CorelDRAW X5 The Official Guide part 57 docx

Loading and Creating Custom PalettesThrough dialogs, the Color docker, or an open Color Palette, you can manage your color collections.. The fastest way is to click the flyout arrow on a

Loading and Creating Custom Palettes

Through dialogs, the Color docker, or an open Color Palette, you can manage your color collections The fastest way is to click the flyout arrow on a Color Palette and then to choose Palette | Open from the pop-up menu This displays the Open Palette dialog, where you can browse what’s available The pop-up menu also includes Save, Save As, Close, and New palette commands

The Palette Editor, shown in Figure 17-7, is the ideal place to rework custom palettes In this dialog you can create, save, edit, and manage new and existing palettes using convenient command buttons While editing palette colors, you can also access CorelDRAW’s other color features

Refining and redefining your palettes is easy, fun, and often necessary to keep palettes for client colors up-to-date Try these steps to appreciate the ease of this powerful dialog

Editing Color Palettes

1. Open the Palette Editor; choose Tools | Palette Editor Choose a palette by clicking the drop-down selector; open the directory tree for Custom Palettes or User’s Palettes; click a palette name to choose it

2. To edit an existing palette color, click a color and then click Edit Color The Select Color dialog opens to offer color models, mixers, and palettes, exactly like the Uniform Fill dialog

“Web Safe” Colors

Although the W3 Consortium publishes standards, you might feel a little confined

choosing from only 216 colors that are Web Safe Web Safe, by definition, means that

these colors can be displayed accurately on a VGA monitor without color dithering, and that the colors display somewhat consistently whether you have color management on your computer turned on or off Realistically, three people on earth still have a VGA monitor and a video card with less than 10MB of RAM Additionally, designers tend to work with designers, and very few of us don’t run a color management system—color management actually has been at the core of CorelDRAW and Windows since 1995 There’s something commendable about “playing to the cheap seats,” but in actuality, very few designers bother with Web Safe colors Every day, millions of people post JPEG images to the Web that look just fine, and these JPEGs decidedly have colors that fall outside of Web Safe standards

3. To begin a new palette, click the New Palette button in the Palette Editor dialog to

open the New Palette dialog Enter a name and then click Save Your new palette is

automatically opened, but there are no colors yet

4. To add colors, click Add Color, which takes you to the Select Color dialog Define

your new color—with the Mixers module, you can choose a whole color range in

one fell swoop—then click the Add To Palette button New colors are immediately

added to your new palette

5. Once your colors have been added, click OK to return to the Palette Editor dialog In

the Name box, here’s where you get to name a new color When you use the edited

color palette, the color name will appear on the status bar and in tooltips pop-ups

instead of the component values

6. To remove a selected color, click Delete Color and confirm your action in the

prompt that appears To reorganize your palette colors, click Sort Colors and then

choose from Reverse, Name, Hue, Brightness, Saturation, RGB Value, or HSB

Value You can also click-drag a color well (color swatch) to reorder swatches as

they appear on the Color Palette

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FIGURE 17-7 Manage custom palettes in the Palette Editor

Name

New Palette

Open Palette

Save Palette Save Palette As Edit Selected Color

Type the name

to appear.

7. To name or rename an existing color, select the color in the palette, highlight its current name in the Name box, and then enter a new name Existing names are automatically overwritten once a new color is selected

8. Use the Reset Palette button to restore your palette to its original state before any changes were made, or click OK to accept your changes and close the dialog

Now that you know how to create, save, and load color palettes, take a look at Russel Wright.xml This palette was created by sampling photos of some of the art

of historic ceramicist Russel Wright, whose work was exalted as modernist in the 1930s and 1940s It’s a nice, small, named palette for use when you need a truly retro look to a design.

There’s one more way to make and save a user-defined palette: if you like the color of objects you have on the page, choose Window | Color Palettes | Create Palette From

Selection (if you have objects selected in advance), or Create Palette From Document This opens the Save Palette dialog, where you can name and save the colors you’ve used as a unique palette

You can quickly copy color properties between two objects (including groups) by right-click-dragging an object on top of a different object Release the mouse button once the source object is in position, and then choose Copy Fill Here or Copy Outline Here.

Color and Color Correction

Without defining a master color, creating relationships between parent and child colors, and without getting elaborate, you have another way to change colors in a CorelDRAW design The Effects | Adjust menu has color and tone (brightness) corrections you can apply to an object—vector or bitmap—so you can modify all or parts of a design, and thus create variations

on copies of your work These changes are permanent; you should use the commands only on copies of your illustrations, or have the Window | Dockers | Undo docker handy in the workspace These effects are mutually exclusive, and depending on the color solution you seek, you might need to apply one, and then a different one

Be sure every time you use the effects commands to click Reset All command palettes remember your last used settings.

