This section: ♦ defines current style ♦...
Page 184: Setting The Current Style
Chapter 13: Current Style Affects the Color in the Design Setting the current style Composer automatically assigns the current style to all newly-created objects. It is set as follows: ♦ When a new file is opened, the current style is white vinyl, no fill, and no strokes (indicated by an X in the fill/stroke color display box).
Page 185: Making A New Current Style Without Selecting An Object
Making a new current style without selecting an object To change the vinyl color 1 Click View > Vinyl Palette > Show Palette to open the current vinyl palette. 2 Click the new color. To change the background color 1 Click View > Vinyl Palette > Show Palette to open the current vinyl palette. 2 Click and drag the new color to the background.
Page 186: Assigning The Current Style
Objects are normally created with cutlines. However, there may be times when you do not want print objects to be cut, for example printing GERBER EDGE fonts. The Suppress Fill Cuts command in the Arrange menu allows you to create new shapes and text that are print only. To use the Suppress Fill Cuts command, turn it on first, then select one of the following design tools: text, box, circle, border, or line/digitize.
Page 187 When Suppress Fill Cuts is on (check mark next to the command): ♦ objects are cut-only when there is no current fill (otherwise, nothing would be created) ♦ objects are print-only when there is a current fill ♦ EDGE fonts are print-only, with no cutlines Tip: You can turn on Suppress Fill Cuts on the TOWS toolbar when creating text.
Page 189: Chapter 14: Making, Using, And Editing Palettes
A palette is the collection of colors available in a particular vinyl family, foil spot group or foil process group. Gerber offers several palettes to use when adding color to your job. For instance spot foil palettes: ColorSet Series 1000, Gerber Standard Foil, Gerber LT Series Foil and Gerber Spectratone.
Page 190 Chapter 14: Making, Using, and Editing Palettes To display the job palette Click View > Job Palette > Show Job Palette to open the job palette which will be displayed at the bottom of the work surface. The Job Palette contains swatches for vinyls, spot foils, process foils, and GerberColor Spectratone foils that are used in the job.
Page 191: Making A Job Palette Using Gerber Vinyl
♦ Open the job palette. (described previously ♦ Assign colors to ob jects from the open Gerber vinyl palette. As you assign the colors to the objects, they become part of the job palette. ♦ Save the job palette to use in the future.
Page 192 Chapter 14: Making, Using, and Editing Palettes To refresh the job palette 1 Click the Refresh button to the left of the job palette, the job palette will redraw with current vinyls an d foils in the job. 2 Click Edit > Job Palette > Refresh Job Palette to update the job palette through the menu.
Page 193: Using Palette Manager
Use the Palette Manager to view the available colors in all existing vinyl and foil palettes, create a new palette or edit an existing user palette. Gerber palettes are preset vinyl, spot, and process color palettes. All Gerber palettes start with the letters GSP and carry the .PAL extension, such as GSP220.PAL (a vinyl family palette), GSPFOILS.PAL (a spot color palette), and GSPPROC.PAL (the process color palette).
Page 194 Chapter 14: Making, Using, and Editing Palettes 4 Use the scroll arrows next to the CMYK or RGB values to create a color. The color appears in the preview box. 5 Type the name of the new color in the Name text box. 6 Click Edit >...
Page 195 1 Click Start > Programs > GSP OMEGA > PALman. A prompt appears on screen. 2 Choose No, the Open Palette (PAL) File dialog box opens. 3 Choose the desired Gerber Palette, click Open, and the Palette Manager opens. To open Palette Manager through Fill/Stroke 1 Click either the Fill or Stroke button in the Toolbox toolbar to open the Assign Colors dialog box and view the current palette.
Page 196: Using Gerber Palettes In Adobe Illustrator And Coreldraw
9.0 or higher or CorelDRAW® 10 or higher. By copying these custom color palettes into Adobe Illustrator or CorelDRAW you can create designs using Gerber vinyl and spot foils. If you use Gerber color palettes when designing in Adobe Illustrator, your job imports into OMEGA while maintaining Gerber named colors.
Page 197 Adobe Illustrator and other operating systems. The Adobe Illustrator Palettes folder on the OMEGA CD contains the Gerber vinyl and spot foil palettes for Adobe Illustrator. Copy the Adobe Illustrator palette files (.AI) to the Adobe Illustrator program folder to make them available in the program.
Page 198 Illustrator 10\Presets\Swatches folder they are available in Adobe Illustrator. Gerber vinyl and foil palettes are RGB files. Set your document color mode to RGB when designing in Adobe Illustrator for the best color translation into OMEGA. Click File > New and choose RGB Color.
Page 199 CorelDRAW and other operating systems. The CorelDRAW Palettes folder on the OMEGA CD contains the Gerber vinyl and spot foil palettes for Corel Draw. Copy the CorelDRAW palette files (.CPL) to the CorelDraw program folder to make them available in the program.
Page 200 Once you have loaded the Gerber vinyl and foil palettes to the Corel/Graphics/Custom/ Palettes folder they are available in CorelDRAW. Gerber vinyl and foil palettes are RGB files. When you design in CorelDRAW using Gerber palettes, the fills are in RGB color mode. The RGB color mode provides the best color conversion results.
Page 201: Chapter 15: Understanding Vinyl Colors
Chapter 15: Understanding Vinyl Colors When you create objects, they are automatically assigned the vinyl color of the current style; however, sometimes you want to change that color. This section explains how to change the vinyl colors of your objects. You can work in both the wireframe mode and the filled mode.
Page 202 Chapter 15: Understanding Vinyl Colors To assign a vinyl color directly from the vinyl palette 1 Select an object. 2 Choose a color on the vinyl palette. 3 The selected vinyl is assigned to the object and appears in the Job Palette and on the Status Bar.
Page 203: Selecting Objects Of The Same Vinyl Color
4 Click a vinyl color from the vinyl palette. Your color choice appears outlined. 5 Click Select to return to the Image Fill dialog box. 6 Click OK to change the image to the new vinyl color. The selected color also appears under the Fill Color block with the name and number of the color, and in the Vinyl in Job palette.
Page 205: Chapter 16: Changing Vinyl Colors To Spot Foil Colors
Chapter 16: Changing Vinyl Colors to Spot Foil Colors Imported clip art and vinyl-only jobs can be changed to spot foil print jobs for a thermal printer using the Posterize Shapes command in the Tools Menu. The posterizing process automatically matches the original design colors to the closest spot foil colors.
Page 206: Understanding The Posterize Selected Shapes Dialog Box
Chapter 16: Changing Vinyl Colors to Spot Foil Colors Understanding the Posterize Selected Shapes dialog box Only closed shapes can be posterized. The Posterize Selected Shapes dialog box has four palettes and one check box: ♦ Vinyl Color palette ♦ Foil Color palette ♦...
Page 207 3 Choose the vinyl color to use for printing from the Vinyl Color palette. 4 Click OK. Tip: To create special effects, you may want to choose a colored vinyl instead of printing with white vinyl. Choosing the foil color Use the Foil Color palette to choose a color sample that appears to be the closest match to one of the colors displayed in the top row of the Reference Color palette.
Page 208 Note: If the name is “unknown” it means that the reference color is not a Gerber vinyl color. This is not a problem; the posterize program still matches a vinyl color that it cannot identify by name.
Page 209: Posterizing A Job
Reviewing the Foil Used Color palette The Foils Used Color palette shows any foil colors used in the selection. For example, if you bring a job into the posterize program that has multiple vinyl colors and some shapes filled with foil colors, the foil colors appear in the Foils Used Color palette. You must reselect any foils in the Foil Used Color palette if you still want them in the job.
Page 210: Troubleshooting
Chapter 16: Changing Vinyl Colors to Spot Foil Colors Troubleshooting ♦ Shapes are not automatically combined after posterizing. Shapes that need to be combined, such as text, must be manually combined using the Combine On command. Refer to the “Making the Design Print Correctly” for more information about combining shapes.
Page 211: Chapter 17: Filling Objects With Colors For Printing
For more information on these individual palettes, refer to “Making and Editing Palettes”. There are special types of spot palettes, such as Gerber Spectratone. For more information on Spectratone refer to "Making and Using Spectratone Chart Colors".
Page 212 Chapter 17: Filling Objects with Color for Printing To assign fill attributes for printing 1 Click Fill to open the Fill tab of the Assign Colors dialog box. 2 Choose None, Clear, Solid, Gradient, Linear, or Radial from the Fill Type group box. 3 Choose Spot or Process from the Color Type group box.
Page 213: Filling With A Clear Fill
To remove a fill from an object 1 Select a filled object. 2 Click Fill to open the Fill tab of the Assign Colors dialog box. 3 Click None in Fill Type. 4 Click OK. Tip: To remove a fill from an object, select the object and click Fill Off on the Fill toolbar. Clicking Fill Off sets the fill in the selected object and the current style to None.
Page 214 Chapter 17: Filling Objects with Color for Printing Choosing a linear spot foil fill Linear fills create fades from one tint percentage to another. The Position box in the Tint group box places the fill based on the percentage from 1 to 100%. The Linear angle applies the fill at any angle from –180 to +180 degrees.
Page 215 To set the angle of a linear fill using the Get Measured Angle Tool 1 In Composer click the Measure tool. The pointer becomes a crosshair ruler pointer. 2 Click and drag the pointer to set the angle. Release the mouse button and the angle value is copied to the clipboard.
Page 216: Filling With A Process Foil
Chapter 17: Filling Objects with Color for Printing 8 Enter X and Y % offsets in the Radial Center Offset group box or click inside the sample fill box and visually adjust the radial center. A preview of the radial center shows in the sample fill box.
Page 217 To choose a linear process fill 1 Click Fill to open the Fill tab of the Assign Colors dialog box. 2 Choose Linear in the Fill Type group box. 3 Choose Process in the Color Type group box. 4 Choose a palette in the drop down list. 5 Click the color sample button to open the process color palette and select a color, then click Select.
Page 218: Filling With A Gradient Fill
Chapter 17: Filling Objects with Color for Printing To choose a radial process fill 1 Click Fill to open the Fill tab of the Assign Colors dialog box. 2 Choose Radial in the Fill Type group box. 3 Choose Process in the Color Type box. 4 Choose a palette in the drop down list.
Page 219 3 Choose Radial or Linear in the Fill Type group box. 4 Choose Spot in the Color Type group box. 5 Enter a Position value or double-click the right or left box of the position slider. A black arrow appears on the position slider. 6 Choose a spot color from the scrolling palette.
Page 220 Chapter 17: Filling Objects with Color for Printing Applying multiple process colors to a gradient fill When creating either a linear or radial fill you can use multiple colors when filling an object. For an example of a job with more than one color go to C:\jobs\learning\multicolors. To apply multiple process colors to a gradient fill 1 Select the object.
Page 221: Filling With Spectratone Colors
The basic procedures for filling objects are described in “Filling Objects with Colors for Printing” and “Strokes — Adding Thickness to the Outline of Objects.” The key to a Spectratone fill is to select Spot as the Color Type and Gerber Spectratone as the palette. To assign a Spectratone fill...
Page 222 Chapter 17: Filling Objects with Color for Printing 2 Choose the Fill Type. In Color Type turn on Spot Color and choose Gerber Spectratone Palette to open the Spectratone group box. 3 Determine the fill color name from the Spectratone chart.
Page 223: Editing Fill Attributes
8 Enter new Tint values in the Top and Base boxes. 9 To edit the fill, select the color position arrow (it will turn black) and change the location or tint. 10 If using Linear Fill, enter the angle in the Linear Angle group box. If using Radial Fill, enter the X and Y% offsets in the Radial Center Offset group box.
Page 224 Chapter 17: Filling Objects with Color for Printing Editing fill attributes with the All option When editing the fills of multiple objects the All options in the Assign Attribute box applies all of the attributes in the dialog box to the selected objects. For example, if you select a red box and then a blue box, the Assign Colors dialog box shows a blue fill (because the last shape selected had a blue fill.) If you change the halftone and choose the All option, when you return to the work surface the red box will now have a blue fill and the chosen halftone.
Page 225: Naming Custom Process Colors
Naming custom process colors You can create a custom name for a process color in the Assign Colors dialog box. Click the Edit button to open the Color Edit dialog box. The Auto Update Name check box controls the modification of the color name that is displayed in the right corner of the status bar in Composer.
Page 226: Automatically Convert Process Fills To Spot Fills
Automatically convert Process fills to Spot fills Use the Assign Colors dialog box to easily convert Process color fills to Gerber Spot color fills. The fills are mapped to the best-matched Spot color and a Tint percentage is applied. This technique works for both single color and gradient fills.
Page 227: Chapter 18: Choosing And Assigning Halftones
Although OMEGA software will allow for a complete range of halftones, it is best to use larger halftone dots (a lower LPI) for optimum printing with the GERBER MAXX. A Non-Optimized Halftones Detected dialog box appears when a MAXX 2 job is sent to print if the chosen...
Page 228 GerberTone STC Photo is designed for use with bitmaps or other images when printing to the GERBER EDGE, EDGE 2, EDGE FX, and MAXX 2. It provides a wide range of colors and intensities at variable lines per inch (LPI) settings. When using GerberTone STC Photo with the MAXX 2, the LPI range is 4 to 35 LPI.
Page 229 The following chart provides LPI guidelines for Gerber thermal printers based on the size of the job and image/fill type. Output size: 5.8 inches or less Output size: 5.8 inches or more Photographs: 55 to 70 LPI Photographs: 45 to 60 LPI...
Page 230: Non-Optimized Halftones Detected
Let Me Pick My Halftone automatically opens the Substitute Halftone dialog box where you can choose a different halftone and LPI setting. Cancel Printing stops printing. To print the job, you must send it to the GERBER MAXX 2 again.
Page 231: Printing With Non-Optimized Halftones When Auto-Substitution Is On
2 Click Halftones… to open the Substitute Halftones dialog box. 3 Choose the MAXX tab. 4 Turn off the two check boxes: Substitute Halftones for Gerber MAXX and Auto- Substitution. 5 Click OK to return to the Print Options dialog box.
Page 232: Editing Halftones
When using Classical Dot or Spiral Dot as the substituted halftone type for GERBER MAXX jobs, you can enter in an LPI value between 4 and 35 LPI. When using GerberTone Maxx, you...
Page 233 ♦ When importing an image or vector file directly into the GSPPlot program. When using Classical Dot or Spiral Dot as the substituted halftone type for GERBER EDGE output, you can enter in an LPI value between 4 and 300 LPI (although the practical range of LPI settings is usually in the lower range).
Page 235: Chapter 19: Choosing A Fill Color That Matches Printer Output
• assign a PANTONE color fill (as described in “Filling with PANTONE Colors”) ™ • use the separately-purchased Gerber ColorID option (as described in “Matching Colors with the ColorID Option”). Printing EDGE Match Color Matching System charts Two plot files contain the 12 charts of the EDGE Match Color Matching System. The following is a sample of one of the charts.
Page 236: Choosing And Assigning An Edge Match Color
Chapter 19: Choosing a Fill Color that Matches Printer Output C:\Jobs\Samples\EM50_100.PLT 3 Click Print to Device in the tool bar. The printer prints six of the color charts using process colors. 4 Repeat steps 2 and 3 to print the other color match PLT file (the remaining six charts). Choosing and assigning an EDGE Match color EDGE Match colors are process colors.
Page 237 6 Click the Y% sample at the bottom of the dialog box that is the same percentage as the title of the chart you are matching to noted at step 2. 7 Click the sample color box that corresponds to the magenta and cyan percentages noted at step 2.
Page 239: Chapter 20: Making And Using Gerbercolor Spectratone Colors
Making and Using GerberColor Spectratone Colors Overprinting two Gerber spot colors produces GerberColor Spectratone colors. The result is a spectrum of colors far exceeding the standard spot foil palette. OMEGA includes a Spectratone program to print a color chart based on the foil colors in your inventory. You can then use the chart to determine the fill color to apply to an object.
Page 240: Making A Spectratone Chart Of Some Colors In Inventory
Chapter 20: Making and Using GerberColor Spectratone Colors 2 Choose the material to print the chart on in the Substrate drop-down list. 3 In printer, choose the thermal printer to use. 4 To print both contributing colors plus the Spectratone color, turn on lead-in. Turn off lead-in to print the resulting Spectratone color only.
Page 241 ♦ You can quickly switch base and top foils by printing one chart with the new foil as Base Foils, then click Swap Selection to automatically switch the base and top foils and print the chart again. ♦ You should turn on Group by Base Foils to make the chart more readable. Note: Do not select any foil colors in the list box that you do not have in your inventory.
Page 242: Printing A Chart Of Spectratone Tints
5 Choose a new foil color and click OK. 6 Repeat steps 4 and 5 with the remaining top or base color. 7 Click OK to close Print Options and return to GSPPlot. 8 Output to a Gerber thermal printer.
Page 243: Filling Objects With Spectratone Colors
The basic procedures for filling objects are described in “Filling Objects with Colors for Printing” and “Strokes − Adding Thickness to the Outline of Objects.” The key to a Spectratone fill is to select Spot as the Color Type and Gerber Spectratone Palette as the palette. To assign a Spectratone fill 1 Select an object and open the Assign Colors dialog box.
Page 245: Chapter 21: Assigning Pantone Colors
Chapter 21: Assigning PANTONE Colors The Composer Assign Colors dialog box contains a process foil palette of Gerber simulations of PANTONE® solid colors. For best results when printed on a Gerber thermal printer use Gerber process color foils, OMEGA software, and Scotchcal Series 220 and Series 225 gloss white vinyl.
Page 246: Using Colorid To Choose Software Simulations Of Solid Pantone Colors
PANTONE color number in the Assign Colors dialog box and then click the PANTONE Color button. When Gerber ColorID displays, PANTONE is already chosen as the Source Palette. You can choose the Matching Target Palette (GerberColor Foils, Spectratone, etc.) and the PANTONE Source Color.
Page 247: Chapter 22: Strokes ⎯ Adding Print Thickness To The Outline Of Objects
Chapter 22: Strokes ⎯ Adding Print Thickness to the Outline of Objects What is a stroke? A stroke is a print-only attribute added to vector objects using the Stroke tab of the Assign Colors dialog box. A stroke adds thickness to the outline of an object without adding additional shapes to the design.
Page 248 Chapter 22: Strokes ⎯ Adding Print Thickness to the Outline of Objects Stroke Types ♦ None ⎯ this is the default, turns strokes off ♦ Clear ⎯ utilizes the underlying vinyl color in the design. Clear strokes simulate a foil in Composer, but a foil is not requested at the printer.
Page 249 Stroke Attributes ♦ Width ⎯- when you enter a value in the Width text box, half the stroke width will be on each side of the cutline or edge of the vector object. ♦ End Type ⎯ determines the type of end that will be applied to the ends of open line segments in open objects.
Page 250: Editing Stroke Attributes
Chapter 22: Strokes ⎯ Adding Print Thickness to the Outline of Objects ♦ Overlap and Overprint ⎯ Strokes can be overlapped or overprinted onto objects beneath them, butt-registered, or knocked out. See “Overlapping and overprinting colors” for more information. ♦ Primer ⎯ Apply a primer to the stroke when you assign its fill rather than in GSPPlot. Note: The combination of the stroke color overprinting the fill color can inadvertently create a Spectratone color (see “Making and Using Spectratone Chart Colors.”) Depending on the colors involved, the Spectratone color area may be so noticeable as to be undesirable.
Page 251: Global Stroke Width Editing
Tip: You can update stroke colors using the click and drag method and the on-screen palettes. When you touch the edge of the stroked object with a foil swatch the color is assigned to the stroke. It may be helpful to zoom in on the object so that you do not inadvertently change the fill color.
Page 252: Converting Strokes To Shapes With Expand Strokes
Chapter 22: Strokes ⎯ Adding Print Thickness to the Outline of Objects 4 Enter a scale factor between 0.01 and 100.00 and click Scale to multiply all of the Current stroke width by that factor. 5 Click OK to apply the new stroke widths to the job. Converting strokes to shapes with Expand Strokes The Expand Strokes command in the Tools menu converts any selected objects (including text) that have a stroke into new, separate shapes that contain fills.
Page 253 When applying Expand Strokes to objects that are print and cut, the strokes become print and cut shapes. If the stroked object has cuts turned off, the expanded strokes become print-only shapes. Revert Expanded Strokes back to OMEGA strokes by double-clicking the object using the Selection tool.
Page 254 Chapter 22: Strokes ⎯ Adding Print Thickness to the Outline of Objects...
Page 255: Book Five: Making The Design Print And Cut Correctly
Book Five: Making the Design Print and Cut Correctly To be productive, it is important to understand the steps needed to correctly design a printed job. This chapter describes the 5 steps to follow to ensure that your printed job will be successful the first time.
Page 257: Chapter 23: Before Printing Or Cutting, Check The Design
Chapter 23: Before Printing or Cutting, Check the Design Using the Select and View menus to check a job When used together, the Select menu and the View menu can be useful to help diagnose and verify job attributes before outputting the job to a printer or plotter. Select Menu The Select Menu is a quick way to verify AND select shapes with specific colors, fill types, object types, and other attributes.
Page 258: Checking And Selecting Vinyl Colors
Chapter 23: Before Printing or Cutting, Check the Design Checking and selecting vinyl colors Verify that the job has the vinyl colors you have assigned before sending it to be print or cut. Open the Select By Vinyl dialog box to view all the vinyl colors that are assigned to the job. Vinyls on hidden or locked layers cannot be selected using the Select >...
Page 259: Checking And Selecting Fills And Strokes By Color Type
2 Verify that the fill and strokes have the correct colors assigned to them. 3 Click one of the spot or process colors in the dialog box, then click OK. 4 The objects that have the assigned spot or process colors are then selected on the work surface.
Page 260: Checking And Selecting Which Objects Will Cut, Print, Or Both
Chapter 23: Before Printing or Cutting, Check the Design Checking and selecting which objects will cut, print, or both Check your design before printing by using commands in the View and Select menu. Viewing objects that Cut, Print, or Cut/Print Hidden layers or objects do not display on the work surface when using the View commands.
Page 261: Checking And Selecting Images And Image Templates
♦ Click Select > Cut/Print to select objects that have both fills or strokes and cutlines. At least one object in the job must have a print attribute and a cutline assigned for this command to be available. Checking and selecting images and image templates Use Select >...
Page 262: Checking And Selecting Clipping Paths
Chapter 23: Before Printing or Cutting, Check the Design tree. You cannot select locked objects on a locked or hidden layer using this command. If there are no locked objects in the job, then Select > Locked Objects is unavailable. ♦...
Page 263: Chapter 24: Five Steps To Successful Output
Tip: After you check and assign the vinyl color using the vinyl palette, the Arrange toolbar contains the tools for steps two through five to successfully create a Gerber thermal printer job. Click View > Toolbars and turn on Arrange to display the toolbar.
Page 264: Check And Assign Fills And Strokes
Chapter 24: Five Steps to Successful Output window. Click the Refresh Job Palette button to update the vinyl colors in the job. The first color is the background or substrate color and will not output. The subsequent colors are the vinyl colors that will be output in the job. To assign a single vinyl color to the entire job 1 Click Select >...
Page 265: Combining And Filling Groups For Printing
Arrange menu commands/Arrange toolbar There are six commands that move objects forward or backwards in the stacking order. You can use the Arrange menu commands, the Arrange toolbar buttons, or access the commands by right-clicking an object in the Layer Manager. ♦...
Page 266 Chapter 24: Five Steps to Successful Output Combined objects fade continuously. For example, a radial fill assigned to three objects will look different if the three objects are combined or if they are uncombined. Combines and layers Objects must be on the same layer to combine. If you combine objects that reside on different layers the objects are automatically moved to the layer of the last selected item.
Page 267: Chapter 25: Solving Printing And Registration Problems
Chapter 25: Solving Printing and Registration Problems Occasionally, a job may print differently than what you expected. There are some tips and techniques that you can use to determine what happened and how to change the design or production of the job to achieve the effect you want. Check the job If a job does not print or cut as you expected, review “Before Printing or Cutting, Check the Design”...
Page 268: Poor Print-To-Print Registration
Chapter 25: Solving Printing and Registration Problems To assign a bleed to an object 1 Select a filled object, then click Tools > Bleed to open the Bleed dialog box. 2 Choose the corner style to apply. 3 Enter the bleed amount in the Bleed Cut text box. 4 Click Continue.
Page 269 With either overlap or overprint turned on, both the dark shape and the light shape print entirely. In this example, the light prints first then the dark prints over the light. Overlap and overprint can also be used to create interesting designs, especially if the lines per inch or fill of the two colors are different.
Page 270 Chapter 25: Solving Printing and Registration Problems To apply overlap or overprint to a stroke 1 Apply a stroke to a filled object and select the stroke. 2 Open the Stroke toolbar in the Toolbox toolbar. 3 Click the Overlap button Click the Overprint button.
Page 271 ♦ Turn Behind Fill off and turn on Overlap: The stroke prints on both sides of the cutline and over the fill. This is an effective technique for providing good print-to- print registration; however, if you cut the shape on a plotter, half the stroke (the area beyond the cutline) will be weeded away.
