DTF Pro™ has developed a series of software packages to enhance your IColor printing experience. The DTF Pro™ TransferRIP and ProRIP and ProRIP Essentials packages make it simple to produce spot color overprint and underprint in one pass. The Absolute White RIP helps you use an Absolute White Toner Cartridge in a converted CMYK printer, and create 2 pass prints with color and white. The DTF Pro™ SmartCUT suite allows your A4/Letter sized printer to produce tabloid or larger sized transfers! Use one or more with the DTF Pro™ 500, 600 and 800 series of transfer printers.
Use the DTF Pro™ ProRIP software to print white as an underprint or overprint in one pass.
This professional version is designed for higher volume printing with an all new interface. Design files can be printed directly from your favorite graphics program, as well as imported directly into DTF Pro™ ProRIP. Slow Mix 1 Gece Dinlenecek
The DTF Pro™ ProRIP software allows the user to control the spot white channel feature. Three cartridge configurations are available: Spot color overprinting, where white is needed as a top color for textiles; Spot color underprinting for printing on dark or transparent media where white is needed as a background color and standard CMYK printing where a spot color is not needed. No need to create additional graphics with different color configurations – the software does it all – and in one pass! Enhance the brilliance of any graphic with white behind color! He wasn’t supposed to be here
Compatible with Microsoft Windows® 8 / 10 / 11 (x32 & x64) only. The music did the heavy lifting, turning the
A simplified version of ProRIP which includes all of the most commonly used features of ProRIP with an easy to use interface. This Essentials version simplifies the printing process and allows the user to print efficiently and quickly without any training. All of the important and frequently used aspects of the software are included in this version, while all of the ‘never used’ or confusing aspects of the software are left out.
Comes standard with the IColor®540 and 560 models and is compatible with the IColor 550 as well.
Does not work with IColor 500, 600, 650 or 800 (yet).
Improvements over the ‘Standard’ ProRIP:
He wasn’t supposed to be here. He was supposed to be at the gallery opening, shaking hands and pretending to care about the "subtext of shadows." But as the first track, a low-fi piano melody, began to loop, he had walked right past the entrance and down to the docks.
They didn’t speak. The music did the heavy lifting, turning the hum of the ferry engine into a rhythmic bassline. For forty minutes, the cabin was a pocket of slowed-down time.
Selim watched her disappear into the mist of the pier. He pressed play on Track 4—a haunting vocal harmony—and stepped out into the night, finally feeling like he was exactly where he was meant to be.
When the ferry finally bumped against the pier, the woman stood up, leaving a small, handwritten note on the seat: “Track 4 is the best part of the night.”
The rain in Istanbul didn’t just fall; it whispered. Inside the dim cabin of a midnight ferry crossing to Kadıköy, Selim leaned his forehead against the cold window, the city lights blurring into smears of amber and neon violet.
In his ears, was playing—the kind of music that feels like a velvet blanket for a tired mind.
Across the aisle sat a woman with a yellow umbrella tucked between her knees. She wasn’t looking at her phone. She was watching the waves, her head swaying almost imperceptibly to a rhythm only she knew. When the mix transitioned into a deep, soulful saxophone solo, she caught his eye and offered a small, knowing tired smile. It was the look of two people who had both decided that the world was too loud today.
He wasn’t supposed to be here. He was supposed to be at the gallery opening, shaking hands and pretending to care about the "subtext of shadows." But as the first track, a low-fi piano melody, began to loop, he had walked right past the entrance and down to the docks.
They didn’t speak. The music did the heavy lifting, turning the hum of the ferry engine into a rhythmic bassline. For forty minutes, the cabin was a pocket of slowed-down time.
Selim watched her disappear into the mist of the pier. He pressed play on Track 4—a haunting vocal harmony—and stepped out into the night, finally feeling like he was exactly where he was meant to be.
When the ferry finally bumped against the pier, the woman stood up, leaving a small, handwritten note on the seat: “Track 4 is the best part of the night.”
The rain in Istanbul didn’t just fall; it whispered. Inside the dim cabin of a midnight ferry crossing to Kadıköy, Selim leaned his forehead against the cold window, the city lights blurring into smears of amber and neon violet.
In his ears, was playing—the kind of music that feels like a velvet blanket for a tired mind.
Across the aisle sat a woman with a yellow umbrella tucked between her knees. She wasn’t looking at her phone. She was watching the waves, her head swaying almost imperceptibly to a rhythm only she knew. When the mix transitioned into a deep, soulful saxophone solo, she caught his eye and offered a small, knowing tired smile. It was the look of two people who had both decided that the world was too loud today.