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Unit-Ii
PageMaker 6.5I

Introduction

Adobe PageMaker 6.5 is the "world's leading cross-

platform professional page layout software". PageMaker is
primarily used for designing and producing publications
such as flyers and newsletters and any other application
that requires a combination of text and graphics.
PageMaker 6.5 has a rich array of facilities to import text
and artwork from other computer application packages, as
well as allowing you to generate these directly from within
PageMaker itself. PageMaker can handle text better than
Illustrator and PhotoShop and also gives you the flexibility
of graphic control not available in word processors.

Features in PageMaker 6.5

Document Layers

Layers allow you to place elements one over the other. It

can be thought of as sheets stacked up one on top of the
other. You can place elements on these layers or
temporarily hide the layers. These layers can be used for
adding annotations, floating or background images.

Easier Layout

There is a new concept of frames in PageMaker 6.5, which can hold

any type of text or images. PageMaker's freeform layout capabilities
have become even more flexible with its frame and text controls.

Better Integration

PageMaker can work seamlessly with PhotoShop, Illustrator etc. It also

builds the ability to drag and drop images and elements directly from
one of these applications to the other.

Color Controls

PageMaker 6.5 introduces new color technologies, which helps in

reproducing high fidelity colors in your publications. A new desktop
color separation tool is also included. The Kodak color management
system now supports the International Consortium of Standard for
sharing device profiles.

Internet Ready

The current release of PageMaker (i.e. Version 6.5) includes an option

to export your PageMaker documents to Internet ready HTML (Hyper
Text Markup Language) files with the links preserved. The document
images are converted to GIF or JPEG format required by the Internet.
There is also an option to export the PageMaker documents in to
Adobe Acrobat format.

Paper Orientation

You can set paper in two ways, portrait is one in which the paper is
used with the longer size in the vertical direction. If we interchange the
directions, we get the Landscape Orientation.
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Starting PageMaker

 Click the Start button.

 Select Programs.
 From the Programs Menu select Adobe.
 In the Adobe Menu select PageMaker 6.5.
 Click Adobe PageMaker 6.5.
 The PageMaker window is displayed.

PageMaker Environment

Menu Bar The standard menu bar contains all the main menus
for File, Layout, Element and other utilities.
Ruler The top and left ruler bars helps you to precisely
position the cursor, text, and graphics in the page.
The Current Cursor location is shown by two dotted
lines in the rulers. To view the rulers select View >
Show Rulers.
Master The Master Page icon shows the position of the
Page Icon master Pages. Clicking it will display the Master
Page. Master Pages contain text, graphics, layout
and settings, which are common, thought the
publication.
Page Icon The Page icon shows the list of pages in the
publication with the currently selected page in black.
Clicking a particular page icon will display the
selected page.
Pasteboard Surrounding the page is an area of white space
called the Pasteboard. It is used to store graphics
and texts as you work. Items you place on the
pasteboard are visible from any page and can be
selected and moved regardless of the page you are
currently working on.

File Menu

New New command is used to create a new publication. This command gives rise to a dialog box where you define the
various options before opening a new page of the publication.
Open Open allow you to open an existing PageMaker file.
Save Save command saves the current publication. To save all the open files, press the shift key while choosing the Save
option.
Revert Revert command rolls back all the changes made since the last save. It is the same as closing the publishing,
without saving and opening it again.
Place Place command is used to place text and graphics into the publication.
Acquire The Acquire command is used to scan an image into your publication.
Export Export command lets you export your publications into the format you select.

Edit Menu

Paste Multiple Paste Multiple lets you paste multiple copies of text or graphics.
Paste Special Paste Special is used to specify the format to use when you paste an object into your publication.

Insert Object Insert Object is used to specify the format to be used to insert an OLE embedded object within a PageMaker
publication.
Edit Story Edit Story is used to toggle between the word processing mode and the layout mode.

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Layout Menu

Sort Pages When you select Sort Pages command, a dialog box appears with all the pages of
the publication. You can rearrange the pages in the publication graphically.
Column Column Guides lets you divide the pages of the publication into different columns of
Guides equal size.
Auto Flow Auto flow is used to flow the text onto the pages of the publications on its own from
a loaded text icon. It flows the text into pages from columns to columns and also
adds pages on its own depending on the availability of text.

Type Menu

Define Styles This option will present you a dialog box with the list of styles used in the
publication. You can add, modify and delete styles from this dialog box.

Element Menu

Frame Frame has options for frame alignment, position

and margins.
Align Align Objects lets you align multiple objects relative
Objects to each other.
Link Link Options is used to define whether the linked
Options text or graphic is to be updated along with the
publication in use and also its frequency.

Utilities Menu

Plug-ins Plug-ins has a list of sub commands, which lists out

the various plug-ins, which have been included with
PageMaker as additions.

View Menu

Display Display Master Items toggle the display of items

Master from the master pages to be reflected in the current
Items page of the publication.
Display Display Non-Printing items toggle the display of
Non- non-printing items.
Printing
Items

Window Menu

Show Tools Hide/Show tools toggles the display of PageMaker toolbar.

Show Control Palette Show/Hide Control Panel toggles the display of control panel on the screen.
Show Colors Show/Hide Colors Toggles the display of the Color Palette on the screen.
Show Styles Show/Hide Styles toggles the display of the Styles Palette on the screen.
Show Layers Show/Hide Layers toggles the display of the Layers Palette on the screen.
Show Master Pages Show/Hide Master Pages toggles the display of the Master Pages Palette on the screen.
Show Hyperlinks Show/Hide Hyperlinks toggles the display of the Hyperlink Palette on the screen.

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Pointer Tool
UNDERSTANDING PAGEMAKER TOOLS
Pointer tool is used to pick, drag and drop graphics and text.
Toolbox

Toolbox contains all the tools used to create a publication in

PageMaker. Choose Window and select Show Tools to display the
toolbox. The individual tools will be explained in detail later in this
session.

Zero Position

Zero Position allows you to set the zero position on the screen. Zero
position is the position, where both the top and the left side rulers are
Text Tool
at zero. By Zero positioning all measurements in the pages are made
relative to this point. Click it and drag it to anywhere on the
workspace to set it as the Zero Point Text Tool is used to edit and select text and insert text frames.
Click the text tool and click anywhere in the document and start
entering text. The text tool creates a free flowing text box

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Constrained Line Tool

Rotate Tool
Constrained Line tool will draw lines at 45degree intervals, i.e.,
Rotate tool is used to rotate text and graphic objects. Click the
horizontally, vertically or diagonally.
rotate tool, then click on the object reference point and drag to
rotate the object.

Crop Tool

The Crop tool is used to crop imported graphic images to the

required size. The crop tool only works on TIFF type of images.
Box Tool
Click on the toll and, drag the image handles, to crop the image.
Box tool is used to draw a box

Oblique Line Tool

Rectangle Frame
Oblique Line is used to draw slanting lines. To draw a line, click
the oblique line tool, click and drag to draw a line in any direction. Rectangle Frame is used to type text inside a box. First select the
toll and draw the area to be enclosed by the rectangular frame, then
select the text tool and click inside the drawn frame to enter text.
The text will be constrained to the rectangular frame.

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Circle Tool Polygon Frame

Polygon frame puts the text inside the polygon. Select the polygon
Circle tool is used to draw a circle or elliptical graphic. To draw a
circle or an ellipse, select the tool, click and drag to draw a circle frame tool, draw a polygon then select the text tool and click inside
the frame to enter the text inside the polygon frame
on the document.

Circular Frame Hand Tool

Circular Frame is used to type text inside a circle or an oval. Use Hand tool is used to move the screen. This tool is very useful when
the Circular frame tool to draw the frame and then click inside with you are working with large documents. It helps you to easily
the text tool to start entering text. The entered text will be navigate in a large page. To move a screen, just select the hand
constrained to the circular frame. tool and click and drag the page to view different parts of the page.

Zoom Tool
Polygon Tool Zoom tool allows you to zoom in and out of the document view. By
default the zoom tool will be in the zoom-in mode. To zoom out of
Polygon tool is used to draw a shape with more than four sides. page select the zoom tool and press control and click in the
You can modify the polygon by selecting Element and selecting document window with the zoom tool.
Polygon Settings

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Enter 1 inch as the inside margin and press the TAB key.
OPENING A NEW PUBLICATION

Click File.

Enter 1 inch as the outside margin and press the TAB key.
Select New.

The Document Setup dialog box appears. Enter 2 in the number

of pages text box and press the TAB key. Enter 1 inch as the top margin and press the TAB key.

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Click OK.
Enter 1 inch as the bottom margin and press the TAB key.

A new document is opened with the required margins and the first
page of the selected document is displayed.
Click the "Compose to printer" dropdown menu.

PAGE SIZE AND PAPER SIZE

Paper size is the actual size of the paper and Page Size is the
Select the printer "HP DeskJet on LPT1" printable area of the page. The Page size is the area enclosed by
the page margins.

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CONTROL PALETTE
Kerning Text Kerning adjusts the spacing between
The control Palette displays the properties for the selected characters in text. It is selective, so you can
paragraph, Character or object. adjust just one or two characters, or whole
sections of text. Negative numbers move
It is a sort of shortcut to the object, text, and paragraph properties. characters closer together, whereas Positive
Choose Window and select Show Control Palette to display the numbers space them out.
Control palette.
Leading Text Leading adjusts the spacing between lines
of text. This is applicable on line-by-line basis.
Positive and Negative numbers have the same
effect as they have on Kerning, except that the
spacing is between the lines of text.
Tracking Text Tracking adjusts how closely characters
follow each other. Very tight tracking brings text
CONTROL PALETTE IN OBJECT MODE closer together, very loose spreads it out a bit.
Size Text Size adjusts point size of text.
The control Palette when it has an object selected displays the object
Position Text Position adjusts the placement of the text on
properties such as the reference point, position, size, scaling,
a given line. Positive Numbers move the text into
cropping, printer resolution, rotating, skewing and horizontal and
a super text position (above the line), and
vertical reflection.
Negative numbers move it into a subtext position
(below the line).
Horizontal/vertical mirrors the currently selected object along
Width Text Width adjusts the character width and does
mirror the x or y-axis.
not affect height. The larger the percentage, the
Height/width sets the height and width of the currently wider the word. Percentages over 100% make it
selected object, either numerically in proportionately larger than the standard sizing,
inches or in percentages of the current under 100% make it proportionately smaller.
size.
Rotate Rotate, is used to rotate the selected
object around an axis. The center of
rotation is set as the object's center and
exact measurements can be used
This skews, the currently selected object,
Skew
in degrees.
XY position Sets the horizontal and vertical position of
the upper-left corner of the currently
selected object.

Control Palette In Paragraph Mode

The control Palette displays options for the paragraph style,

alignment, indents, spacing, grid spacing and grid alignment

Color Palette

The color Palette is used to apply colors or view the name or kind
Control Palette in Character Mode of color applied to the selected text or object. The buttons stroke,
fill or both, can be used to change the color of the graphic object
The Character Palette is displayed when the text tool is selected. and Object level.

It has options for changing text styles, size, leading, tracking, width Tints allow you to have variations of the same color. To apply a
and Kerning. color to a text or object, select the corresponding text or object
and select the color from the color Palette.
There is a toggle button to shift between paragraph view and
character view. Choose Window and select Show Colors, to display the Colors
palette.

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Master Pages Palette

The Master Pages palette is used to create and apply masters. It

displays a list of available master pages for a particular document.
The master page icon at the bottom of the window is used when you
want to go to a master page for editing. Choose Window and select
Show Master pages to display the master Pages palette

Styles Palette

The Styles Palette is used to apply styles or to view or edit styles Hyperlink Palette
defined for the publication. To apply a style, just click a paragraph
with the text tool and then click a style name in the palette. Choose A hyperlink has two parts: a source, which is the hyper linked text,
Window and select Show Styles to display the Styles palette. or graphic that you click, and a destination, which is where the
source jumps. Inside a PageMaker publication, destinations are
called anchors. You can also give a valid web hyperlink. Choose
Window and select Show Hyperlinks to display the Hyperlinks
palette

Layers Palette
Setting a Measurement System
The Layer Palette is used where a multiple layers document
structure is required. Layers allow you to separate the different Click File.
elements that make up your document. You can hide, display, add
or delete layers as required. Choose Window and select Show
Layers to display the Layers Palette.

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Select Millimeters.
Select Preferences.

Click OK.
In the Preferences menu select general.

Click the "Measurement in" drop down box.

You will notice that the rulers have changed

from Inches to Millimeters.

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INSERTING PAGES
GUIDES
Click Layout.
Margin Margins are defined in the Document Setup dialog
Guides box, when you first create a publication, and are
applied to the Document Master page. These are
represented by pink lines on the top and bottom
and by blue lines on the left and right.
Column Column guides serve as boundaries for text you
Guides place within them. You can have as many as 20
columns per page. Column guides control the flow
of text and are represented by dark blue lines.
Ruler Ruler Guides are also non-printing guidelines
Guides which are primarily used to align objects in the
publication and are represented on the screen by
Light blue lines.

Choose Insert Pages.

Viewing Pages

Zoom In Zoom in Magnifies the Document to the

next level
Zoom Out Zoom out Shrinks the Document view to
the previous level
Actual Size Actual size Displays the entire page or a
two page spread within the publication
window.
Fit in Window Fit in window will display the current page The Insert Pages dialog box is displayed. Enter 2 as the number of
in its entirety within the publishing new pages to add.
window. This view is especially useful to
check the layout of the page.
Entire pasteboard Entire pasteboard displays the page with
the entire pasteboard so that you can find
or view objects.

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Select Sort Pages.

Click Insert.

You will notice that new pages are added to the page icon bar.
A dialog box with the page icons appears. Click on the fourth
page, and place it before the first page.

SORTING PAGES

To change the page order Click Layout.

Click OK to close the dialog box.

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Select the Show Master Pages Palette from

The Page is rearranged and the page numbers are changed
accordingly. the window menu.

MASTER PAGES

Master Pages are a sort of a template for all of the pages in a

publication. The Master pages can contain text, Graphics and guides.
These are reflected in all the pages of the publication. They generally
In the Master Pages Pallete Click on the Top right arrow to
contain logos and volume title, which are to be repeated in every page
display the Palette Menu.
of the publication and also guides, which help to maintain uniformity
throughout the publication.

Creating a New Master

Now select New Master.
Click Window.

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In the New Master Page dialog box enter the name as "content". Select the option "One page".

Click OK.

The New Master Page is added to the document.

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Press the mouse button and drag the insertion point to the right.
HEADERS AND FOOTERS
Release the mouse when you have opened the box to the correct
size.
Headers are text or graphics, which are located above the top
margin and below the bottom margin in case of footer. They are
used to display information about a page such as chapter title or
page numbers, current date and time of publication or revision
date.

TEXT BASICS
Type "Layout Galaxy".
Entering Text

In PageMaker, text is typed in text blocks or frames. Text blocks

are defined by the amount of text and the margins of the page. To
open a text block First click the Text tool.

Placing Text

Click on Edit Menu.

Click anywhere on the page within the margin guides.

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PageMaker displays an alert message that says, "The story has not
Select Edit Story.
been placed." Click the place button to place the story.

Type "Demo for Placing Text". Click on Story.

PageMaker displays a loaded text icon. Click the icon to flow text
into the frame or column you click on.

Select Close Story.

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Text Objects, Stories and Editors

Automatic Automatic pair kerning adjusts the space between
pair certain character pairs, based on the kerning
Understanding Text in PageMaker is part of a story. A story can
kerning information that's built into the font.
text objects be a single letter or several pages of text and
and stories can be contained in a single text object or Manual Manual kerning lets you kern any range of text,
threaded through many different objects. kerning from one character pair to a whole story, using
cursor keys or by using the Control palette.
Layout Editors Text blocks that are threaded together in the
and Story Layout Editor comprise the same story in the Expert Expert kerning calculates a manual kerning value
Editors Story Editor. A text block may be split among kerning for every character pair in a selected range of
several pages in the Layout Editor, but it text.
appears as a continuous story in the Story
Editor. Tracking

Formatting Text Tracking is similar to kerning in that it deals with the horizontal
space between letters. PageMaker includes five built-in tracks
Changing In PageMaker, by default the type size is 12 points from Very Loose to Very Tight. To set the required track, first
Font Sizes but you can change the size as often as you like select the text.
using the Control Palette. The Control Palette can
be activated or deactivated from the Window menu.
Changing There are ten different styles for any typeface. They
Typeface are Normal, Bold, Italic, Underline, Reverse,
Styles Strikethrough, Small caps, All caps, Super script
and Sub script.

Changing The Character Specifications dialog box allows

Character you to choose several type attributes in one step.
Specifications This dialog box can be opened by double clicking
the Text tool.

Click the Window menu.

KERNING AND TRACKING

PageMaker provides three types of kerning.

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Select Show Control Palette.

PARAGRAPH SETTING
Click on the Tracking pop-up menu.
Paragraph formatting includes setting indent values, paragraph
spacing, text alignment, dictionary, etc. In this exercise we shall
see how to draw a line below a paragraph. Click on the Text tool.

Select Very Tight from the menu.

Select the paragraph.

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Select Rules below Paragraph check box.

Click on the Type menu.

Select Paragraph.

Click on the Stroke Color drop down menu.

Click on the Rules button.

Select Blue from the menu.

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SETTING TABS
Click Ok to close the Paragraph Rules dialog box.
In this exercise we shall see how to set tabs. Select the Text tool.

Click Ok to close the Paragraph Specifications dialog box.

Select the text in which the Tab key is pressed once in-between
each item.

Click on the Type menu.

You can now see a line below the paragraph.

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Now you can see the text being aligned according to the tab
Select Indents/Tabs.
marker.

INDENTS SETTING
Click once above the ruler to create your own tab marker.
In this exercise, we shall see how to set Indents. Click the Text
tool.

Click Ok.

Select the paragraph.

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Drag the right indent by 1 inch.

Click on the Type menu.

Click OK.

Select Indents/Tabs.

Thus the paragraph has been aligned according to the Indents set.

Drag the first half of the left indent to 1 inch.

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Hyphenation Setting
BULLETS AND NUMBERING
Let us see how to add a word to the user dictionary. Click on
The Bullets and Numbering option automatically adds bullets or
the Type menu.
numbers to the paragraph in the text block. To edit bullets or to
add numbers you can click the Edit or Numbers button Select Hyphenation.
respectively.
Click the Add button in the Hyphenation dialog box.
In the Add to User Dictionary dialog box type Lay~out~
Galaxy. In this word, the most favorable break is marked by
a single tilde (~) and the second most favorable break is
marked by a double tilde. Click OK to close the Add to User
Dictionary dialog box.
Click OK to close the Hyphenation dialog box.
The word "LayoutGalaxy" has been added to the
Dictionary.

Set Styles

In this demo we shall see how set style. Select the Text tool.

HYPHENATION SETTING

PageMaker hyphenates words to reduce the spacing between

them in a justified text. Hyphenation is controlled with the
hyphenation dialog box. The Manual only option hyphenates only
the words that you have marked to hyphenate by inserting a
discretionary hyphen in the word where it would normally break.

Manual plus dictionary option hyphenates the words to which you

have added discretionary hyphens, as well as words hyphenated
in the PageMaker dictionary.

Click the insertion point anywhere in the text.

In addition to using the dictionary, Manual plus algorithm option,

uses a mathematical algorithm and your manually inserted
hyphens to break words.

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Thus the selected text has been changed to the Headline style.
Click on the windows menu.

Select show styles. Creating Styles

To create a new style click on the Type menu.

Select Define Styles.

In the style palette select Headline.

In the Define Styles dialog box, Click New button.

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Click the Next Style drop down menu.

Style Options dialog box opens.
In the Name text box type "MyStyle".

Select Subhead 1.
Click the Based on drop down menu.

Select Headline.

Click OK to close the Style Options dialog box. The new style has
been created.

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ROTATING TEXT

Let us see how to rotate a text frame. Click the arrow tool.

Select the text "Layout Galaxy".

Delete the current value in the rotation angle text box of the control palette.

Type 45 degrees and press Enter.

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CREATING HYPERLINKS

Let us create a hyperlink. Click on the File menu.

Select New.

The frame has been rotated by 45 degrees.

Document Setup dialog box opens. Click the Page size pop-up
menu.

ADDING COLOR TO TEXT

Select the text. Click on the Window menu. Select Show Colors.
Select blue from the Colors Palette. Click anywhere on the page.
The text color has been changed to blue.
Advanced Topics

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Type "ImageOnline". Select the text.

Select 500x335 Browser-small.

Click on the Windows menu. Select Show Hyperlinks.

Type 2 in the Number of pages textbox.

Click on the pop-up menu of the Hyperlinks palette.

Click OK to close the dialog box.

Select the text tool. Click on the page.

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Type "Homepage". Select the text.

Select New Anchor. Click Anchor1.

Type "Introduction" for the anchor name in the dialog box,

which appears. Click OK.
Select the target anchor i.e. the anchor named "Introduction".
Click on the pop-up menu of the Hyperlinks palette.

Click the second page's icon.

Select New Source.

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Select the hand tool.

Click Source3.

The new active link is outlined with a blue box. Click on

Type "goto homepage" in the dialog box. the link.

You can see a link being created.

Click OK.

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SPELL CHECK
THREADING

When a story in a text block extends to the next or subsequent PageMaker helps you in proof-reading your text by providing a
pages, it is broken up into individual page text blocks. A small Red 'Spelling Checker', which can be used to check the spelling for a
triangle in the lower window shade handle indicates that there is selected range of text or for all the text in the active story or all
more text that can be currently displayed in the text box. Click on stories in all open publications. PageMaker will warn you of any
the Red triangle to display the second block of the text. words it cannot locate in its dictionary. If any word is misspelled
then you have the choice to re-enter it or choose from a selection
of closest matches in the dictionary. The Spelling dialog box can
be activated from the Utilities menu.

Working with Columns

The pointer will turn into a loaded text icon. Click to place the
second block. PageMaker allows you to divide any page into columns. In this
exercise we shall split a page into Columns. Click on
the Layout menu.

The small + symbol in the top window shade indicates that the story
has been continued from a previous block text. An empty handle in
the bottom window shade indicates the end of the Story.
Select Column Guides.

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Select Edit Story.

A Columns Guide dialog box appears.
In the Number of columns dialog box, type 2.

Select the text "adjust layout".

Click OK to close the dialog box.

We can now see the pages split into columns.

Click on the Utilities menu.

Indexes and Pagination

To create an Index, Click on the Edit menu.

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Click the loaded text icon anywhere on the page. Now you have
Select Index Entry.
added, "adjust layout" to your Index. Similarly you can add
other words.

INDEXES AND PAGINATION

Click OK to close the dialog box.
The Sort Pages feature can be activated from the Layout menu.
This feature allows you to re-order the pages in your document.
This can be easily done by dragging the page thumbnail images
around, within the window. Changing the order of pages does
not alter the text in a story. The story remains intact even
though text objects may have moved to different pages.

USING THE FIND FEATURE

Using the find and change feature, you can search for specific
Click on the story menu & Select the Close Story. occurrences of a word or group of words. Once you find what
Click on the Utilities menu & Select Create Index & Click OK. you're looking for, then PageMaker automatically changes it to
the selected option. The find and the change dialog boxes can
be activated from the Utilities menu.

GRAPHICS

Line Tool

In this exercise, you will learn to use the Line Tool. Select
the Line Tool from the Tool Box.

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Point the Cursor on A and hold down the mouse Button and
Point the Cursor on "A" and hold down the mouse Button and drag it to
Point "B" and then release the mouse Button. drag it to Point B and release the mouse button to draw a
Rectangle. Now Draw a Square using the Box Tool. Point
the Cursor on C and hold down the Shift Key and drag the
mouse button down to Point D to draw a Square.

Now you can see a line drawn on the Screen.

Box Tool

Box tool is used to draw both rectangles and squares. In this exercise you
will learn to use the Box Tool. Select the Box Tool.

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In the Polygon Settings dialog box, enter 40 for the number

Ellipse Tool
of Sides and press the Tab Key.
Ellipse tool is used to draw both Ovals and Circles. In this exercise, you
will learn to use Ellipse Tool.
Select Ellipse Tool. Point the Cursor on A and hold the mouse button
down. Drag it to Point B to draw an Oval.

Click Ok. In this way you can modify a Polygon in to a star

having 40 Sides and 30% Star inset.

Rounded Corners

In this exercise you will learn how to round the corners of a

rectangle using "Rounded Corners" option. Select the Pointer
Tool.
Polygon Tool

In this exercise, you will learn to use the Polygon Tool.

Select the Polygon Tool.

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Fill

The Fill command is used to fill the

box or circle with the options
available under this command, which
consists of various types of lines
along with the options like paper and
solid.
If you choose the paper option, the
object fill changes to the background
paper color and when the solid option
is chosen, the object gets completely
filled.

Stroke

You can use the stroke command to

select the lines of different sizes and
styles or choose the option called
custom to create the line of your own
style. Besides these, you have two
more options called Transparent and
Reverse. Use Transparent
The Rounded Corners dialog box appears on the Screen. From this
Background option if you want the
dialog box select the last Option.
objects placed behind a patterned
stroke to be shown through the
spaces in the pattern otherwise the
spaces in the pattern are opaque.
Reverse Stroke option is used to
draw a paper-colored stroke or
outline of a shape on a contrasting
black, shaded, or colored
background.

Fill and stroke

This is the combination of the above two commands. Instead of

selecting them one by one, you can select them together with
this command.

Click anywhere outside the rectangle on the screen.

Placing Graphics

The Place command is used to Import Graphics. In this

exercise you will learn placing a Graphic.

To do this you first click the File menu. Select Place from the
drop down menu.

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Cropping an Image

Cropping trims away a portion of the graphic, rather than reducing

the size of the graphic. In this exercise you will learn to Crop a
Graphic.

Select the Cropping tool.

The Place Dialog Box opens up. Double Click "Bouquet.tif".

Click the handle shown and drag towards the center to crop the
graphic. Now click on the center of the graphic, notice that the
cropping tool changes to a hand tool. Hold down the mouse
button and move the graphic downwards.

Move the Pointer to the Work area and Click it. You can now see the
imported image on your screen.

Adding Color to a Graphic Shape

In this exercise you will learn to add Color to a Graphic Shape.

Select the Pointer Tool. Click Window menu. Select Show

Colors to open the Colors Palette.

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Locking Objects

You can lock individual objects in

place in order to help preserve the
design of your pages through all
stages of production. You can
change a color or fill applied to a
locked object, but not its degree of
rotation or its skewing angle. You
cannot cut or delete a locked
object without unlocking it first, but
you can copy a locked object; it will
be pasted as an unlocked object.
The Apply button in the Control
Palette appears gray when the
selected object is locked. The
cursor changes to a lock icon when
you try to move a locked item.
While the Outline of the Polygon is still selected, click the stroke Button.
Click Green color in the colors palette. Click the Circle drawn on the Work area to select it.
Click Element menu.

You can see that the Outline of the polygon is changed to Green
color. To Fill the Polygon with Yellow Color, Click the Fill button in
the Color Palette. Click Yellow Color in the Color Palette. Now you can
see that the Polygon is filled with Yellow Color. Click the Tint button to
Select Lock Position.
display the drop-down tint list. Tint the fill Color to 55% by selecting it from
the drop-down Tint list. In this way you can easily add color to
the Squares, Rectangles, Ovals and Circles in PageMaker.

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Select "Mask" option.

Masking Objects

Masking is a way of covering part of an object so that only a portion of it

appears through a shape drawn with the rectangle, ellipse, or polygon
tool. In this exercise you will learn how to mask objects.
Select the Pointer Tool. Click the oval drawn on the work area using
the Pointer Tool to select it.

Click anywhere outside the object in the work area. You can
now see that only the text inside the oval is visible and that
around the oval has disappeared. Actually this command
creates a window sort of effect to see the text through the
graphic. You can also adjust what part of the text has to appear
through the object by moving the text with the Pointer Tool

Drag it and place it on the text, which is already there on the work area.
Select both the text and the object. To do this click Edit menu.

PRINTING YOUR DOCUMENT

Printer
Select "Select All". Now you can see that both the text and the object Here choose your printer type if you have loaded the drivers for
are selected. Click the Element menu. more than one printer, otherwise the default printer, which you
have selected is shown.

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No of Copies: Choose the number of copies of each page you want to print.
Collate: This option collates the printed output. If you want to make 2 copies of pages 1-5 then this command will print page number 1to5, 2
times over in a collated form.
Reverse order: This is used to print in reverse
order that is while printing 1 to 5 pages, it will
print 5 to 1.
Proof: by choosing this option you can print the
pages as lower quality proofs.
Pages: All' will print the entire document and if
you select Ranges, you can specify the range of
pages to be printed.
Book: This command is valid if you have the
publications lined up in Book. The options here
are that you can print all the pages of all the
publications in the book or choose otherwise.
Print drop down list: 'Both Pages' is used for
printing a document on the front and back at a
time. 'Odd pages' is normally used to print all
odd-numbered pages first. Then these printed
pages can be printed on the other side also by
putting them back in the tray and giving 'Even
Pages' option.
Orientation: This has two icons for Portrait and
Landscape. Select the appropriate icon.
Ignore 'Non-Printing: Click this if you want to
print the non-printing characters too.
Reader's spreads: It allows for the evaluation
of two-page spreads
Percentage: Print Options can be opened by
clicking options button in printing your document
dialog box you can scale the pages to any size
before printing.
Reduce to fit: While printing if the paper size is smaller than the page designed by you, the Reduce to fit command enables you to print the
document on the paper even when the paper size is small. While printing if the paper size is smaller than the page designed by you, the
Reduce to fit command enables you to print the document on the paper even when the paper size is small.
Duplex: Duplex can be used to print on both sides of the page during one pass through the printer. This is a very handy feature if you need to
print front and back originals. The various options here are None, Short edge and Long edge.
Options: Here are the various options, which can be printed on the page itself that is the Printer's marks and Page information. Tiling breaks
up the ultimate size into smaller pieces that fit on the page size specified in the page Setup dialog box. PageMaker sets an automatic overlap
of the tiles that takes into account the unprintable margin around the edge of the page or you can manually set the overlap, if you wish.
Color Options: Color Options can be selected by clicking the Color button in printing your document dialog box. This gives control over
handling color separations and printing color.
Composite: Composite is opposite of separations. When this option is selected colors will not be separated instead they will be printed in
place as either shades of gray or as close approximations of the colors. To print colors on a color printer, click the Composite button. If you are
using a laser printer then, using this option you get shades of gray.
Print Colors in Black button: Makes all the colors print in shades of black in the same-screened percentages acquired with process and spot
separations.
Separations: When you select the separations button, the separations pop-up list becomes active. This contains the process colors and any
spot colors you have defined for this document. From this, select the colors whose separations you want to print and click 'Print This Ink' check
box to add an X in the pop-up list. PageMaker only prints separations for the colors with X's in the Print column.
Print All Inks: This command is used to mark all the colors with X's.
Print No Ink: This command is used to remove all the X's in the list of colors.
All to Process: This command is used to convert all spot color separations temporarily to process separations.
Printing Your Document: This exercise will teach you how to print a document. Click File menu.

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Unit-IIi
CorelDraw 12I

INTRODUCTION

CorelDRAW is a vector illustration program. Images are displayed on the computer screen as pixels. How the program treats the pixels is
determined by whether the image is defined as a vector or a bitmap. A bitmap file defines the position, color and size of each pixel. A vector
program defines a line of pixels and treats them as a single object. To change an object in a bitmap, you must change all the pixels, so if a red
box on a blue background needs to be smaller, you have to re-create a smaller red box and change the pixels where the box was to the blue
background. When you have a vector image, you redefine the size and location of the lines. Each object is independent of the others and can
be manipulated as needed. To make your work easier, Corel Corporation has added a few bitmap manipulation tools in DRAW and includes
its bitmap manipulation program, CorelPhotoPaint, when you purchase CorelDRAW.

