Gerber OMEGA CP, OMEGA CS, OMEGA LS Reference Manual

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Printed in USA

GSP, EDGE, and GRAPHIX ADVANTAGE are registered trademarks, and OMEGA, GERBER MAXX, GERBER EDGE FX, EDGE Match, GerberColor, GerberColor Spectratone, GERBER SOLARA, GERBER P2C, ImageRIP, Vantage Scan, SUPER CMYK, Gerber ColorID, MacImprint, Matched Technology System, and ART Path are trademarks of Gerber Scientific Products. Adobe Illustrator and Encapsulated PostScript are registered trademarks of Adobe Systems, Inc. Artifex, the Artifex logo, Ghostscript, and the Ghostscript logo are registered trademarks of Artifex Software, Inc. CorelDRAW is a registered trademark of Corel Systems Corporation. 3M and Scotchcal are registered trademarks of 3M. HewlettPackard is a registered trademark and HPGL is a trademark of Hewlett-Packard Company. MonacoEZcolor and MonacoSENSOR are trademarks of X-Rite, Inc. TrueType is registered trademark of Apple Computer, Inc. registered in the USA and other countries. Microsoft and Windows, are registered trademarks of Microsoft Corporation in the United States and other countries.

PANTONE® Colors displayed may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. © Pantone, Inc., 2005.

Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Gerber Scientific Products. to distribute for use only in combination with Gerber OMEGA 2.5. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Gerber OMEGA 2.5.

Variables

There are many variables in process reproduction of colors generated by the GERBER EDGE and GERBER MAXX, any one of which may affect the quality of the Gerber simulations of PANTONE Colors, including:

• Type of media/paper used

• Type of ink film used

• Effective final resolution

• Dot structures/halftones

For optimal results we recommend that the following materials be used:

1. 3M Scotchcal 220-10 or 225-10 Gloss White Vinyl

2. GerberColor SUPER CMYK Foils

THE PANTONE-IDENTIFIED COLOR DISPLAYED ON THE PRINT AND/OR COPY GENERATED BY THIS SOFTWARE HAVE NOT BEEN EVALUATED NOR ARE THEY APPROVED BY PANTONE, INC. TO BE IN COMPLIANCE WITH PANTONE, INC.'S COLOR VALUES OR STANDARDS. Consult current PANTONE Color publications for accurate colors.

Book One: Welcome ................................................................................................................................1

Chapter 1: Introducing the OMEGA Programs...................................................................................3

Running in Demo Mode .......................................................................................................................................4

Chapter 2: Where to Get Help ...............................................................................................................7

About the manuals ................................................................................................................................................7

Warnings, cautions, notes, and tips.....................................................................................................................7

Keystroke and menu choice formats...................................................................................................................8

Accelerator keys.....................................................................................................................................................8

Context menus .......................................................................................................................................................8

Mouse terminology................................................................................................................................................9

Getting help right in OMEGA.............................................................................................................................. 9

Other Information on the OMEGA CD.............................................................................................................11

Specific technical support...................................................................................................................................12

Contacting Gerber Technical Support...............................................................................................................12

Gerber web site ....................................................................................................................................................12

Chapter 3: Opening and Closing Files................................................................................................13

Creating a new file...............................................................................................................................................13

Opening an existing file ......................................................................................................................................13

Adding a file to an open PLT file (Importing).................................................................................................15

Adding multiple files to an open PLT file (importing)...................................................................................17

Placing multiple copies of a file in an open PLT file.......................................................................................18

Opening Gerber Clip Art (GCA) files ...............................................................................................................19

Closing files ..........................................................................................................................................................21

Chapter 4: Saving Files and Viewing Properties..............................................................................23

Saving PLT files....................................................................................................................................................23

AutoBackup feature.............................................................................................................................................24

Saving a file for the MAXX 2..............................................................................................................................24

Saving a copy of a PLT file .................................................................................................................................24

Saving plot files in an older OMEGA format...................................................................................................24

Saving files in formats other than PLT..............................................................................................................25

Viewing Document Properties...........................................................................................................................26

Tracking elapsed design time.............................................................................................................................27

Book Two: Understanding Composer Tools .....................................................................................29

Chapter 5: Setting Up Composer's Work Surface............................................................................31

Composer work surface......................................................................................................................................31

Window controls..................................................................................................................................................33

Sizing the work surface to the design ...............................................................................................................33

Using the Natural Layout option.......................................................................................................................35

Viewing the design..............................................................................................................................................36

Zooming in or out on the design .......................................................................................................................38

Setting Preferences using Tools > Options.......................................................................................................39

Chapter 6: Using Layers.........................................................................................................................55

Rules for designing with layers .........................................................................................................................56

Using the Layer Manager ...................................................................................................................................58

Using the Layer Menu.........................................................................................................................................66

Print Order and Layers Overview.....................................................................................................................69

Understanding Print Order in Composer ........................................................................................................70

Outputting by layers to GSPPlot .......................................................................................................................72

Importing layers...................................................................................................................................................72

Chapter 7: Selecting the Elements of the Design ...........................................................................77

Selecting elements of the design........................................................................................................................77

Book Three: Creating the Basic Design Text and Shapes..............................................................83

Chapter 8: All About Text......................................................................................................................85

Entering text .........................................................................................................................................................85

Editing text..........................................................................................................................................................103

Using Change Case to alter the case of text....................................................................................................104

Spacing characters, lines and columns............................................................................................................104

Resetting the line spacing .................................................................................................................................107

Setting line length and column height............................................................................................................107

Arranging the text in the design......................................................................................................................109

Converting text to shapes .................................................................................................................................110

Working with Spell Check................................................................................................................................111

Chapter 9: Creating Shapes............................................................................................................... 119

Techniques for drawing on the work surface................................................................................................119

Rectangles and squares.....................................................................................................................................119

Circles and ellipses ............................................................................................................................................120

Decorative borders.............................................................................................................................................120

Creating a surround shape ...............................................................................................................................122

Multi-sided shapes (stars and polygons)........................................................................................................124

Adding GerberCUT Targets.............................................................................................................................127

Freehand drawing..............................................................................................................................................129

Chapter 10: Sizing, Slanting, Flipping, and Rotating ................................................................... 133

Sizing ...................................................................................................................................................................133

Slanting................................................................................................................................................................135

Flipping or mirroring ........................................................................................................................................136

Rotating...............................................................................................................................................................137

Chapter 11: Grouping, Moving, Justifying, and Spacing............................................................. 141

Grouping and ungrouping...............................................................................................................................141

Locking or Unlocking Objects.......................................................................................................................... 142

Moving objects on the work surface................................................................................................................143

Justifying.............................................................................................................................................................144

Adding and removing guidelines ................................................................................................................... 145

Spacing ................................................................................................................................................................146

Chapter 12: Measuring and Dimensioning....................................................................................149

Measuring distance and angles........................................................................................................................149

Measuring the distance around objects ..........................................................................................................152

Determining the area of objects .......................................................................................................................152

Dimensioning Summary...................................................................................................................................153

Understanding Dimensioning..........................................................................................................................156

Dimensioning .....................................................................................................................................................157

The Dimensions Toolbar...................................................................................................................................158

Dimensioning Properties Toolbar ...................................................................................................................162

Book Four: Adding Color to the Design.......................................................................................... 167

Chapter 13: Current Style Affects the Color in the Design ........................................................169

Defining the current style .................................................................................................................................169

Setting the current style ....................................................................................................................................170

Setting the current style to none ......................................................................................................................170

Changing the current style using the Extract Style command ....................................................................170

Making a new current style without selecting an object ..............................................................................171

Assigning the current style...............................................................................................................................172

Creating filled text or objects without cutlines..............................................................................................172

Chapter 14: Making, Using, and Editing Palettes.........................................................................175

Displaying palettes on the Composer work surface.....................................................................................175

Making a job palette using Gerber vinyl ........................................................................................................177

Using Palette Manager......................................................................................................................................179

Using Gerber palettes in Adobe Illustrator and CorelDRAW..................................................................... 182

Chapter 15: Understanding Vinyl Colors ........................................................................................ 187

Displaying a vinyl palette................................................................................................................................. 187

Assigning vinyl colors to objects .....................................................................................................................187

Selecting objects of the same vinyl color ........................................................................................................189

Chapter 16: Changing Vinyl Colors to Spot Foil Colors............................................................... 191

Posterizing methods..........................................................................................................................................191

Understanding the Posterize Selected Shapes dialog box............................................................................192

Posterizing a job.................................................................................................................................................195

Troubleshooting.................................................................................................................................................196

Chapter 17: Filling Objects with Colors for Printing.................................................................... 197

Where does the color come from? ...................................................................................................................197

Assigning attributes for printing.....................................................................................................................197

Filling with a clear fill........................................................................................................................................199

Filling with a spot foil .......................................................................................................................................199

Filling with a process foil..................................................................................................................................202

Filling with a gradient fill.................................................................................................................................204

Filling with Spectratone colors.........................................................................................................................207

Editing fill attributes..........................................................................................................................................209

Naming custom process colors ........................................................................................................................211

Changing from a spot fill to a process fill.......................................................................................................211

Automatically convert Process fills to Spot fills ............................................................................................212

Chapter 18: Choosing and Assigning Halftones........................................................................... 213

What is a halftone?.............................................................................................................................................213

Choosing the best halftone for the fill.............................................................................................................213

Non-Optimized Halftones Detected ...............................................................................................................216

Printing with Non-optimized Halftones when Auto-Substitution is On...................................................217

Assigning a halftone..........................................................................................................................................217

Editing halftones................................................................................................................................................218

Substituting halftones........................................................................................................................................218

Chapter 19: Choosing a Fill Color that Matches Printer Output............................................... 221

Printing EDGE Match Color Matching System charts..................................................................................221

Choosing and assigning an EDGE Match color.............................................................................................222

Chapter 20: Making and Using GerberColor Spectratone Colors.............................................225

Making a Spectratone chart of all possible colors in inventory................................................................... 225

Making a Spectratone chart of some colors in inventory.............................................................................226

Printing a chart of Spectratone tints................................................................................................................228

Filling objects with Spectratone colors............................................................................................................229

Chapter 21: Assigning PANTONE Colors ........................................................................................231

Using ColorID to choose software simulations of solid PANTONE Colors..............................................232

Chapter 22: Strokes ⎯ Adding Print Thickness to the Outline of Objects ............................ 233

What is a stroke? ................................................................................................................................................233

Adding strokes to an object..............................................................................................................................233

Editing stroke attributes....................................................................................................................................236

Global stroke width editing..............................................................................................................................237

Converting strokes to shapes with Expand Strokes......................................................................................238

Book Five: Making the Design Print and Cut Correctly............................................................... 241

Chapter 23: Before Printing or Cutting, Check the Design ........................................................ 243

Using the Select and View menus to check a job...........................................................................................243

Checking and selecting vinyl colors................................................................................................................244

Checking and selecting fills and strokes by color .........................................................................................244

Checking and selecting fills and strokes by color type.................................................................................245

Checking and selecting fills and strokes by halftone type...........................................................................245

Checking and selecting which objects will cut, print, or both.....................................................................246

Checking and selecting images and image templates ..................................................................................247

Checking and selecting overlaps, overprints, or primer..............................................................................247

Checking and selecting Small Text by color type..........................................................................................247

Checking and selecting open shapes...............................................................................................................247

Checking and selecting Locked Objects..........................................................................................................247

Checking and selecting Clipping Paths..........................................................................................................248

Checking and selecting dimensions................................................................................................................248

Selecting stacked objects on the work surface ...............................................................................................248

Chapter 24: Five Steps to Successful Output................................................................................ 249

Overview: 5 steps to successful thermal printer output...............................................................................249

1. Check and assign the vinyl color.................................................................................................................249

2. Check and assign fills and strokes...............................................................................................................250

3. Check and assign or remove object cut lines..............................................................................................250

4. Check and rearrange objects in the stacking order ...................................................................................250

5. Combining and filling groups for printing ................................................................................................251

Chapter 25: Solving Printing and Registration Problems...........................................................253

Check the job ......................................................................................................................................................253

Poor print-to-cut registration ...........................................................................................................................253

Poor print-to-print registration........................................................................................................................254

Changing the vinyl and foil print order .........................................................................................................262

Printing a light color over a darker color........................................................................................................264

Changing the darkness of prints......................................................................................................................264

Correcting colors for images ............................................................................................................................265

Book Six: Color Management and Importing/Exporting Files ..................................................267

Chapter 26: Practical Hands-On Color Management .................................................................. 269

Step 1: Setting up Color Management ............................................................................................................269

Step 2: Setting up Image Thumbnail...............................................................................................................271

Step 3: Assigning the vinyl family...................................................................................................................272

Chapter 27: Importing Files into Composer .................................................................................. 273

Understanding the Import dialog box ............................................................................................................273

Choosing the best import filter ........................................................................................................................276

Understanding graphic file formats................................................................................................................277

The role of Color Management when importing files ..................................................................................279

Importing common file types...........................................................................................................................280

Importing Raster file filters - TIF, BMP, JPG, GIF .........................................................................................280

Importing Adobe format files (AI 7.0 or higher, PDF, EPS, or PS) .............................................................282

Importing AI 1.1 thru 8.0 and CMX 5.0/6.0 files for vinyl printing ...........................................................289

Importing AI 1.1 thru 8.0 and CMX 5.0/6.0 files for vinyl cutting .............................................................290

Importing AI 8.0 or earlier, CMX (5.0/6.0), or EPS files...............................................................................292

Defining a Cut Contour in other software......................................................................................................299

Importing CorelDRAW clipart ........................................................................................................................300

Importing CorelDRAW Drawing Format (CDR) files..................................................................................301

Using the Clipboard to import data into Composer.....................................................................................301

Importing other file types.................................................................................................................................302

Importing Gerber Clip Art (GCA) file ............................................................................................................302

Importing DXF files using the (GSP) AutoCAD Drawing Interchange Filter ...........................................303

Importing AutoCAD Drawing Format (DWG) files.....................................................................................304

Importing Adobe Acrobat Portable Document Format (PDF) ....................................................................304

Importing Microsoft Windows Metafile (WMF) ...........................................................................................305

Chapter 28: Exporting Files from Composer................................................................................ 307

Exporting all or portions of a file.....................................................................................................................307

Exporting to a Hot Folder.................................................................................................................................310

Exporting common file types ...........................................................................................................................311

Exporting to BMP, GIF, JPG, or TIF file formats ...........................................................................................311

Exporting to Adobe Illustrator – AI or EPS format using the GSP filter....................................................312

Using the Clipboard to Export Data from Composer................................................................................... 317

Exporting to an Encapsulated PostScript File (EPS) or Adobe Illustrator File (AI)..................................317

Exporting to an AutoCAD Drawing Web Format (DWF)............................................................................319

Exporting to a DXF (GSP) AutoCAD Drawing Interchange File................................................................320

Exporting to AutoCAD Drawing Interchange File (DXF)............................................................................321

Exporting to a Gerber Artwork Definition File (GAD).................................................................................322

Exporting to Hewlett-Packard Graphics Language (HGL)..........................................................................322

Exporting to IGES Drawing File Format (IGES)............................................................................................323

Exporting to a Z-soft PC Paintbrush Bitmap (PCX)......................................................................................324

Exporting to Adobe Acrobat File Format (PDF)............................................................................................326

Exporting to PhotoShop File Format (PSD)....................................................................................................328

Exporting to Microsoft Windows Metafile (WMF).......................................................................................329

Exporting to WordPerfect Graphic File Format (WPG) ...............................................................................331

Chapter 29: Using File Converter .................................................................................................... 333

Choosing File Converter options.....................................................................................................................333

Importing multiple files (batch conversion)...................................................................................................334

Exporting multiple files (batch conversion)...................................................................................................334

File conversion troubleshooting ......................................................................................................................335

Chapter 30: Remapping Colors for Imported CMX Files ............................................................337

Understanding color models............................................................................................................................337

Book Seven: Adding Artwork and Other Files to the Design ....................................................343

Chapter 31: Working with Images ...................................................................................................345

Adding images to the design ...........................................................................................................................345