Page 272 Chapter 25: Solving Printing and Registration Problems Eliminating a print-to-print registration gap A trapline is composed of a bleed and an overprint. The bleed is the same fill as in the original shape and is printed away from the border of the original shape. A different fill, called thickness, is printed over and beyond the bleed, thus eliminating a registration gap while adding an outline.
Page 273 5 Choose the corner style to apply. 6 Enter the Thickness in the text box. 7 Enter the Bleed amount in the text box. 8 Click Continue. Note: The Trapline Off button in the dialog box appears after a trapline is assigned and is used to remove a trapline when Smart Editing.
Page 274 Chapter 25: Solving Printing and Registration Problems 7 Enter the Bleed amount in the text box. 8 Turn on the Bleed Cut On check box. 9 Enter the Bleed Cut amount (the distance to print beyond the edge of the thickness) in the text box.
Page 275: Optimizing The Print Registration Of Black
2 Choose the top color (which should be the darkest color if the design allows this). 3 Choose the corner style to apply. 4 Enter the Choke/Spread Amount in the text box. 5 Click Continue. Note: The Choke/Spread Off button in the dialog box appears after a choke/spread is assigned and is used to remove a choke/spread when Smart Editing.
Page 276: Changing The Vinyl And Foil Print Order
Chapter 25: Solving Printing and Registration Problems Changing the vinyl and foil print order As you design a job, you have the option to work on a single layer with a flat print order or using layers with either a flattened or layered print order. On a single layer you can change the order of the vinyls using the Front/Back commands.
Page 277 To change the vinyl order 1 Click Arrange > Print/Output Order to open the Print/Output Order dialog box. 2 For layered jobs select a layer from the drop-down menu. 3 Click the vinyl color to change. 4 Drag the vinyl to a new location in the list. Repeatedly click the Up or Down button to change the location of the vinyl in the Print/Output Order.
Page 278: Printing A Light Color Over A Darker Color
Chapter 25: Solving Printing and Registration Problems Printing a light color over a darker color A primer can be used to solve opacity problems such as trying to print a light foil color (yellow, for example) over a darker vinyl color (like purple). Primers can be used under both fills and strokes.
Page 279: Correcting Colors For Images
To change the darkness of the print 1 Click the Settings button in the Print Options dialog box to open the Print Settings dialog box. 2 Click the scroll arrow to open the vinyl family list and choose the vinyl family for which you will change the print setting.
Page 280 Chapter 25: Solving Printing and Registration Problems To manually choose color correction Turn off the Auto Select check box in the Print Option dialog box. The Color Correction list box is available for you to make the choices for printer, substrate, foil and halftones. Turn off the Auto Select check box and turn on GA Correction in the Print Options dialog box to match old GA jobs.
Page 281: Book Six: Color Management And Importing/Exporting Files
Book Six: Color Management and Importing/Exporting Files OMEGA Color Management is easy-to-use and allows you to see on-screen what colors will look like when they are output to a printer or plotter. Color Management is also an important factor in the successful importing and exporting of files. This chapter describes OMEGA Color Management and explains how to import or export industry standard file types.
Page 283: Chapter 26: Practical Hands-On Color Management
It is easier to change a color on-screen as opposed to changing it after it is printed. GERBER OMEGA Color Management is carefully configured to provide good results with little intervention from the user. You don’t have to know how to use it; it just works! Simply follow the steps.
Page 284 Installing Gerber Device Profiles using the P rofile Manager OMEGA 2.5 or newer includes a Gerber Profile Library CD. You must install new ICC device profiles or reinstall previously removed profiles for Gerber imaging devices using the Gerber Device Profile Manager and the Profile Library CD.
Page 285: Step 2: Setting Up Image Thumbnail
choose a color profile when importing image files 1 Click File > Color Management to open the Color Management dialog box. 2 Choose Always Ask from the CMYK drop-down list. 3 Choose Always Ask from the RGB drop-down list. 4 Choose Always Ask from the Grayscale drop-down list. 5 Click OK.
Page 286: Step 3: Assigning The Vinyl Family
Composer or in GSPPlot. If vinyl cutting, it will show colors accurately. If printing to a Gerber EDGE, EDGE 2, EDGE FX, or MAXX 2, it automatically chooses the proper color and ene rgy settings when printing.
Page 287: Chapter 27: Importing Files Into Composer
File > Import or File > Open commands. In the Import and Open dialog boxes you can preview files, import with cutlines, and convert text to Gerber fonts. During conversion, there are several Options dialog boxes that may appear depending on the type of file being imported. For more information about these dialog boxes, refer to “Choosing import filter options.”...
Page 288 The factory default is to link images. You can set this option as the default using the Preferences button in the Import or Open dialog box. If you import an existing Gerber plot (PLT) file, the state of images in the file is maintained (embedded or linked).
Page 289 ♦ PDF 1.1 thru 1.5 - (GSP 2.5) Acrobat as Vectors Use only Gerber fonts Turn on Use only Gerber fonts to convert all text to Gerber fonts. Turn off this check box to import TrueType™ fonts as Gerber Small Text. If there is no compatible Gerber font, then the Font Substitution dialog box displays and you can choose which font to use.
Page 290: Choosing The Best Import Filter
Composer. You can change any of the fonts being imported in this dialog box. If you suppress this dialog box and there is not an exact match to a TrueType font, OMEGA automatically substitutes a Gerber font with similar attributes. To change fonts while importing Click a font in the font list.
Page 291: Understanding Graphic File Formats
24-bit RGB image can be one of over 16 million colors or shades of gray. Raster graphic formats include GIF, JPG, PCX, TIF, and BMP. Tip: Many graphic design programs are used on a Macintosh® platform. Some Gerber customers access Mac-formatted disks using MacDrive 2000™ for Windows by Mediafour...
Page 292 Chapter 27: Importing files into Composer Tip: GSP offers a program, MacImprint™, which drives the GERBER EDGE, GERBER EDGE 2, and GSP plotters directly from Adobe Illustrator on a Macintosh without file conversion. See the http://www.gspinc.com for more information on MacImprint.
Page 293: The Role Of Color Management When Importing Files
GERBER (GSP) Default Monitor profile. ♦ If you are creating graphics for a Gerber printer in OMEGA or any other program, choose the same printer profile for the Gerber Imaging Device.
Page 294: Importing Common File Types
Importing files into Composer Importing common file types While Gerber provides a variety of import filters, most files are in one of these common file formats. The following section describes each of these common file conversion formats, outlines possible limitations, and provides tips for success.
Page 295 You can automatically choose default color profiles to use when importing raster files. In the Color Management dialog box, select an Image Source Profile to apply when importing CMYK, RGB, or Grayscale images. If you choose a default profile, the Select Source Colorspace Profile dialog box will not display during import.
Page 296: Importing Adobe Format Files (Ai 7.0 Or Higher, Pdf, Eps, Or Ps)
♦ Cut Contour layers that are defined in the AI, EPS, or PS file are recognized. ♦ If the original file was designed in Adobe Illustrator using Gerber palettes, the Gerber fills or vinyl colors are maintained including vinyl color names, foil names, tints, and overprints.
Page 297 When importing an Adobe Illustrator (AI) file or an Encapsulated Postscript (EPS) file using the GSP 2.5 as Vectors filter, OMEGA will automatically suggest using the GSP 2.1 as Vectors filter if the GSP 2.5 filter fails. Import Color Management allows Turn on Contour Cut Color Name to cut objects that The Font Options tab identifies fonts you to apply ICC Source and...
Page 298 Only is turned on Cut Contour options are not available. Choose a Gerber vinyl palette to which to map the colors of the imported file from the drop- down list. During import the original colors in the file are converted to the vinyl in that palette which most closely matches.
Page 299: Font Options
Contour Cut Options Composer can recognize existing layers and cut information embedded in some AI, EPS, PDF, or PS files that were created using Adobe Illustrator. When importing, the Import Adobe Formats dialog box displays. Choose the Contour Cut Options tab to modify the settings. In Adobe Illustrator, contour cut layers are defined by Cut Contour Layer name or Contour Cut Color name.
Page 300 CMYK values in Composer. If you know the color profile that was used to create the original file you can select it here. ♦ CMYK Source Profile The default profile is Gerber (GSP) Generic CMYK. This profile is not used during RGB import and is for possible future use.
Page 301 CMYK source profile can be left at the default setting. Select the Gerber Imaging Device Profile that matches your output device, vinyl, foils and halftone type. Importing Adobe Formats as an Image The following GSP 2.5 filters import the newer Adobe formats as an image: ♦...
Page 302 Chapter 27: Importing files into Composer Choose a preset resolution or enter a specific dpi Map a path to the folder in which to save linked image files. Click icon to view any import information Click the icon to view any errors generated during Import Magnify...
Page 303: Importing Ai 1.1 Thru 8.0 And Cmx 5.0/6.0 Files For Vinyl Printing
Importing AI 1.1 thru 8.0 and CMX 5.0/6.0 files for vinyl printing The AI 1.1 thru 8 - (GSP 2.1) as Vectors import filter can be used to import AI- Adobe Illustrator or CMX - CorelDRAW® Exchange Metafile files for vinyl printing. This import filter works for: ♦...
Page 304: Importing Ai 1.1 Thru 8.0 And Cmx 5.0/6.0 Files For Vinyl Cutting
Chapter 27: Importing files into Composer File will contain print shapes for EDGE or MAXX™. Corel and Adobe treat gradients differently. Try turning on this option on or off to achieve best results. If on, shapes with strokes will be converted (recommended).
Page 305: Setting Options
4 Click the cursor on the work surface to place the imported file at that location. The AI or CMX Import Options dialog box displays. 5 On the Color Control tab, turn on Vinyl Only and use the illustration as a guide when setting options.
Page 306: Importing Ai 8.0 Or Earlier, Cmx (5.0/6.0), Or Eps Files
Chapter 27: Importing files into Composer If you cannot successfully import a vector file for printing using the (GSP 2.1) filter, try the following: ♦ Import an AI file using the AI 7 thru CS – (GSP 2.5) as Vectors filter. ♦...
Page 307 Only is turned on, the AI, CMX, or EPS file imports as a cut (vinyl) job. When Print Colors is turned on, the AI, CMX, or EPS file colors translate to Gerber spot and process foil colors to be printed by a Gerber imaging device.
Page 308 Map to Gerber Vinyl Palette Turn on Map to Gerber Vinyl Palette to map the AI, CMX, or AI colors to cut shapes assigned the most closely matched vinyl in the selected Gerber Vinyl Palette. The color range of Gerber vinyl is limited and the nearest vinyl color match may be significantly different than the original color.
Page 309 If you design in Adobe Illustrator or CorelDRAW and plan to import the job into Composer as a spot color or vinyl job, you can use Gerber palettes when designing. When you import the AI or CMX files created with Gerber palettes, you get more accurate color results. See Using Gerber palettes in Adobe Illustrator or CorelDRAW for more information on loading and using the palettes.
Page 310 Choose this option to translate AI, CMX, or EPS files containing RGB solid colors to the closest match in Gerber foils. Color results may vary due to the limited range of Gerber foils. OMEGA maps solid colors to GerberColor Spot foils at 100% density.
Page 311 Click the Restore Defaults button to return the ICC Profiles to the factory settings. RGB and CMYK Source Profiles are set to None and the Gerber Imaging Device Profile is set to the currently assigned Gerber Imaging Device profile from the Color Management dialog box.
Page 312 Chapter 27: Importing files into Composer Tip: The Preference button in the AI, CMX, or EPS Import Options dialog boxes saves the current settings as the standard settings for that dialog box. Each time the AI, CMX, or EPS Import Options dialog box opens, the preferenced settings display. Using the Layer/Cut Options tab of the (GSP 2.1) filters Composer can recognize existing layers and cut information embedded in some Adobe Illustrator (AI), Encapsulated PostScript (EPS), and Corel Draw (CMX) files.
Page 313: Defining A Cut Contour In Other Software
Defining a Cut Contour in other software You can define a cut contour in Adobe Illustrator or CorelDRAW and import those files maintaining the definitions using the following filters: ♦ AI 7 thru CS – (GSP 2.5) as Vectors ♦ AI 1.1 thru 8 - (GSP 2.1) as Vectors ♦...
Page 314: Importing Coreldraw Clipart
Tip: You can also define a cut by creating strokes around objects in Illustrator and assigning a Gerber Spot Color to the stroke. When importing, choose this Gerber Spot Color as the Contour Cut Layer Name. Turn on Cut Objects Keep Fill/Stroke Attributes to maintain any fill and stroke colors assigned to the objects, otherwise the objects import as cut (but not filled or stroked) shapes.
Page 315: Importing Coreldraw Drawing Format (Cdr) Files
Arrange menu of CorelDRAW and save the file. ♦ In the Import dialog box, turn on Use Gerber Fonts when importing True Type text. ♦ For the best results when using CorelDRAW version 8.0, 9.0, or 10.0, save the file as a CMX 5.0/6.0 or as a CorelDRAW version 6.0.
Page 316: Importing Other File Types
♦ WMF - Microsoft Windows Metafile Importing Gerber Clip Art (GCA) file You can import a Gerber Clip Art (GCA) file from one of the Gerber Library folders. To load additional Gerber Libraries refer to the section “Installing Gerber Libraries.”...
Page 317: Importing Dxf Files Using The (Gsp) Autocad Drawing Interchange Filter
500 mils (0 and 0.500 inches). Default Font Choose a Default Font to replace any font used in the DXF file with a Gerber font. Enter a valid Gerber font name in the Default Font box. Y ou must enter the exact font name used in OMEGA, for example, americana bold acct.ak.rev c.
Page 318: Importing Autocad Drawing Format (Dwg) Files
Chapter 27: Importing files into Composer Importing AutoCAD Drawing Format (DWG) files AutoCAD Drawing Format (DWG) files can not be imported reliably and can result in files that are unusually large. For example, an 8.5" x 11" file may convert to a file that is approximately 8,500"...
Page 319: Importing Microsoft Windows Metafile (Wmf)
When designing in Adobe PhotoShop, you can see the Gerber color profiles in the Color Settings dialog box. For better results, save the PhotoShop file as a TIF with embedded color profiles.
Page 321: Chapter 28: Exporting Files From Composer
Chapter 28: Exporting Files from Composer There are two Export commands in the File menu of Composer: ♦ Export ♦ Export to Hot Folder The Export command allows you to export selected text or shapes, specific vinyl colors, or the entire file from Composer.
Page 322: Setting Export Options
If text is not converted to curves, effects such as outline, shadow, distortion, and text strokes are lost. Color is retained only for plain text and Gerber Small text; all other forms of text are black. Setting export options Some file types have export options available via the Options button.
Page 323 Understanding Export Data Compression There are two types of data compression that are available when exporting to certain formats. Select the data compression settings in the Export Options dialog box for that filter. ♦ Lossless compression reduces image data without removing detail. Lossless compression can be reversed to produce image data that is exactly the same as the original.
Page 324: Exporting To A Hot Folder
This Folder box, or click the Browse (…) button to navigate to the folder's location on your computer. Tip: The default folder for ImageRIP Pro or ImageRIP Plus by Onyx is C:\ONYX\Input\Gerber Elan XL, where C is the designation of the largest hard drive on your computer.
Page 325: Exporting Common File Types
Exporting common file types While Gerber provides a variety of Export filters, most files are converted into one of these common file formats: ♦ Raster File Filters: ♦ TIF - Tagged Image Format ♦ BMP - Microsoft Windows Bitmap ♦ JPG - Joint Photographic Group Format ♦...
Page 326: Exporting To Adobe Illustrator - Ai Or Eps Format Using The Gsp Filter
When exporting, the PLT data including vinyl, spot, and process colors are exported to RGB and CMYK colors in the AI or EPS format. OMEGA process colors (used to print to a Gerber imaging device) maintain their original CMYK values when exported.
Page 327 Exporting Gerber Vinyl and GerberColor Spot colors Gerber vinyl colors and Gerber Color Spot colors that are included in your PLT file can be exported to the AI format as CMYK (cyan, magenta, yellow, black) or RGB (red, green, blue).
Page 328 Use RGB Choose Use RGB to translate Gerber vinyl and spot colors to RGB (red, green, blue). Final color results may vary from the original as some vinyl or spot colors may not have an exact match within the RGB gamut.
Page 329 Exporting explicit tints and gradient colors Complex Fills Turn on Export Complex Fills as Complex Fills to convert gradients in OMEGA to gradient fills in the AI file rather than a series of individual shapes (stripes). Explicit Tints You can control the export of gradients using Explicit Tints. When Export Complex Fills as Complex Fills is turned off, gradient fills export as a series of stripes.
Page 330 Chapter 28: Exporting Files from Composer Assigning Cutter Path Shapes for use with ImageRIP Pro/Plus by Onyx In order for ImageRIP Pro or ImageRIP Plus by Onyx (or other RIP software) to drive a printer or plotter using OMEGA-created files, you must export the plot file as an EPS file using the Export to Hot Folder command.
Page 331: Using The Clipboard To Export Data From Composer
Exporting to an Encapsulated PostScript File (EPS) or Adobe Illustrator File (AI) The Encapsulated PostScript (EPS) Filter or AI - Adobe Illustrator Filter creates an AI/EPS file, but Gerber recommends using the AI - (GSP) Adobe Illustrator export filter, which provides greater color control and yields superior results.
Page 332 AI Format Includes Adobe Illustrator format data. AI Version Choose the AI version in which to export. Gerber recommends exporting to AI version 6 (the default choice). Include TIFF Preview Note: Turning on TIFF Preview is not recommended as including a TIFF Preview can cause Composer to freeze during export.
Page 333: Exporting To An Autocad Drawing Web Format (Dwf)
Exporting to an AutoCAD Drawing Web Format (DWF) AutoCAD Drawing Web File filter creates a DWF file enabled for the Web. In the Export dialog box you can turn on Convert text to curves and set export options. Click the Options button to open the DWF Output Filter Setup dialog box.
Page 334: Exporting To A Dxf (Gsp) Autocad Drawing Interchange File
Chapter 28: Exporting Files from Composer Exporting to a DXF (GSP) AutoCAD Drawing Interchange File The (GSP) AutoCAD Drawing Interchange filter creates a 16-bit GRAPHIX ADVANTAGE compatible DXF file. Strokes and boxes may replace polylines when the DXF file is opened in AutoCAD.
Page 335: Exporting To Autocad Drawing Interchange File (Dxf)
Exporting to AutoCAD Drawing Interchange File (DXF) The AutoCAD Drawing Interchange filter creates a DXF file. In the Export dialog box you can turn on Convert text to curves and set export options. Click the Options button to open the DXF Output Filter Setup dialog box.
Page 336: Exporting To A Gerber Artwork Definition File (Gad)
Exporting to a Gerber Artwork Definition File (GAD) The Gerber Artwork Definition (GAD) filter creates a GAD file. A GAD file is a public version of Gerber plot file similar to a CMX file produced by CorelDRAW. Gradient fills are supported in GAD.
Page 337: Exporting To Iges Drawing File Format (Iges)
♦ Standard Options (HPGL) ♦ PCL5 Mode ♦ PCL5 Color Mode ♦ PCL5 Color Direct Mode Color Translations Choose the color format for export. ♦ Normal exports color without modification from the plot file. ♦ Inverse filters the colors and replaces them with the negative (or inverse) color value. For example, if an object is filled with 0% cyan, 100% magenta, 25% yellow, and 25% black, the inverted image will contain 100% cyan, 0% magenta, 75% yellow, and 75% black.
Page 338: Exporting To A Z-Soft Pc Paintbrush Bitmap (Pcx)
Chapter 28: Exporting Files from Composer Color Translations Choose the color format for exporting. ♦ Normal exports color without modification from the plot file. ♦ Inverse filters the colors and replaces them with the negative (or inverse) color value. For example, if an object is filled with 0% cyan, 100% magenta, 25% yellow, and 25% black, the inverted image will contain 100% cyan, 0% magenta, 75% yellow, and 75% black.
Page 339 ♦ PC Paintbrush presets the color format to 16 colors, the image resolution to 640 x 480 pixels, and the image size to Screen. Format Choose the color format for export. ♦ Bi-Level converts the image to black and white. ♦...
Page 340: Exporting To Adobe Acrobat File Format (Pdf)
Chapter 28: Exporting Files from Composer Exporting to Adobe Acrobat File Format (PDF) The Adobe Acrobat File Format (PDF) export filter creates a PDF file. This filter provides basic functionality. PDFs are best created with software designed to make them such as Adobe Acrobat.
Page 341 ♦ Stroked recreates thick lines and patterned lines as polygons to more closely represent the original artwork. Fill Mode ♦ Device uses fill styles that the printer is capable of producing. ♦ Stroked recreates fills that most closely match the original artwork. Background Rectangle Adds a rectangle around the job as a border.
Page 342: Exporting To Photoshop File Format (Psd)
Chapter 28: Exporting Files from Composer Exporting to PhotoShop File Format (PSD) The PhotoShop File Format (PSD) export filter creates PSD files, which are in the raster format. You may achieve better results creating raster files in BMP, JPG, or TIF formats. In the Export dialog box, click the Options button to open the PSD Output Filter dialog box.
Page 343: Exporting To Microsoft Windows Metafile (Wmf)
♦ Source lets the destination application determine the size of the image. ♦ Inches allows you to set the size in inches. Color Translations Choose the color format for exporting. ♦ Normal exports color without modification from the plot file. ♦...
Page 344 Chapter 28: Exporting Files from Composer ♦ Enhanced Metafile (EMF) converts the job to a 32-bit metafile format. EMF can include a programmable color palette. Enhanced Metafiles can be used by Windows 95, 98, and NT. Color Translations Choose the color format for export. ♦...
Page 345: Exporting To Wordperfect Graphic File Format (Wpg)
Exporting to WordPerfect Graphic File Format (WPG) The WordPerfect Graphic File Format (WPG) filter creates WPG files. In the Export dialog box, turn on Convert text to curves and click Options to open the WPG Output Filter Setup dialog box. Files may be exported to the WPG format with the following limitations: ♦...
Page 347: Chapter 29: Using File Converter
Chapter 29: Using File Converter File Converter is a convenient program to import or export multiple files. It may be easier and quicker to import or export single files directly in Composer. For more information on importing or exporting in Composer and specific file filters, see the chapters “Importing Files into Composer”...
Page 348: Importing Multiple Files (Batch Conversion)
Chapter 29: Using File Converter Show Error Messages Turn on the Show Error Messages in the File Conversion dialog box to stop file conversion and display an error message if something is wrong with a file. File Converter will then skip over files with errors and continue to convert the remaining files.
Page 349: File Conversion Troubleshooting
To Export multiple files of the same format 1 Click Start > Programs > GSP OMEGA > File Converter to open the File Converter program. 2 Turn on Replace Existing Files so that the conversion sequence does not stop and prompt you to rename or overwrite an existing file.
Page 350 If text is not converted to curves, effects such as outline, shadow, distortion, and text strokes are lost. Color is retained only for plain text and Gerber Small text; all other forms of text are black. Color changes Color changes within a text block will not export.
Page 351: Chapter 30: Remapping Colors For Imported Cmx Files
When creating files in CorelDRAW, there are many color models that can be used. OMEGA supports a limited number of these color models. When CorelDRAW files are imported into OMEGA, the color model is translated into one of the Gerber-supported color models including: ♦ PANTONE® Colors ♦...
Page 352 CMYK color, but loses the PANTONE color name. CorelDRAW files created using RGB colors are converted into Gerber's WCS (Working Color Space). In the WCS, the CorelDRAW RGB is mapped to Gerber RGB, which is then converted to CMYK based on the selected Gerber output device.
Page 353 P CorelPantoneNumber c m y k R r g b c m y k C c m y k c m y k X c m y k c m y k P CorelPantoneNumber <GSP Spot shortname> R r g b <GSP Spot shortname> C c m y k <GSP Spot shortname>...
Page 354 Below is an example of the edited gspcmap.txt file. The PANTONE colors have not been altered as they converted correctly. The 0 0 0 0 has been replaced by new CMYK values or a Gerber Spot or Spectratone short name.
Page 355 CMX file again. Gerber Spot Color short names Below is a list of Gerber Spot Color names. The short name for a Spot Color is GXX-nnn. For example, the short name for Ruby Red GCS-053 is <GCS-053>. The descriptive color name (Ruby Red) is not included in the short name.
Page 356 Chapter 30: Remapping Colors for Imported CMX Files Violet Purple GCS-628 Process - Cyan GCP-707 Peacock Blue GCS-077 Process - Black GCP-712 Olympic Blue GCS-057 Process - Black CSP-012 Intense Blue GCS-047 Process - Cyan CSP-607 Process - Magenta CSP-273 Royal Reflex GCS-687 Navy GCS-627 Process - Yellow CSP-605...
Page 357: Book Seven: Adding Artwork And Other Files To The Design
Book Seven: Adding Artwork and Other Files to the Design Artwork can add a special touch to the design. OMEGA offers a variety of artwork types including images, clip art, scanned art, and digitized art. This book discusses artwork in detail and is divided into the following chapters: Chapter 31: Working with Images, shows you how to add, crop, view, and fill images.
Page 359: Chapter 31: Working With Images
Chapter 31: Working with Images OMEGA allows you to incorporate images into designs and then print them on a GERBER thermal printer or convert them into cut shapes. The images can be scanned photographs or colored artwork. This section describes how to: ♦...
Page 360 Chapter 31: Working with Images 3 Browse the list of directories to find the file to be imported and then select that file. Tip: To verify that you’ve selected the correct image file, turn on Preview. 4 Turn on Embed Images to save the imported image in the PLT file. Clear the check box to link the PLT file to the image file.
Page 361: Changing From A Linked To An Embedded Image
Note: If the image you are importing does not have an embedded color profile, the Select Source Colorspace Profile dialog box opens. Choose an input profile. Refer to the Applying color profiles during import topic for a discussion of this feature. Changing from a linked to an embedded image When importing, opening, or placing an image in an OMEGA job, you can embed the original image in the PLT file or you can link to the original image file.