GETTING TO KNOW CORELDRAW Window Components

A-
Opening CorelDRAW You can customize this or any other Toolbar or create
Standard
additional Toolbars.
1. When CorelDRAW is loaded, a new section is created on Toolbar
the Start Menu. To open DRAW, click the Start button from The Property Bar is dynamic. Property options change
the Taskbar. B-
depending on what you are working on. This enables
This opens the Windows Start menu. Property
you to access commands that are specific to the
2. Select Programs from the list. This activates the Programs Bar
current tool or feature you are using.
panel. Programs are contained in groups, but rather than being
initially displayed in a group window, each group is listed. C - Main
The main tools you will use are accessed from this bar.
3. Find the Corel section and select CorelDRAW 12. This opens Tool Box
up the program with the CorelDRAW welcome screen. If you The Rulers show the current mouse cursor location as
have used the program before, you may have turned off this D - Rulers
you move in the work area.
screen.
The Color Palette by default is located to the right of
4. Choose Open Graphic or use the Open command on the File
the work window. Like the Toolbars, it can also be
menu. E - Color
relocated. You can choose from a preset palette of
New Graphic creates a new, one page document. Open Last Palette
colors, or use a specific color system such as Pantone
Edited opens the last document you had open. The splash
Spot Colors.
screen will show the names of the files over the icon.
The Template icon allows you to access many professionally The Status Bar is used to give you information about
F - Status
created templates you can then modify for your own projects. If cursor movements or symbol properties such as the fill
Bar
you clear the check from the box in the lower left corner, you will or size.
not see this graphic but will open a new file when you open the The Page Selector is used to add and move between
program. G - Page
pages. When a file contains multiple pages, individual
5. Direct the Explorer to your hard drive and the folder where you Navigator
page tabs appear to the right of the Page Selector bar.
saved the class files.
6. Choose the file Open 1st.cdr. If the Panose Screen appears Dockers allow access to effects, styles, colors, and
listing fonts that are not loaded, click the OK button. This utility H - Docker many other features of CorelDRAW. They can be
allows you to load fonts for a document when you open the Tabs floated or “docked” at the side of the window. When
document. You must have the Font Navigator utility loaded and closed, they are accessible through a vertical tab.
active for the fonts to install automatically.

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TOOL OVERVIEW

The Toolbox is located in the left portion of the window and contains all the drawing and editing tools necessary to create objects for an
illustration.
Tools containing a small triangle in the corner produce a Flyout. Flyouts contain additional tools, or tool options and are explained below in the
order they appear on the default screen. Flyouts are described following the Tool Overview.

Pick Tool
Selects objects or groups of objects. Once selected, you can use the Pick Tool of move, stretch,
scale, rotate, and skew objects.

Shape Tool
Reshapes objects. Objects are reshaped by moving nodes, lines, and control points.

Zoom Tool
Changes the current view of the drawing. You can also select magnification options from the
Property Bar in the Zoom mode.

Freehand Tool
Draws lines and curves. You can also use this tool to trace bitmaps.

Converts the freehand strokes you draw to basic shapes and smoothed curves.
Smart Drawing Tool
Rectangle Tool
Draws rectangles and squares. Squares are created by using the Control key while drawing.

Ellipse Tool
Draws ellipses and circles. Circles are created by holding down the Control key as you draw.

Graph Paper Tool

Draws a collection of boxes that simulates a sheet of graph paper.

Perfect Shapes Tool

A collection of objects which you can add to your drawing. They include such things as arrows,
stars, talk bubbles, and flow chart symbols.

Text Tool
Adds either Artistic or Paragraph text to your drawing.

Interactive Blend Tool

The Blend Tool allows you to merger objects together through a series of steps. The flyout gives
access to several more interactive tools that are described on the following pages.

Eyedropper Tool The Eyedropper Tool allows you to select a color within an object, especially a bitmap, and allows
you to apply that color to another object. You can also capture the color for a customized palette.
The flyout gives access to the paint bucket that applies the color.
Outline Tool
Sets the outline style of an object or a line. This includes the line type, ends, color, and weight.
The flyout gives quick access to some changes.

Fill Tool
Assigns the fill style of any object. Fills are only visible on closed objects. The flyout gives access
to control dialogs for each type of fill.

Interactive Fill Tool

Allows you to apply Fountain fills (gradients) using the mouse. The flyout gives access to the Mesh
fill Tool.

FLYOUTS

Tool buttons containing a small triangle in the lower right corner display Flyouts. Flyouts are used by CorelDRAW to display additional tools.
They are activated by holding down the tool button with the mouse.

The table below is not meant to be a comprehensive look at each tool Flyout, but rather a reference.

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Flyouts
Shape Edit Flyout
Holds Shape Edit, Knife, Smudge, Roughen, Free Transform and Virtual
Segment Delete Tools.

Zoom Tool Flyout

Holds the Zoom Tool, which is used for changing the view magnification,
and the Pan Tool, which is used for moving the drawing page around the
display area.

Curve Flyout
Holds the Bezier Tool, Artistic Media Tool, Dimension Tool and the
Connector Tool. Each tool is used to create specific types of lines.

Rectangle Tool Flyout

Holds the Rectangle tool and the 3-point Rectangle tool.

Ellipse Tool Flyout

Holds the Ellipse Tool and the 3-point Ellipse Tool.

Object Flyout
Holds the Polygon Tool for creating multi-sided objects, the Spiral Tool
and the Graph Paper tool.

Perfect Shape Flyout

Accesses the collection of shapes you can add to your drawing .

Interactive Tool Flyout

Holds the Interactive Blend, Contour, Distortion, Drop Shadow, Envelope,
Extrude, and Transparency Tools.

Eyedropper Tool Flyout

Holds the Eyedropper Tool and the Apply Tool for the color, effect, or
property selected by the eyedropper.

Outline Tool Flyout Displays options for changing line color, styles, weights, and ends.

Fill Tool Flyout Displays options for changing fill color, styles, creating custom colors, and
removing fills.

Interactive Fill Flyout Holds the Interactive Fountain Fill Tool and the Mesh Fill Tool.

Toolbars and Flyouts can be made to float. Once floating, you can dock them to any part of the window. To float
a Toolbar or a Flyout, place your cursor over the area at the end of the bar that resembles two ribbed bumps or
gray lines. Hold down the left mouse button and drag the bar out to the main window of the program. All tools
on the Flyout will be displayed so you can easily access them.

To dock the Flyout or return the toolbar to its original location, double click on the title bar of the floating Flyout.
To return the Flyout to its original location, click on the closing X in the upper right-hand corner. Below is the
Interactive Tool Flyout in floating mode and in Flyout mode.
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PAGE NAVIGATION WITH THE PAGE SELECTOR

A CorelDRAW file can have as many as 999 pages. A document of that length, however, might be created more easily in CorelVentura. To
navigate a multi-page document you use the Page Navigator bar at the bottom left of the work window. From this bar you can add or move
from one page to another. To delete pages you need to use the Delete Page command under the Layout menu.

1. Click on the Page 2 Tab.

The Page 2 tab should be white. You can also use the Page Up and Page Down keys on the keyboard.
2. Select the Page Tab for page 3. The Add Page button should appear as this is the last page for this file.
3. Select the First Page arrow button to go back to page 1
4. Click on the 1 of 3 space.
5. Enter a 3 in the Go to box and click OK.

THE PROPERTY BAR

The Property Bar is located just under the Standard Toolbar. It is an interactive command center. Being interactive means that the options on
the Property Bar change depending on the current task or command. It is designed to save time by interactively displaying commands as you
work. You will work more with the Property bar as you progress. This section is meant only as an introduction.

1. Select the Pick Tool .

2. Place the cursor indicator on top of the purple rectangle and click.
Small black handles appear designating a selection. You will learn about these later in the class. Notice the Property Bar changed to
display a new set of options.
3. Select the text.
Again, new options display for working with text.

DOCKERS

Twenty-four functions of CorelDRAW 12 display in a dialog window called a Docker. Dockers are placed into the interface or “docked” as are
Tool Bars or the Property Bar. They are accessed by clicking on the tabs at the right of the working window. Dockers can also float or be
closed so only the tabs show. Dockers replaced Roll-Ups from earlier version of DRAW. To access the Dockers, go to the Windows menu
Dockers.

Docker Function
Displays the characteristics of the object selected including any Web assignments such as links or hot spots.
Properties
Allows access to the function that changes that characteristic.
Shows the hierarchical structure of objects, layers, and pages within a document including the stacking order
Object Manager
of the objects. Allows you to move objects from one layer to another.
Object Data Manager Sets up a spreadsheet-like document recording information about an object.
View Manager Allows you to change the view without using the menu or the drop down list on the Standard Toolbar.
Link Manager Allows you to create HTML links within your documents.
Lists all the moves you have made so you can reverse them. The default is 99 steps. You can change this to a
Undo Docker
smaller number if you wish.
Internet Bookmark
Organizes bookmarks you have assigned within a Web project in DRAW.
Manager
Symbol Manager Allows you to set up libraries of objects you use frequently and convert them to symbols.
Artistic Media T his tool acts as an calligraphy pen, a paint brush or an image sprayer.
Blend Gives all the controls for the Blend effect.
Contour Gives all the controls for the Contour effect.
Envelope Gives all the controls for the Envelope effect
Extrude Gives all the controls for the Extrude effect

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Lens Gives all the settings for the Lens effect.

Bitmap Color Mask This CorelPhotoPaint feature allows you to mask all pixels of a certain color in a bitmapped image.
Transformations Allows access to all the Transform tools, Position, Rotation, Scale & Mirror, Size, and Skew.
Shaping Allows access to the Weld, Intersect, Trim, Simplfy, Front minus Back, and Back minus Front operations.
Color Allow you to create custom colors in each color palette.
Color Palette
Lists all color palettes available on the system and allows quick loading and changing of the palettes.
Browser
Color Styles Sets color palette styles just as you set graphics and text styles for consistency within a project.
Graphics and Text Sets styles just as you can within a word processor. Allows you to keep text and objects consistent throughout
Styles a project.
A storage area for frequently used clipart, text files and many other file types. Also allows quick access to sites
Scrapbook
on the Web or other networked machines.
Web Connector Allows you to connect to Corel.com.

COLOR PALETTES

The colorful row of boxes on the right of the screen is the Color Palette. DRAW comes with 18
color systems and gives you the ability to create your own palette. The palette can be floated
or parked. The type of palette can be changed with the Windows menu, or the Color Palette
Browser Docker. You may have several palettes open at once.

®
The main color palettes include HKS Colors, Trumatch Colors, Uniform Colors, Web Safe Colors,
®
and the complete Pantone Matching System including the system that was shipped with
CorelDRAW 8. (The Pantone system is updated by the company on a regular basis and a major
change was made in 1998. Pantone numbers assigned in DRAW 8 will not match the system in
DRAW 9 or DRAW 10.) In addition, the Color Palette Browser Docker includes some specific color
systems such as human skin colors and natural color systems. Here is also where any custom
palettes you build will be stored.

Note: When you hold down a chip on the color palette, a box with shades of that color displays.
(Shown below.) By dragging to one of the shades of the first color, you can choose a shade of a
color quickly and apply it to a line or fill an object.

CHANGING AN OPTION

The Options dialog allows for extensive customizing of CorelDRAW 12. To make this curriculum easier for you, one of the default settings for
CorelDRAW 12 needs to be changed before we continue.

1. Go to the Tools menu Options, Workspace, General

Or (Ctrl+J), Workspace, General.
2. Change the Regular Undo setting from 99 to 15.
Each time you make a change in a document, CorelDRAW 12, makes a full copy of that document so it can reverse your steps if
you use the Undo command. A level of 99 quickly uses up all the resources of your machine even if you are using a very powerful
machine. In my opinion, more than 15 undo's constitutes “Start over".
3. Click OK.

CHANGING THE VIEW

Often, when working on an image, you want to see it with out the clutter of the screen or the image has become so complex that you only want
to see the outlines of the object. These are the View options.

1. Go to the View menu and select the Wireframe.

The various view qualities are designed to save screen redraw time for complex drawings.
2. Change back to the Normal View option.
The other View options are described below.

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Views View descriptions

Black and white outlines of the objects. Bitmaps are shown as monochrome grayed areas.
Simple Wireframe
Does not show blended objects or some other effects.
Wireframe Black and white outlines of all objects including blend groups.
Displays most items as they will be printed but uses patterns to represent certain fills. A
checkerboard pattern is displayed for the two-color fills. Two-headed arrows display for full
Draft
color fills. Hatched line patterns display in place of bitmap fills. A pattern of repeated PS
displays for the PostScript fills. Screen redraw time is much faster in Draft mode.

Normal Displays all object, high resolution bitmaps and all fills except PostScript.

Enhanced Displays the best possible quality for your monitor and shows all PostScript fills.
Removes all the DRAW elements from the screen and shows the image at the best possible
Full screen preview
resolution and against a white background.

Shows the selected object at the best possible resolution and separates it from the other
Preview Selected only
objects.

This allows you to rearrange the pages of a multi-page document and to view all the pages
Page Sorter View
of a multi-page document in thumbnails format.

THE ZOOM PROPERTY BAR

As you work on an image, you may want to get closer to see detail or make small adjustments. DRAW gives you several options for zooming
into your object or out. When the Zoom Tool on the Toolbox is selected, the Property Bar displays the following options.

Zoom Commands

Allows you to get closer to your drawing and work on detail. You can drag a marquee
box around a point and zoom into that point. Clicking with the cursor zooms you in to
Zoom In double the previously set view level.
Allows you to move about the page with precision. With a work area of 250 feet (yes
that is feet!), it is easy to get lost. This allows you to move the page as if you could use
Panning your hand.
Clicking with the plus Tool zooms you in double the last view setting, for example, if
you are at 100%, you will go to 200%. Clicking with the minus Tool zooms you out to
Zoom in and out the last setting. Using the example in the previous sentence, it would put you back to
100%
Zoom To Selected

Changes the display to show only selected objects (Shift+F2). Changes the view to
Zoom To All Objects
display all objects (F4). This will include objects located outside of the page.

Zoom To Full Page, Page Width, or Page

Height Allows you to see the entire page (Shift+F4). Changes the current magnification to
include the left and right edges of the page. Changes the current magnification to
include the top and bottom edges of the page. All three cause the page to be shown at
less than 100% magnification.

Zooming

1. Go to the Toolbox and select the Zoom Tool (F2).

The mouse cursor changes to the magnifying glass with the plus sign. The Property Bar also displays the tools described above.
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2. Click in an area.
You have just gotten closer to the drawing. You can also zoom in by dragging the Zoom Tool around a specific area.
3. Press the F3 key on your keyboard.
This shortcut zooms out to the previous view each time you press it.
4. Place the tool icon to the upper right of the Bluebonnet.
5. Click and drag diagonally to create a zoom marquee.
6. Release the mouse.
By dragging the Zoom Tool around an area, you can enhance the magnification and be more precise by zooming to a specific area.
7. Go to the Standard Toolbar and select the Zoom Levels list (the box showing the % of magnifications).
Values for the magnification settings can be selected from the list, or typed in as needed.
8. Select To Page (Shift + F4).
This will change the display to show you the whole page.

Changing preview settings

1. Go to the View menu and select the Full Screen Preview (F9).
The window changes to display only the drawing. All window components are removed.
2. Press the Escape key on your keyboard.
This will take you back to a standard preview or you can use the right mouse button.

SELECTING OBJECTS

In order to change an object, it must first be selected.

To select an object you use the Pick Tool.

Each time you select an object, an invisible bounding box designated by eight selection handles is displayed around the object. An x appears
at the exact center of the object or objects. This provides a point to grab when you want to move an object. Selection handles are also used to
resize an object using the mouse. The smaller hollow points appearing on the object after selection are nodes. Nodes designate the start and
stop points of line segments. Nodes and line segments are used to reshape an object. Once it is selected you can manipulate an object.

Selecting single objects

1. Go to the Standard Toolbar and select the Open button.

2. Go to the folder on the hard drive where you saved the class files.
3. Open the file Open 2nd.cdr
This is a multi-page file containing simple objects. You will learn how to properly select and perform basic editing techniques.
4. Go to the Toolbox and select the Pick Tool.
Remember to hold the mouse over a tool button if you do not remember the name of a tool. The small box will appear next to the
mouse pointer displaying the name of the tool or other information about the button.
5. Place the Pick Tool cursor icon in the middle of the blue square.
6. Click to select the blue square.
The black squares are the selection handles. When you select an object, dimension information appears on the Property Bar at the
top of the screen and descriptive information appears on the Status Bar at the bottom of the screen.
7. Click and drag to move the square downward into rectangle 2.
As you begin to drag, a 4-pointed arrow replaces the cursor. You will discover that the changes in the mouse cursor designate
certain editing functions.

Marquee selecting

1. Place the Pick Tool cursor just outside and above the circle and hexagon.
2. Click and drag to surround the objects.
By dragging with no objects selected, you create a 'dotted line box’. All objects within this dotted line or marquee will be selected.
3. Release the mouse when they are surrounded.
Notice the Status Bar. It will help verify how many objects are selected.
4. Place the cursor over the center X.
5. Hold down the mouse button and drag both objects next to the square.
Objects act as one while they are group-selected.
6. Press the Escape key to deselect all objects.
You can also click in a blank area, but sometimes this may inadvertently select something else.

If you start out to select multiple objects and do not quite surround them all as you drag, hold down the Alt key while dragging, and any objects
touched by the marquee will be selected.
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Shift-Select

1. Select the square.

2. Hold down the Shift key.
3. Click on the circle.
The selection is extended to the circle. Notice the selection handles.
4. Click on the polygon.
5. Release the Shift key.
The selection handles surround all three objects. You should have all three objects selected. Check the Status Bar to be sure you
have three objects.

You can also select all objects on a page and the desktop by double-clicking the Pick Tool.

Removing objects from a selection

1. Be sure the three objects are selected.

Check the Status Bar to be sure. If the Status Bar does not display the properties of the objects, right click on the Status Bar area
and choose Refresh.
2. Hold down the Shift key.
3. Click on top of the circle.
Notice the Status bar. Even though the selection handles remain around all three, only 2 objects are selected. Check the Status Bar
to be sure.
4. Place the cursor on the X.
5. Hold down the mouse button and drag the 2 objects up about one inch.
The circle remains in place.

Nudging Objects

Sometimes you only want to move an object a small distance or you want to move several objects the same distance. The arrow keys allow
you to nudge an object. The default nudge is one tenth of an inch (0.10). You can change the distance in the Options Edit dialog or on the
Property Bar with nothing selected.

1. Select the circle.

2. Push the up arrow key on the numeric key pad at the right of your keyboard.
3. Push the down arrow key.
4. Push the right arrow key, then the left arrow key.
Each time the object has been moved one tenth of an inch in the direction of the arrow.

Resizing objects with the selection handles

Scaling and resizing are essentially the same technique, except that scaling resizes both the height and width at the same time. Scaling an
object means that the proportions (size relationships) between the height and width are maintained. For example, if a square is 1 inch by 1
inch and you scaled it 200 percent, it will become 2 inches by 2 inches.

1. Go to page 2.
2. Select the blue square.
3. Place the cursor on the lower right corner.
Your cursor should change to the double-headed arrow cursor. If it doesn't you missed the handle.
4. Click and drag downward along the red line.
Dragging a corner handle scales objects proportionally.
5. Release the mouse button.
6. Select the red square.
7. Place the pointer on the left middle selection handle.
8. Click and drag to the left. Repeat to the right.
Dragging any middle handle will allow you to resize along one side only. Notice the cursor shows which direction you may move
using that selection handle.

Quick Copying

1. Go to page 3.
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2. Select the kangaroo.

3. Click and drag to the end of the dotted line.
4. Do not let go of the left mouse button.
5. Click the right mouse button while you hold down the left button.
Right-clicking while an object is selected is a fast way to create a duplicate.
6. Release the left mouse button.
You should have a duplicate of the kangaroo.
7. Proportionally reduce the size about 50%.
Watch the Status Bar as you resize.
8. Place the smaller kangaroo at the end of the dotted line.
9. Create a few more copies and resize them just to get some practice.

Tip: You can also specify the resize percentage of an object by typing values in the Scale Factor text box on the Property Bar. The lock
button next to the boxes controls how the changes will be applied. When the lock is closed, the changes will stay in proportion or when open,
allow you to change one dimension without effecting the other.

Rotating and Skewing Objects

Special selection handles, called Rotate and Skew handles, are available to rotate and slant objects using the mouse. Objects are rotated
around a pivot point. The pivot point can be relocated outside of the object. This is handy when you want to rotate one object around another.

Free rotation

1. Go to page 4.
2. Select the top rectangle.
3. Click on it a second time as if selecting it again. (Do not double-click).
Selecting an object twice activates the special rotate/skew handles. This is not the same as double-clicking, where you click rapidly.
The circle in the middle is the pivot point.
4. Place the cursor on one of the corners.
The cursor icon changes indicating that you can rotate the object.
5. Click and drag the corner handle in a circular motion.
The cursor changes again to display the rotate cursor.
6. Watch the Property Bar to see the degree of rotation as you move.
Rotating objects counterclockwise produces a positive angle(+), while rotating clockwise produces a negative angle(-) of rotation.

Rotation with control

You can add precision to your rotation by using the Control key. This technique will restrict the rotation to 15-degree increments. Rotating
clockwise will produce a negative value (-15 degrees), rotating counter clockwise will produce a positive value (15 degrees). The increment of
rotation can be changed in the Options dialog.

1. Go to page 5.
2. Select the green circle.
3. Click the circle again to activate the Rotate and Skew handles.
4. Move the cursor over the target mark in the middle of the green circle. This is the pivot point.
5. Hold down the left mouse button and move the pivot point down to the center of the large yellow circle.
The position indicator on the Property Bar should read 4.25 and 5.5, the middle of the page. This will change the rotation and allow
the green circle to rotate around the larger yellow circle.
6. Hold down the Control key.
7. Place the cursor on the upper right rotation handle of the green circle.
8. Move the handle clockwise.
As you rotate the green circle, the Property Bar shows you how far you have rotated. With the control key down, you will move in 15-
degree increments. Because the pivot point has been moved in the center of the yellow circle, the green circle moves around the
yellow one.
9. Release the mouse button.
10. Go to the Edit menu and select Undo (Ctrl+Z).
By default, the Undo command will reverse the last action.

Copying while rotating

Remember to keep the left mouse button down until you are finished!
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1. Select the green circle again and activate the Rotate and Skew handles.
2. Hold down the Control key.
The Control key constrains the movement of the object.
3. Click and drag to rotate -30 degrees (clockwise).
Remember to watch the Property Bar as you rotate. The Angle of Rotation section in the middle displays rotation angle as you
rotate.
4. Before letting go of your left mouse button, right click.
This should produce a duplicate at the 1 o'clock position.
5. Release the left mouse button then the Control key.
6. Go to the Edit menu Repeat Rotate.
The Repeat command repeats the last action. The last command will follow the word Repeat on the menu. Another duplicate is
created 30 degrees away from the second green circle.
7. Press Ctrl+R.
This is the Repeat command. A new green circle should be added to the drawing.
8. Keep using the Repeat command (Ctrl+R) until the circles form a clock similar to the one shown below.

Tip: You can also rotate objects by specifying an increment in the Angle Rotation section of the Property Bar. You cannot, however, create
duplicates while rotating this way. If the object does not move after you change the parameters on the Property Bar, press the Enter key.

Skewing objects

Skewing slants an object along either the horizontal or vertical plane. This technique is used often to give the illusion of distance or movement.

1. Go to page 6.
2. Select the top gray text object.
3. Activate the Rotate and Skew handles.
4. Place the cursor on the top middle Skew handle.
5. Click and drag to the right about 1 inch.
6. Move the red text object on top of the gray text.
This combination produces a cast shadow.

Flipping objects

1. Go to page 7.
2. Select the blue triangle.
3. Place the cursor on the middle left selection handle.
4. Hold down the Control key.
5. Drag the handle over to the middle right selection handle.
As soon as you begin to drag, the cursor turns into a double-headed arrow.
6. Release the mouse button.
7. Release the Control key.
When using a combination of the mouse and keyboard, always let go of the mouse first.
8. Select the red triangle.
9. Place the cursor on the middle top selection handle.
10. Hold down the Control key.
11. Drag the handle over to the bottom right selection handle.
As soon as you begin to drag, the cursor turns into a double-headed arrow.
12. Release the mouse button.
13. Release the Control key.
14. Use a corner handle to flip the shapes diagonally.

Using the Property Bar to flip

You can also flip objects from the Property Bar. There are two buttons located to the right of the Angle Rotation portion that are used to flip
objects.

1. Go to the Standard Toolbar and select the Undo arrow twice.

(Ctrl+Z or Edit Undo)

When you select the arrowheads, a drop down list shows you all the steps you have done since the last save. This allows you to

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undo one particular step or a series of step. It is an advanced feature that you might find useful but will not be addressed in this
class.
2. Select the blue triangle.
3. Go to the Property Bar and select the top Mirror button.

The object is flipped left/right.

4. Flip the red rectangle using the lower Mirror button.

Using the button makes the object flip in place so sometimes you can't really see what moved.

THE DRAWING TOOLS

Drawing Tools
The first tool on the Curves flyout is used for creating freehand lines (similar to scribbling).
While holding the Control key your lines are constrained to 15-degree angles. This helps you
draw simple straight lines.
The Curves Flyout

Freehand Tool

The second tool on the Curves flyout is used to create curved lines by using special control
Beziér Tool points. It is one of the more difficult tools to master.

The third tool on the Curves Flyout acts as an calligraphy pen, a paint brush or an image
sprayer. We will not cover this tool in this class.
Artistic Media Tool

The fourth tool on the Curves Flyout allows you to draw curves one segment at a time. It is
Pen Tool similar to the Beziér tool.

The fifth tool on the Curves Flyout allows you to draw connected straight lines and curves
Polyline Tool one segment at a time without double clicking.
The sixth tool on the Curves Flyout allows you to specify both the height and width of a curve
as you draw it. It works very much like the 3-point ellipse tool. You will not cover this tool in
3-Point Curve Tool this class.
The seventh tool on the Curves Flyout creates dynamic connectors between shapes as in a
Connector Line Tool flow chart.

The eighth tool on the Curves Flyout creates dimension lines for technical and architectural
Dimension Line Tool drawings. You will not cover this tool in this class.

Used for creating basic rectangles and squares. Squares are created when holding down the
Rectangle Tool Control key as you draw. The flyout gives you the three-point rectangle tool.
Used for creating basic elliptical (oval) shapes and circles. If you need circles, hold down the
Ellipse Tool Control key while drawing. The flyout give you the three-point ellipse tool.

The Graph Paper Tool is used to create a group of identical boxes that simulate at sheet of
Graph Paper Tool graph paper. When the Flyout is activated you can also select the Spiral and Polygon Tools.

Drawing Rectangles

1. Go to the Standard Toolbar and select the Open button.

2. Go to the folder where you stored the class files and open Open 3rd.cdr.
This file contains templates for drawing basic shapes.
3. Go to Toolbox and select the Rectangle Tool.
Notice the cursor changes to indicate the tool you are using. Place the cursor in the upper-left corner of the top rectangle shape.

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4. Click and drag diagonally along the red line.

You can also draw a rectangle shape by drawing one dimension (height), then the other (width). Release the mouse button when
finished.

Drawing squares

1. Move to the square shape.

2. Place the cursor on the upper left corner.
3. Hold down the Control key.
Don't release it until you are finished. The Control key constrains the sides of the rectangle, forcing it to become a square.
4. Click and drag diagonally along the red line.
5. Release the mouse first, then the Control key.
Since the keyboard is modifying the mouse, you must release the mouse first. If you do not, you will lose the modification – in this
case the constraint for creating the square.
6. Try redrawing the objects for practice.

Drawing from the center

1. Go to page 2.
2. Be sure the Rectangle Tool is selected.
3. Place the Rectangle Tool in the center of the rectangle at the cross marks.
4. Hold down the Shift key
The Shift key modifies drawing tools to draw objects from their centers.
5. Click and drag down and to the right to create a rectangle.
6. Release the mouse first, then the Shift key.
7. Move to the square shape.
8. Hold down both the Control key and the Shift key.
9. Click and drag to draw the square.
You can use both modifiers at the same time while drawing .
10. Practice some more if you need to.

Drawing a 3-Point Rectangle

1. Go to page 3.
2. Choose the 3-point rectangle tool from the rectangle flyout.
3. Click on the red dot marked 1 and hold down the mouse button.
4. Drag to the red dot marked 2.
5. Release the mouse button.
6. Click on the red dot marked 3.
The tool allows you to establish the height and width of the rectangle as you draw. Practice by doing the second rectangle.

Note: If you have trouble making the first line of the rectangle straight, hold down the Control key as you draw the first line of the 3-Point
Rectangle but let up after you release the mouse button. This insures your rectangle is straight but does not draw a square. The Control key
will constrain your 3-Point rectangle to a square just like with the standard rectangle tool if you hold it down as you go to the third point.

Drawing Elliptical Shapes

Elliptical shapes are created using the same basic mouse movements as those used when creating rectangles and squares. By adding the
Control key you can create circles while drawing with the Ellipse Tool.

1. Go to page 4.
2. Go to the Toolbox and select the Ellipse Tool.
Notice the cursor indicates which tool you are using.
3. Place the cursor on the blue dot.
4. Click and drag diagonally along the red line.
5. Release the mouse button.
Notice that the selection indicators for the ellipse are showing a bounding box, not a bounding ellipse. The point where you began
the ellipse is not where the line of the ellipse is drawn. This is a good reason to draw your ellipses from the center.
6. Place the cursor on the red dot.
7. Hold down the Control key

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8. Repeat drawing as in step 4.

The Control key proportionally constrains the height and width to create a circle .
9. Release the mouse, then the Control key.

Drawing elliptical shapes from the center

1. Go to page 5.
2. Place the Ellipse Tool on the crossed lines in the dotted ellipse.
3. Hold down the Shift key.
4. Click and drag to create an ellipse.
5. Release the mouse, then the Shift key.
6. Move to the circle shape.
7. Hold down the Control key and the Shift key.
8. Repeat drawing as in step 4.
9. Release the mouse, then the keyboard keys.

Drawing a 3-Point Ellipse

1. Go to page 6.
2. Choose the 3-point ellipse tool from the Ellipse flyout.
3. Click on the red dot marked 1.
4. Drag to the red dot marked 2.
5. Let up on the mouse button.
6. Move the cursor to the the red dot marked 3.
The final movement sets the height or diameter of the ellipse. Notice it ends at the bounding box indicator.

Note: The Control Key constraint works here just as it does in the standard ellipse. Hold down the Control Key as you drag the line to
establish the diameter of the circle and when you click on the outside of the circle for the third point, you will get a circular ellipse of exactly
that diameter. The technique for drawing with the 3-Point Curve tool is the same as that for the 3-Point Ellipse. You establish the first point,
drag to the end of the curve, then drag to establish the height of the curve.

Drawing Polygons

Polygons are multi-sided closed shapes. By default, the Polygon Tool is set to draw pentagons. By changing the tool properties, you can draw
a polygon with up to 500 sides, which looks very much like a circle.

Drawing Spirals and Grids

1. Go to page 7.
2. Hold down the Graph Paper Tool button to activate the Object Flyout.
3. Select the Spiral Tool.
4. Using click and drag, draw the spiral object.
5. Delete the object.
6. Repeat drawing while holding down the Control key.
Remember that the Control key keeps the proportion as you draw.
7. Hold down the Spiral Tool button.
After selecting a tool from the Flyout, it becomes an active tool button.
8. Select the Graph Paper Tool.
9. Draw a grid with the Graph Paper Tool.
10. Repeat using the Control key.

Note: The Graph Paper Tool creates the grid out of rectangles. You can ungroup them and resize them if needed.

Drawing Polygons

1. Go to page 8.
2. Go to the Toolbox and select the Polygon Tool from the Object Flyout.
Remember holding down a tool button that contains a triangle produces a Flyout.
Notice the change in the cursor.
3. Place the cursor at the start point for the triangle.
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4. Click and drag along the red line.

As you can see, it does not draw a triangle. To draw a triangle the number of sides must be changed in the tool properties.
5. Release the mouse.
6. Go to Standard Toolbar and select the Undo button.
The drop down list on the Undo button allows you to undo several steps at a time.
7. Go to the Property Bar.

8. Change the number of points/sides to 3.

9. Hold down the Control key.
The Control key will keep all sides equal while drawing.
10. Redraw the triangle.
11. Change the number of sides to 6.
Refer to the previous steps if needed.
12. Draw the hexagon by following the red line.

The PerfectShapes Flyout

The Perfect Shapes tool allows you to draw several kinds of objects quickly. Perfect Shapes can be filled, resized,
and effected just like any object you draw. The Perfect Shape displays a red diamond to show it is a Perfect
Shape.