Saving an embedded image .............................................................................................................................350

Changing from a linked to an embedded image...........................................................................................350

Importing paths from an image.......................................................................................................................351

Viewing images in the design..........................................................................................................................352

Editing images in Composer............................................................................................................................355

Updating an image file in OMEGA................................................................................................................. 357

Filling images .....................................................................................................................................................358

Chapter 32: Converting Images to Cut Shapes ............................................................................. 361

Converting a color image to a cut shape ........................................................................................................361

Converting a black and white image to a cut shape .....................................................................................364

Chapter 33: Adding Cutlines to Artwork ........................................................................................ 367

Using Generate Decal Cut ................................................................................................................................367

Chapter 34: Using Clipping Paths .................................................................................................... 373

Understanding Clipping Paths ........................................................................................................................373

Chapter 35: Scanning Artwork.......................................................................................................... 379

Storing and outputting scanned images.........................................................................................................379

Methods of getting scanned data into Composer..........................................................................................383

Methods of vectorizing raster data..................................................................................................................385

Color Management and scanning....................................................................................................................386

Chapter 36: Digitizing Artwork ......................................................................................................... 387

Installing the tablet ............................................................................................................................................387

Understanding the digitizing process: an overview.....................................................................................388

Preparing artwork for digitizing .....................................................................................................................389

Using the digitizing puck .................................................................................................................................390

Using the tablet .................................................................................................................................................. 391

Digitizing the artwork....................................................................................................................................... 391

Digitizing: examples and tips...........................................................................................................................391

Digitizing shapes ...............................................................................................................................................393

Editing the digitized design .............................................................................................................................394

Digitizing exercises............................................................................................................................................395

Book Eight: Editing the Design and Shapes .................................................................................. 403

Chapter 37: Using the Edit Menu.....................................................................................................405

Using Undo and Redo....................................................................................................................................... 405

Copying parts or all of a design.......................................................................................................................405

Using Duplicate to copy and offset an object.................................................................................................407

Deleting parts of the design..............................................................................................................................407

Chapter 38: Detail Editing Segments and Points of Vector Objects........................................ 409

Selecting objects or parts of objects for editing..............................................................................................409

Copying and pasting segments........................................................................................................................411

Changing curves to lines and lines to curves.................................................................................................411

Aligning points...................................................................................................................................................412

Adding points to objects ...................................................................................................................................413

Deleting points from an object.........................................................................................................................415

Using the Move Tool (hook).............................................................................................................................416

Moving points ....................................................................................................................................................417

Moving segments............................................................................................................................................... 419

Bending line segments ......................................................................................................................................421

Changing the flex of curves..............................................................................................................................422

Closing open points with the Move tool ........................................................................................................422

Automatically joining open shapes.................................................................................................................423

Dividing an object into multiple objects.........................................................................................................424

Making the corners of an object rounded using the Round Corner tool....................................................425

Sharpening the corners of an object using the Sharp Corner Tool..............................................................426

Changing the corners of an object with Fillet Corner...................................................................................426

Smoothing objects with the Smooth Path tool ...............................................................................................428

Freehand Drawing.............................................................................................................................................429

Designate the first point of a shape.................................................................................................................429

Chapter 39: Reducing the Number of Points with the Thin Command .................................. 431

Removing points................................................................................................................................................431

Smoothing jagged edges ...................................................................................................................................432

Controlling the number of points thinned .....................................................................................................433

Minimizing the error between remaining points after thinning.................................................................435

Book Nine: Adding Flair to the Design ........................................................................................... 437

Chapter 40: Outlining Objects ..........................................................................................................439

Creating outlines................................................................................................................................................ 439

Hiding, encasing, and contouring objects ......................................................................................................441

Changing the spacing between multiple outlines.........................................................................................443

Adding and deleting outlines ..........................................................................................................................446

Editing outline settings for sharp corners ......................................................................................................447

Saving the outline for later use ........................................................................................................................447

Chapter 41: Adding Shadows ...........................................................................................................449

Creating a shade or drop shadow ...................................................................................................................450

Creating a cast shadow .....................................................................................................................................451

Choosing the shadow output options............................................................................................................. 451

Creating different types of jobs using Shadow..............................................................................................454

Editing or deleting Shadows............................................................................................................................457

Viewing the Design ........................................................................................................................................... 457

Exercises..............................................................................................................................................................457

Chapter 42: Distorting and Warping Objects ................................................................................ 463

Distorting an object............................................................................................................................................463

Warping an object..............................................................................................................................................464

Chapter 43: Fitting Text to a Path.................................................................................................... 469

Working with the Fit Text to Path dialog box................................................................................................469

Selecting, reverse selecting, and deselecting text ..........................................................................................470

Positioning text along the path ........................................................................................................................471

Changing the spacing of text............................................................................................................................473

Changing the height of text ..............................................................................................................................474

Reversing the path.............................................................................................................................................475

Hiding the path..................................................................................................................................................475

Changing the angle of the text .........................................................................................................................476

Slanting the text..................................................................................................................................................477

Fitting shapes to a path .....................................................................................................................................478

Using text as a path............................................................................................................................................478

Magnifying text using tools..............................................................................................................................479

Chapter 44: Creating Special Effects............................................................................................... 481

Using the Effects dialog box.............................................................................................................................481

Using Special ......................................................................................................................................................483

Using Stripes.......................................................................................................................................................485

Using Layers....................................................................................................................................................... 488

Using Overlap ....................................................................................................................................................492

Using Contour....................................................................................................................................................494

Using Effects Library......................................................................................................................................... 494

Book Ten: Repeating Text and Objects ..........................................................................................499

Chapter 45: Repeating Objects ⎯ Text or Shapes....................................................................... 501

Repeating in a line, matrix, or diagonal pattern............................................................................................501

Changing the spacing, size, and alignment for repeats................................................................................502

Chapter 46: Merging Text and Numbers ........................................................................................ 507

Repeating and merging text .............................................................................................................................507

Repeating text with AutoNumbers .................................................................................................................511

Merging text with AutoNumber......................................................................................................................514

Book Eleven: Managing, Converting, and Designing Fonts ....................................................... 515

Chapter 47: Managing Fonts............................................................................................................. 517

Exploring the Font Manager program............................................................................................................517

Viewing Gerber Fonts in Font Manager .........................................................................................................520

Renaming a Gerber font style...........................................................................................................................522

Chapter 48: Viewing and Printing Installed Fonts ....................................................................... 527

Opening Font View............................................................................................................................................527

Viewing the list of installed fonts....................................................................................................................527

Printing the installed fonts ...............................................................................................................................531

Locating and copying characters in Font View .............................................................................................535

Chapter 49: Converting TrueType Fonts to OMEGA-Compatible Fonts .................................. 539

Using Font Converter........................................................................................................................................539

Fine-tuning the font...........................................................................................................................................543

Tips for working with TrueType fonts ...........................................................................................................548

Backing up fonts.................................................................................................................................................549

Chapter 50: Designing and Building Your Own Fonts ................................................................551

Introduction to font designing.........................................................................................................................551

Inputting the artwork........................................................................................................................................552

Building the font ................................................................................................................................................572

Accessing the font..............................................................................................................................................579

Creating Fonts: Exercises..................................................................................................................................580

Book Twelve: Outputting the Job from Composer....................................................................... 591

Chapter 51: Sending the Job to a Plotter or Printer .................................................................... 593

Thermal printing and cutting the job..............................................................................................................593

Sending the job to an inkjet printer using Gerber ImageRIP.......................................................................595

Paper printing ....................................................................................................................................................595

Chapter 52: Sending the Job to a Person by E-Mail.................................................................... 599

Book Thirteen: Printing and Cutting the Job................................................................................. 601

Chapter 53: Opening and Closing GSPPlot.................................................................................... 603

Opening GSPPlot from Composer ..................................................................................................................603

Opening a GSPPlot from Windows.................................................................................................................606

Closing Windows...............................................................................................................................................606

Exiting GSPPlot..................................................................................................................................................606

Program Information.........................................................................................................................................607

Using the GSPPlot toolbar................................................................................................................................607

Viewing the GSPPlot toolbar............................................................................................................................607

Chapter 54: Setting Up the GSPPlot Window................................................................................ 609

Displaying the summary and status bars.......................................................................................................609

Displaying the rulers.........................................................................................................................................609

Modifying ruler properties...............................................................................................................................610

Managing windows........................................................................................................................................... 612

Sizing the work surface.....................................................................................................................................613

Zooming in on the job .......................................................................................................................................613

Viewing the attributes of a job .........................................................................................................................613

Using the GSPPlot Options dialog box...........................................................................................................615

Chapter 55: Managing Files in GSPPlot.......................................................................................... 617

File types created in GSPPlot ...........................................................................................................................617

Opening existing job files .................................................................................................................................618

Closing job files..................................................................................................................................................618

Understanding Layers and Print Order in GSPPlot......................................................................................619

Saving all preferences........................................................................................................................................622

Saving files for future use.................................................................................................................................622

Viewing a spool file...........................................................................................................................................626

Including special job instructions....................................................................................................................629

Chapter 56: Creating a Mirror Image and Reversing Print Order............................................631

Creating a mirror image....................................................................................................................................631

Printing a job on transparent material............................................................................................................631

Printing a job on heat transfer paper...............................................................................................................632

Chapter 57: Multiple Copies in GSPPlot .......................................................................................633

Creating multiples of a job without panels....................................................................................................633

Setting the distance between repeats ..............................................................................................................634

Creating multiples of a job with panels..........................................................................................................635

Viewing a job with repeats and copies ...........................................................................................................635

Chapter 58: Advanced Setup Options............................................................................................. 637

Changing the size of a job.................................................................................................................................637

Choosing specific layers, vinyls, or foils to be output ..................................................................................639

Altering Print Settings.......................................................................................................................................646

Changing the weed border...............................................................................................................................648

Substituting halftones........................................................................................................................................649

Automatically optimizing halftones for MAXX 2 .........................................................................................650

Printing with non-optimized halftones when Auto-Substitution is turned on........................................651

Optimizing the print registration of black......................................................................................................652

Chapter 59: Working with Oversized Jobs..................................................................................... 653

Creating panels ..................................................................................................................................................653

Modifying panel size......................................................................................................................................... 654

Viewing panel size.............................................................................................................................................655

Selecting panels to output.................................................................................................................................655

Flipping panels...................................................................................................................................................658

Outputting each panel as a separate job.........................................................................................................658

Viewing panels...................................................................................................................................................659

Producing a job without gaps between panels..............................................................................................659

Ensuring print to cut registration with paneled jobs....................................................................................660

Chapter 60: Conserving Vinyl and Foil........................................................................................... 661

Rotating the job 90

to conserve vinyl..............................................................................................................661

Saving vinyl by positioning the job when plotting.......................................................................................661

Changing the start and end position of a job.................................................................................................662

Saving vinyl by positioning the job when printing.......................................................................................664

Minimizing vinyl usage with Reduce Frame.................................................................................................665

Minimizing foil usage .......................................................................................................................................666

Displaying vinyl and foil information ............................................................................................................667

Displaying the foil settings...............................................................................................................................667

Chapter 61: Choosing the Plotter or Printer.................................................................................. 669

Installing a plotter or printer............................................................................................................................669

Choosing a plotter and printer.........................................................................................................................669

Choosing a print mode......................................................................................................................................671

Resolving an EDGE 2 or EDGE FX Print Mode conflict ...............................................................................672

Selecting the material size.................................................................................................................................672

Changing plotter settings..................................................................................................................................673

Chapter 62: Cutting, Plotting, and Pouncing a Job ..................................................................... 681

Determining if there is sufficient vinyl for a job............................................................................................681

Minimizing tool travel during plotting ..........................................................................................................682

Cutting a job with multiple vinyls...................................................................................................................682

Plotting existing spool files...............................................................................................................................683

Double-cutting a job ..........................................................................................................................................684

Sending the job to a plotter...............................................................................................................................684

Chapter 63: Printing a Job on a Vinyl Printer............................................................................... 687

Sending the job to a vinyl printer ....................................................................................................................687

Output Job Settings............................................................................................................................................687

Printing existing spool files ..............................................................................................................................688

Printing Process Colors.....................................................................................................................................689

Using the GerberColor Backing and Finish dialog box................................................................................689

Applying Multi-Spot Gradient Boost..............................................................................................................695

Printing a light color over a darker color........................................................................................................695

Viewing and changing the heat setting of a foil ............................................................................................696

Double-Hit White foil on the MAXX...............................................................................................................697

Viewing and printing dimensions................................................................................................................... 697

Chapter 64: Ensuring Print-to-Cut Registration........................................................................... 699

Calibrating the plotter to a printer ..................................................................................................................699

Configuring targets for accurate print-to-cut registration ...........................................................................703

Centering a job on the vinyl .............................................................................................................................710

Chapter 65: Gerber Queue Manager............................................................................................... 711

Installing output devices...................................................................................................................................712

Opening files for printing and cutting............................................................................................................712

Pausing and restarting a job.............................................................................................................................713

Displaying plotting information......................................................................................................................713

Removing jobs from Gerber Queue Manager................................................................................................714

Changing the job order .....................................................................................................................................715

Viewing plotter properties in GQMgr ............................................................................................................715

Viewing printer properties in GQMgr............................................................................................................ 716

Using GQMgr to manage the MAXX 2...........................................................................................................716

Book Fourteen: GSP Tray and Installing Hardware and Software ........................................... 719

Chapter 66: Using GSP Tray............................................................................................................... 721

Reviewing system information........................................................................................................................722

Viewing and printing Gerber installed fonts.................................................................................................724

Preparing to install devices ..............................................................................................................................725

Viewing Gerber installed devices.................................................................................................................... 726

Installing a vinyl printer, plotter, router, or inkjet printer........................................................................... 726

Using the Gerber Device Profile Manager......................................................................................................727

Viewing qualified material/foil combinations..............................................................................................732

Installing OMEGA Options..............................................................................................................................732

Book Fifteen: Networking.................................................................................................................. 733

Chapter 67: Setting Up the GSP Network ...................................................................................... 735

Checking security system requirements......................................................................................................... 735

Establishing the network ..................................................................................................................................736

Connecting and sharing output devices.........................................................................................................736

Chapter 68: Sending Jobs Over the Network ................................................................................ 741

Using GSPPlot ....................................................................................................................................................741

Using Gerber Queue Manager.........................................................................................................................741

Using a dedicated server...................................................................................................................................744

Chapter 69: Network Troubleshooting ........................................................................................... 745

Book Sixteen: Matching Colors with ColorID............................................................................... 747

Ways to set up ColorID.....................................................................................................................................747

Ways to use ColorID..........................................................................................................................................747

Chapter 70: Using ColorID ................................................................................................................. 749

Using ColorID alone.......................................................................................................................................... 749

Using ColorID with a colorimeter ...................................................................................................................750

Opening ColorID ...............................................................................................................................................750

Assigning the colorimeter COM port..............................................................................................................751

Choosing the Source Palette.............................................................................................................................752

Choosing the Source Color...............................................................................................................................753

Choosing the matching palette ........................................................................................................................753

Selecting the matching color ............................................................................................................................754

Finding the color name .....................................................................................................................................755

Using the matching color.................................................................................................................................. 755

Chapter 71: Using the Matching Color in Composer.................................................................. 757

Opening ColorID from Composer...................................................................................................................757

Manually entering the color name in Composer...........................................................................................759

Adjusting for material availability ..................................................................................................................760

Matching and creating colors........................................................................................................................... 760

Chapter 72: Additional ColorID Software Features ..................................................................... 763

Setting up an inventory.....................................................................................................................................763

Choosing the color match criteria....................................................................................................................765

Verifying foil color matches .............................................................................................................................766

Using GerberColor Spectratone II colors........................................................................................................ 768

Chapter 73: Introduction to Colorimeters...................................................................................... 773

Theory of operation...........................................................................................................................................773

Using the white standard..................................................................................................................................774

Calibrating the colorimeter to the white standard........................................................................................774

Illumination source and cleanliness................................................................................................................774

Measurement techniques..................................................................................................................................774

Chapter 74: CP320 Colorimeter Operations................................................................................. 777

CP320 features....................................................................................................................................................777

CP320 description ..............................................................................................................................................777

Connecting, charging, and turning on the CP320 .........................................................................................778

Calibrating the CP320........................................................................................................................................779

Using the CP320.................................................................................................................................................779

Book One: Welcome

Thank you for purchasing OMEGA™, Gerber’s powerful, yet easy-to-use design and production software for the signmaking and graphics industries.

