CorelDRAW X5 The Official Guide part 71 pot

Color Add Lens Effect The Color add lens fills the lens object with the color you choose by clicking the Color drop-down mini-palette and then combines all underlying colors in an additi

6. With the Pick tool, move the ellipse around a little to see how the lens effect changes only those areas of the rectangle that the ellipse covers

7. With the ellipse partially eclipsing the rectangle, select the Frozen box and then click Apply

8. Move the ellipse around As you can see, its contents colors remain constant, even when you move the ellipse totally away from the rectangle

9. Call your friends over and show them this effect This is fascinating stuff!

Exploring the Lens Effects

CorelDRAW has 11 lens types, and each has different properties you set using the docker controls Each lens type and its options are covered in detail here so you can better judge your starting point when you want to dress up an illustration with a certain type of lens effect The figures in this chapter are in black and white, but some of the really interesting effects that benefit most from showing them in color are highlighted in this book’s color section

Brighten Lens Effect

Colors in objects seen through a Brighten lens can appear brighter or darker, depending on

the Rate you define in the number box The Rate can be between 100 and –100; positive values brighten underlying colors, while negative values cause them to darken, as shown in Figure 22-2 This is a handy effect when, for example, part of an illustration you’ve worked

on for days looks under- or overexposed when you print it The solution is to design an object to use as the lens and place it directly on top, perfectly aligned with the area that prints poorly The Brighten lens can also be used for creative effects, as shown in the figure,

to make the hat look more stylish

Color Add Lens Effect

The Color add lens fills the lens object with the color you choose by clicking the Color drop-down mini-palette and then combines all underlying colors in an additive fashion (see additive color models in Chapter 17) For example, if you created an object with a red to blue fountain fill, and then put a red Color add lens over it, the result would be that the red areas will look unaffected at all Rates, while the blue areas will move to cyan This effect is good for adding a tint to isolated areas of an illustration and imported bitmaps Any color can be added within a range of 0 to 100 percent in increments of 5 percent Higher values add more color; 0 adds no color at all

Color Limit Lens Effect

The Color limit lens produces an effect that looks like the opposite of the effect produced by Color add Color limit tints underlying areas and decreases brightness in all underlying areas

except for the hues in colors you choose from the docker This can be visually explained

very easily

Deepening a Selected Color Area

1. In a new document (specify RGB color mode to avoid any attention boxes), import

Test tubes.jpg and place it on the page at full size by clicking the cursor at the page’s

upper-left corner

2. With the Rectangle tool, drag a horizontal strip about an inch tall through the test

tube image

3. Choose Window | Dockers | Lens

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FIGURE 22-2 Use the Brighten lens to correct the exposure in an area of a drawing or

imported photograph

25 percent Brighten –25 percent Brighten

4. With the rectangle selected, choose Color Limit from the Lens selector list, and then click the Color mini-palette flyout

5. Click the eyedropper at the bottom left of the palette, and then click a red area of the left test tube If the Apply button is locked, you’ll immediately notice that the areas covering the green and blue test tubes with the lens rectangle become a lot darker, but not the red tube If the Apply button is unlocked, click Apply now to see the result

6. Try increasing the Rate to 100, and then try sampling green and then blue using the Color eyedropper You’ll see that the colors sampled from the image retain most of their color after applying the Color limit lens, while the contents of the other two tubes gets a lot darker

The Color limit lens can be quite useful, for example, in highlighting an object in a composition by de-emphasizing all other objects, as shown in Figure 22-3

FIGURE 22-3 The color limit lens effect shown here limited all the colors except red in the

image below the red lens rectangle

Red Green Blue

Red Color limit lens

Custom Color Map Lens Effects

A custom color map lens object looks at the original colors in the underlying objects—

giving preference to brightness in its calculations—and then reproduces the design with the

remapping colors you specify on the Lens docker Usually, you want to choose a deep From

color and a light To color; this tints and colorizes a drawing or bitmap in a traditional, stylized

way You can also remap your drawing colors in an untraditional way by using different

hues with similar brightness values and also by using the Forward Rainbow and Reverse

Rainbow options, all of which are ideal for re-creating Fillmore West rock posters from

the 1960s

Mapping options consist of three palette-mapping choices:

● Direct Palette Choosing this option offers two colors (From and To) and maps the

colors found in your objects evenly between the brightness values of colors found

directly between these two around the color wheel

● Forward Rainbow This option has the same effect as Direct Palette, but in this

case, each of the object colors is mapped to all colors between your two chosen

colors in a clockwise rotation For example, if you choose red as the From color and

green as the To color, instead of a blend between these two colors throughout your

illustration, distinct areas of red, magenta, blue, and green are mapped with equal

emphasis to the underlying design Orange and yellow are not included in the color

map, because on a color wheel, these hues don’t appear between the chosen red and

green when you travel clockwise If you want the entire spectrum of the rainbow,

you’d choose red as the From color and an orange, almost red as the To color, so that

the From and To colors cycle through the visible hue spectrum almost full-circle

● Reverse Rainbow The Reverse Rainbow option has the effect of mapping the

colors in your object to the RGB brightness values of all colors between your two

chosen colors in a counterclockwise direction If you choose this option after setting

up Forward Rainbow colors, you’ll get a chromatic inverse of Forward Rainbow

color mapping, a highly “solarized” look, much like what developed physical film

looks like if you opened the back of the camera before rewinding the film

To quickly swap your selected From and To colors in the Lens docker while

applying custom color map lens effects, click the small button located between the

From and To color selectors, and then click Apply.

