CorelDRAW X5 The Official Guide part 44 doc

In any new document, open the Symbol Manager, click the User Symbols + icon to open the collection, and then click the name of the library you saved in step 5.. In Windows 7, if you inst

and for accessing an instance (a duplicate that takes up less saved file space in a document)

of it tomorrow:

1. With an object selected, choose Edit | Symbol | New Symbol

2. In the Create New Symbol box, type a name you’ll remember later in the Name field and then click OK As you create more and more new files using CorelDRAW, you’ll definitely want to stay tidy in your cataloguing work Cross-referencing is a good practice; in Figure 13-7, the Name of the symbol refers to the typeface it was copied from Later, it’s easy to look up the name of the symbol and use it in a program outside of CorelDRAW

FIGURE 13-7 Define a symbol and then save it to a Symbol Library

Export Library Symbol only incurrent document

Symbol available all the time Drag into the document

3. Open the Symbol Manager and then click on the Symbol1 title A thumbnail of the

symbol you just saved appears

4. A tiny Export icon becomes active; click it, it’s the Export Library command This is

not much of a library, but you need to start somewhere!

5. In the Export Library box, it’s best to save the new library to where CorelDRAW

recommends (to better allow the program to locate it in the future; Symbols is a

good location) Name the library and then click Save You’re done

6. In any new document, open the Symbol Manager, click the User Symbols + icon to

open the collection, and then click the name of the library you saved in step 5 Now

all you need to do is drag the thumbnail into a document, and you have an instance

of the symbol you saved

In Windows 7, if you install CorelDRAW X5 Graphics Suite to the default hard disk

location, your saved Symbol Library should be in your boot drive directory (usually

C:\)AppData\Roaming\Corel\CorelDRAW Graphics Suite X5\Symbols This is good to

know when you want to load your collection by clicking Add Library on the Symbol

Manager docker, to add symbols to a Local document

With the Pick tool, right-click over any object you create, and you can then choose

Symbol | New Symbol and Symbol | Symbol Manager from the context menu.

Symbols saved to a library are always instances and as such, duplicates you add to a

document cannot be edited using the Shape tool or other shape-editing features You can

apply transformations such as scaling and rotating, but you cannot edit the nodes of a shape

instance However, you can edit the original shape as saved in the Library, and all future

instances you use reflect your edits To edit a symbol in your library, right-click the shape

thumbnail in the Symbol Manager and then choose Edit After you’ve edited the shape,

right-click the shape in the document window, and then click the Finish Editing Object

button to the left of the document horizontal scroll bar Every instance in every document is

updated to reflect your edits

It’s easy to tell the difference between an instanced symbol and one that can be

edited in any document Choose the shape using the Pick tool If the bounding box

dots are blue, it’s a shape instance If the bounding box handles are black, it’s a

regular shape and you can perform any CorelDRAW operation on the shape.

Font Etiquette: Using Fonts with Style and Appropriateness

It’s easy for anyone to mistype a word or use fractured grammar in an email message

However, an ad posted on the Web and a sign hanging in a store window for thousands to

see is not a use of “relaxed” typography between friends—and it’s hard to retract A badly

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designed sign from a typographic point of view hurts the product, the company, and your reputation as a professional The following sections discuss common mistakes we try to avoid from the planning stage of a printed message; you’ll work with CorelDRAW’s type features in future chapters, but now it’s time to learn to walk before you learn to fly with new talents and skills

Font Appropriateness and Very Basic Layout Rules

When an audience looks at a printed message, they don’t simply absorb what the message

says, but they additionally look at the presentation: the choice of capitalization, emphasis

through bold and italic family members, how lines of text are stacked (justification), point size, font color, and how well the printed message harmonizes with any accompanying graphic With most digital typefaces, the artist casts a tone on the typed message Headline, sans serif Gothic fonts, for example, are rather hard-edged and cold yet impactful, while Roman serif fonts tend to lull the audience with rounded strokes, swooping serifs, and swashes Roman typefaces generally send a warm but clean and professional signal to the viewer, while Gothic fonts wake up the reader, perhaps even warning them—hence their appropriateness as a headline typeface

Figure 13-8 has two obvious sight gags demonstrating inappropriate uses of specific fonts At left, the use of all uppercase, Gothic stencil contrasts extremely distastefully with both the message and the graphic behind it At right, the choice of fonts on the page the officer is showing to someone about to be detained clashes with the message to the extent that the officer will probably have a hard time getting the cuffs on the person rolling on the pavement laughing