Page 362 Chapter 31: Working with Images Embedded Checkbox Image path for linked file. Name of original image file. Adding multiple copies of an imported image to a design OMEGA allows you to add multiple copies of an existing image to a current design. To add multiple copies of an imported image to an open job 1 Click File >...
Page 363 3 Activate any options in the Import dialog box. The availability of options depends on the filter type chosen. 4 Click Options to Options dialog box for that file type. Change the settings as appropriate. See “Importing Files Into Composer” for detailed information on each filter's settings.
Page 364: Saving An Embedded Image
Chapter 31: Working with Images 11 To continue importing the image, select it and click on the position in your design where you would like it to appear. Repeat to continue placing copies of the image. Tip: You can also add scanned images to a design. Refer to “Scanning Artwork” for more information.
Page 365: Importing Paths From An Image
Importing paths from an image Once you have imported an image file (JPEG, PSD, or TIF) that contains a working path, saved path, or clipping path, you can extract the path using the Surround, Extract Image Paths… command in the Tools menu. To extract an imported image path 1 Select the imported image that contains a path that you intend to extract.
Page 366: Viewing Images In The Design
Chapter 31: Working with Images Viewing images in the design When creating and viewing a design, OMEGA allows you to work with either placeholders or actual images. The intensity of an image and its resolution can be modified in Tools > Options > Images tab.
Page 367 Dimming an image The on-screen digitizing and detail editing tools may not be visible when moved over dark colored images. For this reason, you may want to dim the image. Turn on Dim All Images in View menu or the Tools > Options >Images tab to reduce the intensity of all images in your design.
Page 368 When rendering an image, OMEGA creates multiple Image Object (IMO) files; one for each process color and one for the image rotation that is required when printing on a Gerber thermal printer. IMO files are stored in C:\Seppath. Due to the size of IMO files, deleting these files periodically is recommended.
Page 369: Editing Images In Composer
4 Click the button to the right of the Image Path field to open the Browse for Folder dialog box. 5 Browse the list of directories to find where the linked file is stored. 6 To change the location of the IMO files, click the button to the right of Separations Path field to open the Browse for Folder dialog box.
Page 370 Chapter 31: Working with Images 2 Browse through the directories and select the Image Editor to be used. 3 Click Open. The Image Editor that you’ve chosen will appear in the Image Editor field on the Images tab. 4 Click Apply. 5 Click OK.
Page 371: Updating An Image File In Omega
If you have selected an Image Editor in the Tools > Options dialog box then its name appears in the Editor text box and the name of the image file you are editing appears in the Source image textbox. (If you have not selected an Image Editor, follow the procedure “To select an image editor.”) This procedure uses Mspaint.
Page 372: Filling Images
Chapter 31: Working with Images To update an image file using Refresh Image 1 Select the imported image in OMEGA. 2 Right click the image to open the context menu. 3 Click Refresh Image. 4 If you have altered the size of the image, a message appears asking if you wish to re- import the image to accurately reflect the changes.
Page 373 Template is used for digitizing shapes in images and for constructing designs. (Imported images are templates until you fill them.) A template does not print on a GERBER printer. To print an image, you must fill it with a spot or process color. Choosing the vinyl color Normally, you select the vinyl palette and color for the job before accessing the Image Fill dialog box.
Page 374 Chapter 31: Working with Images ♦ Stochastic is a dispersed-dot pattern, which minimizes texture and contrast while maximizing viewing range. The LPI cannot be set using the stochastic pattern. ♦ Classical Dot is a traditional halftone pattern. ♦ Spiral Dot is used for special effects. The dot pattern appears to divide the design into squares and the effect is more pronounced as the number of lines per inch decreases.
Page 375: Chapter 32: Converting Images To Cut Shapes
Chapter 32: Converting Images to Cut Shapes There are three commands used to convert an image to a cut (or vector) shape: ♦ Posterize Image/Color Raster to Vector − converts a color image so that it can be cut as a multi-color vinyl job. ♦...
Page 376 Chapter 32: Converting Images to Cut Shapes 3 Select Tools > Posterize Image/Color Raster to Vector to open the Posterize Image to Vinyls dialog box. Editing colors and posterizing images The options in the Posterize Image to Vinyls dialog box enable you to edit colors before generating vector shapes.
Page 377 7 If you are satisfied with the colors that you have chosen, click OK. The Image Posterize Generator box appears as it generates vector shapes. After the image is posterized, you’ll return to Composer and the bitmap will be selected. Each color will be a separate shape and each shape will be superimposed on the original image.
Page 378: Converting A Black And White Image To A Cut Shape
The resulting cut shapes can be color filled for printing on a GERBER thermal printer. In many cases you may want to delete the original image from the design and then print and cut the generated Raster to Vector shapes.
Page 379 To create a cut line for black and white images 1 Import or open a black and white raster image (BMP, TIF, GIF, and JPG) in Composer. 2 Select the image. 3 Select Tools > Raster To Vector to open the Raster To Vector dialog box. 4 Enter a size in pixels in the Speck Size in Pixels (to Remove) text box.
Page 381: Chapter 33: Adding Cutlines To Artwork
Chapter 33: Adding Cutlines to Artwork OMEGA CP allows artwork to be printed on a GERBER EDGE or other printing device, and then cut on a vinyl cutter. Composer allows shapes to be printed only, cut only, or printed and cut.
Page 382 Chapter 33: Adding Cutlines to Artwork "white." In some cases, a background area of an image that appears white to the eye may actually be gray or off-white, so you might get a cut line or clipping path around that area. The White Threshold allows you to control the balance between "white"...
Page 383 White Threshold slider When you select an image and choose Generate Decal Cut, the dialog box contains a White Threshold slider which provides control over which areas of the image are considered "white." Slide the control toward More to force more colors to be considered "non-white." Slide the control toward Less to reduce the colors that are considered "non-white."...
Page 384 Chapter 33: Adding Cutlines to Artwork Image Resolution Image resolution as set in the Image Fill dialog box does not affect decal cut results around images. If decal cut results have too many points, you can: ♦ Resample the original image in an image editing program to make it higher resolution, then import it into Composer and generate Decal Cut again.
Page 385 Stroked objects Stroked objects that are closed shapes get a decal cut on the OUTSIDE of the stroke. Open shapes that have a stroke get a decal cut around the stroke footprint. Decal cut line is shown as the black wire frame in the following examples.
Page 387: Chapter 34: Using Clipping Paths
Chapter 34: Using Clipping Paths Understanding Clipping Paths The Make Clipping Path command in the Shape menu allows you to mask unwanted portions of objects or images in a job. The top object becomes a clipping path that masks the object or image beneath it.
Page 388 Chapter 34: Using Clipping Paths ♦ Any shape, text, small text or image can be clipped. ♦ Any single object can be clipped by only one clipping path container. ♦ Any shape, text, small text or image can be part of a clipping path container. For small text, the outlines (glyphs) of the characters are used to define the container;...
Page 389 Clipped object layered on an object or an image Tip: You can also create a clipping path using Tools > Generating Decal Cut. Text and clipping paths Text can be used as a clipping path container. Single lines of text are automatically grouped when used as the clipping path container.
Page 390 Chapter 34: Using Clipping Paths Multiple objects and clipping paths Multiple objects can be used as a clipping path container. When container objects overlap, only the common area between them defines the clipping path. You can create different paths, by changing the stacking order of the clipping path objects as shown in the following examples.
Page 391 Creating clipping paths Use the following procedure to create a clipping path. To create a clipping path 1 Position an object that will serve as the clipping path container on top of the object or image to be clipped. Use the Layer Tree or Arrange commands to establish the proper z-order /stacking order.
Page 392 Chapter 34: Using Clipping Paths Selecting clipping path items via the Select menu You can also easily select all or portions of clipping paths by clicking Select > Clipping Paths. The Select Clipping Path dialog box displays. Within the dialog box you can choose to select only the Clipping Paths, only Objects Being Clipped, or both.
Page 393: Chapter 35: Scanning Artwork
Scanning artwork is useful because it allows hardcopy artwork to be quickly reproduced on a vinyl cutter or a printing device such as a GERBER EDGE. This chapter discusses how to scan and process scanned images for output to the GERBER EDGE or other printing devices, and for output to vinyl cutters.
Page 394 7 Add other design elements or add a cut line around the image. 8 Click File > Output All to open the GSPPlot program to output to the GERBER EDGE. 9 Once in the GSPPlot program, click the File > Print to Device (F10).
Page 395 ♦ Vector files can be output to a vinyl cutter, or they can be filled with spot and process colors and printed to a GERBER EDGE or other printer. ♦ The best types of artwork to be vectorized include black and white logos or multiple- color artwork with relatively few, solid colors.
Page 396 Chapter 35: Scanning Artwork Solid multi-color artwork to be vectorized ♦ Set the color information to indexed color, also known as color line-art. ♦ Set the resolution to 400 dpi. Because the artwork will be vectorized, there is no need to calculate a scale factor. Note: If you are going to vectorize color artwork, you can also set the scanner to full color or 24 bits per pixel, but you should scan at a lower resolution as your file size can be very large.
Page 397: Methods Of Getting Scanned Data Into Composer
♦ Assigned vinyl colors and output to a vinyl plotter. ♦ Assigned spot and process foil fills and output to a GERBER EDGE or other printer. Methods of getting scanned data into Composer There are several techniques to get scanned data into Composer. You may use one or all the...
Page 398 Composer This technique allows you to perform multiple scans without jumping back and forth to Composer. Once the image(s) is in Composer, it can be printed to a GERBER EDGE or other printing device, vectorized, or further edited. Method 2: TWAIN interface The TWAIN interface is a standard way that scanners and other image acquisition devices such as digital cameras send raster data to design and editing programs.
Page 399: Methods Of Vectorizing Raster Data
Note: If the Scan To Vector command is not active, click Tools > Options. In the Options box, click Images and select a TWAIN device. 2 In the Scan To Vector dialog box, enter a Speck Size to filter out unwanted black or white small features such as dots or specks.
Page 400: Color Management And Scanning
One of the biggest problems of digital printing is color consistency from the original artwork to the scanner to other programs to the monitor and to the final output device. GERBER OMEGA includes a Color Management system that helps make color more consistent through the production process.
Page 401: Chapter 36: Digitizing Artwork
Note: Gerber currently sells the Numonics AccuGrid tablet and puck. There are several different models of tablets and pucks. The descriptions and instructions in this chapter may vary from your equipment.
Page 402: Understanding The Digitizing Process: An Overview
Chapter 36: Digitizing Artwork 3 The software will attempt to automatically select the correct size tablet. If it cannot determine the tablet, no tablet will be selected. Choose the correct size tablet. Click OK. 4 Click the Preferences button to save the tablet selection. 5 Click Save Current Page at the Save Preferences message.
Page 403: Preparing Artwork For Digitizing
Preparing artwork for digitizing For the best results, prepare your artwork before digitizing. Study the design and mark the points to be digitized. Follow the guidelines below to produce consistent results. Choosing artwork for digitizing The larger the artwork, the easier it is to digitize. The artwork should be at least 5" x 5" (127mm x 127mm).
Page 404: Using The Digitizing Puck
Chapter 36: Digitizing Artwork Marking line and curve points Marking the artwork means drawing short lines through the design’s outline at each point to be digitized. This enhances the integrity of the digitized design. Label the first mark S, for start, and draw a small arrow to indicate the direction you’re digitizing.
Page 405: Using The Tablet
Using the tablet After the design has been marked, mount the artwork on the tablet. The baseline should be horizontal and the artwork should be as flat as possible (wrinkles can cause inaccuracies). Use drafting or masking tape to secure the artwork in place. The artwork can now be digitized. Digitizing the artwork Digitize artwork in Composer beginning with the baseline and frame.
Page 406 Chapter 36: Digitizing Artwork ♦ Button 2 turns on or off smooth curves. ♦ A smooth curve is a curve that meets a straight line with a smooth transition. After turning on smooth curve (button 2 or F11), button 1 digitizes all curved points. After turning off the curve by clicking button 2 or F11 again, button 1 digitizes straight line points.
Page 407: Digitizing Shapes
Digitizing shapes This section shows you how to digitize some simple shapes: a shape with curves, a circle and a box. Tip: Be sure to save your digitized artwork often. To digitize a shape with all curves To end press 2 (F11) and then 3 (End) To start press...
Page 408: Editing The Digitized Design
Chapter 36: Digitizing Artwork To digitize a box 1 In Composer, click the Box tool with the mouse. 2 Return to the puck and click button 1 to digitize the upper left corner. 3 While holding down button 1, drag the puck diagonally to the opposite corner of the box and release the button to digitize the box.
Page 409: Digitizing Exercises
Digitizing exercises Exercise 1: Digitizing the fleur-de-lis In this exercise, you will digitize a design called a fleur-de-lis. You will produce five shapes using digitizing techniques. To get started, photocopy the design below so that you can digitize it. You may want to enlarge the copy to make it easier to digitize. Each mark is a point on the design that will be digitized.
Page 410 Chapter 36: Digitizing Artwork 5 When prompted digitize the design’s lower left corner using button 1. Be sure the point is outside the bottom and leftmost points of the design. 6 At the next message prompt digitize the design’s upper right corner using button 1. Be sure the point is outside the top and rightmost points of the design.
Page 411 6 Position the puck over the next point on the shape and click button 2 (F11) again to Start Curve Smooth, then click button 1 to digitize the point. 7 Digitize the points along this curve using button 1 until reaching the point labeled 2,1. At this point click button 2 (F11) to End Curve Smooth, and then digitize the point with button 1.
Page 412 Chapter 36: Digitizing Artwork 1 In Composer, click on the Box tool. The cursor will now change into crosshairs with a small box symbol in the lower right corner. 2 On the tablet position the puck over the first corner of the rectangle and digitize the first point with button 1.
Page 413 1 Digitize the shape start point (S) with button 1. 2 Digitize the horizontal line by clicking on the next point with button 1. 3 Click 4 (F12) Start Curve Abrupt and digitize the first curve point with button 1. 4 End the curve with button 4 (F12) and digitize the point with button 1.
Page 414 Chapter 36: Digitizing Artwork To begin digitizing the dove 1 In Composer, click File > Digitize New. A Tablet message box will appear. 2 At the message prompt, digitize the left baseline point using button 1 on the digitizing puck 3 At the next message prompt digitize the right baseline point using button 1.
Page 415 To digitize the left wing 1 Mark and digitize the dove’s left wing as shown above. Tip: Start/End Curve Abrupt — Button 4 on the puck can also be achieved by pressing F12 on the keyboard. 2 When the last point has been digitized, click Shift+End on the keyboard or the End Shape Open on the Line toolbar to end an open shape.
Page 416 Chapter 36: Digitizing Artwork To digitize the dove’s breast 1 Mark and digitize the dove’s breast as shown above. 2 When the last point has been digitized click Shift+End on the keyboard or the End Shape Open on the Line toolbar to end an open shape. This completes exercise 2.
Page 417: Book Eight: Editing The Design And Shapes
Book Eight: Editing the Design and Shapes Editing is the process of adding, moving, changing, or reducing the points in a shape. This book includes basic Windows commands to save you time plus new information on the redesigned Detail Edit. It is divided into the following chapters: Chapter 37: Using the Edit Menu provides information about copying, pasting, undoing, and redoing editing.
Page 419: Chapter 37: Using The Edit Menu
Chapter 37: Using the Edit Menu The Windows commands in the Edit menu allows you to do multiple undos and redos, as well as to copy and paste to the clipboard. You can also access these commands by clicking right when using the Color Selection or Selection tool.
Page 420 Chapter 37: Using the Edit Menu ♦ Paste to paste the information into the center of the work surface. Subsequent pastes result in pasting the same object or text slightly offset from the previous one. The offset value is configured on the Detail tab of the Tools > Options dialog box. ♦...
Page 421: Using Duplicate To Copy And Offset An Object
3 Enter a file name and choose the file type. 4 Click Save. Note: Copy To does not use the clipboard, so anything on the clipboard can still be pasted after using Copy To. Using Duplicate to copy and offset an object The Duplicate command in the Edit menu creates a copy of the current selection and places that copy at an offset from the originals.
Page 423: Chapter 38: Detail Editing Segments And Points Of Vector Objects
Chapter 38: Detail Editing Segments and Points of Vector Objects Vector objects consist of straight and curved segments, and open and closed points. All of these parts of an object can be detail edited using a set of special tools that are displayed on the Detail Edit toolbar.
Page 424 Chapter 38: Detail Editing Segments and Points of Vector Objects Detail Selection Property Bar Click the Detail Selection tool to view the property bar. Allow Point Selection – when this button is turned on, then the Detail Selection tool can select points.
Page 425: Copying And Pasting Segments
3 To Detail Select segments: ♦ Be sure the Allow Segment Selection button is turned on in the Detail Edit Property bar and click the connecting lines between any two points. ♦ To select or deselect additional segments, hold down the Shift key (or turn on the Selection Shift Lock button) and click.
Page 426: Aligning Points
Chapter 38: Detail Editing Segments and Points of Vector Objects 3 Click Detail Edit > Make Line or Make Curve. Aligning points Use Horizontal Align Points and Vertical Align Points to align the points either horizontally or vertically. To align points 1 Select the object.
Page 427: Adding Points To Objects
6 Modify the alignment coordinates if value from last selected point is incorrect. 7 Turn on Align Curve Control Points to conditionally align the curve control points found adjacent to selected points. 8 Click OK. 9 The selected points will align based on choice of Horizontal or Vertical. Adding points to objects Adding points allows more flexibility to change the shape of segments when using the Move (hook) tool.
Page 428 Chapter 38: Detail Editing Segments and Points of Vector Objects Adding points to individual objects Use the Add Point cleaver in the Detail Edit toolbar to insert points into open or closed objects. If the Retain command in the Detail Edit menu (or on the Property Bar) is turned on, a closed point is added.
Page 429: Deleting Points From An Object
Deleting points from an object Use the Delete tool (eraser) to delete points from open or closed objects. There must be at least two closed points to use the Delete tool. If the Retain command in the Detail Edit menu is turned on, a closed shape is maintained.
Page 430: Using The Move Tool (Hook)
Chapter 38: Detail Editing Segments and Points of Vector Objects Using the Move Tool (hook) There are several functions that can be accomplished using the Move tool. ♦ Closing open points ♦ Joining open points ♦ Selecting and moving points ♦...
Page 431: Moving Points
up. When you move a curve control point away from a point, it lengthens the curve while the opposite curve control maintains its original length. Sharp Curve Control – when the Sharp Curve Control button is on, then the bezier control point on one side of a point can move freely, allowing the connection at the point to become sharp.
Page 432 Chapter 38: Detail Editing Segments and Points of Vector Objects Using the Move tool to change an object’s shape To change an object's shape by moving its points 1 Select the object and click the Detail Edit tool to open the Detail Edit toolbar. 2 Click the Move tool and drag a point to a new location.
Page 433: Moving Segments
Moving segments Use the Move tool to move selected segments of an object. The Retain command will affect your moved segments. When Retain is turned on the object remains closed even when a segment is moved. How the shape behaves depends on the Property bar options chosen.
Page 434 Chapter 38: Detail Editing Segments and Points of Vector Objects Bend Segments modifies an existing curve and any curves attached to it. Bend Segments changes a line to a curve then modifies the flex of the new curve. If the Retain command is turned off when using the Move tool, the segment is separated from the original object, creating two open objects.
Page 435: Bending Line Segments
To move segments and maintain a closed shape 1 Turn on Retain. Click Detail Edit > Retain to toggle between turning Retail on and off on the Property tool bar. 2 Click the Move tool and drag the segment to the new location. To move segments and create two open shapes 1 Turn off Retain.
Page 436: Changing The Flex Of Curves
Chapter 38: Detail Editing Segments and Points of Vector Objects Changing the flex of curves Change the curve segment of your object by moving the curve controls. There are three curve controls in the Detail Edit menu and on the Move tool Property Bar that govern how the flex will change.
Page 437: Automatically Joining Open Shapes
To close open points 1 Select the object and click the Detail Edit tool to open the Detail Edit toolbar. 2 Click Detail Edit > Join Open Points to turn on the Join Open Points command. 3 Click the Move tool and drag an open point over another open point, releasing the mouse to close the points.
Page 438: Dividing An Object Into Multiple Objects
Chapter 38: Detail Editing Segments and Points of Vector Objects The Retry Join dialog box will give you the distance between the points in order to join them. You have the option to click Join or Cancel. To join separate objects 1 Select the object with the open points with the Selection pointer.
Page 439: Making The Corners Of An Object Rounded Using The Round Corner Tool
Slice and Dice Tool Property Bar Click the Slice and Dice Tool to view the Property Bar. Slice and Dice Snap – when this button is turned on, and the slice line is within the snap to distance of a point, then the slice line is snapped to the point. Tip: Use the Zoom tool to enlarge the areas, making it easier to place the Slice and Dice knife precisely so that the Slice and Dice Snap command snaps to the desired points.
Page 440: Sharpening The Corners Of An Object Using The Sharp Corner Tool
Chapter 38: Detail Editing Segments and Points of Vector Objects 5 To apply the same round corner radius to additional corners, click on those corners with the Round Corner tool and the radius value is applied to them. Tip: If you marquee select an entire object using the Round Corner tool, the Fillet Corner dialog box opens.
Page 441 4 Choose the Corner Type. 5 Turn on Inside or Outside from the Corners to do group box. 6 Enter a value in the radius text box. The value must be less than half the length of the shortest line segment. 7 Click Continue.
Page 442: Smoothing Objects With The Smooth Path Tool
Chapter 38: Detail Editing Segments and Points of Vector Objects 6 Enter a value in the Minimum Straight text box. This value must be a length less than the length of the shortest line segment but greater then the length of the curved corner. 7 Click Continue.
Page 443: Freehand Drawing
Tip: You can keep corners sharp by not including them in the marquee selection of the Smooth Path tool. You can also resharpen corners with the Sharp Corner tool if corners become too smooth using the Smooth Path tool. Smooth = 100, but do not include the corners in the marquee selection...
Page 444 Chapter 38: Detail Editing Segments and Points of Vector Objects ♦ Set start points in multiple shapes using a single click and drag. Select the shapes and click and drag the Set Point and Direction tool through the shapes. A start point is inserted at the first intersection of each shape.
Page 445: Chapter 39: Reducing The Number Of Points With The Thin Command
Chapter 39: Reducing the Number of Points with the Thin Command Use the Thin command in the Tools menu to reduce the number of points in an entire object. Use the Thin command in the Detail Edit menu to reduce the points in the detail selected areas of the object.
Page 446: Smoothing Jagged Edges
Chapter 39: Reducing the Number of Points with the Thin Command 3 For starters, try using the following values to get thinned results that are similar to the originals, but have reduced points: ♦ Try a value of 145 degrees for Keep Corners Less Than. The lower this value, the smoother or wavier your results will be.
Page 447: Controlling The Number Of Points Thinned
To smooth jagged edges 1 Select the object with the Selection Pointer, then click the Detail Edit tool. All the points in the object appear. 2 Click Tools > Thin or select specific segments then click Detail Edit > Thin to open the Thin dialog box.
Page 448 Chapter 39: Reducing the Number of Points with the Thin Command To specify the corners to keep 1 Select the angle with the Selection Pointer, then click the Detail Edit tool. All the points in the object appear. 2 Click Tools > Thin or select specific segments and then click Detail Edit > Thin to open the Thin dialog box.
Page 449: Minimizing The Error Between Remaining Points After Thinning
To specify error tolerance 1 Select the object with the Selection pointer, then click the Detail Edit tool. All the points in the object appear. 2 Click Tools > Thin or select specific segments then click Detail Edit > Thin to open the Thin dialog box.
Page 450 Chapter 39: Reducing the Number of Points with the Thin Command The following example is a dramatic display of thinning and changing lines to curves. In the first shape there are no curves at all and so many points that they cannot even be seen unless magnified.