This is a collection of 15 basic shapes you can use as the foundation of an object. The example above is one of
Basic Shapes
these shapes.
Arrow Shapes This is a collection of 21 different types of arrows to use with a drawing.
Flowchart Shapes This is a collection of 23 shapes commonly used in a flow chart.
This is a collection of 12 stars and star bursts. The polygon tool will create a 5-pointed star but with internal
Star Shapes
lines. This tool creates a 5-pointed star without internal lines.
Callout Shapes This is a collection of 6 text balloons for use as callouts in both cartooning and technical drawing.

1. Go to page 9.
2. Go to the Toolbox and select the PerfectShapes tool flyout.

3. Select the Star Shapes tool.

4. Go to the Property Bar and drop down the options menu.
5. Choose the 5-pointed star.
The second option is the 5-pointed star.
6. Click and drag down the red line to form a star.
7. Go to the flyout and choose the PerfectShapes tool.
8. Go to the Property Bar and drop down the options menu.
Notice the menu button icon changes for each options.
9. Choose the smiley face object.
10. Click and drag to on the red guide line.
11. Go to the PerfectShapes flyout and select the Callout tool.
12. Go to the Property Bar and choose the option that matches the guide.
13. Click and drag in the direction of the arrow.
The beginning point sets the tail or narrow point of the text balloon.

Drawing Lines and Curves

1. Go to page 10.

2. Go to the Toolbox and select the Freehand Tool.

Notice the cursor changes to indicate the tool you are using.
3. Click to start the line (do not drag).
When you drag the tool it does not draw straight.
4. Move to the end of the line and click again.
Clicking a second time sets the line segment.

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5. Draw another line while holding down the Control key.

The Control key is used to help draw straight by constraining the line to horizontal or vertical. It can be angled at 15 degree
increments. The constraint value can be changed using the Options, Workspace, Edit dialog box.
6. Draw the diagonal line while holding down the Control key.
7. Place the tool on the left end of the curved line at the bottom of the page.
8. Click and drag to trace over the curved line.
9. Go to the Edit menu and choose Select All.
10. Delete the lines.
11. Take a moment to practice drawing more lines.

Creating polylines

1. Go to page 11.
2. If needed, select the Freehand Tool again.
3. Place the Freehand Tool at the top left end of the object.
4. Click to start the first line segment.
5. Move down to the first dot. (Do not drag!)
6. Double-click.
This ends one line and begins the next line so they are connected.
7. Move to the second dot.
8. Double-click.
This ends one line and begins the next line so they are connected.
9. Repeat the previous steps.
10. Move to the last dot.
11. Click once to stop drawing.
Clicking only once will end the line.

Tip: If you stop prematurely, you can continue drawing on the same line by placing the Freehand Tool on the end and start drawing again.
DRAW assumes you want to connect the lines if you begin again close to the end of another line.

The Beziér Tool

The Beziér Tool creates curves by adding control points to the line segments. These control
points are used to bend the lines as you draw. It is one of the more difficult tools to use. If you
do not get the hang of it right away, don’t feel bad. It just takes practice. The next exercise
uses the familiar connect-the-dots approach to help you learn the Beziér Tool. The Pen tool
was added in Draw 11 and is a modified Beziér tool. You will draw with each.

Be sure to follow the steps closely. As you will find out, the tool works differently based on
how you start and stop the curves. When you are finished you will have created a leaf that
looks similar to the one below.

Tip: With the Beziér Tool, Click & Drag creates the curve reference point while Click makes the line.

1. Go to page 12.
2. Hold down the Freehand Tool button.

3. Go to the Flyout and select the Beziér Tool.

Notice the cursor change.
4. Place the cursor on dot 1.
5. Click and drag to dot 2.
The small black squares at the end of the dotted line are the control points. They help shape the curve of the line while drawing. The
control points work like magnets as they pull the line toward them.
6. Release the mouse button.
7. Move to dot 3 (DO NOT DRAG).
8. Press and hold down the left mouse button until the line appears.
9. Drag to dot 4.
Moving to a new spot before dragging sets the line first, then creates the curve.
10. Release, then click and drag to dot 5.
This combination starts a new line segment and allows the new curve to be independent of the previous one.
11. Release the mouse button.

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12. Move to dot 6.

13. Press and hold down the mouse button until the line appears.
14. Release the mouse button.
15. Place the cursor on top of the start point on the red dot.
16. Double click and the line should appear.
17. The shape should close. It can now be filled with color.

Mixing colors
The Pen tool
1. Select the square again.
1. Go to page 13. 2. Hold down the Control key and select another color on the color
2. Hold down the Freehand Tool button. pallete.
3. Click once on the other color.
CorelDRAW adds a 10 shading of that color to the square.
3. Go to the Flyout and select the Pen Tool. 4. Click again on another color to mix it with the first.
Notice the cursor change. You can see how you can manipulate the colors here to obtain a
new shade for your drawings.
4. Place the cursor on dot 1.
5. Click and drag to dot 2.
The small black squares at the end of the dotted line are By dragging
the control points. They help shape the curve of the line
while drawing.
1. Select the star.
6. Release the mouse button. 2. Click on a color and drag that color to an arm of the star.
7. Move to dot 3 (DO NOT DRAG). The cursor icon changes to show you are dragging a fill color. The
Notice that unlike the Bezier tool, the line is drawn as color will be used to fill the star. Note that only parts of the star will
you move the pen. be filled. The default setting in DRAW creates a six chambered
8. Press and hold down then Drag to dot 4. object from the polygon. To create a star with one area, must use
9. Release, then click and drag to dot 5. the Perfect Shapes tool.
This combination starts a new line segment and allows 3. Click on another color and drag that color to the line that creates
the star.
the new curve to be independent of the previous one. The cursor icon changes to show you are dragging a line color.
10. Release the mouse button. 4. Practice this function by changing the colors in the other two
11. Move to dot 6. objects.
12. Release the mouse button.
13. Place the cursor on top of the start point on the red dot.
14. Single clicking ends the drawing. An Overview of Fills

All closed objects can contain fills. Fill styles range from a simple color to a
As you can see, the new Pen tool is somewhat easier to use. If complex bitmap pattern. Fill types are applied to objects through the Fill Tool.
you are going to draw many curves, it will be worth your time to Once the object is selected you can choose a fill type from the Fill Tool Flyout.
master these tools as well as the 3-Point curve tool. Each fill style has unique characteristics and editing options that are
controlled through their respective dialog boxes.

Applying Color Fill Tool Flyout

Opens a color dialog box that allows you to
With the mouse change palettes, mix colors, and apply solid colors
Uniform Fill to selected objects.

Although color can be applied using the Fill or Outline Tool, it is Creates a gradient fill. Gradients are formed by
faster to apply color directly from the Color Palette. Fountain Fill
merging multiple colors together.

Fills the object by tiling the pattern. You can select

1. Go to page 14. from one of the standard fills or create custom fill
2. Select the square. Pattern Fill patterns.
3. Go to the Color Palette and select a color by clicking Applies a fractal fill. Textures are created using
the left mouse button. bitmap images. The texture can be edited
The square should fill with your selected color. Texture Fill
extensively by the user. Many sample fills are
4. Look at the Status Bar in the far right lower corner. provided as a starting point.
The Status Bar changes to give you the fill information Fills the object with a selected PostScript fill
on the selected object. You can enlarge the Status Bar pattern. These will print only on a PostScript
height by dragging the top border. PostScript Fill
printer. Because of the complex nature of these
5. Right-click on a different color. fills, they only display in Enhanced View.
The outline is now changed. The right mouse button Removes the fill of selected objects. It is the same
assigns the outline color. thing as selecting the invisible fill from the Color
6. Change the fill and outline of the other objects. No Fill Palette.
7. Select the blue text.
Used to create color and apply it to either the Fill
8. Right-click on a different color.
or Outline of an object.
The outline fill also works with text object. Color Docker

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ALIGNING OBJECTS

When preparing to align objects the selection order is important. All

selected objects will align to the last selected object. Alignment Options
A. Vertical Alignment Options
1. Go to page 16.
2. Select the yellow 'X'. B. Horizontal Alignment Options
3. Hold down the Shift key. C. Page Alignment Options:
4. Select the red circle, then the blue box. Edge of Page…
Objects align with the last one selected. Aligns objects on edge of drawing page along the
5. Go to the Arrange menu, Align and Distribute. parameter you select. For example, Right side, edge of
6. Select the Left Align option. page aligns all objects to the right edge of the page, along
7. Click OK. their right sides.
Changes do not take effect until you apply them. Notice how Center of Page…
the objects all aligned with the blue box. That is because it was Moves all objects to the center of the page. Ungrouped
the last selected object. The Preview button allows you to objects will stack.
move the dialog box and see if the resulting alignment is what
you wanted.
8. Activate the Align and Distribute dialog box. Note: The Align and Distribute functions effect the objects
9. Select both the Center options. according to the bounding box, or area of the object. When
Selecting both options at the same time will center objects on you select an object, the selection boxes are on the edges of
top of each other. this box. Keep this in mind when aligning irregularly shaped
10. Click OK. objects. To achieve an exact alignment, you may need to
A fast way to center objects on each other is to click the Center manually move an object.
to Page box, then clear the Center to Page leaving the other
two boxes checked.

Alignment shortcuts

DRAW provides some fast alignment options using Key Function

the keyboard. At least two objects must be selected
e Aligns selected objects by their horizontal centers.
for this function to work.
c Aligns selected objects by their vertical centers.
1. Select the yellow 'X'. l Aligns selected objects by their left sides.
2. Hold down the Shift key. r Aligns selected objects by their right sides.
3. Select the red circle, then the blue box.
4. Press the t key. b Aligns selected objects by their bottom edges.
Objects are aligned at the top of their t Aligns selected objects by their top edges.
bounding boxes.
5. Practice using these short cuts. p Aligns selected objects to the center of the page.

Distributing objects

1. Go to page 16.
2. Select all the objects on the page.
You can use the Select All command from the Edit menu, or double-click on the Pick Tool button.
3. Go to the Align and Distribute dialog box and select the Distribute tab.
4. Select the vertical center option.
5. Click OK.
The objects are now evenly spaced out between the top and bottom.
6. Go to the Edit menu select Undo.
7. Go to the Align and Distribute dialog box and select the Distribute tab.
8. Select Vertical Center option again.
9. Select the Align tab.
10. Select the Horizontal Center option.
As long as you do not click OK, options from one panel remain active allowing you to combine both align and distribute options.
Adding the Center align option will align and distribute objects at the same time.
11. Click OK.

Note: Attempting to distribute a large number of objects will sometimes result in odd, unexpected arrangements. When this occurs, a function
of the way the program remembers where objects are, called stacking order, has interfered with the distribution. Try distributing a objects a
few at a time.
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Ordering Objects

1. Go to page 17.
2. Select the red object.
This object is actually the background and needs to move to the back.
3. Go to the Arrange menu – Order - To Back (Shift+Page Down).

Tip: You can also use the To Front and To Back buttons from the Property Bar.
4. Select the lemon.
Notice it is a group of two objects, the yellow lemon and the white light accent.
5. Go to the Arrange menu - Order - In Front of.
6. Click on the green leaves with the large black arrow.
The leaves are moved behind the lemon.

Note: Often, the Back One or Forward One commands don't seem to work. The computer creates a 'page' for each object. What you see as
two objects next to each other, may be several 'pages' apart. This is why Corel added the In Front of command. This is called the stacking
order of the objects.

CREATING DUPLICATES

The duplicate command

The copy command

The Duplicate command creates a copy of the original and places

it back into the drawing offset from the original. The Copy command is great for duplicating objects when the object
needs to stay in the same place on multiple pages – for example, a
header or footer. You can also use the '+' on the number keypad to
1. Go to page 18. copy and paste objects but only on the same page.
2. Select the red box.
3. Go to the Edit menu and select Duplicate (Ctrl+D).
The Duplicate command creates a copy and places it 1. Select the yellow circle.
back into the drawing offset to the top and right of the 2. Go to the Edit menu and select Copy (Ctrl+C).
original. This default placement can be changed from >A duplicate is made and placed on the Windows
the Options dialog box or on the Property Bar when Clipboard.
nothing is selected. 3. Return to the Edit menu and select Paste (Ctrl+V).
4. Go to the Color Palette and select a gray color. The copy is placed directly over the original.
5. Move the gray object to the back (Shift + Page Down). 4. Move the copy to the right.
This creates a drop shadow for the red box. 5. You can also use the Cut,
Copy, and Paste buttons pictured
here.

Working with Object Groups

Often, when working with many groups, you want to insure the objects don't move in relation to each other. To keep objects in the same place,
DRAW provides the Group function.

1. Go to page 20.
2. Go to the Edit menu and choose Select All.
Double clicking on the Pick Tool also selects all objects.
3. Go to the Property Bar and select the Group button (Ctrl+G).
You can also find this command under the Arrange menu. Look at the Status Bar. When objects are grouped, the Status Bar tells
you that you have selected a group and how many objects are in the group.
4. Move the group to a new location.
5. Go to the Color Palette and select any color.
The whole group changes. As long as they are grouped they will act as one object.

Editing within a group, child objects

Sometimes, you may want to change one object within a group but don't want it to move.

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1. Place the pointer over the antelope.

2. Hold down the Control key.
3. Select the antelope.
Round selection handles appear. You can now make a change to the object. The text is on a separate layer and is locked.
4. Release the Control key.
5. Move the antelope down a bit.
6. Change the color of the antelope.
You can do almost any editing task without ungrouping.
7. Press the Escape key to finish.
8. Reselect the group of objects.
9. Go to the Property Bar and select the Ungroup button (Ctrl+U).
This button acts as a toggle between grouping and ungrouping.
10. Press the Escape key to deselect the objects.
Even though the objects are now separated from the group, they remain group-selected. Deselect them first before selecting them
individually.

Note: The Ungroup All command releases all groups within groups. For example, you have three groups of three objects grouped together.
When you use the Ungroup command, the status bar will show three groups selected. When you use the Ungroup All command, the status

bar will show nine objects selected.

Placing Objects with Precision

1. Go to the class files folder and open the file Open 4th.cdr.
Remember you can open a file from the File Menu, from the Standard Toolbar, or using Ctrl+O.
2. Go to the Windows menu Docker Transform Position.
This opens the Transform Docker with the Position function active.

Indicator grid on Transform Docker

CorelDRAW uses the terms Horizontal and Vertical to indicate which dimensions are changed on an object.
Shown here are an indicator grid and properties you will see on many Dockers. The indicator grid, the nine
boxes with the center box selected, show where the parameters you fill in will apply. For Position, DRAW
moves the object so that the point on the gird is at the parameters you set or moves the object that distance
in the direction given by the grid. For Rotate, it shows the point of rotation. For Scale, the grid gives the
direction of the change. For Size, it will show the direction of the change and for Skew, the direction of the
skew. You will practice each of these in the following exercises. The buttons at the top indicate Position,
Rotation, Scale and Mirror, Size and Skew.

Position objects precisely

1. Select the rectangle at the top of page 1.

2. Go to the Transform Docker Position.
Although we activated the Transform Docker using Position, once it is open we can also access all Transform commands.
3. Deselect Relative Position if necessary.
Relative position settings allow you to move an object in relation to its current position; as in, two inches to the right or down two
inches.
4. In the Horizontal box, type: 5.5.
5. In the Vertical box, type: 7.
6. Click Apply.
The center of the rectangle moves to the specified positions. This can be verified by looking at the Status Bar at the bottom of the
window. The rectangle should move down from the top edge of the page. The position of the center point of the object is also shown
on the Property Bar. You can also move objects by changing the parameters on the Property Bar but you cannot apply to Duplicate
as in the next exercise.

Placing duplicates

1. Be sure the rectangle is selected.

2. Go to the Transform/Position Docker and use the parameters below.
3. Click Apply to Duplicate.
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A duplicate is now placed down and to the left of the original.

4. Using the values below, create two more duplicates.
When finished, your drawing should look similar to the one below.

 H (4.0) and V (5.0) Apply to Duplicate

 H (4.0) and V (4.0) Apply to Duplicate.

Moving relative to position

1. Select the three lower boxes.

The values change in the Transform/Position dialog box to reflect the selected objects.
2. Select Relative Position.
3. Select the bottom middle position box in the grid.
4. Type in settings V=0, H=3.0
This will move the duplicates to the right 3 inches.
5. Click Apply to Duplicate
Your graphics should look something like the one below.

6. Save your file. If you want to preserve the original file, do a Save As and rename the file.
You will return to this page later to make other changes to the organizational chart.

Rotation Mirror

Remember the exercise in the first session where you created a clock? In an earlier chapter, you mirrored objects by dragging a
Here we will use a different approach to do the same thing. middle selection handle from one side to the other while
holding down the Control key. Now you will flip an object using
1. Go to page 2. the Transform Docker.
2. Go to the Transform Docker Rotation.
The second button. 1. Return to page 1.
3. Select the flower petal and move it until the pointed end touches the 2. Go to the Toolbox and select the Freehand Tool.
edge of the flower center. Remember to use the Control key to draw straight lines.
4. Change the point of rotation to the following settings: 3. Draw lines to connect the boxes as in the example below.
4. Select only the line.
5. Go to the Transform Docker Scale and Mirror.
 H = 5.5 6. Select the left/right mirror button.
 V = 4.25 7. Click the middle right relative position box.
This will flip the object back to the right along the right
selection handle.
5. Change the rotation angle to 15 degrees.
6. Click the Apply to Duplicate button. Continue clicking until you have
completed the wild flower, a Texas Indian Blanket.
Another way to complete the flower is to use Ctrl+R, the repeat last
function short-cut, after you have moved the petal once.
7. Save the file.

Scale

1. Go to page 3.
2. Select the first tree and place it at the edge of widest part of the road.
3. Go to the Transform Docker Scale and Mirror.
4. Be sure the Proportional setting is selected and the grid selection is
the middle both directions.
5. Change the H setting to 125%.
6. Click on the Apply button.
Notice that the V setting changed to 125%
7. Place another tree at the top or end of the road. Change its size to
25% of the original.
8. Move the trees to the side of the road and scale them to give the
illusion of a line of trees along a road.
9. Save the file.

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8. Click Apply to duplicate.

Your drawing should look similar to the one below.
9. Select the lines and send them to the back with the button on the Property Bar.
Because the rectangles have a white fill, you will not see the lines behind them.
10. Save the file.
You will use this
page again later.

Size
Skew

1. Go to page 4.
2. Select the upper right hand box. 1. Go to page 5.
2. Select the box.
3. Go to the Transform Docker Size.
3. Go to the Transform Docker Skew.
4. Clear the box by Non-proportional.
5. Move the grid indicator to the upper right position. 4. Check the box by Anchor Point.
This functions like the grid point setting in the Size
6. Change the H setting to 3.5.
function. The anchor point will remain stationary and the
The Proportional function changes the V setting
automatically for you. object will distort from that point.
5. Choose the upper right corner on the grid as the anchor
7. Click the Apply button.
point.
The box resizes from the grid point toward the center.
8. Select each box and resize it, changing the grid point 6. Change the H skew angle to 15%.
7. Click Apply to Duplicate.
setting so the boxes resize to the center of the page.
8. Repeat the process on each of the four boxes. Change
The grid sets the direction of the increase or decrease in
size. Selecting the center of the grid and proportional the anchor point on each and see what results.
The resulting objects look like a stack of paper.
causes the object to increase equally on all sides.
9. Save the file.

FREEHAND TRANSFORM TOOL

When you are manipulating objects, you often want to see the effect quickly and apply your ideas before they slip away.

1. Open a new drawing.

You can have more than one file open at a time in DRAW. In fact, the number of files you can have open at any one time is limited
only by the resources of your machine
2. Go to the shape tools and draw a few shapes on the page.
3. Go to the Shape Edit Tool Flyout and select the Freehand Transform Tool.
4. Click on one of the objects you have created.
A dotted blue line appears from that point on the object. The default mode for the Free Transform Tool is
rotate.
5. Move the object around.
The point where you first selected the object is the center of the rotation.
6. Notice the Property Bar has changed to reflect the tool and the direction of rotation. At the left side
of the Property Bar are the icons for the other Freehand Tools, Skew, Angle Reflection, and Size.

7. Experiment with each tool on the objects you have created.

These could become very useful for you. Remember, the point of action is the point where you
click on the object.
8. You will not use these images again in this class, but you may want to save them. If not, just close the document without saving.

MANIPULATING OBJECTS

The basic element of a CorelDRAW illustration is the vector object. Objects can be manipulated in a number of ways to create different
elements in your drawing. The lines that form an object are called vectors and those vectors are connected with nodes. Vector drawing
applications create objects mathematically. Predefined objects include rectangles, ellipses, polygons, and curves. Each vector of the image is
defined by the nodes. These react in set ways to changes. Some manipulations cannot be applied to defined shapes. To change predefined
objects, the objects must be changed to a series of lines or curves. You will cover this under the command Convert to Curves.

CorelDRAW creates two basic types of objects – open and closed. Open objects include straight lines and curved lines. Closed objects
include circles, rectangles, squares, polygons, and freehand drawings. All objects can be 'filled' with an interior fill style, however, unless the
object is closed, the fill will not appear.

Transform Docker and Property Bar

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Two of the main tools for manipulation of objects are the Transform Docker that you covered in Chapter 5 and the Shape Tool. Many of the
elements of these functions are also found on the Property Bar. As with all CorelDRAW operations, functions are accessed many different
ways.

Proportional vs. non-proportional buttons

One of the more confusing elements of CorelDRAW are the locks for proportional and non-proportional changes. These button are found on
the Property Bar. Proportional changes keep the width and height of an object in direct relation to each other as they were in the original
object. In other words, if you make a square an inch larger, it will remain a square, not become a rectangle. Non-proportional allows you to
change one direction's dimension without affecting the other dimension.

Button Definition
When the lock is closed (default, button raised), all changes will
be proportional. A change to the width (H) will always change the
height (V).
When the lock is open (button depressed), all changes will be
non-proportional. A change to the width (H) will NOT change the
height (V).

Note: Size changes made with the selection boxes is not affected by the proportional button on the Property Bar. Only the size indicator boxes
on the Property Bar are effected.

Reshaping objects using Nodes

The most basic editing of objects is moving and changing the nodes. This is done with the Shape Tool. The various elements of the
shape tool are shown in the table below.

Button Name and Icon Function

Add
Adds nodes where you clicked on the line. When you select a node and click this button, it adds a
node half way between the selected node and the nodes to either side.

Delete

Deletes selected node. Double clicking on a node will also delete the node.

Join
Connects two selected end nodes on two connected lines. Moves each node an equal distance to
meet in the middle.

Break apart
Breaks a line at the selected node and adds an additional node. The nodes will be on top of each
other.

To Line

Changes a curved line into a straight line segment.

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To Curve

Changes a straight line segment into a curved line and adds control handles.

Cusp

Changes the node property so the curve control handles can be moved independent of each other.

Smooth
Changes the node property so the curve control handles stay in a straight line. The curves form
compliments to each other.

Symmetrical
Each side of the curve mimics the other as in you move one control handle and the other moves in
the opposite direction.

Reverse ends
Reverses the end nodes on a line or curve. This is useful when you are putting arrowheads or other
special endings on lines.

Extend

Creates a new line segment between two unconnected nodes of an object.

Extract Subpath

Removes nodes and line segments from within an object.

Auto Close

Draws a line from the first to the last node of a line segment.

Stretch and Scale

Allows you to make an object larger or smaller by dragging the nodes.

Rotate

Allows you to rotate or skew selected parts of an object using the nodes.

Align

Places the nodes in line with each other either horizontally or vertically.

Select All

Selects all the nodes in the active object.

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Elastic Mode
Alters the way nodes are moved by proportionally maintaining the distance between nodes as they
are moved.

Auto Reduce
A slider that alloys you to simplify an object by having DRAW remove nodes that are unnecessary to
maintain the shape. Can be used for the entire object or selected nodes.

In certain situations, when you select a line or an object, the program will change from the Pick tool to the Shape tool. When this happens, you
will be manipulating nodes rather than just moving the object. The shift will be indicated by the cursor icon and the appearance of nodes on
the lines in your drawing.

This is the Pick tool cursor next to a node in a selected object.

This is the Shape tool cursor next to the same node.

You will find your work moves faster and you will be less frustrated if you learn to recognize the cursor icons of the various tools.

Working with Nodes on lines

1. Reopen Open 4th.cdr

2. Go to page 7.
3. Select the blue line.
4. Go to the Toolbox and select the Shape Tool.
When you select an object with the Shape Tool, the nodes display.
5. Select the starting node (first on the left).
The first node will always be larger than the others. It will be at one end of a line but can be at any point on a closed object.
6. Click and drag to move it around.
This will change the length and position of the line segment.
7. Hold down the Shift key.
8. Select the second node point.
9. Place the cursor on either node.
10. Move the nodes.
Just as objects work together when selected, so do nodes.
11. Group-select two other nodes.
The same techniques used for selecting multiple objects are also used for selecting multiple nodes. Drag the Shape Tool to
surround the nodes. You can also use the Shift+Click to select multiple node points.
12. Place the cursor on one of the selected nodes.
13. Move them.
The line segment in-between the selected nodes remains the same, while adjacent line segments are reshaped.

Adding nodes

1. Click on a portion of the blue line that has no node.

A small black circle appears on the line.

2. Go to the Property Bar and select the Add node button.

A new node appears on the line .
3. Select another node.

4. Delete it with the delete node button.

Double clicking on a node will also delete the node. Deleting nodes can be a fast way to straighten out lines.
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Tip: If you need a new node precisely in the middle of two other nodes, select an existing node, then click the Add node button. A new node
will appear centered between it and the next node on the line towards the beginning of the line. The largest node is the first node of a line.

Aligning nodes on straight lines

1. Select the red line.

You are automatically in reshape mode when you select objects with the Shape Tool.
2. Select the bottom middle node.
3. Hold down the Shift key.
4. Select one of the top nodes.

5. Go to the Property Bar and select the Align button.

This activates the Node Align dialog box.
6. Select Horizontal to deactivate that option.
This will align the nodes vertically. Aligning the Control Points aligns the control handles of the nodes on curves. The option is
grayed out when aligning nodes on lines. You saw the control handles when you drew with the Beziér Tool.
7. Click OK.
The nodes align and by doing so, reshape the object.

Moving nodes on curved lines

1. Select the curved line at the bottom of the page.

2. Select a node.
The Status bar will display the characteristics of the node. If necessary, right click on the Status Bar and choose Refresh.
3. Select one of the control points and move it.
The control points are the blue dotted lines that extend from the node. You used them when you created an object with the Beziér
Tool.
4. Move other control points and notice what happens.
5. Place the cursor over the line and move it.

Note: Working with curved lines takes a bit more care than working with line segments. Not only can you reshape them with the nodes, you
can move the lines as well. The Control handles will move to match your changes to the line segments.

Converting line segments

Objects created with straight lines do not have control points. To change a line to a curve, you will use the node at the end of the line. This will
add control points along the lines. Once they are activated you can create a curve by moving them.

1. Select the red line.

Be sure you still have the Shape Tool selected.

2. Select all the nodes with the Select all button.

3. Go to the Property Bar and select the To Curve button.

This converts all selected lines to curves.
4. Press the Escape key to deselect the nodes.
5. Select only one node.
The control points follow the lines because this object was created with straight lines
6. Move a control point.
Notice that you may also grab the line when the control points are close to the line.
7. Group-select all the nodes.

8. Go to the Property Bar and select the Smooth button.

Smoothing bends straight lines by averaging out the distance between node points. This is a great technique to create curved
polylines.

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Connecting and disconnecting nodes

1. Select the blue line.

2. Select the two end nodes.
Each segment has two nodes.
3. Go to the Property Bar and select the Extend button.

A line is drawn to connect the selected points together.

4. Go to the Standard Toolbar and select the Undo button.
Or use Ctrl+Z.
5. Select one of the other node points.

6. Go to the Property Bar and select Break Path button.

This command is used to split the line at the selected node.
7. Move one of the disconnected nodes.
The nodes are on top of each other. Zooming in helps to move one or the other.

8. With both nodes selected, click on the Join node button.

The nodes move and are joined in the middle of the space between them. If you want the nodes to combine at a particular place,
drag both nodes to that point and have them touching. The Join function will combine the two nodes into one.
9. Select the curved line at the bottom of the page.

10. Click on the AutoClose button on the Property Bar.

As you can see, this can create some very unusual results. Use the same command on the other lines to see how the results vary.
11. Go to page 8.

Cusping node points

1. Zoom in close to the lower fish.

Make him look like the top shark. Use the Zoom level list on the Property Bar, the Zoom Tool from the F2 button, or the Zoom Tool
from the Toolbar.
2. Select the top fin of the fish with the Shape Tool.
Use the Ungroup All button if necessary. You cannot use the Shape Tool on a grouped object. Notice the control points are
already there. That is because this line was created using curved line segments.
3. Select the top node point.
4. Move one of the control points.
Notice how difficult it is to get the proper shape.
5. Go to the Standard Toolbar and select the Undo button.
6. Be sure the top node point is still selected.

7. Go to the Property Bar and select the Cusp button.

Be sure the node is still selected since changes will only apply to selected nodes.
8. Move the lower (right) control point to edit the curve of the fin.
9. Reshape the fish to match the shark.
Remember to Cusp the points if necessary.

Reshaping Closed Objects

Reshaping rectangular objects

1. Go to page 9.

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2. Select the blue rectangle.

Notice the nodes in each corner. This is a defined, closed object.

3. Go to the Property Bar and click the Round Corners Together lock.
With the lock open, the corners can be rounded one at a time. With the lock closed, the corners will round together.
4. Click on one corner node.
Be sure only one node is selected. Notice the mouse cursor icon changes to the Shape Edit Tool cursor.
5. Round the corner by pulling the node along the line that makes up the side of the rectangle.
Notice that the number of degrees in the arc is shown on the Property Bar. You can also enter the number in and change the
corners so several rectangles match. Press the Enter key to apply the changes.
6. Select the red rectangle.
7. Go to the Property Bar and depress the Round Corners Together lock.
8. Click on one corner node.
9. Round the corners by pulling the node along the line that makes up the side of the rectangle.
All four corners round together in the same amount. As with the individual corner rounding, you can enter the arc measurement and
press the Enter key to apply these change.

RESHAPING ELLIPTICAL OBJECTS

Elliptical objects can be used to create arcs, pie shapes for graphs, and pie wedges.

1. Select the blue circle.

Notice an elliptical shape contains only one node point.
2. Keeping the cursor outside of the circle, click and drag the node point.
This produces arcs. Once the object is reshaped a second node appears.
3. Return the node to the original position.
4. Repeat step 2, keeping the cursor inside the circle.
This will produce a pie-shaped object that shows the fill. Moving the pointer outside the circle creates an arc that does not show the
fill. The fill is defined for the circle.
5. Select the red circle.
6. Go to the Property Bar and click the middle button of the three shown here.

7. The circle becomes a three-quarter pie shape.

A 270 degree arc is the default.
8. Click on the third arc icon.
The object becomes a 270 degree arc.
9. Click the Reverse button.
The arc reverses to the smaller portion of the circle. This works on the pie shape also.

10. Arc and pie shapes can be set using the Property Bar parameters.
This allows you to create duplicate arcs and pies for charts and technical drawings.

Virtual Segment Delete Tool

1. Go to page 9.
2. Select the clip art image.
Remember to use the Pick tool to select.
3. Check the information on the status bar.
4. Ungroup the image and notice the number of objects that make up the picture.
5. Press the Esc key to de-select all the objects.
6. Select the words For Sale.
Notice the selection indicator boxes and nodes.
7. Press the delete key.
Notice that much more than the words For Sale are removed!
8. Undo your last action.
9. Go to the Shape Edit Flyout and choose the last tool.
This is the Virtual Segment Delete tool.
10. Go to the View menu and choose Wire Frame.
This allows you to look at the basic structure of the clip art.
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11. Zoom in and click on the letter S.

12. Continue removing the letters and shading in the box.
13. Go to the View Menu and choose Normal .
Notice that the yellow color is not displaying.
14. Go back to Wire Frame.
15. Choose the Shape edit tool.
16. Select the edge of the yellow area.
Remember it is the front of the house.
17. Choose the Auto-Close button.
18. Check the drawing in Normal view.

COMBINING AND SHAPING

Problem: Applying the Break Apart command to merged objects may not return them to their original condition. Some alterations cannot be
reversed. This is not predictable. Plan before you combine.

Combining closed objects

1. Go to page 10.
2. Group-select all the red circles.
Probably the best way is to marquee select. The text is on another layer. You cannot select it from the current layer.
3. Go to the Arrange menu and select Combine (Ctrl+L)
Every other circle is knocked out. A new object is now formed. The fill for the new object is determined by the fill of the first object
chosen. Because all of our objects were filled with red, the final object has a red fill. If the resulting object does not have the fill you
anticipated, select the objects in the reverse order.