This reference manual is divided into books and chapters, presenting information about the hundreds of tools, commands, and features incorporated in OMEGA. If you review the Table of Contents, you’ll see that the topics are short and task-oriented so that you can quickly find information about the solutions that OMEGA provides for your design and production tasks and problems.

There are three versions of OMEGA software, this manual is intended for use with all three as well as with separately purchased options. Review the OMEGA Getting Started Manual for details.

♦ OMEGA CP (Cut and Print) is the complete package for digital imaging and vinyl

cutting.

♦ OMEGA CS (Cut Solution) contains all the tools and features necessary for advanced

vinyl design and cutting.

♦ OMEGA LS (Layout System) provides design only. No output.

The first book introduces you to the OMEGA suite of programs and provides information on where and how to get help. The following books and chapters contain all the OMEGA programs and tools in a task-oriented presentation designed to solve any design and sign making problems you encounter.

This book is divided into the following chapters:

Chapter 1, Introducing the OMEGA Programs describes the OMEGA suite of programs and running in Demo Mode.

Chapter 2, Where to Get Help introduces you to this manual, the on-screen Help system, and provides Gerber contact information.

Chapter 3, Opening and Closing Files explains these basic tasks and includes information on adding PLT and GCA files to an open job.

Chapter 4, Saving Files details saving files in the PLT format, as well as other formats.

Chapter 1: Introducing the OMEGA Programs

Welcome to Gerber OMEGA. This powerful and easy to use signmaking and graphics software builds on the success of Gerber GRAPHIX ADVANTAGE® while incorporating many new solutions for your design and production tasks and problems. To become more compatible with standard Windows conventions, some tools work differently in OMEGA than in GRAPHIX ADVANTAGE. Refer to “Convention changes from GRAPHIX ADVANTAGE to OMEGA” for more information.

OMEGA is a 32-bit application that is fully integrated with other Gerber software, hardware, and consumable products through the Matched Technology System™. Teaming OMEGA with a plotter, scanner or digitizing tablet, and a thermal printer such as the GERBER EDGE FX® or GERBER MAXX 2™, and Gerber materials opens the door for you to enjoy unmatched productivity and quality jobs.

OMEGA is a suite of programs. To install OMEGA and connect your computer to other devices, refer to the Getting Started with OMEGA manual. After OMEGA is installed in Microsoft® Windows®, choose Start > Programs > GSP® OMEGA, then click an icon in the list to open one of the programs described in the following paragraphs.

Art Path32 (Option) creates offset tool paths that a Gerber router uses to output dimensional signs.

Composer is the design program used to create, edit, and fill text, shapes, designs, and images. Composer also has the ability to import and export individual files in many formats.

Use Font Designer to design and build your own fonts.

FastFacts opens a web link to the FastFacts area of www.gspinc.com (requires an Internet connection). Please note that a copy of all FastFacts that are current at time of software release also reside on the OMEGA CD and can be accessed by browsing the OMEGA CD.

While Composer allows you convert individual files, the File Converter program allows you to convert multiple files (batch conversion).

Font Manager allows you to view, add, and delete Gerber fonts using the OMEGA font CD. This program also allows for font styles to be viewed and changed.

The Font View program allows you to view the actual construction of every character in each font and to paste characters into the Text box in the Text dialog box.

Chapter 1:

Introducing the OMEGA Programs

Gerber ColorID™ is a separately purchased option and is a fast, efficient, and accurate way to match a source color to another color.

GQMgr (Gerber Queue Manager) is a holding area for plot files and provides controls for choosing the plotting and printing order.

The GSP Kern program allows you to kern specific pairs in Gerber fonts and save that kerning for future use.

GSPPlot is used to plot, cut, and print jobs. It also provides limited job arranging and sizing, and can install plotters and routers. (GSPTray is recommended for installation of hardware.)

Use GSP Setup to install software (options, libraries, and fonts) and tablets as well as to view system information.

GSPTray provides easy installation or deletion of printers, plotters and routers and access to Gerber installed fonts. Through GSPTray you can also display the system identification information.

ImageRIP™ is a separately-purchased software option used to convert Gerber Plot (PLT) and Gerber Artwork Definition (GAD) files - as well as many other file formats - to halftones so that you can print jobs on a large format inkjet printer.

The Vantage Scan II program is used to convert black and white images into vector objects that can be cut on a plotter or filled and printed.

PALman allows you to create and edit vinyl and foil palettes.

Sentinel Config is used to view and change the settings of your security key.

README displays the latest information about the current version of OMEGA. Review this

important information before using the software.

The Spectratone program is used to create a GerberColor Spectratone™ chart, which is a chart of the spot colors available when you overprint two foils using a vinyl printer such as the GERBER EDGE or the GERBER MAXX.

ThumbPrint allows you to output thumbnail representations of selected Gerber plot (PLT) files to a paper printer.

TT Font Converter converts Windows TrueType fonts into vector-based Gerber fonts that can be cut on a plotter or filled and printed to a printer.

SplView provides an accurate representation of an EDGE job's foil as it will be applied to the vinyl. Each foil and cut information are shown as separations.

Running in Demo Mode

OMEGA offers a demonstration mode that allows the software to be loaded and used without a security block. Demo mode allows virtually all Composer functionality, but jobs cannot be preserved in any way. For example, jobs cannot be saved, exported or cut/copied using the clipboard. The GSPPlot program will also run in Demo mode, but jobs cannot be output to a plotter, Gerber printer, or saved to a spool file.

Demo mode can be used to learn OMEGA on a system that is not dedicated to shop design and production. Demo mode does allow for paper printing from Composer. By allowing for paper

printing, an OMEGA shop can generate front office paper prints and customer proofs on a system that is not dedicated to designing or outputting signs.

Before running in demo mode, OMEGA will always alert the user that the security key has been removed or cannot be detected. A prompt is provided on screen that allows the user to re-check for the security key, or run in demo mode.

Demo mode will start under the following conditions:

♦ If OMEGA is loaded and run without a security block. The demo mode message will

appear as soon as GSPTray begins upon system startup. Again, jobs cannot be preserved in any way with the exception of paper printing.

♦ If the security block is removed from an OMEGA system that has been loaded and

running with a security block. The demo mode message will appear as soon as the security key is removed. If the user wishes NOT to go into demo mode, they should be sure the security key is properly installed, then click NO when prompted by the demo mode message. OMEGA will search for the security key and resume normal operation if the key is successfully found.

Returning to normal operation from Demo mode

If OMEGA is running in demo mode and the user wishes to return to normal operations with an OMEGA security key, the user must close all OMEGA programs including GSPTray, install a valid OMEGA security key, and then restart any OMEGA programs.

If a user attempts to load a newer version of OMEGA with an older security key, the install program will prompt them for a password to upgrade. If the user chooses to load the newer version of OMEGA over an older installation by removing the security key, then OMEGA will load and run in Demo mode. An error message will occur if the older security key is reinstalled on the newer OMEGA Demo mode system. OMEGA will not run with an older security key.

Chapter 2: Where to Get Help

OMEGA software is user friendly while providing the most powerful package in the industry. However, you may have a question about the purpose of a command or the use of a tool. Help is available for you when you need it. These resources include:

About the manuals

Three manuals support OMEGA − Getting Started with OMEGA, the OMEGA Learning Guide, and the OMEGA Reference Manual.

Getting Started with OMEGA provides information on setting up and connecting your computer, security block, and peripherals. Instructions for loading software, some basic troubleshooting advice, and an introduction to new features in OMEGA are also included.

The OMEGA Learning Guide provides a hands-on tutorial that teaches you about many of the tools, commands, and features used to create and print effective and eye-catching designs.

This reference manual is written from a task-oriented perspective. Rather than discussing tools or features as concepts, the manual presents information as solutions to design and production problems. It is organized as a series of books about specific topics, such as “Creating the Basic Design”, “Adding Color to the Design”, and “Editing the Design and Shapes.” The books are further divided into chapters that address specific situations. For example, in the book “Editing the Design and Shapes”, the chapters are “Editing the Design”, “Editing Points or Parts of Shapes”, and “Reducing the Number of Points to Improve Cutting.” Refer to the Table of Contents and Index to quickly locate information when designing and producing jobs.

Warnings, cautions, notes, and tips

The following conventions are used in this manual and in Help:

WARNING: A warning statement contains information which, if not followed, could result in personal injury.

CAUTION: A caution statement contains information which, if not followed, could result in damage to the equipment.

Note: A note contains information which could affect the successful completion of a task.

Tip: A tip contains a suggestion to make your task easier, offer an alternate method, or to remind you of something that may appear elsewhere in the manual.

Chapter 2:

Where to Get Help

Keystroke and menu choice formats

The keystroke format shows how keys are used in combinations and sequences.

♦ A plus sign (+) between two key names means to press and hold the first key while

pressing the second key. For example, “Alt+F” means to press and hold the Alt key and press the F key, then release both keys.

♦ A comma (,) between two key names means to press and release the keys in a

sequence. For example, “Alt+F,O” means to press and hold the Alt key and the F key, then release both keys and press and release the O key.

The menu choice format uses an arrow (>) between the menu or toolbar names to show the order in which to click to make a final specific choice. For example, “To start an AutoNumber sequence, click Tools > Repeats/Merge > AutoNumber” means to click first on the Tools menu. In the drop-down menu, click the Repeats/Merge choice. When the Repeats/Merge dialog box opens, click the AutoNumber tab to open that dialog box so you can start the numbering sequence.

Accelerator keys

Accelerator keys are “keyboard shortcuts” which can be used in place of clicking. Accelerator keys are used in conjunction with the Alt, Shift, and Ctrl key and are identified by being underlined in the command you want. For example, to open a file with accelerator keys, press and hold Alt, then press F (the letter underlined in File menu). The drop-down File menu opens. Press O (the letter underlined in the Open choice) and the Open dialog box appears.

Tip: This sequence could be written “Alt+F.O” or “Click File > Open to display the Open dialog box.”

Refer to the accelerator key charts on the OMEGA Installation CD. Click the How To's button to access the charts in PDF format.

Context menus

You can quickly open some dialog boxes or access tools and commands by using a context menu. A context menu appears when you click right. The menu is different depending on the tool mode. For example, after you draw a box and the box tool is the active tool, if you click right the context menu offers choices for cut, copy, paste, undo, zoom, and constraints. If you select the box, the select tool is the active tool. Now when you click right, the context menu offers these choices plus front to back, group, import, fill, and stroke. A quick way to open the Fill dialog box would be to draw, select, and click right. Experiment by clicking right in different modes to see what choices are available.

Mouse terminology

Mouse instructions use the following conventions:

Click means to quickly press and release the mouse button. This is the left (or primary) mouse button unless otherwise stated.

Click right or right-click means to quickly press and release the right (or secondary) mouse button.

Double-click means to click the mouse button twice in rapid succession.

Click and drag means to hold down the mouse button while moving the mouse.

Select means to place the mouse pointer on a menu item or object and click the mouse button.

You can also select an object or multiple objects by drawing a rubber band box around them (also called marquee selecting).

Choose means to place the mouse pointer on a menu item, command, or tool and click the mouse button.

Turn on a check box means to click in the check box so that a check mark appears in the box.

Getting help right in OMEGA

The on-screen Help system that is part of OMEGA software is designed to quickly and easily provide procedures and information for you while you are working.

There are several ways to open Help topics:

♦ In a dialog box, press F1 to get information about that dialog box. ♦ Press Shift+F1 or click the arrow/question mark in the standard tool bar to turn the

cursor into a question mark, then click a tool, command, or menu item to get information.

♦ Click Help > Help Topics to open the Help window.

The Help window contains three parts and allows you to find a topic, read it, and annotate or print it.

Finding a topic

The Navigation pane on the left side of the window contains three tabs – the Contents tab (shown in the illustration), the Index tab, and the Search tab. The Contents tab is arranged in the same order as the Table of Contents of the reference manual and is synchronized with the topic displayed in the Topic pane in the right side of the window. The Index tab displays an alphabetical listing of the keywords associated with topics. The Search tab provides access to full-text search.

Note: To open or close the Navigation pane, toggle the Show or Hide button on the Help toolbar.

Chapter 2:

Where to Get Help

To find a topic

1 Click the Contents, Index, or Search tab to display the choice.

2 Scroll through the list.

3 Click a topic in the list to display it in the Topic pane.

Tip: If you open the Index tab, a quick way to find a topic is to type a word related to what you want to do. For example, if you want to move an object, type “Move.” The list automatically scrolls to display the word “Move” highlighted and the subtopics under it.

Finding additional topics in the Topic pane

The Topic pane contains three additional navigation tools. Clicking on words or phrases that are in green type and underlined displays additional information directly related to the open topic.

If you click the Prev or Next arrows, you sequentially step forward and backward through the main help topics in the order in which they appear in the Table of Contents. You can also click on one of the topics which are also shown to the right. The down arrow list (shown below as Book 1) provides Browse Sequences of related topics. Choose the Browse Sequence from the list to display those topics.

Another navigation tool is the “See Also” button directly below the topic title. Clicking on this button displays a Topics Found list box with many topics, both directly and indirectly related to the open topic. For example, in the “Decorative borders” topic, there are subtopics such as “Setting the radius” and “Absolutely sizing the border” as well as topics related to drawing in general, such as “Circles and ellipses” and “Rectangles and squares.”

To find additional topics and information

1 Click a green, underlined word or phrase, or on the See Also button. If you click on the

word or phrase, the Help topic for this subject appears.

2 Click on the Previous and Next arrows on the Help toolbar to step through the main

Help topics in sequential order.

3 Choose a Browse Sequence from the drop down list.

4 If you click on the See Also button, click on a topic in the Topics Found list box, and

then click Display to open the topic.

Finding previously-viewed topics

Click Back in the Help toolbar, you sequentially step back through each of the topics you have viewed since you opened Help in this working session.

To sequentially find previously-viewed topics

Click Back in the Help toolbar or under Options > Back.

Printing topics

If you need a paper copy of a topic, you can print it right from the Help window.

To print a help topic

1 Click Options > Print or click on the Print button on the Help toolbar to open the Print

dialog box.

2 Choose the print options and then click OK.

Tip: A quick way to open the Print dialog box is to click Print in the Help button bar.

Other Information on the OMEGA CD

Other manuals and additional topics are available on the OMEGA CD as PDF files. Browse the CD for the How To’s folder for Accelerator key charts, Distortion charts, and application tips.

Gerber FastFacts

Gerber FastFacts™ provides answers to technical and service questions. FastFacts are available on the OMEGA installation CD.

Chapter 2:

Where to Get Help

Specific technical support

In addition to the manuals and on-screen Help, we also provide a fully-staffed Technical Support Department as well as a number of alternate methods for assisting you.

Contacting Gerber Technical Support

If you require assistance operating your OMEGA system, please contact Gerber Technical Support. If you are outside the USA, please contact your distributor.





Please use a phone that is close to your OMEGA system and have the following information available before calling:

♦ Microsoft Windows version numbers ♦ GSP system ID and serial numbers ♦ OMEGA Installation CD, OMEGA Profile CD, Windows and hardware utilities disks ♦ The names of any peripheral (output) devices, such as a printer

If you are a Support First™ member, use your toll-free assistance number. For more information on Support First, call 860-644-6971.

phone: 860-644-6971 fax: 860-871-3862

e-mail: gspservice@gspinc.com

Gerber web site

Visit the Gerber web site to learn about new products, download update files, and e-mail comments and inquiries to us.

www.gspinc.com

Chapter 3: Opening and Closing Files

The File menu contains several commands that allow you to open and close files, and import existing files into an open job. If you have multiple jobs open, choose which job to work on using the Window menu.

Creating a new file

When you start Composer, a new file without a job is created. You can create additional new files (a new Composer window with no job) during a working session using the New command in the File menu.