Page 451: Book Nine: Adding Flair To The Design
Book Nine: Adding Flair to the Design Adding an outline or a shadow is a fairly common, but visually exciting technique. In addition to these, OMEGA offers tools that allow you to distort or warp objects, fit text on a path, and create special effects by combining shapes and library designs.
Page 453: Chapter 40: Outlining Objects
Chapter 40: Outlining Objects Use the Outline command in the Tools menu to open the Outline dialog box so you can add single or multiple outlines to objects. Outline does not work on bitmaps or small text. Tip: You can access the Outline command from the Tools menu, Tools toolbar, or by selecting an object and right-clicking to display the context menu.
Page 454 Chapter 40: Outline Objects When you choose multiple outlines in the Pass 1 and Pass 2 boxes, the additional outlines are incrementally and evenly spaced – positively or negatively – from the original shape. You can alter the spacing of Pass 1 multiple outlines individually in the Advanced Outline dialog box. Click the Advanced button to open the Advanced Outline dialog box and use the controls there.
Page 455: Hiding, Encasing, And Contouring Objects
Creating outlines on multiple shapes If you attempt to apply the same outline to two shapes, where one is completely inside another shape, you will have the following result: Positive outlines expand solid shapes and shrink the inner shapes or text. Negative outlines shrink outer (solid) shapes and expand inner shapes or text.
Page 456 Chapter 40: Outline Objects To choose the hide option 1 Select the object to outline. 2 Click Tools > Outline to open the Outline dialog box. 3 Choose the Pass, Corner Type, Number of Outlines, and the Outline Distance. 4 Turn on Hide Originals. 5 Click OK.
Page 457: Changing The Spacing Between Multiple Outlines
2 Click Tools > Outline to open the Outline dialog box. 3 Choose the Pass, Corner Type, Number of Outlines, and the Outline Distance. 4 Turn on Contour and Precontour. 5 Click OK. Note: Turn on Precontour when objects overlap or when they self-intersect as in the above example.
Page 458 Chapter 40: Outline Objects To change all outline spacing 1 Select the object to outline. 2 Click Tools > Outline to open the Outline dialog box. 3 Choose the Pass, Corner Type, Number of Outlines, and the Outline Distance. 4 Click Advanced to open the Advanced Outline dialog box. 5 Click a Standard Spacing button.
Page 459 5 Use the scroll arrows to select the Outline Number to move. The Outline Distance from the object changes as you change from one number to another. 6 Enter a new Outline Distance from the object. The graphic display does not update unless you change Outline Number after changing the Outline Distance.
Page 460: Adding And Deleting Outlines
Chapter 40: Outline Objects Adding and deleting outlines There are two ways to add or delete outlines. One way is to change the number of outlines in a standard distribution dialog box as described in “Changing all outline spacing using standard distributions”.
Page 461: Editing Outline Settings For Sharp Corners
Editing outline settings for sharp corners Outlining an object with small sharp angles can produce an object with clipped corners. In order to avoid this, a miter threshold angle has been added to allow you to control the amount of clipping. In the Outline dialog box, click the Settings button to open the Outline Settings dialog box where you can set the threshold angle.
Page 463: Chapter 41: Adding Shadows
Chapter 41: Adding Shadows The OMEGA Shadow option allows you to add a three-dimensional appearance to selected text and shapes by applying three types of shadows: ♦ Shade adds depth to shapes to make them appear three-dimensional. ♦ Drop places a duplicate of the original shape on a flat surface behind the original, creating the illusion that the design is raised from the surface.
Page 464: Creating A Shade Or Drop Shadow
Chapter 41: Adding Shadows Creating a shade or drop shadow When creating a shade or drop shadow, specify where the shadow will appear by indicating either the Depth and Angle, or the Distance offsets in the X and Y directions in the Shadow dialog box.
Page 465: Creating A Cast Shadow
entered. The example below shows how shadows are placed according to the positive and negative X, Y values. Tip: Setting the X and Y offsets equal to one another as in the example produces a shadow at a 45° angle from the object. Making the Y value larger will produce a higher, narrower shadow, while making the X value larger will produce a shorter, wider shadow.
Page 466 Composite so that only the shadow portion remains showing. When printing the design on a Gerber thermal printer, print the original design and its shadow using different foil colors on the same piece of vinyl. You can use the Cut On/Off tools to control how print shapes are cut.
Page 467 Creating a space between a partial shadow and its shape To create a space between the shape and its shadow, use Relief. There are two types of Relief: ♦ Surround Relief creates an even relief between the original shape and its shadow. ♦...
Page 468: Creating Different Types Of Jobs Using Shadow
Chapter 41: Adding Shadows 4 To create a space between the object and the partial shadow, turn on Relief. Note: Turning on Relief activates the other fields in the Relief group box. 5 To create an even shadow around the shape and partial shadow, choose Surround or to create an uneven shadow around the shape and partial shadow, choose Direction.
Page 469 5 Click Composite > Continue. The result appears in the working area. The following illustration shows how the vinyl pieces are cut and placed. The shadow is cut as one piece, and then the original is placed on top of the composite. To create a vinyl-only job with butt-registered shapes 1 Create your design, then select the part to be shadowed.
Page 470 Chapter 41: Adding Shadows The Both parameter in the Shadow dialog box assigns the correct cut and print attributes to each shape. You must specify a fill color before you can use Both. The status bar on the bottom of your work surface indicates the current fill and vinyl. The Fill field contains an X, as illustrated below, when a current fill color has not yet been chosen.
Page 471: Editing Or Deleting Shadows
Editing or deleting Shadows While in Composer, if you decide that you are not satisfied with the shadow elements, you can Smart Edit the object by double clicking the object to either change the shadow or turn the shadow off. To edit shadow parameters (Smart Editing) 1 Double-click the design with the Selection tool to return to the Shadow dialog box.
Page 472 Chapter 41: Adding Shadows To cast a shadow in front of an object 1 Open the C:/Gsp/Library/Sampler/MANWOMAN.GCA file. 2 Select the rectangle between the man and woman and delete it. 3 Select both the man and woman shapes. 4 Click Tools > Shadow to open the Shadow dialog box. 5 Choose Cast.
Page 473 3 Click the Fill tab and choose Solid to activate the Color and Tint group boxes. 4 In the Color box choose Burgundy. 5 Enter a Tint of 100. 6 Click OK. 7 Use the Box tool to create a square of approximately two inches in height and width. 8 Deselect the box.
Page 474 Chapter 41: Adding Shadows 10 Turn on Relief. 11 Choose Surround. 12 Enter a negative Distance of -.100. 13 Click Continue. The result should look like the following example. To add an overlap to the shadow 1 Select the square with the Color Selection tool. 2 Click Overlap On in the Fill tool bar.
Page 475 To select a fill and create the text 1 To change the current fill, click the Fill tool in Composer to open the Assign Colors dialog box. 2 In the Assign Colors dialog box, select: ♦ Fill Type = Linear ♦...
Page 477: Chapter 42: Distorting And Warping Objects
Chapter 42: Distorting and Warping Objects Use Distortion and Warp in the Tools menu to dramatically alter the appearance of shapes and text. In both cases, the object is changed to fit in an envelope or frame. The difference between Distortion and Warp is: ♦...
Page 478: Warping An Object
Chapter 42: Distorting and Warping Objects Tip: You can access the Distortion command from the Tools menu, on the Tools toolbar, or by selecting an object and right- clicking to display the context menu. 3 Choose a distortion type from the list or enter the Type number from the Distortion Reference Chart.pdf (found on your OMEGA CD).
Page 479 When selecting, press and hold Shift, click on the envelope first, and then click on the object to put in the envelope. If you do not, the object will not be in the envelope when you open the Warp dialog box. The envelope can be part of the design (print, cut, or print/cut) when you return to the work surface if you turn on the envelope in the Warp dialog box.
Page 480 Chapter 42: Distorting and Warping Objects 6 The object appears warped, but the envelope is not displayed. To display the envelope in Warp as well as on the work surface, click on the envelope in the toolbar. 7 Click OK to return the warp to the work surface. To remove the warp, Smart Edit and click Warp Off.
Page 481 Tip: You can access the Warp command from the Tools menu, on the Tools toolbar, or by selecting an object and right-clicking to display the context menu. 3 Click No to open the GSP Warp dialog box. 4 Choose a standard envelope from the toolbar. 5 Use the handles to warp the object.
Page 482 Chapter 42: Distorting and Warping Objects 6 Click OK to return the warp to the work surface. To remove the warp, Smart Edit and click Warp Off.
Page 483: Chapter 43: Fitting Text To A Path
Chapter 43: Fitting Text to a Path The Fit Text to Path command in the Tools menu allows you to make the baseline of text conform to lines and other objects to create interesting and effective designs. Once you have created the path for the text and opened the Fit Text to Path dialog box there are several manipulations that you can do with that design.
Page 484: Selecting, Reverse Selecting, And Deselecting Text
Chapter 43: Fitting Text to Path Note: You cannot open the Fit Text to Path dialog box until both a path and text are created and selected. Making Fit Text to Path easier to use There are three buttons in the Fit Text to Path dialog box that make working in this option easier to use: Show Tool Tips, Undo Last Change, and Redo Last Change.
Page 485: Positioning Text Along The Path
Positioning text along the path There are several options available to position text along a path: use the automatic justification commands, visually move the text along a path with the Move tool, or use the Baseline Shift tool which allows you to move text above or below a closed or open path. Automatically positioning text There are four justify commands that automatically position text along an open or closed path.
Page 486 Chapter 43: Fitting Text to Path To position text with the move tool 1 Click Custom Justify. 2 Select the text to be moved. 3 Click the Move tool. 4 Drag the selected text to the new location on the path. 5 Click the Move tool to end custom justification.
Page 487: Changing The Spacing Of Text
To move text off the path 1 Click Snap to Baseline to make text snap to 0%, +50% or +100% position on the path. 2 Click Show Connection Points to view connection points. 3 Click the Baseline Shift tool. 4 Click the text with the tool and hold the mouse button. The tool surrounds the text character with a red box.
Page 488: Changing The Height Of Text
Chapter 43: Fitting Text to Path To change the spacing of text 1 Select all or part of the text. 2 Turn on the Space tool, and then drag the selected text until the desired spacing is achieved. Tip: You can also enter space % in the Manual Entry text box. Note: Notice that the spacing is increased before each letter, not after each letter.
Page 489: Reversing The Path
Reversing the path The Reverse Text Path command reverses the position of the text on an open or closed path. To reverse the path 1 Click the Reverse Text Path command to reverse the path. 2 Click again to return the path to the original path. Hiding the path The Hide Text Path command makes the path invisible in both the dialog box and on the work surface.
Page 490: Changing The Angle Of The Text
Chapter 43: Fitting Text to Path Changing the angle of the text In the Fit Text to Path dialog box the Absolute and Relative Angle tools allow you change the angle of the text on the path. In addition you can copy a saved measurement from Composer using the Get Measured Angle button and use that angle with either Absolute or Relative.
Page 491: Slanting The Text
Using Get Measured Angle command The Get Measured Angle button copies an angle value that was measured in Composer to either the Absolute or Relative Angle field. Use the Measure Mode tool to set the angle in Composer. The Get Measured Angle button in the Fit Text to Path dialog box becomes available after you have chosen either the Absolute or Relative Angle tool.
Page 492: Fitting Shapes To A Path
Chapter 43: Fitting Text to Path Fitting shapes to a path You can also fit shapes to a path in addition to fitting text to a path. Try fitting text or shapes to other shapes such as ellipses, rectangles even triangles. In the example below, the circle has been used to create the path that the boxes fit around.
Page 493: Magnifying Text Using Tools
To use text as a path 1 Create a capital S in Helvetica Medium 2" high. 2 Select the S, then Text > Remove Text Smart Edit > Normal Text to make the S a shape. 3 Create a $ in Helvetica Medium .1" high. 4 Select the $ then click Tools >...
Page 494 Chapter 43: Fitting Text to Path 2 Drag a box around the area you want magnified. The selected area will become magnified. 3 Repeat as necessary to increase magnification. Using the Step Unzoom tool The Step Unzoom tool reverses the magnification in increments. Each click steps back through the levels of magnification.
Page 495: Chapter 44: Creating Special Effects
Chapter 44: Creating Special Effects The OMEGA Effects tools allow you to create special effects with vector shapes using the Special, Stripes, Layers, Overlap, and Contour commands on selected text, shapes, or a combination of both. The results include many effects, ranging from striped shapes to layered shapes to new silhouettes formed from combined shapes ⎯...
Page 496 Chapter 44: Creating Special Effects ♦ Overlap appears to place a shape on top of or beneath the shape next to it. You may choose left to right, right to left, top to bottom, or bottom to top placement. ♦ Contour creates a silhouette from the outside edges of the combined overlaying shapes.
Page 497: Using Special
Using Special Special Effects adds or subtracts one overlapping object or group from another to create a new object. The first object/group is added or subtracted from the second, based upon the chosen effect. Before choosing Special in the Effects dialog box, use Arrange > Justify to superimpose one group directly on top of the other.
Page 498 Chapter 44: Creating Special Effects To create a Special Effect 1 Select two objects or groups. 2 Click Tools > Effects to open the Effects dialog box. 3 Click Special to open the Special Effects dialog box. 4 Choose one of the Effects in the Effects group box. 5 Click Continue.
Page 499: Using Stripes
Using Stripes The Stripes effect adds stripes to selected shapes and normally discards the pieces between the stripes. The stripe in a shape is considered to be the portion, which is color-filled. The Stripes dialog box controls the following settings: ♦...
Page 500 Chapter 44: Creating Special Effects Vertical: Stripes run perpendicular to the horizon. Size Enter the desired thickness of the stripes and the gaps in the Size group box. Stripe: Enter the value for the thickness of the stripe. Gap: Enter the value for the space between stripes. Note: If the system beeps to indicate an error, the value entered for the size of the stripes is probably too large for the Number of Stripes.
Page 501 To create fixed stripes 1 Select two objects or groups. 2 Click Tools > Effects to open the Effects dialog box. 3 Click Stripes to open the Stripes dialog box. 4 Turn on the Fixed check box, and enter the desired Number of Stripes. 5 Choose Horizontal or Vertical in the Type group box.
Page 502: Using Layers
Chapter 44: Creating Special Effects Using Layers The Layers effect duplicate selected shapes, giving the appearance of several thicknesses. The Layers dialog box controls the following terms: ♦ Number of Layers ♦ Spacing (Angle and Depth) ♦ Distance ♦ Application (Composite and Partials) ♦...
Page 503 Depth is the distance between the shape and its layer, measured along the angle. The value of the depth can be larger than the shape height, but is traditionally equal to the thickness of the letter stroke of the original. Angle determines the position of the layer based on the lower left corner of the shape.
Page 504 Chapter 44: Creating Special Effects Distance Distance is the space from a point on the original shape to the corresponding point of the layer. Turning on the Spacing group box displays the X and Y text boxes. The X and Y axis specify the distance and direction of the layer.
Page 505 When cutting the design in vinyl only, each layer is cut as one piece from its assigned vinyl colors. The original shape is also cut in another color and placed on top of the first composite layer so that only part of the layer remains showing. These pieces are then placed on the next composite layer in the same manner, and so on until the layered effect is complete.
Page 506: Using Overlap
Chapter 44: Creating Special Effects Using Overlap The Overlap effect makes shapes appear to overlay each other in left to right, right to left, top to bottom, or bottom to top placement. Overlap also lets you alternate colors. The selected shapes must overlay somewhere for Overlap to work.
Page 507 Alternate You can interchange shape placement by selecting Normal, Odd on Top, or Even on Top from the Alternate group box. The system reads in the order specified, arranging shapes by screen position, not by how you selected them. Note: By alternating shape placement, you can assign vinyl colors to alternating shapes with one click of the Vinyl Assignment tool.
Page 508: Using Contour
Chapter 44: Creating Special Effects Using Contour Contour creates new objects by discarding the interiors of the overlapping portions of the objects, leaving only the silhouettes. The selected objects must overlay at some point. Turning on Keep Originals creates a cut-only contour and keeps the original objects as print-only objects. Keep Originals lets you fill and print the original objects individually, but cut around them as a single piece To create a Contour...
Page 509 Combining a library graphic with a design Before combining library graphics with a design, consider the following hints: ♦ Library graphics may need to be resized before they can be combined with a design. ♦ When using Special Effects click Arrange > Justify to superimpose one group directly on top of the other.
Page 510 Chapter 44: Creating Special Effects Clouds example using Contour Use the clouds from the library graphics and Contour combined with text to create the graphic. To create the clouds example 1 Click File > Import > GSP > Library > Effects > Clouds. 2 Place the text CLOUD NINE RESTAURANT in the center of the clouds graphic.
Page 511 It’s important to realize that some of your libraries may fall into this category. The standard number of Gerber libraries delivered with OMEGA can be restored from the OMEGA software CD. Any additional Gerber or non-Gerber libraries that you may have purchased can be restored from the original disk(s) they were delivered on.
Page 512 Chapter 44: Creating Special Effects...
Page 513: Book Ten: Repeating Text And Objects
Book Ten: Repeating Text and Objects Repeat functions not only add design elements to your job, but also can save you time by automatically merging text from a list or a number sequence with non-changing text. This book covers these topics in the following chapters: Chapter 45: Repeating Objects —...
Page 515: Chapter 45: Repeating Objects ⎯ Text Or Shapes
Chapter 45: Repeating Objects ⎯ Text or Shapes Use Repeats/Merge and Advanced Repeats in the Tools menu to add multiple copies of text or shapes to your job. The difference between Repeats/Merge and Advanced Repeats is: ♦ Repeats/Merge sets the number of X and Y repeats as well as the gap or distance between each repeated object (repeats).
Page 516: Changing The Spacing, Size, And Alignment For Repeats
Chapter 45: Repeating Objects – Text or Shapes To remove the repeats, Smart Edit the repeated objects to open the Repeats/Merge dialog box and click Off. Note: The maximum number of repeats is 65535. You can enter a value between 1 and 65534 in either X and Y Repeats boxes.
Page 517 Creating a line of repeats with incremental spacing You can incrementally change the spacing between objects by entering a value in the Increment text box of the Advanced Repeats dialog box. The increment is a space value (distance) added to the previous space value so that the distance between objects increases or decreases progressively.
Page 518 Chapter 45: Repeating Objects – Text or Shapes Creating a line of repeats with incremental sizing Use the % Size Change box in the Advanced Repeats dialog box to change the size of each repeated object. The percent is based on the size of the original object, not on the subsequent repeated objects.
Page 519 2 Choose Gap or Center to Center and enter a value in the Distance text box. 3 Enter a value in the Increment text box if you wish the Distance value to change. 4 In Repeats enter a number greater than 1. 5 Choose a Direction from the drop-down list: Right, Left, Up, or Down.
Page 521: Chapter 46: Merging Text And Numbers
Chapter 46: Merging Text and Numbers Use the Repeats/Merge command in the Tools menu to repeat text and combine it with additional text from a merge file. You can also repeat text with an automatically generated number sequence. Some examples are: ♦...
Page 522 Chapter 46: Merging Text and Numbers Note: The ampersand is the default character used as a placeholder for the merge text file lines. The Options tab in the Repeats/Merge dialog box allows you to substitute another character for the ampersand if you wish. 3 On the Text Merge tab click Create File to open Notepad where you can create an ASCII text file containing merge data.
Page 523 8 Open the Repeats tab and set the number of repeats (number of records in the file) and the merge parameters on the Repeats tab. See “Setting the repeat and merge parameters” for more information. 9 Click OK the merged text displays on the work surface. Tip: You can create a text file using other text editors, such as Microsoft Word.
Page 524 Chapter 46: Merging Text and Numbers 5 Choose Gap in the Spacing group box to set the space between the edges of repeated text. Set different values for X and Y gaps if desired to create different top and bottom vs.
Page 525: Repeating Text With Autonumbers
To merge into text that has a forced/fixed length 1 Click Tools > Repeats/Merge and open the Repeats tab. 2 Click the Options tab. 3 Choose Maintain Forced/Fixed Length Percent to resize the merged line of text using the percentage entered in Composer. Choose Use Fixed/Forced Length as Entered to maintain the length of the merged line of text as entered in Composer.
Page 526 Chapter 46: Merging Text and Numbers 5 Use the Repeats group box to choose the number of repeats and establish the matrix. This example uses 2 repeats in the X direction and 2 repeats in the Y direction. 6 Use the Layout group box to establish the order of repeats in the matrix. 7 Choose Gap in the Spacing group box to set the space between the edges of repeated text.
Page 527 11 Set the Increment Value. Enter either a positive or a negative number. Each subsequent number in the sequence will be increased or decreased by this amount. For example, enter 1 to increase the Starting Value by 1 for each repeat. 12 The Ending Value automatically displays.
Page 528: Merging Text With Autonumber
Chapter 46: Merging Text and Numbers Merging text with AutoNumber Combine repeating and merging text with AutoNumber in the same document. Create the merge text file before beginning this procedure. See “Repeating and Merging Text.” To use merge text with AutoNumber 1 Enter the fixed text, and the Merge text and AutoNumber placeholders.
Page 529: Book Eleven: Managing, Converting, And Designing Fonts
Book Eleven: Managing, Converting, and Designing Fonts The availability of a wide variety of fonts is critical to providing clarity and emphasis to a job. Several features allow you to convert or design special fonts for use with OMEGA as described in the following chapters: Chapter 47: Managing Fonts, shows how to use the Font Manager program to install, uninstall, and quickly locate and view fonts.
Page 531: Chapter 47: Managing Fonts
Managing Fonts Exploring the Font Manager program Included with OMEGA is a Font CD containing hundreds of additional URW and Gerber fonts including free and optional font packs that you can purchase. You can load all of them on your hard drive;...
Page 532 Uninstalled Fonts list and appear in the Installed Fonts list. If the font is part of a purchasable font pack, the Gerber Font Pack Purchase password dialog box displays so that you can enter a password.
Page 533 Purchase Password dialog box displays. 6 Enter the Password from the Password Envelope provided when you purchased the font pack. If your password is missing contact your Gerber distributor or GSP Technical Support. 7 Click OK and the fonts you have selected install in the C:\GSP\GSPFonts folder as shown in the Install To menu item of Font Manager.
Page 534: Viewing Gerber Fonts In Font Manager
Tip: To display all styles, click the All button and then click OK. Viewing Gerber Fonts in Font Manager In Font Manager you can view Gerber Fonts by right-clicking a font in the Installed or Uninstalled Fonts lists and choosing View Font. The font character set displays in a popup window.
Page 535 You can enter specific characters (such as a company name or headline) to display when viewing a Gerber font. Enter the characters to display in the Font Manager Viewer Options dialog box, then when choosing View Font, only those characters display.
Page 536: Renaming A Gerber Font Style
Font Manager and then clicking Modify Gerber Styles or by clicking Styles > Modify Gerber Styles. In the Rename Gerber Font Styles dialog box you can rename a style. If you leave the User Renames field blank the style is removed from the displayed list.
Page 537 Working with custom User Font Styles User Font Styles are groups of fonts that you create for better font management. Use Gerber Font Manager to create, modify, or delete a User Font Style category. Creating a new User Font Style category You can create custom User Font Styles that make it easier to organize your fonts.
Page 538 1 Right-click the GSPTray icon in the lower right corner of your status bar and choose Font Manager to open the Gerber Font Manager dialog box. 2 Click Styles > Create/Modify User Styles to open the Create/Modify User Font Styles dialog box.
Page 539 You can delete a custom User Font Style that you have created. To delete a User Font Style category 1 Right-click the GSPTray icon and choose Font Manager to open the Gerber Font Manager dialog box. 2 Click Styles > Create/Modify User Styles to open the Create/Modify User Font Styles dialog box.
Page 541: Chapter 48: Viewing And Printing Installed Fonts
There are two ways to view the list of fonts installed with OMEGA. Open Font View and review the list in the Font Select dialog box, or right-click the GSP Tray icon and click Gerber Installed Fonts from the drop-down list.
Page 542 1 Right-click the GSPTray icon that appears at the right end of the Windows status bar. 2 Click Gerber Installed Fonts. The Please wait while fonts are enumerated message box displays as the list of fonts is built. Upon completion, the Font Selected for Printing dialog box opens.
Page 543 Viewing font character sets and individual characters In Font View you can view all the characters that make up a font. Font View displays each character on a button along with its decimal or hexadecimal keycode. You can choose to display the character set in wireframe or filled mode.
