Explore Your Klic-N-Kut Columbus Retreat

June 3—5, 2011

Goals

 Build confidence in using your Klic-N-Kut!  Learn loads of new software techniques  Have FUN!!!!

Official Quote

Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do.

So throw off the bowlines. Sail away from the safe harbor.

Catch the trade winds in your sails.

Explore. Dream. Discover.

– Mark Twain

Table of Contents

Page Topic Item

3 Schedule 4 Meet and Greet Notes 5 Class 1: ―Fun‖damentals Class Notes 9 Class 2: 14 Things You Need to Know about Cutting Class Notes 10 Overcut & Trailing Blade Settings

12 Cutting Materials Reference Sheet

13 Demo 1: One Image Cut from 6 Materials Demo Notes

14 Paper/Cardstock, Vinyl 15 Fabric, Chipboard 16 Iron-on Transfer 17 Suggested Cut Settings 19 Class 3: It’s All About the Settings - Mastering Auto- Class Notes trace 23 Trace Settings

27 Demo 2: Print and Cut Demo Notes

31 Class 4: Trace Anything - Mastering Polyarc Tracing Class Notes and Editing 36 Links to Resources for Free Files

37 Class 5: Design Techniques Using Basic Weld and Class Notes Fit Object to Path 41 Demo 3: Rhinestone Applications Demo Notes

45 Class 6: Hooray for Array Class Notes

50 Reference Guide for 13 Design Functions 51 Class 7: SPEED - Scoring Pouncing, Engraving, Class Notes Embossing, Drawing 55 Embossing/Engraving/Punching/Drawing Refer- ence Sheet 57 Class 8: Getting into Shape(s) - Some Designing Class Notes Tricks 62 Class Quizzes

65 100 Uses for a KNK

66 Quiz Answers

2 Schedule

Friday PM 2:00 p.m. Doors Open!!! 4:00 - 5:00 Meet and Greet 5:00 - 6:00 Class 1: “Fun”damentals 6:00 - 6:45 Dinner 7:00 - 8:00 Class 2: 14 Things You Need to Know About Cutting 8:00 - 9:00 Demo 1: One Image Cut from 6 Materials! 9:00 -11:00 Open Workshop Time

Saturday AM 8:30 - 9:00 Breakfast 9:15 -10:15 Class 3: It’s All About the Settings - Mastering Autotrace 10:20 -11:20 Demo 2: Print and Cut 11:30 -12:30 Class 4: Trace Anything - Mastering Polyarc Tracing and Editing

Saturday PM

12:30 - 1:15 Lunch 1:20 - 1:40 Autotrace Applications with Barbie Creech 1:40 - 2:40 Class 5: Design Techniques Using Basic Weld and Fit Object to Path 2:45 - 3:45 Demo 3: Rhinestone Applications 3:45 - 4:15 Break 4:15 - 5:30 Class 6: Hooray for Array 5:30 - 6:00 Break 6:00 - 6:45 Dinner 7:00 - 7:30 Class 7: SPEED - Scoring Pouncing Engraving Embossing Drawing 7:35 - 8:30 Demo 4: SPEED - Scoring, Pouncing, Embossing, Engraving, Drawing 8:30 - 11:00 Open Workshop Time

Sunday AM

8:30 - 9:00 Breakfast 9:15 -10:30 Class 8: Getting Into Shape(s) - Some Designing Tricks 10:30 -10:45 Group Photo 10:45 -12:00 Open Workshop Time - Last chance for Q&A! 12:00 -12:30 Prizes and Final Farewell

3 Meet and Greet Notes

This retreat consists of the following:

1. Interactive classes: I show, I repeat, then you do it! Ask questions during the second half. 2. Class files: These consist of sample files to open in class, finished projects, videos, & extra tutorials. 3. Class notes: Scribble on them all you want. There’s a PDF duplicate in the class files. 4. After Class / Take Home Quizzes: Test your knowledge after the retreat! 5. Materials to cut, emboss, engrave, etc: Try out new materials. It’s good experience. 6. Goodies and prizes

Please note:

1. All classes, workshops, demos, are optional. I will not be offended if you choose to skip any. 2. There are no grades! If at any time you feel stressed, then I am not doing MY job correctly! Don’t worry about trying to remember it all. After the retreat, compile any unanswered questions and I will be giving EVERY student a free hour phone class after the retreat! :) 3. There are differing degrees of KNK knowledge and experience amongst everyone. If you are new to the KNK, focus more on learning what’s POSSIBLE instead of worrying about understanding every item taught. Again, you have videos and class notes to use when you get home AND the free class. 4. While you may not find a topic related to what you do, be open minded! Something you try this weekend could become your next passion! OR you may find that something will actually apply to your current passion, but in a different way. For example: a rhinestone pattern could be used as a masking stencil! 5. I strongly encourage interaction and cooperation amongst everyone! If you want to help out anyone needing assistance, jump right in! It’s a great opportunity for you to learn more while you teach someone else! That’s how I did it. : ) 6. You are seated next to your partner for the weekend and I’ve matched you up based on which particular cutter you own and your interests. If you brought a cutter, please share it with your partner. Work together on being successful at cutting! Two heads are better than one! And again, feel free to help others. 7. I will be showing Make-The-Cut, a software program that has a new plug-in for the Klic-N-Kut. If you are in- terested in purchasing MTC at the retreat, or afterwards, you will receive a free KNK blade of your choice! 8. I I need help with timing! If you notice that I have 5 minutes or less, please hold up the number of minutes left so that I’ll know I need to wrap things up! : ) And we won’t always stick to the printed schedule exactly. After all, this is supposed to be a retreat… not Klic-N-Kut boot camp! lol

Activity:

Let’s introduce ourselves! Here’s what we want to know!

Your name? How you use your KNK or plan to?

Job? Any other hobbies?

Where do you live? Did you bring anything for the display table?

** ALL notes, tutorials, tables, charts, videos, and cutting files by Sandy McCauley are copyrighted and may not be shared, without permission, Extra tutorials written and shared by Judy Keating and Lynn Keniston are also copyrighted and may not be shared without their permission.

4 Class 1: ―Fun‖damentals!

1. Selecting Images

 With Fill turned on, you can click anywhere on an object to select it and when doing some kinds of editing, such as rhinestone tweaking, it makes a big difference. Also the object will look more like what you’re going to cut.

 With Fill turned off, you must click right on the line of the image to select it. That takes longer, but you really should check your images with fill turned off before cutting. There can be hidden objects behind filled images that you might miss. Thus get in the habit of working with both.

 When doing a marquee-select, make sure you start clearly outside the boundaries of the images you want to select.

 If you hold down the Crtl while selecting, you only have to touch the image.. It’s not necessary to fully en- close. But with Fill turned on, you must start the selecting outside of the image, not inside or you’ll select and start moving that first image you touch.

 Note that when you select more than one image, it will show you how many you selected in the top left corner of the screen.

 Use Ctrl-A to select ALL images in your file.

 Turn on your Job Palette (View>Palette>Show Job Palette). Use Shift and click on a color to select all images of that color. Use Ctrl and click on a color to hide that color. Use Alt and click on a color to hide all OTHER colors but that one. Repeating either the Ctrl or Alt function will turn colors back on again. This is useful when you need to select some of the images of a particular color but not all of them.

2. Aligning Images

 There are 4 existing hot keys for aligning images to one another.

T: Top B: Bottom L: Left R: Right  Select a group of objects and then just press whichever key on the keyboard corresponds to the alignment you need.  If you need the objects to align to one of them in particular, then after selecting, hold down the Shift key and click on that object to deselect it, then immediately click on it again to re-select it. This makes it the Last Se- lected Object and the one that all other objects will now align to.  Another handy alignment shortcut is Alt-7. It will center selected objects to each other.

3. Ordering Images

When individual images overlap, one will be on top of another.

 Use Ctrl-B to send an image to the back.

 Use Ctrl-F to bring an image to the front.

 Use Ctrl-M to reverse the order of two selected images

 Use Ctrl-U and Ctrl-L to move an image up or down one position respectively.

5 4. Duplicating Images

There are three shortcuts for making copies of an image:  Ctrl-D will make a copy and offset it from the original. Offset is changed under Options>Klic-N- Kut>General Preferences). For Rhinestone tweaking, make the offset small (e.g. 1 mm or 0.04in)  Hold down Alt key and drag selected image. The original will be left behind. Hold Ctrl and Alt at same time and copy will stay either horizontally or vertically aligned. (Note: sometimes doesn’t work)  Ctrl C and Ctrl V to copy/paste. Left click when you see ―L‖ cursor.

5. Task Bar Functions  Ctrl-Z will undo your most recent action and you can continue backing up prior actions. Ctrl-Y will redo these actions. There are icons for this on the System Toolbar which may be easier for you.  Alt-S will turn Fill on and off or click on the spilling paint bucket icon.

6. Guides  Shift Right click on the center of a selected object to add guides or around the outline. Alt-W will toggle them to see versus hide.  With nothing select, RIGHT click on the screen to open the Guides window. Sometimes it’s a good idea to Lock your Guides.

7. Grouping/Ungrouping Images  Select the images you want to group and use Ctrl-G to group (and Alt-G to ungroup).  Grouping objects (Ctrl-G) will keep the colors the same and you can continue to treat/work with each object as a separate object using the Group Viewer.  When you double click on the object in the Group Viewer listing, you can then make whatever changes you could normally make to that object while in its edit mode.  If you perform an Ungroup on text, it breaks the word into individual letters. Double clicking a letter takes you back to the text Smart Bar.

8. Making Path / Breaking Path on Images

 Make Path (Ctrl-H) will make selected images ―merge‖ and be treated as a single object. Break Path (Ctrl- J) will unmerge the objects and even go further and separate everything any individual paths.  When you do a Make Path on a group of images, they will all become the same color. Double clicking will bring up the nodes for all of the images. When you do a Break Path, you do not get back the original colors.

 For example, If you perform a Make Path on two objects that are on top of one another, a hole will be created by the smaller object being merged with the larger one. This creates a frame you can then use for welding to the inside.

 If you perform a Break Path on text, it converts the text to vector graphics, and all individual paths are broken. For example, the letter B will be broken into three parts… an outside path and two interior paths.

6  Also, it’s a good idea to perform a Make Path on objects with interior paths because the software will then automatically have interior paths cut before exterior paths. This leads to more stable cuts because once an outside path is cut, the cut object will be more likely to come loose from the mat when the interior paths get cut.  Because Make Path and Break Path are used so frequently and the hot keys are difficult for smaller hands, I strongly urge that simpler short cut keys be created. This is covered in ―Setting Up Hot Keys‖ below.

9. Importing Vector Files

 At the I Love KNK Yahoo group, under the Links section, is a folder filled with links to sites providing free vector files and free raster images. When selecting a vector file type, use this as a guideline:

Vector preference order where top is my first choice, bottom is last choice

KNK Studio Make The Cut (order not as critical)

KNK MTC EPS (fewest number of issues!) EPS (in next update) PDF (vector) - may need to do a Connect Path SVG PLT (an option in some embroidery programs) TTF (will open and temporarily install a font)

AIv8 (turn on Fill and turn off Thick Line Attribute) PDF (vector)

WMF (seldom used, but a great format) AI (in next update) DXF (mark the mm box instead of inches during import) SCUT, SCUT 2 SVG (must open in Inkscape and try copy/paste or export as EPS or DXF) GSD (same as AI although some will fail completely)

 This is a handy link which covers how to convert various formats to .KNK: http://duckysdesigns.com/KNK/tips/Convert/convert_table.html

10. Setting up Hot Keys  There are over a hundred default hot keys already set up in the software (refer to Appendix A of your KNK User Manual). There are about 30 that I like best and use regularly. Refer to those listed at the end of the class notes.  Also, I love the ones I set up myself. The nice thing is that almost all of the single stroke letters are available. To set up a hot key, watch the video included in your Class Files or follow this tutorial.  Note that you will want to set up ones that work for YOU. This weekend, we’ll use ones that I recommend but after you get home, modify them as needed.

7  Go to Options>Customize Shortcuts:

WARNING: Do NOT click on Reset All! It’s easier to just correct the hot keys you may have mistakenly set up. Browse to find and highlight the menu function.

Click right after the word ―None‖ and enter the letter you wish to use. E.g. Type A after None.

Click on Assign. (you will be able to select it once you’ve typed in a replace- ment for None)

Highlight a hot key and click on Remove to release that key. It can then be used for something

New hot key assignment shows up in this window and is ready to be used.

