Sweet Home 3D is a free interior design software that helps you placing your furniture on a house 2D plan, with a 3D preview. Sweet Home 3D comes with 50 pieces of furniture, but you may also import some additional objects in Sweet Home 3D. To get more objects, visit this regularly updated object model page. Print, plan export with Copy/Paste. Sweet Home 3D provides a full help accessible from its Help > Sweet Home 3D Help menu. Sweet Home 3D free Interior Design software requires Java Runtime Environment. Get It Here.
This is really amazing, if you are looking for fonts, here’s a good start!
Are you interested in window graphics? Are you having issues with your graphic sticking to a window that is cold or has high moisture? Would you like to do more window graphics? gudy (r) Window by SEAL my be the solution.
Why Window Graphics?
No doubt, window graphics, especially repositionable, easily removable, window graphics is a major market. Why? Well, it’s one of the best ways for a retail shop to advertise a product, a special or some other important message.
Removable, repositionable window graphics is also a great way to attract attention to a shop through messages or graphics that change or move regularly.
We live in an age of information noise. In your most recent car ride, do you actually remember any one sign? Was there one graphic or message on a store that stood out? What about when you last walked the shopping mall? Do you remember a particularly cute or memorable sign on a window front? Probably not.
Since there are so many stores competing for your attention, static window signage is simply ignored or overlooked. However, what if that same retail shop were to change the window messaging once a month or more?
Overcoming Costs and Installation Issues
One issue with this advertising strategy may be cost. Another consideration may be the labor involved in installation and removal. gudy(r) Window by SEAL could be the answer to both.
gudy Window by SEAL is two adhesives in one. Let me explain, the process of using gudy Window is simple:
- Print your image on a substrate such as Neschen’s Satin 240 paper,
- Use your laminator to attached the permanent part of gudy to the image. gudy is used just like a laminating film,
- Trim your image,
- gudy window has an air release, textured, removable, repositionable adhesive on the side that will attach to the window.
- Supply the image to your customer
- They remove the protective liner and simply place on the window where they like and reposition as necessary, no special tolls needed!
So gudy window solves several issues. One it’s allows the folks making it to use paper media that is simply cheaper than more expensive window cling medias and easier to print to aswell. In addition, the signage can be installed by the store personnel, o the sign shop need not travel and spend time installing. Finally, its temporary and can be removed as easily as it’s installed!
Watch an Installation
To really see the easy with which this product is used, it may be better to watch a video of the process. Believe me, its worth the few minutes out of your day.
Get A Free Sample
Want a free sample of gudy window by SEAL to try for yourself? No problem, just use the link below and we’ll get one out to you as soon as possible.
How-To: Print On Fabric With An Inkjet Printer
By nataliezdrieu, 2010/07/07 @ 12:00 pm
By Andrew Lewis
Sometimes I have a great idea for a textile project, but I get put off by the thought of trawling through the seemingly endless bolts of fabric at the store. Then I think about the hassle of haggling over the price and ending up with three times as much fabric as I actually needed.
I decided to try printing my own fabric on an inkjet printer, and the results really exceeded my expectations. The advantages to this technique are tremendous, and I don’t have to haggle over prices any more.
I get my own designs, in the quantity I need, at a fraction of the price I would normally pay. The only drawback is that people keep asking me to print something special for them, too!
Printing your own fabric is not as difficult as it sounds, and you don’t need any special equipment to get started. The only secret to a successful print is to make sure that you have the right type of ink. Cheap printer cartridges and refills often use a dye-based ink that colors unpredictably on fabric, and may even wash out completely in water.
More expensive printer cartridges use pigment ink. Pigment ink is colorfast on many different surfaces, and is much more useful for printing on fabric.
Unfortunately, finding out if you have pigment ink or dye is not always straightforward. Your printer manual is a good place to start, and a physical examination of the ink should settle the matter beyond doubt. When the printer cartridges need changing, remove the yellow ink and place some on a piece of glass. Yellow pigment ink will be vibrant but opaque, while yellow dye will be transparent and almost brown in color.
Disclaimer: Not all printers can print on fabric, and putting fabric through your printer could damage it permanently. This is an experimental technique, and you should only try it if you understand that it involves an element of risk.