Page 544 Chapter 48 Viewing and Printing Installed Fonts 6 Click anywhere in Font View to return to the font character set. Changing display settings The Display Settings dialog box in Font View allows you to change how characters display on the buttons or individually. You may alter from the following settings: ♦...
Page 545: Printing The Installed Fonts
Tip: You can access the Fonts Selected for Printing dialog box by right-clicking the GSP Tray icon and choosing Gerber Installed Fonts. To print a list of installed fonts 1 Click Start >...
Page 546 0.001 and 4.000 inches. Tip: You can access the Fonts Selected for Printing dialog box by right-clicking the GSP Tray icon and choosing Gerber Installed Fonts. To print the font character set 1 Click Start > Programs > GSP OMEGA > Font View.
Page 547 3 Click Select All to choose all installed fonts or hold down the Ctrl or Shift keys while clicking to select multiple fonts. 4 Enter a Text Height and choose a measurement mode from the drop down menu. 5 Turn on Wire Frame Text to print the characters as outlines or turn off the option to print filled characters.
Page 548 Chapter 48 Viewing and Printing Installed Fonts 3 Click Select All to choose all installed fonts or hold down the Ctrl or Shift keys while clicking to select multiple fonts. 4 Enter the print settings as described in “To print the font character set.” 5 Click OK to open the Font View print preview dialog box.
Page 549: Locating And Copying Characters In Font View
Locating and copying characters in Font View Font View provides an easy way to view all of the characters in a font including opening and closing characters for connected fonts, special characters, and accented characters. In Font View, you can locate a character, copy it to the clipboard, and then paste it in Composer. Accelerator keys are also available for certain functions to simplify your navigation.
Page 550 Chapter 48 Viewing and Printing Installed Fonts 5 Click a character to select it. Font View displays an enlarged image of the character. 6 Click Edit > Copy. 7 Close Font View and return to Composer. 8 Click the TOWS tool. 9 Choose the same font that you chose in Font View.
Page 551 3 Click F2/Font Name and choose a font from the drop-down list. 4 Click F9/View Font to open the Font View dialog box, which displays the chosen font. If all the characters do not fit on the screen, use the scroll bar to view all the characters. 5 Click the character to copy.
Page 553: Chapter 49: Converting Truetype Fonts To Omega-Compatible Fonts
This program allows OMEGA to accept a variety of fonts that previously could not be cut in vinyl. Converted TrueType fonts may differ in quality from Gerber fonts. TrueType fonts are designed for printing and not for vinyl cutting. Closely examine small sizes for imperfections and sizing problems.
Page 554 Chapter 49 Converting TrueType Fonts to OMEGA-Compatible Fonts Changing the font title You may choose to change a font name so that you can identify the converted TrueType font in OMEGA. Assigning a name gives the converted font a name in OMEGA but does not change the Windows TrueType font name.
Page 555 To convert a TrueType font 1 Click Start > Programs > GSP OMEGA > TT Font Converter to open the TrueType to GSP Font Converter dialog box. 2 Click a font to be converted from the Installed Fonts list. 3 Type a new name in the New Font Title text box. 4 If you would like to assign a style to the converted font, click Styles to open the Set Font Styles dialog box.
Page 556 Chapter 49 Converting TrueType Fonts to OMEGA-Compatible Fonts 7 In the % of Height field enter a percent from 50 to 150. The default is 100%. 8 Enter a Character to define character height. The default is the letter H. 9 Click OK to return to the TrueType to GSP Font Converter dialog box.
Page 557: Fine-Tuning The Font
5 Accept the defaults, or enter a % of Height value and a new Character to use a height template. Click OK to return to the TrueType to GSP Font Converter dialog box. As each font is converted it is removed from the list. Fine-tuning the font TrueType fonts are designed for printing, not for cutting on vinyl.
Page 558 Chapter 49 Converting TrueType Fonts to OMEGA-Compatible Fonts 3 Click Contour to open the Contour dialog box. 4 Click Continue to create connected characters. Customized kerning OMEGA provides you with a process for customizing TrueType character spacing. You may choose to use this process when you find the character spacing of a TrueType converted font to be inadequate.
Page 559 Using the TrueType Font Converter to disjoin characters TrueType fonts are normally converted and stored in a single font file. To allow for customized kerning between each character you must disjoin the font, so that each character is converted and stored in a separate file in a directory of your choice. Each character has its own file and is named Xnn.plt, where nn is the keycode number of the character (for example, X30.PLT for the zero (0) character).
Page 560 Chapter 49 Converting TrueType Fonts to OMEGA-Compatible Fonts 6 Click Open to display the “H” in Composer. 7 Click the Measure tool in the main toolbar. Measure the “H” from the heightline to the baseline. Make note of the height shown in the display area. 8 Close Composer.
Page 561 5 Type a name for the font in the Font Title text box. Note: Refer to “Designing and Building your own fonts” for more information on the Font Settings dialog box. 6 Tab to Cap Height Line. 7 Type the “H” height noted in Step 7 of the procedure, “To use Composer to check the template character.”...
Page 562: Tips For Working With Truetype Fonts
The Height line % and the character template selected during conversion also determine character size. Font edge quality Since TrueType fonts are not a Gerber product, we do not guarantee the font edge quality of TrueType fonts when converted.
Page 563: Backing Up Fonts
Gerber fonts delivered with OMEGA can be restored from the OMEGA software CD or the URW font CD. Any additional Gerber or non-Gerber fonts that you may have purchased can be restored from the original disk(s) they were delivered on. So safeguard those disks.
Page 565: Chapter 50: Designing And Building Your Own Fonts
Chapter 50: Designing and Building Your Own Fonts Gerber has many fonts available for purchase. The Font Designer program for OMEGA enables you to build your own fonts. After creating the font characters, save each of them to an individual PLT file, then process them through the Font Designer program.
Page 566: Inputting The Artwork
Chapter 50: Designing and Building Your Own Fonts 3 Align and scale the font characters in Composer and save each character in its own keycode file. A keycode file is named keynnn.plt, where nnn is a number that is mapped to a specific keyboard key. 4 Build the font in Font Designer: ♦...
Page 567 Inputting the characters There are six methods described below to bring the characters into Composer. For the last three methods, scanning, File Converter, and Composer, we recommend creating all the font characters in one file. This makes it easier to keep the baseline and sizing of the characters consistent.
Page 568 Chapter 50: Designing and Building Your Own Fonts keycodes. Save each character to its own PLT file according to “Saving the characters.” Follow this sequence until all of the characters of the font have been saved. 6 Follow the directions in “Building the font,” for details on using Font Designer to build the font.
Page 569 Right end cap Left end cap ♦ When digitizing end caps or characters which are to be connected to other characters, keep the distance between the two open points that will connect to the next character consistent from character to character. If the open points are not the same distance apart, the characters will not fit together correctly.
Page 570 Chapter 50: Designing and Building Your Own Fonts ♦ Scan large, clean artwork at 150 dpi. Smaller or lower quality artwork should be scanned at 300 dpi. The higher the resolution the more detailed the image but the larger the file size. To use the scanner to build a font 1 Create or obtain the artwork.
Page 571 Modifying an existing font to create clean out characters You can build a new font by modifying an existing Gerber font with Composer’s detail editing tools, then follow this procedure to build a clean out font. You must open the ART Path program and generate a clean out tool path, then process the font through Font Designer.
Page 572 ♦ URW fonts must be purchased in BE format. ♦ If URW kern simulation is desired, then both BE and SP files are required. ♦ If URW with Gerber kerning or traditional spacing is desired, only the BE file is required.
Page 573 5 Turn on Long Kern Table (GRAPHIX ADVANTAGE) to accurately reproduce URW spacing. 6 Click OK. 7 Click Process! to convert the URW font to a Gerber font. Font Designer displays the Font Construction Complete dialog box when finished. The converted font is now available for use in Composer.
Page 574 Font Designer. There are two types of kerning: ♦ URW with traditional spacing. ♦ URW with Gerber kerning. To convert URW fonts with traditional spacing 1 Open Font Designer and click File Set Directory to open the Browse for Folder dialog box.
Page 575 5 Click OK to return to Font Designer. 6 Click Setup! to convert the URW font to a Gerber font. Font Designer displays a message indicating that there is no URW kern table. 7 Click Yes for traditional spacing. The conversion continues and the Font Construction Complete dialog box displays when finished.
Page 576 Chapter 50: Designing and Building Your Own Fonts 6 Click Setup! to convert the URW font to a Gerber font. Font Designer displays a message indicating that there is no URW kern table. 7 Click No to have Font Designer use Gerber kerning. The Kern Setup dialog box opens.
Page 577 To add guidelines to a Composer file 1 In Composer, click Layout > Horizontal Guideline to open the Set Horizontal Guideline dialog box. 2 Enter 0 (zero) in the Y location field. 3 Click OK. A Horizontal Guideline appears at the 0 mark on the vertical axis of the Composer screen.
Page 578 Chapter 50: Designing and Building Your Own Fonts To lock guidelines In Composer, click Layout > Lock Guidelines to turn on the option. Editing the Baseline Connected fonts or double-byte fonts use the Baseline to define their width. You may edit the Baseline to provide a consistent sizing of characters.
Page 579 Scaling characters To create characters that are sized correctly and scaled to one another, follow the guidelines below. ♦ Measure artwork from the height line to the baseline. ♦ Use one standard height to create characters, not to exceed 12" (304.8mm). ♦...
Page 580 Chapter 50: Designing and Building Your Own Fonts To use Absolute Size to scale characters 1 Select the character including any non-connected parts such as the inner shape of a lower case e. 2 Click Shape > Absolute Size to open the Absolute Size dialog box. 3 Turn on Uniform to size the character proportionally in Size Type.
Page 581 To position characters visually 1 Select a group or individual character to be positioned. Drag them to the baseline and position them with the bottom flats of each character touching the baseline. 2 Add an additional guideline for the top (X height) of the lowercase characters. 3 Align descending characters with the X height guideline.
Page 582 Chapter 50: Designing and Building Your Own Fonts 4 Choose Absolute. 5 Enter 0’s in the X and Y fields in the New Location group box. 6 Click OK to return to Composer. The selected character(s) will now be at the 0,0 point on the horizontal and vertical guidelines.
Page 583 Character Keycode Character Keycode Character Keycode KEY65 KEY97 KEY58 KEY66 KEY98 KEY61 KEY67 KEY99 KEY47 KEY68 KEY100 KEY39 KEY69 KEY101 KEY63 KEY70 KEY102 KEY48 KEY71 KEY103 KEY49 KEY72 KEY104 KEY50 KEY73 KEY105 KEY51 KEY74 KEY106 KEY52 KEY75 KEY107 KEY53 KEY76 KEY108 KEY54 KEY77...
Page 584 Chapter 50: Designing and Building Your Own Fonts Using the Keycode Chart (for accented characters) If building a font in a language that contains accented characters, use the chart below for the keycodes to name the PLT files. The name of the PLT file determines what character is accessed when you press the keys during text entry.
Page 585 4 Browse the Save in field to find the subdirectory that you created to save the font in. 5 Using the OMEGA naming conventions, enter the font name in the File name field. 6 Select PLT – Gerber Plot File in the Save as type field. 7 Click Save to return to the Composer work space.
Page 586: Building The Font
Chapter 50: Designing and Building Your Own Fonts 9 Repeat Steps 3-8 until all of the characters in the job have been saved. Building the font After you have created and saved the font characters in their individual PLT files, use OMEGA’s Font Designer to build a font.
Page 587 ♦ Font Title – Enter a unique name (not to exceed 32 characters) to identify the font. Tip: To avoid duplicate font titles, open GSP Tray and select Font Manager to open the Gerber Font Manager dialog box. This dialog box allows you to view a list of all installed fonts.
Page 588 Font Designer, only the clean out tool paths remain. The clean out characters are created in ART Path. ♦ Gerber Edge Font – Check only if you are using the GERBER EDGE to retain Edge font attributes including fills and colors.
Page 589 8 To set the parameters for a clean out font, turn on the Clean Out Font check box. 9 For GERBER EDGE fonts click the GERBER EDGE font check box. 10 To maintain linear or radial fills (fades) across combined characters, click the Some Fills applied to Multiple Characters check box.
Page 590 Chapter 50: Designing and Building Your Own Fonts 3 Enter a character in the Add Kern Character (Increase Space) box. 4 Enter a character in the Subtract Kern Character (Decrease Space) box. 5 Turn on Put No Kern Characters in Font if you do not want kern characters. 6 Click Default to return the kern characters to the GSP defaults.
Page 591 ♦ Wire Frame – Turn on this option to view the font without a fill. ♦ Kern Left – Activate this check box to turn kerning on for the left side of a character. ♦ Kern Right – Turn on this check box to turn kerning on for the right side of a character.
Page 592 Chapter 50: Designing and Building Your Own Fonts Processing the kerning The Kern Process dialog box allows kerning adjustment for the entire font. Review the information below on the Kern Process dialog box before completing the steps for overall font kerning adjustment.
Page 593: Accessing The Font
Accessing the font After font processing is complete, you can access the font using Text on the Work Surface (TOWS) or from the Enter/Edit Text dialog box in Composer. Characters must have been processed through Font Designer to be accessed in Composer. Note: Connected fonts can not be selected in TOWS.
Page 594: Creating Fonts: Exercises
Chapter 50: Designing and Building Your Own Fonts 2 Click the Enter/Edit Text tool and click once in the Composer work space. The Enter/Edit Text dialog box opens. 3 Click F3/Font to open the Font Select dialog box. 4 Scroll through the font titles in the Font list box and select the title of the font you just built.
Page 595 Standard font exercise You can practice making a font with the sample font installed on the system. Sixteen one-byte characters which make up the phrase GRAPHIX, graphix! have been saved as individual PLT files according to the chart below. G = KEY71.PLT R = KEY 82.PLT A = KEY65.PLT P = KEY80.PLT...
Page 596 Chapter 50: Designing and Building Your Own Fonts To position and save the characters 1 Either select the character with the Selection tool and drag it to the baseline or use Absolute Move to move the character directly to the baseline. See “Positioning characters”...
Page 597 3 In the Font Number text box, the system automatically enters the next available font number to identify the font. You may also enter a font number manually by entering a new number in the Font Number text box. 4 In the Cap Height Line text box enter the capital height line value. (This is the value from the status bar, which you wrote down earlier.) 5 In the Space Character text box enter a space character value or use the default value for that height.
Page 598 Chapter 50: Designing and Building Your Own Fonts 2 Click the 3 in the # of Passes box (not available if using the Long Kern Table). 3 Click Process. The Font Designer Status box opens as the font processes. 4 A message displays when font construction is complete. Click OK. 5 Close the Font Designer program.
Page 599 3 Click File > Digitize New to begin digitizing the first character. ♦ Digitize the right and left baseline points. ♦ Digitize the lower left corner of the frame. ♦ Digitize the upper right corner of the frame. ♦ Digitize the character. 4 Align and scale each character using these suggestions about working with a connected font: ♦...
Page 600 Chapter 50: Designing and Building Your Own Fonts To enter the font settings 1 Click File > Font Settings to display the Font Settings dialog box. 2 In the Font Title text box enter a Font Title. 3 In the Font Number text box, the system automatically enters the next available font number to identify the font.
Page 601 7 Save all of the characters on screen in one file. Note: Gerber recommends saving all the characters in a clean out font in one file. When the PLT file containing the font characters is opened in the ART Path program, all the characters are selected as a group and the clean out tool path is generated only one time.
Page 602 Chapter 50: Designing and Building Your Own Fonts 5 Click ToolPaths > Cleanout to display the Default Cleanout Info dialog box. 6 Make the appropriate selections from the dialog box. Refer to OMEGA ART Path & Auto-Carve User's Guide for further information on how to use the Default Cleanout Info dialog box.
Page 603 5 Click F3 to deselect all the characters. 6 Marquee select each character in the font using the Selection tool. (Be sure to include all of the cleanout toolpaths as well as any unconnected shapes such as the dot of a lower case i.) 7 Display the baseline on screen.
Page 604 Chapter 50: Designing and Building Your Own Fonts To set the kerning 1 Click Setup! The Font Designer Status Box opens and builds the font. 2 The Kern Setup dialog box opens. Click the down arrow to scroll through the characters in the font.
Page 605: Book Twelve: Outputting The Job From Composer
Book Twelve: Outputting the Job from Composer After you design the job, you need to output it. Composer offers several output options. You can: ♦ Send the job to a plotter or printer. ♦ Send the job to a person by e-mail. You can also output the job by converting the file to a different format using either Composer’s File >...
Page 607: Chapter 51: Sending The Job To A Plotter Or Printer
Sending the Job to a Plotter or Printer Jobs can he sent to the: ♦ GSPPlot program for thermal printing and cutting. ♦ The Gerber ImageRIP program for inkjet printing. ♦ Desktop printer for paper printing. These choices are made in the Composer File menu.
Page 608 Chapter 51: Sending the Job to a Plotter or Printer Outputting selected objects only Sometimes you may just want to send part of a job (to make a test print, for example). The Output Selected command in the File menu allows you to do this. To output selected objects only 1 Select the objects to send to GSPPlot.
Page 609: Sending The Job To An Inkjet Printer Using Gerber Imagerip
Sending the job to an inkjet printer using Gerber ImageRIP The ImageRIP command in the File menu sends the job to Gerber ImageRIP for inkjet printing. Gerber ImageRIP is a legacy program which is no longer available for purchase. If you had purchased ImageRIP in the past, this option is still available with newer versions of OMEGA.
Page 610 Chapter 51: Sending the Job to a Plotter or Printer If there are dimension objects in the job, you must be in Composer's Design View to display dimensions in Print Preview and paper print them. Dimension objects may fail to display or print if you are in Output View.
Page 611 To choose the printer output 1 Click File > Print… to open the Print dialog box, and then click the Output tab. 2 Enter the margin measurements. 3 Choose an Output Type option: ♦ Black Wireframe for a black and white wire frame printout. When Wireframe is activated you can enter a Line Width between 1 and 15.
Page 612 Chapter 51: Sending the Job to a Plotter or Printer Choosing what to print Use the Options tab in the Print dialog box to set the margins, size, placement, type, and line width of the printout. To choose what to print 1 Click File >...
Page 613: Chapter 52: Sending The Job To A Person By E-Mail
Chapter 52: Sending the Job to a Person by E-Mail Quickly and easily send the PLT file via e-mail using the File > Send command in Composer. To send a job by e-mail 1 Save and name the PLT job file. 2 Click File >...
Page 614 Chapter 51: Sending the Job to a Plotter or Printer...
Page 615: Book Thirteen: Printing And Cutting The Job
Book Thirteen: Printing and Cutting the Job Now that the job is approved by the customer and completely designed, it’s time to turn it into a product for your customer’s use. Production of the job occurs in the GSPPlot program, which is a component in the OMEGA suite of programs.
Page 616 Chapter 65: Gerber Queue Manager, provides procedures for opening Gerber Queue Manager and using timesaving techniques when preparing jobs for printing and cutting.
Page 617: Chapter 53: Opening And Closing Gspplot
Chapter 53: Opening and Closing GSPPlot There are two methods to open GSPPlot. When outputting a job or a portion of a job from Composer, GSPPlot - Quick Plot opens. You can also open the GSPPlot program and retrieve previously saved files. Opening GSPPlot from Composer From Composer, output a complete job, a job by layers, a selected object, or a specified vinyl to GSPPlot.
Page 618 Chapter 53: Opening and Closing GSPPlot 2 Click the vinyl color to output from the list. Choose multiple vinyl colors using Ctrl+click. 3 When sending multiple vinyls, turn on Output by Separations and Pause between Separations to allow you to change the vinyl between operations. 4 Click OK, gspplot - QuickPlot opens with the objects of one vinyl color displayed on the work surface.
Page 619 To output a job by layers 1 With a job open in Composer, click File > Output By Layer to open the Output By Layer dialog box. All layers are selected to output (box is checked). 2 Clear the checkbox for any layer (or vinyl on that layer) that will not be output to GSPPlot.
Page 620: Opening A Gspplot From Windows
Chapter 53: Opening and Closing GSPPlot To name a Quick Plot job when outputting 1 Hold down the Shift key while clicking File > Output All, Output Selected, Output by Vinyl, or Output by Layer to display the Quick Launch – Assign Job Name dialog box. REMEMBER to hold down the key until you see the dialog box on the screen or in the Windows task bar.
Page 621: Program Information
Program Information Choosing About GSPPlot from the Help menu displays the GSPPlot program version number and the copyright. Using the GSPPlot toolbar As in other OMEGA applications, the GSPPlot toolbar has been designed to provide the user with a quick and easy way to access dialog boxes and perform a multitude of tasks. For example, to rotate a job 90 degrees, rather than selecting Layout >...
Page 622 Chapter 53: Opening and Closing GSPPlot Use the Output by Layers button to turn layers on or off. This checkbox determines whether or not a multi-layer job will be separated into layers or flattened (processed with layer information ignored). The Select Colors button opens the Select Colors dialog box where you can choose layers, vinyls, and foils to print.
Page 623: Chapter 54: Setting Up The Gspplot Window
Chapter 54: Setting Up the GSPPlot Window GSPPlot gives you the flexibility to change various viewing attributes of the active job window. Displaying the summary and status bars When a job is opened in GSPPlot, the Summary and Status Bars display along the bottom of the window.
Page 624: Modifying Ruler Properties
Chapter 54: Setting Up the GSPPlot Window Modifying ruler properties The Ruler Properties button, located in the upper left corner of the GSPPlot rulers, opens the Ruler Properties dialog box. You can also right click the rulers and choose Properties to edit ruler characteristics including: ♦...
Page 625 To modify the ruler’s size 1 Click Ruler Properties to open the Ruler Properties dialog box. 2 Click the Size tab. 3 Click and drag the slider to change the ruler’s width. 4 Click Apply. To change the ruler’s font 1 Click Ruler Properties to open the Ruler Properties dialog box.
Page 626: Managing Windows
Chapter 54: Setting Up the GSPPlot Window To change the ruler’s colors 1 Click Ruler Properties to open the Ruler Properties dialog box. 2 Click the Color tab. 3 There are 2 methods for changing ruler colors: ♦ Choose a standard color scheme from the Color Scheme list. ♦...
Page 627: Sizing The Work Surface
Sizing the work surface The work surface can be resized for better viewing or to increase your workspace. To resize the work surface 1 Position the mouse on a corner or side of the work surface so the pointer becomes a double-sided arrow.
Page 628 Chapter 54: Setting Up the GSPPlot Window Job attributes are color-coded for easy identification: ♦ Print-only objects are outlined in red. ♦ Cut-only objects are outlined in black. ♦ Cut and print objects are outlined in green. ♦ Clipping path objects are outlined in grey. ♦...
Page 629: Using The Gspplot Options Dialog Box
Using the GSPPlot Options dialog box Click Tools > Options to open the Options dialog box where you can enable or disable warning messages, and alter the Thumbnail Resolution and Bits Per Pixel settings. Enabling or Disabling GSPPlot Warning Messages The Options dialog box of GSPPlot allows you to enable or disable warning messages.
Page 630 Chapter 54: Setting Up the GSPPlot Window To setup Thumbnails in GSPPlot 1 In GSPPlot click Tools > Options to open the Options dialog box. 2 In the window at the left click Image. 3 Use the Resolution slider to change the image resolution to Low, Medium or High. 4 Use the slider to change the Bits per Pixel to 1, 4, 8, or 24.
Page 631: Chapter 55: Managing Files In Gspplot
Chapter 55: Managing Files in GSPPlot Design files created in OMEGA’s Composer are saved as PLT files. GSPPlot has the ability to open PLT files produced by OMEGA’s Composer as well as other design files created in programs such as CorelDraw or Adobe Illustrator. The Open dialog box opens all of the file types that can be opened in Composer.
Page 632: Opening Existing Job Files
Chapter 55: Managing Files in GSPPlot Opening existing job files After starting GSPPlot, choose the file to open in the Open dialog box. You can have multiple files open at the same time. Choose several files to open by holding the Ctrl or Shift keys while clicking the file names in the list.
Page 633: Understanding Layers And Print Order In Gspplot
Understanding Layers and Print Order in GSPPlot After a job is sent from Composer, you can dynamically switch between layered and flattened Print Order using the Output by Layer command. There are three places to access Output by Layer in GSPPlot: ♦...
Page 634 Composer Print Order whenever possible. Pause Before Rewind In the Print Order dialog box, turn on Pause Before Rewind check box to direct the GERBER EDGE® to pause at the end of each foil printing. The message on the LCD screen will say Press .
Page 635 Because each layer behaves like a separate job when outputting by layers, the same vinyl color can be output multiple times from the same job if it is designed on different layers. Likewise, the same foil color can be output from different layers. Merge Layers The Merge checkbox in the Select Colors dialog box allows you to flatten your selected layers and print.
Page 636: Saving All Preferences