Click on Apply once you have finished assigning hot keys

 Hot Keys to Set Up:

M: Make Path (Arrange>Make Path) H: Equal Horizontal Spacing (Layout>Arrange and Distrib- ute>Align to Selected>Equal Horizontal Spacing) K: Break Path (Arrange>Break Path) V: Equal Vertical Spacing (Layout>Arrange and Distrib- ute>Align to Selected>Equal Horizontal Spacing) G: Delete Guidelines D: Deselect All (Edit>Select None) (Options>Guides>Remove All Guides)

8 Class 2: 14 Things You Need to Know about Cutting

1. Start cutting! And cut a lot!  Cutting Confidence Logic Chart

2. Use the correct blade for the ma- Blade Materials terial you are cutting: 45 degree (red) Vinyl, paper, smooth cardstock, Dura-lar, Mylar, iron-on transfer, vellum, Xpel, 60 degree (blue) Textured cardstock, chipboard, Grungeboard, felt, craft foam, rhinestone rubber, craft plastic, self-adhesive magnet, styrene, Magic Mesh, Shrinky Dink

Fabric All fabrics

3. Adjust your blade length to match the thickness of the material you are cutting. Material  You will get better cutting AND not dull your blade by having it cut Mat into the mat.

Perfect Length Too Long Too Short

4. Adjust the blade height so that more downward force will be applied, as needed.  Use O Rings or some other spacing method.

Smidgen! ~1/16‖ - 1/8‖

Perfect Height Too Low Too High

5. Adjust Overcut and Trailing Blade, as needed, under Cut>Tool Options. This is called Offset or Blade Offset in other programs.

The Offset is the distance Imagine a line between the center of the passing through blade holder and the tip of the center of the the blade. blade holder

9  Overcut causes the blade to travel a little further at the end of the cut. Trailing Blade causes the blade to travel further at a corner (inner or outer) and then swing around and come back, thus making a sharper corner.

Overcut too low: Trailing Blade too low: Trailing Blade too high: paths do not close rounded outer corners Divots will appear on inner corners

Blade or Situation Overcut Trailing Blade 45° Standard Blade (red capped) (Accugraphic recommends) 15 20 Sliver 2 (SL 260 blue capped) (Accugraphic recommends) 15 20 Original 60° Blade (blue capped) (Accugraphic recommends) 20 30 My recommendation for red &blue capped blades cutting small to normal sizes 15 5 My recommendation for cutting really large circles 80 5 My recommendation ANY TIME multi-cut is set to 2 or more passes 0 5 Fabric Blade (only on single passes!) 30 40 Fabric Blade (multi-cut) 0 40 Rhinestone Template Materials (only on single cut, e.g. flock) 50 5 Rhinestone Template Materials (multicut set to 2 or more passes) 0 5

6. Adjust your Force/Pressure and Speed/Velocity for the materials and shapes you are cutting.  Dull blades will need more force than new blades  Thicker, more difficult materials will need 2 or more passes, as well as a slower speed  Materials that absorb moisture will need more force if they have been exposed to humidity: blow dry them.  Intricate designs need slower speeds and possible 2 or more passes  Too much force can give bad cutting: tearing, etc.

7. The Cutting Mat matters!  Keep your mats clean and sticky.  Press your materials evenly to the mat. Think about using a brayer.  When necessary, tape thicker materials to the mat.  If you cut a range of materials, you might need more than one mat.  Aileene’s Tack It Over and Over, diluted ~40/60 with water, is great for cardstock (apply in a thin layer with foam brush or sponge). There are other spray adhesives you might want to try.

8. TEST!  Use the TEST button to make test cuts. Do not proceed with your cut until the test cut is clean. When cutting intricate shapes, a test cut of an intricate image, such as a letter, might be a better indicator of correct settings.

10  Always test cut new files from scraps or inexpensive cardstock. Make sure the file will cut properly first.

9. Have realistic expectations!  You cannot cut a scripty font that’s only 1/4‖ tall.  You cannot cut a scripty font from thick chipboard.

10. Master easy materials before attempting difficult materials.

11. Record your successes! Refer to Materials Cutting Reference Sheet on the next page and in your files.

12. Know where your images will cut!  Axis Swap turned on = Portrait mode, off = Landscape mode  Sign Blank = images cut where they are located on the screen, Page = images moved to the origin  Look at the images in the Cut Preview window BEFORE sending them to cut!

Image as you see it in the main Sign Blank window

Image cuts on ma- Image is moved to Image is rotated but Image is moved to terial in same place origin set on cut in same place as origin set on material as in Sign Blank material in Sign Blank and rotated

Axis Swap on Axis Swap on Axis Swap off Axis Swap off Page mode Sign Blank mode Page mode Sign Blank mode

13. Learn fixes for bad cuts, such as a sanding pad or regular sandpaper. Don’t worry if a rhinestone design cuts slightly off the edge of the material… you can hand place a few stones! Just note it on the template.

14. Don’t get frustrated, get help! There are lots of message boards and Yahoo groups where you can ask questions, if you can’t reach me. I recommend I Love KNK Yahoo group and Klic-N-Kut Yahoo group.

Remember! You need to make lots of mistakes in order to become experienced and build your confidence!

11 Cutting Materials Reference Sheet

Material/Brand Blade Pressure Speed # of # of Tape Other Passes O-Rings to Mat?

Factors Which Can Affect Your Cutting:  Pressure  Blade Type  Condition of the Mat (keep clean and sticky)  Speed  Sharpness of Blade  Effect of Humidity on Paper  Overcut Setting  Blade Exposure  Image Design (intricate versus simple)  Trailing Blade Setting  Height of Blade Tip  Nodes in Design (clustering versus sparse)  Nature of the material (thickness, density, composition)

1. Controlling What Images You Send to the Cutter

 Go to Cut>Plotting Defauts (C). With Selected marked, you must select which images you want to send to the Cut Window. If unmarked, all images will be sent. If Sign Blank is selected, then only those images in the Sign Blank will be sent. With Page selected, all images in the file will be sent.

 Let’s assume you have Selected marked. To more easily select certain images to be cut and others not to be cut, use different colors. This way, you can hold down the Shift key and click on the colors (on the Job Palette) that you wish to send to the cutter.

 Let’s assume you do not have Selected marked or you would rather send all of the different colors to the Cut Preview window. You can then use the “Sort and Cut All Colors” function (2nd icon from right) to turn off any colors you do not want to cut. Just uncheck any colors to omit. Also, you can change the order in which colors are cut by dragging the colors to the top of the list. Higher colors will cut before lower colors.

 Another way to cut by color is to use the “Filter by Color” icon (5th from right). This function will queue for the color to be cut. You can override or accept. When it finishes one color, it will pop up the next color and, again, you can accept or pick a different color. Filter by Sort and Cut All Colors

2. Controlling Cuts within Cut Preview

Mirror image Weed Select

Rotate image Display Nesting Options Display Sort Options

 There are great tools available in the Cut Preview window that are used for controlling the cut. For example, you can override the Page/Sign Blank option under Cut>Plotting Defaults. This is called Select Mode and is the 4th icon from the right.  You can rotate or mirror images using the 4 icons on the far left.  You can add a weed (rectangle) before cutting by selecting the 8th icon from the left. RIGHT click on the Weed icon and you can select the offset distance for the weed, as well as whether or not repeats will be weeded.  One VERY useful icon is the Block Nesting function. If you’ve selected a group of objects to cut and they are spread out, then click on the Display Nesting Options icon (5th icon from the left) and choose the following options to have the images moved together for cutting. This is a fast way to move your images together for cutting without changing their locations in the original file.  If you forgot to set the cut order, then click on Display Sort Options. You will be able to set the order of the cut using the same function as Layout>Sequence>Start Sequence by Traits. One interesting addition: you can have the images in the Cut Preview window numbered according to the cut order! Now, that’s quite cool!

13 3. Paper/Cardstock Instructions

 For paper and lighter smooth cardstock, use the red capped blade. For thicker textured cardstock, use the blue capped blade.  Cutting force will vary depending on density of paper/cardstock, exposure to humidity, dullness of blade, and even the dye used to color the material! Two passes can often be needed with some cardstocks.  White core cardstocks are never going to yield the same quality as solid core.  Some cardstock simply doesn’t cut well. Use that for something else beside cutting intricate shapes. Other cardstock, such as Bazzill Smoothies, Worldwin Colormates, and Michael’s Recollections, cut beautifully.  Have inexpensive cardstock on hand, such as Georgia Pacific white cardstock available at Sam’s Club, to use for test cutting any design that you’ve never cut. It costs ~ 3 cents for one 8-1/2 x 11 sheet.  A clean sticky mat is essential and make sure the material is evenly pressed to the mat. Using a brayer is a great way to make sure your material is evenly pressed.  An artist’s palette knife or some other thin metal device will help you gently lift your cut items from the mat.  As with all cutting, set your blade to the correct exposure and have a little bit of height to invoke more force.  If your cardstock has spots that didn’t completely cut, flip the entire sheet over, and use sandpaper to sand the spots where the cuts didn’t complete. You should be able to sand down to where the blade did cut in those spots and your design will then be released from the waste.  With each brand of cardstock, record the settings that worked well so that next time, you’ll have a good starting point for your test cut.

4. Vinyl Instructions

 If cutting long wide images or lettering, you might want to turn off Axis Swap under Cut>Plotting Defaults so that images cut landscape (front to back) versus left to right.

 If you want the blade carriage to move to the end at the completion of the cut, rather than back to the where you set the origin, then under Cut>Plotting Defaults>Setup, change the End Point:

 Position the vinyl so that the pinch wheels will be as close to the outer edges as possible. Set the origin to the left of where the right-most pinch wheel is traveling along the vinyl.  On long cuts, it’s important to have the vinyl aligned straight in the machine. Cut the needed length from the vinyl roll (add a few inches for error allowance). Feed the excess underneath the cutter and around to meet the other end. Line up and drop the pinch wheels. Use the buttons on the machine to feed the vinyl in and out, most of the way, to make sure the vinyl stays aligned.  Remember to set your Machine Limits so that the Maximum Length is Settings longer than what you plan to cut. This is under Cut>Plotting De-  Red Capped 45o Blade faults>Setup.  Cutting Speed: 200—350  Set the origin at least 1/2‖ away from the right side and in a little ways from the bottom.  Cutting Force:  Use either Weed or Power Weed for easy weeding after the cut. Refer to  Original KNK: 130—150 Section 9.2 of the KNK User Manual  Groove: 50  Maxx and Groove-E: 40-50

14 5. Fabric Instructions

 It is highly recommend that the Accugraphic Fabric blade be used when cutting fabrics.

 The recommend Overcut and Trailing Blade settings for this particular blade are: 30 and 40. However, since Multipass will almost always be used, the Overcut can be set to 0 so that the blade stays down between passes.

 Cut at a high speed: 300—400.

 Applying a stiffener, such as Wonder Under or Heat n Bond isn’t necessary for cutting. However, if you plan to use it at all, then definitely apply to the fabric first. Then peel off the backing sheet and press the sticky side down onto the sticky side of the mat. The result will be like cutting cardstock! But don’t forget to still use two or more passes for cleaner cutting.

 If not using a stiffener, make sure you use a VERY sticky mat. The fabric will need to stay attached to the mat during cutting. Any shifting of the fabric can result in lousy cuts.

 Cutting Force will vary, depending on the fabric. The lightest of cotton fabrics will cut similar to cardstock but may require a minimum of two passes. Remember the function of the TEST cut!

 One of my customers who exclusively cuts fabric, reported the following results:

 Cotton fabrics used for quilting  Silk

 Taffeta  Linen (thin)

 Satin  Very thin liner fabric (not good for use with the thermo web; too thin so adhesive goes through)

 Twill, med weight  Brocade (didn't work well)

6. Chipboard Instructions

 The most important thing to do is find a great chipboard to cut. You want it to be somewhat soft and bend- able as it will be easier to cut.  Use two or more passes and slow down the speed. The best cutting force for most chipboard is usually around 115—160. But note that if the blade is struggling to cut at 160, you will find your circles are out-of- round! You are better off dropping the force and using more passes.  Avoid cutting too many images at one time because chipboard is known to crumble and little tiny pieces can get caught up inside the blade holder and cause the blade to stop turning and cutting properly.  Use masking or painter’s tape around the edges of the entire sheet to keep it from shifting during the cut. Also brayer down well so that it’s stuck to the adhesive on the mat.  There is a high probably of skewing if you are trying to cut a large image several passes (such as the page on a word album). You may need to order a custom mat that will precisely fit the opening of your machine, so that the mat has no room to skew.  Cutting thinner chipboard versus thicker allows for sharper corners and valleys. Think about cutting two of the same and adhering one to the other.

15 7. Iron-On Transfer Instructions

1. The Iron-on Transfer Vinyl consists of three layers:

Heat-resistant layer (shiny side)

Vinyl Adhesive (dull side)

2. For cutting, have dull side up (adhesive side up):

Blade only cuts through adhesive and vinyl and not the thicker heat resistant layer

3. Pressure required is about the same for a normal paper (try ~60 on the Groove-E/Maxx, ~160—170 on the older KNK’s, ~15 on the CR/Silh). Be sure to do a test cut first and then see if vinyl layer will peel away from backing. 4. Remember to reverse your image before cutting!!!!! 5. Cut around your image with scissors before weeding. Note that it’s really hard to see the cut image, so be careful! 6. Use a paper piercer to grab onto a piece of the waste vinyl and then pull to remove. Remember to weed small internal parts, as well.

