CorelDRAW X5 The Official Guide part 3 pdf

559 Using the Extrude Tool and Property Bar.. 582 PART VII Creating Special Effects CHAPTER 20 Envelope and Distortion Effects.. 591 Using the Envelope Tool and Property Bar.. 646 Using

Navigating the Interactive Markers 558

Getting Deep with the Extrude Tool 559

Using the Extrude Tool and Property Bar 560

Interactive Extrude Tool States 560

Setting Extrusion Shape 560

Setting 3D Rotation 564

Putting a New Spin on an Extruded Object 569

Adding Lights 569

Working with Extrude Light Options 571

Setting Extrude Color 573

Speak of the Bevel! 576

Using Vector Extrude Presets 579

Working with Extrude Preset Options 580

Using the Extrude Docker 581

Controlling Extrude Complexity Using Facet Size 582

PART VII Creating Special Effects CHAPTER 20 Envelope and Distortion Effects 589

What Does an Envelope Do? 590

Creating Envelope Effects 591

Using the Envelope Tool and Property Bar 591

The Envelope, Please 592

Using the Envelope Docker 593

Creating Envelopes via the Docker 594

Envelope Tool Cursor States 595

Choosing an Envelope Mode 596

Saving and Applying Envelope Presets 598

Creating and Using an Envelope Preset 599

Choosing Envelope Mapping Options 599

Creating a Text Envelope 602

Constraining Single Arc Envelopes 604

Using Envelope Shapes Between Objects 605

Copying Properties from Other Envelopes 605

Envelopes Based on Existing Envelopes 606

Creating Envelopes from Objects 606

Clearing an Envelope Shape 607

Copying Envelopes with the Attributes Eyedropper Tool 607

Mastering Distortion Effects 608

Using the Distort Tool and the Property Bar 610

Choosing Distortion Modes 611

Push and Pull Distortion 611

Zipper Distortion 612

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Twister Distortion 615

Getting Hands-On with the Distortion Tool Markers 616

Using Distortion Presets 619

Exploring Distortion Presets 620

CHAPTER 21 Blends and Contours 621

Blend and Contour Effects: Similarities with Distinctions 622

Blending as Illustration Shading 622

The Blend Tool and Property Bar 625

Creating a Simple Blend Effect 626

A Basic Blend Between Very Different Shapes 626

Looking at the Components of a Blend 627

Editing Blend Effects 629

Setting Blend Options 629

Creating Extraordinary, Complex Blend Effects 634

Splits and Blends: The Fun Never Ends 636

Assigning a Blend Path 638

Blending Objects along a Path 639

Working with Multi-Object Blends 642

Copying and Cloning Blends 644

Using the Blend Docker 644

Tapping into Contour Effects 645

Exploring CorelDRAW’s Contour Effects 646

Using the Contour Tool and Property Bar 647

Applying a Contour Effect 648

Editing Contours Interactively 649

Choosing Contour Direction 650

Setting Contour Colors 652

Creating Special Effects with Contours 654

Controlling Contour Acceleration 656

Using Contour Presets 658

Using the Contour Docker 658

CHAPTER 22 Lens Effects, Transparency, Shadows, Glows, and Bevels 661

What’s Behind a Lens Effect 662

Using the Lens Docker 662

Working with a Lens Effect 663

Exploring the Lens Effects 664

Brighten Lens Effect 664

Color Add Lens Effect 664

Color Limit Lens Effect 664

Deepening a Selected Color Area 665

Custom Color Map Lens Effects 667

Fish Eye Lens Effect 667

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Changing Object Size with the Fish Eye Lens 668

Heat Map Lens Effect 668

Invert Lens Effect 669

Magnify Lens Effect 670

Tinted Grayscale Lens Effect 670

Transparency Lens Effect 671

Wireframe Lens Effect 671

Using Lens Options 672

Using the Frozen Option 672

Making a Frozen Treat 672

Changing a Lens Viewpoint 674

Using the Remove Face Option 676

Clearing Things Up with the Transparency Tool 676

Using the Transparency Tool and Property Bar 677

Creating a Dimensional Drawing Through Transparency 678

Setting Transparency Properties 679

Property Bar Options for Transparency Effects 681

Additional Fountain Transparency Types 683

Using Transparency Operations (Merge Modes) 683

Creating Multi-Stage Transparencies 686

Pattern and Texture Transparencies 687

Using Transparency Freeze 688

Using the Bevel Effect 689

Creating Soft Edge Bevel Effects 691

Using the Drop Shadow Effect 692

Using the Drop Shadow Tool and Property Bar 694

Working the Property Bar and Shadow-Making Markers 695

Manually Adjusting a Drop Shadow Effect 696

PART VIII The Bitmap Side of Corel Graphics Suite CHAPTER 23 Bitmap Boot Camp: Working with Photographs 701