Combining open objects

1. Go to page 11.
2. Group-select the two blue line objects.
3. Go to the Arrange menu and select Combine (Ctrl+L).
Open objects will react differently than closed objects when combined. When they are combined, they create one object giving you
reshaping control over both simultaneously.
4. Go to the Toolbox and select the Shape Tool.
Notice there are node points on both lines. The Shape Tool is not available for Grouped objects.
5. Select the leftmost end nodes on both blue lines.
6. Go to the Property Bar and select the Extend button.

Remember that the extend button joins nodes by adding a line that connects them together.
7. Repeat to connect the right end nodes.
With both sides connected, you now have a closed object.
8. Give the new object yellow colors fill.
Because it is now closed, the fill will display.
9. Go to page 12.

Note: You will see buttons on the Property Bar to apply all three of the following functions. While these button apply the effect, they do not
allow for the options seen in the Docker. Once you have become familiar with the functions, you may find it easier to use the buttons.

Welding objects

1. Select the blue diagonal line.

Notice it overlaps the circle. You can see the outlines of both shapes.
2. Go to the Window Dockers Shaping.
This will activate the Shaping Docker.
3. Click the Weld To button.
4. Select the red circle (this is the target object).
The two are welded together and form a new object.
5. Go to the Standard Toolbar - Undo Button.

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6. Go to the Weld Docker - Leave Original Target Object.

This is the object you weld to. It is the one you select when you weld. Notice the window in the Docker . This is a visual cue.
7. Select Other Object(s).
8. Click the Weld To button.
9. Select the circle.
When you leave the original objects they remain along with the welded object, which is below the originals.
10. Drag the weld off the page.
The originals may be on top. The blue rectangle turns red because it is welded to the red circle.The target object determines the fill
and outline of the final object.

TRIMMING OBJECTS Intersecting objects

1. Go to page 14.
1. Go to page 13.
2. Select the yellow rectangle.
2. Select the large black arrow.
3. Go to the Shaping Docker - Intersect.
The selection order is important. The last selected will
Once you activate the Docker you can select the
be the object trimmed.
Intersect command because these are all part of a Docker
3. Go to the Shaping Docker - Trim.
group.
4. Deselect Source Objects and Target Objects.
4. Turn off Leave Original Target and Source Objects.
5. Click on the Trim button.
5. Click the Intersection With button.
6. Click on the red rectangle with the special cursor.
6. Select the red circle.
A notch is created using the overlapping areas of the
The remaining object looks like a red pie slice.
objects and the arrow is discarded.
7. Place the red object on the gauge.
7. Go to the Arrange menu Order To the Back.
8. Move the arrow on top.
This moves the red object back behind the text. Objects
9. Rearrange the Order (from the Arrange menu) if needed.
that are being affected will be moved to the front layer
by the program so you must change the stacking order.
8. Save the file. Three other options are available on the drop down menu of the
Shaping Docker. These are versions of the first three tools that
provide shortcuts. As you become more familiar with the program,
you may find them very helpful.

Tool Characteristics Simplify

Creates one object from two or
more. Target object, last object This tool allows you to remove parts of an image that are not visible. It
Weld
chosen, determines the fill and will cause the file to print faster since the printer driver will have to parse
outline of the final object. less code. All code in a file must be parsed even if the object will not
Uses one object to alter the show.
outline of a second object. Acts
Trim like a die cut or a cookie cutter. 1. Go to page 15.
First object chosen alters the 2. Select the graphic.
target object. 3. Ungroup it.
Creates a new object from the Always use the Ungroup All function before you Simplify.
Intersect area of where two objects 4. Select the black out line and move it off to one side.
overlap. Notice it is a solid black box.
5. Undo the move.
Trims overlapping areas of 6. Select all the objects again.
objects. This tool will work on 7. Go to the Shaping Docker and select Simplify.
Simplify several objects. The 8. Click the Apply button.
overlapping areas are Because this image only has 20 objects in it, it will simplify
discarded. quickly. If you have an image with hundreds of parts, do it
Removes overlap by discarding incrementally. This is a very complex process and takes lots of
Back minus front resources to accomplish. You can crash the program!
the front object.
9. Select the black outline and move it off to the side.
Removes the overlap by Notice how the other objects have now been used as
Front minus back
discarding the back object. templates to put holes in the black background.
10. Undo the move.

Back Minus Front — Front Minus Back

These two functions expand the trim function to several objects at one time. They are faster than the trim but do not have the same controls or
parameters as the Trim tool. You cannot save the object you cut.

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1. Go to page 16.
2. Select the green circle and the blue polygon.
3. Go to the Shaping Docker and select Back minus Front.
4. Click Apply.
5. Undo the effect.
6. Select the triangle and the red square.
7. Go to the Shaping Docker and select Front minus Back.
8. Click Apply.

Experiment with the four shapes and the two functions.

The Eraser and Knife Tool

The Eraser Tool disconnects line segments or parts of an object by removing them. The Knife Tool slices a line between two points across a
line or a closed object. Each tool creates two sections, but handles them differently.

1. Go to page 17.
2. Select the yellow box.
An object must be selected first.
3. Hold down the Shape Tool button to produce the Flyout.
4. Select the Eraser Tool.
Notice the cursor looks like a pencil eraser. In the Tool properties dialog you can set the width of the eraser. When used on a closed
object, the sections remain connected as two new closed sections. The option to reduce the number of nodes on the object selected
is very helpful and should not be turned off.
5. Click and Drag across the box.
The tool functions just like an eraser. Notice the line color on the sections created by the Eraser Tool. This indicates you have
created two objects with the same properties as the original. These shapes are still combined into one object.
6. Experiment with each shape but use the Undo button or Ctrl+Z to return each to their original look.
7. Hold down the Eraser Tool to produce the Flyout.
8. Select the Knife Tool.
Notice the cursor looks like an graphic artist's knife. In the Tool properties dialog, you can choose to leave the cut object as one or
have it create two separate, disconnected objects.
9. Select the polyline.
10. Place the knife on a line segment and click.
The icon changes to an upright position indicating you can now cut the object.
11. Click on another segment.
A new line segment is drawn from the first point to the second and the other lines erased.
12. Experiment by cutting the other shapes. Notice the unusual effect on the polygon.
13. Save the file.

The Smudge and Roughen tools are also found on the Shape Edit flyout. These two tools allow you to change the textures and appearance of
curved lines. They are not covered in this class.

INTERACTIVE TOOLS FOR FAST CHANGES

The Interactive Tools Flyout contains five tools. You will work with two of them in this class. Each applies an effect or modifies the object as
you manipulate it. You can watch the effect as you do it which give you more control over the manipulation.

Tool Description
Interactive Bend
Creates a series of shapes that gradually change from the beginning shape to the ending shape.
Can be adjusted for speed of change, direction of change, color, and path of change.

Interactive Contour
Creates a blend using the outline of the selected object. Much improved over previous versions of
the effect.

Interactive Distort
Changes an object based on the nodes that created the object. Default mode is called Push-Pull,
others are zipper and twister. The pattern and amount of distortion is determined by the direction of
drag, distance of drag and original location of the nodes.

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Interactive Envelope
Allows you to distort an object by placing a container or envelope around the object to constrain the
distortion. Distortions can be mirrored on the object and the direction of distortion is controlled.

Interactive Extrude
Allow you to extend an object as if it were three dimensional. You can control the fills, light source,
and beveling of the surfaces.

Interactive Drop Shadow

Allows you to create the illusion of a shadow for an object. Text will remain editable and the shadow
will reform as the text is edited. You can change the color, edge feathering, and opacity of the
shadow.

Interactive Tranparancy
Allows you to create a screening effect over an image. You can cange the color, percent of cover,
direction of the gradient, and type of gradient.

Using the Interactive tools

1. Go to page 18.
2. Select the green pentagon.
An object must be selected first.
3. Hold down the Interactive Blend button to produce the Flyout.

4. Select the Interactive Distortion Tool.

5. Click in the middle of the pentagon and drag to the right.
The pentagon is distorted with spikes from each node. Dragging to the left produces rounded spikes.
6. Experiment with each option and shape but use the Undo button or Ctrl+Z to return each to their original look.
Change the type of distortion with the buttons on the Property Bar.
7. Hold down the Interactive Distortion Tool to produce the Flyout.

8. Select the Interactive Envelope Tool.

9. Select the phrase “The Hump”.
A red-dotted line with nodes appears around the word. This is the envelope.

10. Go to the Property Bar and choose the Double Arc mode.
11. Click on the top center node and drag it up.
The words are distorted into a humped sign. The other modes change the direction of the distortion.
12. Save the file and close it.

SETTING UP A PAGE

Pages in a CorelDRAW document can have mixed orientation. Some can be portrait and some can be landscape. In these exercises, you will
explore the various options on the Page setup up dialog. When you print the document, DRAW will adjust the orientation so the page prints
properly, in other words, you will see the pages as mixed orientation but they will print with the all pages rotated to either landscape or portrait.

1. Go to the Standard Toolbar and select the New button.

Or use (Crtl+N) or the button on the Standard toolbar.

2. Go to the Property Bar and choose the Landscape button.

Notice the two button to the right of the Landscape button. When the icon at the top is pressed, the page orientation change applies
to all pages of the document. When the lower icon is depressed, the change applied only to the active page. In other words, if you
add a page when the bottom icon is depressed, that page will be portrait, not landscape.

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3. Go to the Layout menu and select Page Setup.

This activates the Page Size dialog box within the Options dialog. You can also double-click on the page border in the drawing area
to activate the Page Size dialog box.
4. Change the orientation to Portrait.
Notice the preview window that shows your changes.
5. Drop down the Paper menu and explore the various sizes of paper available. If you choose the Custom size, you can set a specific
page size then save that size for future projects. Notice the option to apply the change only to the current page of the document.
6. Go to the dialog window on the left and change to the Page option.
7. Clear the box in front of Show page border.
This is the default parameter. Show printable area puts a dotted line on your page based on the currently selected default printer.
8. Click OK.
Notice the page is no longer visible. The Show page border gives the illusion that the page is floating above the Desktop.
9. Go to the Tools Options Page and turn the Show page border back on.
This is a third way of accessing the Page Setup dialog.
10. Change to the Layout dialog window under Page.
This allows you to set up publications such as newsletters, two sided documents or other page arrangements. Leave the parameters
at default.
11. Change to the Label dialog.
Templates for almost every type of label stock available world wide are accessible on this dialog. CorelDRAW opens the page with
only one label showing, then prints as the labels are located on the page. It also has templates for such things as perforated
business cards and CD labels.
12. Change to the Background dialog window.
Leave the parameters at default but look at the possibilities, not only can you change the color of the page, you can assign a bitmap
as a background. This is a Web friendly feature to assist you in designing graphics that are compatible with your background on a
Web site.
13. Click OK to return to the page.

USING GUIDELINES

Guidelines provide assistance for placing and aligning objects or dividing pages into columns. For example, they can be used to create
columns for text layouts, baselines for newsletter headers and footers, or just align objects as you draw. There are three types of guidelines;
vertical, horizontal and slanted guidelines.

Placing guidelines

1. Go to the View menu and select Guidelines Setup.

This will activate the Guidelines Setup dialog box.
2. Type: 0.5 (½ inch) in the Horizontal parameters box.
3. Click the Add button.
A dotted guideline is placed at the bottom of the page. Remember that the ruler origins start at the bottom left corner of the page, so
0.50 is ½ inch from the bottom edge.
4. Type: 10.5 (10 ½ inches) in the Horizontal position text box.
Notice that the position of the guidelines displays as you place them. If you want to change the position of a guideline, highlight it,
change the measurement, then click Move.
5. Click Add.
Do not use the Return (Enter) key. This will close the box without adding the guideline.
6. Click on the Vertical tab and set two guidelines at one half inch from the sides of the page.
Hint: 0.5 and 8.0.
7. Activate the Snap to Guidelines.
If you click on a guideline then when in the Pick tool'

you can turn the snap to off with a button on the Property Bar.
8. Click OK.
9. After you have added the guidelines click OK.

Tip: You can also place guidelines into a drawing by dragging them from either ruler. Place the cursor on top of the ruler, hold down the left
mouse button, and drag into the drawing. When you release the mouse, a double-headed arrow will appear indicating which direction you can
adjust the guideline. Double clicking on the guideline brings up the Guideline properties dialog or you can use the parameter settings on the

Property Bar.

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Drawing objects using guidelines

Guidelines are very useful in dividing a page into smaller sections. They provide good visual clues when designing layouts.

1. Go to the Toolbox and select the Rectangle Tool.

2. Place the mouse cursor close to top left corner where the guidelines meet.
3. Click and drag to the lower right corner.
Notice how the rectangle snaps to the guides.
4. Press the Spacebar.
5. Go to the View menu and select Guidelines Setup.
Or double click on the guideline.
6. Deselect Show guidelines located in the lower left corner.
7. Click OK.
Tip: Although the guidelines are off, they remain in position and active. If you need them again simply turn them on. They remain set
within the file. Snap to Guidelines is not the default setting however, and will need to be turned back on each time you open a new
file.
8. Close the file without saving.

INTRODUCING THE TEXT TOOLS Adding artistic text

One of the strongest features of CorelDRAW is its text capabilities. 1. Go to the File menu and choose Open 4th at the bottom
There are two types of text in CorelDRAW: Artistic Text and of the menu.
Paragraph Text. Artistic Text allows you to enter single lines of The most recent files you have worked on will be listed at
text—for example, callouts, titles, or labels in a drawing. To create the end of this menu. You can change the number of files
a second line, you will have to manually end the line by using the listed in the Options dialog.
Enter key. 2. Select all the boxes.
3. Go to the Property Bar - Ungroup All.
CorelDRAW treats Artistic Text as an object and allows you to
apply many of the graphic effects to that text while it retains it 4. Go to the Toolbox -Text Tool.
ability to be edited as text. 5. Click in the blank area to the left of the page.
This places an insertion point where the text will be
placed.
Paragraph Text is used for larger portions of text requiring word 6. Go to the Text menu - Format Text.
processing-type capabilities, such as indents and tabbing. Or the F on the Property Bar or (Ctrl+T). This activates
Paragraph Text works within a user-defined area. the Format Text dialog box used for setting text options.
7. Scroll down in the Font list - Times New Roman.
For example, if you were creating a brochure and you needed a If you know the name of the font you are looking for,
text area of about 3 inches by 5 inches you would create a Text highlight the first font name, then type the first letter of the
Frame. The Paragraph Text would then wrap within the frame. font you want. The list will automatically scroll to the fonts
that begin with that letter.
8. Replace the current font size value with 14.
Both types of text can be formatted to include bold, underline, and 9. Go to the Weight drop-down list and select Bold.
other text styles normally associated with typesetting. In addition, As you make changes they appear in the sample window
the Paragraph Text can be further enhanced by using various at the bottom of the dialog box It will display the first few
paragraph formatting such as indentation, tabs, and line spacing. word of anything you have typed or the first few letters of
While you can assign basic changes from the Property Bar, you the alphabet.
will have to go to the Format Text dialog box for extensive text 10. Click OK.
editing. If you have not set an insertion point, the change default
dialog box will appear. If you click OK at this point, the
Another feature of the Text Tool is the real-time spell checking next time you access the Text tool, it will have these
utility. It functions very similarly to that in most word processors. settings.
There is also a Grammar checker available but it is not turned on
as a default. If there is a spelling error you will see a red line Creating labels
appear under the text as you type.
1. Type: Organization Chart for LaSalle Produce Company.
This means that the word is misspelled according to the default 2. Right click on the word LaSalle and choose Ignore
dictionary. A blue line indicates a word not in the dictionary but you All.
have told the program to ignore.You can add technical words to The red underline turns to blue. You can add to your
the dictionary using the Spell Check dialog box. dictionary any words you know you will be using often.
3. Press Enter.
4. Use the following list to complete the titles for the left

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group.
Press the Enter key after each to place each title on a new line.
Corporate
Sales
Marketing
Advertising.
5. Go to the Toolbox and select the Pick Tool.
This will end the typing mode. The text will become selected. To toggle to the Pick Tool, use Ctrl+Space bar.
6. Go to the Arrange menu and select Break Apart.
This will split the text into individual text lines. They can now be moved into position.

Copying text properties Aligning text within an object

1. Go to the Toolbox and select the Text Tool. The most important thing to remember when aligning objects is the
Notice the Property Bar. The text settings reverted back selection order. Remember that alignment is based on the last
to the default parameter. object selected.
2. Click in a blank area below the text you just typed.
3. Use the following list to complete the titles for the right
1. Select the text in the top box (Corporate).
group.
Check the Status Bar to ensure that you have the text.
Press the Enter key after each to place each title on a
2. Hold down the Shift key.
new line.
3. Select the white box below the text.
Orchard Mgmt.
The Status Bar should read that you have two objects.
Quality Control
4. Release the Shift key.
Shipping
5. Press the e key and then the c key.
4. Go to the Toolbox and select the Pick Tool.
The short cut will center the two objects vertically and
Selection handles appear.
horizontally with each other. Two or more objects must be
5. Go to the Edit menu and select Copy Properties
selected.
From.
Or, Go to the Arrange menu and select Align and
This activates the Copy Properties dialog box.
distribute . Select both the Center options. Selecting the
6. Select Text Properties.
Center of the Page option, then deselecting it
7. Click OK.
accomplishes the same thing. Click OK.
8. Click on any text object from the previous text list with
This will place the text in the center of the boxes.
the large black arrow.
6. Repeat these steps to align the rest of the text with the
The fonts should be updated to match the first list.
boxes as needed.
9. Go to the Arrange menu and select Break
Remember to select the text first.
Apart (Ctrl+K).
7. Save your work (Ctrl+S).
10. Place the title of the chart on top and a division title in
each box.
11. Drag one of the corner handles to resize the text. Adding paragraph text
Artistic Text can be proportionally resized just like other
objects. While this is quicker, it is not as precise as
Paragraph Text is created by drawing an area for the text. The
using the Text Format dialog box or the Property Bar.
technique is similar to drawing a rectangle. The area used by
12. Reposition the title in the middle over the top of the
Paragraph Text is referred to as a Text Frame. It acts like a small
chart.
page.
Hint: Use the aligning shortcuts, c for vertical center with
two objects selected.
13. Save your work (Ctrl+S). 1. Go to the Toolbox and select the Text Tool.
2. Click and drag in a blank area of the page to create a Text
Frame approximately 3 inches wide and 3.5 inches tall.
Tip: A faster way to copy the properties is the Drag and Copy
As you drag, watch the Status Bar for dimensions. Text
mentioned earlier. Select the object you wish to copy properties
Frames can be resized after they are created so you don't
from.
have to be exact.
3. Release the mouse button.
With the Right Mouse button, drag the object to the object you 4. Go to the Text menu and select Format Text.
wish to change. Or use the Property Bar.
5. Set the Font to Arial and the Size to 14 points.
One point is equal to 1/72 inch.
A target helps you select the object to be changed. Release the
6. Click OK.
Mouse.
7. Type:
The LaSalle Citrus organization was established in 1915
A dialog allows you to choose which properties you want to apply. by its owner, Lee Mone Peel. A French immigrant, Mr.
The original object remains in place, unchanged. Peel purchased a tract of land in south Texas and began
growing citrus produce. It has since grown to be the

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nation's thirtieth largest grower.

Click Ignore All for both LaSalle and Mone when the spelling checker underlines them.
8. Go to the Toolbox and select the Pick Tool.
Selection handles should appear around the Paragraph Text. If they do not, then select the Text Frame.
9. Move the text under the right side column of boxes.
10. Save the file.

IMPORTING FILES

Many file types can be opened within CorelDRAW. When you open the Import
dialog, the Files of Type drop down list will show you all of the various kinds.
The filters to import these files are installed with DRAW. If you do not see a file
type you need, do a custom install from the CD-ROM. Check the list of files to
see if a filter is available and follow the directions to install it.

Importing files makes a copy of the file within DRAW. It does not affect the
original file.

1. Go to the File menu Import.

This activates the Import dialog box. The screen capture below
shows the dialog with the Options button clicked. You can also use
the Import button from the Standard Toolbar.

2. Go to the Files of Type drop-down list, scroll down CorelDRAW

(.cdr).
Only files created in CorelDRAW will be shown in the file list.
3. Go to the class files folder CITRUS LOGO.
4. Click on the Preview checkbox.
With the Preview active you can view the files before importing
them.
5. Click on the Import button. The name of the file you are importing is displayed
by the import cursor. This screen capture is
only an example.
6. You have two options at this point.

If you want to import the object at its original size, click at the spot you want the
graphic.
If you want to resize the graphic, click and drag to reduce or enlarge the graphic
to the size of the click and drag area.

7. You do not know the size of the original but you do know where you want
to put the logo. Click and drag the cursor using the image below as a
guide.
The logo is centered on the chart.
8. Save your work (Ctrl+S).
Your work should look similar to the chart below.

CLIPART

Clipart consists of drawings and bitmap images produced by artists for use in desktop publishing and graphic design. Corel Corporation
provides thousands of clip art images with CorelDRAW 12. You USE the clipart, you do not OWN the clipart. Most suppliers ask that you
indicate the source especially if you use several images. Each package of clipart comes with an agreement outlining the limitations and
acceptable usage of the clipart. Always read your clipart package agreement. Copyright infringement fines are very high. Better safe than
sorry!

Adding clipart to your drawing

1. Go to the Standard Tool bar and click on the Import button.

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2. Go to the class files folder and select the Oranges.cdr file.

3. Click OK.
4. Click the cursor once at the lower left corner of the page.
The clipart oranges are much larger than we need.
5. Use the selection handles to scale the image down.
6. Save the file.

PRINTING YOUR WORK

CorelDRAW uses the print drivers in Windows. It does not have any print drivers of its own. Each printer will have a different set of standards
and settings.

1. Go to the Standard Toolbar and select the Print button.

(Ctrl+P or File - Print)
This activates the Print dialog box. There are six tabs where parameters may be set for printing projects. Many of these are highly
advanced for use in complex projects such as four color process work where very exact negatives must be created. You will cover
only the options on the General tab in this class.

Printing Options
Lets you select from a list of installed print devices. The Properties button activates the Setup dialog box
Printer
for the selected printer.
Lets you designate what you want to print. The Selection option is good for proofing parts of a drawing
Print Range
without having to print the whole page.
Copies Sets the number of copies desired.
Just as you saved styles for documents, you can save setting for printers. If you make several changes
Print styles
for a particular printer or type of print job, save them so you don't have to re-enter all your parameters.

2. Select Current page in the Print Range section.

This will print only the currently visible page of a multi-page document.
3. Go to the Printer section and select the Properties button.
This activates the Setup dialog box. Each dialog box will be specific to the currently selected printer.
4. Change the Orientation to Landscape.
If the orientation of the printer does not match the page, CorelDRAW will prompt you and ask if you want it to automatically change
the orientation.
5. Click OK.
You will return to the Print dialog box.
6. Click OK again to begin printing.

EXPORTING YOUR WORK

Exporting an image or a file insures the code in the file is standard code for that type of file. Using Save As to create files other than cdr files is
possible but risky. Save As is best used to make copies of a file under another name for example, saving versions of an image. Some types of
files are more difficult to export. If you plan to import the image into another type of program such as a page layout program or word
processor, do some samples first to see which type of file imports best.

1. Go to page 1.
2. Select the LaSalle Citrus logo.
3. Go to the File Menu and select Export (Ctrl+H).
You can also use the Export button from the Standard Toolbar. This will activate the Export dialog box.
4. Go to the Save in list box and select the class files folder.
5. Select the Save as type list box.
Each type of file has different parameters. You will cover only one type here.
6. Go to the list of file types and select Windows Metafile (WMF).
This applies the export filter. Filters are used to properly set the information in the exported file for the new file type. Windows
Metatfiles are useful if you use Microsoft programs.
7. Click the Selected only check box.
This option will export selected objects only. If you want to export the entire illustration, leave this blank.
8. In the File name text box, type: Logo

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9. Click the Export button.

This will activate a filter dialog box. Some filters have these to set various options.
10. Under Export text as, select Curves.
By exporting as curves, you convert the text into a graphic. This avoids any problems of font availability between computers.
11. Click OK.
The logo is now exported.

Tip: The author has found it takes one-half to one-third the time to export when the elements of a graphic are ungrouped. Use the Ungroup All
command on the Properties bar. After exporting, you can re-group the elements to keep them from moving.

SETTING A NEW DEFAULT STYLE

Creating a style with the Outline and Fill tools

1. Go to the Toolbox - Pick Tool.

2. Be sure nothing is selected (press the Escape key).
3. Go to the Toolbox - Fill Tool.
4. Activate the Flyout and select the invisible fill option, the large X.
You will be prompted by the Uniform Fill style dialog box warning you that you are about to change the default style properties for
this document.
5. Click OK.
The new fill style is set to invisible for graphic objects. You can change it to no fill by turning off the 'Treat all objects as filled.
6. Go to Toolbox - Outline Tool.
This will produce the Flyout.
7. Select the 2 Point Outline button (fourth from right).
8. Click OK.
Again the dialog box appears and you can assign a line to each type of object as a default for this document.
9. Draw a rectangle.
The rectangle will now have a thicker border and no fill.
10. Delete the rectangle.
Selected objects can be deleted with the Delete key or on the Edit menu.

Setting defaults with Options dialog

1. Go to the Tools menu Options Workspace Toolbox Rectangle tool.

2. Reset the Corner roundness to 40.
3. Click OK.
4. Select the Rectangle tool and draw a rectangle on the screen.
The default has been changed to a rounded corner rectangle. The changes are only for the current document.
5. Go to the Tools menu Options Document Styles.
6. Go to the right panel and expand the Default Graphic listing.
7. Drop the fill menu down and choose Uniform Fill Edit button .
The Uniform Fill color palette appear. Here you may choose or create a color from the CMYK mixing area. The More button
accesses an area where you can define the color precisely by the numbers.
8. Move the small box to the upper right corner to change the fill color.
9. Click OK.
10. Repeat these steps with the Outline dialog, choosing a different color for the outline.
11. Click OK.
Your changes do not take effect until you select OK.
12. Draw some rectangles.
The fill and outline should now be colored with round corners on the rectangles. These attributes will remain for all rectangles in this
document until you change them.
13. Return the setting to the default of sharp corners, thinner line and invisible fill.

The Options dialog allows you to change the defaults for all of the tools including the Text Tool. You will work in customization of your
Workspace later in this chapter.

CHANGING THE DEFAULTS FOR ALL DOCUMENTS

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The default setting for DRAW is to apply the default changes you made in the last exercise only to the active document. If you want to change
the defaults for all documents, you must change a setting. A note, some users of CorelDRAW 11 have had the setting change back to the
factory default without warning. It is a sporatic bug and as such very difficult to fix. Corel Corp. is aware of it and attemting to fix it.

1. Go to Tools - Options - Documents.

The default parameter is for five of the six options to be non-documents specific. You may change any of these parameters. The
authors recommend making the styles option non-document specific.
2. Select the box next to Styles.
Now all changes you make to Styles in Text, Fill, and Outline will apply to each new document you open.
3. Click OK to close the dialog.

Changing the ruler settings

1. Go to the Tool menu - Options.

2. Go to Document - Rulers.

Ruler Options
Many different units of measure are available for the rulers. This is because DRAW is an
Units internationally sold program. Horizontal and Vertical Rulers can also have different unit of
measure. Units of measure can also be changed on the Property Bar when nothing is selected.
The origin point for measuring can be moved here or manually on the rulers. To move the origin
Origin point, hold and drag the box at the upper left corner of the drawing window where the rulers come
together.
This sets the number of marks between the major measurements as in sixth of an inch or tenths of
Tick Divisions
an inch.
Show Rulers Allows you to work without the rulers if you are short on screen space.
Edit Scale The Edit Scale button allows you to work at a set scale such as 1:2 or 1 inch=1 mile.

3. Experiment by changing the units to metric or point and picas.

All object dimension displays will change to what you set on the rulers. You can mix units such as having the horizontal ruler in picas
and the vertical ruler in inches.

WORKSPACE

CorelDRAW allows you to customize the working area or interface of the program. Just as you can float the tool bars, you can create new tool
bars, hide tool button you never use, or change DRAW to speed work on particular projects.

1. Go to Tools menu - Options -Workspace .

DRAW allows you to customize the working area to suit a project, work style, or knowledge of another vector illustration program.
2. Click on New to create your own workspace.
Do not make changes to the default. Workspace customization files are very small so you can create as many as you like. While
you can return to factory defaults by pressing the F8 key while the program is loading, some customizations will not be over written.
When using the F8 reset, be sure Default is Set as Current. If not, your personal Workspace will be over laid. By preserving the
default workspace, you have a benchmark when you have problems.
3. Give the workspace a name.
4. Click OK.
5. Go to the listing at the left of the dialog and choose Customization.
6. To remove a button you don't use , such as the Cut, Copy and Paste buttons because you use the shortcut keys for those, hold
down the button with the left mouse button, drag it to the work area and drop it.
It will be removed from the Toolbar.
7. To add a button, such as the Save All or Save As, go to the Customization option in the file tree at the left of the dialog.
8. Choose the File and Layout folder - File.
All the button options for the items on the File menu will then be displayed.
9. Select the button you want to add and drag it to the tool bar where you want to add it.
10. To create a new tool bar, drop the button on the workspace and a new toolbar is created.
Explore the many options by opening the various menu titles listed.
11. When you have made all the changes you want for now, click on Set as Current.
12. Click OK to return to the work area. You will see the changes displayed.

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13. To change the Workspace, go to Tools menu - Options -Workspace and choose the one you want, then click set as current.
You can create Workspaces with all Web tools, different rules and measuring system, custom colors or any other combination you
want. Just remember that if you are reloading the program using the F8 key, you should be in the default Workspace. If you have
more than one person using DRAW, you can each create a custom Workspace. If you move from one machine to another, you can
take the Workspace with you by copying the file. The Workspaces are saved in the Program Files folder with DRAW 12.

CorelDraw Illustration -1
How to Create a Quirky Twitter Bird in Corel Draw

Below is the final image we will be working towards

Step 1
Create new document, whatever size. A4 is fine. Draw the shape
of the bird’s body using the Free Hand Tool and make it nice with Step 4
the Shape Tool. This part requires a bit of creativity :) Do the same again but cut a smaller, thiner part. Those steps are
needed to add some light effects, which make it more 3D.

Step 2
Color the shape blue. Then Copy the shape and paste in the same
place. Now using the Up Arrow key, move the second shape 4
pixels up. And then change the color of the second shape to a
lighter blue. For better a effect use the Radial Gradient Fill Tool
with a lighter to darker blue. Still the first shape should be darker to
get that dark line at the bottom.

Step 5
This step uses only one simple option: Intersect (marked by red box,
shown below). Just as in the steps above, select two object and
Intersect. You will get the shape that both object share.
This technique is an easy way to get shapes that you want in many
other situations. In the picture below, notice that we used circles on
the main shape, then the eye, then the eyeball, etc. Be sure to apply
a radial fill to the eye as shown above.

Step 3
Copy the shape and place it in the white area. Copy it again and
paste it. Then make it a bit larger and put it over the smaller one
(green on pink example). Using the Back Minus Front option Cut
the shape off. Then change it to blue (or use the gradient that we
did in last step). And place it on our main shape.

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Step 10
Step 6 Now let’s make the wings. In the image below, you can see again
how we cut the shape out of the circle using different circles. Then
Do the same thing again. This time create the bottom part of the
bird (that’s the way birds are built, a white patch makes the bird we rounded the corners a bit using the Shape Tool. Also, we added
look more real). some light effect, just like in Step 4.
Place the wing on the bird. Also, Copy and Paste In Place the same
wing, but change color to gray, move to the back, and move to the
left a bit. That gives the effect of the second wing on the other side
of the bird (you can see tiny gray part near the legs).

Step 7
Coming back to using the Back Minus Front option. Cut off the
shape of the first eyelash. Than copy, paste, resize, and rotate to
put them together. Now copy the whole thing and paste in place,
change to a darker blue, rotate a bit, and move it to the back.
Lastly, group it and place it on the bird.
Step 11
We’re almost done. The hat is a simple thing drawn using the
Freehand Tool to create the shapes shown below. They each were
given different brightness, fills, and a radial gradients was placed on
the white stripe to add 3D.