Tips on Heat Application (but also read Lynn Keniston’s terrific tutorial located in your Tutorials section of the Class Files

1. Use a hot dry iron (cotton setting or higher). 2. Use a fairly firm surface…. Not a highly cushioned ironing board. 3. Insert a cloth between the layers of a shirt in case adhesive melts through to other side 4. Press shirt first for a smooth flat dry surface. 5. Arrange pattern on shirt, carefully centering. 6. Press firmly for 10 full seconds. Do not move iron around… just press firmly. 7. Allow to slightly cool and then remove top heat-resistant layer. If pattern begins to come up, then cover with the heat-resistant layer and immediately repress for another 10 seconds. 8. Some people will also flip shirt inside out and press from other side for 10 seconds.

16 Cutting Materials on a Maxx/Groove-E Reference Sheet1

Material/Brand Blade Pressure Speed # of # of Tape Other Passes O-Rings to Mat?

Cardstock: Bazzill Red 115 200 1-2 1 Blue 95

Cardstock: Color- Red 75 300 1 1 mates

Craft Plastic: Grafix Blue 120 300 2 2 N 0.007

Craft Plastic: Grafix Blue 160 100 2 2 Y Also tried 140 in 4 passes 0.02

Craft Plastic: Clear Blue 110 150 2 2 N Scraps

DuraLar-thick (mirror Red 120 250 1 2 paper)

Fabric: thin cotton for Fab- 120- 400 2 1 Overcut 30 TB-40 quilting ric 140

Fabric: thicker nappy Fab- 140 400 3 2 Heat n Bond applied first fabrics ric

Felt: Regular Fab- 100 3 2 Used sticky mat ric

Felt: Stiffened Blue 120 200 2 3 Y

Gum Paste Blue 15 100 1 2 Roll out using pasta press. Coat mat with shortening. Allow to set on mat 10 min before cutting Grungeboard Blue 160 100 2 2+ Y Dull side up + reverse image

Iron-On Transfer (T- Red 60 150 1 1 Dull side up + reverse image Shirt Vinyl)

Magic Mesh Blue 80 1/2 1 One pass on mesh alone two passes when on c/s

Mylar Red 110 250 2 1

17 Cutting Materials on a Maxx/Groove-E Reference Sheet1

Material/Brand Blade Pressure Speed # of # of Tape Other Passes O-Rings to Mat?

Magnet—Self Adhe- Blue 90 250 2 2 Ellison brand sive

Rhinestone Rubber: Blue 75 200 2 2 Hartco 425 Series Green Hartco

Rhinestone Rubber: Blue 95 250 2 2 Remove backing sheet before press- Black ACS ing to mat with a brayer

Shrinky Dink: Regular Red 130 150 1 1

Shrinky Dink: Print- Blue 140 2 2 Had to punch cut a few but were fine. able

Styrene .02 Blue 120 250 2 2 Y Cut clean in 2; doesn’t give perfect results when cutting intricate detail.

Styrene .04 Blue 160 250 4 2 Y May need more passes; not suitable for intricate work

Tissue Paper Fab- 24 100 1 0 Ironed tissue first, carefully rolled onto ric mat to avoid wrinkles used UnDo to remove from mat Vinyl Red 30 350 1 0 Y May need more passes; not suitable for intricate work

Vellum Red 60 250 1 1

XPEL Protection Film Red 75 200 1 2 (Rhinestone Decals)

18 Class 3: It’s All About the Settings - Mastering Autotrace

1. Vector Versus Raster

 Zooming in close up on a raster will reveal that it’s made up of little squares. Vector images are like connect -the-dot puzzles colored in.  Vector images do not become fuzzy when you zoom in close or blow up the images.  File formats will often tell you which is which:

Raster: BMP, JPG, TIF, PNG Vector: AI, EPS, WMF, DXF, SVG Either: PDF, sometimes EPS & WMF

2. Finding Raster Images

 If you cannot locate a vector image to cut, then there are hundreds of thousands of raster images you can trace.  Use Google Images to search and find images. Black and white images will trace more easily than colored clipart which will trace more easily than photos.  Type in the name of the object you want and then add the word ―silhouette‖ or ―black and white‖ or ―coloring book‖ - e.g. ―collie silhouette‖ or ―rolling pin outline‖. Again, think about the image and how much detail the tracing might yield. Keep it simple!  Note that you can also filter images in Google Images, using choices on the left side column... such as clipart or line drawing.  Click on the image you find and see if it enlarges or there’s a link to enlarge. Then RIGHT click on the image and look for an option to Copy image. The Edit>Paste into KNK Studio. If you are using the original monochrome vectorization, then you should be able to paste the image from the Scan and Trace Wizard.  If you do not find an option to Copy, then look for an option to Save the file to your computer. Here are the usual options in the popup menu:  Google Chrome: Copy Image or Save Image As  Internet Explorer: Copy Save Picture As  Firefox: Copy Image or Save Image As  When saving, if you have a choice of file type, select .jpg or .bmp over .png or .tif.  If you do not find an option to copy or save, then use a screen capture program such as Snipping Tool (under your Start>All Programs>Accessories>Snipping Tools (not in Windows XP) or use Fast Stone Capture (a free program provided in your Class Files, under Free Programs)

3. Different Versions of Auto-Vectorization

 Depending on when you purchased your Klic-N-Kut or KNK Studio GE, you will have a different form of vectorization:  Nov 2006—Spring 2008: Monochrome Vectorization  Spring 2008—December 2008: Color Vectorization  December 2008—Today: GE owners have Color Vectorization; Maxx/Groove-E owners have Color Vec- torization with Super Size  The videos you receive for this class cover ALL three so determine which one matches your version of the software. But note that you can use the Maxx version if you install the trial, and then drag your traces into your version.

19 4. Why Using the Super Size Feature is So Valuable:

 Super size will increase the size of an image without losing resolution, so that better vectorization can be achieved:

After Posterizing After Super Sizing and then Posterizing

After Vectorization After Vectorization

5. General Procedure For SuperSize Auto-Tracing

1. Use File>Import to import image or Copy/Paste from the Internet. If importing a .png file, a window will pop open with a setting called Transparent Threshold. Scroll that down to 0 before importing. 2. Select image and make a duplicate (Ctrl-D). Set duplicate aside.

3. Select image and go to Image>Prepare to Vectorize Wizard.

4. Resize the image using this table:

Original Image Size Enter this for Recommend Image Size

0.01—0.99 mb 2.0 1— 3.0 mb Double the value (2.0—6.0 mb) Greater than 3.0 mb 6.0 mb

5. If you didn’t need to Super Size, go to Step 5. Otherwise, in the Cadlink window, scroll brightness and contrast to get the sharpest image with bright colors. Click on OK.

Adjust these two values

20 6. The next window allows you to map the colors. Decide if all black will work or you need to split the image into certain colors. To add colors, mark a box on the right and then click on a portion of the image in the upper left window to have that color added to the image in the lower left window.

Check a Color number and then click on a new color from the imported image

Top left: image imported from prior window Adjust tolerance levels to add or subtract the amount of that color appearing in Bottom left: image the bottom left created by mapping image. desired colors. Note that only one shade or pink and one shade of green were selected. Click on OK when done.

Zoom

7. Repeat, as necessary for other colors. 8. Scroll the Tolerance levels for individual colors to add more or less of each color. Use the Zoom at the bottom to zoom in on intricate areas. Click on OK when done.

9. With your image selected, click on the first icon (Accuscan) under Accuscan the Scan tools from the Tools toolbar.

Vectorize Trace Settings Close

10. Adjust the trace settings. 11. Click on the Vectorize button. Then click on Close.

12. Move one image away from the other. Turn off Fill, if necessary to determine which is the vector.

13. To remove the outer border, select image and go to Arrange>Break Path. Click away and then select the border and press the Delete key. You can also delete any other paths as desired. But if you have many small paths, retrace after increasing the Speckle Filter setting.

21 14. Evaluate the tracing. If adjustments to Trace Settings are needed, then select your raster and repeat Steps 8—10. To group the image again, select like colors and go to Arrange>Make Path. 15. Note that if your raster needs re-coloring, this can also be done in the Accuscan window, using the tools on left in the Smart Bar.

1. Select Brush Active Color Window

Indent to Open Palette Double click Activate Brush on a color to make it the new active color

16. If you decide you want to redo the Super Size and Posterize steps, select the duplicate from step 1, copy again, and then repeat all steps. 17. Some images will do better if you auto-trace different parts separately and then combing the tracings at the end.

5. Trace Settings The trace settings are critical to getting the best results. There are 5 settings but only 4 are needed.

Tolerance: Tight tracing vs Loose Tracing Speckle Filter: Don’t trace the teeny stuff

Corners: Sharp angles vs Rounded Small Shape Accuracy: Same as Tolerance but for the little parts of an image

Scan and Trace Wizard Accuscan 22  Tolerance: indicates the precision with which the larger main parts of the image are traced.

 For a tight fit, use a setting of 8 or 9. More nodes will be produced as the vectorizing will adhere to precise changes in pixels in the image.  If the bitmap is of poor quality or has long, smooth edges, then use a setting of 7 or less. A loose Toler- ance will avoid imperfections in the bitmap, though fine details may also be lost.

Decrease if Increase if shape trace lines are doesn’t fit original. wobbly.

Too low: Too high: Setting is correct Shape is compromised. Lines are wobbly for this image

 Corners: modifies corner recognition and is used to help distinguish parts of the bitmap that represent a corner, versus parts that represent a tight curve.

 For angular bitmaps that are composed almost entirely of sharp corners, use a setting or 7 or greater.  For bitmaps that are composed almost entirely of curves use a setting of 4 or less.  For bitmaps that have a mixture of curves and sharp corners, use a setting of 5 or 6.

Decrease if corners Increase if corners are too sharp or are too rounded. pointed

Too low: Too high: Setting is correct Sharp corners are too rounded. Rounded corners are too sharp. for this image

23  Speckle Filter: Bitmaps that have been scanned often contain speckles, due to a dirty or scratched scanner bed. Also, poor resolution images will often have random speckles of color that are not to be traced. To ig- nore these imperfections, the Speckle Filter may be applied as part of the trace. Don’t hesitate to increase this value to a high number, especially if the image doesn’t contain any tiny details that need to be traced.

Decrease if small parts are not being Increase if too traced. many speckles are showing up in tracing.

Too low: Too high: Setting is correct Too many tiny specks. Parts of the image are missing. for this image

 Small Shape Accuracy: how accurately you need to trace the tiny details in an image. Try a setting of 3 and if the trace lines on these tiny shapes are wobbly, the decrease. For insignificant details, set to Off.

Decrease if smaller shapes are wobbly.

Increase if smaller shapes need After tracing, the overall image may be fine, however, a better fit. small parts may not have traced accurately.

Too low: Too high: Setting is correct Small parts not accurate Small parts are wobbly for this image

24 What Setting Should Be Changed?

Bad Tracing Close-up of Bad Tracing Good Tracing

1. ______

2. ______

3. ______

4. ______

25 Bad Tracing Close-up of Bad Tracing Good Tracing

5. ______

6. ______

7. ______

8. ______

26 Demo 2: Print and Cut

Calibrate KNK sizing (see Chapter 2 of KNK-UM). Use 10‖ x 10‖ or higher.

Initially: Calibrate Klic-N-Kut Maxx/Groove-E : Calibrate laser/alignment pin (refer to Chapter 4).

Vectorize image if needed. Align with original (may need to re-import). 1. Prepare image.

Replace cut line with an inline of 0.02—0.04‖ as insurance.

2. Add registration marks. Use a small offset (0.15‖). Make sure marks are inside Sign Blank.

Hide cutlines by turning them white or hiding behind raster.

3. Print image. Click on Preview box to verify Print Preview seems correct.

Turn on Borderless Printing, as needed. Make sure image will print 100%.

Use correct orientation.

4. Place printout on mat. Do test cut to get best cut settings.

On Maxx, turn on laser light, Groove-E: insert pin, on older KNK: insert test pen, but do not tighten. 5. Set origin Set origin in bottom right hand corner of lower right reg mark.

Select cut lines and reg marks and send to cut window. 6. Send image to cut window Click on Jogging icon and select Full Axis Jog. Click on Cut icon.

Hold down Shift key and RIGHT click in middle of flashing reg mark.

Use arrow keys on keyboard to get alignment in dead center of reg mark on the printout. Click on Set Position. 7. Perform jogging process Click on Skew Point and repeat step above. Then repeat with Stretch Point.

Older KNK: exchange test pen for blade holder. Click on OK to start cut.

