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#VINYL MASTER PRO PANTONE COLORS HOW TO#
#VINYL MASTER PRO PANTONE COLORS DRIVER#
#VINYL MASTER PRO PANTONE COLORS FULL#
#VINYL MASTER PRO PANTONE COLORS SOFTWARE#

This can mean a great looking image, but the price tag can be a huge graphic file. Be sure to make the file as large as you think you may ever need it. Once the file is brought into Photoshop, you are limiting your image resolution. In addition to working with photos, many artists use Adobe® Photoshop® to add photorealistic “airbrushing” and 3D effects to images originally created as vector art. Convert any images in these modes to RGB before beginning production. Do not create images in LAB or Indexed Color. Working in RGB also reduces overall file size by up to 25% over CMYK.

#VINYL MASTER PRO PANTONE COLORS FULL#

Your digital printer is capable of printing a much larger gamut of colors than that available in the CMYK mode, so creating your file in RGB and leaving it in that color space allows you to take full advantage of the color gamut of the printer. It’s always best to work on digital print projects in the RGB color mode, rather than CMYK. 25 Miter limit 1 Transparency: Normal Opacity at 100%. From the Stroke tab, use the following settings: Weight.

The color values for the swatch may be set to any you choose.

Click on Window, select Show Swatches.

Width should be set to Hairline.Ĭreating a CutContour Swatch in Illustrator®

To apply the CutContour spot color to your artwork, click on the Outline Pen.

Change the name of the Selected Palette Color to CutContour, click on OK.įor the RIP to recognize the Cutting Path, the name must be CutContour, spelled exactly as it appears.

Select any color you want from the color wheel.

In the Select Color window, click on Mixers.

To create a new Spot Color, click on Add Color.

From the drop down menu select Custom Spot Color.

Click on Tools and select Palette Editor.

prn file.Ĭreating a CutContour Swatch in CorelDraw® 4) Anything from a 1 pt – 3 pt line works very well. To avoid white hairlines and ensure a clean edge to your final print/cut graphic, you may add a bleed to the outside edges of your artwork. When you send the file to a Roland DG printer/cutter, the RIP will replace this color with “marching ants” along the cut path, and it will not appear on the print. Once you’ve applied the “CutContour” spot color to your image, the cut path line will appear as a colored line on your screen. 3) and apply it to your cutting path (Instructions for this process follow).

#VINYL MASTER PRO PANTONE COLORS SOFTWARE#

In order for the RIP software to recognize this as a cutting path and not a shape to be printed, you need to create a Spot Color swatch called “CutContour” (Fig. Create a path that defines the exact shape where you want all cuts to occur, including the perimeter contour cut and any cutouts within the graphic. 1) If there are bit-mapped images included in the file, be sure to build the file at the proper size and resolution for your final desired output (Guidelines discussed later in this article). It may be a vector image, or a combination of vector and bit-mapped elements. You may think you’re only doing a t-shirt design, but the client may love it so much they want to put it on their truck next month. The biggest advantage of vector artwork is that it is resolution independent, so graphics can be reprinted at virtually any size. What Programs to Useįor best results, most print/cut pros recommend vector-based graphics programs such as Adobe® Illustrator® and CorelDraw®.

#VINYL MASTER PRO PANTONE COLORS HOW TO#

Read on for details on how to make sure your great piece of art delivers a great print/cut graphic.

#VINYL MASTER PRO PANTONE COLORS DRIVER#

There are specific guidelines you need to follow in order to make sure that the driver recognizes your cut path and accurately processes it. To ensure success, however, is a bit more complicated. Turning your art into a print/cut graphic is simple in theory: you add a spot-color Cutting Path that tells the RIP or device driver exactly where you want your final cut lines. It should have personality, color, detail, and most important, a definitive shape that takes advantage of the impact of print/cut production.

The right artwork can be anything from a simple logo to a complex combination of photography and type. And in the world of print/cut, the best graphics begin with a great piece of art. As any chef will tell you, the best recipes start with the right ingredients.