To create new files

Click File > New to display an empty Composer work surface.

Tip: To automatically open the last file you were working on when you start Composer, click Tools > Options > File and turn on Reopen Last File at Startup. Click the Preferences button to save the setting.

Opening an existing file

Open saved Gerber plot (PLT) files or any other file type with the Open command in the File menu. If you already have a saved file open, the Open command opens another file in a new window.

Embedding images when opening files

When opening an image file you have the option to embed images or to maintain the images as linked files. The factory default is to link images. You can set this option as the default using the Preferences button in the Open or Import dialog box. If you open an existing PLT file, the state of any images in the file is maintained (embedded or linked). The Embed Image checkbox in the Open and Import dialog boxes is only for opening or importing image files.

You can change individual linked images to embedded images using the check box in the Image Fill dialog box. You can not change an embedded image to a linked image. If you want to link an embedded image you must delete it and reimport it as linked by turning off the Embed Images checkbox.

Chapter 3:

Opening and Closing Files

Opening files with layers active in Composer

When working with layers, OMEGA assumes that all jobs have at least one layer. Depending on the file type that you are opening, the following applies:

♦ For a file type that does NOT support layers, the file opens in Composer with a single

layer which has the same name as the file.

♦ For a file type that supports layers you can choose to:

♦ Turn on Keep Layers and the file opens maintaining its layers with their

existing layer names.

♦ Clear Keep Layers to ignore the layers and the file opens with a single layer

which has the same name as the file.

To open existing files

1 Click File > Open or click the Open button on the Standard Toolbar. The Open dialog

box appears.

2 Choose the file type and the file name.

3 If the file that you are opening is an image file it is linked by default. Turn on the

Embed Images check box to embed images in the job. If you are opening a PLT file, the state of any images in the file (embedded or linked) is maintained.

Note: Embedded images cannot be unembedded. You must delete the embedded image and reimport it as a linked file.

4 The default setting is to open files onto a single layer. Turn on Keep Layers to maintain

layers that exist in the job.

5 Turn on the Preview checkbox to view the chosen file.

6 Click Open.

Tip: Right click a file in the Open dialog box to display the context menu, which displays common commands.

♦ Choose Select from the context menu to automatically open the chosen file. ♦ Choose Plot to send the job to GSPPlot. ♦ Choose ImageRIP to send the job to Gerber ImageRIP. ♦ Choose Properties > Preview tab to see a preview of the job. ♦ Choose Properties > Job Information tab to view the vinyl, foils, fonts, and images

used in the job.

Adding a file to an open PLT file (Importing)

Use Import in the File menu to add a file − PLT or other format − to an already open PLT file. You can also use Import to open a file with a format other than PLT into Composer as described in “Importing and Exporting Files.”

Embedding images when importing files

When importing an image file you have the option to embed images or to maintain the image as a linked file. The factory default is to link images. You can set this option as the default using the Preferences button in the Import or Open dialog box. If you import an existing Gerber plot (PLT) file, the state of images in the file is maintained (embedded or linked). The Embed Image checkbox in the Open and Import dialog boxes is only for opening or importing image files.

You can change individual linked images to embedded using the check box in the Image Fill dialog box. You can not change an embedded image to linked. If you want to link an embedded image you must delete it and reimport it as linked by turning off the Embed Images checkbox.

Importing files with layers active in Composer

When working with layers, OMEGA assumes that all jobs have at least one layer. Depending on the file type you are importing, the following applies:

♦ For a file type that does NOT support layers, a layer is automatically added to the file

upon import. Depending on the options that are chosen in the Import dialog box the following occurs:

♦ Turn on Keep Layers to import the file into Composer

with a single layer which has the same name as the file. For example, Horse.BMP.

♦ Clear Keep Layers and choose Flatten layers to: New

Layer to import the file into Composer with a single layer which has the same name as the file. For example, Horse.BMP.

♦ Clear Keep Layers and choose Flatten layers to: Current Layer to import the

file onto the current active layer.

Chapter 3:

Opening and Closing Files

♦ For a file type that supports layers you can choose to:

♦ Turn on Keep Layers and the file imports maintaining layers and existing

layer names.

♦ Clear Keep Layers and choose Flatten layers to: New Layer to merge all

layers. The file imports onto a single new layer which has the same name as the file.

♦ Clear Keep Layers and choose Flatten layers to: Current Layer to ignore all

layers. The file's objects are added to the current active layer.

To add a file to an open PLT file

1 Click File > Import to open the Import dialog box.

2 Choose the file type and the file name.

3 By default an image file will be linked. Turn on the Embed Images check box to embed

the image file in the job.

Note: Embedded images cannot be unembedded. You must delete the embedded image and reimport it as a linked file.

4 By default, any layers in the file are ignored and the file is added to the Current Layer.

You can choose to import the file onto a New Layer or turn on Keep Layers to maintain any layers in the job.

5 Click Import and the import cursor displays.

6 Click the cursor on the work surface to place the imported file at that location.

Adding multiple files to an open PLT file (importing)

You can add multiple files to an open PLT file using the File > Import command. Select multiple files in the Import dialog box using the Shift+click or Ctrl+click method. The files do not have to be of the same type.

During importing the cursor displays the name of the file that is currently ready to import. Click the work surface to place the upper left corner of the file at that location. Press Ctrl+click to center the file at the clicked location.

Press Esc to skip the current file. Press Shift+click to cancel the entire import operation.

To add multiple files to an open PLT file

1 Click File > Import to open the Import dialog box.

2 Choose the files to import using the Shift+click or Ctrl+click method. The names

display in the File Name box surrounded by double quotes.

3 By default an image file will be linked. Turn on the Embed Images check box to embed

the image file in the job.

Note: Embedded images cannot be unembedded. You must delete the embedded image and reimport it as a linked file.

4 By default, any layers in the file are ignored and the file is added to the Current Layer.

You can choose to import the file onto a New Layer or turn on Keep Layers to maintain any layers in the job.

5 Click Import and the import cursor displays the name of the file

to import.

6 Click the cursor on the work surface to place the upper left corner

of the imported file at that location. Press Shift+click to center the file at that location.

Chapter 3:

Opening and Closing Files

7 The next file name to import displays next to the import cursor. Repeat importing all

selected files. Press Esc to skip a file. Press Shift+Esc to end all imports.

Placing multiple copies of a file in an open PLT file

Use Import Continuous in the File menu to add multiple copies of a file to a PLT file. The file can be a PLT file or another format. Placement control is provided in the Select a Position dialog box which allows you to choose which handle of the file controls the location on the work surface. A copy of the file is added at the cursor position each time you click the mouse.

To place multiple copies of a file

1 Click File > Import Continuous to open the Import dialog box.

2 Choose the file type and file name.

3 Choose to add the file to New Layer or the Current Layer, or turn on Keep Layers to

maintain the layers in the original file.

4 Click Import to open the Select a Position dialog box.

5 Select a position.

6 Click OK to return to the work surface.

7 Position and click the mouse to place the file on the work surface. Continue clicking

the mouse to add additional copies of the file to the open job.

8 Click right to exit Import Continuous.

Opening Gerber Clip Art (GCA) files

You can open or import a Gerber Clip Art (GCA) file from one of the Gerber Library folders. When importing Gerber Clip Art (GCA) files using the File > Library or File > Import command of Composer, the file imports as grouped shapes into the current Composer job. Use File > Open to open GCA images that are ungrouped and place them in a new Composer job.

To import a Gerber Clip Art file

1 From Composer, click File > Library to open the Import Library dialog box.

2 Navigate to the Library folders on the OMEGA 2.5 (or higher) Font CD or in the

C:\GSP\Library folder.

3 Choose the GCA file to import and click Import. The import cursor displays.

4 Click the cursor on the work surface to place the Library file at that location.

Note: If the OMEGA Library Pack Password dialog box displays, then the GCA file is part of a purchasable OMEGA Library Pack. See the link below for instructions on installing the OMEGA Library Pack option.

Installing a purchasable Gerber Library

A number of free Gerber Library folders containing Gerber Clip Art (GCA) are included with OMEGA. There are additional Library files available for purchase on the OMEGA 2.5 (or higher) Font CD. To import one or more of these GCA files you need the password that was provided when you purchased that Library pack. When you purchase a Library pack all of the GCA files in that folder are included.

You can use the Gerber Library files off the OMEGA 2.5 Font CD or you can copy the Library folders from the Font CD and paste them onto your computer in the following location: C:\GSP\Library (where C: is the designation of the hard drive where OMEGA is installed).

Chapter 3:

Opening and Closing Files

To install a purchasable Gerber Library

1 In Composer click File > Library to open the Browse to Folder dialog box.

2 Navigate to the location of the Library folders; either the CD drive or C:\GSP\Library.

Click OK. The Import Library dialog box opens.

3 Choose the folder and specific GCA file that you wish to purchase and click Import.

The OMEGA Library Pack Password dialog box displays.

4 Enter the password provided when you purchased the Library pack. If the password is

missing, contact your Gerber distributor or Gerber Technical Support.

5 Click OK and the chosen GCA file imports into Composer. The other GCA files in the

Library folder are now available for use.

Closing files

After saving a file, close it in File menu.

To close a file

Click File > Close.

Note: If you have modified a file but have not saved it before closing, a message box appears giving you the opportunity to save the file.

Chapter 4: Saving Files and Viewing Properties

To avoid accidentally losing data, it is important to save your work frequently. Use the Save command in the File menu to save an existing file. Use the Save As command to make a copy of the file with a different name so that you can edit it without changing the original file.

Saving PLT files

The first time you save a file, the Save As dialog box opens so that you can name the file and specify the folder to save it in. After a PLT file has been saved, just click File > Save to save and update the file.

To save a new PLT file

1 Click File > Save to open the Save As dialog box.

2 Choose PLT from the Save as type drop-down menu.

3 Enter the file name in the File name text box.

4 Choose the folder to save the file in.

5 Use the Description box for any detailed information you want included with each file.

6 Click Save.

To save an existing PLT file

Click File > Save. The file is automatically saved as a PLT file.

Chapter 4:

Saving Files

AutoBackup feature

AutoBackup saves an open document to a temporary file in a user selectable folder. You can specify the interval between AutoBackups (from five to thirty minutes) and have the ability to turn the automatic back up on or off. AutoBackup will not clear the undo stack. For more information refer to “Setting Preferences using Tools > Options.”

Saving a file for the MAXX 2

When saving a job that will output on the MAXX 2, the filename can contain up to 40 characters including the extension. Forty characters are the maximum number of characters that can be read on the MAXX 2 display.

Saving a copy of a PLT file

You may want to change or modify an existing file without changing the original. To make a copy of a file, open the file and save it with a different name.

To make a copy of a PLT file

1 Click File > Save As to open the Save As dialog box.

2 Choose PLT from the Save as type drop-down menu.

3 Enter a new file name in the File name text box.

4 Choose the folder to save the file in.

5 Use the Description box for any detailed information you want included with each file.

6 Click Save.

Saving plot files in an older OMEGA format

You can save a current OMEGA plot file as GRAPHIX ADVANTAGE 6.2 or an earlier version of OMEGA. When saving or exporting a current OMEGA plot file to an older version of OMEGA any new OMEGA features that were used in the file are not saved to the new PLT file.

OMEGA 1.56

When exporting or saving to OMEGA 1.56, a Feature Loss Warning message box displays. If you do not wish to see this warning, you can turn it off in the Export Options dialog box.

You can choose how to export Small Text and multiple spot color fills through the Export Options dialog box, that can be accessed in the Save As dialog box by clicking Options.

♦ Turn on Convert small text to shapes or clear this

option to save the Small Text as Small Text, but you will lose any OMEGA 2.0 formatting.

♦ Choose to save Multiple spot color fills as either a

single spot color (using the first spot color) or convert them to process colors.

♦ Choose to save Spectratone colors with different

top/bottom tints as process colors or using only the

top or base tint.

Saving files in formats other than PLT

Composer enables you to save files in many file formats other than PLT.

To save files in other formats

1 Click File > Save As to open the Save As dialog box.

2 Select the file type from the Save as type drop-down menu.

3 Enter the file name in the File name text box.

4 Choose the folder to save the file in.

5 Click Save.

Chapter 4:

Saving Files

Viewing Document Properties

Click File > Properties to view details of a document including the following:

♦ Date created and modified ♦ File size ♦ Elapsed design time ♦ Print Order vinyls ♦ Fonts used in the file ♦ Images used in the file

Click the Copy to Clipboard button to transfer the information in the dialog box to the clipboard for use in other documents.

You will find similar information by right clicking a file name in Windows Explorer and choosing Properties. The Job Information tab displays the vinyl, foils, fonts, and Elapsed Design Time. If there is an image in the file, the file name location and its embedded or linked status is listed. Click Copy to Clipboard to use this data in other documents.

Tracking elapsed design time

Design Time Tracking tracks the amount of time spent designing a job and displays it in Composer's Properties dialog box or on the Job Information tab of Windows' Properties dialog box. Click Copy to Clipboard in either location to use this data in other documents.

Design Time Tracking is enabled and options are set on the File tab of the Tools > Options dialog box. By default, Composer stops tracking design time after five minutes of inactivity. You can adjust this time between and 1 and 120 minutes.

You also have the option to track the time spent acquiring or editing an image outside of Composer. Enabling this option includes this time in the elapsed time total. Disabling this option excludes this time from the total.

The Enable File Access Logging option keeps track of all File > Open and File > Save activity. The Maximum Log File Size can be set by entering a value between 1 KB and 512 KB. The default size is 128 KB. When the file reaches maximum size, the oldest information is deleted as new information is added.

The View Log File button opens the file access log file in Notepad where you can view or print it. Click the Clear Log File button to clear the file and begin tracking again.

Chapter 4:

Saving Files

Book Two: Understanding Composer Tools

This book describes the basic tools of Composer including how to set up the work surface to suit your working environment and maximize your productivity. You will find all you need to know about working with layers and information on using the basic selection tools in Composer.

Chapter 5: Setting Up Composer’s Work Surface describes all tools in the Composer window, how to set defaults for your working environment and the details of using the Tools > Options dialog box.

Chapter 6: Using Layers explains how to use layers to make it easier to manage complicated jobs or create versions of a job in the same file. This chapter also describes the advantages of designing and outputting with layers.

Chapter 7: Selecting Elements of the Design describes how to use the selection tools and the Selection menu commands.

Chapter 5: Setting Up Composer's Work Surface

OMEGA’s Composer program is where you design jobs. Composer allows you to customize the work surface and change your view of the job while you are working on it.

Composer work surface

On the left side of the work surface is the Toolbox toolbar and the Layer Manager (if active), across the top are the main menu selections. The foil palettes are available on the far right of the work surface and the vinyl palette displays along the bottom. The Job Palette which contains the vinyls and foils in the job displays below the vinyl palette or can be docked in a different location.

Scroll bars are always present and the work surface is unlimited. The size of the window does not automatically grow to always display the entire job. Click and drag operations that bump into the side of the window scroll automatically to reveal additional work surface area. The frame is now a reference frame only and is used to define the size of the job in Tools > Options > Layout. Its visibility is configurable in Tools > Options > View.

Chapter 5:

Setting Up Composer's Work Surface

Displaying information

In Composer, you have the choice to display or hide the status bar, the rulers, and warnings. In most cases, you will want to see the status bar information which includes:

♦ X and Y coordinates of the pointer ♦ The tool being used ♦ Icons for constraints that are turned on (On Axis, Grid, and Snap to Guidelines shown

left to right in the illustration)

♦ Measurements related to the tool being used ♦ Current style

Set the display of this information in Tools > Options.

To display the status bar and/or rulers

1 Click Tools > Options > View.

2 Turn on the Status Bar and/or Rulers check boxes.

To display warning message boxes

1 Click Tools > Options > General.

2 Turn on the Display Warning Message Boxes check box.

Opening, displaying, and moving toolbars

Toolbars are flyouts, dockable, and moveable. To set the preference of toolbars you want to display when Composer opens, click Tools > Options > View and turn on the toolbars.