27 Print and Cut Preparations:

 It is essential that you accurately calibrate your cutter. Once calibrated you can write down those numbers in case you ever reinstall the software and need them again. Go to Cut>Plotting Defaults and click on Setup. Click on the Plotter Options tab.  Size Calibration: Draw as large of a square or rectangle as possible. The defaults for X and Y are 1016 and 1016. Use either the calibration instructions in the user manual (Section 2.4) or manual change the values knowing that if the cutter draws a side too small, then increase the value. If the cutter draws a side too large, then decrease the value. The changes should be relatively small.

 Alignment Calibration, the numbers represent the distance in mm from the printed lines to the cut lines. Those who own the original KNK’s do not need to do this step. Maxx and Groove-E owners will. Remember to switch to mm before entering the numbers! You can use the instructions in the user manual to get a good first guess with the printed guide OR just start with the following average numbers and then adjust according to the diagram below after trying your first print and cut on an arrow. Maxx: X = 15.0 Y = -28.0 Groove-E: X = 15.0 Y = -10.0

Remember to work in mm, not inches!

Remember to enter Y with a minus sign!

 Use the Inline function to shrink your cut lines so that they are inside the boundaries of the printed image:

28 Adding the Registration Marks

Recommended Size of the Reg Marks Mark these 3 Small offset from marks to images

Printing the Image Move images to center of page, if desired Make sure images will print at 100%. Turn on borderless printing in your printer Setup

Make sure only one page shows and orientation is correct

Setting the Origin

Set the origin using the laser light, alignment pin, or the test pen in the bottom right corner of the bottom right registration mark.

Check the Cut Preview Window

Make sure you can see all of the images that are supposed to cut…. But ONLY the images that are supposed to cut!

You may need to turn off Fill to see white images, such as the tags in this example.

29 How the Arrow Keys Move the Alignment Device

Guide to pressing the arrow keys on the keyboard when setting the registration marks.

Tip: Turn your body to the right and the look down at the keys and they will be pointing the correct way

Guidelines for Successful Print and Cuts

1. Follow instructions to a ―T‖… at least until you master the process (e.g. if the instructions say to use a Por- trait Sign Blank, please use a Portrait Sign Blank). 2. Remember that not only does “Practice Make Perfect”, but “Practice Makes Easy”…. don't give up after the first time! 3. Use Microsoft Word’s Text Boxes to create greetings.. Check out the shapes! Whatever you create can be copied and pasted into KNK Studio for a Print and Cut or just for cutting. 4. To add a little more room for error, use Transform>Inline to shrink your trace lines to just inside colored areas. Or, you can apply a thick line attribute from the Stroke and Fill tools. After printing, return this to No Line or Hairline. 5. Check the trace lines to make sure they are consistently just inside the colored areas; tweak nodes as necessary. 6. Remember to change your printer’s setup, as necessary. Turn on borderless printing if your registration marks are close to the edges of your Sign Blank. Check the orientation: Landscape vs Portrait. 7. Remember to check the Print Preview window to make sure it’s going to print on a single page. 8. Make sure you have calibrated the Klic-N-Kut. Also, if you have a Maxx or Groove, make sure you have calibrated the laser or alignment pin. Be sure to do a Print and Cut test using an arrow, as described in the user manual. You’ll need to tweak the calibrations until the results are perfect. 9. If you need to hide your cut lines, then use Ctrl-B to send them behind your colored image. If that’s not possible, then change your cut lines to white for the printing and change them back after printing, as needed. OR assign the images to different layers using the Sheet Layer Palette. 10. Remember that you cannot move or alter your image after printing. If you make any changes to it, reprint. 11. Owners of older KNK’s may be able to add their own laser light or alignment pin to their machines and use the same process use with a Maxx or Groove. Version 8 of KNK Studio must be used. 12. Not all printers print accurately and this can lead to inaccuracies in print and cuts that cannot be corrected by the registration marks. This is especially true when cutting many small shapes from a page. Check to see if your printer has any kind of internal calibration. If not, then you may need to cut half-pages at a time versus whole pages or use an alternate method, such as a Reverse Cut and Print. 13. On the Maxx, make sure Fill is turned on so that reg marks print solid. Try making reg marks only 1/8‖ long. According to Accugraphic, laser light will shine brighter when dot reaches dead center of the reg mark.

30 Class 4: Trace Anything - Mastering Polyarc Tracing and Editing

1. The WONDERFUL Arc Edit Tool and Polyarc Editing!

The third icon under the Graphic Edit tools is called Arc Edit and can be used both for designing and for manual tracing.  Drag the Graphic Edit tools out so that you can easily access that icon over and over.  When using, click at every location where the path will change. Do it quickly and do not fret over precision. You will ALWAYS edit the image and fix it!  At any point while using, you can RIGHT click and select the middle top icon and a line will be drawn from where you are back to where you originally started.  At any point while using, you can click on the icon again to stop the path you are currently drawing and start over in a new spot.  At any point, you can use Ctrl-E to enter the Polyarc editing mode and begin the editing process.

2. Designing a Heart  Turn on the Grid and Snap to Grid. Zoom in so that you can see the grid up close.  Start at any grid intersection and draw a baseball diamond.  Click on Ctrl-E to enter the Polyarc Editing mode.  Curve the heart tops so that they meet the upper grid line.  Click on the middle node and use the down arrow key to move the node down.  Move the bottom center node, if desired.  At any point, you may want to turn off Snap to Grid! Note that if you try to use your mouse to move nodes they will only snap to intersections!

3. Tracing an Existing Image  Import your image using File>Import.  Select it and then click on a color from the Shop Palette below. (Use a color you don’t like! Lol)  Hold down the Ctrl key and click on that color on the Shop Palette and it will be turned off. Now you can’t inadvertently select the image you imported.  Pick ANOTHER color to use for the tracing (use a bright color that’s different from other colors in the image).  Begin to click around the image, planting a node at each location where a path changes direction.  Remember to click, click, click quickly around the image and not to fret over being precise.  At any time you can click on the Arc Edit icon to start at a new location.  When you’re finished, click on Ctrl-E to enter the Polyarc Editing mode.

31  If you have a symmetrical image, then only trace 1/2 or even 1/4 and then use Flip and Weld to complete the image. This is a excellent method for creating perfect symmetry:  Select image, go to Layout>Size/Move>Flip (X).  Indent to keep original, then select either vertical or horizontal flip.  Zoom out, as necessary, until you locate the red dashed line which you drag with your mouse until the red outline box is slightly overlapping your image. Click on Apply and Close.  Immediately go to the Weld tools and apply the Basic Weld (W). Edit as necessary, but it should be minimal.

Indent to keep original Select either vertical flip or horizontal flip

Trace 1/2 of image Use Flip function (X) Use Basic Weld (W)

4. Polyarc Editing

 There are 3 ways to show the nodes in an image: (1) double click it, (2) select It and press Ctrl-E, or (3) select it and go to Edit>Edit Path (Ctrl-E).

Use Segment Edit to smooth a curve or Use to add/move/ change it to corner or straight line delete nodes or drag a path to alter the curve

Use to delete the path Use to delete an entire path segment between any 2 nodes

 A node can be selected and dragged to a different location. Or click on the Delete key to removed it from the path. Or marquee-select more than one node at a time and use arrow keys on keyboard to move all at once… or delete them all at once.  To add a node, double click anywhere along a path.  To change the curvature of a path, drag it with your mouse.  If you need to erase a path, indent the left trash can Delete icon and click between any two nodes to erase the path between them.

32  If you need to erase an entire segment of a path that contains lots of nodes, then indent the right trash can Delete Segment icon and click on any two locations to delete the path between them.  To use Segment Edit, indent the Segment Edit icon and then click on any two locations along a path. Hold down the RIGHT mouse button to bring up a diagram where you can select to convert the path to a smooth curve, a sharp corner or a straight line.

Double click along a path to add a node Currently selected node will be Paths can be red : drag it or delete it. erased

Drag a path to change the curvature

Use Segment Edit to smooth paths

5. Stick Figure Design

 Use Polyarc Editing to design an image from scratch or to trace an existing image. However, only trace 1/4 of the design, plac- ing the trace lines through the middle of the lines.

 Move the original imported image out of the way. Select the images and use the X hot key (Flip function) to first make an mirror image in either a horizontal or vertical direction. Click on Apply and Close.

 Then select both and use the X hot key (Flip function) to make a mirror image in the other direction. Click on Apply and Close. Do not worry about overlapping lines through the center.

 Select all of the trace lines. Click on the Stroke and Fill Tool on the Tools toolbar.

33  Change the settings according to this screen shot of the Smart Bar:

Select based on Increase to desired Select based on thickness look you want Indent look you want

 Click on the Select icon on the Tools toolbar or press the spacebar on your keyboard to return to select mode. You can toggle between seeing the thick line or not using View>Show Line Style or indent- ing/outdenting the Show Line Style icon on the Smart Bar:

Show Line Show Line Style is on Style is off

 If adjustments to tracing need to be made, double click on trace line to bring up nodes and adjust. Otherwise, select image and do a Basic Weld (W).

 Manual tracing can also be used for the popular stick figure designs for rear windshields. For a great selection of designs to copy, go to:

http://www.stickpeoplesticker.com/ http://www.ultimatedecals.com/w_stick.php http://www.customlabels4u.com/decals-stickfamily.shtml

34 6. Additional Info on PolyArc Editing of Images

 IMPORTANT: Editing images can test the memory resources. Save your file OFTEN or turn on automatic save by going to Options>Automatic Save. Check ―Automatic Save Enabled.‖  If you need to erase an entire segment of a path that contains lots of nodes, then indent the right trash can Delete Segment icon and click on any two locations to delete the path between them.  You can also split a node by selecting it, RIGHT click select middle lower icon. Or you can connect two nodes by selecting both, RIGHT clicking and selecting middle top icon.  If you have a clustering of nodes in one spot, marquee-select, press U to unselect half, then press the delete key to delete half. Repeat as needed.  If you have any shapes that should be perfectly round, select a node and press the letter O and the path will be converted to a circle.  If you need to drag an entire section of an image, marquee-select all of the nodes in that section and then drag with your mouse or you the arrow keys on your keyboard.  To reduce the nodes in the entire image, leave the polyarc editing window and go to Arrange>Reduce Nodes. Start with a value of 0.009. If that reduces too many, use a lower value (try 0.005 next). If it doesn’t have enough of an effect, try a higher value (try 0.02 next).  Don’t forget the Ginsu, Flip, & Weld method for symmetrical images! You only need to edit one half of your image and you’ll end up with a perfect image. : ) Note that this works with Manual Tracing AND Auto- Tracing.

35 Resources for Free Images

Below are some links in various categories. These are just a sampling of the many links I’ve collected over the past 4 years. For more links, please join the I Love KNK Yahoo group where I maintain the full database of sites I’ve found. Click on the word ―Links‖ after joining the group.

http://groups.yahoo.com/group/ILoveKNK/

Note that these are live links if you open the PDF version of your Class Notes in the Class Files.

(1) Free Dingbat Fonts http://www.dafont.com/ http://www.fontgarden.com/dingbats/ http://www.dingbatpages.com/ http://www.dingbatdepot.com/ http://www.fontspace.com/category/dingbats

(2) Free Vector Files http://www.brandsoftheworld.com/ http://www.clipart9.com/ http://vector-cartoons.com/ http://vector4free.com/ http://www.vectorgraphics.info/vector-clipart.php http://www.vectorportal.com/ http://vectorlady.com/ http://www.vecteezy.com/ http://www.cardmakingparadise.com/projects.html http://scale-files.blogspot.com/ http://creations.110mb.com/ http://garcya.us/free-vector-graphics/

(3) Free Raster Files to Trace http://www.clker.com/ http://www.free-clipart.net/ http://www.houseofstirfry.com/chia/templates/tempI.html http://www.ruthannzaroff.com/mirkwooddesigns/templates.htm http://www.silhouettesclipart.com/

36 Class 5: Design Techniques Using Basic Weld and Fit Object to Path

1. Basic Welding

 Basic Welding provides three different functions:

(1) Removal of overlap between two or more closed images of the same color (2) Die cutting of one image from another where images are set to two different colors and the die cutting image is layered on top of the image that will be cut. (3) Conversion of thick line attribute to a closed path (as already covered in Class 3).

2. Using Basic Weld to Remove Overlap

 Make sure all images to be welded are the same color. Be careful because two different blacks will not weld correctly (e.g. P2 and P193). Also white, invisible, clear can appear on screen with black lines but they will not weld to each other or to black. You might want to remember to change the colors of your selected images to a new color, right before applying the Basic Weld.  If a Basic Weld fails you MUST use Edit>Undo to back up to before the weld. Otherwise, the weld still won’t work because the images have changed even if you don’t see a difference.  You can only weld closed paths. Turn on Fill and make sure the images fill with color before attempting to weld.

3. New Quick Way to use Basic Weld to the Inside of a Shape

 Previously I’ve always written and taught that you must create a frame in order to weld to the inside of a shape. But, I realized one day that this is the same thing as when I die cut one image from another. You just need to make sure of two things: (1) The rectangle is NOT the same color as the lettering. (2) The lettering is ON TOP OF the rectangle and not behind it.