The Properties of a Pixel-Based Image 702

Pixel Artwork vs Vector Artwork 702

Bitmaps and Pixels 705

Importing Bitmaps into a Document 709

Placing and Modifying an Image 713

Putting a Picture into a Car Advertisement 714

Resampling a Photo 716

Cropping with the Shape Tool 717

Importing Nonstandard Bitmaps 718

Working with Layered Bitmaps 718

Working with RAW Images 721

Correcting RAW Image Color 722

An Everyday Bitmap-Oriented Workflow 727

Creating a Catalog Cover 727

Working in the Image Adjustment Lab 727

Adjusting a PNG Image in the Lab 727

Photo Effects 730

Filtering a Photo 732

Exporting Your Composition to Bitmap Format 734

Saving a Bitmap Copy of Your CorelDRAW Composition 734

CHAPTER 24 Advanced Photography Techniques with CorelDRAW 737

Cropping a Placed Photograph 738

Nondestructive Cropping 739

Using the Shape Tool to Crop 739

Masking Through Nondestructive Cropping 740

Trimming Away Unwanted Image Areas 740

Background Removal, Technique 1 741

Boolean Operations as a Trimming Technique 744

Background Removal, Technique 2 744

Compositions with Mixed Media 746

Composing a Design Using Vector and Image Shapes 746

Working with Alpha Channels and Image Transparency 749

Using CorelDRAW’s Bitmap Color Mask 750

Removing a Color from Around a Subject 750

Working with Partial Transparency 752

Creating a Photorealistic Glass Effect 753

Blending Photos with Transparency 756

Creating a Transition Between Two Images 756

Bitmaps to Vector Art: Using PowerTRACE 759

Bitmap Conversions for Logo Alterations 759

Pre-Touching: Use PHOTO-PAINT for Cleanup Before Tracing 759

Working Between CorelDRAW and PHOTO-PAINT 760

PowerTRACE Options 761

Performing a Trace 764

Reworking a Logo Using Vectors 764

PowerTRACE for Traditional Artists 767

Digi-tooning 767

CHAPTER 25 An Introduction to PHOTO-PAINT 771

The Building Block of Digital Photos: The Pixel 772

Pixels and Resolution 772

Image Resolution 774

Resolution, Pixel Count, and Printing 774

Resizing a Photograph 776

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Resampling and Resizing Photos 781

Making a Thumbnail Image Suitable for Printing 782

Automation: Recording Your Cropping and Resampling 786

Flipping Images…with a Twist 793

CHAPTER 26 PHOTO-PAINT Effects and Advanced Editing 799

Turning a Snapshot into a Photograph 800

Objects and the Path Tool 800

Using Paths as Masks 801

Replacing the Background 805

Putting a Background Behind an Object 806

Adding a Shadow 810

Painting Detail into the Picture 810

Creating a Fantasy Composition 812

Using the Brush Mask Tool 813

Stroking to Select an Area 813

Working in the Cutout Lab 815

Cutting a Complex Selection 815

Final Edits 819

Erasing and Scaling the Object 820

Adding a Reflection 822

Santa Needs to Do Some Personal Reflecting 823

Performing Subtle Image Edits 827

Cloning Away the Background Window Sticker 828

Replacing Color with the Clone Tool 828

Masking an Area with the Brush Mask Tool 829

Stroking to Define an Image Area for Editing 830

Creative Blurring 832

Using Motion Blur 832

Creating an Animated GIF 834

Playing with a Paper Airplane 834

Adding Text and Exporting a CorelDRAW Drawing 835

Animation: Defining Frames and Basic Setup 837

Building a GIF Animation: Part 1 837

Finishing the Animation 840

Exporting an Animation 841

PART IX Thinking Outside of the (Tool) Box CHAPTER 27 Printing: Professional Output 847