Chapter 55: Managing Files in GSPPlot Saving all preferences After setting up a job for printing or plotting in GSPPlot, you can save all the settings by choosing Save All Preferences. When GSPPlot is reopened, the preferenced settings remain. For example, if you reverse a job and choose Save All Preferences, any files opened in GSPPlot will be reversed.
Page 637 3 Choose the type of information to include in the spool file. ♦ If you are saving a vinyl-only job click Cut Information. ♦ If you are saving a print and cut job, click Print Information and Cut Information to minimize the time required when running the job later. ♦...
Page 638 Chapter 55: Managing Files in GSPPlot Batch saving spool files A PRM file is created when a job is output. If multiple files are processed together (batch files), it is necessary to save the parameters for each file prior to processing. To Batch Save Spool Files when the system is unattended 1 Click File >...
Page 639 9 Turn off Display Error Messages. If an error occurs in one of the files, batch processing will continue if possible. If processing cannot continue, the file name remains in the Files to Process list. 10 Turn on Replace Existing Files to overwrite any existing SPL files and continue batch processing.
Page 640: Viewing A Spool File
This can be helpful for reverse or double-sided printing, or when printing on clear substrates. Note: GSP Spool File Viewer is only for viewing GERBER EDGE jobs. It is not available for GERBER MAXX or ink jet jobs.
Page 641 Job and foil data display at the top of the GSP Spool File Viewer window including: ♦ Selected Printer and settings (if applicable) ♦ Selected Plotter and settings (if applicable) ♦ Size ♦ DPI ♦ Foil Used ♦ Vinyl Area ♦...
Page 642 Chapter 55: Managing Files in GSPPlot View > Next Foil displays the next foil color in the spool file. View > Previous Foil displays the prior foil in the spool file. View > Next Band displays the next section of the displayed foil. View >...
Page 643: Including Special Job Instructions
Job Instructions. When there is a message in the Job Instructions dialog box, the Gerber Queue Manager (GQMgr) program pauses before plotting or printing. If GQMgr is open, the instructions automatically display in the window.
Page 644 Chapter 55: Managing Files in GSPPlot To add special instructions to a job 1 Click Setup > Job Instructions to open the Job Instructions dialog box. 2 Type the notes you want to attach to the job in the Instructions text box. 3 Click OK.
Page 645: Chapter 56: Creating A Mirror Image And Reversing Print Order
Tip: Click Layout > Reverse to return the image to its original orientation. Printing a job on transparent material When printing on clear materials, such as static cling or Gerber 220 Scotchcal™ Clear Enamel Receptive, you may need to reverse the print order to maintain the appearance of a job that is facing out through a window.
Page 646: Printing A Job On Heat Transfer Paper
Chapter 56: Creating a Mirror Image and Reversing Print Order 2 Turn on Reverse Print Order. 3 Click OK. Tip: If a protective coating foil is in the list, it remains at the bottom of the list. Printing a job on heat transfer paper When printing on heat transfer paper, you need to reverse the print order to maintain the appearance of a job once it is transferred to fabric.
Page 647: Chapter 57: Multiple Copies In Gspplot
Chapter 57: Multiple Copies in GSPPlot Composer and GSPPlot each have the capability to repeat or copy a job. Composer has extensive capabilities to create repeats of a job before it is output to GSPPlot. The Repeats/Merge command in Composer provides advanced features such as spacing, layout, text merging and autonumbering.
Page 648: Setting The Distance Between Repeats
Chapter 57: Multiple Copies in GSPPlot 3 Enter a value in the Y Repeats text box to choose the number of repeats to place along the Y axis. You must enter a number within the range shown. 4 Click OK. To repeat a non-paneled job inplace on a flatbed plotter 1 Click Layout >...
Page 649: Creating Multiples Of A Job With Panels
2 In the Spacing group box, enter a value for the gap amount in the X Gap text box. 3 Enter a value for the gap amount in the Y Gap text box. 4 Click Continue. Creating multiples of a job with panels Create multiples of a job with panels using the Repeats command in GSPPlot.
Page 650 Chapter 57: Multiple Copies in GSPPlot 2 Click View > Full View to return to the default view which displays the job without the repeats or copies.
Page 651: Chapter 58: Advanced Setup Options
Chapter 58: Advanced Setup Options After a job is designed and output from Composer, you may want to alter it before plotting or printing. GSPPlot provides the tools to change the size of a job, select or substitute the vinyls and foils, and to change the weed border.
Page 652 Chapter 58: Advanced Setup Options To size a job proportionally by altering its length 1 Click Layout > Layout to open the Layout dialog box 2 In the Size group box enter a value in the Free Length text box. 3 Click Continue.
Page 653: Choosing Specific Layers, Vinyls, Or Foils To Be Output
Sizing a job by length You can make the job longer or shorter to fit space requirements by changing the length of a job without altering the height. Since you are not changing the size proportionally, however, the appearance of the job will change. In Forced Length, you alter a job by an exact measurement, or by a percentage of the original length.
Page 654 Tip: Use the check box, No EDGE Prompts for single-foil jobs. If turned on, any printing information that is sent to an EDGE, EDGE 2 or GERBER EDGE FX will have vinyl and foil messages omitted. The EDGE will then assume all the correct foil and vinyl has been loaded, and will begin printing with no operator intervention.
Page 655 Creating film positive separations for screen printing Print Foils as Separations creates film positive separations from a process color job. When output to a printer, each color prints as a black film positive separation, one after the other, without rewinding the vinyl between separations. Turn on Use Black Foil Only to eliminate the process color foil prompts.
Page 656 In the drop down menu you also have the ability to choose Double Print. Double-printing each foil on the EDGE, EDGE 2, EDGE FX, or GERBER MAXX 2 may enhance the appearance of backlit graphics. The printer prints each foil twice before prompting or changing to the next foil.
Page 657 4 Choose a foil to be replaced from the Substitute list. Use the arrow to view all the foils in the job. 5 Choose a substitute foil from the Foil Color list. 6 Click OK. The Print Options dialog box displays the new foil color. To turn off a substitute foil color 1 Click Setup >...
Page 658 Chapter 58: Advanced Setup Options To turn off all substitute foil colors 1 Click Setup > Print Options. 2 Click Substitute to open the Substitute message box. 3 Click Foil to display the Substitute Foil dialog box. 4 Click All Substitutes Off. The Print Options dialog box displays the original job colors. 5 Click OK.
Page 659 OMEGA Profile CD and the device to which you are printing. Tip: The GERBER EDGE FX and the EDGE 2 use the same color profiles. When choosing a color profile for the GERBER EDGE FX, choose a profile for the EDGE 2.
Page 660: Altering Print Settings
Vinyl Family. To change the darkness of the print 1 Click on the Settings button in the Print Options dialog box to open the GERBER EDGE Print Settings dialog box.
Page 661 To change the Print Settings 1 In GSPPlot click Setup > Print Options to open the Print Options dialog box. 2 Click Settings… to open the GERBER MAXX Print Settings dialog box. 3 Click a new heat setting for the foil and substrate combination.
Page 662: Changing The Weed Border
Chapter 58: Advanced Setup Options Changing the weed border A weed border surrounds a job with a cut line that separates the job from the scrap (weed) vinyl. A weed border allows you to easily remove the excess vinyl from the job. The weed border displays as a blue box surrounding the active job in GSPPlot.
Page 663: Substituting Halftones
When using Classical Dot or Spiral Dot as the substituted halftone type for GERBER MAXX 2 jobs, you can enter an LPI value between 4 and 35. When using GerberTone MAXX, you cannot...
Page 664: Automatically Optimizing Halftones For Maxx 2
♦ When importing an image or vector file directly into the GSPPlot program. When using Classical Dot or Spiral Dot as the substituted halftone type for GERBER EDGE output, you can enter an LPI value between 4 and 212 (although the practical range of LPI settings is usually lower).
Page 665: Printing With Non-Optimized Halftones When Auto-Substitution Is Turned On
Cancel Printing stops printing. To print the job, you must send it to the GERBER MAXX 2 again. Don't Show This Message Again. Always Print With Optimized Halftones for MAXX Jobs directs GSPPlot to automatically substitute existing halftones with optimized halftones. If this option is turned on, the Non-Optimized Halftones Detected dialog box will not display when the substitution occurs.
Page 666: Optimizing The Print Registration Of Black
Chapter 58: Advanced Setup Options Optimizing the print registration of black If color-to-color print registration is critical, you can optimize the print registration of black in a job with the CMYK Black check box in the GSPPlot Print Options dialog box. For example, if the job has spot colors with black butting against other colors, occasionally there may be a small seam of unprinted vinyl, which allows the vinyl color to show through.
Page 667: Chapter 59: Working With Oversized Jobs
Chapter 59: Working with Oversized Jobs A job that exceeds the size that can be processed in one piece on a plotter or printer is automatically divided into panels. GSPPlot inserts horizontal cutlines when the job exceeds the vinyl height of a printer or plotter. When using a sheet-fed or flatbed plotter, GSPPlot automatically inserts vertical cutlines when the job length exceeds the material length.
Page 668: Modifying Panel Size
Chapter 59: Working with Oversized Jobs Modifying panel size Modifying the size of the panels created in GSPPlot can make it easier to handle the finished job. By repositioning or removing a cutline the panel’s size and shape are altered. In the Panel dialog box, you can establish panels of equal height.
Page 669: Viewing Panel Size
Viewing panel size View panel summary information to determine actual panel size before printing or plotting. The Summary box in Panel Setup provides information about panels, including the total number of panels in a job, and each panel’s height and width. To view panel summary information 1 Click Layout >...
Page 670 Chapter 59: Working with Oversized Jobs To select all panels to print or plot 1 Click Layout > Panels to open the Panel Setup dialog box. 2 In the Select Panels to Print/Plot box click Select All. 3 Click OK. To select a single panel to print or plot 1 Click Layout >...
Page 671 To select multiple panels to print or plot 1 Click Layout > Panels to open the Panel Setup dialog box. 2 There are two methods to select multiple panels: ♦ In the Select Panels to Print/Plot box, enter the panel numbers separated by commas (1,2,3) in the Panels text box.
Page 672: Flipping Panels
Chapter 59: Working with Oversized Jobs To pause after printing or plotting panels 1 Click Layout > Panels to open the Panel Setup dialog box. 2 In Panel Type turn on Continuous. 3 Turn on Pause After Panel. 4 Click OK. To panel for ease of weeding 1 Click and drag a panel line from the horizontal or vertical ruler.
Page 673: Viewing Panels
Viewing panels By default, GSPPlot displays a job with panels as one complete design without separating the panels. Full View displays the panels as they are arranged on the vinyl for printing or plotting. The Full View command toggles between views. Full View is only available if the job has panels or repeats.
Page 674: Ensuring Print To Cut Registration With Paneled Jobs
Chapter 59: Working with Oversized Jobs 2 In the Overlap/Trap box turn on Overlap. 3 Enter a width value in the Overlap text box. 4 Click OK. Ensuring print to cut registration with paneled jobs Trap extends the printed area of a design beyond the cutline of a panel to ensure that there is no unprinted vinyl at the edge of the design after cutting.
Page 675: Chapter 60: Conserving Vinyl And Foil
Chapter 60: Conserving Vinyl and Foil Before sending a job to the printer or plotter, you may need to consider material usage. There are several methods available to aid in vinyl and foil conservation. ° Rotating the job 90 to conserve vinyl Depending on the shape of a job, rotating it 90 may conserve vinyl.
Page 676: Changing The Start And End Position Of A Job
Chapter 60: Conserving Vinyl and Foil 2 The PrePosition by group box displays Plotter X and Plotter Y measurement boxes. (When positioning a paneled job, Plotter Y measurements are not available.) 3 Enter a value in the Plotter X text box that represents the number of inches that you wish to move the starting point of the job.
Page 677 Changing the start and end position of a plotter You can choose to return to the original start position at the end of a cut job, or to locate the plotting tool for the start of the next job. By default, the plotter begins a job at the lower left and ends it at the lower right.
Page 678: Saving Vinyl By Positioning The Job When Printing
Chapter 60: Conserving Vinyl and Foil Saving vinyl by positioning the job when printing Positioning a job on the vinyl can minimize waste when printing. You can precisely locate several jobs to maximize vinyl usage by returning to the registration target after printing and entering a new start position.
Page 679: Minimizing Vinyl Usage With Reduce Frame
Minimizing vinyl usage with Reduce Frame The Reduce Frame command shrinks the weed border around the job to conserve vinyl. Turn on Reduce Frame to conserve vinyl when cutting one color of a multiple-color vinyl job. The plotter cuts each vinyl color at the X and Y coordinates of 0 to minimize vinyl usage, but you must hand register them when assembling the job.
Page 680: Minimizing Foil Usage
Chapter 60: Conserving Vinyl and Foil Minimizing foil usage When printing, the printhead normally remains down and foil moves across it even when the foil color is not applied to the material. Turn on Conserve Foil in the Print Options dialog box to raise the printhead and stop the foil motor when no color is being applied to the material.
Page 681: Displaying Vinyl And Foil Information
2 The Foil Color list box displays the amount of foil used for each color in the Usage/inches column. Note: When using Gerber MAXX 2, the foil usage displayed in the Foil Color list box is just an estimate. Displaying the foil settings The foil setting information allows you to see how the foils are being used within the job.
Page 682 Chapter 60: Conserving Vinyl and Foil To check the foil settings 1 Click Setup > Print Options. 2 The Foil Color list box displays the foils that have been assigned a Target, Overprint, Primer, Spectratone, Double Print, IPM, or Usage. To double-print a foil 1 Click Setup >...
Page 683: Chapter 61: Choosing The Plotter Or Printer
Chapter 61: Choosing the Plotter or Printer After designing a job, output it to GSPPlot to prepare it for printing or plotting. Select the printer or plotter in the Plotter/Printer Select dialog box. For a vinyl-only job you have the ability to choose multiple plotters of the same type. When a job is sent to multiple devices, it is processed simultaneously.
Page 684 Chapter 61: Choosing the Plotter or Printer To choose a plotter and/or a printer 1 Click Setup > Device Select to open the Plotter/Printer Select dialog box. 2 Choose the plotter from the Plotters list and/or a printer from the Vinyl Printers list. 3 Click Preference to make the selected devices the default.
Page 685: Choosing A Print Mode
♦ EDGE 1 – reproduces the printing speed and quality of the classic EDGE. Use it if you need to reprint a job that was originally printed on an EDGE. ♦ 300 x 300 – normal printing mode of the EDGE 2 and GERBER EDGE FX, prints up to 1 inch per second.
Page 686: Resolving An Edge 2 Or Edge Fx Print Mode Conflict
IPM column. If a job containing a print mode conflict is sent to the EDGE 2 or GERBER EDGE FX, an error message displays. Choose Print at 300 x 300 DPI to continue with the job, or select Cancel printing and make vinyl or foil substitutions.
Page 687: Changing Plotter Settings
Changing plotter settings Depending on the features of the selected plotter, some plotter settings can be adjusted from GSPPlot. The Settings button in the Plotter/Printer Select dialog provides access to plotter settings. The communications ability of your plotter determines the settings that you can adjust. On a plotter with limited communications ability, speed is the only setting that can be adjusted.
Page 688 Chapter 61: Choosing the Plotter or Printer 3 Click Settings to open the Plotter Settings dialog box. 4 Click the slider bar under Speed and drag it to adjust the plotter speed. 5 Click Advanced to also view the speed as inches per second. 6 Click OK.
Page 689 2 Choose the plotter from the Plotters list. 3 Click Settings to open the Plotter Settings dialog box. 4 Click the slider bar under Acceleration and drag it to adjust the plotter acceleration. 5 Click Advanced to view acceleration in terms of gravity. 6 Click OK.
Page 690 Chapter 61: Choosing the Plotter or Printer To adjust the tool force 1 Click Setup > Device Select to open the Plotter/Printer Select dialog box. 2 Choose the plotter from the Plotters list. 3 Click Settings to open the Plotter Settings dialog box. 4 Click the slider bar under Force and drag it to adjust the plotter tool force.
Page 691 inches or millimeters. (If the plotter has limited communication abilities, Advanced will not be available.) Cut several test squares and examine the samples to determine the need for corner adjustment. To adjust corner settings 1 Click Setup > Device Select to open the Plotter/Printer Select dialog box. 2 Choose the plotter from the Plotters list.
Page 692 Chapter 61: Choosing the Plotter or Printer 4 Click the slider bar under Sharp Corners and drag it to adjust the form of the corners. 5 Click Advanced to view round corners in inches or millimeters. 6 Click OK. Adjusting the pounce tool settings Pouncing is a technique that creates a punched outline of a graphic on paper.
Page 693 4 Choose a pounce pattern (Short, Medium, or Long) from the Pattern Name list. 5 Choose Custom from the Pattern name list if you wish to create your own pounce pattern. 6 Enter a measurement in the Pattern Length text box to set the span of the pattern measured in mils.
Page 695: Chapter 62: Cutting, Plotting, And Pouncing A Job
Chapter 62: Cutting, Plotting, and Pouncing a Job After a job is designed in Composer, you output the job to a plotter to be cut, pounced, or pen plotted. Before sending it to the plotter, there are some setup options available to you that will help you plot the job more easily.
Page 696: Minimizing Tool Travel During Plotting
Chapter 62: Cutting, Plotting, and Pouncing a Job Minimizing tool travel during plotting Turn on Sequence Plotting to save time by minimizing tool travel when plotting a complicated job. With Sequence Plotting turned off, the shapes are plotted in the order they were added to the job.
Page 697: Plotting Existing Spool Files
To cut an individual vinyl color from a multiple vinyl job 1 Click Setup > Select Colors to open the Select Colors dialog box. 2 Click the vinyl colors that will not be sent to the plotter. The box will become unchecked.
Page 698: Double-Cutting A Job
Chapter 62: Cutting, Plotting, and Pouncing a Job 2 Choose the folder you want to Look in. 3 Choose the file to open from the list. 4 Click Open. The job is automatically sent to the plotter. Double-cutting a job You can set a plotter to double-cut a job through the Printer/Plotter Select dialog box.
Page 699 To cut/pounce a job Click File > Cut/Pounce. To pen plot a job Click File > Pen Plot. To pen plot a paneled job without cutlines 1 Click Layout > Panels to open the Panel Setup dialog box. 2 Turn off Cutlines. 3 Click OK to return to the active job in GSPPlot 4 Click File >...
Page 701: Chapter 63: Printing A Job On A Vinyl Printer
Chapter 63: Printing a Job on a Vinyl Printer Gerber vinyl printers use a thermal transferring technique to adhere a resin-based spot or process color foil to various materials. OMEGA provides the ability to open a job in GSPPlot and output it immediately to the printer, or to open a job and modify various aspects of the printing process before sending it to the printer.
Page 702: Printing Existing Spool Files
Chapter 63: Printing a Job on a Vinyl Printer When Output Job Settings is turned on in the Print Options dialog box the word Settings appears at the left of the job in the GSPPlot window. Printing existing spool files Spool files are pre-rendered jobs that cannot be edited.
Page 703: Printing Process Colors
Printing Process Colors Jobs designed using spot colors can be converted to process color jobs. For instance, if the appropriate spot color is not available, turn on Print as Process in the Print Options dialog box and the entire design is converted to process colors. If you are converting a job that has cut lines you can preserve the cut attributes by turning on the Keep Cuts checkbox.
Page 704 Chapter 63: Printing a Job on a Vinyl Printer Applying a white undercoat (Backing White) Printing process or spot colors on clear or colored vinyl may alter the appearance of the foils. To maintain the intended colors, apply a white undercoat (Backing White) to the print area. The white foil serves as a barrier between the vinyl and the foil producing truer color.
Page 705 ♦ Print Area applies Backing White foil to the area within a bounding box that surrounds all print shapes. Cut vinyl shapes are not included. In the example, the square represents the bounding box of the print shapes and defines the Print Area. Included are print and cut-only objects, Print Area extends beyond the printed shapes and yields undesirable results.
Page 706 Note: Backing White prints in 300 x 300 DPI mode when printing to a GERBER EDGE 2 or EDGE FX. If xx appears in the IPM column of the Foil color list, your EDGE 2 or GERBER EDGE FX is in 600 x 300 DPI Print Mode and Backing White will not print. Choose the 300 x 300 DPI Print Mode from the drop-down menu in the Print Options dialog box or in the Plotter/Printer Select dialog box.
Page 707 8 Click OK to return to the Print Options dialog box where you can review the print order of the foils. 9 Click OK to apply the settings to the job and return to GSPPlot. Applying a finish over the job You can apply a finishing foil over your job using the GerberColor Backing and Finish dialog box.
Page 708 Chapter 63: Printing a Job on a Vinyl Printer ♦ Job Area applies Finishing foil all the way to the boundaries of the job including all print and cut shapes. ♦ Apply to Clear Fills/Strokes determines if clear fills and strokes are coated with the chosen finishing foil.
Page 709: Applying Multi-Spot Gradient Boost
3 Choose a Finish Coat from the list of finishing foils. 4 Choose the Application Type Print Shapes, Print Area, or Job Area. 5 Turn on Apply to Clear Fills/Strokes to apply the finish coat to clear fills and strokes. 6 Click OK to return to the Print Option dialog box.
Page 710: Viewing And Changing The Heat Setting Of A Foil
Chapter 63: Printing a Job on a Vinyl Printer Viewing and changing the heat setting of a foil Composer assigns heat settings to foils as they are applied to the vinyl or on top of another foil. You can view or change the heat settings in the Print Options dialog box of GSPPlot. Changing heat settings can be helpful when: ♦...
Page 711: Double-Hit White Foil On The Maxx
4 Click OK to return to Print Options with the chosen columns displayed. Double-Hit White foil on the MAXX When printing to a Gerber MAXX, you have the option of double printing white foil (to maximize its opacity) before moving the vinyl. This option only applies to MAXX printing.
Page 712 Chapter 63: Printing a Job on a Vinyl Printer 2 Turn on Print Dimension Information to display and print dimensions in the job. 3 Click Continue to return to GSPPlot. Depending on the job, adding dimensions may require panel recalculation. Tip: You must turn on View >...
Page 713: Chapter 64: Ensuring Print-To-Cut Registration
Chapter 64: Ensuring Print-to-Cut Registration Proper cut registration on printed jobs is essential to achieving quality outputs. An improperly calibrated plotter or misaligned targets can ruin a job. Before sending the job to the plotter checking such areas as proper plotter calibration and target configuration helps ensure the best possible cut.
Page 714 Chapter 64: Ensuring Print-to-Cut Registration 4 Click Layout > Weed Border to turn off the weed border. 5 Click Setup > Device Select to open the Plotter/Printer Select dialog box. 6 Choose the plotter to calibrate from the Plotters list. 7 Choose the printer from the Vinyl Printers list.
Page 715 “To calibrate a plotter to a printer” for more information. CAUTION: If there is no black foil extending past the calibration frame, or all black outside the calibration frame, contact the Gerber Field Service Department at 800- 828-5406. To calibrate a plotter to a printer...
Page 716 Chapter 64: Ensuring Print-to-Cut Registration 2 Click Calibrate to open the Calibrate Plotter dialog box. 3 Choose the button that corresponds with the last numbered bar without black printed past the calibration frame. 4 Choose the button that corresponds with the last lettered bar without black printed past the calibration frame.
Page 717: Configuring Targets For Accurate Print-To-Cut Registration
3 Click Reset. Configuring targets for accurate print-to-cut registration Configuring one or more targets ensures precise print-to-cut registration. Change the location of the target in the Target Configuration dialog box. Choosing the target configuration is a subjective choice related to the specific job and the preference of the operator: ♦...
Page 718 Contour cutting on the GERBER P2C Plotter using OPOS When printing a job on the GERBER EDGE and cutting it on a GERBER P2C plotter, be sure to choose the GERBER P2C model you wish to use in GSPPlot prior to printing the graphic. When a GERBER P2C plotter is chosen, the software will automatically choose the OPOS target configuration.
Page 719 To cut graphics on a P2C Plotter with OPOS 1 After printing your graphic, load the material on the GERBER P2C plotter and from GSPPlot click on the Cut icon (F8). 2 The job will be sent to the plotter and the plotter will read: “Set Sensor Above First Marker”...
Page 720 6 Click OK to cut the job. Gerber ODYSSEY plotter When using a Gerber ODYSSEY plotter for cutting your printed job, there are a few controls that need to be set before the job is cut. For the cutting accuracy of your material on the friction plotter, it is a good idea to shuffle the material back and forth through the plotter to ensure the material is tracking well before cutting.
Page 721 To set options for the ODYSSEY plotter 1 Click Start > Programs > GSP OMEGA > GQMgr to open the Gerber Queue Manager program. 2 Right-click the installed ODYSSEY plotter device name. A drop-down menu appears.
Page 722 Chapter 64: Ensuring Print-to-Cut Registration 4 After the last target is captured, a message appears to Install Knife Tool in the plotter. 5 Install the knife in the plotter, and close the cover if it is open. 6 Press Enter to cut the job. Note: Once you have selected the first target you may skip the next three by using the plotter control panel to move to the next target without collecting coordinates from that skipped target.
Page 723 2 Turn off the foil target by clicking the foil color that has the “T” to the right. 3 Turn on the foil target by clicking a new foil color from the Foil Color list. A “T” appears to the right. OPOS Tip: When creating EDGE (screen print) positives, turn off any designated targets.
Page 724: Centering A Job On The Vinyl
Chapter 64: Ensuring Print-to-Cut Registration ♦ Print Targets using black foil (add to job if needed) – when checked the target foil will become black, if black is not currently in the job, it will be added. 3 Click OK to return to Print Options. Centering a job on the vinyl Centering the job on the vinyl prints the design using the center of the print head and minimizes the chances of printing irregularities.