 So, start by typing out your lettering:

 Next, add a rectangle, using a different color. At this point, you may need to ungroup the letters (Alt-G) so that you can individually extend them or shorten them to overlap your rectangle, as desired. Zoom in to make sure the letters are outside of the rectangle.

 Turn on Fill (and make sure the rectangle is behind the lettering. If not, then select it and use Ctrl-B to send it to the back.

 Select all and apply the Basic Weld (W). Then select the letters and delete. It’s also a good idea to select the rest and do a Make Path (M) so that the individual parts will all be together.

4. Stenciling Letters Using Basic Weld

 Type your text and then create a tall thin rectangle and change the color so that it is not the same as the text you have typed:

37  Use Ctrl-D to duplicate the rectangle until you have one copy for every interior part needed. Then arrange those rectangles so that they overlap each interior space. If rectangles are draw BEFORE the text the select text and use Ctrl-B to send it to the back. The rectangles must be on top.  Marquee-select the text and all of the rectangles and click on the Basic Weld tool (first icon under Weld Tools on the Tools toolbar).  It will appear that nothing has happened. But if you now delete the rectangles, you will see that you have broken into each of the interior portions and they are connected to the waste. Add a rectangle and do an Arrange>Make Path on the entire image to complete your stencil.

5. Fit Object to Path

 Transform>Fit Object to Path allows one to scallop images, add zigzag edges, create embroidery stitch outlines, and design rhinestone templates.

 To use this function you need to have two images selected: a larger image that will provide the path and a smaller image that will be the repeated design.

 Select both and go to Transform>Fit Object to Path and the window will appear where settings can be applied depending on the application.

6. Using Fit Object to Path for Scalloping

 Size the image you wish to scallop. For example, a heart is used in this example:

 Draw a circle the size you wish to use as the scallop diameter. Take note of the size of the circle (in this case, 0.5‖) and then make sure the circle isn’t too close to the heart.

 Select the image and the circle and go to Transform>Fit Object to Path.

 Mark the Rhinestone Spacing option (also called Nodes and Distance) and then enter a spacing smaller than the diameter of the circle you drew (in this case, 0.45‖ will be used). Then click on OK.

 Circles will appear around the image and be prioritized at specific locations, such as the top and bottom centers of the heart.

 With the circles and image still selected, apply the Basic Weld tool. In some cases you may need to remove the original image before welding the circles.

38 7. Rhinestone Outlining

 This same feature is used for rhinestone designing. First size your pattern just as before. It’s even more important to get the pattern sized first because you cannot resize it once the circles are applied or your template will not be sized correctly for the stones to fall into the holes!

 Switch to mm by RIGHT clicking on the icon at the intersection of the two rules and selecting mm. Draw the little circle but this time make the circle size equal to the rhinestone diameter plus about 1/2 mm. Thus, for a 10SS stone, which has a diameter of 2.9 mm, you would want the circle size to be 3.4 mm.

 Select both images and go Transform>Fit Object to Path. For the spacing, you will want to enter the size of the image plus the desired distance between the stones. Click on OK. Spacing = Circle diameter plus desired spacing

= 3.4 mm + 0.5 mm

= 3.9 mm

 The circles are now placed along the path of the heart. Some tweaking of the circles is almost always required in order to visually perfect the design. In this case the shape was simple.

 Be sure to remove the original path of the heart before cutting! Or, if it’s a different color, you can then select only the color of the circles to send to the cut window.

8. Creating the Postage Stamp Look

 Repeat the same steps as in the first example, except this time make sure the circle is a different color. This time a square will be drawn as the main object. Again, note the size of the circle: 0.25‖.

 Select both and go to Transform>Fit Object to Path. Use a spacing about twice that of the circle diameter. Click on OK. Now, your pattern will look like either of these.

 If your square is on top of the circles, as shown by the example that’s on the right, then click away. Click on the square so that it is the only image selected and use Ctrl-B to send to the back. Now select the square and the circles and apply the Basic Weld. It will appear nothing has happened, but if you drag the square away, you will see that the circles have die cut their pattern from the square.

9. Creating a Spiral Flower

 Start with a spiral and a petal shape that’s closed. The petal was created in Inkscape and copied/pasted into KNK Studio.

39  Measure the width of the petal which is 1.6‖. Select both and go to Trans- form>Fit Object to Path. Mark the box for Object Spacing, enter a slightly smaller width so that the petals will overlap and then check the Follow Con- tour box. Click on OK.

 The petals will be align along the circle.

 Select the original spiral and drag away. Then select the overlapping petals and apply the Basic Weld.

 Double click to bring up the nodes. Indent the right Delete tool and then click on the first node after the start of the straight line and then click again on the last night after end of the straight lines: 2. Click first node 1. Indent right Delete icon

3. Click on last node of straight line sections

 You’ll be left with this.

1. Indent

 Indent the second icon again on the top row of icons. Then drag that first node down to meet with the path below:

2. Drag node to meet pattern so  This is your spiral flower, ready to cut! that spiral will cut out.

40 Demo 3: Rhinestone Applications

1. Outlines for Rhinestone Designs

 Switch to mm if in inches (U).  Select your shape and go to Transform>Outline (O) or Tranform>Contour Object.  Select a different color and make sure the Keep Original icon is indented, as well as the Create Mask.  Choose the shape of the outline (Point, Clipped/Mitered, Round)  The minimum Offset value will be based on the following:  Original image will be cut from iron-on transfer, outline will be rhinestones : the minimum Offset should be the size of the circles you are using for designing divided by 2. (e.g. if you designed with3.5mm circles, then use half of that = 1.75mm). Note that you could actually get away with slightly less since your stones will be smaller than 3.5mm, however, be careful because the hot fix adhesive does not properly adhere to iron-on transfer and the stones are more likely to fall off.

 Original image and outline will both be the same size rhinestones: the minimum Offset should be the size of the circles plus the distance you want between the stones (e.g. 4.0 mm for 10SS stones with a spacing of 0.5 mm)

 Original image and outline will be different sized rhinestones: the minimum Offset would be the average of the two circles plus the distance you want between the stones (e.g. if you were using 10SS and 16SS, then your two circle sizes might be 3.5mm and 4.6 mm. The average would then be 4.05 mm. Add to that the spacing and you would use a minimum of 4.55 mm.

 If cutting material for a window decal, use an outline of about 3mm and actually outline the circle pattern itself to create an attractive scalloped design.

Option to Group outline with original Outside Only Outside and Inside Outline Color

Outline Shape Offset Option to Save Settings

41 2. Suggestions for Creating Lettering Designs

 Make the lettering taller. You can almost always vertically stretch your lettering because the width is usually the limiting factor on a shirt.

 Kern the lettering before applying circles. Often letters will type out too close together. So, space the letters out and you can always move individual letters closer together after applying the circles. If you ungroup your lettering, be sure to do a Make Path (M) before applying circles.

 Use Transform>Outline (O) to thicken lettering if you cannot get a double row of circles around the outside.

3. Rhinestone Fills

 There are numerous ways in KNK Studio to create fill patterns with a variety of different looks. I have videos for this at my web site: http://www.iloveknk.com/Support/Rhinestone/Videos/

 Transform>Outline: Use the Inline option and enter the offset as the size of the circle plus the spacing. Increase number of Inlines to fill the pattern.

 Transform> Metamorphosis: Create a duplicate and make much smaller. Then create three or four sizes in between.

 Stencil Tools: Under the Shapes tools, the stencil function can be used to create some unusual fills.

 Layout>Array + AND Weld: Used to create a parallel line pattern and then the image die cut from that pattern. This procedure will be covered in a later class.

4. Things to Watch For!  If you only see a few circles appear after using the Fit Object to Path (F), check your units. You are probably in inches.  If you see overlapping circles, then you neglected to do a Make Path (M) on your letters or images before going to Fit Object to Path (F).

5. Paper Embroidery

 For embroidery patterns, use smaller holes and a larger spacing. I made the pattern smaller overall, changed the circle size to 1.75 mm and then, since I want to space them for backstitch sewing, I used a value of 6.0 in the Fit Object to Path (F) Window.

 Depending on the size of the needle you will be using, the circle diameter should be changed. About the smallest you might use would be 1.5 mm (0.06‖) while the largest would probably be 2.25mm (0.09‖). Test cut on scrap cardstock first! : )

42 Tips on Rhinestone Pattern Design Tips on Cutting Patterns and Filling with Stones

1. Increase circle size by .5mm (10SS stones are ~2.9mm, thus use 3.4. 16SS stones are 1. If cutting rhinestone rubber, peel off backing ~4.0mm, thus use 4.5). This can vary based on sheet first and press to a sticky mat. Brayer source of stones. Cutting a sizing template is firmly to make sure the rubber has excellent con- useful: there’s a KNK file for this in the Class tact with the mat. After cutting, as you are re- Files. moving the pattern, the little circles will remain stuck to the mat, making weeding much easier. 2. Space the stones between 0.3 and 0.5 mm. The fabric needs room to stretch during laundering. 2. After lifting your pattern, if there are still circles attached, then press and lift on other parts of 3. Be prepared to add/delete/move some circles, as your cutting mat. Eventually, you should the ma- needed, to remove crowding and/or establish jority removed. balance to the look. See next page. 3. Set Overcut to 0 and use 2 passes for cutting. 4. When resizing rhinestone fonts or a pattern, For older KNK’s, use a cutting force of about 240 check the distance between stones to make sure -280. On the original Groove, use a setting of it’s still appropriate. There is a tutorial on how to about 200. On the Maxx/Groove-E use a setting resize and respace templates at of about 75. www.iloveknk.com. 4. Don’t trim your patterns too close to the holes as 5. For multi-color designs, use several alignment it is easier to brush more rhinestones if they holes so that you can more easily pick up stones have ―outside room‖ to occupy. from different cuts and they will align. OR you can press each color separately. 5. Apply your patterns to a backing material such as chipboard or foam board. Make sure it’s a 6. Marquee-select pattern and the circle/stone count different color from your rubber. You may with to will be in the top left part of the Smart Bar. first cover the backing with clear mailing tape for a slicker more permanent surface. 7. Keep the vector lines in case you need to make changes later. 6. Brush some powder (talc, baking, facial) into the holes and then brush out the excess and wipe 8. If cutting more than one pattern at a time, apply a the pattern clean. The powder will stick to any weed around the pattern (rectangle) adhesive inside the holes and prevent rhine- 9. Test cut from cardstock first to make sure pattern stones from getting stuck in the holes. looks correct! 7. Use a Shur-Line brush and brush rhinestones in 10. For XPEL decals, use Transform>Contour Ob- a circular motion. Keep brushing and you will ject to create outline to cut. find that the stones that landed upside down will be brushed out and correct ones will replace 11. Check out the multitude of rhinestone videos at them. my site: www.iloveknk.com under Support. 8. When 95% of the pattern is correctly filled, then use tweezers, a toothpick, or just your finger to position the last few rhinestones into the pattern. 9. Cut the transfer tape to size and apply from one side to the other. Press firmly but do not push the stones deep into the holes. Some people will Rhinestone Size of Stone Recommended use Bounce or anti-static spray on their tape be- Type Circle Size fore pressing.

6SS 2.1 mm 2.4—2.7 mm 10. As you lift the tape, keep one side pressed down and watch to make sure all stones are being 10SS 2.9 mm 3.2—3.5 mm lifted. If a stone fails to lift, press back down to 16SS 4.0 mm 4.3—4.6 mm pick it up. 20SS 4.8 mm 5.1—5.4 mm

The best circle size depends on the cutter used and the brand of stones.