To open and display toolbars

1 Click View > Toolbars to open the Toolbars dialog box.

2 Turn on the toolbars to display.

3 Click OK.

Tip: If the Toolbox toolbar is open, click and hold on the icon or click the triangle in the lower right corner of the icon to open the flyout toolbar.

Tip: You can also open the Toolbars dialog box by right-clicking in an empty area of a toolbar and selecting View Toolbars.

To move a toolbar

Click the toolbar and drag it to a new location.

Note: Toolbars do not resize when they are moved. If a toolbar is dragged to a location that does not have room for it, the end of the toolbar may be off the screen.

To return the toolbar display to the original preferences

Click Tools > Options > View and turn on Restore Original Position.

Window controls

Composer allows you to have multiple windows open at the same time. These can be either different files or the same file in two windows. One reason to have the same file open in two windows is to work in wireframe in one window and display the job as filled in the other window.

To open multiple windows

1 With a file already open, click File > New or Open to open another window.

2 Click Window > Cascade, Tile Horizontally, or Tile Vertically to display all open

windows.

To open the same file in multiple windows

1 With a file already open, click Window > New Window to open another window

with a copy of the file in the new window.

2 Click Window > Cascade, Tile Horizontally, or Tile Vertically to display all open

windows.

To move between open windows

Click anywhere in a window to make it the active window.

To close a window

Click in the left corner of the title bar and then click Close.

To view open files in Windows

With files open, click Windows to see the list of currently open files in the OMEGA program.

Tip: If you have multiple windows open and minimized, click Window > Arrange Icons to line them up across the bottom of the Composer window. Windows that are minimized are not affected by the tile commands.

Sizing the work surface to the design

If you are designing a sign 10' long and 8' high, it is easier to design if the work surface resembles the borders of the sign. The way to do this is to use a reference frame.

Adding a reference frame

You can place a reference frame on the work surface to simulate the borders of the sign. Create the design elements either in the reference frame or outside of it, and then move them around in the reference frame until you have the design layout that you want. The following procedure places the reference frame on the work surface and sets the default size for new future reference frames.

Chapter 5:

Setting Up Composer's Work Surface

To add a reference frame

1 Click Tools > Options > View.

2 Turn on Reference Frame and then click Apply.

3 Click the Layout tab.

4 In the Default Frame for New group box, enter the X and Y coordinates for the lower

left corner.

5 Turn on Enter Size as Height and Length.

6 Enter the length and height of the sign in inches (for example, 120" for a 10' sign).

Tip: Normally, you will want to work on the largest work surface possible. To have Composer open with the window at maximum size, click Tools > Options > File and turn on the Maximize Work Area at Startup check box.

Changing the size of the frame

Use the Change Reference Frame dialog box to change the size of an existing reference frame on the work surface. Choose the Absolute option and enter the lower left and upper right corner coordinates. To add space to the size of the working area, choose the Incremental option. The coordinate boxes are reset to .000. Enter the amount that you want to add to the existing work surface size.

To change the size of the frame

1 Click Edit > Change Frame to open the Change Reference Frame dialog box.

2 Choose Absolute or Incremental sizing.

3 Enter the corner coordinates.

4 Click OK.

Tip: As you move shapes and text on the work surface, if you click Tools > Options > View, then turn on Enable Autoscrolling, the work surface automatically scrolls so that you can continue to see it if it “moves” beyond the work surface border. If you turn this check box off, you can move the shape off the work surface and it is hidden under the border of the work surface.

Aligning an object in the working area

Use the Change Baseline command to automatically align an object in the working area exactly horizontal (parallel to the bottom of the working area). This is especially useful if you accidentally tilt an object when digitizing it.

The left end of the baseline is always located at the 0,0 position and the baseline is always exactly horizontal in the working area. If you need to align an object to the exact horizontal, turn on the baseline checkbox in Tools > Options > View tab, then turn on the Change Baseline command in Edit > Change Baseline. When the Composer message appears asking if you want to move the left baseline point, click Yes. Move the pointer to the left end of the object and click to set it. Click Yes again when asked to move the right baseline point, then move the pointer to the right end of the object and click to set it.

Note: Always change the baseline before adding text or other design elements to the job because changing the baseline rotates all objects in the working area.

Using the Natural Layout option

In his book, “Mastering Layout”, Mike Steven describes a formula for laying out a simple sign. The formula attempts to make the sign layout appealing to the viewer and includes both margin and copy space. The Natural Layout option in Composer makes use of this formula when creating a sign template. Guidelines delineate areas in which the user creates text and graphics for a pleasing sign.

To use Natural Layout

1 Click Tools > Natural Layout to open the Natural Layout Dimensions dialog box.

2 Enter a value for the sign in Height.

3 Enter a value for the sign in Width.

4 Turn on Create Frame to display the boundaries of the sign. Turn off Create Frame to

hide the sign boundaries.

5 Click OK to return to the Composer work surface to view the Natural Layout

template.

Chapter 5:

Setting Up Composer's Work Surface

Viewing the design

You can work in the wireframe or filled mode. Filled mode displays the job with the vinyl and fill colors visible. Wireframe mode displays objects as outlines. Wireframe can be modified to suit the way you work through the View menu or on the View tab of the Tools > Options dialog box. A check mark next to the View menu option indicates the current mode.

Filled mode

In Filled mode the job displays in its stacking order with its vinyl and fill colors visible. Hidden objects or layers do not display in Filled mode. Objects that are filled with the same color as the background color are not visible in Filled mode.

If you are in the filled mode, there are two options:

♦ Design View displays all visible objects in the job. Hidden

objects do not display.

♦ Output View displays visible objects in the job as they would appear when printed

and cut on a plotter with the excess vinyl weeded away. Hidden objects do not display.

Fill stripes

You can specify the number of stripes in the fill on the View tab of the Tools > Options dialog box. More stripes (about 50 or more) make the fill appear smooth, while fewer stripes (10, for example) make the fill appear coarse. While more stripes may offer a more pleasing on-screen appearance, it takes longer to fill the shape. The stripes only affect what you see on the computer monitor. They do not affect printed output.

Note: When using OMEGA CS, the Filled Mode defaults to Vinyl only.

Tip: If you are in Filled mode and nothing displays, check to see if you have duplicate shapes placed directly on top of each other. Duplicate shapes can cause them to disappear in Filled mode (although wireframe shapes do display).

Wireframe mode

There are four methods of drawing wireframes which can be set in the View menu or on the Tools > Options > View tab. Objects or layers that are hidden do not display in any Wireframe modes.

♦ Single Color causes all objects to be drawn with a solid line using the wireframe. The

default line color is black but the color can be changed on the Tools > Options > General tab.

♦ Cut Print Colors causes all objects to be drawn with a solid line using the Cut Only,

Print Only, and Cut Print colors. The default colors can be set on the Tools > Options > General tab.

♦ Vinyl Colors causes the objects to be drawn with a solid line using their assigned

vinyl colors. If the currently assigned background color is the same as an object's vinyl color then that object will not be visible in Vinyl Colors mode.

♦ Fill Colors causes the objects to be drawn as wireframes in their assigned fill colors.

Gradient fills are drawn using a dotted line. If an object has a process color gradient fill the first color of the fill is the wireframe color. If an object has a spot gradient fill the wireframe color is the highest percentage tint. Clear fills (or no fills) are drawn using a dashed line in the vinyl color. If the currently assigned background color is the same as an object's filled color then that object will not be visible in Fill Colors mode.

Image Placeholders are drawn differently depending on their color. Process color image place holders use a dotted black line; spot image place holders use a solid color line in the assigned spot color.

Small Text is drawn solid in the color that reflects the fill. Gradient fills are drawn as a cross hatch pattern and clear fills (or no fills) are drawn using diagonal lines.

Tip: There are two Wireframe Modes for Single Color or Cut Print Colors: Finish and Redraw. See the topic, “View tab” for detailed information on these modes and how to set the default.

Viewing or printing the Wireframe Legend

The rules of wireframe drawing are complex. Click View > Wireframe Legend to access a chart of the current wireframe settings. Once the Wireframe Legend is open you may print it on a paper printer using the Print button.

Chapter 5:

Setting Up Composer's Work Surface

Zooming in or out on the design

Composer provides several ways of zooming in or out on objects. Click one of the Zoom tools or click View > Zoom > Zoom tool to activate the tool.

Zoom In magnifies the area where you click one level, or the area that you surround

with a rubber band box.

Zoom In One Level automatically magnifies the view one level without clicking the

work surface.

Zoom Out/Select Center reduces the magnification of the job one level centered at the

point that you click on the work surface.

Zoom Out One Level automatically reduces the magnification one level without

clicking the work surface.

Zoom to Selected magnifies the currently selected object so that it fills the work

surface.

Zoom to All resizes the design so that it is in the center of the work surface with a

small border around it. Pressing the Space Bar will also Zoom to All.

Adjusting the level of zoom magnification

In the Options dialog box, you can set your zoom tools to adjust the level of magnification when zooming. The amount of magnification can be adjusted between 0 (widest zoom) and 20 (tightest zoom). The default level of magnification is 8.

To adjust the level of zoom magnification

1 Click Tools > Options > View Tab.

2 In the Working Area group box use the slider to adjust the Zoom Wider or Tighter.

Alternately, enter a number between 0 and 20, (0 being the widest and 20 being the tightest).

3 Click OK to return to the Composer work space.

Setting Preferences using Tools > Options

Use the controls in the Options dialog box in the Tools menu to set up default settings and behaviors for Composer. The Options dialog box has several tabs listed below that group the controls for easy access.

♦ General ♦ File ♦ View ♦ Layout ♦ Images ♦ Detail ♦ Text ♦ Palettes

At the bottom of the Options dialog box are two helpful buttons, Apply and Defaults.

♦ Apply – The Apply button in the Tools > Options dialog box (as well as other dialog

boxes) allows you to apply new settings without having to close the dialog box. You may make multiple changes in different tabs in the Options dialog box and then click Apply to confirm the changes. Click OK to close the Options dialog box when finished.

♦ Defaults – The Defaults button allows you to restore OMEGA default settings for the

current page or for all pages. When you select the Defaults button a message box displays. Click Restore All Pages or Restore Current Page to return the settings to the factory defaults. Click OK to close the Options dialog box.

General tab

The General tab of the Options dialog box contains settings for Composer modes on start-up, Undo, palette scroll speed, colors and sounds. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults.

Chapter 5:

Setting Up Composer's Work Surface

Settings group box

Turn on Emulate OMEGA CS (i.e. vinyl only) to force OMEGA CP (Cut/Print) to display jobs as vinyl only, thus imitating the behavior of OMEGA CS (Cut Solution).

Turn on Suppress Fill Cuts to create new objects and text that are print only. Suppress Fill Cuts is also a command in the Arrange Menu. See the topic: Filling without cutlines for details.

By default Display Warning Message Boxes is turned on to display all warning message boxes. Turn off this check box so that warning message boxes do not displayed.

The Use Default Monument Settings on Start check box displays only if you have the OMEGA Monument option. It is turned on by default.

Undo

You can set the Number of Undo levels from 1 to 100. See the topic: Setting the Number of Undo operations for details. The default number is 10.

Colors

You can modify the colors assigned to OMEGA objects to suit your needs. In the Colors box, choose an item from the drop down list. Click Edit Color to display the Selected Color dialog box. Select a different color from the basic color palette or define a Custom Color. See the View tab for additional information on wireframe colors.

Sounds

Direct access to the Sound Properties of Windows Control Panel is provided on the General tab of the Tools > Options dialog box. Click the Edit button to open the Sounds Properties dialog box. Composer's sound events display at the end of the Events list.

Select a Composer event and choose a sound from the Name drop down list. You can map custom sounds to specific events by selecting an event, clicking the Browse push button, and then navigating to any directory that contains WAV files and selecting one.

Palette Scroll Speed

You can adjust the speed at which the vinyl and foil palettes scroll when you press the arrow buttons at either end of the palette. Click and drag the slide control between Fast and Slow. The sample palette allows you to test the selected speed setting.

Tablet

Tablets are now installed via the General tab of the Tools > Options dialog box rather than through GSPSetup. Click the Select button to open the Tablet Selection dialog box. Choose the correct size tablet and click OK. You must save Preferences to permanently save the tablet setting. For complete installation instructions and trouble shooting see “Chapter 36: Digitizing Artwork.”

File tab

The File tab of the Options dialog box contains settings for Composer modes on start-up and save options. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults.

General group box

Turn on Maximize Work Area at Startup to open Composer with the work space maximized to fill the window.

Turn on Reopen Last File at Startup to open the last accessed file when starting Composer. When this option is cleared, a new blank file is opened when starting Composer.

Turn on Color Cartoon when Saving Files to display a plot file as a color thumbnail in the Preview box of the Open, Import or ThumbPrint dialog boxes. Turn off this option to display the plot file as a wireframe. Color Cartoon is the default setting.

Enter value up to 16 in the Recent File List Contains box to display that number of the most recently used files in the MRU list of the File menu. See the topic: Most recent file list for details.

Recent Hot Folder List Contains the number of files in the designated folder that converts OMEGA plot files to EPS files. You can export the entire file or previously selected objects.

In Mode on New or Open Select choose which tool is active when a new or existing file is opened in Composer. Choose a tool from the drop down list.

Save Options

Turn on AutoBackup to enable or disable an automatic save of the current file to a temporary file in a user-selectable folder. You can specify the interval of time between backups from five to thirty minutes. AutoBackup does not clear the undo stack.

Chapter 5:

Setting Up Composer's Work Surface

You can specify the location to save the AutoBackup files in the AutoBackup Directory box.

Design Time Tracking

Turn on Enable Tracking to track the amount of time spent designing a job.

Enter the number of Idle Minutes (inactive time in OMEGA) after which to Suspend Tracking. The default value is 5 minutes. You can adjust this time between and 1 and 120 minutes.

Turn on Track Time Spent in Acquire or Edit Image (Idle Check Disabled) to include this time in the elapsed time total. Disabling this option excludes this time from the total.

Turn on Enable File Access Logging to keep track of all File > Open and File > Save activity.

The Maximum Log File Size can be set by entering a value between 1 KB and 512 KB. The default size is 128 KB. When the file reaches maximum size, the oldest information is deleted as new information is added.

Click View Log File to open the log file in Notepad.

View tab

The View tab of the Options dialog box contains settings for displaying images, design creation tools, drawing modes, window settings, and toolbars. Click Apply to confirm the settings. Click Defaults to return to Gerber factory defaults.

Show group box

Turn on Guidelines to display guidelines on the Composer work surface. Turn off this option to hide the guidelines.

Turn on Grid to display a layout grid that can be used to align objects. Use the Grid in conjunction with the constraint tools of the Layout menu to assist and moving objects or drawing shapes. See the topics: Drawing Shapes and Displaying Information for details. You can set the size of the grid through the Set Grid command of the Layout menu or on the Layout tab.

Turn on All Control Points to display the graphical points controlling the shape of a curve.

Turn on the Images option to display actual images rather than placeholders. Alternately, you can turn on Show images from the View menu of Composer. See the topic: “Viewing images in the design” for details.

Turn on Templates to display a template object. See the topic: “Choosing the color type” for details.

Turn on Baseline to display a guideline that is parallel to the bottom of the work surface.

Turn on Reference Frame to display a frame on the work surface that simulates the borders of a sign. You can alter the size of the frame on the Layout tab.

Chapter 5:

Setting Up Composer's Work Surface

Turn on Keyboard Rotate Dialog to automatically display the controls for keyboard rotation when you click Shape > Keyboard Rotation.

Window group box

Turn on Status Bar to display the Status Bar along the bottom of the Composer work space. The Status Bar includes:

♦ X and Y coordinates of the pointer ♦ Currently selected tool ♦ Icons for active constraints ♦ Measurements related to the tool being used ♦ Current style

Turn on Rulers to display rulers along the top and left side of the Composer workspace.

Turn on Enable Autoscrolling to have the work surface automatically scroll as you move an object beyond the work surface border. If you turn off this check box, the work surface does not move when you can move the shape beyond the border of the work surface. You must use the scroll bars to change the view.

