CorelDRAW X5 The Official Guide part 65 ppt

Ill 20-9 Copying Properties from Other Envelopes If you’ve taken the time to create an envelope effect but you’ll only use it a few times so it’s not worth creating a preset, you can cop

Constraining Single Arc Envelopes

Modifier keys offer valuable ways to constrain the shaping of an envelope while using

Single Arc mode By holding key modifiers, you can quickly shape two sides concentrically

or simultaneously HoldSHIFTand drag any side or corner node to have the corresponding

node on the opposite side move in the opposite direction HoldCTRLto move the corresponding

node on the opposite side of the shape in the same direction and by an equal distance, as

shown in Figure 20-9

CorelDRAW drawing

Using Envelope Shapes Between Objects

You can copy single-path objects—and even other envelopes—that already exist in your

drawing, and use them as envelopes The commands for these operations are available from

the Effects menu and by using the shortcut buttons in the property bar when the Envelope

tool is selected

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Copying Properties from Other Envelopes

If you’ve taken the time to create an envelope effect but you’ll only use it a few times so it’s

not worth creating a preset, you can copy its properties to another object using the Copy

Envelope Properties command To copy an envelope’s properties, try the following steps

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(concentrically) or in opposite directions

Two sides shaped in equal

but opposite directions Original object shape

Hold SHIFT as the modifier key while dragging.

Two sides shaped to equal values in the same direction

Hold CTRL as the modifier while dragging.

Copy Envelope Properties

Create Envelope From

Clear Envelope

Envelopes Based on Existing Envelopes

1. Select the object you wish to apply the envelope shape to, and choose the Envelope tool

2. Click the Copy Envelope Properties button in the property bar Your cursor will change to a targeting cursor

3. Click to target the object with the applied envelope effect you wish to copy The envelope effect is immediately copied and applied to the new object, as shown here:

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If the envelope effect you need to copy from is on a different page of your document, try dragging a copy of the object onto the desktop (the pasteboard outside the document page) You can copy envelope shapes from the desktop.

Creating Envelopes from Objects

Creating envelope shapes from existing objects is another common operation that enables you to create and apply new envelope shapes based on the targeted object’s shape The steps are shown left to right here:

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Original object

Envelope shape targeted New object with envelope applied

Envelope shape Shape with envelope

Unlike using the Copy Envelope Properties feature, copying a shape to apply to a different

object as an envelope requires a little additional step First, you target the object to be enveloped

using the Envelope tool Click the Create Envelope From button on the property bar, click

the source object, and then a preview of the envelope shape appears around the target object

It doesn’t actually transform until you drag one of the control nodes just a little, or click an

envelope path segment; then the target object transforms

Clearing an Envelope Shape

Removing an envelope effect from an object is a quick operation If you applied envelope

effects in succession, all shaping can be removed at once To remove an envelope effect,

select the object bound to the envelope effect, and choose the Envelope tool Click the Clear

Envelope button

The Clear Envelope command is also available by choosing Effects | Clear Envelope.

Copying Envelopes with the Attributes Eyedropper Tool

You can copy applied effects (including envelopes) from one single object (not grouped

objects) to another by using the Attributes eyedropper tool To do this, have both the objects

in view Got ’em? Follow these steps:

1. Choose the Attributes eyedropper tool from the toolbox

2. On the property bar, click the Effects button, select the Envelope check box in the

list, and then click OK

3. Click the object currently applied with the envelope effect you want to copy using

the Attributes eyedropper tool cursor to sample its properties

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4. Click the object you want to apply the effect to

You can apply several instances of an envelope, an envelope enveloping an envelope, and so on, if you need a truly gnarly effect After you’ve sampled the envelope, click the cursor over the target object three or four times until your laughter subsides.

Mastering Distortion Effects

Distortion effects apply complex math to the curve paths that make up your object But artists don’t need to know what’s under the hood in order to take advantage of these wonderfully intricate equations and to produce outstanding and very naturalistic artwork

The Distort tool and options are also dynamic, which means they create distortion without

ruining your original Distortion properties can be edited at any time Your custom distortions

can be saved as presets, and they can be cleared from your object, just like with envelopes

Distortion effects also change your object without affecting its other properties such as

outline width and fill Using distortion, the curve values and node properties are dramatically

changed, and the more complex your object is to begin with, the more dramatic the distortion

effect will be Adobe Illustrator users will feel right at home; although distortions are similar

to Punk & Bloat, they go beyond this effect in variety and complexity, and when you’re using

CorelDRAW distortions, you can restore your objects at any time Distortion effects are great

for a number of illustration challenges, including simulating organic-type effects, as shown

in Figure 20-10 Believe it or not, the simple star shape at top left was used to generate the

primitive cave scrawling You can create flower shapes, zippers, swirly galaxies in space—not

even the sky’s the limit

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Using the Distort Tool and the Property Bar