A quick fix to these two bad examples would be to swap the fonts around, so the stencil font is used in the Miranda rights, and the slightly silly typeface is used for “I Love You.” But better still, a quick trip to Font Navigator and the CorelDRAW Fonts CD will show you that Staccato 222BT (its industry name is Mistral) is warm, loose, and splendid for a valentine, and

the font that commonly goes by the name Machine (distributed by ITC among other vendors)

is serious, functional, and perfect for the arresting officer You have the choices of fonts at hand; all you need to do is apply your artistic sensibilities to the selection

When you have more than one line of text in a headline, legibility is a concern, and this, too, is accomplished by an appropriate choice of fonts You want a “quick read” from the audience, especially on billboards and vehicle signage that appears and disappears as the sign or the reader moves

Let’s take a simple example headline, pull it apart, examine it, and make it work hard for your money “The best deals in town” is a common slogan In Figure 13-9 you can see this headline cast in text three different ways, with icons beneath them to indicate their merit as a sales message

FIGURE 13-8 Don’t undercut your message with the wrong font

FIGURE 13-9 From clownish to professional, your message stands or falls based on fonts

and layout

First, the sign above the clown suffers from the following abuses of typographic conventions and rules:

● The use of Times New Roman, a Roman serif font, is stale (it’s a Windows default typeface used since 1991 on the PC) and artistically defeats the message It’s large yet the characters aren’t bold enough to present an impactful message

● The use of all capital characters looks particularly inappropriate; Roman typefaces have upper- and lowercase characters, and the message looks like the designer had theCAPS LOCKkey enabled Also, it’s plain bad form to “shout” a message unless a typeface has no lowercase letters and the designer is firm about the choice of fonts

● The use of several exclamation marks suggests that if the business owner shouts loudly enough, someone will buy the product One exclamation mark is sufficient for stressing a message; often a headline is adequately emphasized with no exclamation

at all It is redundant to cast a headline in all caps followed by several exclamation marks

● The use of quotes is for quotations, not for emphasizing a phrase When a designer

puts quotation marks around “BEST” in this example, it creates in the reader’s

mind the suggestion that the retailer is speaking euphemistically For example, when

someone writes, “Get that ‘antique’ out of my parking lot in 15 minutes,” they aren’t actually referring to your 10-year-old car as a valuable antique, but rather as a piece

of junk to which they’re referring euphemistically or sarcastically The word “BEST”

in quotes will surely be interpreted by anyone with writing skills as, “They really aren’t the best deals; they mean something else.”

● The alignment of the headline is wrong Although left justification is acceptable for Western language countries, the second line is much shorter than the third line As a result, the reader has a hard time focusing to quickly read the message

The center example in Figure 13-9 is a vast improvement and gets a checkmark because it’s acceptable as a headline Here’s what is going right for this treatment of the slogan:

● The use of sans serif Gothic fonts makes the headline easier to read quickly

● The emphasis created by using a bold, italic font to stress “BEST” makes it the first word a casual passerby will read What this design does is create a hierarchy of importance within the message It directs the reader to the most important, then to the second most important area of the slogan

● The slogan uses center justification and the lines are stacked to align well; no line is too long or short, and both legibility and neatness have been added

The middle example is short of ideal for two reasons:

● Because “BEST” is italicized, it might be design overkill to also make it all capitals

and bolder

● The exclamation mark at the end is not really necessary The message’s importance

is already well supported by the use of the fonts Generally, if you’ve graphically

punctuated a slogan, you don’t need to add an exclamation mark to overdo the

importance of the slogan

The example at right, which earns four stars, works the best for the slogan Here’s why:

● The lines of text have been stretched to fit, by using the Pick tool and scaling

horizontally, disproportionately You can do this with CorelDRAW artistic text The

result is a very neatly stacked presentation of words

● The word “BEST” stands out through the use of a different color In design, you

don’t necessarily have to use black to emphasize something, not when text

surrounding a particular word is set in black Contrast can be achieved through

emphasis, or by “negative emphasis”; when objects surrounding the most important

one are gray, you make the most important object black And conversely, a gray

object gets noticed when surrounded by black objects Additionally, uppercase for

“THE” and “BEST” works in this example because the other words are upper- and

lowercase In art, you first learn the rules, and then when you understand them well

enough, you can break the rules with style.