Step 8
To draw the legs and nose you need to use the Free Hand Tool
and make it nice with the Shape Tool. In this step, we want to
show you how using the same color, but in different brightness,
adds more depth and dimensionality.

Conclusion
Place the hat on the bird. Add a dark blue ellipse under the hat
(some kind of shadow of the hat). And our Quirky looking twitter bird
in vectors is done!

Step 9
This must be the easiest step because you do not have to be
exact. Just draw away and create some jagged shapes for the
eye. The more uneven the better.

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CorelDraw Illustration -2
Spider Web

Below is the final image we will be working towards STEP THREE

You can delete the rectangle now so all you’re left with is the
straight line. We want to make copies of this straight line, but we
need to rotate the copies and use left hand side of the line as the
origin of rotation. So click twice on the line and you should see the
following:

STEP ONE
Select the Rectangle Tool, hold down the Control key, and draw
out a rectangle. Holding down control will keep the rectangle
proportional.

STEP FOUR
Notice the circle in the middle. Click on it and move it over to the left
corner. This will be the origin of rotation.

STEP TWO
Go to View > Snap To Objects and make sure it is selected. This
will help find the edges and nodes of objects. The rectangle is just
being used as a guide to create a straight line. Using the Bezier
Tool, click the top left corner and then click the top right corner.
You should have a straight line on top of your rectangle:
STEP FIVE
Now this next step may be a bit tricky but try and follow! While
holding down the Control key, click and drag the bottom right
rotation arrow downward until you see a new line appear. To
duplicate the line, right click with your mouse. If you did it right you
should end up with the following:

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STEP NINE
STEP SIX
Repeat step 8 for each pair of lines. It may help to click the Pick
Repeat step 5 five more times and you should end up with the
Tool and then click anywhere in the white space to deselect the
following:
previous curve before you begin a new curve. If you don’t, you
may end up adding to the curve and not getting the result you
intended. You should end up with the following:

STEP TEN
STEP SEVEN Using the Pick Tool and holding down the Shift key, click on each
Using the Bezier Tool, we’re going to begin to create the curves in curve and then group them all together by hitting Control + G.
the web. Let’s start with the following two points: With the group selected, grab the bottom right handle and drag
inward. You’ll notice a new line of curves display. To duplicate,
right click on the mouse. You should end up with the following:

STEP ELEVEN
STEP EIGHT Repeat step 10 until the spider web is complete! Here’s my final
Click on point 1 and then click and drag on point 2 until you get the result!
following curve:

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CorelDraw Illustration -3
Ray Effect

1. Open Corel DRAW. Select text tool and type the text.Use thick font to get proper line effect. We have used Impact font. Fill it with desired
color.

Note: It is expected that you have finished with the beginners projects when you start with intermediate, as we do not repeat the small
instructions.

2. Drag the guide line and using it draw vertical straight line with Bazier Tool.
3. Make it thicker using Outline Tool.

4. Double click on the line and drag the center of rotation to the bottom.

5. Change the line color to white by selecting the line and right clicking on the white color in the palette. Keep the line selected.

6. Arrange > Transformation > Rotation

7. Keep angle 12 deg and start pressing "Apply to Duplicate" till you get the complete ray effect.

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Unit-IIIi
PhotoShop 7.0I
INTRODUCTION

Photoshop is the leading digital image editing application for the Internet, print, and other new media disciplines. It has become a "killer app",
embraced by a wide spectrum of developers. Traditionally, Photoshop has been and continues to be a print industry standard. There is a very
strong chance that almost every photographic image you've seen in print (posters, books, magazines, flyers, etc.) has been prepared in
Photoshop. The powerful features that make Photoshop the standard for print images are also just as useful for Internet and display-based
images (video and computer presentations for example). Photoshop has evolved, expanding its print capabilities and adding Internet specific
features essential to current and future web developers. Included with Photoshop is a web-specific companion program, ImageReady. This
manual covers the fundamental elements of both programs, concentrating entirely on the web-side of digital image production. Photoshop is a
very deep program. It will take time to use it proficiently and explore its many features. There are often many ways or methods to accomplish
particular tasks. We will be looking at common web-specific production objectives and the methods you can use to achieve your goals. Before
we get into the program, it will be useful to detail the nature of digital images themselves.

Photoshop and ImageReady

This task is a basic introduction to Photoshop and ImageReady. In this task, you launch each program and evaluate the general workspace.

1. Launch Photoshop

To launch Photoshop in Windows, click the Start button and choose Programs, Adobe, Photoshop 7.0, Adobe Photoshop 7.0. To launch
Photoshop on a Mac, open the folder labeled Adobe Photoshop 7.0 and double-click the Adobe Photoshop 7.0 icon.

2. The Basic Photoshop Screen Areas

After closing the wizard, you'll see the full range of Photoshop controls arranged
on your screen. The toolbox is on the left side of the screen and contains all the
Photoshop tools. All the Photoshop palettes appear on the right side of the
screen, and the menu bar appears across the top of the screen.
The Options bar runs under the menu bar and contains the modifiers for each
tool you select.

3. Launch ImageReady

To launch ImageReady in Windows, click the Start button

and choose Programs, Adobe, Photoshop 7.0, Adobe
ImageReady. To launch ImageReady on a Mac, open the
folder labeled Adobe Photoshop 7.0 and double-click
the Adobe ImageReady icon.

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4. The Basic ImageReady Screen Areas

You will find that the ImageReady desktop looks very similar to the Photoshop desktop. Closer examination reveals that some of the tool
icons and palettes are different, and that the Animation, Rollover, Image Map, and Style palettes appear in the lower-left corner of the
screen.

How to Use the Toolbox

Each time you launch Photoshop, the toolbox appears on the screen, usually in the upper-
left corner. In the process of editing an image, you will go to the toolbox frequently to
choose various selection, painting, and specialty tools. This task outlines what you'll find in
the toolbox and how to access it.

1. Open the Photoshop Toolbox

The toolbox should appear automatically on the desktop, but it can be closed, which means
you'll have to reopen it. To open the toolbox, choose Window, Tools.

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The following information will help you to become familiar with all of the tools available.

The marquee tools make The move tool moves The lasso tools make The magic wand tool selects
rectangular, elliptical, single selections, layers, and freehand, polygonal similarly colored areas.
row, and single column guides. (straight-edged), and
selections. magnetic (snap-to)
selections.

The crop tool trims images. The slice tool creates slices. The slice selection tool The healing brush tool paints
selects slices. with a sample or pattern to
repairs imperfections in a
image.

The patch tool repairs The brush tool paints brush The pencil tool paints hard- The clone stamp tool paints
imperfections in a selected strokes. edged strokes. with a sample of an image.
area of an image using a
sample or pattern.

The pattern stamp tool The history brush tool paints The art history brush tool The magic eraser tool

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paints with part of an image a copy of the selected state paints with stylized strokes erases solid-colored areas to
as a pattern. or snapshot into the current that simulate the look of transparency with a single
image window. different paint styles, using a click.
selected state or snapshot.

The eraser tool erases pixels The background eraser tool The gradient tools create The paint bucket tool fills
and restores parts of an erases areas to straight-line, radial, angle, similarly colored areas with
image to a previously saved transparency by dragging. reflected, and diamond, the foreground color.
state. blends between colors.

The blur tool blurs hard The sharpen tool sharpens The smudge tool smudges The dodge tool lightens
edges in an image. soft edges in an image. data in an image. areas in an image.

The burn tool darkens areas The sponge tool changes the The path selection tools The type tools create type on
in an image. color saturation of an area. make shape or segment an image.
selections showing anchor
points, direction lines, &
direction points.

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The type mask tools create a The pen tools let you draw The custom shape tool The annotation tools makes
selection in the shape of smooth-edged paths. makes customized shapes notes and audio annotations
type. selected from a custom that can be attached to an
shape list. image.

The eyedropper tool The measure tool measures The hand tool moves an The zoom tool magnifies and
samples colors in an image. distances, locations, and image within its window. reduces the view of an
angles. image.

Using the tools

You select a tool by clicking its icon in the toolbox. A small triangle at the lower right of a tool icon indicates that there are hidden tools. If you
position the pointer over a tool it will display a tool tip with the tool's name and keyboard shortcut.

To show or hide the toolbox:

Choose Window > Tools. A check mark indicates the item is showing.

To move the toolbox:

Drag the toolbox by its title bar.

To select a tool: Do one of the following:

 Click its icon or press its keyboard shortcut. If the icon has a small triangle at its lower right corner, hold down the mouse button to
view the hidden tools. Then, click the tool you want to select.
 Press the tool's keyboard shortcut.

Using the tool options bar

Most tools have options that are displayed in the tool options bar. The options bar changes as different tools are selected. Some settings in
the options bar are common to several tools (such as painting modes and opacity), and some are specific to one tool (such as the Auto Erase
setting for the pencil tool).
You can move the options bar anywhere in the work area, and dock it at the top or bottom of the screen.

To display the tool options bar: Do one of the following:

 Choose Window > Options.

 Click a tool in the toolbox.

Lasso options bar

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4. Select an ImageReady Tool

2. Select a Photoshop Tool
Click a tool to select it. If the tool button contains a small triangle in
the lower-right corner, that tool offers additional tool options in a
Click a tool to select it. If the tool button contains a small triangle in
pop-out menu. Click and hold the tool button to view the pop-out
the lower-right corner, that tool offers additional tool options in a
menu and drag through the pop-out menu to select one of the
pop-out menu. Click and hold the tool button to view the pop-out
additional tools.
menu and drag through the pop-out menu to select one of the
additional tools.

5. Jump Between ImageReady and Photoshop

3. Open the ImageReady Toolbox Click the Jump To button at the bottom of either the Photoshop or
the ImageReady toolbox to move between Photoshop and
The ImageReady toolbox should appear on the desktop as soon ImageReady. This technique is especially useful when you have a
as ImageReady opens. Like its Photoshop counterpart, the file open and want to use features from both applications. You can
ImageReady toolbox also can be closed, requiring you to reopen also perform this command from a menu by selecting File, Jump to,
it. To open the toolbox in ImageReady, choose Window, Tools.
Photoshop/ImageReady or by pressing +Shift+M (Mac users)
or Ctrl+Shift+M(Windows users).

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How to Use the Menu Bars

The menu bars in Photoshop and ImageReady operate like the menu bars in any other application. Click the menu name so that the menu
drops down. Choose an option that has a solid right-facing arrowhead, and a submenu pops out. Choose an option that has a three-dot ellipsis
(…) following it, and a dialog box opens. Click any option to choose it. This task looks at the grouping of the different menus to help you
understand the functionality associated with each menu.

1. The Photoshop File Menu 2. The Photoshop Edit and Image Menus

You use the Photoshop Edit and Image menus to specify most of
You use the Photoshop File menu to address the basic opening,
closing, and saving of files. This menu covers the import/export of the standard global changes to an open image. You'll find controls
for cut and paste, as well as transformations, fill, stroke, and pattern
files, workflow management and automated tasks, preferences,
on the Edit menu. On the Image menu, you'll find options for color
and color settings for the overall application as well. It also
contains the Quit command (Exit in Windows) for closing down mode, canvas and image size, and global color adjustments.
the application.

4. The Photoshop Select Menu

3. The Photoshop Layer Menu
You use the Photoshop Select menu to control selection options
The Photoshop Layer menu covers all your layer options—
within the program. These options include inverting selections,
creating and deleting layers, merging, applying layer effects, and
grouping. You can find most of these same controls on feathering, selection modifiers, and saving and loading selections.
the Layers palette menu.

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7. The Photoshop and ImageReady Help Menus

5. The Photoshop Filter Menu
The ImageReady and Photoshop Help menus enable you to turn
balloon help on and off (for the Macintosh), as well as to access
Simply put, the Photoshop Filter menu contains all 101 of the
native Photoshop filters, divided into 14 subheadings. help by topic. The Windows version of the Help menu offers
The Filter menu also can include any third-party filters you may two About options, which provide version information about
Photoshop and plug-ins.
have loaded in the Photoshop plug-ins folder.

8. The ImageReady File Menu

You use the ImageReady File menu to open, close, and save
files, as well as to save files optimized as GIFs or JPEGs. This
menu also covers the import and export of files, HTML browser
previews, and recent files. The File menu also contains the Quit
command (Exit in Windows) for closing down the application.
6. The Photoshop View and Window Menus

You use the View menu to control zooming and previews, as well
as the visibility of rulers and guides. The Window menu lets you
launch and close any of the 17 palettes. In addition,
the Window menu lists all open file windows so that you can move
a file to the front of the screen simply by choosing it from this
menu.

9. The ImageReady Edit and Image Menus

You use the ImageReady Edit and Image menus to control most of the standard
global changes to an open image. Controls for cutting and pasting image data and
HTML, as well as options for transformations, fill, stroke, pattern, and setting
preferences are located on the Edit menu. The Image menu is more limited than its
Photoshop counterpart; it offers canvas and image size controls, as well as a few
global color adjustments.

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12. The ImageReady Select Menu

10. The ImageReady Layer Menu
You use the ImageReady Select menu to control selection options
within the program. These options include inverting selections,
The ImageReady Layer menu covers all your layer options—
creating and deleting layers, merging, applying layer styles, and feathering, selection modifiers, and saving and loading selections.
grouping. It also offers control over layer-to-imagemap conversion
(from the Layer Options selection), slice and image map layer
creation, and precise layer placement and locking. You can find
many of these same controls in the Layers palette menu.

13. The ImageReady Filter Menu

11. The ImageReady Slices Menu The ImageReady Filter menu contains 81 ImageReady filters divided
into 13 subheadings. This menu also includes any third-party filters
The Slices menu specifies the handling of image slices. A slice is you may have loaded into the plug-ins folder.
the portion of the image when ImageReady divides an image into
smaller pieces for optimization and display in an HTML table. This
menu specifies how image slices are created, modified, linked,
and deleted. You can also preview JavaScript rollovers and link
slices and slice selections. If it has to do with slices, you'll find that
option on this menu.

14. The ImageReady View and Window Menus

You use the View menu to control zooming and previews as well as the visibility of
rulers and guides. The Window menu lets you launch and close any of the 18
ImageReady palettes. In addition, it also lists all open file windows and all the window-
arrangement commands.

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Use Photoshop and ImageReady Palettes

Photoshop and ImageReady use a floating palette system to group 4. Tools and the Options Bar
items and controls such as brushes and tool options. ImageReady
uses 18 palettes; Photoshop uses 17. You can open and close The Options bar in ImageReady and Photoshop is unique in that its
palettes on demand and easily compress or expand them to content varies depending on the tool selected in the toolbox. By
optimize your workspace. default, the Options bar runs across the top of the screen, docked just
below the menu bar. Should you close it, you can reopen it by
choosing Window, Options or by double-clicking a tool in the toolbox.
1. Examine a Group of Palettes

To open a palette in ImageReady or Photoshop, click

the Window menu; while still holding the mouse button, choose
the command related to the desired palette. To optimize your
workspace, the application groups multiple palettes in a single
window and separates them with tabs. If the palette you want is
hidden, click its tab to bring it to the front of the window.

5. The Palette Menu

A palette menu lists options related to the functionality of the

associated palette. To open any palette menu, click the black triangle
in the upper-right corner of the palette; click again to make a selection
from the list of options.

2. Collapse and Expand a Palette

To collapse or expand a palette, click

the Minimize/Maximize button (in Windows) or the Resize button
(on a Mac).

6. Use the Palette Shortcut Buttons

3. Resize a Palette
At the bottom of some palettes are shortcut buttons for easy access to
To resize most palettes (some cannot be resized), click and drag common tasks. To find out what each button does, first make sure that
the lower-right corner of the window. To return a palette to its the Show Tool Tips option is selected in the Options section of
default size, click the Minimize/Maximize button (in Windows) or the General Preferences box (choose Edit, Preferences, General),
the Resize button (on a Mac). and then position your mouse pointer over the button to read the
description.

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How to Use the Photoshop Color Picker

3. Set the Hue

The Photoshop Color Picker is the standard Photoshop interface
Click and drag the white triangles on the Hue slider to select the
for selecting a color. It allows fast and intuitive color selection from
desired hue. As you drag, notice that the range of colors displayed
millions of colors. The Color Picker also offers Pantone color
in the large Select foreground color window changes.
matching and Web-safe color choices.

1. Set Color Picker Preferences

Choose Edit, Preferences, General to open the Preferences box

to the General page. Select Adobe from the Color Picker drop-
down list. Although you could select the Windows or Apple color
picker, the Adobe version is the recommended choice. Click OK to
close the dialog box.

4. Select a Value

Move the cursor into the Select foreground color window. Notice
that the cursor changes into a sample dot as you do so. Click in the
color window to select a color; that color selection is reflected in the
color swatch at the top right of the dialog box.

2. Launch the Color Picker

In the toolbox, click the Foreground color swatch to launch

5. Check the Gamut Warnings
the Color Picker dialog box.
If the color you selected falls outside the printable CMYK color
gamut, a triangle with an exclamation point appears next to the
selected color. The small color box that appears below the triangle
indicates which color will print based on the current conversion
settings. If the color you selected does not fall within the browser-
safe color palette, a cube appears just below the triangle, along with
another small color box that indicates the corresponding Web-safe
color.

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6. Select Pantone-Type Colors 2. Select a Background Color

Click the Background color swatch in the toolbox to launch

In the Color Picker, click the Custom button to open the Custom
Colors dialog box. Select a color-matching system from the Color Picker.
the Book drop-down list and type the color number (if you know it)
or click in the color spectrum slider to select a color. Click the
Picker button to go back to the Photoshop Color Picker, or
click OK to select the color and close the color-selection dialog
boxes.

3. Sample a Color

Click the Eyedropper tool in the toolbox. Move the tool in the image
over the color you want to sample and click to select the desired
color. The color you select becomes the foreground color (check the
color swatch in the toolbox).

How to Select a Color

The methods described in this task use a combination of working

with the Color Picker, sampling colors from images, and using
preset swatches. Use the method that best suits the task at hand.

1. Select a Foreground Color

Click the Foreground color swatch in the toolbox to launch

the Color Picker. 4. Use the Color Palette

Choose Window, Color to open the Color palette. Move the RGB
sliders as necessary to “mix” the desired color; watch the color you
are creating in the swatch on the left side of the palette or in the
toolbox. You also can select additional color models and options
from the Color palette menu.

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5. Use the Color Swatches 2. Activate Rulers

Choose Window, Swatches to open the Swatches palette, which Choose View, Rulers to make the rulers visible around the top and
contains an array of preset color swatches. Click the desired color left edges of the image area.
to select it (it becomes the foreground color in the toolbox). To add
the current foreground color as a swatch on this palette, move the
pointer to an empty space on the palette until the pointer changes
to the Paint Bucket; click to add the color as a swatch on the
palette.

How to Use Rulers, Grids, and Guides

The importance of rulers and guides has grown considerably in the

last few revisions of Photoshop. Guides are user-defined 3. Set Guides Preferences
alignment lines. The grid is an underlying matrix of lines you can
use for general alignment of all items on the page. The enhanced Choose Edit, Preferences, Guides, Grid & Slices to open
type features have made text-alignment issues much easier to the Preferences box to the Guides, Grid & Slices page. Here you
address. In addition, designers are creating complete Web pages can specify the color and format of the guide and gridlines, as well
in Photoshop and ImageReady, which necessitates using guides as the spacing for the grid. Click the color swatches to select a
and grids to maintain spacing and alignment. custom color, or use the Color drop-down lists to select from preset
colors. You can also select slice colors and toggle slice numbers on
and off.
1. Set Rulers Preferences

Choose Edit, Preferences, Units & Rulers to open

the Preferences box to the Units & Rulers page. From
the Units drop-down list, choose the desired unit of measurement
and click OK. In this instance, you do not have to restart
Photoshop for the preference change to take effect.

4. Create and Activate Guides

To create a guide, click the Move tool in the toolbox. Click in the
ruler area and drag into the image area. A vertical or horizontal
guide will follow the tool, depending on which ruler you started with.
You can drag out as many guides as you need. You can also place
a guide in a specific place by selecting View, New Guide and
entering the orientation and pixel position in the dialog box that
appears.

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USING LAYERS

One of Photoshop's most powerful features is Layers.

Layers are similar to acetate or transparent paper. Each
Layer in a Photoshop document or image can contain image
data that adds to the image data placed on the Layers
below. Effectively, each Layer is an entire image unto itself
within a master image. By combining these images together,
you get what is called a composite, meaning an image
composed of many different elements, in this case made up
of multiple Layers. The best way to understand the concept
of Layers, how they work, and why they are so powerful is to
use them.

Open priests.psd and gate.psd.

priests.psd
gate.psd

5. Set Snap-To Parameters

Make gate.psd active by {Clicking} on the Image Window
To precisely align elements to guides and grids as you drag the elements; Title Bar. You'll notice the color mode is CMYK rather than
choose View, Snap To, Guides or View, Snap To, Grid. Choose these RGB. CMYK is a color space suited for Print production,
commands again to turn them off. such as magazines or flyers. Examine the Channels Palette.
CMYK images are made of a composite of 4 color channels.
Because we are developing for the Internet, we need to
convert from CMYK to RGB Image Mode. Select
Image/Mode/RGB Color. Examine the Channels Palette.
You'll see only 3 primary color channels and the composite
RGB channel. We're going to use Layers to add text to the
gate.psd image and add some content from the priest
image. We'll be using some of the Selections Tools as well.
We'll begin by examining the Layers Palette. {Click} the
Layers Tab in the Layers Palette Set.

Layers Palette

The Layers Palette consists of many distinct controls, which

include Layers themselves, Layer Options, Blend Mode,
Opacity, Layer Lock Options, Fill, and the Layer Style, Layer
6. Lock Guides as Needed Mask, New Layer, New Layer Set, New Adjustment Layer,
and Trash Icon set at the bottom of the Palette. It's important
To lock the guides in place, choose View, Lock Guides. When you lock to note that Layers have a stacking order, from the bottom
the guide lines, you prevent them from moving accidentally, especially up, meaning the Layer at the very bottom of the Layers
when you are using numerous guides. Palette is the last or bottom Layer.

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Layers

Each Layer contains a Layer Name, Thumbnail, Paint or Link

Toggle, and Visibility Toggle.

Layer Name

It's a good idea to name your Layers for easy reference and
organization. By default Photoshop names each new Layer "Layer
x" where x represents a number, starting at 1. If you import a flat
image (meaning an image with only one Layer, such as
priests.psd, Photoshop defaults to naming the Layer "Background"
in italics. The Italics indicate that no other Layer can be placed
beneath it, in effect locking the Layer as the bottom of the Layer
stack. To change the name of the "Background" Layer simply
{Double-Click} the Layer and enter a new Name in the Name field.
When you rename the "Background" Layer it is no longer fixed to
the bottom of the stack. The Lock Icon will disappear.

Thumbnail
Visibility Toggle: {Clicking} the Visibility Toggle (see above) makes
The Thumbnail is a visual representation of the Layer's content. By Layers visible or invisible in the Image Window. It's important to note
default, Photoshop uses the smallest Thumbnail size. To change that even though a Layer may be invisible, if it's the active Layer or
the size or disable the Thumbnail {Click} the Layer Options menu is linked to an active Layer any changes you perform still occur.
and select Palette Options. Check the Thumbnail size you desire
in the Layers Palette Options dialog box. The Layers Palettes
pictured in this manual is set to the largest thumbnail size. Blend Mode: You can select from over twenty different Blend Mode
options that affect how the image data in a Layer mixes or blends
with other Layers. Usually you'll use Normal mode. Some of the
other Blend Modes produce interesting effects. By experimenting
and practicing as you compose your images, you will become
familiar with the most, if not all the Blend Modes. You must have at
least two Layers in your image to use Blend Mode.

Lock Transparency, Pixels, Position, and All: {Click} the Lock

Transparency Icon to limit painting and editing effects to areas of a
Layer that are not transparent. You can also lock the pixels
information itself, lock the position of the pixels, or lock the entire
Layer by {Clicking} the appropriate Icon. A Lock Icon appears
beside the Layer Name. To disable a lock, {Click} the appropriate
Icon again.

Select Palette Options and then select from

four (4) choices for Thumbnail Size.

Paint or Link Toggle

When a Layer is active or selected (by {Clicking} on it) a

Paintbrush icon appears in the Toggle box beside the Thumbnail,
indicating the Layer can be manipulated for editing. When you
{Click} in the Toggle box of an inactive or unselected Layer you
"Link" that Layer’s content to the current active Layer, no matter
where the active Layer is in the stacking order. Changes in
position and various effects you apply to the active Layer are also Layer Modification Options: Along the bottom of the Layers
applied to the Linked Layer. A Chain Icon appears to indicate Palette are six (6) key Options.
Linking.

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Add Layer Style: A Layer Style is a prepackaged set of visual If you haven’t done so already in the previous chapter, make a
modifications that you can control to modify the content of the Selection around the Priests in the orange and green robes in
selected Layer. Typical Layer Style’s include Drop Shadow, Bevel priests.psd (if you have made the Selection, feel free to load
and Emboss, and Color Overlay among others. We will be using priestsChannel.psd (if you called it that) for this exercise.) The
some of these as we progress through the manual. shape around the Priests is somewhat irregular so a selection has
been saved with the image for your convenience if you do not wish
to create your own. Once the Selection is completed, select
Add Layer Mask: A Layer Mask will mask the currently active
Edit/Copy to copy the contents of your Selection to the clipboard.
Layer. We will use a Layer Mask later in the chapter.
The clipboard is Photoshop's storage area for image data you copy
and paste.
Create New Set: {Clicking} Create New Set creates a new Layer
Set above the currently selected Layer or Layer Set. We will create
Make gate.psd active. Select Edit/Paste. Your Selection (the
a Layer Set later in the chapter.
Priests) is pasted into gate.psd in a new Layer. Photoshop
automatically titles the Layer "Layer 1." Select the new Layer and
Create New Fill or Adjustment Layer: {Clicking} Create New Fill rename it "priests". Another method of moving image data from one
or Adjustment Layer creates a Layer that allows the designer to image to another is by using the Move Tool. With the Move Tool,
apply tonal and color modifications to their image without having to {Click}, drag, and drop your selection from priests.psd to gate.psd.
permanently affect the image content. For example, you may wish
to make someone’s shirt brighter. Rather than actually modifying
Transparency: Examine the Layers Palette. The priests Layer sits
the brightness of the pixels that make up the shirt in the image,
on top of the Background Layer and in the Image Window the
you create a Layer that makes the shirt appear brighter. If you or
Priests sit on top of the Gate image.
your client do not like the change you simply discard or change the
Adjustment Layer. The original pixel information will have never
been modified. We’ll be using this feature later in the chapter.

Create New Layer: {Clicking} Create New Layer creates a new

Layer above the currently active Layer.

Delete Layer: {Clicking} Delete Layer deletes the currently

selected Layer. You are asked to confirm whether or not you wish
to delete the Layer. If you have only a one (1) Layer you cannot
delete it.

Using Layers: Make sure you have both priests.psd and gate.psd
open and that you have changed the Image Mode of gate.psd to
RGB.

priests.psd
gate.psd

Make priests.psd active. The Priests appear on top of the gate, just as the priests
Layer is on top of the Background Layer
in the Layers Palette.

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You can see the gate, tree, and landscape around the Priests because, by Make the Background Layer visible again. Make sure the
default, Layers are transparent. Pasting the selection into gate.psd has Priests Layer is active. Layers are active when colored
created a new Layer with a transparent background in which the Priests blue. A Paintbrush icon also appears in the Paint/Link
selection sits. Toggle box. {Click} the Opacity control and drag the slider
back and forth. You begin to see the Gate and Trees in
the background through the Priests as you decrease its
Transparency (con't): Recall when we created a new image we selected a opacity. As you create images you'll find Transparency a
transparent background. Transparency is represented by a gray and white powerful tool.
checkerboard. {Click} the Visibility Toggle in the Background Layer. The gate
disappears. You see only the Priests and the transparent background that
surrounds them. Moving Layers: Select the Move Tool. Make sure the
priests Layer is active. {Click} and drag the Priests in the
Image Window. You'll notice that you can move the
Priests or part of Priests outside the edges of the Image
Window. With Layers, you can think of the Image
dimensions as the dimensions of a virtual window through
which we see the image data. Photoshop permits you to
move image data outside of the virtual window. As a
result, we can do things like drag the Priests to the bottom
right corner of the screen so that only their faces appear.
You'll find this flexibility a great creative aid when
composing images.

Blend Modes: Move the Priests to the center of the

image. {Click} the drop-down Blend Mode list and explore
the different Blend Mode Options. Photoshop examines
the color data of the Layer you are blending and the color
data of the Layers below and uses the various Blend
Mode Options to create particular visual effects. Keep in
mind you can also move the Layer around and play with
Opacity. Photoshop's flexibility and complexity
encourages combining effects and operations for
With the visibility of the Background Layer toggled to invisible we can see the increased creativity. Move the Priests around the image to
transparency surrounding the Priests. see how each Blend Mode appears against different parts
of the Layer beneath. Make sure you select Normal for
the Blend Mode before proceeding.

Layer Masks: Non-Destructive Editing: Layer Masks

Lock Transparent Pixels: Select the Brush Tool. Make sure the Priests
Layer is active. {Click} Lock Transparent Pixels. Paint on the Priests Layer. are Alpha Channels attached to a Layer. Black completely
You'll notice that your paint strokes are limited to areas that contain image masks or covers image data. White reveals image data.
Gray values between Black and White reveal image data
data, in this case the Priests.
at various degrees of opacity. Add a Layer Mask to the
Priests Layer by {Clicking} the Add Layer Mask button at
The effect is similar to painting a Selection. By selecting Lock Transparent the bottom of the Layers Palette. A Link Icon and a Mask
Pixels, you are restricting changes to the image data contained within the Thumbnail are added to the Layer.
Layer. Use the History Palette to remove your brush strokes and {Click} Lock
Transparent Pixels again to disable it.

Lock Image Pixels: {Click} Lock Image Pixels. Locking the Layer's pixels
will allow you to reposition the content of the Layer but not change or modify
the pixels themselves. You cannot, for example, use the Brush Tool to
change the color of an object on a Layer with locked pixels. {Click} Lock
Image Pixels again to disable it.

Lock Position: {Click} Lock Position. Locking the Position of content on a

Layer allows you to paint or edit it but not move it. {Click} Lock Position again
to disable it.

Lock All: {Click} Lock All. Locking the entire Layer disables moving or
modifying the Layer whatsoever. {Click} Lock All again to disable it.

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Layer Masks: Non-Destructive Editing (con't)

Set the Foreground Color to Black. Select the Brush Tool. {Click} the Enable Airbrush Icon and {Click} on the Brush Preset Picker in the Brush
Tool Options.
Make sure that Mode is set to Normal, Opacity to 100%,
and Flow to 100%.

Layer Masks: Non-Destructive Editing (con't)

Use the Master Diameter Slider or input a Diameter manually in the Master Diameter Field. In
this case, select a Diameter of 30 pixels (px).

We're going to remove the Priest in the green robe from the picture, or rather we are going to
Mask the Priest so that he is not visible. This is a Non-Destructive approach to removing the
Priest in the green robe. If we were to take a Destructive approach, such as erasing the Priest
from the Layer, we would not have the benefit of easily reversing our decision to remove the
Priest. For example, we or one of our clients may want the Priest removed one week and put
back in the next. Using a Non-Destructive approach such as a Layer Mask, we could simply load
the Photoshop Document and remove the Mask. Let’s try it out.

Layer Masks: Non-Destructive Editing (con't): Start painting

over the Priest's face by {Clicking}, holding, and dragging the Layer Masks: Non-Destructive Editing (con't)
mouse over the face. Notice how the face disappears. {Release}
the mouse button. If you examine the Thumbnails in the Layer,
you'll notice the Mask Thumbnail displays Black where you've
applied your paint strokes, making those areas taken up by the
Priest’s face transparent. The Priest Thumbnail looks the same
because you haven't actually erased the Priest; you're merely
hiding or masking him.

You can see the Priest’s face in the Layer Thumbnail. You can also see the
Mask in the Mask Thumbnail. The Priest’s face is hidden or masked in the
Image Window.