Page 725: Chapter 65: Gerber Queue Manager
Jobs are created in Composer, set up in GSPPlot, and sent to the correct output device by Gerber Queue Manager (GQMgr). Gerber Queue Manager is a holding area for jobs sent to output devices, such as a plotter or a vinyl printer. In addition, spool (SPL) files may be printed or plotted directly from Gerber Queue Manager to a Gerber thermal printer or a plotter.
Page 726: Installing Output Devices
After you have selected an output device, open the file to be printed or cut. The File command opens SPL files for cutting or printing directly from Gerber Queue Manager. This saves time because the SPL file has already been rendered (which can be very time consuming).
Page 727: Pausing And Restarting A Job
To send a job to a plotter 1 In the GQMgr workspace, select File > Open and Cut to open the Select a Spool File dialog box. 2 Browse the list of directories to find the spool file to be opened and then select that file. 3 Click Open.
Page 728: Removing Jobs From Gerber Queue Manager
2 Click Info to open the Spool File Information dialog box. Removing jobs from Gerber Queue Manager The Terminate command removes one job file or all job files from the Gerber Queue Manager. To remove a file from the Gerber Queue Manager 1 In the GQMgr work space, select the file to be removed.
Page 729: Changing The Job Order
3 Click OK. All files listed for the selected output device will be deleted from the queue. Changing the job order Gerber Queue Manager allows you to change the order of jobs waiting to be sent to an output device.
Page 730: Viewing Printer Properties In Gqmgr
Using GQMgr to manage the MAXX 2 Right click a GERBER MAXX 2 in the list of installed output devices in GQMgr, then select Properties from the context menu. The Properties for the GerberMAXX2 dialog box contains the MAXX’s unique name and IP Address, which you can edit or save as a Preference.
Page 731 Gerber for diagnostics. Updating MAXX 2 firmware with Batch Occasionally GSP may update the firmware in the GERBER MAXX 2 to a new revision level. Note: Before installing the GERBER MAXX 2 firmware, it is important to clean out the c:\Windows\temp directory so there is space to enable you to back up files before installing the new firmware.
Page 732 Chapter 65: Gerber Queue Manager 3 Click Batch to open the Open GSP MAXX Batch File dialog box. 4 Browse the Look in drop-down list to find your CD drive and then open it. 5 Click Firmware > MAXX > Backup XX.mxb. The current system files backup to the temp directory.
Page 733: Book Fourteen: Gsp Tray And Installing Hardware And Software
Chapter 66: Using GSP Tray, introduces the Gerber System Tray. The primary purpose of GSP Tray is to install hardware such as printers, plotters, routers, and device profiles. GSP Tray also provides information about device firings, installed hardware, fonts, and system identification.
Page 735: Chapter 66: Using Gsp Tray
F1. GSP Tray allows you to: ♦ Check the system identification and serial numbers. ♦ View and print Gerber installed fonts. ♦ Install optional hardware such as plotters, routers, inkjet printers or thermal printers to the system. ♦ View qualified material/foil combinations.
Page 736: Reviewing System Information
Use an alternate method to open the About GSP Tray dialog box. In this dialog box you can obtain your system id number, as well as register on line and access the Gerber web site. To view the Gerber System ID information box 1 Right-click the GSP Tray icon that appears on the right end of the window status bar to open the GSP Tray menu.
Page 737 7 Click Copy. The information you selected is now ready to be pasted into another document. Note: Because you can’t make changes in the Gerber System ID information box, Undo, Cut, Paste, and Delete are not available for selection or use in the Edit Control box.
Page 738: Viewing And Printing Gerber Installed Fonts
Use the Gerber Installed Fonts selection from GSP Tray to access the Fonts Selected for Printing dialog box. This dialog box allows you to: ♦ View a list of all the fonts you have access to. Whether Gerber installed fonts or TrueType fonts converted through the TrueType converter, you can see both the titles and file names of each font.
Page 739: Preparing To Install Devices
1 Right-click the GSP Tray icon that appears on the right end of the window status bar to open the GSP Tray menu. 2 Click Gerber Installed Fonts to open the Fonts Selected for Printing dialog box. 3 Highlight the names of the fonts you want to print.
Page 740: Viewing Gerber Installed Devices
Note: If you want to share the Gerber devices installed on your system, make sure your C:\Queue folder is a shared folder. For further information on sharing the Queue folder, refer...
Page 741: Using The Gerber Device Profile Manager
Profiles are no longer automatically installed during OMEGA installation. You must install profiles from the Gerber Device Profile CD. If you delete device profiles using the Gerber Profile Manager, they are removed permanently from your system. If you want these profiles in the future, you must reinstall them from the original Gerber Device Profile CD.
Page 742 Chapter 66: Using GSP Tray 4 Insert the Gerber Device Profiles CD in the CD drive of your computer. Browse to the CD drive and open the GspProfiles folder. 5 Click OK to return to the Gerber Device Profile Manager dialog box. The profiles that are available to install display in the Not Installed Information box.
Page 743 Filtering ICC profiles using the Gerber Device Profile Manager Only the profiles for the printers highlighted in the Device(s) list of the Gerber Device Profile Manager dialog box are available in OMEGA. You may select one or more devices from the list using the Windows standard Ctrl+click or Shift+click conventions.
Page 744 Gerber Device Profile Manager. Removing profiles for equipment that is not in your workflow makes it easier to select the correct profile. Note: If you delete device profiles using the Gerber Device Profile Manager, they are removed permanently from your system. If you want these profiles in the future, you must reinstall them from the Gerber Device Profile CD.
Page 745 2 Choose one or more devices from the Device(s) list. 3 Select the ICC profiles that you wish to remove from the Install Information list. Use the Windows convention of Shift+click or Ctrl+click to select multiple profiles. 4 Click Uninstall. The selected profiles are permanently removed from your system and no longer display in the Install Information list.
Page 746: Viewing Qualified Material/Foil Combinations
OMEGA installation CD. Fonts and the Braille option are installed from the OMEGA Font CD. When OMEGA is purchased it includes a set of Gerber Soft Fonts. To view these fonts, use the Gerber Font Manager. Additional OMEGA Soft Fonts or URW Fonts are installed from the OMEGA Font CD using OMEGA Font Manager and the OMEGA Font CD.
Page 747: Book Fifteen: Networking
Book Fifteen: Networking A network is a combination of workstations (one or more) connected to servers (by a cable or wireless) used to exchange information, increase performance, and access resources connected to the servers. OMEGA allows you to share output devices such as a plotter, vinyl printer, or an inkjet printer on networked workstations for remote plotting and printing.
Page 749: Chapter 67: Setting Up The Gsp Network
Note: The procedures in this section describe how to create a network which allows you to share hardware output devices such as plotters, GERBER thermal printers, and inkjet printers. If you want to share software libraries and fonts, you must call the Gerber Technical Support at 860-644-6971 for instructions about modifying your INI files.
Page 750: Establishing The Network
Connecting and sharing output devices To set up the GSP OMEGA network, you’ll need to first physically connect the output devices (plotters, Gerber thermal printers, and inkjet printers) to the workstations. Refer to the owner’s manuals that came with the output devices for instructions.
Page 751 Note: The following instructions are based on using a Windows XP version peer-to-peer network. Other versions of Windows may be slightly different. When using Windows 2000 or XP, you must be logged in as an Administrator, Server Operator, or Power User to share folders or drives.
Page 752 Chapter 67: Setting Up the GSP Network 1. Click Start > Settings > Control Panel, then double-click Network. 2. In the Configuration tab, click File and Print Sharing. 3. Turn on “Share this folder,” then click OK. 4. Click OK again, then restart the computer. When the computer is restarted, repeat the “To share the Queue folder”...
Page 753 8 Enter the computer name with which you will share the gspqueue folder, or click Advanced… to open the expanded Select Users or Groups dialog box. 9 Click Find Now to display a list of users on the network. Select the user (computer) with which you will share the gsqqueue folder.
Page 754 Chapter 67: Setting Up the GSP Network 4 Choose a drive designation and click OK. Note: For more information on adding devices using Gerber Tray, refer to “Using GSPTray.”...
Page 755: Chapter 68: Sending Jobs Over The Network
When GSPPlot finds a PLT file, it does the following: ♦ If it finds a vinyl print job, it renders the job and sends it to Gerber Queue Manager to be printed on a Gerber thermal printer. All IMO files are placed in the C:\SEPPATH directory on the remote system.
Page 756 When GSPPlot finishes rendering, the progress indicator bar closes. Note: If the job was sent with instructions or if there is an error message, the Gerber Queue Manager flashes. Follow the procedure “Adding instructions to a Job” to view job instructions.
Page 757 When you send a job to a local or network resource, you can add instructions to the job. The Gerber Queue Manager icon will flash indicating to the operator that the message contains instructions or an error message. The dialog box displays the instructions as well as helpful job and material information.
Page 758: Using A Dedicated Server
Chapter 68: Sending Jobs Over the Network Using a dedicated server A dedicated server is a computer that runs only network software applications. (It cannot run other applications such as OMEGA or output devices.) It is used to transfer information among the workstations connected to it.
Page 759: Chapter 69: Network Troubleshooting
♦ Minimize Gerber Queue Manager on the server to which you sent the job. If Gerber Queue Manager is flashing, open it. It either has operator instructions for you to follow or an error message that you need to read.
Page 761: Book Sixteen: Matching Colors With Colorid
Book Sixteen: Matching Colors with ColorID Gerber ColorID is a fast, efficient, and accurate way to match a source color to another color. Now you can meet your customers’ expectations − reducing the gap between imagination and reality − by matching unique shades and corporate identification colors.
Page 762 Book 16: Matching Colors with ColorID Chapter 74: CP320 Colorimeter Operations, provides a description and directions for using the model CP30 colorimeter.
Page 763: Chapter 70: Using Colorid
Gerber 220 vinyl. Now your customer comes back and wants an EDGE-printed sign using the same color blue in part of the design. You would make Gerber 220 vinyl as the Source Palette, dark blue as the Source Color, and Gerber EDGE Process as the Matching Target Palette.
Page 764: Using Colorid With A Colorimeter
Note: Either palette setting is fine, but the True Color display uses more memory. Also, when you change the setting from 256 Color, some applications (such as Paint) may not operate the same as before the change. To open ColorID Click Start > Programs > GSP OMEGA > Gerber ColorID to open Gerber ColorID.
Page 765: Assigning The Colorimeter Com Port
To assign the colorimeter COM port 1 Click on the Settings button on the Gerber ColorID dialog box to display the Settings dialog box. 2 In the Port Assignment box choose the COM port to which the colorimeter is physically connected.
Page 766: Choosing The Source Palette
4 If you choose CMYK Color or RGB Color the Color Edit dialog box displays. 5 Enter the CMYK or RGB color values and click OK to return to the main Gerber ColorID dialog box to choose the Matching Target Palette. You do not need to choose a...
Page 767: Choosing The Source Color
The Source Color is the color that you want to match and is based on the Source Palette you chose. For example, if the Source Palette is Gerber 220 vinyl, all the colors in the Gerber 220 vinyl palette appear in the Source Color drop-down list.
Page 768: Selecting The Matching Color
Chapter 70: Using ColorID As soon as you make the choice, the color matches appear immediately in the display box (shown in “Selecting the matching color”).
Page 769: Finding The Color Name
#1 is the closest match #20 is the least close match. In addition to the color match rank, ColorID displays the color type (such as Spectratone) and the Gerber short name (such as GCS-196).
Page 770: Using The Matching Color
Chapter 70: Using ColorID Clicking on either arrow in the group box toggles both the Measured (Source) and Select Match values among the three available numeric definition databases (called color spaces) − L*a*b*, L*C*h, or XYZ. These numbers, by themselves, are not important. What is important is the Delta E value −...
Page 771: Chapter 71: Using The Matching Color In Composer
Chapter 71: Using the Matching Color in Composer There are two ways to use the matching color in Composer: ♦ Opening the ColorID program from Composer and automatically assigning the matching color to the job. This is the most common method. ♦...
Page 772 Chapter 71: Using the Matching Color in Composer 3 Choose the Color Type and the Fill Type. In this example, it is a spot, solid fill. 4 Choose Spot or Process in Color Type. 5 Choose a palette from the available list of palettes. The palette you select becomes the Matching Target Palette when you open ColorID in the next step.
Page 773: Manually Entering The Color Name In Composer
Spectratone fill. Choose Solid for the fill and Spot for the Color Type. 2 Choose the spot palette option, then click the scroll arrow to view the list of palettes. 3 Click the Gerber Spectratone Palette to select it. 4 Enter the short name for the Spectratone, for instance GCS-049/GCS-643 (Beige over Pink).
Page 774: Adjusting For Material Availability
Series foil palette to achieve a color match. If the original choice was Gerber 220 vinyl and you are out of that color, you might try to substitute Gerber 225 vinyl. Again, if the match is close enough and you have the color in stock; you can use the alternate color match.
Page 775 3 For the Source Color choose the color you need to match. In the example above, you would choose Atomic Red. 4 Choose the Matching Target Palette. You should probably start by choosing Gerber Spectratone because it offers the widest variety of colors. When you choose the target palette, the color matches for that palette appear in the display box.
Page 777: Chapter 72: Additional Colorid Software Features
“Choosing the color match criteria.” To set up your inventory 1 Click Start > Programs > GSP OMEGA > Gerber ColorID to display the Gerber ColorID dialog box. 2 Click the down arrow in the Matching Target Palette box to display the drop-down list and select the palette material (vinyl or foil) you will use.
Page 778 Inventory. All selected colors will still be selected. Customizing the inventory Gerber offers an extensive choice of Matching Target Palettes that you can use for matching colors. Some of these palettes you may use frequently, while others you may never, or seldom use.
Page 779: Choosing The Color Match Criteria
Note: There are some Gerber Matching Target Palettes that always appear in the drop-down list, such as Gerber 220 and 225 vinyls and Spectratone foils. You cannot delete these from the Matching Target Palettes drop-down list.
Page 780: Verifying Foil Color Matches
Settings button to open the Settings dialog box and change the Matches option from 10 to 20. Verifying foil color matches If the Matching Target Palette is a foil, such as Gerber Spectratone or a GerberColor Series, you can verify the color matches before using the fill in Composer by printing the matching color boxes and color names on the EDGE.
Page 781 3 Choose the number of the matches (from one to 20) for which you want to print samples. 4 To print the names in black, turn on the Print text as Black check box. If you do not turn on this check box, the color names print in the color of the matching color boxes. If the colors are very light, you may not be able to read the color names.
Page 782: Using Gerbercolor Spectratone Ii Colors
Spectratone II match, you must change the current style. Creating a custom Spectratone II palette In Gerber Color ID, you can create a custom Spectratone II palette that includes only your stock of vinyl and foil.
Page 783 2 Choose Spot as the Color Type and Solid as the Fill Type. 3 Click Menu > and choose ColorID Match color to open the Gerber Color ID dialog box. 4 In the Matching Target Profile box choose Gerber 220 Spectratone II.
Page 784 9 Click OK. The Inventory Update dialog box displays while the custom inventory is built. 10 Ensure that Gerber 220 Spectratone II is still chosen in the Matching Target Profile box and click Inventory to reopen the Gerber ColorID Spectratone II Inventory Selection dialog box.
Page 785 13 Hold down the shift or Ctrl keys while clicking to select individual foils to include in your custom inventory. 14 Click OK. The Inventory Update dialog box displays while the custom inventory is built. 15 Click OK to return to the Assign Colors dialog box.
Page 787: Chapter 73: Introduction To Colorimeters
Although no longer available for purchase, Gerber ColorID supports two measurement devices called colorimeters. A colorimeter expresses colors numerically according to international standards.
Page 788: Using The White Standard
Chapter 73: Introduction to Colorimeters Using the white standard The white standard is a black piece of plastic with a white dot on it, as shown below. The white standard has a serial number located on a label on the back. The serial number on the white standard must match the serial number on the colorimeter because initial factory calibration is based on the instrument’s reading of the white dot.
Page 789 ♦ If the color source is porous, such as a piece of fabric or very thin paper, take the measurement on a white surface. For example, if you are taking a measurement of a yellow fabric on a brown surface − such as a desktop − the measurement will be distorted.
Page 791: Chapter 74: Cp320 Colorimeter Operations
One palette is always a Spectratone palette. The other palette is one that you choose to download from the ColorID program (the Gerber 220 vinyl palette, for example). You determine the palette (also called the active database) by making a choice in the menu mode.
Page 792: Connecting, Charging, And Turning On The Cp320
Chapter 74: CP320 Colorimeter Operations Connecting, charging, and turning on the CP320 The first time that you use the CP320, you must charge the battery. Charge the battery for at least 30 minutes. When fully charged (approximately four hours), the batteries allow more than 8,000 measurements and the LCD display shows C=100%.
Page 793: Calibrating The Cp320
Calibrating the CP320 Calibrate the colorimeter each time you charge it or turn it on. In addition, it is a good idea to calibrate it every hour when making a long series of measurements. To calibrate the CP320 1 Remove the white standard from the plastic bag. 2 Verify that the white standard is clean.
Page 794 GCS-010/GCT-614 is the short name of the foils that Spectratone is using to create the match. If the chosen palette were Gerber 220 vinyl, the second line would be the name of the vinyl (in this case, Palm Oyster).
Page 795 Using the color matching mode function keys When you turn on the CP320, it is in the color-matching mode. The top row of labels under the keys (SAMPLE, MATCH, and SEND) describe the color-matching mode operations. When you press the last key in the row (MENU), the colorimeter enters the menu mode (the bottom row of labels −...
Page 796: Menu Options
Chapter 74: CP320 Colorimeter Operations Using the menu mode function keys Pressing the MENU function key changes the operation of the SAMPLE, MATCH, and SEND keys and displays the menu options in the LCD window. If you are in the menu mode, pressing the key again activates the ESC function key, which returns the LCD window to the previous operational display.
Page 797 4 Press the ENTER function key again. The prompt READY FOR DOWNLOAD appears in the LCD window. 5 Click Start > Programs > OMEGA > Gerber ColorID to display the Gerber ColorID dialog box. 6 Click the Settings button to display the Settings dialog box.
Page 798 Chapter 74: CP320 Colorimeter Operations 7 Click the Download button to display the Gerber ColorID Device Download dialog box. 8 Choose the Inventory Only check box to download only what you have in stock. 9 Choose the name of the palette database you want to download into the CP320.
Page 799 Displaying service information The SERVICE option provides a series of service displays to assist technicians in troubleshooting the colorimeter. If you require assistance, call the Gerber Technical Systems Support Department at the number listed in “Where to get help.” To display service information 1 Press the MENU function key and scroll through the list so that the menu choice symbol is to the left of the word SERVICE.
Page 800 Chapter 74: CP320 Colorimeter Operations...
Page 801 Index Delete Cuts · 250 Group · 141 Print/Output Order · 70, 263 toolbar · 62 Abrasion Guard · 693 Ungroup · 141 Absolute Move ASCII codes for fonts · 100, 101 dialog box · 143 Assign Colors incremental move · 144 changing fill current style ·...
Page 802 Break Apart Shape · 413 Clear log file · 27 show warning · 50 Clipart Browse for Folder dialog box · 559 Gerber · 302 importing · 300 Clipboard exporting using · 317 importing using · 301 Calibrate dialog box · 702...
Page 803 source palette · 752 COM ports · 725 type in images · 359 Combine Off command · 251 verifying matches · 766 Combine On command · 251 Color cartoon · 41 Combines and layers · 64 Color correction Combining shapes · 251 choosing automatically ·...
Page 804 OMEGA Reference Manual Index CP320 pen plotting without · 685 calibrating · 779 removing · 654 changing display language · 784 Cuts Off command · 250 color mode function keys · 781 Cuts On command · 250 connecting and charging · 778 Cutter path shapes ·...
Page 805 Device Select command · 607, 672 circles and ellipses · 120 Devices curves · 129 installing · 726 decorative borders · 120 viewing Gerber installed devices · 726 freehand · 129 Digitizing lines · 129 artwork · 391 rectangles and squares · 119 baseline ·...
Page 806 · 496 Encapsulated PostScript (EPS/AI) · 317 layers, creating · 488 GA 6.0 · 25 layers, defined · 481 Gerber Artwork Definition (GAD) · 322 library · 494 gradients · 315 library examples · 495 Hewlett-Packard (HGL) · 322 overlap, creating ·...
Page 807 OMEGA 1.56 · 25 Save · 23 options · 308 Save As · 23 Paintbrush (PCX) · 324 Scan to Vector · 385 PhotoShop (PSD) · 328 Send · 599 profiles · 309 File menu, Plot raster formats · 311 Cut Existing Spool File ·...
Page 808 · 517 Flatten layers · 618 fonts not secured for system · 518 Flipping shapes and text · 136 Gerber font styles · 522 Foil installing fonts · 518 info · 615 renaming Gerber styles · 522 Foil Used Color palette ·...
Page 809 · 519 sending jobs for printing and cutting · 712 viewing and printing · 529 terminating jobs · 714 viewing and printing Gerber installed fonts · viewing plotting information · 713 workspace · 711 viewing in Font Manager · 520 Gradient fills ·...
Page 810 Gerber Tone Fine · 214 adding to a design · 345 Gerber Tone Long · 214 clipping paths · 374 Gerber Tone STC Photo · 214 color type default · 48 LPI for images · 360 color types · 359 optimized ·...
Page 811 · 15 Job Instructions for printing · 289 command · 630 Gerber Clip Art (GCA) · 302 dialog box · 629, 630, 743 Gerber fonts · 275 Job order, changing in GQ Manager · 715 GIF · 281 Job palettes GSP 2.1 filters ·...
Page 812 OMEGA Reference Manual Index automatic · 144 locked · 58 center of gravity · 145 merge · 47, 69 text · 96 merging · 67, 621, 640 next/prior vinyl · 620 notes · 66 Open dialog box · 618 outputting · 69, 604 Keep Corners Less Than command ·...
Page 813 Weed Border Special · 648 Matching Target Palette Layout tab, Options dialog box · 46 All choice · 753, 766 Library choosing · 753 backing up files · 497 defined · 751 combining with a design · 495 foil palettes choice · 753 effects ·...
Page 814 OMEGA Reference Manual Index closing open points · 422 creating curves · 435 moving points · 417 defined · 141 moving segments · 419 distorting · 463 property bar · 416 dividing · 424 Move distance · 50 encasing with outlines · 442 Moving fitting to path ·...
Page 815 · 439 default process palette · 52 precontour · 443 editing · 182 sharp corners · 447 Gerber in Corel or Adobe · 182 spacing · 443 installing Gerber · 183 Output saving · 180 5 steps to successful · 249 selecting the database ·...
Page 816 OMEGA Reference Manual Index traps · 660 next vinyl · 608, 620 PANTONE colors non-optimized halftones detected · 650 assigning · 231 opening files · 618 CMX files · 337 opening from Windows · 606 matching in Color ID · 760 Output by Layers command ·...
Page 817 warning messages · 615 straightening lines · 125 weed lines · 607, 649 tool · 124 windows · 612 types · 124 zooming tools · 608 Port settings, digitizing tablet · 388 Plotter Positioning the job, Plot · 661 adjusting offset · 676 Positive separations ·...
Page 818 OMEGA Reference Manual Index Backing White Foil · 692 conserving materials · 661 CMYK Black · 261 EDGE Match System charts · 221 dialog box · 212, 264 foils as separations · 641 Finish · 694 jobs · 687 foil settings · 667 multiple targets ·...
Page 819 Slice and Dice · 425 Smooth Path · 428 Removing points · 431 Protecting printed jobs · 693 Rename Gerber Font Style dialog box · 522 Rename Layer command · 67 Reopen Shape Command · 131 Repeats direction and alignment · 504 Qualified material/foil combinations ·...
Page 820 OMEGA Reference Manual Index Rulers, displaying · 32, 44 Select menu · 243 Rulers, Plot, Properties button · 610 all objects · 78 Cancel · 79 Clipping Paths · 79, 248 Cut · 246 Cut/Print · 247 Save As dialog box · 23 Fills ·...
Page 821 Start/End Position · 663 justifying · 144 Shadow · 449 minimizing errors · 435 both option · 452, 454 open and closed · 130 butt registered · 455 reopening · 131 cast · 457 repeating · 501 composite · 452 rotating ·...
Page 822 OMEGA Reference Manual Index rotating · 109 viewing · 622, 626 sizing text · 93 Spool File Viewer · 626 slanting text · 94 cut · 629 Smart Editing text · 103 magnifying · 629 Smooth · 422 print · 629 Smooth Curve Control ·...
Page 823 types · 234 changing case · 104 using to solve registration problems · 256 choosing fonts · 89, 90, 91 width · 235 clipping paths · 375 Substitute Foil dialog box · 643 column height · 107, 108 Substitute Halftones dialog box · 218, 649 converting to shapes ·...
Page 824 OMEGA Reference Manual Index Thin Curves · 432 TOWS Thin Lines · 432 arcing text · 109 Thumbnail choosing fonts · 88, 89, 91 Composer image · 271 editing text · 103 image · 353 entering EDGE fonts · 102 setting defaults ·...
Page 825 User font style order, changing · 262 assigning · 523 pre-shuffle · 681 creating · 523 selecting alternate · 642 deleting · 525 usage, displaying · 667 renaming · 524 Vinyl Color command · 244 Vinyl only import · 274, 284 Vinyl palettes open an existing ·...
Page 826 OMEGA Reference Manual Index viewing in · 613 vinyl colors · 37 WordPerfect (WPG) files Zoom Wider Tighter · 45 exporting · 331 Zooming and Unzooming · 38, 613 Work surface Fit Text to Path · 479 sizing to the design · 613 Zoom In ·...