● The hierarchy of importance of the words is proper and reads well “BEST” is read

first, then the surrounding text, and then “in town”—because a thin typeface is used,

a script type font, it becomes subordinate in visual importance

It’s not hard to think up a more compelling and fresh sales slogan than “The Best deals

in town.” Once you have that ideal slogan, consider the good and bad points in the previous

example, approach your sales message with taste and sensitivity, lean but don’t push, and

you cannot go wrong

You’ve seen in this chapter how to define a font, how to find a font, how to find and save

an individual character, and how to put the whole of your acquired knowledge into motion

with some good working rules for the ambitious sign-maker There’s a lot more in store in

the following chapters on working with text It’s not just about signs: you’ll see how to work

with the Text tool to its fullest potential, creating extraordinary logos and headline treatments,

and then work your way up to outstanding page layouts and special design needs such as

reverse printing, flawless character alignment, special effects, and more

You’ve read enough text in this chapter; let’s move on and actually work with text!

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Getting Your Words Perfect

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You want your text to look as good as your drawings, and the good news is that the same powerful grammar and spelling tools offered in Corel WordPerfect Office suite are right inside CorelDRAW Proofing tools including a spell-checking system, thesaurus, and grammar checker—in 25 different languages—are at your fingertips This means you don’t have to duck out to your word processor just to proof text that you’ve entered on-the-fly in a CorelDRAW document

CorelDRAW also has the same QuickCorrect feature that’s in WordPerfect for correcting

common typos and spelling mistakes as you type With QuickCorrect, you can also automatically

replace something you’ve typed with something else—which is extremely helpful for words that you commonly mistype and for common extended characters such as © or ™

Both CorelDRAW and WordPerfect use the same writing tools, dictionaries, word lists, and configurations If you add a word to your user word list in WordPerfect, it is there for you in CorelDRAW Therefore, when you know how to use the writing tools in WordPerfect, you already know how to use them in CorelDRAW and vice versa If you’re a Microsoft Word user, CorelDRAW’s proofing tools are as easy to learn as WordPerfect’s—the dialogs and labels are a little different in appearance, but you’ll soon get the idea This chapter takes you through the steps and options you have to step up to the title of Literary Wizard in addition to CorelDRAW Design Guru

Using CorelDRAW’s Writing Tools

Frequently, small to medium businesses communicate with customers around the world; with text proofing in 25 different languages available right out of the box, CorelDRAW makes it easy for you to get your sales language proofed perfectly regardless of whether you minored in French at school When you install CorelDRAW, choose the languages you are most likely to use (you can go back at any time and install more), and you are ready to check the spelling and grammar of anything that comes your way

By default, CorelDRAW assigns a language code and checks all text using the proofing tools that correspond to the language your operating system uses For example, if you use a U.S English copy of Windows, CorelDRAW automatically installs English–U.S proofing tools and assigns all text to U.S English (ENU)

Assigning Language Codes

If your document contains text in a language other than the default language, you need to select the foreign language text and assign the proper language code to the text so CorelDRAW will use the appropriate proofing tools The language currently assigned to selected text is noted by a three-letter code in parentheses next to the font description in the status bar, as shown, for example, by “(ENU)” here

Ill 14-1

To change the language assignment of any character, word, or paragraph of artistic or

paragraph text in a document, select the text and then choose Text | Writing Tools |

Language When the Text Language dialog opens, you can choose any one of the 122

different language and language variants that appear in the list Click OK to make the

selection

Why Language Codes Are Important

You want your text to be spelled correctly, including accent and other orthographic marks

(text indicators of how a word is pronounced), regardless of what language you use When

text is tagged with the proper language codes and you’ve installed the corresponding

proofing tools, it’s as easy to check foreign language text as it is to check your native

language text

For example, suppose you’re working on a package design that contains text in English,

French, and Spanish on a system that uses U.S English To proof in multiple languages, you

select each piece of French text and assign it a French language tag, select each piece of

Spanish text and assign that text a Spanish language tag, and so on CorelDRAW has already

assigned the English language tag, so you don’t have to do that Now when checking the

document for spelling and grammar, CorelDRAW will use English, French, and Spanish

proofing tools (if you installed them) to check the text for foreign language spelling errors

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