Layer Masks: Non-Destructive Editing (con't): Continue using

the Brush Tool to hide the Priest. You may need to zoom in closer
and reduce the Diameter of the Brush Tool as you paint the Mask
closer to the edge of the Priest in the yellow robe. You should
notice that the longer you hold the mouse button down, the pixel
data is erased gradually, this is because we have set the Brush
Tool to the Airbrush Option. As you create your Mask, you may
wish to look at the Channels Palette as well. Note that a Mask in As you paint the Mask over the Priest in the green robe the pixel
Photoshop is automatically added to the Channels Palette as an data is hidden. When the Mask is complete, it appears that only one
Alpha Channel. Priest is in our image. Because a Layer Mask is Non-Destructive,
the Priest is still actually present, and his visibility can be restored
by disabling, modifying, or removing the Layer Mask.
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Modifying a Layer Mask

You can modify a Layer Mask by {Right-Clicking} the Layer Mask in the Layers Palette and selecting from a number of different options.

Set Selection to Layer Mask

This creates a Selection around the boundaries of the Layer Mask.

Add, Subtract, Intersect

If you already have a Selection created, use one of these Options to use the
boundaries of the Layer Mask in combination with your Selection.

Layer Mask Options

You can set the color and the opacity of the Layer Mask when you toggle its
Visibility in the Channels Palette.

Discard Layer Mask

Select this Option to delete the Layer Mask. Anything that was covered by the
Layer Mask is uncovered.

Apply Layer Mask

Select this Option to make the Layer Mask permanent. The area in the image that is covered by the Layer Mask is removed and the Layer
Mask itself deleted.

Disable Layer Mask

Select this Option to temporarily disable the Layer Mask. This Option changes to Enable Layer Mask when the Layer Mask is disabled.

Link and Unlink a Layer Mask

{Click} the Link Icon in between the Thumbnails of the priests Layer. Move the Priests with the Move Tool. Note that the Mask remains in
place. To move the Mask with the image data keep the Thumbnails linked.

Transforming Layers
You may have noticed that the Priest is a bit too large for the image that he has been inserted into. This can be easily corrected. You can
Transform the Layer to scale, rotate, and distort image data.

Select Edit/Free Transform. A Transformation Box surrounds the image data of the Layer, in this case the Priest. By {Clicking} on the Box's
handles, you can resize the image data. Holding the [SHIFT] key constrains the Box as you resize, maintaining proportion. If you hold the
mouse pointer just outside of the Box close to one of the Handles you can rotate the image.

For precise Transformation control you can input numerical values in the Options Bar.

Rotation is based around the Reference Point, which is at the

center by default. To move the Reference Point, {Click}, hold, and
drag it to the desired location. {Release} the mouse button to
place it.

What is Skew?: When an image is skewed its distorted on an angle. For example, we’ve applied a skew to the priest. Note how he seems to
be leaning to the left.

What is Skew (con't)?: We don’t want to skew or

rotate the Priest, we simply want to reduce his scale.
Make the Priest is slightly smaller so that he looks as
though he is walking down the path beside the gate.
We’ve selected the Maintain Aspect Ratio button
between the Width and Height fields and input a value
of 80%. We’ve also placed him toward the left side of
the image:

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Creating New Layers

To create a new Layer {Click} the Create a New Layer button at the bottom of the Layers Palette. A Layer is added above the currently active
Layer. Make the new Layer active and rename it "Garbage Can."

Make the Background Layer active. Make a Selection around the

White Garbage Can and Sign on the bottom left hand side of the
image. The Priest may be obscuring that part of the image, if so,
use the Visibility Toggle for the priests Layer.

Having made your Selection, copy it to the Clipboard by selecting Edit/Copy. Make the Garbage Can Layer active. Select Edit/Paste. Your
Selection, in this case the Garbage Can, is placed into the Layer. You may have to move the content on the Layer to reposition it exactly
where it's placed on the original image (the Background Layer.) As an alternate, you can select Edit/Paste Into. A new Layer is created and
the image data in the Selection is copied to the precise position it was copied from. In addition, a Layer Mask is automatically created based
on the Selection.

Creating New Layers (con't)

If you toggle the Visibility of the other Layers to off, you can see the
items you’ve selected, cut, and pasted into a new Layer.

Move the priest Layer by dragging it beneath the Garbage Can

Layer (if you used the Paste Into method, delete the Garbage Can Layer you created and rename the automatically created Layer to Garbage
Can.)

Creating New Layers (con't): The Priest now appears behind the
garbage can. We've now added depth to the image. The Priest
appears behind the Garbage Can and a measure of realism has
been added to the photograph. You've created an image or
composite using Layers. By isolating different elements or
components of an image in Layers, you have a great deal of
creative flexibility. Imagine creating this image without Layers. You
would have to make very precise selections and use the History
Palette extensively. It would also take up much more time.

Text and Layers: When you add Text to an image by selecting the
Type Tool and {Clicking} in the Image Window at the location you
want your text to appear, a Layer is automatically created above the
currently active Layer. The name of the Layer defaults to the text By using a combination of Layers, Selections, Transforms, and a
you input. Layer Mask, a Priest from one image has been placed in another to
make a new image.

Photoshop allows you to type text directly into or over the Image Window. Other image editing programs and previous versions of Photoshop
required that you type your text into a specialized dialog box. Now all the user needs do is select the Type Tool, place their cursor in the Image
Window and begin to type.

Make sure the top Layer in the Layers Palette is active and the Foreground Color is white. Select the Type Tool and {Click} toward the top left
corner of the image. At this point, we won't go through the Type Tool options in the Options Bar, for now select the following settings:

 Arial (a typeface everyone should have) from the Font

Family drop-down menu
 Bold from the Font Style drop-down menu
 Input or select a value a 12 pt in the Font Size drop-
down menu
 Smooth from the Anti-aliasing Method drop-down menu
 Left Align from the Justification Options

Text and Layers (con't)

Input "Japanese Shrines" and {Click} OK. Your type is created in its own Layer and the name of the Layer is the text you input. This Type
Layer is editable and is indicate by a capital "T" in the Layer Thumbnail.

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Layer Styles (con't): A rather substantial dialog box appears with

options to adjust the appearance of the Drop Shadow. Use the
Layer Style dialog box to add, remove, and modify Styles attached
to your Layers. {Click} on a Layer Style checkbox to add a Style and
{Click} on the Style
label to modify its  Blend Mode: Multiply
properties. We'll take  Opacity: 100%
a closer look at the
Styles later in the  Angle: 140 degrees
manual so stick with  Use Global Light: Checked
the Drop Shadow for  Distance: 5 px
Text and Layers (con't): At this point, the type can be re-edited or the time being. Make
changed by highlighting the text in the Image Window (make sure sure you use the
 Spread: 15 px
the Type Layer is selected in the Layers Palette) with the Type following settings (as  Size: 5 px
Tool in the Layer. You can position the type as close to the top left seen in the  Layer Knocks Out Drop Shadow:
corner as you wish using the Move Tool. screenshot): Checked

Looking at the image at this point, the text isn’t particularly visible
against the background.

Layer Styles (con't)

Once you’ve set the Options,
{Click} OK to close the Layer
Style dialog box. Take a look
at your Image Window. There
is a shadow behind the type,
making it more visible against
We could change the Color, Font Family, or Font Size, or we could the background. A lower-case
use a Layer Style. italic "f " appears in the Layer
indicating that a Layer Style has been applied. You can {Click} the
Layer Styles: Layer Styles are pre-defined special effects applied triangle beside the "f " to expand or collapse the list of Layer Styles
to the image data contained in the Layer. To apply a Layer Style, you’ve applied to a particular Layer. You can also toggle the visibility
select the Layer you want to apply the effect to and {Click} on the of any of the Layer Styles, just as you do a Layer. To edit an
Add a Layer Style button at the bottom of the Layers Palette. In existing Layer Style, {Double-Click} it in the Layers Palette. Each
this instance, apply a Drop Shadow to your Type Layer. From the Layer Style has a set of properties that change according to the
Styles drop-down, select Drop Shadow. effect. Experiment with properties to customize the effect.

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Layer Sets (con't): The new Layer Set is named "Set 1" by default.
Managing Layers: As you produce images in Photoshop, some of
them can be quite complex, consisting of many Layers. Knowing Rename the Layer Set by {Double-Clicking} on it and inputting an
appropriate name. You can also give the Layer Set a color if you
how to manage Layers can help you and anyone you may
wish. It is important to remember that the color settings for your
collaborate with work efficiently.
Layer Set override any individual color settings you have given
individual Layers. To place a Layer in a Layer Set you {Click} and
Changing the Stacking Order: To change the stacking order of drag it onto the Set's Folder Icon. You need to place it directly on
Layers simply {Click} and drag the Layer above or below other the Icon or the move won't take place. A successfully relocated
Layers. A solid black line indicates the Layer is ready to be Layer will appear below the Layer Set and its Thumbnail will be
dropped. {Release} the mouse button. slightly indented. A Layer Set can be expanded or collapsed by
{Clicking} on the small gray rectangle beside the Layer Set name.
Duplicating Layers: Use the Layer Options Menu and select
Duplicate Layer to make a copy of the Layer. You can title the
Layer and choose to copy it to the same image, another image you
have opened, or create a new image with the contents of the
Layer.

Merge Options: Selecting Merge Down merges the contents of

the currently active Layer with the Layer below it. Selecting Merge
Visible merges the all the currently visible Layers. The bottom
Layer must be visible and the currently active Layer. Select
Layer/Merge Linked to merge Layers you have linked together.
Select Flatten Image to merge all Layers. This removes all the
flexibility you have with Layers.

Color-coding Layers: Photoshop has made managing Layers

much easier by allowing the user to color-code them in the Layers
Palette. Select Layer Properties from the Layer Options Menu,
select a color from the drop down menu and {Click} OK.

Layer Sets: Photoshop also allows the user to group similar

content into a Layer Set. A Layer Set is like a folder into which you
place a collection of individual Layers. Create a Layer Set by
clicking on the New Layer Set button at the bottom of the Layer's
Palette. The Layer Set is created above the currently selected
Layer by default.

Both the "priests" and the "Garbage Can" Layers

are in the "Priest Set" Layer Set.

Layer Sets (con't): Note the default Blend Mode of the Layer Set. It
is set to Pass Through. What Pass Through indicates is that the
Layer Set itself does not have any Blend Mode properties; it merely
passes through the Blend Mode settings of the Layers it contains.
You can select another Blend Mode for the Layer Set and it will take
all the properties of the Layers it contains and composite them.
Once the composite is built, that composite of Layers is treated as
single Layer and the Blend Mode for the Layer Set is applied to the
composite of Layers and then composisted with any other Layers
and/or Layer Sets that the image contains. You have successfully
completed assembling your first composite image using Selections,
Layers, a Layer Mask, and a Layer Set. Save your image if you
wish. You can compare your image to the one referenced in this
manual which is called gate.psd, in the completed folder for this
chapter.

gate.psd
By default the new Layer Set is created
above the currently selected Layer.

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EDITING IMAGES

Using Photoshop’s Tools

Photoshop's Tools are very powerful. For each Tool, there are sets of options (in the Options Bar) you use to define how the Tool operates. To
use Photoshop effectively you should be familiar with all the fundamentals and use them in combination to
create images.
blank.psd
As we progress through the Drawing Tools we're going to need an image we can use to experiment with.
Open blank.psd (we’ll be using other images as well.)

This image is 600 x 300/72ppi, with two (2) Layers, transparent and white. As you read this section, try the tools and options out on your
image. You might want to make a separate Layer for some of the Tools
you experiment with.

The Brush Tool

When you use any of the Brush Tools, it's a good idea to select a
Brush Diameter, Brush Shape and Color immediately. Select the Brush
Tool and examine Options Bar.

Tool Presets: A Tool Preset is effectively a library of custom settings for a particular
Tool. Each Tool in Photoshop has a set of Options that can be set in the Options Bar. If
you find yourself using the same set of Options repeatedly you may wish to make a Tool
Preset so that you do not have to input the Options in the future. If you examine the
Options for the Marquee Tools for example, among other Options we have Feather and
Anti-aliased. We’ll cover each of these Options below, however, if you were to commonly
use a the Eliptical Marquee Tool with Anti-aliased checked and a Feather value of 20,
you could create a Tool Preset that saves those Options.

To create a Tool Preset, select the Tool, in this case the Eliptical Marquee Tool. Input a
value of 20 into the Feather field, and check Anti-aliased. Next, {Click} the Tool Preset
drop-down menu to view the Tool Preset window.

Brush Preset Picker: {Click} the Brush Preset Picker to set Brush
Diameter and Brush Shape. Use the Master Diameter Slider or input
box to set the diameter you desire. Select a Brush Shape by
{Clicking} on it. You can use the scroll bar to view more shapes or
resize the Brush Preset Picker box. The diameter is displayed
(which you can change) and a sample stroke is displayed.

Brush Preset Picker (con't): In addition to the default Brushes, you

can add more Brushes by selecting Options and choosing from a
variety of Brush categories. For example, if we select the Special
Effect Brushes Category, we are asked if we wish to replace the
current Brushes or append them to the current set of Brushes. The
additional Brushes will appear
below the current set.

Its usually good to append so

that you do not remove the
default set, however, if you do,
select Reset Brushes from
Options. The defaults will be
restored.

Painting Mode: Painting Mode affects the way the color of the Brush mixes with existing image data in the same manner as the Blend Mode
for Layers
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To get a good idea of how the Color Field works in tandem with the
Stroke Opacity: Stroke Opacity affects the level of transparency Color Slider select the R in the RGB Color Mode. The Color Slider
of the Stroke (0% being fully transparent, 100% being fully presents the full range of Red Colors from the darkest to the
opaque.) lightest. With Red selected, the Color Field will consist of a mix the
remaining primary colors, Green and Blue. You can select a Red by
Stroke Flow Rate: The Stroke Flow Rate determines the rate at using the Color Slider or select from the Color Field. Just as with the
HSB Color Field, when you adjust the Color Slider, the Color in the
which paint is applied. For example, even though you might have
Stroke Opacity set to 100%, if you’ve set Stroke Flow Rate to 20% Color Field adjusts as well. You can also input numerical values into
and you’ve selected Black as your Color, a grey opaque Color the Color Mode Fields or the Hex Value Field. To view only Web-
Safe Colors (a range of 216 fixed Colors that the major browsers
results. By continuing to brush over the same area, the Color will
get darker. use), check the Web-Safe Colors checkbox. Your chosen Color
appears in the Color Swatch. Once you have chosen a Color, {Click}
OK. You can begin to paint with your selected Brush.
Enable Airbrush: {Click} Enable Airbrush to switch the Brush Tool
to an Airbrush Tool. When an Airbrush, the Brush Tool effectively
sprays color onto an image, similar to painting with a can of Spray Try a variety of Brushes, Colors, and Brush Shapes. Append other
Brush Sets to the Brush Preset Picker and try them. Adjust both
Paint. Imagine the mouse button is the nozzle you press down and
hold as you spray. The longer you spray a particular area the more Opacity and Flow Rate and note how these settings affect the Brush
opaque or dense the color or paint becomes. In other words, as Stroke. Use the History Palette to remove your changes or make
different Layers to experiment with.
you apply increased or consistent pressure the density of the color
increases.
The Color Palette: To create a Color using the Color Palette, select
Selecting a Color: Before we proceed, we should select a Color. the Foreground Color Swatch or Background Color Swatch and use
In Photoshop, there are a variety of ways to select a Color, the Color Sliders, the Color Fields (input values between 0 - 255), or
including the Color Picker, the Color Palette, and the Swatches the Color Ramp to select your desired Color.
Palette.

The Color Picker: One method of selecting a Color in Photoshop

is to {Double-Click} the Foreground Color Swatch (because the
current Foreground Color Swatch holds your paint Color) to launch
the Color Picker.

The Color Palette (con't): Select both RGB Sliders and RGB
Spectrum (for the Color Ramp) when working with images for the
web. If you are limiting yourself to the Web-Safe Color palette,
select Web Color Sliders and Make Ramp Web Safe. Web-Safe
Color is covered in a later chapter.

The Color Picker (con't): There are three Color Modes with which
you can select a Color from by using the Color Slider and the
Color Field. By default, the HSB Color Field is selected. HSB
stands for Hue, Saturation, and Brightness, and is a Color Mode
from which you can select a valid RGB Color. To select a Color,
simply {Click} anywhere within the Color Field. Note that the
numerical values in each Color Mode are displayed. Use the Color
Slider to adjust the range of Colors within the Color Field.

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To restore the Swatches Palette back to its default Colors, select

The Swatches Palette: The Swatches Palette defaults to a broad
Reset Swatches from the Options Menu.
spectrum of available Colors. To choose a Color {Click} on a Color
Swatch. The Color you select replaces the current Foreground
Color. The Brushes Palette: To customize and modify Brushes to a great
degree, you can use the Brushes Palette which, by default, is
docked in the Palette Well beside the File Browser.

Creating a Custom Swatch: To create your own swatch(es),

modify the Foreground Color in the Color Picker or Color Palette
and then select the Swatches Palette and {Click} the Create New Selecting a Brush Preset: To select a Brush Preset, {Click} on the
Swatch of Foreground Color button. Name your custom swatch Brush Presets Name in the Brush Modifiers column. The Modifier
accordingly. Options column displays the default Brush Presets that we looked at
in the Brush Preset Picker. Use the Master Diameter Slider to set
the size of the Brush.
Viewing Colors by Name: To view Colors by name, select Small
List from the Options Menu. You can change the scale of the Creating a Custom
Swatches Palette to view a list of two (2) columns. Brush: To create a
custom Brush, first
select a Brush
Preset as a starting
point and {Click} the
Create New Brush
button. Give the
Brush an
appropriate name.
Next, you can
select from any of
the remaining
options in the Brush
Modifiers column.
You usually start by
modifying the Brush
Tip Shape and then
move on to select
one of more options
to create your
custom Brush.
Selecting the
Saving, Adding, and Restoring Swatches: To save swatches checkbox beside
you’ve created select Save Swatches from the Options Menu. You each Modifier
can also add swatches by selecting from a variety of included makes it active. To view and modify the options for each Modifier,
swatch sets listed at the bottom of the Options Menu as well as {Click} on the Modifier Name itself. Modifier Options will vary.
selecting Load Swatches to load in a custom swatch set. You will Experiment with the options presented to you until you are happy
have the option to append or replace the existing swatch set. with your custom Brush. Note that not all of the Brush Modifiers
have options.
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The Clone Stamp Tool (con't): Using the Clone Stamp Tool, we
Try to create your own custom Brush and experiment with it.
Remember to select different Colors, try different Brush Diameters, selected reference points close to the people in the image and
painted over the people by duplicating the surface of the pillars
and change Opacity and Flow Rate.
nearby. The result:

Pencil Tool Options: Select from Brush Preset Picker, Painting

Mode, Opacity, and Auto Erase.

Brush Preset Picker: {Click} the Brush Preset Picker to set Brush
Diameter and Brush Shape. Use the Master Diameter Slider or
input box to set the diameter you desire. The people have been removed.

Painting Mode: Painting Mode affects the way the color of the Clone Stamp Tool Options: Most of Options for the Clone Stamp
Brush mixes with existing image data in the same manner as the Tool are identical to the Brush Tool; however, the Aligned and Use
Blend Mode for Layers. All Layers Options differ.

Opacity: Opacity affects the level of transparency of the Stroke

(0% being fully transparent, 100% being fully opaque.)

Auto Erase: Check Auto Erase to make the Pencil Tool paint the
currently designated Background Color over the currently Aligned: Check Aligned to force the cross-hair established at the
designated Foreground Color. Experiment with Pencil Tool with reference point to follow the Clone Stamp Tool regardless of how
blank.psd. many times you {Click} and {Re-Click}. When Aligned is unchecked
the cross-hair returns to original reference point after you have
The Clone Stamp Tool: The Clone Stamp Tool operates like the released the mouse button and {Click} again to resume.
Brush Tool except that rather than selecting a color to paint with,
you select an area of the image to duplicate or clone by Use All Layers: Check Use All Layers to duplicate visible image
{Alt/Option-Clicking} the area you wish to duplicate. As you paint data in all Layers. Uncheck to duplicate the image data from
with the Clone Stamp Tool a cross-hair passes over the area currently active Layer exclusively. The Clone Stamp Tool is not
you've selected for your reference. The diameter of the brush you limited to duplicating image data into the same image or a single
select in the Brushes Palette determines the size or radius of the Layer. You can establish reference points in one Image Window and
cloning area. Usually, you’ll have to reestablish a reference point duplicate the contents into another Image Window or another Layer.
or area repeatedly and paint over other areas of the image in small Open the landscape.psd image and practice using the Clone
parts. Use the Clone Stamp Tool to modify photographs. For Stamp Tool.
example, we wanted to remove the people from the following
image:
landscape.psd

Try to add and remove trees and rocks. Duplicate elements from
landscape.psd into a new
Layer of blank.psd.

Pattern Stamp Tool:

The Pattern Stamp Tool
paints or repeats a pattern.
You use the Rectangular Marquee Tool to define patterns in
Photoshop.

Defining a Pattern: Using the landscape.psd image, create a

rectangular Selection around one of the trees. Select Edit/Define
Pattern. Name the Pattern accordingly. There are no limits on the
size or content of the pattern, but it must be rectangular. Photoshop
stores the pattern you've just defined for use by any of the Tools
that use patterns, such as the Pattern Stamp Tool in Pattern drop-
down menu in the Options Bar. {Click} on the Pattern drop-down to
access your defined pattern in addition to a range of preset patterns.
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The Options menu for the Pattern drop-down will allow you to add The print has been cracked and stained. By using the Healing Brush
to, delete, rename, and reset the Patterns available. Tool, we can restore this image or correct the imperfections.

Pattern Stamp Tool (con't): Many of the settings in the Options The Healing Brush Tool (con't): Open restoration.psd.
Bar for the Pattern Stamp Tool are similar to the Options for the
Brush Tool and the Clone Stamp Tool. You’ll find many of the
Tools share many of the same Options. restoration.psd

Select the Healing Brush Tool and examine the Options in the
Options Bar.

Brush Picker: You can build the Brush you’ll use to paint with using
the Brush Picker. You can modify Diameter, Hardness, Spacing,
Angle, Roundness, and Size (for work pressure sensitive tablets.)
Experiment with each option to learn how they affect your Brush.
Similar options are available when creating a custom Brush using
the Brushes Palette (see “Creating a Custom Brush” on page 112.)

The Pattern of the tree we created is added and Effect Mode: Select from a variety of Effect Modes. These function
made available in the Pattern drop-down menu. like the Blend Mode setting for Layers or the Painting Mode setting
for the Brush Tool (see “Blend Modes” on page 86.)
Painting with the Pattern Stamp Tool: Paint with the Pattern
Stamp Tool as you do with the Brush Tool. You'll notice that the Source: To specify what the source of the Healing Brush Tool to will
Pattern you just defined is painted and repeated (also called tiled.) be select from either Sampled or Pattern. If you select Sampled, the
Check the Impressionist checkbox to give the Pattern a painterly source is the area at which you [ALT-{Click}] upon, just as with the
impressionist affect. Clone Stamp Tool. If you select Pattern, choose a Pattern from the
drop-down menu.

Aligned: Check Aligned to force the cross-hair established at the

reference point to follow the Clone Stamp Tool regardless of how
many times you {Click} and {Re-Click}. When Aligned is unchecked
the cross-hair returns to original reference point after you have
released the mouse button and {Click} again to resume.
A pattern is painted in a new Layer in blank.psd.
The Healing Brush Tool (con't): Thus far the options and use of
the Healing Brush Tool do not differ much from the Clone Stamp
The Healing Brush Tool :The Healing Brush Tool is very Tool. However, recall that the Clone Stamp Tool merely duplicates
similar to the Clone Stamp Tool. Just as with the Clone Stamp the area you designate as the reference point so that if you
Tool, you select a reference point that you wish to duplicate within reference a red area of an image and paint with the Clone Stamp
another area of the image and build a Brush Shape to replicate the Tool somewhere else in the image the painting will also be red. With
reference point. The Healing Brush Tool differs from the Clone the Healing Brush Tool this is not the case. The lighting, texture,
Stamp Tool in its purpose. You use the Healing Brush Tool to and shading of the referenced area automatically matches (as best
correct imperfections within an image. You may have to scan it can) the lighting, texture, and shading of the healed area. For
flawed source material, such as an old photograph, or modify the example,
complexion of a person in a photograph. For example, examine rather than
this image: selecting
Sampled for
our
reference
point, lets
select
Pattern.
Select the
Bubbles
preset
Pattern.

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The Healing Brush Tool (con't): As you paint, you may notice that
The Bubbles Pattern is blue in color. With the Healing Brush Tool,
the area appears to be darker or lighter. Once you {Release} the
paint on the restoration.psd image along the right side. As you
mouse button, Photoshop will adjust the replicated area to match
paint, the Pattern appears to be painting, in its original Color over
the painted areas lighting, texture, and shading as best it can.
the brown Color of the image. However, when you {Release} the
Usually, it does a spectacular job. For the spots on the dress, you
mouse button, Photoshop matches the lighting, texture, and
may have to reduce the Brush Diameter.
shading of the painted area with the Pattern.

The Healing Brush Tool (con't): Switch to the Pattern Stamp

Tool and select the same Pattern. Paint beside the painting you
just completed. Note the difference. With the Pattern Stamp Tool
(and the Clone Stamp Tool) the referenced area is replicated
(though the options you choose (Opacity, Flow Rate, Airbrush,
Brush Shape, etc.) can change how it’s replicated and applied.)
With the Healing Brush Tool, the referenced area is replicated but
the lighting, texture, and shading of the painted area is preserved.

The Healing Brush Tool (con't): Next let’s try to use the Healing
Brush Tool with Sampled selected from the Source Option. First,
restore restoration.psd back to its original state using the History
Palette. Create a Brush with the following settings:
Using the Healing Brush Tool, the stains/spots
are removed from this area.
 Diameter: 10 px
 Hardness: 70 %
The Healing Brush Tool (con't): Continue to use the Healing
 Spacing: 1% Brush Tool to remove the stains, spots, scratches, and so forth from
 Angle: O degrees the image. Often you have to use a combination of the Healing
 Roundness: 100 % Brush Tool and the Clone Stamp Tool. Why the Clone Stamp Tool?
Sometimes you may not want to preserve the lighting, texture, and
shading of a particular area. Try making some corrections along the
Like the Clone Stamp Tool, you may have to select a reference edge of the image (where the brown background reaches the white
point repeatedly and modify the size and shape of your Brush for frame of the image) to see why you may need to use the Clone
the best results. Begin to reference clean areas of the background Stamp Tool as well. Don’t worry about correcting the white frame
and paint over damaged areas. It will take some time, and you area of image, we’ll not be using that area of the image for the web
may need to zoom into the image. For example, we can start by site. When you’ve done, your image should look something like this:
removing the stains to the left of the woman’s shoulder.

Using a combination of the Healing Brush Tool and the

Sample (establish a reference point) the areas close to the Clone Stamp Tool the stains, spots, and scratches are removed. The image is
stains and then paint over the stains. almost restored.

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4. The selection returns to the original area. Deselect.

The Healing Brush Tool (con't): Save your image if you like. Do not
save over restoration.psd as you will need this image for the next
Tool we cover, the Patch Tool. If you like, open The Patch Tool (con't): Alternately, you could have selected
restorationStepA.psd to view the changes we’ve made thus far. Destination from the Options Bar. In this case, you select the area
Compare it to your own to see if you missed some spots or if we’ve you wish to replicate first and then drag the replicated Selection
missed some spots. over the area you wish to patch.

restorationStepA.psd Note
You can use the standard Selection
Tools first, to make a Selection for
your patch and then use the Patch
Tool. The Patch Tool will inherit the
Selection you’ve already made and
The Patch Tool use it as the basis with which to make
the patch.

The Patch Tool is similar to the Healing Brush Tool but the method Using a Pattern with the Patch Tool: To use a Pattern with the
one uses to patch or correct particular areas of an image differs. To Patch Tool, make a Selection first. The Pattern Option is now
use the Patch Tool: available. Select your Pattern and press the Pattern button to
apply it. For example, we’ve used the Magnetic Lasso Tool to
1. Select either Source or Destination from the Options Bar. create a Selection around the woman. Then we inversed the
Selection (Select/Inverse from the Menu), selected the Patch
Tool. selected the Bubbles Pattern and applied it to our selected
patch area by pressing the Pattern button. The result:
2. If you’ve selected Source, use the Patch Tool to draw a
Selection around the area you wish to correct, such as one
of the stains in the restoration.psd image.

The Patch Tool (con't)

3. Next, with the Patch Tool still selected, place it within the
Selection you’ve just made and drag the Selection to the
area you wish to duplicate. {Release} the mouse button.
The area you dragged the Selection to is replicated over
the area your originally selected, with lighting, texture, and
shading preserved.
Open restoration.psd again (or use the History Palette to restore
it to its original state.) Experiment with the Patch Tool.

To view the image above, open bubbles.psd.

restoration.psd
bubbles.psd

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History Brush Tool (con't)

History Brush Tool : The History Brush Tool operates like
Select Filter/Brush Strokes/Crosshatch.
the Brush Tool except that rather than selecting a Color to paint
with, you select a History State to restore as you paint. To illustrate
how the History Brush Tool works we're going to apply two filters
to an image (filters are covered later) and then use the History
Brush Tool to restore particular areas of the image to previous
States.

Open toys.psd.

toys.psd

Use the following settings - Stroke Length: 25 / Sharpness: 20 /

Strength: 1. {Click} OK. The filter is applied, changing the image to a
distorted sketch.

toys.psd: A collection of wooden dolls

History Brush Tool (con't) : Examine the History Palette.
You'll notice that both the Watercolor and Crosshatch filters are
listed as History States. To remove the Crosshatch effect on the one
History Brush Tool (con't) of the toys select the History Brush Tool, select a Brush Diameter,
From the Menu, select Filter/Artistic/Watercolor. and select 100% Opacity. {Click} the Toggle Box in the Watercolor
State. A History Brush icon appears. This indicates that you will
painting with the contents of this particular History State. As you
paint over the toy of your choice that toy will appear as it did in the
Watercolor State, before you applied the Crosshatch Filter.

The History Brush Icon beside the Watercolor History State indicates that as
you paint, you’ll be restoring the appearance of the image from that particular
State.

The Art History Brush Tool

Use the following settings - Brush Detail: 14 / Shadow Intensity: 0 /

Texture: 3. {Click} OK.
The Art History Brush Tool operates like the History Brush Tool with

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additional brush or paint effects. Like the History Brush, the Art History Brush samples data from a History State of your choice.

Art History Brush Options: You can produce

various natural media effects by changing the
Painting Mode, Opacity, Painting Style, Painting
Area, and Painting Tolerance settings in the Options
Bar. The Art History Brush Tool takes some getting
used to and practice. Experiment with different The Art History Brush Tool has some unique options.
settings to learn how they affect your image.

Art History Brush Options (con't)

Painting Style:
Select from a number of different options to define the shape of your brush strokes.

Area:
Area determines how much of the image is covered by your paint strokes and how frequently the stroke effects are applied. Larger numbers
increase both the area and the frequency.

Tolerance;
Tolerance determines the limitations of your strokes based on color variations. Increasing the value limits your strokes to area of similar color.
Decreasing the value broadens the range of color your strokes affect.

The Eraser Tool

The Eraser Tool works similarly to Photoshop's other painting Tools except rather than add color you remove image data. Like the other
painting Tools, you select the Brush Diameter and other settings from the Options Bar. In addition, you can select Erase to History to make the
Eraser Tool operate like the History Brush Tool.

Eraser Tool Options/: Options for the Eraser Tool are

similar to the Options for the Brush Tool. Additional
Options include Erasing Mode and Erase to History.

Eraser Tool Options (con't)

Erasing Mode: Select from Brush, Pencil, or Block to determine how the Eraser Tool behaves. Block produces a square block.

Erase to History: Toggle a History State or Snapshot in the History Palette and check the Erase to History checkbox if you want to erase to
an earlier incarnation of your current image. This functions in the same manner as the History Brush Tool.
This is very similar to the image we worked on previously. Recall that we removed the Priest in the green Open gate.psd.
robe by using a Layer Mask. Using a Layer Mask is a non-destructive approach, using the Eraser Tool to
accomplish the same goal is a destructive method. The Layer Mask hid or masked the Priest from view
whereas erasing the Priest with the Eraser Tool will actually remove the image data. Expand the Priest Set gate.psd
Layer Set and select the priests Layer. Use the Eraser Tool (in combination with the Zoom Tool and any
other Tools you’ve learned to use, such as the Selection Tools) to remove the Priest in the green robe
from the Layer. Once image data is erased, and you have saved the edited image, you will not be able to
recover it. This is a perfectly valid method and one you will employ frequently in a number of different
situations. Sometimes you will want to use a Layer Mask for maximum flexibility. Keep the differences in mind.