Toolbars

Turn on any toolbars or the Layer Manager to display them in Composer.

Turn on Restore original position to return toolbars to their original position if they are moved off the work surface or “lost.”

Working Area group box

Wireframe

Turn on Wireframe to set it as the default drawing mode. Turn off wireframe to display objects in Filled mode as the default.

Wireframe Color

There are four methods of wireframe which can be set in this dialog box or in the View menu:

♦ Single Color causes all objects to be drawn with a solid line using the wireframe. The

default line color is black but the color can be changed on the General tab.

♦ Cut Print Colors causes all objects to be drawn with a solid line using the Cut Only,

Print Only, and Cut Print colors. The default colors can be set on the General tab.

♦ Vinyl Colors causes the objects to be drawn with a solid line using their assigned

vinyl colors. If the currently assigned background color is the same as an object's vinyl color then that object will not be visible in Filled mode.

♦ Fill Colors causes the objects to be drawn as wireframes in their assigned fill colors.

place holders use a dotted black line; spot color image place holders use a solid color line in the assigned spot color. Small Text is drawn solid in the color that reflects the fill. Gradient fills are drawn as a cross hatch pattern and clear fills (or no fills) are drawn using diagonal lines.

Tip: The rules of wireframe drawing are complex. Click View > Wireframe Legend to access (and print) a chart of the current wireframe settings.

Wireframe Mode for Single Color or Cut Print Colors

There are two Wireframe Modes for Single Color or Cut Print Colors:

♦ Finish causes the entire selection and everything underneath it to be erased when

moving objects and then redrawn when the object is placed. Finish mode eliminates the small “holes” that may appear when using nudge to move an object one pixel at a time.

♦ Redraw is the default and is the wireframe drawing mode as it was in Composer

versions older than OMEGA 2.0.

Filled Mode:

There are two Filled modes that can be set in this dialog box or in the View menu.

♦ Design View displays all visible objects in the job. Hidden objects do not display. ♦ Output View displays visible objects in the job as they would appear when printed

and cut on a plotter with the excess vinyl weeded away. Hidden objects do not display.

Number of Fill Stripes

In the Filled mode, you can specify the number of stripes in a fill. More stripes (about 50 or more) make the fill appear smooth, while fewer stripes (10, for example) make the fill appear coarse. While more stripes may offer a more pleasing on-screen appearance, it takes longer to fill the shape. The stripes control only affects what you see on the computer monitor. It does not affect the printed output.

Zoom Wider/Tighter

Use the slider to adjust the Zoom Wider or Tighter. Alternately, enter a number between 0 to 20 (zero being the widest and 20 being the tightest). The default setting is 8. See the topic: “Adjusting the level of Zoom magnification” for details.

Chapter 5:

Setting Up Composer's Work Surface

Layout tab

The Layout tab of the Options dialog box contains settings for tool constraints, Reference Frame settings and Layers options. Click Apply to confirm the settings. Click Default to return to Gerber factory defaults.

Constraints

Turn on On Axis to allow only vertical or horizontal movement of objects. When adding dimensions to a job, On Axis should be turned OFF to allow the dimension tools to snap to nodes.

Turn on Snap to Guidelines to align an object to the closest guideline as the object moves toward it. This command is turned off if Snap to Grid is activated.

Turn on Lock Guidelines to anchor Guidelines in position. This is helpful when moving objects while Guidelines display. See the topic: Locking objects for details.

Turn on Snap to Grid to align an object to the closest grid point as the object moves toward it. This command is turned off if Snap to Guidelines is activated. When Snap to Grid is active the Grid Value setting is available. Enter a new value to change the size of the grid. The default setting is 0.100 inches.

Turn on Constrain Cursor so that the tool is affected by any constraints such as On Axis, Snap to Guideline, and Grid set in the Layout Menu.

Default Frame for New

Define the location and size of a Reference Frame that simulates the borders of a sign. To display the Reference Frame, turn on the option in the View tab.

Layers

Turn on Edit All Layers to allow editing on all layers in the job. When this option is disabled, you can only edit the active layer. The default setting is turned on.

Group Layers when Merging puts all objects on the same layer and into the same group when merging layers using the Merge Selected Layers or Merge All Layers commands. The default setting is turned off.

Default Dim Intensity sets the default dim level in a percentage. The default percentage is 50%.

When the Select Object's Layer when Object Selected option is turned on (this is the default) selecting an object makes its layer the current active layer. Clear the Select Object's Layer when Object Selected option to be able to select an object without changing the current active layer. When this option is turned off, you must click a layer name to make it the active layer.

Box Select or Select Menu Commands Select Layer of gives you the option to choose which layer becomes the active layer when marquee selecting objects on the work surface, or when selecting objects using the Select menu. By default, the layer that contains the front-most object in the stacking order of the selection becomes the current layer. You can choose to make the layer containing the back-most object the current layer or not to change the current layer when selecting objects in this manner.

Show Break Group Warning displays a message when you attempt to move part of a group to a different layer, thus breaking the group.

Show Break Combine Warning displays a message when you attempt to move part of a combine to a different layer, thus breaking the combine.

Show Release Clipping Path Warning displays a message when you attempt to move only part of a clipping path to a different layer, thus releasing the clipping path.

Show Recent Smart Edit Warnings displays a message when you attempt to move only part of a chain of smart edit operations to a different layer, thus saving only the last smart edit connection.

Show Remove Smart Edit Warnings displays a message when you attempt to move only part of a smart edit operation to a different layer, thus removing the smart edit connection.

Show Combine Text Warning displays a message when you attempt to combine text with other shapes that are not on the same layer unless all shapes on the line are selected.

Targets

Show Create Target Layer Warning displays a message when you create targets which explains that the targets are created on a new layer named Target Layer. Turn on Layer Manager to view the layer tree.

Show Target Create Time Warning displays a message when an excessive number of shapes are selected for Automatic Target creation. Warning suggests you select only surrounding cut shapes to minimize confusion when creating targets.

Chapter 5:

Setting Up Composer's Work Surface

Images tab

The Images tab of the Options dialog box contains settings for importing and editing images, Thumbnail settings, and control of temporary embedded images files. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults.

Color Type

Choose the default Color Type to apply to imported images:

♦ Spot – Choosing Spot changes a full color image into a monochrome image consisting

of tones of the chosen Spot foil. See Default Spot Color below for details.

♦ Process – Choose Process to fill the imported image with Process color foils. ♦ Template – Choose Template to import an image as a Template that can be displayed

but not printed to a thermal printer. (A Template image can be printed on a paper printer.) A Template is useful when digitizing shapes in images.

Default Spot Color

Default Spot Color is only available when Spot is chosen as the default Color Type. Click Browse to select the foil palette and then choose the default spot color to apply to an imported image.

TWAIN Device

Choose a TWAIN device connected to your computer that is to be used by the Scan to Vector program. Click Select to display available choices for your system.

Image Editor

Choose an Image Editor program to be used when editing an image after it has been imported into Composer. Click Browse and navigate to an image editing program (such as MSPaint or Corel PhotoPaint) on your system. See the topic: Editing an image with an image editor for details.

Thumbnail

Thumbnail settings affect how images display on your monitor and print on paper. It does not affect how images output to a vinyl printer.

Choose 1, 4, 8 or 24 Bits per Pixel. The higher the Bits per Pixel the better the image displays.

Low Resolution results in faster screen redrawing. High Resolution displays the original image not scaled (all dots are shown on the screen). It offers a more accurate appearance but it increases file size and slows down screen redrawing. See the topic: Changing the resolution for details.

Turn on Dim All Images so that images in your design display at a percentage of their originally intensity, allowing you to see the digitizing and detail editing tools. The default intensity is 50%. See the topic: Dimming an image for details.

In Dim Intensity, enter a percentage at which to display dimmed images.

Temporary Images Files for Embedded Images

OMEGA creates temporary image files to allow GSPPlot – Quick Plot to maintain access to embedded image files even after Composer is closed. Set the time period (in days) after which the files will be deleted. The files are cleared when Composer is next launched only if there are no other instances of Composer running.

To immediately delete the temporary embedded image files, click the Clear Now button. Any temporary files that are not currently being used are deleted.

Detail tab

The Detail tab of the Options dialog box contains settings for Detail Edit. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults.

Turn on Retain to maintain a closed object when moving a segment. Turn off Retain to create two open shapes when moving a segment.

Chapter 5:

Setting Up Composer's Work Surface

Turn on Use Select Menu's All/Cancel/Reverse to activate Composer's Select menu shortcuts within Detail Edit, i.e. F2, Select All, F3, Cancel Selection, F4, Reverse Select.

Turn on Warning Beeps to activate audible warning beeps.

Turn on When Joining, Copy Partially Selected Shapes (Via Menu Command “Join Selected Segments J” Only) to automatically copy detail selected segments and place them back on top of the original segments. This functionality originally existed in GRAPHIX ADVANTAGE but often creates open shapes without user knowledge.

Turn on Show Align Points Dialog to automatically display the Align Points dialog box, which provides controls for placement of points and alignment of curve control points.

Turn on Show Break Apart Dialog to automatically display the Break Apart dialog box, which provides a warning that each segment of each shape will become a separate shape.

Turn on Show Find Intersections Dialog to automatically display the Find Intersection dialog box, which provides controls for retaining closed shapes.

Selection Rectangle Handle Size (in) (0): Use the slider control or enter a value between

0.040" and 0.200" to alter the on-screen size of the Detail Edit Selection Rectangle handle. The shortcut key is 0.

Point Size (1): Use the slider control or enter a value between 0.040" and 0.200" to alter the size of the Detail Edit point. The shortcut key is 1.

Printer Point Size (in) (2): Use the slider control or enter a value between 0.025" and 0.200" to alter the size of the symbols that are used to draw points on a printer. The shortcut key is 2.

Selection Distance (in) (3): Use the slider control or enter a value between 0.025" and 0.200" for the greatest distance that the mouse is from a point of line segment to select it. The shortcut key is 3.

Snap to Distance (in) (4): Use the slider control or enter a value between 0.025" and 0.333" for the greatest distance an object can be from a guideline or grid point and still snap to it. The shortcut key is 4.

Super Nudge Distance (Shift) (in) (5): Use the slider control or enter a value between 0.001" and 0.333" for the distance an object is moved when using the keyboard Shift + arrow keys. (Normal Nudge distance is 1 pixel.) The shortcut key is 5.

Join Distance, for Join Selected J (in) (6): Use the slider control or enter a value between

0.100" and 1200.00" for the greatest distance two points can be apart and be joined with the Join selected command. The shortcut key is 6.

Duplicate Point Distance (in) (7): Use the slider controls or enter a value between 0.000001" and 0.020000" to set the maximum distance you can be away from another point, and still be considered the same point. The shortcut key is 7.

Paste/Duplicate Offset Distance (in) (8): Use the slider control or enter a value between 0 and 1200.00" for the distance that a pasted object is offset from the original. A 0 setting results in objects being placed directly on top of each other. The shortcut key is 8.

Minimum Move Distance (in) (9): Use the slider control or enter a value between 0 and

0.260" for the distance a mouse moves from the original button down location before the move actually begins. The shortcut key is 9.

Text tab

The Text tab of the Options dialog box contains settings for Fonts and Layout for text. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults.

Font group box

Default Font for Enter/Edit Text Box

Choose a default font to use in the Enter/Edit Text Box from the drop down list. Also enter a default height and slant.

Show Most Recently Used Fonts

Turn on Show Most Recently Used Fonts to show the last chosen fonts at the top of the Selection Font combo box in TOWS. Turn off this option if you do not wish to show the fonts at the top of the list. See the topic: Choosing a font in TOWS for details.

Show Font not in Font List Warning

Turn on Show Font not in Font List Warning to display a warning if the active font in TOWS is no longer available because of the current font filter settings. See the topic: Limiting and displaying available font choices in TOWS for details.

Layout

Choose the layout defaults for justification of text as you enter it. See the topic: Entering and justifying text in lines or columns for details.

♦ Justification – Choose Center, Left, or Right for layout when entering text. ♦ Horizontal – Choose Left to Right or Right to Left for layout when entering text. ♦ Vertical – Choose Top to Bottom or Bottom to Top for layout when entering text.

Line Rotation

Enter a default angle of rotation to apply to text as it is entered. The angle must be between 80 and 180 degrees.

Chapter 5:

Setting Up Composer's Work Surface

Palettes tab

The Palettes tab of the Options dialog box contains settings for background, vinyl and process palettes. Click Apply to confirm the settings. Click OK to return to Gerber factory defaults. See the topic: Setting the default for background and vinyl for details.

Default Vinyl Color

Choose a default vinyl palette to display when opening a new file in Composer and then choose a default color from that palette. The chosen color becomes the vinyl of the Current Style, which is assigned to all newly created objects. See the topic: Setting the current style for details.

Turn on Use this vinyl as a default on File Open to use the default vinyl when opening existing plot (PLT) files.

Default Background Color

Choose a default vinyl palette and then choose a default color from that palette for the background color. The chosen color displays as the Composer background.

Vinyl Palette

Choose a default vinyl palette to display along the bottom of the Composer work surface. If you have Use Default Monument Settings on Start turned on in the General tab of Tools > Options, the vinyl palette 220 – GA3.5 Colors is always used. You can not change the vinyl palette when Use Default Monument Settings is active.

Process Palette

Choose a default process palette to display on the Composer work surface from the drop down list. You can select from standard Gerber palettes or any custom process palettes that you have created.

Note: If you have the OMEGA Monument option, the default Monument settings are loaded on start up. When Use Default Monument Settings on Start is turned on (on the General tab) the default vinyl palette is 220 – GA3.5. You can change the Default Vinyl Color and the Default Background Color, but you must choose a color within this palette. If you attempt to change the Default Palette, OMEGA automatically returns to the Monument settings, even if you click Preference.

Chapter 6: Using Layers

When working with complex signs it is often difficult to organize and control all of the objects on the work surface. Small objects can get “lost” behind larger objects. Selecting and editing objects can become cumbersome as the number of shapes increases. Layers provide a way to manage complicated jobs.

You can choose to work with layers. Working with layers is like drawing on overlapping pages in a book where job elements are separated onto their own pages. Each layer can be selected, displayed, or locked to prevent further design changes. Layers can be rearranged in front or behind other layers, and output separately. For example, all images can be placed on one layer and all text can be placed on another layer. Each of these layers can then be treated independently while remaining part of the same job.

Using layers, you can create a single job that contains variations of a design in one PLT file. For instance, you can keep the designs for building, entrance, and vehicle signage in the same file on different layers.

Vinyl only jobs can now be designed more easily using layers and the capabilities of OMEGA

2.5 or higher:

♦ To Front and To Back commands allow each vinyl-only job element to be placed where

they need to be.

♦ Stacking order permits jobs with multiple vinyls to display correctly when objects

overlap. The same vinyl color can be in front and in back of other objects. (Previously Composer attempted to put smallest shapes in front of larger shapes even if the final order was not correct. In addition, multiple shapes of the same vinyl color could not be both in front and behind other objects.)

♦ When using layers, the same vinyl color can reside on different layers, offering display

and stacking flexibility.

♦ Vinyl only text combines automatically. ♦ Vinyl-only objects of the same color such as shapes or imported objects must be

combined to knock one shape from another.

Tip: If printed shapes are added to a vinyl only job, OMEGA displays in a Print Order mode rather than a Vinyl Only mode. Vinyl-only objects will knock out automatically, but you loose the To Front and To Back stacking flexibility mentioned previously.

Chapter 6:

Using Layers

Rules for designing with layers

♦ The layers capability is turned OFF by default. To use layers, you must turn on the

Layer Manager in View > Layer Manager. You can change the default setting on the Tools > Options > View tab.

Note: If you open a plot file with layers and Layer Manager is turned off, the layers still exist even though you can not see them. If you encounter difficulty viewing or selecting objects turn on Layer Manager using the View menu.

♦ Each new Composer job opens with one layer known as the Layer 1. ♦ Jobs designed in previous versions of OMEGA open onto a single layer which has the

same name as the plot file.

♦ Click the New Layer button on the Layer Manager or select New Layer in the Layer

Menu to add a layer to the job.