Printing a Document to a Personal Printer 848

Printing Single- and Multiple-Page Documents 848

Setting Print Options 851

Setting General Options 851

Using Print Styles 853

Saving a Print File 854

Using the Color Tab Settings 855

Correct Colors Using 857

Rendering Intent 857

Choosing a Layout 857

Printing Separations 860

Setting Prepress Options 868

Choosing PostScript Options 870

CorelDRAW’s Printing Issues Tab 872

Previewing Your Printed Document 873

Browsing and Viewing Previews 874

Print Preview Tools and the Property Bar 876

Setting Printing Preferences 879

General Printing Preferences 880

Driver Compatibility 883

Printing Issues Warning Options 883

Corel’s Duplexing Wizard 884

Using the Collect for Output Wizard 885

Print Merge 886

CHAPTER 28 Basic HTML Page Layout and Publishing 891

Web Page Navigation Buttons and Hotspots 892

CorelDRAW’s Internet Toolbar 892

Creating Rollover Buttons 894

Creating Different Looks for Rollover States 894

Setting Internet Object Behavior 897

Creating Bookmark Links 899

Web Properties and the Object Properties Docker 901

Using the Links and Bookmarks Docker 902

Applying a Page Background 903

Publishing Web Documents 904

Setting General Options 904

Examining Web Page Details 905

Reviewing Web Images 906

Setting Advanced HTML Options 906

Browsing the Web Page Export Summary 907

Preflight Web Issues 907

Setting Web Publishing Preferences 909

Exporting Images for the Web 910

Exporting a Graphic with Transparency 910

Web Text Options 912

Formatting Text for the Web 913

Use ALT Tags 914

SVG: Export as Vector Objects 915

Exporting Vectors as Vectors for the Web 915

Flash and Web Pages 916

Exploring SWF Files 917

Objects and Fills that Flash Supports 917

Exporting a Static Flash Vector Design 918

Making a Single-Frame Flash File 918

Exporting SWFs to SwishMiniMax 919

A Taxi-Driver’s Tour of SwishMiniMax 921

Beginning an Animation 922

Creating Animation 925

Using the Fade in Preset 927

Text as Flash Actor 929

Setting an Overall Flash Video Duration 930

The End-Of-Book Special 932

Index 935

xxiv CorelDRAW X5 The Official Guide

Having celebrated our 20th anniversary last year, it’s our second decade of creating and refining our complete and easy-to-use graphic design suite Learning resources remains a key element to enable users of CorelDRAW Graphics Suite to get going quickly and create amazing illustrations, layouts, graphics, and more We are, therefore, including, in addition

to our help system, electronic documentation, and video tutorials, a full-color hard-cover book of tips and techniques in the latest boxed version of the suite

We’re excited about the new CorelDRAW X5 The Official Guide you hold in your hands,

because McGraw-Hill Professional and author Gary Bouton have taken a different approach

to grasping and ultimately mastering our suite of programs Because the team at Corel has

covered the basics with our documentation, this has freed The Official Guide to focus on

methods for perfecting your craft and design ambitions You’ll find expert instruction on

illustration techniques, not only how to use CorelDRAW, but also how to get the results you have in mind As you’ll see, all the examples in The Official Guide are explained in digestible detail in a way that is relevant to a goal you have in mind You’ll learn as you create;

step-by-step instructions are supported by dozens of example files you can download, and these examples will also provide an idea book you can build upon for inspiration in your own work This comprehensive guide is the result of a valued partnership between Corel Corporation and McGraw-Hill Professional The author has worked closely with the product team at Corel

to ensure that professionals and aspiring designers using our product have the information they need to quickly achieve stunning results

Congratulations to our official guide author, Gary Bouton, for providing such a quality book packed with references, insights, and an accomplished illustrator’s perspective on that

intangible item that makes artwork attractive to an audience: insight As you go through

each chapter, I’m sure you’ll find this to be an invaluable resource for both beginners and graphics professionals alike

Both McGraw-Hill Professional and Corel present you with something truly new in this book and in the X5 Graphics suite, because like any successful communication that has to be

open and two-way, you told us what you wanted, we listened, and The Official Guide is our

reply to you

Happy CorelDRAWing! Gérard Métrailler

Sr Director, Product Management, Graphics

Corel Corporation Ottawa, Ontario August 2010

xxvi CorelDRAW X5 The Official Guide

C’mon: you and I both know that no one reads the acknowledgments section in a book when it’s much more fun to dive right into the meat of a detective novel, a historical fiction, and even a book on computer software But if I’ve by chance caught your eye here, I’d like you

to know that if you enjoy this book (the correct answer is yes, you will), the folks who

worked together had just as much fun creating it I can’t think of a single book I’ve written

in the past when the author, the production and layout people, and the editors just clicked as

we did with this book The bonus was that we got to know each other as we worked against

deadlines to bring you this hefty piece of documentation I’d like to introduce my friends to

you now and to thank them for making my part in the CorelDRAW X5 The Official Guide the

best kick one could possibly have without breaking any federal laws:

● To Megg Morin Once again, Megg has played the gracious asylum keeper She has freely offered me encouragement, advice, lots and lots of support for the direction in which I wanted to move this book, at times has humored me, and has let me get silly

at least once in every chapter Megg is good therapy for me, and this book will, in turn, be good therapy for you in the way it’s written while you learn a very, very deep suite of applications

● To Meghan Riley, for not only keeping track of an immense amount of data, but also

for helping me stay organized, in the kindest, most gracious fashion a freelance writer could hope for Oh, oh; look, Meghan—the figure on page 285 is upside-down!!! Onnnnnly kidding! Thank you, Meghan.

● Project Editor LeeAnn Pickrell Let me make it known that LeeAnn didn’t just work

on copy for this book; she worked with me to bring a sense of organization, worked

with my style and not against it, and discussed chapters with me down to a level where at times I felt she was sitting in my office Unfortunately, I have only one

chair here, but I still want to thank you, LeeAnn, for making my mots into bon mots.

● Copy Editor Jan Jue Jan went to extremes to ensure the book you’re holding is accurate I know of no other copy editor who actually installs the program a book is