The Background Eraser Tool

The Background Eraser Tool intelligently erases areas of an image to transparency, most particularly
areas of continuous or similar Color. By {Clicking} and dragging close to an edge the Background Eraser
Tool will erase the background but not the edge. You can use the Background Eraser Tool to remove the
background from around an object, such as a person, rather than making a Selection around the person.

Background Eraser Tool Options

Options include Brush Preset Picker,
Limits (Discontiguous, Contiguous, Find
Edges), Tolerance, Protect Foreground
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Color, and Sampling (Continuous, Once, Background Swatch).

Background Eraser Tool Options (con't)

Brush Preset Picker: You can build the Brush you’ll use to paint with using the Brush Picker. You can modify Diameter, Hardness, Spacing,
Angle, Roundness, and Size (for work pressure sensitive tablets.) Experiment with each option to learn how they affect your Brush. Similar
options are available when creating a custom Brush using the Brushes Palette.

Limits: Select Discontiguous to erase the sampled Color wherever it occurs beneath the Brush. The strictness of this setting is affected by the
Tolerance value you set. Select Contiguous to erase the sampled Color and surrounding Color in a similar range. The strictness of this setting
is affected by the Tolerance value you set. Contiguous is the default value. Select Find Edges to erase areas of the same Color as well as
maintaining a sharper definition for the edge. These settings are similar to some of the Selection settings we examined earlier. To set a base
sample Color, [ALT-{Click}] over the Color you wish to sample with the Background Eraser Tool. If you do not set a sampled Color yourself,
the first Color you {Click} on while using the Background Eraser Tool becomes the sampled Color. The way the sampled Color behaves is
affected by what you select for the Sampling Option.

Background Eraser Tool Options (con't)

Tolerance: Tolerance affects the range of Colors erased based on the sampled Color. A low value restricts erasure to Colors similar to the
sampled Color. Higher values increase the range of Colors that can be erased.

Protect Foreground Color: Check Protect Foreground Color to prevent the eraser from erasing colors that match the current Foreground
Color. This option is unchecked by default.

Sampling: Select Continuous to sample as you drag. Contiguous is the default value.
Select Once to sample and erase areas containing the initial sample color.
Select Background Swatch to erase areas containing the current Background Color.
The strictness of this setting is affected by the Tolerance value you set. Use the applicable settings in the Options Bar as required. Usually the
default values are fine, though you’ll need to set Tolerance as needed.

The Background Eraser Tool: Open eraseBackground.psd.

eraseBackground.psd

We’ve cropped our restoration.psd image to isolate the face of the woman. We need to
remove the background. Let’s do so by using the Background Eraser Tool. Select the
following Options:

1. For the Brush: Diameter = 20px; Hardness = 80%; Spacing = 1%; Angle = 0 degree;
Roundness = 100%
2. Limits: Contiguous
3. Tolerance: 20%
4. Protect Foreground Color: Unchecked
5. Sampling: Continuous

The Background Eraser Tool: Start by brushing just outside the hair. Don’t worry if your Brush
Shape overlaps the hair a little because the Background Eraser Tool should leave it alone. You may
want to increase magnification for accuracy. You may also want to brush or paint small bits of the
background at a time. You should see the hair remain in place and the background color turn to
transparency.

The Background Eraser Tool: Continue to remove the background immediately around the woman
using the Background Eraser Tool. You will have to reduce the Brush Diameter to something like 5px
for the neck area (and even smaller for the earnings.) Around the neck area you may also need to The Background Eraser Tool removes the
background
reduce the Tolerance (if you don’t have a steady hand). Note how the background and the flesh color image data around the hair with ease.
at the neck are very similar, which could confuse the Background Eraser Tool.

Don’t bother using the Background Eraser Tool to remove the remainder of the background as you can remove it quickly by using the Magic
Wand Tool to select the remaining image data and pressing the [DELETE] key to remove it. Don’t worry if you see a little bit of the background
here and there in patches throughout the image, we’ll look at a method of finding and removing them later in the chapter. Save your image for
use later (or you can use the image we’ve saved called backgroundErased.psd. Your image should look this:

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The Magic Eraser Tool: The Magic Eraser Tool erases entire areas of color with a single {Click}
rather than {Clicking}, holding, and dragging, which we have to do if we’re using the Eraser Tool or
the Background Eraser Tool. It operates in a similar manner to the Magic Wand Tool, except that
rather than making Selections, it erases pixels.

Magic Eraser Tool

Options: You can set
Tolerance, Anti-
aliased, Contiguous, Use All Layers, and Opacity as required.

Magic Eraser Tool Options (con't)

Tolerance: Tolerance affects the range of Colors removed based upon the Color you {Click} on in
the image. A low value restricts erasure to a small range of similar Colors. Higher values increase
the range of Colors.

Anti-Aliased: Check Anti-aliased to ensure that the edges of the areas that remain after erasure are smooth.

Contiguous: Check Contiguous to erase colors that are uninterrupted by colors outside the range established by the Tolerance level.
Uncheck Tolerance to erase all the colors within the entire image established by the Tolerance level.

Use All Layers: When checked, Use All Layers permits the Magic Eraser Tool to erase a range of colors within all the Layers of the image.

Opacity: If Opacity is set to anything below 100%, the Magic Eraser Tool will not erase the color but merely change the Opacity of the color.

Magic Eraser Tool: Open eraseBackground.psd.

eraseBackground.psd

Remove the background from the image again. Experiment with the Magic Eraser Tool. Note how some of the woman’s face may be erased
when you {Click} in the area close to her left shoulder. Change the Tolerance level or, as is common when working with Photoshop, use a
combination of Tools to achiever your goal.

The Gradient Tool

The Gradient Tool is used to create gradient colors and patterns. Gradients are gradual shifts from at least one color to another or one color to
transparency. The effect is similar to the way the sky shifts from dark blue to a lighter blue as you look toward the horizon. Gradients can also
consist of multiple colors, much like a rainbow.

Gradient Tool Options: Options include Gradient

Picker/Editor, Gradient Type, Blend Mode, Opacity,
Reverse, Dither, and Transparency. A preview of the
gradient appears in the Gradient Picker bar.

Gradient Picker/Editor: To select a preset Gradient,

{Click} on the drop down arrow. All available Gradients are displayed. Select the Gradient you desire by {Clicking} on the Gradient Swatch. A
description of the Gradient appears when you hover your mouse pointer over a Gradient
Swatch.

Note that the first two (2) Gradient Swatches (top row) are Foreground to Background and
Foreground to Transparent. The Color of each will change according to your currently
selected Foreground and Background Colors.

Open blank.psd.

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blank.psd

Select various Gradients and try them out to see how they appear. Try to vary the length and angle of each Gradient.

Creating Custom Gradients

To create your own Gradient, {Click} on the Gradient Picker/Editor itself. The Gradient Editor appears.

To create a new Gradient, select an existing Gradient Preset and modify it.

Creating Custom Gradients (con't)

To change a color select one of the Color Stops Note
situated at the bottom of the Gradient Bar and To make a Color Stop dynamic, meaning it will pick up whatever your
current Foreground or Background Color is, select the Color Stop and then
{Double-Click} on it. Select a color from the
select either Foreground or Background from the Color field in the Stop
Color Picker. Settings Area.

To add additional Color Stops to the Gradient {Click} on an empty spot beneath the Gradient Bar. To modify the location of Gradient colors
drag the Color Stops and Midpoint Markers back and forth as you desire or input specific values into the fields in the Stop Settings Area. To
delete a color simply select it's Color Stop and hit the [DEL] key or drag up or down on it and it will disappear.

To add Transparency {Click} and adjust the Stops at the top of the Gradient Bar (which displays Alpha information rather than colors) and
adjust the Opacity Slider at the bottom of the dialog box. {Clicking} and dragging the Stops and Midpoint Markers effects the placement of
Transparency.
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Opacity: Set the overall Opacity of the Gradient.

Creating Custom Gradients (con't)
Adjust the Smoothness Slider to increase or decrease the
smoothness of your Gradient. You can also choose a Gradient Type Reverse: Check Reverse to reverse the Gradient.
from the Gradient Type drop-down Menu. Solid is the default while
Noise creates a Gradient that randomly mixes the color across a Dither: Check Dither to make the transition from one color to the
selected range. Adjust the various Sliders in the dialog box to find a next as smooth as possible.
noisy Gradient that suits your needs.
Transparency: Check Transparency to enable any transparency
If you wish you can use percentage figures to precisely position the settings in the Gradient patterns. Uncheck to disable
Stops and the Midpoint Markers by adjusting the location fields in the Transparency. Experiment with the Gradient Tool. Load other
Stop Settings Area. When you have finished creating your custom Gradient Presets and see how they function. Try using a black
Gradient, give in an appropriate name and {Click} the New button. and white Gradient in a Layer Mask.
Your custom Gradient is added to the Gradient Presets.
The Paint Bucket Tool
Note
If you wish to use it again you
should save the new set of
Gradient Presets. {Click} Save.
The Paint Bucket Tool replaces a color or range of colors with
You will save a.grd file. Give it
an appropriate name. By either the current Foreground Color or a Pattern. It also fills
default, it is saved in the transparent areas and Selections. Simply select a Color and
location you installed {Click} in the area you wish to fill or replace. You may have to set
Photoshop in under some options to get the desired effect.
Presets/Gradients. To load a
Gradient set, {Click} Load in
the Gradient Editor dialog box. Paint Bucket Tool Options: Options for the Paint Bucket Tool
include Fill Source, Pattern, Fill Mode, Opacity, Tolerance, Anti-
aliased, Contiguous, and All Layers.
{Click} OK to finish. Try out your custom Gradient.

Gradient Type: Select from Linear, Radial, Angle, Reflected, and

Diamond.

Linear Gradient Paint Bucket Tool Options (con't)

Linear (straight line) transition from one point to
another. Can contain multiple colors and
Fill Source: Select either Foreground to fill with the current
transparency levels. Can be placed at various
Foreground Color or Pattern to fill with a Pattern.
angles.
Radial Gradient
A circular transition from one point to another from Pattern: If you have selected Pattern from Fill Source you can
one point to another. Can contain multiple colors select your fill Pattern here.
and transparency levels.
Angle Gradient Fill Mode: This is identical to Blend Mode when using Layers.
A counter-clockwise transition from one point to
another. Can contain multiple colors and
Opacity: Set the Opacity of the fill.
transparency levels. Can be placed at various
angles.
Reflected Gradient Paint Bucket Tool Options (con't)
Linear gradients are created from the starting
point. Each gradient moves away from the starting Tolerance: When you{Click} on a pixel that is any particular color
point. (such as red for example) and you are replacing that color with
Diamond Gradient the current Foreground Color that might be yellow for example,
A diamond shaped transition from one point to any pixels in the surrounding area that are also red or a similar
another. Can contain multiple colors and shade of the red pixel you have {Clicked} on will be filled (or not)
transparency levels. Can be placed at various depending on the Tolerance level you set. Higher numbers will fill
angles. a greater range of colors while lower numbers will limit the range.
This is similar to the Tolerance setting for the Magic Wand Tool.

Blend Mode: Set the Blend Mode for the Gradient. This is similar to
the same setting for Layers or the Painting Mode setting for the Anti-aliased: Check Anti-aliased to make the edge of the fill
Brush Tool. smooth.

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Brush Preset Picker: Select a Brush with which to blur with.

Contiguous: Check to fill pixels in the immediate color range
(affected by your Tolerance level) of the pixel you have {Clicked}
on. Uncheck to fill all the colors in the image within the color range Effect Mode: Select from a number of different options which will
you’ve selected All Layers: Check All Layers to fill colors across affect the color over which you apply the blur strokes. This is similar
all Layers. to the Blend Mode used for Layers.

Paint Bucket Tool Strength: Set the Strength of your stroke. A higher value will
Open backgroundErased.psd. increase the degree of blurriness.

backgroundErased.psd Use All Layers: Check Use All Layers to blur the image data you
paint over throughout all Layers. Try using the Blur Tool on an
element of the toys image to see the effects.

The Sharpen Tool

Recall earlier in the chapter we used the Background Eraser Tool
in combination with the Eraser Tool to remove the background
around the woman. When we remove a background from an
image with only one (1) Layer, the background is erased to
Transparency. Sometimes its difficult to see if you’ve removed all Use the Sharpen Tool to sharpen soft edges in an image. The
of the background. We’re going to use the Paint Bucket Tool to Sharpen Tool functions similarly to the Blur Tool except of course it
add a new background color and make sure we’ve removed all of sharpens rather than blurs. The Sharpen Tool increases the
the original background at the same time. Execute the following contrast in colors over the area you stroke. If you’re not careful,
steps: color banding or a halo can occur. You’ll have to experiment with it
and try out different Effect Modes. The Options for the Sharpen Tool
are identical to those of the Blur Tool. The Blur Tool and the
1. Create a new Layer. Recall that by default, when you
Sharpen Tool are referred to as the Focus Tools.
create a new Layer, its created above the currently
selected Layer. Drag the new Layer beneath the current
Layer (the one with the woman on it) and rename it Try using the Sharpen Tool on any of the images in this chapter to
background. see how it works.
2. Name the Layer with the woman on it customer.
3. Choose the following Foreground Color with the Color
Picker: Red - 222; Green - 0; Blue - 0.
4. Select the Paint Bucket Tool.
The Smudge Tool :
Paint Bucket Tool Use the Smudge Tool to create a finger painting effect within your
image. The Smudge Tool functions like many of the Brush related
Tools in that you select a Brush, some options, and paint over areas
5. Select the background Layer.
of an image. Smudge Tool Options: The Smudge Tool Options are
6. Fill the background Layer with the Foreground Color.
identical to the Blur Tool Options with one addition. In addition, the
7. Take a look at the image. You should notice some
Smudge Tool has a Finger Painting Option.
artifacts or left over elements of the original background
we removed earlier. Furthermore, there are areas
around the hair that need to be erased as well.
8. Use the Eraser Tool and the Background Eraser Tool to
remove the last bits of the original background. You’ll
probably have to switch between one and the other Tool
frequently, as well as zooming in and out of the image, Finger Painting: Check Finger Painting to mix the current
and using very soft-edged brushes as you erase, Foreground Color into the smudge as you paint.
particularly around the hair. It will take some time.
9. Save the image if you like.
The Dodge Tool
Use the Dodge Tool to lighten areas of the image by painting over
The Blur Tool them. The Dodge Tool works similarly to the other Brush Tools.
Use the Blur Tool to blur areas of the image by painting over them. Grouped together with the Burn Tool, these Tools are referred to as
The Blur Tool behaves very much like the Brush Tool, except the Toning Tools. Dodge Tool Options: Select a Brush Shape from
rather than paint color you paint blurriness the Brush Preset Picker Select the Range, Exposure, and if you like,
you can
enable
Blur Tool Options: Blur Tool Options include Brush Preset the
Picker, Effect Mode, Strength, and Use All Layers. Airbrush
capabilities.

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The Horizontal Type Tool

Use the Horizontal Type Tool (or the other Type related Tools) to
create text in Photoshop. For the Internet you'll be using type to
label buttons and as elements of typographic design. Select the
Horizontal Text Tool and {Click} in the Image Window. Begin to
input your text. To make a paragraph, {Click}, hold, and drag a
Paragraph Box in the Image Window then input your text into the
Paragraph Box. Photoshop creates a new Text Layer (indicated in
the Layers Palette by a capital "T" in the Layer Thumbnail. The text
you input into a Type Layer appears as the Layer Name.

Typographic Terminology
Before you begin to create and manipulate type in Photoshop, you
should know some of the basic typographic terminology that some
of the options in Photoshop use. Examine the following example:

Typeface: A typeface is a full set of characters (uppercase,

lowercase, numerals, special characters, etc.) designed in a specific
Style. For example, the same word, presented using different
typefaces, can look quite different:

Typefaces are also often referred to as Fonts. The look of your text
is very much a key in the design of your images.

Kerning: Kerning is the space between a particular pair of

characters. Each typeface may have particular Kerning values so
that some characters are closer to each other than others,
depending on their shape. For example, the capital letters A and V,
when placed together, have complimentary shapes and are often
placed closer together than A and N.

Tracking: Tracking is the space between characters in a line of text.

The space between characters, regardless of the particular
characters, is uniform when using Tracking. It can easily be
confused with Kerning. Remember that Kerning is a very specific
measurement of spacing between particular pairs of characters,
whereas Tracking is the measurement of spacing between all
characters.

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Baseline: The Baseline in text is an imaginary line that the characters effectively sit upon. Lower case text, such as the "p", has a descender,
which descends below the Baseline.

Horizontal Type Tool Options

In Photoshop you set and adjust Font Family, Font Style, Font Size, Justification, and so forth by selecting options from either the Options Bar
or the Character Palette. Let’s examine the Horizontal Type Tool Options.

Font Family: Select the Font Family (also referred to as Typeface or Font)
you wish to use for your text. Photoshop will list all the currently active fonts
on your system.

Font Style: Select the Font Style you wish to use. Common Font Styles
include Bold, Italic, Underline, and Regular. Available Font Styles differ
depending on the Font Family you've selected. However, the Character
Palette has options for apply Font Styles that are normally unavailable to a
particular Font Family.

Font Size: Select or input Font Size to set the size of your text. The Font
Size is measured in points, which is the traditional measurement for print and within common computer applications such as word processors.
When we get to ImageReady, we can use Font Sizes in pixels, which may be more useful, depending on how you like to work, for web
development. If you highlight your text by {Clicking} and dragging over it, any changes you make to the Font Size changes the size of the font.
Alternately you can select the Type Layer itself in the Layers Palette, select the Horizontal Text Tool and then make changes to the text
without highlighting but modifying the options.

Anti-Alias: You can select various levels of Anti-aliased text. Choices consist of None, Sharp,
Crisp, Strong, and Smooth. You'll find that Sharp and Crisp are particularly useful for small
text.

Alignment: Select from Left Align, Center, and Right Align to set the Alignment of your text.
The Alignment of your text, even if it is a single word or line of text, can affect how multiple
Type Layers are aligned. You should experiment with Alignment to see how it operates in
Photoshop.

Font Color: Select a Font Color by {Clicking} on the Font Color Swatch. The Color Picker
appears.

Warp Text: Warp Text allows the user to customize the appearance of text and still maintain
the ability to edit it at all times. With a Type Layer selected or text itself selected, {Click} on the
Warp Text button. The Warp Text dialog box appears. Select a Warp Style from the Style drop-down menu.

Warp Text (con't): The Warp Style effectively places an shape or envelope around your type. For example,
in this image, the text "warped text" appears without a Warp Style and is repeated with the Fish Warp Style
applied to it. Once you’ve applied a Warp Style, you can modify it by changing the options in the Text Warp
dialog box. Modify orientation along the Horizontal or Vertical axis and change Bend, Horizontal Distortion, and Vertical Distortion values.
You’ll have to experiment with each Warp Style to learn how each
affects your type.

Toggle Character Palette: {Clicking} the Toggle Character Palette

button launches the Character Palette, which is grouped with the
Paragraph Palette. Each of these Palettes gives you identical
settings to those found in the Options Bar as well as some additional
options.

Kerning: To modify the Kerning between two specific characters

(letters), place your cursor between the two characters, do not
highlight any characters. The Kerning field will become active.
Select Metrics to set automatic Kerning. You can input your own
value or select one of the presets. Negative values move characters
closer together. Positive values move characters further apart.

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Leading: Leading is the amount of space between lines of text. If you’ve written papers or produced any sort of documents you may set the
spacing to double-spaced then you’ll understand Leading. If you have input text with multiple lines you can set the Leading as you wish.

Tracking: To modify the Tracking, highlight the text you wish to modify. Select Auto to set automatic Tracking. You can input your own value
or select one of the presets. Negative values move
characters closer together. Positive values move characters
further apart.

The Paragraph Palette

The Paragraph Palette features enhanced options to control

text you’ve input that is more than one line (such as a
paragraph or caption.)

Alignment:
Select from Left Align, Center, and Right Align to set the
Alignment of your text.

Justification: Select from Justify Last Left, Justify Last

Center, Justify Last Right, and Justify All.

Indent Left Margin: You can set where the Left Margin is within the Paragraph Box by inputting a value in this field.

Indent Right Margin: You can set where the Right Margin is within the Paragraph Box by inputting a value in this field.

Indent First Line: If you want the first line of your paragraph to be indented, set the value here.

Add Space Before Paragraph: If you have multiple paragraphs, you may want to add some space just above the area where the paragraph
begins. To do so, input a value in this field.

Add Space After Paragraph: If you have multiple paragraphs, you may want to add some space just below the area where the paragraph
begins. To do so, input a value in this field.

Hyphenate: Check Hyphenate to enable hyphenation.

The Vertical Type Tool

Use the Vertical Type Tool to input text in a vertical orientation.

The Notes Tool

As you produce images, you may be working in a collaborative environment or you may be working
alone. In either case, it can be very helpful to leave notes attached directly to an image so that
whenever you edit that image, you can familiarize yourself with any tasks or issues you may have. To
create a note, select the Notes Tool and {Click} anywhere within the Image Window. A pop-up Notes
Box appears. Input your note.

The Notes Tool (con't)

Close the Note by {Clicking} the Close Box at the top right of the Note. A small Note icon remains in
the Image Window. To open it, {Double-Click} it. To remove it, {Right-Click} and select Delete Note.
You may find that keeping Notes in this manner is more efficient than keeping paper notes that can
be easily misplaced.

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Audio Annotation Tool

If you have a microphone, you can attach a sound clip rather than a typed Note using the
Audio Annotation Tool.

The Eyedropper Tool

As you edit and produce images, you may want or need to match colors precisely. Of course photographic images can often consist of millions
of colors. Picking one color from millions is simple with the Eyedropper Tool. Simply select the Eyedropper Tool and {Click} on the color you
wish to sample in the Image Window. The Foreground Color changes to the color you’ve sampled. Hold or press [ALT] to change the
Background Color rather than the Foreground Color.

Eyedropper Tool Options

By default, the Sample Point is set to Point Sample to sample the color of a single
pixel. You can also select a wider range. The average value within the range is
sampled. Select from 3 by 3 Average or 5 by 5 Average.

Using Guides and the Grid for Alignment

Often you will want elements within your image positioned relative to each other. To align elements, such as a series of buttons or type you
have two options, using Guides or using the Grid.

Using Guides
To create Guides you must make the Rulers visible. Select View/Rulers. The units of the Rulers depend on the setting you selected in
File/Preferences/Units & Rulers. Because you're developing for the Internet, it's a good idea to select Pixels as the basic unit. Make a Guide
by passing the pointer over either the horizontal or vertical Ruler and {Click}, hold, and drag the Guide over the image. {Release} to drop the
Guide at the desired point. By default, the Guide is blue in color. Change the color by selecting Edit/Preferences/Guides, Grid and Slices or
{Double-Click} the Guide itself. Make sure Snap to Guides is enabled by selecting View/Snap To/Guides.

Using Guides (con't)

Open toys.psd.

Create a Vertical Guide at approximately 50 pixels from the left of the

Tip
image. Create two (2) Type Layers, one with the text "Japanese To place a Guide at a precise point, select
Souvenirs" and one with the text "Children's Toys." Select the "Japanese View/New Guide. The New Guide dialog-box
Souvenirs" Type Layer and drag it toward the Guide. Notice how the appears. Select Orientation (Horizontal or
edge the letter "J" snaps against the Guide. Guides ignore the Vertical) and input the Position you wish the
transparent areas of a Layer and use image data to snap too. Select the Guide to be placed at in the Position field.
"Children's Toys" Type Layer and drag it toward the Guide, just below
"Japanese Souvenirs". Now both Type Layers are perfectly aligned.

Using Guides (con't)

To discard a Guide {Click} and drag the Guide off the image into the Ruler. To move a Guide hold the [CTRL] key over the Guide and drag
whenever you are using a tool other than the Move Tool. Holding [CTRL] and [ALT] simultaneously switches the orientation of the Guide. You
can use multiple Guides. To discard all Guides select View/Clear Guides.

Using the Grid: The Grid works in a similar fashion to Guides in that the content of your Layers will snap to the lines of the Grid. Select
View/Show/Grid to display the Grid. Make sure that Snap to Grid is also enabled under View/Snap To/Grid. A light gray Grid covers the image.
To adjust the Grid setting select Edit/Preferences/Guides, Grid and Slices. By now it should be evident to you that Photoshop is a very
powerful and complex program that is easy to use. Because there are numerous image editing options and many different ways to achieve
imaging goals first time users might find the program overwhelming. We've reviewed many of the fundamental elements you'll need to put into
practice when creating images for the Internet. We're going to use many of these techniques in the chapters ahead to create actual images for
the web, including static images, buttons, navigation bars, banners, and animated GIFs.

Filters: Filters are a set of pre-built effects that you apply to entire images, individual Layers, or Selections. Images must be in RGB mode to
access Photoshop’s full range of Filters.

Applying Filters: To apply a Filter, isolate the area of the image you wish to apply it too. For instance, if you want to apply a Filter, such as
Blur, to an entire Layer you would select the Layer in the Layers Palette. If you wanted to apply the Blur Filter to a part of the image data on a
Layer, you would make a Selection on that Layer and apply the Filter.

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Open boy.psd.

boy.psd

Filters (con't)
Select Filter/Artistic/Poster Edges. The Filter dialog box appears
with the title of the currently selected Filter. A set of Options
accompanies most Filters (not all Filters have Options). Options A photograph is transformed into a painting.
change depending on the nature of the Filter.
Fine-Tuning Filters with Fade
Once you've applied a Filter you can fine-tune it by selecting
Edit/Fade Filter Name, where
Filter Name is the name of the
last Filter you applied. In this
case we select Edit/Fade
Poster Edges.

Fade controls include

Opacity, Mode (Blend Mode), and Preview. Input an Opacity value
or use the slider to reduce the strength of the Filter’s effect on your
image. Experiment with different Blend Modes to affect the manner
in which the Filter is applied to the image. Check Preview to display
your changes in real-time. {Click} OK to make the changes.

Adjustment Filters: Filters are not limited to apply effects. There

are a wide range of Filters available to you. As you learn and use
Photoshop, you’ll become familiar with many of them. Learning and
using Filters (also referred to as plug-ins) is largely a process of
experimentation to view how particular Filters affect an image and
what type of Options you can use for each of them. Let’s take a look
at one of the Adjustment Filters.

Open statue.psd.

statue.psd
In this case, the Options we have are Edge Thickness, Edge
Intensity, and Posterization. Filters usually have a Preview
Window in the dialog box so you can see the effects of the Filter
on your image and the effects that changing the Options cause in
real-time. Note that you can change the Magnification of the Examine the image. It’s definitely blurry. Select
Preview Window but {Clicking} the positive (+) and negative (-) Filter/Sharpen/Unsharp Mask. You can set the following Options:
buttons accordingly. You can also move the image around with the Amount, Radius, and Threshold. We’ve used the following settings:
Preview Window. In this case, make sure you have the following
settings:
 Amount: 50%
 Radius: 1.0 pixels
 Edge Thickness: 2  Threshold: 0 levels
 Edge Intensity: 1
 Posterization: 1 Use these settings are your own. Once you’ve applied the Filter the
image should appear sharper.
{Click} OK.
As we progress through the manual, we’ll be creating buttons,
Filters (con't) navigation bars, and GIF animations, and we’ll put some Filters to
Photoshop applies the Filter to your image and the History Palette use. Recall that Layers have Layer Styles, which are essentially
creates a History State. You've effectively changed a photograph specialized Filters linked to Layers, though of course Layer Styles
into a painting. can be disabled whereas applying Filters is a destructive operation
We'll be using these effects as well. Some of the Layer Styles can

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be applied to Type Layers, but to apply Filters to Type Layers you'll have to {Right-Click} the "T" icon in the Type Layer and select Rasterize
Layer. Effectively you’ll be converting the type to a bitmap so that you won't be able to edit your type after rendering it. However, you’ll be to
apply Filters to it.

ADJUSTING IMAGES

In addition to modifying or adjusting images with Selections, Filters, Layers, using Blend Modes, and using the various Tools, Photoshop also
allows you to adjust a wide variety of color properties, such as tone, saturation, balance, and contrast. Controls for adjusting these image
qualities are located under Image/Adjustments. Adjustment controls include Levels, Auto-Levels, Auto-Contrast, Auto-Color, Curves, Color
Balance, Brightness/Contrast, Hue/Saturation, Desaturate, Replace Color, Selective Color, Channel Mixer, Gradient Map, Invert, Equalize,
Threshold, Posterize, and Variations. Before using these controls however, you should examine the image's Histogram.

Histogram Open flower.psd.

The Histogram represents the pixels of an image in graph form. It charts how many pixels an image
contains and their distribution in terms of dark tones to bright tones. Dark tones are charted to the left
and bright to the right. Dark tone areas are referred to as Shadows. The area in between dark and flower.psd
bright tones is referred to as Midtones. Bright tone areas are referred to as Highlights.

The image is clear, but the colors are dull. This image could use some adjustment. Start by
examining the Histogram by selecting Image/Histogram.

Histogram (con't)

By examining the Histogram of an image, you can instantly see the Tonal balance of the
image and use that information as a basis for your adjustments. For this image, most of
the pixel information is concentrated left of the middle of the graph (the Midtones area.)
As a result, we can see that the image is primarily dark in tone. The images Tonal range
is unbalanced. We’ll make adjustments to create a better balance.

Histogram (con't)

Channel: Select from Luminosity, Red, Green, or Blue when working with RGB images.
Luminosity is a composite of the Red, Green, and Blue Channels.

Mean, Std Dev, Median, Pixels: The values listed in the left hand column of the
Histogram display the average brightness value of the image (Mean), the range of
variance from the mean (Std Dev), the middle brightness value (Median), and the number of pixels used to calculate these numbers. If you're
viewing a Histogram for the entire image, all the pixels are used. If you're viewing a Histogram for a Selection, the numbers of pixels within the
Selection are used.

Level, Count, Percentile, Cache Level: {Click} and drag to highlight particular areas of the Histogram to get values for Level (the selected
area's brightness level), Count (the number of pixels in the selected area), and Percentile (the percentage of pixels within the selected tonal
range.) Cache Level is set in File/Preferences/Memory & Image Cache. If Use cache for histograms is checked, the Histogram is based on the
Cache version of the image. For absolute accuracy uncheck Use cache for histograms to force Photoshop to use the real image data. This is
less of a concern for web development because you're working on a low resolution (in terms of density as in 72 ppi) image, which matches the
resolution of the Cache version. However, if you are working on higher density images the accuracy of the Histogram is affected.

Histogram (con't)

Channel: Select from Luminosity, Red, Green, or Blue when working with RGB images. Luminosity is a composite of the Red, Green, and
Blue Channels.

Mean, Std Dev, Median, Pixels: The values listed in the left hand column of the Histogram display the average brightness value of the image
(Mean), the range of variance from the mean (Std Dev), the middle brightness value (Median), and the number of pixels used to calculate
these numbers. If you're viewing a Histogram for the entire image, all the pixels are used. If you're viewing a Histogram for a Selection, the
numbers of pixels within the Selection are used.

Level, Count, Percentile, Cache Level: {Click} and drag to highlight particular areas of the Histogram to get values for Level (the selected
area's brightness level), Count (the number of pixels in the selected area), and Percentile (the percentage of pixels within the selected tonal

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range.) Cache Level is set in File/Preferences/Memory & Image Cache. If Use cache for histograms is checked, the Histogram is based on the
Cache version of the image. For absolute accuracy uncheck Use cache for histograms to force Photoshop to use the real image data. This is
less of a concern for web development because you're working on a low resolution (in terms of density as in 72 ppi) image, which matches the
resolution of the Cache version. However, if you are working on higher density images the accuracy of the Histogram is affected.

Channel: Select from the composite RGB to modify all channels

simultaneously or select Red, Green, or Blue and modify channels on an
individual basis. Input Levels/Input Levels Sliders. Input Levels display the
range from the Black Point (Shadows) to the White Point, and the Mid Point
in between. By default, the range is 256 possible values, from 0 to 255 with
the Mid Point being precisely in between. By adjusting these Levels, you
can increase or decrease each of the three primary tonal properties,
Shadows, Midtones, and Highlights. The Histogram for this image reveals
that very few pixels are actually in the Midtones and fewer still in Highlights.
Use the Sliders or input the following values into Input Levels:

 Shadows: 7
 Midtones: 1.00
 Highlights: 108

Channel (con't): Make sure that Preview is checked. {Click} OK. The image
should look much brighter. Keep in mind that you can make adjustments by Channel. You could adjust each individual Channel or start by
adjusting all of them at once (RGB) and then isolate each channel to make finer adjustments. It takes some time to get used to adjusting
images in this manner.