43 Tips on Heat Application Using an Iron Uses for Rhinestones! 1. Use a hot dry iron (cotton setting or higher). 1. T-Shirts 9. Tote Bags 2. Use a firm surface. 2. Aprons 10. Picture Frames 3. Insert a cloth between the layers of a shirt. 3. Tablecloths and cloth 11. Windshields 4. Press shirt first for a smooth flat dry surface. napkins 12. Mirrors 4. Placemats 5. Arrange pattern on shirt, carefully centering. 13. Wine Glasses 5. Greeting Cards 6. Press firmly for 15 seconds. 14. Christmas Stockings 6. Scrapbooking Lay- 15. Gift Bags 7. Flip shirt inside out and press for another 10 sec- outs onds on side where stones are applied. 16. Replacements for 7. Shoes eyelets and brads in 8. Allow to thoroughly cool before removing clear 8. Caps, Hats, Sun Vi- your crafting transfer tape. sors

Tips on Heat Application Using a Heat Press (how Image Sizing the professionals do it) 1. Temperature set to ~ 330—350 degrees, pres- Adult T-Shirts Large: Keep image less than ~10‖ wide and sure set to medium. less than ~11‖ high. Adult T-Shirts Small: Keep image less than 8‖ wide and 2. Press garment first for a flat dry surface. ~10‖ high 3. Arrange pattern, press for 10-12 seconds. Child’s shirt: Keep image less than ~7‖ wide and ~9‖ high. 4. Peel cold and cover with Teflon sheet and re- Note that these are rough estimates and you may want to be more conservative than that. press another 10-12 sec. OR some professionals will flip shirt inside out and press from the Also note that rhinestones contain some small amount of back for 10-12 sec. lead and many T-Shirt business will not sell rhinestone items to small children. 5. Use a lower temp if pressing on 50/50 cotton poly. Higher on denim. Hot Keys for Easier Tweaking of Patterns

Alt+Drag Circle: Creates a duplicate circle (may need to Tips on XPEL Decals do it twice to get it to work) 1. Do not have contours dip inwards too much or Alt+Ctrl+Drag Circle: Creates a duplicate circle and main- they will be hard to handle. tains either horizontal or vertical alignment. (may need to do it twice to get it to work) 2. Use 330 degrees on XPEL decal material as it will melt at higher temperatures. Ctrl-Drag Circle: Circle stays horizontal or vertical during movement 3. Some recommend heat pressing from the back. 4. Prepare solution of water with a couple of drops Ctrl+Marquee Select: Only need to touch any part of the circle for it to be selected. of Dawn, Joy, etc in a cup. Custom Setup - M, K: Arrange>Make Path and Ar- 5. Clean surface thoroughly. Squirt back of decal range>Break Path twice then arrange on surface, pressing air bub- bles out. Allow to dry. Custom Setup - D: Deselect all images L, T, R, B: Aligns all selected circles Left, Top, Right, or Pattern Sources Bottom, respectively 1. For ideas, check out http:// Custom Setup - H, V: Even spaces all circles vertically or www.customrhinestoneshirt.com/misc-transfers.html horizontally respectively, between first and last selected. Note this also works on ―gentle curves‖, however, depend- 2. Counted X-Stitch and Needlepoint Designs ing on version of software used, these hot keys may need to be set up. 3. Circle fonts On Job Palette: Ctrl-Click on a color: Hides that color 4. Outline or fill any vector images in KNK Studio. Re- (toggle it on or off) member that there are numerous ways to fill the patterns, so check the free blog videos at On Job Palette: Shift-Click on a color: Selects all objects www.iloveknk.com of that color (may need to do it twice to get it to work)

44 Class 6: Hooray for Array

1. Cutting Multiples

Instead of using the Repeats function in the Cut Preview window, multiples can be set up ahead of time, using the Array function:

Choose Grid Enter Spacing Settings Increase to fill page

Choose Object to Object spacing or Choose to use a Spin or not and enter Close when done Between Object spacing desired rotation

 Go to Layout>Sign Blank (S) and set your Sign Blank to the dimensions of your material (e.g 12‖ x 12‖ for 12 x 12 cardstock)  Zoom to Sign Blank (Home).  Move your image to the lower left corner and then go to Layout>Array (A).  Make sure Grid is selected in the drop down menu.  Select the spacing type: Object to Object spacing is the distance from the start of one image to the start of the next. Between Object spacing is the spacing between the end of one image and the start of the next. The former will allow images to overlap, the latter will not.  Set the Spacing (both for the rows and the columns)  Turn on Spin or Total Spin which will sometimes allow images to fit more closely together.  Increase Total X and Total Y to fill your Sign Blank area. Adjust Spacing. Click on Close.

OR OR

 Another trick I use is to cluster several together, manually rotating to get a tight fit and then use Array (A) to create the grid of repeats.

45 2. Designing Borders

 Design the image which will be repeated to create your border. In this example, the Fan shape is used:

 Select and go to Layout>Array (A) and select Horizontal from the drop down menu. Just as in the previous example, the spacing type and amount can be selected. Normally when creating borders, you’ll want to use the Object to Object so that you can overlap the images:

 Close and then add a rectangle to the bottom of the array:

 Select all (Ctrl-A) and do a Basic Weld:

3. Quilling Templates

 The Cuttlebug quilling templates cut easy-to-make flowers. But they really are just basic designs that can easily be recreated. OR, better yet, design your own!

 Make the base (a rectangle that’s about 8‖ x 0.15‖ If you are cutting from 12‖ x12‖, then feel free to make your base longer… say, 11.5.‖

 Now use a design for the middle of the flower. How about a triangle! Use the Polygon shape, with sides set to three to create a triangle. Then select and use A (Layout Array) and set to Horizontal. Arrange a row of triangles along the top and Weld (W):

 Try starting with a flower created from the Star shape. Use the Ginsu Knife to chop off a petal.

46  Align the petal at the left side and resize. You will want it to be just a little taller than the triangles used above. Again, use Layout>Array (A) to align flowers along the same size rectangle and Weld (W):

 Cut off another petal and make it a little larger than the prior one… a little broader. Then repeat the same array and Weld (W). You end up with three different patterns to cut out and then quill. Note that in the flower I created, I cut one of each of the two smaller patterns and then two of the largest pattern:

 Let your imagination go wild!!! : ) Check out some files already created, as well as a file called Quilling In- ventory. I manually traced these from photos of flowers that I googled!

4. Filling Images with Circles (Rhinestone Fills)

 Select your image. Then draw a line, along the bottom, using the first icon under the Graphic Edit Tools. To keep the line perfectly horizontal, hold down the Ctrl key while you click the two ends of the line:

 Make sure the line is a different color from the image. Then select the line and go to Layout>Array (A) and choose Vertical from the drop down list. Since you are performing the array on a line, it doesn’t matter which spacing choice you have. But the Spacing itself is important. It should be the size of your circle plus the distance you want between your circles. For example, for 10SS stones, spaced at 0.5 mm, you might want to use 4 mm (3.5 mm diameter circle plus 0.5 mm spacing). Then increase the Total to fill the image:

Spacing = Diameter of Circle + Distance Increase Total until image Select Vertical Distance between circles is filled with lines

Click on Close when finished.

47  Go to Edit>Select None (D) to make sure nothing is selected. Then hold down Shift and click on the color of your lines from the Job Palette to select all of those lines. Then do an Arrange>Make Path (M). Then use Ctrl-B to send the lines to the back. Turn on Fill to verify the image is on top of the line pattern. Note that if your image is made up of different paths, it will also need a Make Path (M) performed.

 Marquee-select the line pattern and image and apply an AND Weld (second icon under the Weld tools). The result will be a line pattern in the shape of the image:

 Perform a Make Path on THIS pattern. And then create a circle the size you need for your design. Select it and the pattern and go to Transform>Fit Object to Path (F). Mark the Nodes and Distance (or Rhinestone Fill) box and enter the same spacing used for the Array. The circles will be added to the pattern. Move line pattern and then tweak circles to get the desired result:

5. On Arc With Rotation

 Another very useful Array tool is the On Arc With Rotation function which puts a selected object into an arced or even circular arrangement.

 In this example we’ve designed a flower from a polygon, added a circle and then performed a Make Path (M).

 Select the flower and got Layout>Array (A) and select On Arc With Rotation from the drop-down menu. Set the Start to –90o and the End to 90o. Increase the Arc Radius so that the images are a little ways apart:

Arc Radius

First duplicate

Original Image

 As you increase the Total, you will begin to see an arc of images form. Continue until the images overlap as desired. Click on Close. Delete original image. Then select the arc of images and weld (W):

48  For a full circle, set the Start to 0o and the End to 360o. Then, as you click on Total, you will form a full ring of the images. I call this the Wreath Maker!

 You can also overlap with your center image and weld, too!

 You can use this same technique to create a flower from an oval or a sun from a triangle! Have some fun!

6. Creating a Frame from a Border

 The On Arc With Rotation function can also be used to create a frame. Here is the border we created earlier in this class:

 Select it and go to Layout>Array (A) and using the On Arc With Rotation selection, enter the Total as 4. The images may be overlapped or spread way apart, depending on the spacing when you opened this window:

 Adjust the spacing to get the desired overlap at the four corners and Close. Delete the original and then apply the Delete the original and then apply the Basic Weld (W):

 The frames can also have more or fewer sides!

49 Reference Guide for 13 Design Functions

Function Access Procedure Design Elements

1. Modified 1Draw: rectangle, star, Drag left mouse button to form shape. Rounded frames, flowers, tags, castle Shapes arrow, decorative border, Immediately drag handles or change set- front, cupcake bottom, custom ar- etc from Shapes Tools tings to achieve different looks. rows, rings, stems, leaves, animals...

2. Outline/ 1Select image Check Outline and/or Inline. Select alter- Create frames, outline mats, thicker Inline 2 Transform > Outline (O) native color(s). Select more than one line if or thinner lettering. needed. Increase amount. Keep Original or not.

3. Transfor- 1Select image Pick from the 20 styles and then drag Distort hearts, flowers, arrows, letter- mations 2 Transform > Transforma- handles. Holding down Shift or Ctrl will ing. Create eggs, teardrops, petals, tion (Ctrl-1) also provide different results. puddles, splashes

4. Weld 1Select images Basic: Removes the overlap Weld letters, create frames, die cut 2 Select one of the three And: Keeps only the overlap images from other images, use in Weld Tools XOR: Subtracts the overlap from each rhinestone designing Common: Basic Weld (W) image 5. Array 1Select image Select layout option from menu and set Create wreaths and ―repeat image‖ 2 Layout>Array (A) spacing. Begin filling in area. For circular borders, grid patterns layout, set 0 and 360 as start and end.

6.Flip 1Select image Select to keep original or not. Select verti- Design shaped greeting cards, flour- 2 Layout > Size/Move > cal or horizontal. Locate red line and drag ishes from fonts, perfectly symmetri- Flip (X) to selected location. cal shapes. 7. Ginsu 1Select image Click once on each side of the path to be Customize flourishes from fonts, Knife Tool 2 Select 2nd icon under cut. Pressing Ctrl key will keep cut vertical break up images, split titles. Ginsu Knife Tools or horizontal. Can also click custom path through image versus straight line.

8. Fit Ob- 1Select image and path Enter number of repeated objects and Scallop images, unusual scallops, ject to Path 2 Transform > Fit Object to choose to follow contour or not. Invert zigzag edges, paper embroidery pat- Path (F) smaller object when following contour. terns, rhinestone designing 9. Round 1Select image On Smart Bar, select either Outside Cor- Thicken single lines, round both out- Corner 2Transform > Round Cor- ners or Inside Corners. Increase value and side and inside corners ner click on Apply and Close. 10. Filet 1Select image Check mitered or not, increase value, click Design a mitered frame, round indi- Round Cor- 2Transform > Filet Round on path next to outside or inside corner. vidual outside or inside corners. ner Corner Repeat as needed. 11. Polyarc 1Select image Double click to add nodes, select nodes Create parentheses frame, hearts, Editing 2Arrange > Convert To > and click on delete key, drag paths to rick rack, divide segments, erase, Polyarc (Y) modify curves, erase paths, divide paths smooth curves, reduce nodes, modify 3Ctrl-E. into more nodes, (refer to Polyarc Editing) images

12. Stroke 1Select image Indent Thick Line and increase thickness Convert single line images (stick fig- and Fill 2 Select icon under Stroke to desired look. Click on Select Tool, go to ures) to objects for cutting. Tool and Fill Tools Arrange>Make Path (M), then select Basic Weld (W).

13. Meta- 1Select 2 images Select number of images in-between to Create nesting shapes or color de- morphosis 2Transform > Metamor- add. If images are different colors, then signing for printing. phosis either force to existing palette or allow new colors to be created.

50 Class 7: SPEED - Scoring Pouncing Engraving Embossing Drawing

Scoring

 The method I use involves having two bladeholders.

 One blade holder has the blade set for cutting and I’ve conducted my test cut and know that the blade length is set correctly, along with pressure and speed.

 The other blade holder has a red capped blade with just the tippity tip of the blade exposed… a setting you might use for vinyl or extremely thin paper. I perform a test cut at the same settings as with the other blade, to make sure I see an indentation in the cardstock, but it hasn’t cut all the way through.

 Having a second blade holder is almost essential for this method because, if you are trying to reset your blade length after scoring, you won’t be able to do a test cut to make sure the setting is perfect. This doesn’t mean there isn’t a good method for this… I just haven’t come up with it yet!

 This is the procedure I use:

 The file using one or more color of lines for cutting and different color(s) for scoring.  You can be in either Page mode or Sign Blank mode under Cut>Plotting Defaults (C). I tend to use Sign Blank mode just in case I happen to forget and only send one of the colors to the Cut Preview window.  Load the blade holder with the scoring setting in the machine. Select the entire image and go to the Cut Pre- view window. Click on the Sort and Cut All Colors icon (2nd from right) and uncheck the cutting colors. Then click on Cut. The scoring lines will be scored. Remain in the Cut Preview window.  Press the Online button on the KNK to go offline. If necessary, use the buttons on the machine to move the bladeholder to a spot where you can easily access the blade holder. Switch out the blade holder for the one with the blade set for cutting. Do NOT reset the origin. Instead, just press the Online button and the KNK will return to the origin.  Again, click on the Sort and Cut All Colors icon (2nd from right) and uncheck the scoring colors. Then click on Cut. The cutting lines will be cut.