♦ The top layer is the foremost layer in the job and is in front of all other layers. ♦ To design on a particular layer, select the layer to make it active. ♦ It is helpful to position a design at the 0,0 point on the Composer work surface so that

it is also positioned at that location in GSPPlot. To move to the 0,0 location, Select All and click Shape > Absolute Move. Enter a 0 in the New Location X, Y box and click OK to move the lower left corner of the selected objects to 0,0 on the rulers.

♦ Rearrange layers by dragging the layer above (in front) or below (in back) other layers

in the Layer Tree.

♦ Hide or display layers by clicking the eye icon or choosing the Show or Hide

commands in the right-click menu. Hidden layers can still be output. Show or Hide all layers using the Show All Layers or Hide All Layers commands in the Layer Menu.

♦ Lock or unlock layers by clicking the lock icon or by choosing the Lock or Unlock

commands in the right-click menu. When layers are locked, you cannot select or edit

objects on that layer. Lock or unlock all layers simultaneously using the Lock All Layers or Unlock All Layers commands in the Layers Menu.

♦ Expand or collapse layers in the Layer Tree by clicking the +/- icon. Use the Expand

All Layers or Collapse All Layers options from the Layer Menu to open or control all layers at once.

♦ To dim a layer, right-click the layer and choose a dim percentage. ♦ To rename a layer, choose Rename Layer from the Layer Menu or select an already

highlighted layer and type a new name.

♦ To delete a layer, choose Delete layer from the Layer Menu or select a layer and press

Delete on the keyboard.

♦ Merge layers into a single layer using the Merge Selected Layers or Merge All Layers

commands in Layer Menu. Layers that are hidden or locked cannot be merged.

♦ Layers can be grouped when merging by turning on Group Layers when Merging in

the Layer Menu.

♦ Copy layers using the Duplicate layer command in the Layer Menu. ♦ When importing maintain existing layers or flatten them to a single layer by choosing

the option in the Import dialog box.

Rules for modifying objects on a layer

♦ Within each layer (or in a single layer job) objects are also organized in stacking order.

An object at the top of the stack is in front of other objects below it in the stack.

♦ Select the object on the work surface and it is selected on the Layer Tree. Select objects

by clicking the name in the Layer Tree and it is automatically selected on the work surface.

♦ Use Shift+click and Ctrl+click to select multiple objects. ♦ Click a layer and then choose Select All in the right-click menu to select all objects on

that layer.

♦ Rearrange objects within a layer by dragging them above (in front) or below (in back)

other objects.

♦ Use the Arrange commands: In Front of, In Back of, To Front, To Back, Front 1, or Back

1 to reorder objects. These commands are found in the Arrange menu or Arrange toolbar, or by right-clicking an object and displaying the context menu.

♦ Move objects onto a new layer by dragging them to the new layer or cutting and

pasting them to a new layer. Use the Paste Back In Front or Paste Back In Back commands in the right-click context menu for more control.

♦ When creating a clipping path, objects in the clipping set must be on the same layer.

Chapter 6:

Using Layers

♦ Multiple objects on different layers cannot have shape effects such as: Outline,

Shadow, Distortion, Warp, or other Effects applied to them. Either move objects to the same layer or handle each layer separately.

♦ Smart Edits cannot be performed if original objects and results are moved to different

layers. For example, if text is shadowed on Layer 1 and then the shadow is moved to a different layer, the shadow can no longer be smart edited.

Using the Layer Manager

The Layer Manager is a powerful tool that allows you to create or modify layers. The Layer Manager includes commands to create, hide, dim, lock, copy, merge or delete layers. You can reorganize layers and the objects that they contain by dragging and dropping them in the Layer Manager window. You can also select, move, copy, and delete objects contained on layers using the Layer Manager.

The Layer Manager can be floating or docked on the Composer work surface. When docked, you can change the width of the window by clicking and dragging the divider bar between the window and the Composer work surface. When floating, you can resize the Layer Manager by clicking and dragging any side or corner. Within the Layer Manager window is the Layer Tree control and the Notes text box.

Layer Tree

The Layers Tree displays all of a job's layers and their contents. The Layers are shown in stacking order with the topmost layer at the top of the tree. Layers i descending order in the tree reflect the stacking (front to back) order of the job. In the illustration, Layer 2 is the top layer and in front of the layers below it. Layer 1 is the bottom layer and behind the layers above it in the Layer Tree. The current layer is indicated above the Layer Tree.

Each layer can be expanded to show its contents or collapsed to hide the contents by using the + and – buttons. To expand or collapse all layers, use the Expand All or Collapse All commands in the Layer Menu.

Layers can be visible or hidden by clicking on the eye icon. Hiding artwork allows you to concentrate on a portion of a job without other objects interfering with it. You can also show/hide a layer by selecting it and choosing the Hide or Show command from the right-click menu. To hide or make all layers visible use the Show All or Hide All commands in the Layer Menu. Hidden objects or layers can not be selected.

Layers can be locked and unlocked by clicking the lock icon. When a layer is locked you cannot select or edit objects on the layer. Locking a layer is similar to locking all objects in the layer individually. You can also unlock/lock a layer by selecting it and choosing the Lock or Unlock command from the right-click menu. To lock or unlock all layers use the Lock All or Unlock All comma the Layer Menu. Select all locke

d layers using the Select Locked Layers

nds in

command in the Layer Menu.

Displaying object properties in t

The Layer Tree now displays detaile

d object properties for each item in the tree including vinyl, fill, and stroke information. This information can viewed by holding the mouse over an object in the laye

r tree which causes a yellow tip box to display the entire line of information.

Alternately you can ex

pand the width of the Layer Manager to accommodate the full width of the line.

Layer Tree

Object Properties display from left to right in the following order:

♦ Object type: Image – file name, Shape, or Text – first ten letters ♦ Vinyl type: Color and vinyl name ♦ Fill type: No fill, Clear fill, or Solid – color name and tint percentage if spot or

Spectratone, Linear – color names and tint percentages if spot or Spectratone, or Radial – color names

Stroke type: No stroke, Clear stroke, or Solid – color name and tint percentages if

♦

spot of Spectratone

and tint percentages if spot or Spectratone

Chapter 6:

Using Layers

Tip: Turning on Object Prope

rties can reduce the performance of Composer as the Layer Tree is refreshed with object information. Turning off Object Properties can improve the Composer's performance.

Selecting layers and objects

Click a layer or object name to select it. Use the Windows Shift+click and Ctrl+click to select multiple layers or objects. If you select one object of a group or combine, all obje members of the group or combine are selected in the layer tree.

When selected, the layer name displays in the Current Active Layer color. The default color is blue and can be changed on the General tab of the Tools > Options dialog box.

On the Layout tab of the Tools > Options dialog box you can alter how the current layer is selected. Clear the Select Object's Layer when Object Selected option to be able to select an object without altering the current active layer. When this option is turned off, you must click a layer name to make it the active layer.

cts that are

When the Select Object's Layer when Object Selected option is turned on (this is the default) you have the option to choose which layer becomes the active layer when marquee selecting objects on the work surface, or when selecting objects using the Select menu. By default, the layer that contains front-most object in the stacking order becomes the current layer. You can alter how the current layer is chosen on the Layout tab of the Tools > Options dialog box.

When objects are selected or deselected in the Layer Tree they are also selected or deselected on the Composer work surface (and vice versa). When selected, an object name is highlighted in the Layer Tree and the object becomes selected on the work surface.

Select All

The Select All command in the right-click context menu provides an easy way to select all of the objects on a particular layer. Any prior selection is cleared. If one or more objects on the layer are locked, all objects are selected but surrounded by X handles to indicate that there is a locked object in the selection.

Select Locked Layers

Select Locked Layers selects all layers that are locked in the job. You can then hide, merge, or delete them. When there are no locked layers in the job, the command is unavailable.

Locating objects and layers in the Layer Tree

Use the Locate Object and Locate Layers command to quickly find an object or layer in the Layer Tree. Select and right-click an object on the work surface to display the context menu. Choose the Locate object or Locate Layer command. The item or layer on which it is located is scrolled into view o re than one object is selected then the front- stacking order is located.

on the Layer Tree and blinks f r several seconds. If mo

most object in the

Chapter 6:

Using Layers

Changing the order of objects and layers in a job

The stacking order of objects and layers in a job corresponds with the order of the objects in the Layer Tree. You can reorder the layers or objects on layers in several ways:

Layer Tree

Click and drag objects or layers to their new object to a new position above it in the Layer Tree positions it in front of the target layer or object in the job. Dragging a layer or object to a new position below it in the Layer Tree positions it behind the target layer or object in the job.

Right-click context menu

Reorder objects on a layer by right-clicking the object and selecting a command from the context menu. The context menu command can apply to multiple objects or layers that are selected.

position in the Layer Tree. Dragging a layer or

Arrange menu commands/Arrange toolbar

Reorder objects on a layer using the Arrange menu commands or the Arrange toolbar.

To Front, To Back, Front 1, and Back 1 commands only work on the layer on which the object resides.

The In Front Of or In Back Of commands in the Arrange menu allows you to move the selected object to a different location on the work surface. Selecting one of the commands turns the cursor into a target arrow. Click a target object on the work surface and the selected object is moved in front of or in back of it in the stacking order. To escape the command without moving an object, reselect the command from the Arrange menu to clear the check mark, press the Esc key, or right click and select End In Front of (or In Back of) command.

Paste Back in Front Of or Paste Back in Back Of

After cutting or copying an object you can choose to paste it back in the same position on the work surface either in front or in back of any object in the stacking order. Paste Back in Front Of and Back Of is available when you select and object in the L

Paste Back in ayer Tree and

right click to display the context menu.

Moving Smart Edit objects to a different layer

When moving objects that result from any smart edit operation such as text blocks, combines, groups, warp or distortion results to a different layer, you must select all objects involved to

Chapter 6:

Using Layers

edit results you will be warned that the Smart Edit links will be broken.

retain the Smart Edit attributes. If you attempt to move partial blocks of text or partial smart

When creating a job using a series of Smart Edit operations, moving partial results to a different layer results in warnings. Take note of the following example:

This border consisting of six rectangles was generated using Repeats and Merge. The three rectangles on the left were modified using Distortion. The three rectangles on the right were modified using Warp.

If you attempt to move only one of the rectangles to a different layer, the following warning displays:

If you attempt to move all of the results of the Distortion to a different layer, you will maintain only the most recent Smart Edit connection (in this case – Distortion). The connection to Repeats/Merge Smart Edit is severed. The following warning displays:

Moving combines and layers

Combines must reside on the same layer.

Combined shapes create this object.

If you attempt to move part of a combined group to a differe combine

and the following warning displays.

nt layer you will break the

Turning warnings on and off

The layers warning can be reactivated (or deactivated) on the L default they are turned on.

boxes can be turned off using the checkbox in each warning box. They

ayout tab of the Tools > Options dialog box. By

Manipulating objects using the Layer Tree context menu

You can manipulate an object via the Layer Tree instead of using the work surface. Select an object in the Layer Tree and right click to display the context menu. Select Shape and choose one of the Shape menu commands including: rotate, size, move, slant, and flip.

You can also Smart Edit an object by double clicking it in the Layer Tree to open the o function or Repe

used to create the object, such as the Border, Warp,

ats dialog box.

pen the dialog box of the last

Chapter 6:

Using Layers

Dimming layers

Dimming objects on a layer makes it easier to see objects in f it on the work surface. Layers and their objects can be dimmed t preset dim levels b level. The Dim menu is accessed by selecting a layer and then right clicking.

To dim a layer, choose a preset percentage or the Default dim level from the cascading menu.

Tip: You can set the User Default dim level via the Layout tab of the Tools > Options dialog box. The factory set Default Dim Intensity is 50% and any percentage between 0 and 100% can be entered.

etween 10 and 90% or to a preset Default dim

ront of

Notes

The Notes portion of the window provides an area to enter information about the selected layer. The maximum number of characters is 511.

Merging notes

When layers are merged, the notes are merged and the top layer's notes appear first in the window. If the combined notes exceed 511 characters, any notes beyond th maximum limit are discarded.

Using the Layer M

At the top of the Layer Manager is the Layer Menu flyout button which displays the Layer Menu. The menu contains many commands associated with layers.

enu

New Layer command

Creates a new layer at the top of layer is named Layer # where # i

the stacking order and in front of all existing layers. The

s the next unused layer number. The new layer automatically

becomes the active layer.

You can also create a new layer by clicking the New Layer button at the top of the Layer Manager.

Delete Layer command

Deletes the currently selected layer. The layer immediately above the deleted layer becomes the active layer.

You can also delete a selected layer by pressing the Delete key on the keyboard.

Rename Layer command

Allows you to rename the current layer to a unique name up to 63 characters long. You can also select an already selected layer to put it in rename mode.

Merge Selected Layers command

Merges the objects on the selected layers into the last selected layer. The stacking order within each layer remains the same, but the overall stacking order may change if the layers were not adjacent before the merge. The screen is redrawn to reflect the new stacking order.

Merge All Layers command

Merges all layers hidden or locked cannot be merged and you will see the following message:

into the top layer. The stacking order remains the same. Layers that are

Chapter 6:

Using Layers

Duplicate Layer command

Creates a copy of the selected layer and inserts it in front of (on top of) the original layer. The copied layer is named Layer X Copy (followed by a number is there is already a copy of the

Copy, Layer 1-2 Copy). Objects on the new layer are offset slightly from the layer, i.e. Layer 1

originals for easy identification. The copied layer becomes the active layer.

This copy offset distance is set in the Detail tab of the Tools > Options dialog box using the Paste/Duplicate Offset Distance control. The default setting is 0.150 inches.

Lock All Layers/Unlock All Layers

Lock All Layers simultaneously locks all layers in the job. Unlock All Layers unlocks all layers in the job.

Hide All Layers/Show

All Layers

Hide All Layers simultaneously hides all layers in the job. Hidden layers can still be output. Show All Layers simultaneously displays all layers and their objects

Expand All Layers/Collapse All Layers

Expand All Layers displays all objects on all layers. Collapse All Layers hides the list of objects on all layers so that only the layer names display.

Edit All Layers

Edit All Layers is turned on by default. When active, you can select or edit objects on any layer. When this option is turned off, you can only select or edit objects on the active layer.

You can deactivate/activate this option by clicking the Edit All button at the top of the Layer Manager. Change the default setting on the Layout tab of the Tools > Options dialog box.

Grouping objects when merging

Objects on a layer can be automatically grouped before layers are merged. Grouping

Layers when Merging is controlled on the Layout tab of the Tools > Options dialog box. By default this option is turned off and objects are not grouped when layers are merged.

Object

Object P Properties dialog box where you can choose

Properties…

roperties opens the Layer Tree Object

what color information to display including: vinyl, fill, and stroke.

Chapter 6:

Using Layers

Print Order and Layers Overview

The addition of layers to Composer provides new ways to organize, design, and view your job. You can choose to work with multiple layers or to work on a single layer as done in previous versions using layers in GSPPlot. If a job is designed with layers in Composer, it can be output b layers or without layers (flattened or merged) in GSPPlot.

There are several ways to design and output with layers in OMEGA:

1 Design on a single layer in Composer, and output as a single layer from GSPPlot.

If jobs are done in this manner, the design, print order, and output will be very similar to previous versions of OMEGA. Composer and GSPPlot defaults are set f design on a

2 Design with layers in Composer and output as a single layer from GSPPlot.

This

method allows for design advantages of layers in Composer but traditional ou from GSPPlot. See below for a listing of lo flattened to a single layer for output.

3 Design with layers in Composer and output by layers in GSPPlot. When

outputting by layers from GSPPlot, each layer behaves as a single job. See additional in

formation in “Understanding Print Order in GSPPlot” later in this document.

of OMEGA. You can choose to design with layers in Composer and output

single layer allowing for an easy transition into the new layer capability.

tput

cations where layers can be merged or

Layered jobs can be flattened or merged in Composer:

1 ers from the Layer menu. The job will th

Composer you can dynamically switch between layered and flattened print order

In Composer, choose Merge All Lay en reside

a single layer. Once layers are merged in this manner the job cannot be ou

yers.

tput by on

2 In

ing the Output By Layer checkbox in the Print/Output Order dialog box. Any

changes that were made to the print order before switching to a different typ

e are

discarded.