Printer that uses pigment inks
Step 1: Choose a light-colored, flat fabric, and cut it to the maximum width that your printer can handle. I have an Epson R1800, so it can take just over A3+ width of fabric. If your printer supports printing from a roll, then you can make the fabric as long as you like. Otherwise you will need to cut the fabric into sheets. If you are using a long length of fabric, you might want to roll it onto a cardboard tube to make it more manageable.
Step 2: Take a piece of card the same width as the fabric and fix the end of fabric to the card using sticky tape. The card works like a leader, giving the printer something to hold onto when you first start printing. I use a piece of card about 10″ long, and tape the fabric about 2″ in from the end. Once the card is through the printer, the weight will help keep the fabric running smoothly.
Step 3: Feed the card into the printer. On the Epson R1800, I use the roll feed to accept the paper, because the paper enters the printer at a more shallow angle and also because I can print unlimited lengths using the banner mode of the printer.
Step 4: Create your design on the computer, and then print it out. Keep a constant eye on the printer while it is running, and watch that the fabric doesn’t get creased or jam up the head. If you do have a problem, turn the printer off at the wall and clear the fabric manually before restoring power. Do not pull or move the fabric while it is still being printed. Slight changes in fabric tension can make your design distort, and increase the chance of creases forming.
Step 5: You will need to fiddle around with the brightness / color settings on your printer to get the design looking right. Each fabric is slightly different, and experimentation is absolutely necessary if you want to get good results.
Step 6: When the printing is finished, you should leave your new custom fabric to dry for about an hour. You might find that some of the ink comes off on your hands when you first handle the fabric. This is normal, and is nothing to worry about. Simply rinse the fabric in warm water to remove any excess pigment, and then hang it out to dry.
Step 7: When the fabric is dry, iron the reverse side at low temperature. From this point onwards, the fabric can be treated just like shop-bought fabric. I recommend using a cool wash and ironing on the reverse side where possible to help preserve the colors.
About the Author:
Andrew Lewis is a journalist, a maker, an ardent victophile, and the founder of the http://www.upcraft.it blog. He is currently studying for a PhD. in archaeometrics and 3D scanning at the University of Wolverhampton.
The potential for digital printing to influence the printed textile market has long been promised, yet only now, with the new dynamics on the demand generation side and the introduction of super high-speed digital printing systems with open ink configurations are fabrics printing companies able to meet new customer demands.
The global textile industry is worth approximately $1 trillion. Of that, InfoTrends estimates that the value of digitally printed textile garments, décor items, and industrial products is valued at $10.3 billion in 2012, or less than 1.5% of the total market. Although the digital textile printing market is small in comparison to the entire textile industry, it is growing rapidly. InfoTrends estimates that revenues from digital textile equipment and ink sales will grow at a compound annual growth rate (CAGR) of 30.7%. According to InfoTrends, some key trends that are driving this growth include risk mitigation from the retailer and brand community, and on the technology side the emergence of high quality, high spend inkjet print heads, the availability of moderately priced solutions that enable new market entrants, and open system inkjet print heads that allow for multiple ink suppliers resulting in lower ink prices.
Transforming Textile Printing covers digital printing of garments, décor, and industrial products. It covers:
-Digital textile printing hardware systems providers and inkjet print head manufacturers
-Digital textile printing ink suppliers and ink types
-Fibers and fabrics used in textile printing
-Sustainability in digital textile printing
This study is based on in-depth interviews with buyers and specifiers of digital textiles, digital textile print service providers, and suppliers to the digital textile printing industry (hardware suppliers, inkjet print head manufacturers, and systems integrators). InfoTrends conducted 67 interviews in all. The reach was global, with interviews primarily in China, India, the United States, and Italy, with a mix from some other European countries.
Epson unveils SureColor F-Series textile printer
|January 18, 2013 (United States Of America)|
Epson SureColor F6070 and F7070 Deliver Increased Performance, Reliability, and Profitability to Digital Textile Production
Epson America enters the dye-sublimation printing market for the first time with the announcement of two roll-fed dye-sublimation transfer printers – the 44-inch SureColor F6070 and the 64-inch SureColor F7070.
The new SureColor F-Series printers are not only the first dye sublimation models from Epson, but also the first in the market in which every component – from ink and print-head to printer chassis and bulk ink delivery system – is designed and manufactured by a single company. The result is a high-performance dye-sublimation transfer printing technology designed for exceptional reliability and industrial-level production with high quality output up to 1,440 x 720 dpi on all leading transfer papers.