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Gerber OMEGA CP Reference Manual

Chapter 1: Introducing the OMEGA Programs

Chapter 2: Where to Get Help

Chapter 3: Opening and Closing Files

Chapter 4: Saving Files and Viewing Properties

Chapter 5: Setting up Composer's Work Surface

Chapter 6: Using Layers

Chapter 7: Selecting the Elements of the Design

Chapter 8: All about Text

Chapter 9: Creating Shapes

Chapter 10: Sizing, Slanting, Flipping, and Rotating

Chapter 11: Grouping, Moving, Justifying, and Spacing

Chapter 12: Measuring and Dimensioning

Chapter 13: Current Style Affects the Color in the Design

Chapter 14: Making, Using, and Editing Palettes

Chapter 15: Understanding Vinyl Colors

Chapter 16: Changing Vinyl Colors to Spot Foil Colors

Chapter 17: Filling Objects with Colors for Printing

Chapter 18: Choosing and Assigning Halftones

Chapter 19: Choosing a Fill Color that Matches Printer Output

Chapter 20: Making and Using Gerbercolor Spectratone Colors

Chapter 21: Assigning PANTONE Colors

Chapter 22: Strokes ⎯ Adding Print Thickness to the Outline of Objects

Chapter 23: Before Printing or Cutting, Check the Design

Chapter 24: Five Steps to Successful Output

Chapter 25: Solving Printing and Registration Problems

Chapter 26: Practical Hands-On Color Management

Chapter 27: Importing Files into Composer

Chapter 28: Exporting Files from Composer

Chapter 29: Using File Converter

Chapter 30: Remapping Colors for Imported CMX Files

Chapter 31: Working with Images

Chapter 32: Converting Images to Cut Shapes

Chapter 33: Adding Cutlines to Artwork

Chapter 34: Using Clipping Paths

Chapter 35: Scanning Artwork

Chapter 36: Digitizing Artwork

Chapter 37: Using the Edit Menu

Chapter 38: Detail Editing Segments and Points of Vector Objects

Quick Links

Troubleshooting

Related Manuals for Gerber OMEGA CP

Summary of Contents for Gerber OMEGA CP