Output Levels/Output Levels Sliders: Reduce the tonal range (at default 0 to 255) by adjusting the Output Levels either by input or using the
sliders.

Levels Eyedropper Tools

Use the Shadows (Black Point), Midtones (Gray Point), and Highlights (White Point) Eyedroppers to designate pure black, pure medium, and
pure white manually by selecting the appropriate Eyedropper and {Clicking} on a point within the image. Select Image/Adjustments/Levels
again. Note how the Levels Histogram has changed to reflect the changes we’ve already made. If you select the Midtones Eyedropper and
{Click} on the red part of the flower the Histogram changes to reflect your selection and the color of the image changes drastically as well. In
this case, the image is dominated by blue and green tones. The Eyedroppers are generally more useful when changing the tone of grayscale
images.

Channel (con't)

Auto: {Click} this button to let Photoshop adjust the Levels for you automatically.

Options: {Click} Options to fine tune the manner in which Photoshop automatically balances Levels if you choose to have Photoshop do the
adjustment for you.

Preview: Check Preview to see the affect of your modifications in real-time.

Auto Levels: Selecting Image/Adjustments/Auto Levels causes Photoshop to automatically balance the tonal range of the image. Depending
on the image, this feature can work well or not work particularly well. Restore flower.psd back to its original state and try it out.

Auto Contrast: Select Image/Adjustments/Auto Contrast to automatically increase the contrast of colors in an image. Colors increase in
saturation and edges sharpen.

Auto Color: Select Image/Adjustments/Auto Color to automatically balance the colors within an image.

Curves: Use Curves for greater control when adjusting image tone. Curves are very similar to Levels in that you adjust the Shadows (Black
Point), Midtones (Medium Point), and Highlights (White Point), except you do so with a curve to which you can add points too for increased
accuracy. You manipulate the Curve by {Clicking} and dragging on a point. You add points to the Curve by {Clicking} and dragging on the
Curve where there isn't a point or by {Clicking} on the Curve where there isn't a point. Controls for Curves include Channel, Input and Output
Fields (visible when you have a Point selected, Edit Curve Button, Custom Curve Button, Black Point, Mid Point, and White Point

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Eyedroppers, Auto, Smooth, options to Save and Load Curve settings, the Curve Window and the Curve itself. The controls common to the
Levels adjustment work precisely the same in Curves.

Curves (con't)
The Curve is in a straight line, at 45 degrees, indicating it has not yet been manipulated. The Point at the bottom left of the Curve represents
the current Black Point while the point at the top right represents the White Point. There is no point in the middle of the Curve by default
because you can add points all along the Curve and {Click} and drag them for
very accurate and precise control. However, by {Clicking} the center of the Curve
you can add a Midtone Point.

{Click} the center of the Curve to add a Midtone Point. Next {Click}, hold, and
drag the Midtone Point up and down the Curve, trying to keep the Curve as
straight as possible. By doing this you are mirroring Levels controls where you
{Click} and drag the Point sliders back and forth. The distance between the
sliders or Points changes the tone of the image. With Curves, you have
increased control because you can add multiple points between the Black, Mid,
and White Points. {Click} twice at different locations on the Curve between the
Midtone Point and the Black Point to add two more points. Now {Click} and drag
these points back and forth and watch what happens to the image. By {Clicking}
and dragging the points to add variance to the Curve more drastic tonal changes
occur. It takes practice to get used to using Curves to adjust tone but as you can
see it is a much more powerful option than using Levels. At any time, with a Point
selected, you can input values into the Input or Output fields.

Curves (con't)

Note
To change the Grid in the Curves
dialog box, press [ALT] and
{Click} simultaneously.

Curves (con't)
In our case, we’ve applied the following Curve to flower.psd. To view our version, load
flowerCurves.psd.

flowerCurves.psd

Keep flowerCurves.psd open and feel free to try the following procedures on your own version as well.

Custom Curve Button: In addition to using the default Curve, Photoshop permits you to draw your own Curve. Simply {Click} the Custom
Curve Button and {Click} and drag inside the Curve Window to create your Curve. Adjust the Curve as you would normally by {Clicking} the
Edit Curve Button.

Curves (con't)

Scale: Vertical/Horizontal: The Vertical Scale represents values from 0 - 255 (in RGB
Mode) with Shadows at the bottom and Highlights at the top. The Horizontal Scale
represents values from 0 - 255 with Shadows at the left and Highlights at the right. You
can reverse the orientation by {Clicking} the Arrows in the center of the Horizontal Scale.
Eyedroppers: Use the Eyedroppers to establish the range of tones. For example, use
the Black Point Eyedropper by {Clicking} on the darkest point in your image (or whatever
you wish to designate as the darkest point). The rest of the image adjusts automatically.
Use the other Eyedroppers (Gray Point, White Point) appropriately. Like Levels, using
Curves can be a little confusing. Experimentation and practice is the best way to get a
solid understanding of how you can use Curves to achieve your goals. Color Balance
Adjust the Color Balance of an image, Layer, or Selection with the Color Balance
controls. Controls include Color Balance fields and sliders for Cyan to Red, Magenta to Green, and Yellow to Blue, Tone Balance (Shadows,
Midtones, and Highlights), Preserve Luminosity, and Preview.

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Color Balance Fields and Sliders: Use the Cyan to Red, Magenta
to Green, and Yellow to Blue fields (Color Levels) and sliders to
adjust color values. As you experiment with them, notice how the
color changes in the image. To isolate particular tones within the
image use the Tone Balance controls.

Tone Balance: Check Shadows, Midtones, or Highlights to isolate

Color Balance changes you wish to make to those particular tonal
ranges in the image. You can adjust the Core Range and Fall Off range by sliding the
Indicators as needed. Note that you can use the Eyedroppers to
adjust the range by {Clicking} on colors within the image to add or
Preserve Luminosity: Check Preserve Luminosity so that Color remove them from the range. The Fall Off range is used to make
Balance changes affect only the color of the pixels and not the your adjustments as smooth and realistic as possible. You can
brightness. experiment with changing the range if you like.
Using flowerCurves.psd, input the following values into the Color
Levels fields (in order, left to right): -46, -20, +1.
Note how combining the previous adjustments we made with Curves Hue/Saturation (con't)
with the Color Balance adjustments has greatly improved the tone of For now, keep the range at default and make adjustments to the
this image (compare it to flower.psd side-by-side.) Reds in the image. We’ve changed Saturation to +60 and
Lightness to -15.

Brightness/Contrast: Use the Brightness and Contrast Sliders or

Fields to increase or decrease the brightness and contrast of an Next move to Yellows. We’ve changed Hue to -25.
image, Layer, or Selection.
Next move to Greens. We’ve changed Saturation to +40.

Next move to Cyans. We’ve changed Hue to -75.

We’ve left Blues and Magenta unadjusted as most of these colors

are in the background. The background of this image is out of
focus (blurry) and color adjustments tend to become blocky or
band when adjusting blurry areas. In fact, you should notice some
pinish patches in the background that appear unseemly. This is
Using flowerCurves.psd, increase Brightness by 10 and Contrast by bound to happen when making global adjustments (adjustments
10. to the entire image and therefore all the colors within the image
that fall within a particular range.) Remember, you can also
isolate areas of the image by creating Selections or by selecting
Hue/Saturation: Use the Hue/Saturation Controls to increase and content on a single Layer and then make adjustments to the
decrease the Hue, Saturation, and Lightness of an image, Layer, or
content accordingly.
Selection. From Edit select Master to adjust all the colors or select
from a list of color ranges that include Reds, Yellows, Greens,
Cyans, Blues, and Magentas. Hue/Saturation (con't)
If you examine the image now, the Reds and Greens should
appear much better than they originally did (compare it side-by-
side to flower.psd if you like.)

You could go back to Hue/Saturation, isolate the Reds and

change the color of the flower to a pink (by increasing Brightness)
or yellow (by increasing Hue and Saturation and decreasing
Brightness.)

Open flowerComplete.psd to view the changes as we’ve made

them to the image.

flowerComplete.psd

Hue/Saturation (con't)
When you select a color range, you can adjust the magnitude of that
range using the sliders in between the Color Bars at the bottom of
the Hue/Saturation dialog box and by using the Eyedropper Tools. Colorize
For example, select Red from Edit. Note how the Color Bars at the Colorize causes the image, Layer, or Selection to take on a
bottom display the range of Reds that will be affected. duotone effect, where the image is tinted by one dominant color.

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Desaturate: Selecting Desaturate removes the color from an

image. The image will appear to be in Grayscale Mode but
actually remains in RGB Mode so that you can still add color to
it and use all the Filters.

Replace Color: Use Replace Color to change the Hue,

Saturation, and Lightness of a particular color or particular
range of colors. Use the Eyedroppers to select the color(s) you
wish to replace. Replace Color is similar to selecting by Color
Range, including Fuzziness, Eyedroppers to select one color,
select additional colors, or deselect colors, a Preview checkbox,
and the ability to choose either Selection or Image in the Image
Box (see “Creating a Selection with Color Range” on page 68.)
In addition, Replace Color includes Hue, Saturation, and
Brightness Sliders and Fields, and the Sample Box that
indicates the currently selected color or base color for the
currently selected range. Gradient Map: Use the Gradient Map dialog box to map either a
custom or preset Gradient to the grayscale values of an image. The
effect is somewhat like that of a Duotone used in print but without the
need of converting the image over to a Duotone. The default Gradient
consists of the current Foreground and Background Color, with the
foreground mapped to black and the background mapped to white (in
the Grayscale range.) Choose a Gradient or {Double-Click} on the
Gradient Preview itself to edit and create custom Gradients. Check the
Dither checkbox to create a smooth Gradient. Check the Reverse
checkbox to flip the colors from right to left. In our case we had Red as
the Foreground Color and Black as the Background Color, which
results in a Gradient from Red to Black.

Gradient Map (con't)

We’ve selected the Orange, Yellow, Orange Gradient and applied it to
Try using Replace Color on the flower or on different colors the flower image with the following results:
within the image.

Selective Color: Use Selective Color to adjust CMYK values for

images destined for print. Because you don't use CMYK mode
for the Internet you won't have much use for this control.
However, feel free to experiment with it. Like other controls, you
can isolate a color range and use sliders to modify them.

Channel Mixer: Use the Channel Mixer to adjust the balance of

each individual Color Channel in the image. Select the desired
Color Channel with the Output Channel drop-down list. You'll
notice that sliders for the Source Channels default to a value of
zero, except for the currently selected Color Channel, which Invert: Use Invert to reverse the colors of the current image, Layer, or
defaults to a value of 100%. Use the sliders to increase and Selection. In effect, you make a photographic negative of your image.
decrease the percentage values of each Channel to change the
tone of the image. Use the Constant slider to add or subtract
black or white to the mix. Check Monochrome to convert the Equalize: Use Equalize to make Photoshop designate the lightest
Image to a Gray range of colors (the image itself still remains in pixel and the darkest value as absolute black and white and then
RGB Mode.) adjust the pixels between evenly or equally.

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Threshold: Use Threshold on the current image, Layer, or

Selection to convert all pixels to either black or white. Adjust the
Threshold Level by input a new value or using the slider.
Increasing the value adds more black and decreasing the value
adds more white. The range is from 0 to 255.

Posterize: Use Posterize on the current image, Layer, or

Selection to reduce the amount of colors, and therefore tone. For
instance, if you enter a value of 5, the image is reduced to five of
the most dominant colors.

Variations: Use Variations to view multiple results of tonal

changes for the current image, Layer, or Selection. The Variations
dialog box consists of twelve (12) Thumbnails divided into three (3)
areas. At the top is the image in its Original form beside which is
the image as it appears with modifications. To isolate tones and
saturation check Shadows, Midtones, Highlights, or Saturation.
Check Show Clipping when adjusting Saturation to ensure you do Adjustment and Fill Layers
not over saturate a particular color. Use the Fine and Coarse slider (con't): The Adjustments you Open flowers.psd.
to adjust the amount of each change. choose work just like the do
through selecting flowers.psd
Image/Adjustments/selected
Adjustment (where selected
Adjustment is the Adjustment
of your choice, such as
Curves.)

Adjustment and Fill Layers (con't): This is our original, muddy,

dark image of the flower that we have been modifying throughout
the chapter. Let’s do the modifications again, but this time using a
series of Adjustment Layers. Execute the following procedure:

1. Create a new Adjustment Layer and select Curves for the

Adjustment Type. The Curves dialog box appears.
2. Create 3 Points along the Curve as we did before (see
“Curves” on page 162.). Once you’ve made the Curve (an
approximation to the screenshot), you can select each,
from the top down, and input the following coordinates:
 Input: 136 / Ouput: 182
Variations (con't): Execute changes by {Clicking} on the  Input: 66 / Ouput: 147
Thumbnails in the Color or Brightness areas. The Color Area  Input: 48 / Ouput: 90
consists of Thumbnails to add more Green, Yellow, Cyan, Red, 3. {Click} OK. An Adjustment Layer should be added to the
Blue, and Magenta. Continue {Clicking} on the Thumbnails to add Layers Palette just above the Background Layer.
color. Lighten or darken the image by {Clicking} on the Lighter or 4. Next, add another Adjustment Layer. Select Color
Darker Thumbnails in the Brightness area. {Click} OK to make the Balance.
changes. 5. Input the following values into the Color Levels fields (in
order, left to right): -46, -20, +1.
Adjustment and Fill Layers: Photoshop features a powerful 6. {Click} OK.
Adjustment Layer you can use within the Layers Palette to affect 7. Next, add another Adjustment Layer. Select
tonal changes to Layers that lie beneath the Adjustment Layer. Brightness/Contrast.
Thus far, we have been using a destructive method, where the 8. Increase Brightness by 10 and Contrast by 10.
adjustments we make are permanent and are actually applied to 9. {Click} OK.
the image data on a particular Layer. If we use an Adjustment 10. Next, add another Adjustment Layer. Select
Layer, we use a non-destructive method of adjusting tone, color, Hue/Saturation.
brightness, and so forth. To create an Adjustment Layer select the 11. Input the following values for the following colors:
Layer that you want to affect and {Click}on the New Fill or  Reds: Saturation: +60 / Lightness: -15
Adjustment Layer button at the bottom of the Layers Palette. A  Yellows: Hue: -25
drop-down menu appears that allows you to choose an Adjustment
Type. For Fills select either Solid, Pattern, or Gradient. For  Greens: Saturation: +40
Adjustments select either Levels, Curves, Brightness/Contrast,  Cyans: Hue: -75
Color Balance, Hue/Saturation, Selective Color, Channel Mixer, 12. {Click} OK.
Gradient Map, Invert, Threshold, or Posterize.

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Adjustment and Fill Layers (con't)

We’ve made all the changes we made earlier, but this time in a non-destructive manner. We should have four (4) Adjustment Layers stacked
on top of the Background Layer. The original image has not been modified. We are seeing the modifications through the Adjustment Layers.
You can use the Visibility Toggle at any time to disable an Adjustment Layer or {Double-Click} the Adjustment Layer Thumbnail to change the
settings you’ve applied. Futhermore, you can use the Opacity or Fill values for the Adjustment Layer to reduce the effect on the Layers below.

Note
By default, Adjustment Layers affect all the Layers
below them. If you are working with on a file with
multiple Layers you may wish to link particular
Adjustment Layers with particular image Layers. To do
so, select the image Layer you wish the Adjustment
Layer to be linked to. Next, place the mouse pointer
between the image Layer and the Adjustment Layer
and press the [ALT] key. A link icon will appear. Press
the mouse button to link the Adjustment Layer to the
image Layer.

OPTIMIZING IMAGES FOR THE INTERNET

Creating a Logo in Photoshop

Most logos are actually created in vector-based programs such as Adobe Illustrator because vector-based artwork is scalable and suitable for
print. In most cases, you are given a copy of a company's logo in either Encapsulated Postscript (.eps) or Illustrator format (.ai.) However,
since we are working exclusively in Photoshop we will create a logo within Photoshop, using external media as well as Type and a Vector
Shape.

Importing Vector Image Files: If you are creating a logo, its highly recommended that you do so in a Open kimono.ai.
program like Adobe Illustrator or Macromedia Freehand (among others) because it is much easier to
repurpose, for print, for video, and in our case, for the Internet. With the exception of Macromedia Flash
and the emerging (at the time of publication) SVG format, the browsers still only support bitmap images kimono.ai
natively. If you need to publish a logo to the Internet, you’ll most likely be taking a vector file and importing
it into Photoshop. To do so, simply select File/Open and select the appropriate file type. In our case, we’re
going to import an Adobe Illustrator (.ai) file.

Creating a Logo in Photoshop (con't): When you import an Illustrator image, the Rasterize Generic EPS Format dialog box appears. To
rasterize means to translate the vector information of a file into a grid of columns and rows filled with pixels, in other words, to take vector
information and convert it into bitmap information. Options include Width and Height (in various units), Resolution, Color Mode, Anti-aliased,
and Constrain Proportions.

Recall that vector images are resolution independent. You are given the
opportunity to set your dimensions, resolution, and so forth before the vector
data is converted to a bitmap. As a result, you could import it again and again
for different projects that require larger versions. In our case, input a width of
120 pixels. If Constrain Proportions is checked, the Height field adjusts
automatically. It is very important that proportions, particularly for logos, be
maintained. Set Resolution to 72 ppi and Mode to RGB because we will be
publishing the image to the Internet. Make sure Anti-aliased is checked to
create smooth edges. {Click} OK. The image is converted to a bitmap and
appears with a transparent background. You should recognize it from previous
exercises.

Creating a Logo in Photoshop (con't)

Examine the image. You'll notice that it is composed of solid colors and sharp edges. This type of image is typical of vector-based artwork.
Notice also that unlike opening a bitmap image, which defaults to a “Background” Layer, vector images default to “Layer 1" with the image
data surrounded by transparency. Rename the Layer “kimonoGirl”.
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Adding a Vector Shape

Our next step involves adding the components that will make up
the completed logo. In this case, we’re going to start by making the
canvas of the Image Window larger. To so, select Image/Canvas
Size. The Canvas Size dialog box appears.

Creating a Logo in Photoshop

Select the “risingSun” Layer. Make sure the Foreground Color is still
red and the Background Color is pure white (R: 255, G: 255, B:
255.) Add a Gradient Overlay to the Ellipse (Gradient Overlay is a
Layer Style) using the following settings:

 Blend Mode: Normal

 Opacity: 100
Input a Width of 350 and a Height of 300 pixels. Note the Anchor  Gradient: Foreground to Background
section. By {Clicking} on the various Arrows you can change the  Reverse: Checked
orientation that the canvas expands to. We want it to expand
evenly on all sides so we accept the default centered orientation.  Style: Linear
This is a quick way of changing the size of the canvas or Image  Align with Layer: Checked
Window without modifying the size of pixel content. We could have  Angle: 90
just as easily created a new image and dragged the image of the
kimono girl into it.
 Scale: 100
 {Click} OK. The image should appear as follows:
Adding a Vector Shape (con't)
You should have an Image Window that looks like this: Next select the Horizontal Text Tool. Set the font to Verdana, Bold,
90 pt, Smooth, and White for the color. Input a capital “T”.

Apply a Stroke (another Layer Style) to the text. Use the following
settings:

 Size: 3
 Position: Outside
 Blend Mode: Normal
 Opacity: 100
 Fill Type: Color
 Color: Black (R: 0, G: 0, B: 0)

Place the Type Layer in between the

“kimonoGirl” and “risingSun” Layers.
Position it like this (approximately):
Next we are going to change the scale of the kimono girl and add
a Shape to mimic the rising Sun. Creating a Logo in Photoshop
Next, select the Horizontal Text Tool and
If you wish, you can open travelLogo.psd and work with that file. change the color to black and the size to
60, but keep the same font (if you still have
the Type Layer you just created selected,
travelLogo.psd you will change the settings of that Type
Layer, make sure to select a standard
Layer first.) Input “ravel” and position it
accordingly:

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Next, set the Tracking to – 80.

Create two new Type Layers, one with the letter “J” with the same
settings as the letter “T” except the color will be (R: 204, G: 51, B:
51), and one black, with “apan” (same settings as the “ravel” Type
Layer, including the Tracking.) Position them accordingly:

Creating a Logo in Photoshop

Next, you should Crop the image as tightly as possible. In addition, The Save for Web dialog box consists of Tabs (Original, Optimized,
let’s add a Drop Shadow to the kimono girl with the following 2-Up, 4-Up) to control how many Optimization Previews of the
settings: image you can see (from 1 to 3 at a time.) A set of Hand, Slice,
Magnification, and Eyedropper Tools, and Image Compression
Options (Image Type, Color Reduction, Dither Type, Compression,
 Blend Mode: Multiply Colors, Dither Percentage, Transparency, Matte, Interlaced, and
 Opacity: 75 Web Snap) are included. Output Settings, a Color Table, Color
 Angle: 120 Table Options, Image Size, Magnification Level, Info Bar, and Info
Bars at the bottom of each Preview Window are also included. We
 Use Global Light: Checked will cover the Slice Tool and Output Settings later in the manual so
 Distance: 5 focus your attention on the other features of this dialog box for the
 Spread: 0 time being.
 Size: 5
 Contour: Linear Preview Windows
Select from Original, Optimized, 2-Up, and 4-Up to see various
 Anti-Aliased: Checked
versions or your image in the Preview Windows.
 Noise: 0
 Layer Knocks Out Drop Shadow: Checked

Go ahead and do so and save your image if you like. For the next You'll be applying various compression and file-type settings to your
section, we’ll all use the same image. image. Photoshop gives you a real-time preview of what the image
looks like with a particular set of compression options in contrast to
Load travelLogoFinished.psd. the Original version of the image (the Photoshop native,
uncompressed version.) {Click} on the 2-Up Tab. Two (2) Preview
Windows result, one titled “Original” in the Info Bar at the bottom,
travelLogoFinished.psd which includes the File Size, and one titled with the currently
selected Image Compression options, including File Type, File Size,
Projected Download Time, Dither percentage, Palette, and Number
of Colors.

Once you have created your image as desired, it’s time to save it
Depending on your current Image Compression options the new
for the Internet. To do so within Photoshop, select File/Save for
version of the image should be dramatically smaller than the native
Web. The Save for Web dialog-box appears.
Photoshop version.

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Building Compression Options for GIF and PNG-8

If none of the pre-set Compression Options is useful to you, you can
customize options by using the drop-down settings. The following
options are available for GIG and PNG- 8: Optimize Menu, Image
Type, Color Reduction, Dithering, Dithering Level, Lossy, Colors,
Matte Color, Transparency, Transparency Dithering, Transparency
Dithering Amount, Interlaced, and Web Snap.

This Preview Window displays the image as a GIF.

Note the information in the Info Bar.

Building Compression Options

Compression Options: Photoshop has numerous Compression
for GIF and PNG-8 (con't)
Options you can apply to an image to prepare it for the Internet.
Select from a list of pre-set Compression Options by selecting
Settings which include GIF, JPEG, and PNG variations. At this Image Type: Select from GIF, JPEG, PNG-8, and PNG-24 for the
point PNG is not fully supported by the browsers. Most of the Internet. In this case, we would select GIF because of the nature of
newer browsers will support displaying PNG files, but may not the image. If you select JPG or PNG-24 the Compression Options
support the Transparency features. Its highly recommended that will change.
you test any use of PNG files before you commit to using the
format. There are a few things to consider when selecting an
Lossy (for GIFs only): Lossy compression discards data from the
appropriate compression option:
image to reduce file size. The higher the Lossy value the more data
 Nature of the Image: Solid Colors, Sharp Edges, Photograph lost. Usually the higher the value the more the image itself
 Target Audience Bit-Depth: 8-bit display or higher? degrades. Try it out and examine the results. Note that this option
 Target Audience Bandwidth: Low, Medium, or High? will not be available if you select particular Dithering options or if
Interlaced is checked.
If the image is made up of predominantly solid colors and sharp
edges, such as the image we are working with, then GIF is the Color Reduction and Colors: Select from the following Color
best format because file size will be significantly smaller than using Reduction algorithms: Perceptual, Selective, Adaptive, Web,
JPEG. JPEGs are 24bit images with over 16 millions colors and Custom, Black & White, Grayscale, Mac OS, and Windows. For the
are much more suited to photographic images which tend to be Internet, Perceptual, Selective, Adaptive, Web are the most
made up of a wide variety of colors, tones, and little, if any, common. The Colors option works in tandem with Color Reduction.
patterns. You can select or input the number of colors you wish to use
depending on the selected algorithm. The Auto option appears in
Compression Options (con't): Select each of the pre-set GIF Colors when the Web algorithm is selected. Both Photoshop and
Compression Options and examine the image and the image size. ImageReady will attempt to use the least amount of colors possible
When you can, it's advisable to use the Web-Safe Color Palette to to maintain the highest quality. You are free to change the amount
ensure that people using 8-bit displays see the image as you do. of colors yourself. Select each option and examine the results for
More and more users have 24-bit color displays so the Web-Safe our image. Note the colors in the Color Table.
Color Palette is becoming less of an issue than they were in the
past. We will, however, employ them in this example to see how Building Compression Options
they work. Select GIF Web Palette from Settings. You'll notice that for GIF and PNG-8 (con't)
certain colors shift slightly from the original (the face, the obi
(sash), and fan.) In addition if you examine the Gradient, you can
see banding (a series of different color stripes) rather than a Dithering and Dither Level: Dithering encompasses a variety of
gradual shift from one color to another. In many cases, when you techniques to simulate color that cannot be generated or is not
are creating images of this type that are not logos these color available (GIF can only support a maximum of 256 colors.) You can
shifts are acceptable. However, your client may not agree to select from the following Dithering methods: No Dither, Diffusion,
slightly different colors for a logo. At present, if you examine the Pattern, and Noise. Dithering creates patterns to trick your eye into
Color Table you'll notice that there are only 37 (this number may seeing colors that are not there. The Diffusion method is the least
vary slightly) colors in the compressed version of the image. To noticeable. You can also modify the level of the Diffusion method by
adjust these settings, such as adding more Web-Safe Colors you'll increasing or decreasing the value of the Dither Level. Select each
have to build Compression Options yourself. method and examine the effect they have on our image.

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For our image use the following settings:

 Image Type: Gif

 Color Reduction: Perceptual
 Dithering: No Dither
 Transparency: Unchecked
 Lossy: 0
 Colors: 256
 Matte: White
 Web Snap: 0
Our image with No Dithering selected using
the Web-Safe Color Palette. Building Compression Options
for GIF and PNG-8 (con't)
If these are settings you’ll use frequently, {Click} the Optimize Menu
and select Save Settings. Name your settings appropriately.

Otherwise, {Click} Save. Save your image as studentTravelLogo.gif.

Now its ready to be used in a web site.
If you like, you can load our version, travelLogo.gif to view it.

Note
Usually, you save your Internet-ready image to the
appropriate folder within your web site. When you
are done saving the optimized version of the file,
you are returned to Photoshop where you can
continue to work on the image. At this point you
should save the image because the optimization
settings you selected are saved with it as well. Keep
Our image with Pattern Dithering selected
a copy of your original Photoshop file, also referred
using the Web-Safe Color Palette.
to as the Production file. Make changes to this file
and re-optimize the image for the Internet after
you’ve made your changes.
Building Compression Options
for GIF and PNG-8 (con't)
Building Compression Options using JPEG
Transparency and Matte: Check Transparency if you wish to JPEG or PNG-24 images are usually photographic images, due to
generate a Transparent GIF. By default, any transparent area in the complexity of a
the Photoshop file will be transparent. The Transparency in GIF photograph and the Open miyajima.psd.
images can produce images with rough edges. You can use the number of potential colors.
Matte options to select a color to which the edges can be Anti- You can use GIF or PNG-8
aliased to (with Transparency enabled or not.) Select from None, compression methods with miyajima.psd
Eyedropper Color, White, Black, or Other. You can use the photographic images and
Eyedropper Tool in the Save for Web dialog box to sample a color still get good visual results,
from the image. Selecting Other launches the Color Picker. but the file size tends to be
quite large. Let’s examine
compression options
Transparency Dithering and Amount: Use Transparency for photographic
Dithering to set the Dithering for partially transparent pixels in images.
PNG-8 images. Use Amount to control the level of Dithering.

Select File/Save for

Interlace: If you check Interlace the GIF image will appear to Web.
download faster as a broken-up or low resolution version of the
image is displayed until the full image has been uploaded. Be
aware that it does increase file size. Building
Compression
Options using JPEG
Building Compression Options (con't)
for GIF and PNG-8 (con't) Select GIF for Image Type and try out the various settings you tried
with logo image we created. Note the file size of the compressed
Web Snap: Increasing the value of Web Snap will cause colors to version of the image and the color banding that can occur. Next,
shift closer to the Web-Safe Color equivalents. Using Web Snap is select JPEG from Image Type. The optimization options change
not necessary if you’ve selected Web for Image Type. from those we had with GIF. Options include Compression Quality,
Quality, Progressive, ICC Profile, Optimized, Blur, and Matte.

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Building Compression Options using JPEG (con't)

Building Compression Options using JPEG (con't)

Matte (con't)
Compression Quality and Quality: Compression Quality and
Examine the file size: 56.85k in our case. Still rather large. This is
Quality are really the same thing. With Compression Quality you
can select from Low, Medium, High, and Maximum. Each setting due to the fact that dimensions of the image itself are rather large.
Reduce the dimensions, reduce the file size. Recall that you want to
will change the value of Quality. The value of Quality affects both
keep the original in its original form. Rather than reducing the scale
the file size and visual quality of the image. Lower values reduce
both and higher values increase both. You have to test various of the original image, simply select the Image Size tab beside the
Color Table tab.
Quality levels until you strike a balance between file size and
appearance.

Progressive: Check Progressive to force the image to be

displayed in steps or progressively in a browser. This will give
users the ability to see a low-resolution version of the image as it
loads. This feature is not supported by all browsers.

Building Compression Options using JPEG (con't)

ICC Profile: Check ICC Profile to embed the ICC Profile with the
file. Some browsers may support color correction and in future
perhaps all browsers may support this option. This option will
increase the file size slightly. Consult Photoshop Help or your
Photoshop manual for more information on setting up color
management. Our original image is 500 x 668 pixels. Let’s reduce the dimensions
by inputting a different Width or Height into the appropriate field in
the New Size area. Alternately, you can input a percentage value
Optimized: Check Optimized for maximum compression. Older into the Percent field.
browsers may not support this option.

By default, the proportions are constrained to maintain the aspect

Blur: At times, adding a very slight blur to the compressed image ratio of the image. To disable, uncheck Constrain Proportions.
helps to reduce the file size and mask compression irregularities or
artifacts (the lower the Quality value the more artifacts you may
see, such as banding and corrupted areas within the image.) Building Compression Options using JPEG (con't)

This is identical to apply a Gaussian Blur Filter to the image. Set Matte (con't)
Quality to 10 and examine the sky around the edge of the You can also select a Quality setting for Image. Input 200 in the
structure. You should see compression artifacts. Width field or 40 into the Percent field and {Click} Apply. The file
size has been reduced from 56.85k to 11.27k.
Building Compression Options using JPEG (con't)
{Click} Save. Save the file as studentMiyajima.jpg.
Matte: Because JPEG does not support Transparency, you’ll need
to specify a color to fill any transparent or partially transparent If you like, you can view our version by loading miyajima.jpg.
areas with. Use Matte to do so. Go ahead and try various settings
and examine the results. Use the Hand Tool in the Save for Web
dialog box to move the image around within the Preview Window. miyajima.jpg

When you’re done, select the following settings (but do not press
OK yet):
There you go! You’ve just created two (2) Internet-ready images.
 Optimized: Checked But that is only the beginning. You’ll need to experiment with a
number of images to get to know how the compression options
 Quality: 30
operate with different images (differences in colors, content, and so
 Blur: 0 forth.) Try out the images included in the exercises.
 Matte: None
 Progressive: Unchecked
 ICC Profile: Checked

___________________________________________

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PAGEMAKER 6.5
CORELDRAW 12
PHOTOSHOP 7.0

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UNITS AT A GLANCE
UNIT- I

PAGEMAKER 6.5.….………………..…….……………..… 01 to 41

UNIT- II

CORELDRAW 12………………………………..………....... 42 to 84

UNIT- III

PHOTOSHOP 7.0……………………………………….….....85 to 137

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