The all-new SureColor F-Series models support an extensive range of applications, including efficient production of high-quality soft signage, sportswear, apparel, accessories, and customized promotional items such as mouse pads and ceramic mugs. Depending upon the application, both models can output at speeds up to 618 square feet per hour, and both feature an integral and easily refillable, high-capacity 1.5 liter bulk ink system.
Developed over a three-year period, Epson UltraChrome DS is a specially-formulated dye-sublimation ink, producing outstanding images with vibrant colors, intense blacks, sharp contours, and smooth gradations. This all-new ink technology exhibits excellent light- and wash-fastness, as well as resistance to alkaline and acid perspiration. Designed specifically for Epson UltraChrome DS ink technology, the newly optimized Epson MicroPiezo TFP print head ensures precise and repeatable performance as well as excellent longevity. The printers are designed to be used exclusively with the Epson UltraChrome DS inks1.
Epson is also introducing a new line of dye-sublimation transfer papers designed specifically for the SureColor F-Series. Epson low-tack adhesive is dedicated for high-end cut-and-sew fabric and apparel production, while the Epson standard multipurpose paper is ideal for a variety of transfer applications that use either soft or rigid surfaces, including t-shirts, mouse pads and ceramics. Both papers utilize a unique chemical coating that allows for heavier ink loads to provide superior color, and will be available in 328-foot rolls in both 44-inch and 64-inch widths.
“We are excited to provide the garment printing industry with industrial-level printers engineered from the ground up for true dye-sublimation production,” said Catalina Frank , product manager, Professional Imaging, Epson America , Inc. “Developed using our latest performance imaging technology, the SureColor F-Series allows our customers to take on more jobs and generate more profits, while reducing the number of printers needed for full production capacity.”
|More Textiles News – United States Of America…|
How to Make Backlit Signs Look Good Day and Night
In the beginning of sign making, backlit signs were hand painted with translucent paint that looked great when lit from the front by the sun as well as at night when lit from behind. The transition from hand-painting to cut vinyl made the process easier, and translucent vinyl worked well for both day and night settings. The downside to the vinyl was that it was and still is very expensive compared to other options. In addition to a high price tag, the vinyl could only produce spot color, so images and text had to be simple. Photos, gradients and special effects were not possible.
Digital printing has solved both of these problems, but naturally, it leads to some of its own complications. Digitally printing a sign face is more cost effective than either hand-painting or ordering and cutting several colors of translucent vinyl. It also allows for a multitude of nearly unlimited color choices, and gradients produce a realistic, vibrant image. The complication arises when different lighting – from the outside by the sun, and from the inside by electrical lighting – hits the print. If the sign looks good in daylight, the backlighting will completely wash out the color at night (see the far right image, above). For the same reason, if we increase the saturation to make a sign look bright and clear at night, it will be too dark for daytime viewing.
The solution? After much testing – we found that the best solution was two layers of ink with a separating layer of white ink, all printed on the front side of the sign face. By printing color, then white, then color again, (triple strike) you get an image that looks good no matter what the lighting. When the sun shines on the sign, the front layer of ink is all that is seen. When the sign is backlit, the second layer of color, hidden behind the white ink is pushed through so the sign isn’t washed out.
In the picture above, we printed the same image using three different processes. The image on the right shows a “single strike,” or just one layer of ink. This type of printing is great for most signs, but as you can see, the backlighting washes out the image at night. The image on the left shows the same image printed on the front of the sign face, then printed in reverse on the back side. This “double strike” method gives better color, but can be very difficult to register exactly on both sides. The center image is a “triple strike” with color, white ink, then color printed on the sign face. Our test image is printed with 100% opacity white ink, but by lowering the opacity to 50%, the image is bright and clear, but not too dark.
Even with the extra ink and extra printing time required for a triple strike, this is still the most cost effective option for vibrant full color backlit signs that look great in any lighting conditions. The color will be sure to last at least 3-5 years, and if the sign is laminated, you can expect 5-7 years of life.
Signs for Success – Custom Wraps and Graphics is located in Spokane, WA and services Spokane Valley, Liberty Lake, Airway Heights, Cheney and Deer Park, pointing coast to coast wherever successful signs are needed.