Apply your distortions using the Distort tool, shown next, which is found in the toolbox grouped with other effects tools and is used together with these property bar options

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You’ll notice three distortion modes: Push And Pull, Zipper, and Twister With each mode, a different set of parameters is available Amplitude and Frequency values can be varied in combination with certain other options (covered next) controlled interactively or by setting values on the property bar Let’s first look at the property bar when one of the modes, Zipper distortion, is chosen All three modes offer slightly different options; by reviewing Zipper mode, you’ll get a handle on many of the options

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Distort tool and cursor Property bar options for distortion

Preset Controls

Distortion

Copy Distortion Properties Zipper

Twister

Amplitude Frequency

Add New Distortion

Random Distortion

Smooth Distortion

Local Distortion

Convert

To Curves

Clear Distortion

(This originally was a circle.)

Choosing Distortion Modes

If you’ve tried using this effect, even just a little, you probably have a newfound

appreciation for “steering” this effect—it’s akin to slipping into a Ferrari right after your dad

took the training wheels off your bike However, chin up, examples and explanations for this

powerhouse of an effect follow, and as you read on (and get hands-on), the Distort tool will

grow on you, and the intimidation factor will dwindle

During a distortion session, interactive markers provide much of the control over this

effect Interactive markers vary by the mode selected The distort modes are covered in the

sections to follow in digestible, easy-to-assimilate, fun-size servings

Push and Pull Distortion

Push and pull distortions can inflate or deflate the slope of your object’s curves by

amplitude The amplitude value affects the extent of the effect, sloping the curves of paths

from an object’s original path from shallow at low settings to severe at high settings

Amplitude can be set from 200 to –200 percent Negative values cause the effect to

distort the path away from the center origin of the object, which creates the “push” condition

of the distortion Negative values (which you can also define interactively with the Distort

tool—it’s fun and creatively therapeutic) can be used to illustrate flower petals, a cartoon

splash into a pond, a thought balloon—all beginning with a rectangle object Positive

amplitude values cause the effect to be distorted toward the object’s center origin, the “pull”

condition Again, if you use a rectangle as the target object, you can almost instantly produce

anything from a diner sign from the 1950s, to a sleek, aerodynamic auto or airplane, to a nice

3D visualization of a TV tube viewed in perspective The amplitude of 0 has no distortion

Figure 20-11 shows the effects of both negative and positive Push and Pull amplitude settings

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Push and pull at positive amplitude Original rectangle

Push and pull at

negative amplitude

Zipper Distortion

Zipper mode distorts the paths in your object to resemble a zigzag or stitching pattern Here, amplitude can be set between 0 and 100 percent and can be used together with a frequency value and options for Random, Smooth, or Local distortion, as shown here:

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Interactive markers are made up of an outer marker controlling the amplitude and a slider controlling frequency, which enable you to set the number of zigzags within a given distance Both can be set within a range of 0 to 100 percent You can see the dramatic effects

of various amplitude and frequency values while applying a zipper distortion in the next illustration When beginning to work with the distortion effects, you might prefer to use only the property bar to define an effect, but as you grow more comfortable with distortion, you’ll surely want hands-on control by dragging the control handles directly with your cursor

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After the effect has been created, you can slant the zipper line by dragging the Start handle left or right, as shown here:

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Zipper Mode Amplitude Frequency Smooth Distortion

Random Distortion Local Distortion

Amplitude: 29 Frequency: 19

Amplitude: 38 Frequency: 35

Amplitude: 47 Frequency: 55

Distort effect controls

Start handle Slider controls frequency

End direction handle controls amplitude

Move Start handle left or right.

You can invert the direction of the zigzags on a line or closed shape by repositioning the control handles for the effect For example, begin by placing the Start and End handles so they bisect the line that is affected Then arrange the handles so both the Start and End handles are above the line; notice where the peaks and valleys are on the line Now move the Start and End handles so they’re below the affected line.

You’ll see that where there were peaks there are now valleys, and vice versa.

In addition to amplitude and frequency, three additional options are available for setting

the shape and size of the zigzags Each can be toggled on or off, so you can mix and match

to create the following effects:

● Random Choosing the Random option causes the zigzag Zipper distortion on your

object’s path to vary randomly between the current Amplitude values and zero This creates the appearance of nonrepeating frequency and varied wave size, creating an uncontrolled distortion appearance In this illustration you can see two examples of Random set at 25 and then at 74 Notice where the interactive frequency marker is

on the controls just above each object You can slide this marker instead of entering values on the property bar

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● Smooth While the Smooth option is selected, the cusps of the zigzag Zipper

distortion become rounded, instead of the default sharp corners normally seen This

is a great option if you need to simulate sound-wave frequencies and equipment

monitors in hospitals The next illustration shows constant (Random is toggled off)

Amplitude and variations in Frequency when the Smooth option is active

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