Layered jobs can be flattened or merged in GSPPlot:

1 The GSPPlot Print Options dialog box also has an Output By Layers checkbo

the Output by Layer checkbox is turned on, GSPPlot uses a layered Print Ord job has layers). When this option is turned off, the Print Order is flattened to a single layer. Any manual changes to the Print Order that were made in Composer are discarded.

2 In GSPPlot, the Select Colors dialog box now includes layer control and information.

You can dynamically switch between a layered or flattened Print Order using the Output by Layers checkbox. You can also select which layers to output or merge selected layers from this dialog box.

x. When

er (if the

Under

A vinyl co

standing Print Order in Composer

lor can be assigned to objects on different layers and each layer may have different foils assigned to that vinyl. You could also have the same foils in a different stacking a different layer.

The Print

/Output Order dialog box in Composer offers the flexibility of working wit layered or flattened Print Order if your job has layers. The default is a flattened (singl Print Order. Any manua

l changes that were made to the Print Order before switching

different type are discarded. Click Arrange > Print/Output Order to open the dialog

Because each layer behaves like a separate job, each layer has a separate Print Order w can be rea Order dia

rranged. Foils cannot be moved from one layer to another in the Print/Out

log box.

The Rebuild button in the Print/Output Order dialog box returns the foil order f the selected vinyl to the original st previous changes are

acking (front to back) order. Any

discarded.

Click a vinyl to display the list

gned to it.

assi

Rearrange the

dragging and

dropping or

using the Up or

n buttons.

Dow

of foils

vinyl by

Flat Print/Output Order

order on

e layer)

to a

box.

put

Clear the Output by Layer check fl Order

Rearrange the foils by drag and dropping in the list or by selecting a foil and using the Up or Down buttons.

Clic returns the Pr Order for the selected vinyl to the original stacking orde Unsele are not affected.

hich

box to

atten the Print

ging

king Rebuild

int

cted vinyls

Chapter 6:

Using Layers

oose which

laye

r to display

om the drop

down list.

Cli

ck a vinyl to

disp

lay the list

of foils

assign

ed to it.

Rearrange th

dragging and

dropping or

using the Up or

Down buttons.

vinyl b

e y

Layered Print/Output Order

When working with Print Order in Composer consider the following:

♦ You can access the Print/Output Order dialog box (via Arrange > Print/Output

Order) even if there are no objects in a job. This allows you to set Print Order preferences.

Turn on the Output by Layer checkbox to use a layered Order.

earrange the foils by d and droppi the list or by selecting a foil and using the Up or Down buttons.

Clicking R returns the Print Order for the

selected vinyl on the selected layer to the

original stacking order. Unselected vinyls and layers are not affected.

ragging

ng in

ebuild

♦ New files created in Composer are based on the type of Print Order preferenced in the

Print/Output Order dialog box. The factory default Print Order is flattened (single layer). The Output by Layer checkbox is not checked.

♦ Legacy files open with a flattened Print Order so that you can work with them without

modification.

♦ When

using layered Print Order, a vinyl color can appear only once per layer but more

than once in the job's print order if it is assigned to objects on different layers

When flattening the Print Order of a job that has layers, each vinyl color appears onc

♦ e

with all of its associated foils regardless of the o

♦ The Rebuild button

selected vinyl to the

in the Print/Output Order dialog box returns the foil order of the original stacking (front to back) order. Previous changes are

riginal layer assignments.

discarded.

♦ If you have a layered job and use a flattened Print

Order, OMEGA warns you to check your Pr

int Order if you rearrange layers. Changing the order of layers will affect the stacking order of the objects and may affect your print order.

The Preference button in the Print/Output Order dialog box saves the c

♦ urrent Print

Order settings (flat or layered) and the size of the

icons (large or small).

Outputting by layers to GSPPlot

You can output one or more layers to GSPPlot using the Output by Layers command in the File menu of Composer. Locked or hidden layers are indicated by an asterisk and are automatically deselected on the Output by Layer dialog box. You can choose to send these layers to be output by checking the box preceding the layer name in the layer tree.

To output by layers to GSPPlot

1 Output a job with layers using File > Output by Layer. The Output by Layer dialog

box displays.

2 Turn o

n the layers or foils you wish to output to GSPPlot and turn off the ones you

do not wish

3 Click OK to send the chosen layers to GSPPlot.

to send. Turning off a layer, turns off the foils and vinyls on the layer.

Importing layers

When importing jobs with layers you can choose to maintain or flatten the layers int layer by choosing the option in the Import dialog box. Jobs created with OMEGA versions prior to 2.5 open with a single layer called Layer 1.

OMEGA can recognize some Adobe Illustrator, Corel Draw, or Encapsulated Postscript files with cut contour layers. During import you can define these layer names and maintain the cut contour information in OMEGA.

Maintaining or flattening layers when importing

When importing files you can choose to maintain any existing layers or flatten layers into a single layer.

o one

Chapter 6:

Using Layers

Keep Layers

Flatten La

ers

Keep layers

Turn on the Keep Layers checkbox in the Import or Open dialog boxes to import any existing layers into Compo the name is appended with the next sequential number, i.e., Candy H

ser. If an imported layer has the same name as a layer in the Composer job,

eart.tif-2, Candy

Heart.tif-3, Candy Heart.tif-4.

Flatten layers

Clear the Keep Layers checkbox if you do not want to maintain the layers that exist in the imported file. Flatten layers becomes active and you have the option of importing the fil onto a new layer or onto the current layer. The current layer must be unlocked and visib

le (not hidden). If you choose New Layer, the file imports onto a new layer which is given the same name as the imported file (followed by a number if that name already exists.)

Importing files with cut layers

Composer can recognize existing layers and cut information embedded in some Adobe Illustrator (AI), Encapsulated Postscript (EPS), and Corel Draw (CMX) files. When importin the AI or CMX Import Options dialog box displays. Choose the Layer/C

ut Options tab to

modify the import settings.

Layer Options

Turn on Ignore Empty Layers to discard empty layers upon import.

Contour Cut Options

Depending on the software that creates the file to be imported, contour cut layers are defined by layer name, layer color or fill/stroke attributes. You can turn on the contour cut definitions and

For A

I or EPS files the contour cut layer name in OMEGA must be the same as the name that was use ust be defined in the Impo definitio

For C import t t objects into OMEGA

d in Adobe Illustrator. The fill that defines the cut shapes m

rt Options dialog box. If you enter a new name for the Contour Cut layer or new color

n the information is maintained in the dialog box until you change it.

MX files, create cut objects with no fill or strokes. Turn on No fill/stroke = Cut to

hese cu

Tip: Click Preference to save the Layer/Cut Options to be the de

alter the layer names, RGB, or CMYK color to match the imported file.

fault settings.

Chapter 6:

Using Layers

Creatin

To ator, you must create a layer called CutContour that will

g a Cut Contour in Adobe Illustrator

define cut objects in Adobe Illustr contain the cut shapes. The shapes must be filled with a spot color called CutContour. The default color in OMEGA is white (CMYK: 0,0,0

,0 or RGB: 255,255,255).

To create a Cut Contour in Adobe Illustrator

uble click the layer to open the Layer

1 Click New Layer to create a new layer. Do

Options dialog box.

2 Enter CutContour as the layer name and click OK.

3 Create a spot color that will be used to fill the cut shapes. Click New Swatch to create

a new swatch. Double click the swatch to open the Swatch Options dialog box.

4 Name the swatch CutContour and choose Spot Color in Color Type. Set the color to

white in CMYK: 0,0,0,0 and in RGB: 255,255,255. Click OK.

5 Create a copy of the objects that will be cut and place them on the CutContour layer.

To cut all objects, select all objects and duplicate them on the CutContour layer.

6 Go to the CutContour layer and fill the cut objects using the new CutContour spot

color.

7 Save the file as Adobe Illustrator version 7 or an EPS file.

8 Import the AI/EPS file into OMEGA using the AI – (GSP) Adobe Illustrator (AI) or

EPS – (GSP) Encapsulated Postscript File (EPS) filter. Turn on Keep Layers.

9 On the Layer/Cut Options tab of the Import Options dialog box, turn on Contour

Cut Color Name and enter the name “contourcut”.

10 Turn on Cont

our Cut Color (RGB or CMYK) and enter the color definition that

matches the f

11 Click OK to import the file.

ill color defined in Adobe Illustrator.

Creating a Cut Contour in CorelDRAW

To define cuts in CorelDRAW, create cut objects that have no fill and no stroke.

To create a Cut Contour in CorelDRAW

1 Create a new layer to hold the cut objects.

2 On the new layer, copy or create the cut objects that do not have fills or strokes.

3 Save the file as a CMX 5.0/6.0 file.

4 Import the CMX file into OMEGA using the CMX – (GSP) CorelDraw Exchange

Metafile 5.0/6.0 filter. Turn on Keep Laye

5 On the Layer/Cut Options tab of the Import Options dialog box, turn on No

fill/stroke = Cut.

rs.

6 Click OK to import the file.

Chapter 7: Selecting the Elements of the Design

Selecting elements of the

There are several tools and commands Selecting objects with the Selection tool or the functions. Use the commands in the Selection menu as shortcuts to selecting some, none, or all of the design.

design

that can be used to select elements of the design.

Color Selection tool provides access to different

Selecting objects with the Selection tool

Use the Selection tool to select objects for editing or filling. Clicking a non-selected shape deselects any current selection and sets the selection to that shape. Clicking a selected shape toggles the handles between sizing handles and the rotate/slant handles. The last created shapes are always automatically selected. The exception is text created in TOWS.

A single click with the Selection tool on an individual object that is part of a group selects the entire g hat have been grouped using Arrange > Group.

roup as a unit. This includes lines of text, library shapes, and objects t

♦ Shift+click a deselected object to add it to the selection. ♦ Shift+click a selected object to remove it from the selection. ♦ When objects are grouped, Ctrl+click an object to temporarily ungroup it. ♦ Ctrl+Shift+click to select multiple objects to temporarily ungroup. ♦ Double-clicking a line of text to open the Enter/Edit Text dialog box. ♦ Double-click an object to open the dialog box of the last function used to create the

object, such as the Border, Polygon, or Repeats dialog box.

♦ Click an empty area of the work surface to deselect all.

Selecting objects using the Layer Manager

When objects are selected or deselected in the Layer Tree they also selected or deselected on the Composer work surface (and vice versa). When selected, an object name is highlighted in the Layer Tree and the object becomes selected on the work surface.

Chapter 7:

Selecting Elements of the Design

Selecting objects on the work surface with the Color Selection tool

Use the Color Selection tool to select combined objects. Click an object that has been combined and all objects combined with it are also selected.

Note: Objects are automatically combined when they are selected together and filled using the Assign Colors dialog box. You can also combine objects by selecting them and clicking Arrange > Combine.

Use the Color Selection tool to edit fill attributes of an object by double-clicking the object on the work surface to open the Assign Colors dialog box.

Reverse selecting objects

The Reverse command in the Select menu of Composer changes t Selected objects are deselected and unselected objects are selected.

he selection of all objects.

Selecting all objects

The All command in the Select menu selects all objects in the job at the same time ex objects that are locked or hidden. The objects are selected on

the work surface and in the

Layer Manager window.

Select All objects in a layer

The Select All command in the right-click context menu of the Layer Manager provides an easy way to select all of the objects on a particular layer. Any prior selection is cleared. If one or more objects on the layer are locked, all objects are selected but surrounded by X handles to indicate that there is a locked object in the selection.

cept for

116BCanceling all objects selected

The Cancel command in the Select menu cancels all objects that are selected. You can also click an empty area of the work surface or Layer Manager window to deselect all.

71BSelecting Locked Objects

Use the command Select > Locked Objects to select any object that has been locked on the Composer work surface with the Layout > Lock Object command. If there are locked objects in the job, this command is unavailable.

72BSelecting Clipping Path objects

The Select > Clipping Paths command displays the Select Clipping Paths dialog box where you can choose part or all of the clipping path objects. See the topic: “Selecting clipping path items via the Select menu” for details.

73BSelecting stacked objects on the work surface

The Reject command in the Select menu lets you select an object next to the currently-selected object. When a job has multiple objects and one is selected, clicking Select > Reject (or pressing Backspace) deselects the selected object and selects the next physically closest object. It is most useful for separating and selecting stacked objects.

Tip: It may be easiest to select stacked objects using the Layer Manager.

Chapter 7:

Selecting Elements of the Design

Book Three: Creating the Basic Design Text and Shapes

This book presents OMEGA solutions for basic job design tasks. Whether you need information about something simple, like drawing a box, or something more complicated, such as working with connected fonts and special characters, the chapters in this book tell you what you need to know. In addition, there are many time and money-saving tips included with the information. This book is divided into the following chapters:

Chapter 8: All About Text, from basic text entry through adding special characters to arranging the text in the design, this chapter tells all you need to know about OMEGA’s text capabilities.

Chapter 9: Creating Shapes, introduces you to the Construction toolbar for drawing specific shapes and the Line tool for freehand drawing.

Chapter 10: Sizing, Slanting, Flipping, and Rotating, shows you how to manipulate part or all of your design to make the job special for your customer.

Chapter 11: Grouping, Moving, Justifying, and Spacing, deals with arranging more than one object in the job.

Chapter 12: Measuring and Dimensioning includes Measure Mode, using saved measurements, and Dimensioning, which can be used to provide positional instruction for the installation of sign components.

Chapter 8: All About Text

Entering text

You can enter text for the job using three methods - directly on the screen using Text on the Work Surface (TOWS), in the Enter/Edit Text dialog box, or in the Enter/Edit Small Text dialog box (for text smaller than .25 inch (.635 cm or 18 points). To start one of the methods, click the corresponding button in the Text Mode toolbar. To open the toolbar, click and hold down on the Text tool in the toolbar.

TOWS Enter/Edit Text Enter/Edit Small Text

Note: If you make a mistake when entering text, backspace over the error and retype. To change a large amount of text, highlight it and retype the new text.

To enter text in TOWS

1 Click the TOWS tool to open the TOWS toolbar at the top of the work surface. The

TOWS tool bar is movable and dockable.

2 To open the second line of the toolbar (with the Length text box and other controls),

click the arrows at the right end of the first line.

3 Choose the font, size, slant, and justification.

4 Click on the work surface to position the cursor where you want to enter the text.

5 Type the text.

Tip: When the TOWS tool is selected, the Esc key switches the tool to the Pointer tool.

Tip: Many of the TOWS functions are available from a right-click context menu. Some functions require the text to be highlighted with the TOWS tool.

Chapter 8:

All About Text

To enter text in the Enter/Edit Text dialog box

1 Click the Enter/Edit Text tool. The cursor changes to a cross hair with the text symbol.

2 Position and click the cross hair where you want the text to appear on the work

surface. The Enter/Edit Text dialog box opens.

3 Choose the font, size, slant, and justification.

4 Type the text in the Text box.

5 Click F11 to return to the work surface.

Entering Small Text

The Enter/Edit Small Text dialog box allows you to enter text that is smaller than 0.25 inch (0.635 cm or 18 points). When entering the Small Text you can choose the Font, Size and Angle of Rotation. In addition, the Enter/Edit Small Text dialog box provides controls for line spacing, character spacing, and character width.

There are several types of fonts available in the Font dialog box of the Enter/Edit Small Text dialog box. Included in the list are bitmap fonts which have no icon before their name.

While you are not restricted in using these fonts, be aware that the fonts may not output correctly especially if you have manipulated them in some manner such as reversing them. When you choose one of these fonts, a warning displays that they may not output correctly.

Once the Small Text is created you can use any of the corner handles to resize it on the Composer work surface. Use the corner handles to resize the text while keeping the original proportions. Use the top/bottom and left/right handles to non-uniformly resize the selection (stretching or condensing the text).

Gerber OMEGA CP, OMEGA CS, OMEGA LS Reference Manual

Specifications and Main Features

Frequently Asked Questions

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