Pouncing

 With the release of Version 8, pounce lines can now be set by color in the file. Prior to this, it was necessary to turn on Pounce in the Cut Preview window and pounce the folding lines first. Then, turn off Pounce and do the regular cutting.

 To convert a particular color to be pounced:

 Make sure nothing is selected. Either click away from the image on the screen or use Select None (D).  Hold down the Shift key and click on the color on the Job Palette that needs to be pounced. All items of this color will be selected.  Up on the Smart Bar, double click on the box that is that same color. A window will open and you can check the Pounce box. Then set your Dash and Space. Recommended values are 0.07‖ and 0.15‖ (or 2 mm and 4 mm). Then click on ADD and a new color will be created at the end of your Shop Palette. The original color will still cut solid if you use that color again.  Note that your lines will automatically be dashed on the screen, although the appearance doesn’t reflect your Dash and Space settings. Also, this color will be a new color in this file only.

51  Cutting Procedure:

 Send both pounce and cut lines to the Cut Preview window.  Click on the Sort and Cut All Colors icon (2nd from right). If the pounce color is beneath the cut color, then use your mouse to drag it to the top of the list. It is always recommended that pouncing is performed first.  Click on cut and the pounce and cut lines will be performed.

Engraving

 The engraving tool is recommend for metal, plastic, and vellum. It doesn’t matter how much is exposed from the bottom of the blade holder. When mounting the blade holder in the machine, make sure the tip isn’t touching the material.  Turn off Overcut and Trailing Blade settings.  If you only want an outline engraving, then just proceed as is you were cutting. But usually owners want to ―fill in‖ their images. The function for this is called Banner Fill.  To use Banner Fill, send your image to the Cut Preview window and RIGHT click on the Banner Fill icon:  Make the following settings and click on OK.

 Your image, in the Cut Preview window, will move to an Axis Swap off position. To fix, turn off Banner Fill and then turn it on again (indented) and the image should be correctly placed now.  Set the origin on your material. Set the speed to the maximum of 600. Do your engraving!

52 Embossing

There are four ways to emboss paper/cardstock on the KNK:

 Use the Accugraphic drop-in engraving tool  It is recommended that you stick to outlines only. Using Banner Fill results in too much distress to the material. Make a VERY thin (0.02‖) outline AND inline (using Transform>Outline and turn on Multi-cut and use several passes on each outline to get a good indentation.

Set to 0.02‖ Indent to keep original

Click on Close when Check both Outline finished and Inline

 The amount of cutting force varies depending on the weight and texture of the paper/cardstock, as well as what is used for the carrier sheet. Some use craft foam. Some use shelf liner. Some use a felt strip placed on top of the Teflon strip. Be prepared to experiment! Start with a low pressure and work your way up.

 Use a regular embossing tool or one designed for another brand of cutter  The most difficult issue is finding one that will work. Most will not fit into the multi-purpose tool holder nor into the bladeholder seat on the Maxx/Groove/Groove-e. But you can purchase embossing tools made for other brands of cutters and those will work with the Maxx/Groove/Groove-e.  Stick to light weight materials. There isn’t enough force, even on the Maxx, to emboss thick textured materials, such as Bazzill.  One option is to use white-core cardstock so that you can lightly sand the embossed edges to bring out the internal white color.

 Cut your own embossing folder  Accugraphic sells a thin rubber and plastic embossing folders for this purpose.  You design/open your image and then create a mirror image of it with a border around the outside. Then cut both from the embossing rubber:

 Discard the internal part of the mirror image cut, leaving a ―negative‖. Attach this to one side of the folder. Then turn the other cut upside down and press into the empty space. Close the folder tightly and open so that the original image is not attached to the other side of the folder. It’s now ready to use in your ―squishing device!‖

 This method is not recommended for images with a lot of thin lines, such as a small scripty font. Nor does it work well if you have a lot of internal paths. So, pause to consider what you are cutting. Or cut from cardstock first to see what it will take to get the images positioned correctly in the folders.

53  Cut a cardstock or chipboard shape  Thanks to Kelly Daggett for this cool inexpensive option for those who already own a ―squishing device!‖  Cut your shape from very thin chipboard or heavy cardstock.  Purchase a sheet of the brick red plumber’s gasket sold at hardware stores. Or find any heavy rubber.  Sandwich the cardstock you wish to emboss between the chipboard shape and the sheet of plumber’s gasket. Place between the plastic plates of an embossing machine and run it through.

Drawing

 On the original KNK, pens needed to be mounted in the Multi-Tool holder sold by Accugraphic. Alterna- tively, pencil grips could sometimes be used to hold a pen in the grip.  On the Maxx, Groove, and Groove-E models, a wide range of pens can be inserted into the grip directly. Banner fill can then be used, if desired. Note that you will want to increase the Pen Diameter to more closely match that of the actual pen line, especially when using markers.  You can have solid fills or striped fills by changing the Overlap. Note that you will need to experiment with the Pen Diameter to get the look you want:

View in Cut window (Overlap at 90%) Results when drawn

View in Cut window (Overlap at 10%) Results when drawn

 You will observe that Banner Fill automatically produces a double outline of the image. To change this, color your image to anything but black. Then, when ready to use Banner Fill, go to the cut window and click on the Sort and Cut All Colors icon and uncheck the color you chose, leaving only black. A single outline and the fill will be performed.  Also remember the glitch in the software: once you make a change in the Banner Fill settings, the image will revert to Axis Swap off position. So, turn off Banner Fill and then indent again, so that the image will be correctly positioned.  Make sure pen is firmly mounted in the blade holder seat and only use as much pressure as needed. The speed can usually be set quite high.  Turn off Overcut and Trailing Blade settings OR change your selected tool to Pen, either under Cut>Plotting Defaults ( C) or in the Cut Preview window (top left portion of the Smart Bar).  In the Maxx, Groove, Groove-E cutters, the pen nib will probably not coincide with the blade tip, if you plan to draw and cut an image. In this situation, you will want to mount each device and press down on a sticky note to show the relative points made by the pen and blade. Then use those two points to set the origin for the other tool (turn on Laser or use Alignment Pin). There is a complete tutorial on this process in the Class Files.

54 Embossing/Engraving/Punching/Drawing Reference Sheet1

Material Tool Pressure/ # of Banner Diameter % Over- Other Speed Passes Fill? lap

55 Embossing/Engraving/Punching on a Maxx/Groove-E Reference Sheet1

Material Tool Pressure/ # of Banner Diameter % Over- Other Speed Passes Fill? lap Copper Engrav- 80 1 Y 0.02 75 36g Copper -Taped to mat ing 500

Aluminum Engrav- 40 1 Y 0.02 75 36g AL - Taped to mat ing 500

Acrylic Engrav- 160 1 Y 0.02 75 Hard acrylic—Taped to mat ing 500

Paper Engrav- 1-15 1 Y 0.02 15 Craft foam mat ing 500

Cardstock Engrav- 80-100 1 Y 0.02 15 Craft foam mat ing 500

Vellum Engrav- 1-5 1 Y 0.02 75 Craft foam mat ing 500

Heavy Vellum Engrav- 30-40 1 Y 0.02 75 Craft foam mat ing 500

Smooth Card- Stylus 63 1 Y 0.02 75 Craft foam mat stock 500

Smooth Card- Stylus 140 2 N 2 contours—0.01‖ stock 500 Craft foam mat

CTMH Cardstock Stylus 160 2 N 2 contours—0.01‖ 500 Craft foam mat

Paper Punch 140 1 N/A Pounce : 0.01‖ dash. 0.25‖ space 300 Embossing mat

Window Plastic Engrav- 10 1 Y 0.02 75 ing 400

56 Class 8: Getting Into Shape(s) - Some More Designing Tricks

1. Designing with Shapes

 KNK/ACS Studio has 9 shapes that can be manipulated to create designs.  When drawing a shape, select it and then drag the left mouse button to form the shape. Hold down the Shift key while dragging the mouse and the shape will be centered where you started.  With some shapes, holding down the Ctrl key will align the image in some particular way (refer to table below)  Many of the shapes have various settings and handles to alter the shape in hundreds of ways! Experiment with this!  Also practice using the various KNK Studio design functions on these shapes. When viewing embellishments you see in a store or magazine, try to figure out if there isn’t a simple way to recreate it without tracing!

Shape Notes on Drawing Modifications Uses

Circle Drag to form circle. Ra- Centers of flowers, scallop dius can be entered on designs, rhinestone patterns, Smart Bar. eyes, buttons, etc Ellipse Drag to free-form oval. Flower petals, eggs, frames (Oval)

Rectangle Hold Ctrl while drawing Drag upper left or upper right cor- Frames, bases for welding to force to create a ners to modify items, cards, square

Polygon Hold Ctrl while drawing Enter number of sides. Drag Flowers, triangles, flower pot, to keep horizontal semicircle handle to create cupcake, multi-side figures, flower. Try other handles and other shapes with narrow base settings to modify. Star Hold Ctrl while drawing Enter Number of points. Drag Flowers, sun, and. of course, to keep horizontal semicircle handles to create stars! flower. Try other handles and settings to modify. Arrow Hold Ctrl while drawing Drag handles and change set- All kinds of arrows. Use to snap to nearest 45 tings to customize arrow. Transform>Transformation degree angle function to curve your arrows.

Fan Hold Ctrl while drawing Drag lower middle handle to Rings, scallop designs, mono- to keep horizontal. thicken. Drag handle on either grams, charms end to close into a ring.

Decorative Select object first to Drag handles to change look and Decorative frames, frames for Border have border placed size of border. welding around it

Monument Drag to form rectangle. Check Arch box to form arch, if Tombstone, castle, plaque, Then drag top to form desired. tags arch.

57 Circle Draw a circle and smaller circle Select Horizontal and increase Scalloped Border to place towards the top. Do a Total. Adjust spacing to overlap. Make Path (M) Select all and apply Basic Weld Go to (W). Use the Ginsu Knife Tool Layout Array (A). to split the border in half.

Ellipse Draw a large oval and a small Select and go to Transform>Fit Scalloped (Oval) circle Object to Path (F). Enter the Oval number 30.Select all and apply Basic Weld (W).

Rectangle Draw a rectangle. Select and Add draw a circle and duplicate. Name Plate drag upper left handle inwards Arrange approx where you want to round the corners. them. Select the circle and use T for top align. Then Ctrl-G to group. Then Ctrl-A, Alt 7, and the M to Make Path. Polygon Draw a 5 sided polygon. Select Use Ctrl-E to bring up nodes. Flower Pot and go to Arrange>Convert To Select top node and delete. Polygon.

Star Draw a star. Change # of points Go to Trans- CeCe’s Mud Puddle to 6 or 7. Drag handles to make form>Transformation (Ctrl-1). peaks and valleys Select top second icon. Drag rounded. various handles in or out to distort image.

Arrow Draw arrow and customize as Go to Transform> Transforma- Rounded Arrow desired. Go to Transform> tion (Ctrl-1). Select top last icon. Transformation (Ctrl-1). Drag handles to stretch arrow around circle.

Fan Draw a fan. Drag end to meet Arrange ring over any image and Charm other end, forming then apply Basic Weld (W). a ring:

Decorative Select any image. Click on the Adjust settings to create a frame. Photo Mat Border Decorative Border icon and Overlap the image and other select which border images or copies as desired. style you wish Select all and apply Basic Weld to use. (W).

Monument Draw a monument. Drag top to Select and go to Array (A). Rolling Hills for dome. Click on Arch option. Make 3 more horizontally. Then double click each one and change dome height. Wide some. Overlap and apply Basic Weld (W). 58 Shape Settings/Method Additional Instructions Screenshot

Rectangle Drag upper right corner in- Center three rectangles and (white cake) wards Weld (W)

Polygon Drag semicircle handle out- Add circle to middle to flower (flowers) wards. Use 4, 5, and 6 sides center, select both and Ar- for variety range>Make Path (M).

Star Draw star, select, and go to Ctrl-E to bring up nodes. Drag Arrange>Convert one node outwards. To>Polygon (Y).

Arrow Drag handles to make head Transform>Round Corner to (album cover) larger. round points on head. Flip (F) and Weld (W) to make album cover.

Square Draw square. Layout>Array Weld (W) together to form a (red flower) (A), On Arc with Rotation: 0 to flower with square petals 360, Total of 5

Oval Draw oval and a small circle. Check Number, enter ~25 and (scalloped Select both and Trans- click on OK. Redo to get good oval) form>Fit Object to Path (F). overlap. Weld (W) circles to form scallop. Rectangle Rectangle: Drag upper corner Add triangle to overlap rectan- Polygon inwards. Polygon: change to 3 gle bottom and Weld (W). (word balloon) sides to make triangle.