● Brightness/Contrast/Intensity This command displays a palette where you can compress or expand the range of tones between the lightest and darkest (Contrast), add or subtract illumination from the selected object (Brightness), and use Intensity

as an inverse operator to Brightness to make an object’s colors more pronounced— decrease Brightness and then increase Intensity to see a working example of Intensity

● Color Balance Cyan is the additive color opposite of red, magenta’s the opposite

of green, and yellow is the color opposite of blue Use this command palette to

remove color casting in your selection in the three different tone areas For example,

the Compass.cdr file you’ll experiment with shortly has a lot of deep reds toward the

top of the grouped objects Suppose you want to cool down only the deep reds, but

not the medium reds You put a check in the Shadows Range box, and then drag the

Cyan-Red slider toward Cyan Preserve Luminosity is an option when you want to

shift the color in the selected object without changing its brightness Color is linked

to brightness, as you’ll observe when using the HSV color model; when you change

hue, you frequently also change brightness

● Gamma In video electronics, there is a “sag” (a non-linearity) when plotting

signal to brightness; it’s a physical drop-off that visually affects the midtones in

images and designs you work with The relationship between brightness and signal

is called gamma, and the practical (nontechnical) purpose for gamma adjustment is

to open up or block in midtones in a selected graphic or photo without impact on the

lightest and darkest points in the brightnesses Drag the Gamma slider to the right to

increase the range of midtones, and drag it left to compress the midtone range

● Hue/Saturation/Lightness Use this command palette to shift certain hues to

different ones, increase or decrease the richness of hues, and to increase or decrease

the amount of white in the selection

When you use any of the preceding commands, a pop-up menu offers the other Effects menu

items If you’ve selected a bitmap, you can use any and all of the commands, but if you have

a vector object selected, most commands are unavailable, except two:

● Invert This is a one-pop command with no options or command palette It

chromatically reverses color and tone areas For example, deep red areas become

light cyan

● Posterize This command has one slider marked “Levels.” From a minimum of 2 to

a maximum of 23, this effect moves all the colors in the selected object to a small,

fixed range of colors Although its use is perhaps best with photographs that you

want to make look like rubber-stamp art or a silk-screened poster, objects with

fountain fills and full-color pattern fills can take on an interesting look, too

Posterize and Invert are both under the Effects | Transform menu

There is no “right” or “wrong” goal in the following steps: the intention here is simply to

get you comfortable with adjusting colors in a composition by using the Effects menu Open

Compass.cdr now, and let’s say a client wants a brighter, lighter version of this drawing, and

you didn’t create master colors, and the darned thing has over 80 objects you’d have to

recolor…

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Changing Colors with Effects

1. Duplicate the illustration first and then move it to one side so you can compare your results with the original

2. Choose Windows | Docker | Undo, so you can undo any effect at any time

3. With the copy selected, choose Effects | Adjust | Brightness/Contrast/Intensity

4. Click Reset, as a matter of practice Drag the Contrast slider to about 25, and then click Preview Hmm, the colors are more pronounced, but not lighter, so half the request is addressed

5. Drag the Intensity slider to about 35 and then click Preview The graphic is improved, but the colors might need some saturation Click OK to apply this effect

6. Choose Effects | Adjust | Hue/Saturation/Lightness Click Reset

7. Click the Red channel button to correct only the predominantly red areas of the graphic

8. Drag the Saturation slider to about 45 and then click Preview Hmmm, better, but the red is now too light

9. Drag the Lightness slider to –7 and then click Preview Compare the graphic to its duplicate For this example, let’s consider the job well done—it’s a much lighter, more lively graphic now, as you can sort of see in Figure 17-8 Click OK to apply the filter

10. The phone rings, it’s the client, and they decide they like the original On the Undo docker, click Duplicate to send the original back in steps to before you applied any adjustments Sure, you could delete the original and use the duplicate, but then you wouldn’t have learned how to use the Undo docker to save time! Charge the client extra for the time they don’t know you saved on revisions

You’ve seen in this chapter that color is important; color sets a mood for an illustration, and the artistic use of color can actually remedy an illustration that lacks visual interest or complexity And you now know how to define and save not only a color you need, but also

an entire palette This concludes the section on colors and fills From here we travel to the land of very special effects—take what you’ve learned, take what you’ve drawn, and bend it, distort it, and in general, make it a unique piece by learning how to sculpt vector shapes

FIGURE 17-8 Change the colors of grouped objects selectively with the Effects | Adjust

commands

Creating the Illusion of

3D Objects

Working with Perspective

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