Circle Select and Layout>Array (A). Enter a spacing so that circles (circle bor- Select Vertical. Click on left overlap. Increase Total. Weld ders) lower icon. (W). Use Ginsu to split.

Oval Select and Layout>Array (A), Weld (W). Transform> Out- (orange On Arc with Rotation: 0 to line (O) to make either outline flower) 360. Total of 6. or inline. Then Ar- range>Make Path (M) Rectangle Drag upper corner inwards. Bring lower left side inwards. (blue flower) Arrange>Convert Repeat. Layout>Array (A) to To>Polyarc (Y). Ctrl-E to edit form 5 petals. Weld (W). nodes. Rectangle Draw thin small rectangle. Increase spacing and total to (ribbon slits) Layout>Array and select Ver- create vertical column of slits. tical.

Fan Drag lower middle handle to Select and Layout>Array (A), (borders) thicken fan. Drag either end to Horizontal. Select spacing to make horizontal. overlap and increase Total. Weld (W).

59 Shape Settings/Method Additional Instructions Screenshot

Monument Drag top handle and check Transform>Outline (O) to (castle front) Arch box. create a frame.

Polygon Set number of sides to 3 to (red top) create a triangle.

Polygon Set number of sides to 5. Extend and use Ginsu to re- (green center) move top.

Rectangle Draw 4 rectangle and arrange Weld (W). Add other rectan- (turrets) to form turret. gles to create remaining castle. Polygon Create 5 sided polygon. Use Drag top to form rounded (blue back) Ginsu to cut off top half. Con- dome. Add 5 nodes along top. vert to Polyarc (Y). Drag path between each node. Polygon Create 5 sided polygon. Use Draw small circle and use (pink front) Ginsu to cut off top half. Layout>Array (A) (horizontal) Convert to Polyarc (Y). to arrange circles along top. Weld (W). Add large circle to middle. Polygon Create 3 sides and drag han- Use Layout>Array (A) (red border) dle to round the corners. (horizontal) to arrange rectangles to overlap and Weld (W).

Star Draw 6 pointed star. Grab one (green ???) of the semi-circle handles and drag.

Circle Draw large circle for album Arrange triangle border over (album cover) cover. Add small circle for ring. top of circle, copy. Select both Select both and Make Path and use AND weld to trim bor- (M). der. Polygon Create triangle and drag han- Total = 12, adjust spacing to (sun) dle to round the tips. Select, overlap. Close and Basic Layout>Array (A), On Arc Weld. Break Path (K) and with Rotation. delete unwanted interior paths.

Square Draw square and a small.circle Place square behind circles. (stamp) (different color). Select both, Basic Weld (W). Break path Transform>Fit Object to (K) and delete outer path. Path (F). Number = 20 Circle Draw circle and place at left of Layout>Array (A), horizontal, (borders) a long rectangle. select spacing to overlap and increase Total. Weld (W) to rectangle. Arrow Draw arrow and drag handles Ctrl-E to bring up nodes. De- to get desired look. Select, go lete one of the tail nodes. to Arrange>Convert Curve sides of arrow as de- To>Polyarc (Y). sired.

60 Post Retreat Reminders!

1. CUT CUT CUT! Make beautiful things! Don’t be afraid of making mistakes!

2. Record your cutting successes!

3. Don’t get frustrated, get help! Email me with your questions. Join the I Love KNK Yahoo group to also post questions, learn from others, and share your knowledge and experiences.

4. Remember that you have a free one hour phone class to cover any KNK top- ics you like.

5. Watch the videos! Practice one new thing at a time.

61 After Retreat Quiz—Match the Hot Key with the Function

___ 1. Ctrl-F A. Hides/Turns off all images of that color

___ 2. Alt-7 B. Zoom to Sign Blank

___ 3. Ctrl-A C. Equal Vertical Spacing

___ 4. M D. Group the selected objects

___ 5. Ctrl-B E. Zoom to Selected Object

___ 6. Ctrl-E F. Selects all objects

___ 7. F7 G. Selects all images of that color

___ 8. K H. Brings selected image to the top

___ 9. Ctrl-G I. Duplicates the object and leaves original behind

___ 10. V J. Aligns images to the bottom of last selected image ___ 11. Shift-drag middle right bounding box K. Edit image

___ 12. Alt-D L. Resizes keeping object centered with aspect ratio ___ 13. F8 M. Centers all selected objects

___14. G N. Delete All Guides

___ 15. Alt-drag object or Ctrl-D O. Equal Horizontal Spacing

___ 16. H P. Make Path

___ 17. B Q. Sends selected image to the back

___ 18. R R. Aligns images to the right side of last selected image ___ 19. Ctrl-click on a color on Job Palette S. Redraws the screen

___ 20. Shift-click on a color on Job Palette T. Break Path

62 After Retreat Quiz - Cutting

1. Which of the following factors can affect your cutting: 3. Which of the following factors can affect your cut- (a) Pressure ting: (b) Blade angle (a) Blade length (exposure) (c) Humidity (b) Height of blade tip above material (d) All of the above (c) Thickness of the material (d) All of the above

2. Which of the following factors can affect your cutting: 4. Which of the following factors can affect your cut- (a) Speed of the cutting ting: (b) Stickiness of the mat (a) Texture of the cardstock (c) Dye used in the material being cut (b) Overcut setting in KNK Studio (d) All of the above (c) Dullness of the blade (d) All of the above

5. If your images are not closing, what setting do you need to change and should it go up or down?

6. If your rectangles are rounded at the corners, what setting do you need to change and should it go up or down?

7. If you see little divots in your inside corners, what setting do you need to change and should it go up or down?

8. If you are cutting a small intricate title, how should you adjust your overcut and trailing blade: (a) Increase overcut, increase trailing blade (c) Decrease overcut, increase trailing blade (b) Increase overcut, decrease trailing blade (d) Decrease overcut, decrease trailing blade

9. List at least 8 things you should always check before pressing cut!

10. What is the difference between Sign Blank and Page mode under Cut>Plotting Defaults?

11. What happens when you uncheck Axis Swap under Cut>Plotting Defaults?

12. Why is it sometimes important to do a Make Path on parts of your images before cutting?

13. When would you set Overcut to 0?

14. What does the Selected setting require when checked? A. It requires the user to select the correct Sign Blank size for the cut. B. It requires the user to select which images will be sent to the Cut Preview window. C. It requires the user to choose the correct cut order for the images being cut. 15. Name three ways you can control the color of the images you cut? 16. What does Nesting do? A. Changes the direction of the cutting from portrait to landscape B. Moves the images into the least amount of space to save on material. C. Splits large images into sections for cutting. 17. What does the Weed do? A. Puts a rectangle around the image(s) you are cutting. B. Removes images you do not want to cut. C. Splits large images into sections for cutting. 18. How do you get the preview window to show the order in which images will cut (actually number them?)

63 After Retreat Quiz 3

Match the Function with it’s Purpose

Function Purpose

1. Modified Shapes A To distort images

2. Outline/Inline B To make a mirror image, with or without retaining original

3. Transformations C To make duplicates of an image and arrange them in a pattern

4. Weld D To create a contour that follows along the outside or inside shape of a vector image.

5. Array E To create multiple intervening shapes that represent the transition from one vector image to another

6.Flip F To remove, retain, or die cut the overlap between two or more images

7. Ginsu Knife Tool G To duplicate one smaller image along the path of a larger image

8. Fit Object to Path H To bisect an image along a path of your choice

9. Round Corner I To customize basic shapes into a range of different possibilities

10. Filet Round Corner J A set of tools that include Segment Edit, Delete Between Nodes, Di- vide, and more

11. Polyarc Editing K To round selected points or valleys of an image.

12. Stroke and Fill Tool L To thicken lines for the purpose of display/printing or so that they can be welded to create a thickened shape.

13. Metamorphosis M To round the all points or all valleys of an image.

64 100 Uses for a Klic-N-Kut!

Cut shapes and letters from any of the following materials: 1 Paper 8 Balsa Wood 15 Clear Rubber for Stamps 22 Tin Coated Pewter 2 Cardstock 9 Birch Wood 16 Embossing Rubber 23 Grungeboard 3 Chipboard 10 Fabric 17 Cling Vinyl 24 Double-Sided Adhesive Sheets 4 Vellum 11 Felt 18 Vinyl for Decals or Walls 25 Thin Magnetic Sheets 5 Poster Board 12 Magic Mesh 19 Dura-Lar (mirror paper) 26 Tissue Paper from Gift Bags 6 Craft Foam 13 Shrinky Dink Plastic 20 T-Shirt Transfer Vinyl 27 Mylar for Stencils 7 Styrene 14 Flexible Acrylic 21 Aluminum and Copper Foil 28 Transparency Plastic

Use the Klic-N-Kut for the following applications:

29 Rhinestone Patterns 41 Engraving on Acrylic Albums 53 Blocking Templates for Layouts and Cards 30 Shaped Mini-Albums 42 Shaped Greeting Cards 54 Dashed Lines Inside the Edges of Die Cuts 31 Pop-up Cards 43 Silhouettes from Photos 55 Dry Embossing on Paper, Vellum, Cardstock 32 Scalloped Shapes 44 Paper Piecing Die Cuts 56 Perfect-Sized Mats for Photos and Journaling 33 Tags 45 Borders for Scrapbook Pages 57 Inserts for Nameplates and Other Frames 34 Print and Cut Clipart 46 Titles Written with Gel Pens 58 Punching Holes for Dutch Paper Crafting 35 Simulated Lace 47 Die Cuts from Dingbat Fonts 59 Scan,Trace, and Cut Rubber Stamp Designs 36 Window Cards 48 Models of Planes, Cars, etc. 60 Titles for Scrapbook Pages with Outline Mats 37 Word Books 49 Openings for Iris Folding Cards 61 3D Shadowing on Shapes and Titles 38 Pop-up Album Pages 50 Overlays for Scrapbook Pages 62 Punching Holes for Paper Embroidery 39 Railroad Modeling 51 Sewing/Quilting Templates 63 Embellishments for Mini-Albums 40 Models of Buildings 52 Shaker Boxes in Any Shape 64 Faux Decorative-Edged Scissors

The Klic-N-Kut provides many gift-giving and entertainment applications: 65 Cupcake Wrappers 73 Custom Shaped Confetti 81 Cutting Vinyl for Etching 66 Fold-up Boxes 74 Centerpieces for Tables 82 Custom Party & Holiday Decorations 67 Fold-up Gift Bags 75 Personalized Name Tags 83 Invitations for Weddings, Birthdays 68 Frames for Photos 76 Customized Labels for Jars 84 Vinyl for Decorating Dishes & Cups 69 Gift Tags 77 Custom-Sized Envelopes 85 Stencils for the Tops of Baked Goods 70 Bookmarks 78 Items for Shadowboxes 86 Linked Shapes to Make a Banner 71 Party Favor Boxes 79 Fold-up Money Cards 87 Placecards for Dinner Parties 72 Party Hats 80 Cake Decorating 88 Altered Paint Can Templates

And finally, some great ideas for kids and teenagers: 89 Engraving on Metal Trophy Tags 95 Jigsaw Puzzles from Photos 90 Monograms or Other Personalization 96 Tangrams 91 Stencils for Painting 97 T-Shirt Transfer Vinyl for Decorating Clothes 92 Custom Stickers 98 Vinyl for Suntan Tattoos 93 Cut Outs for School Projects 99 Vinyl for Decorating Flip-Flops, Sun Visors, etc 94 Paper Dolls and Clothes 100 Door hangers

Page 62 Quiz H1 K6 L11 O16

M2 E7 S12 J17 F3 T8 B13 R18

P4 D9 N14 A19 Q5 C10 I15 G20

Page 63 Quiz

1. d 2 d 3 d 4 d 5 Increase Overcut 6. Increase Trailing Blade 7. Decrease Trailing Blade 8. d

9. pressure, speed, overcut, trailing blade, is origin set, are you in page or sign blank mode, are pinch wheels down, are pinch wheels over the grit shaft, is correct blade exposure set for that material, is blade tip slightly above the material, is the material pressed down to the mat, do you need to do a test cut?

10. Sign Blank mode cuts the image where it is located in the Sign Blank; Page mode moves the images to the origin for cutting.

11. Images that appear left to right on the screen will cut front to back (landscape style)

12. So that the interior parts of the images will cut before the outside paths are cut.

13. Overcut can be set to 0 when doing a multi-cut, drawing with a pen, or when engraving/embossing.

14. B

15. 1) By selecting the color in the main window before sending to the preview window. 2) Sort and Cut All Col- ors option 3) Filter by Color option.

16. B

17. A

8. 18. Click on the Display Sort Options icon and check the box next to Show Sort Numbers.

Page 64 Quiz I1 B6 J11

D2 H7 L12 A3 G8 E13 F4 M9 C5 K10