Fish Eye Lens Effect

A conventional camera “fish eye” lens is usually 18mm (compared with the standard 43.3mm)

with a very wide angle of view—famous architectural photographs feature 90 degrees of vision

and more CorelDRAW’s Fish eye lens performs the virtual equivalent; you can produce

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exceptionally distorted artwork, which can be interesting if not an everyday effect in commercial design The Fish eye lens is controlled by setting the rate of distortion within a range of 1,000 to –1,000 percent The effect is so dramatic at maximum settings that objects viewed through this lens can become unrecognizable At lower rates, the effect is subtle while retaining a sense of drama and dynamics

Although Burger.cdr—the file you’ll work with in a moment— is a good illustration, let’s say the fictitious client, Mr Beefbarn, wants to “accentuate” his 1/16th of a pound all-beef special by plumping up the illustration for the advertisement instead of showing the actual weight of his product You can occasionally use an envelope effect (see Chapter 20)

to manually create a fish eye effect, but with groups of objects (the burger is made up of

138 objects, many of them simplified blends) you always run the risk of unpredictably bent objects within a group Instead, what you can do in a few mouse clicks is create a shape that roughly fits over only the burger in the drawing, and then apply the Fish eye lens

Changing Object Size with the Fish Eye Lens

1. Open Burger.cdr; with a Pen tool, draw an object that roughly matches the shape of the hamburger, just a little larger so the lens effect works the best If you want to cut

to the chase, creating an ellipse around the burger provides decent results

2. On the Lens docker, with the object selected, choose Fish Eye Set the Rate to 45%

If the Apply button is unlocked, click Apply to see the results Try moving the lens object around a little if the illusion that the burger is almost twice its original size isn’t perfect

3. Suppose Mr Beefbarn gets on a health food kick and wants you to design a leaner burger Okay, just crank the Fish Eye lens to –90% and then click Apply In one click and perhaps by moving the lens object, today’s health-conscious culture will buy the MicroBurger over the BloatBurger without a second thought

In Figure 22-4 you can see at left the result of an ellipse object with the Fish eye lens type, at a rate of 45% The burger bulges toward the viewer, and Mr Beefbarn is happy At right a negative rate, –90%, is defined using the same lens object Happy client, very little editing work

Heat Map Lens Effect

The Heat map lens is similar to the color map effect, except the colors are predetermined (there are no specific color options) The effect simulates “black body” physics: a hypothetical object (in space) absorbs all light, and the presumption in this hypothesis is that the body is

warm With the Heat map lens, colors in underlying objects on the warm side of the color

wheel (red, orange, yellow) appear in shades of red or orange Cool colors—green, blue, and

violet—appear in shades of white, yellow, purple, blue, and light blue By default, colors in

the resulting composition tend to feature more warm than cool colors, but you can offset the

color mapping by using the Palette rotation spin box This is an effect that you really need

to experiment with on your own, and to get a lot of clients who want simulated infrared

photographs!

When you use the Palette rotation spin box, values between 0 and 49 usually cause

colors to appear warmer, and values between 50 and 100 cause colors to appear cooler

Invert Lens Effect

The Invert lens applies color inversion to the colors of underlying objects In this case, colors

are directly mapped to colors found on the opposite side of a color wheel Black areas change

to white, light grays turn to dark grays, reds turn to greens, yellows turn to blues, and so on

To make a “day and night” composition as shown here:

1. Open the Sundial.cdr image

2. Put the black half-circle over the left half of the logo

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FIGURE 22-4 Two different Fish Eye lens effect settings are used to bloat and pucker the

underlying drawing area

Fish Eye rate at

45 percent

Fish Eye rate at –90 percent

3. Choose Invert from the selector list on the Lens docker.

Ill 22-1

Magnify Lens Effect

The Magnify lens produces a straightforward and predictable effect, but it can make underlying

objects larger or smaller, depending on the settings you enter for the Amount value The

Amount can be set within a range of 0.1 to 100, where values between 1 and 100 cause increased magnification, and values less than 1 cause reduced magnification Figure 22-5 shows one of scores of creative possibilities for putting a magnifying glass in a drawing You can try this for yourself by opening Swamp Water.cdr Bitmaps are resolution dependent, so there’s a limit to how much you can magnify the image of the bottle However, the text in this composition is pure native CorelDRAW vectors Place the ellipse over the fine print in the image, and then magnify it 8 times or even higher if you like, and the text remains crisp, legible, and in this example, a little reminder about what you drink Later in this section you’ll learn about the Frozen, Viewpoint, and Remove Face options for the lens effect

Tinted Grayscale Lens Effect

By default, the Tinted grayscale lens converts the colors of underlying objects to grayscale values, which is terrific if you’re into black-and-white photography, but you can use any color you like, thus tinting photos and drawings, just by choosing a color from the color selector It would be silly to show you a figure here of a grayscale lens effect; you’ll see the results yourself in your own work Remember that digital images use the additive color model, so the lighter the lens color, the fainter the resulting composition will be This might

be an effect you want, however; try light grays and light warm browns to make new photographs look like they were taken in the 1940s

Transparency Lens Effect

The Transparency lens is a simplified version of the effects that can be achieved using the

Transparency tool on the toolbox Blending modes are unavailable and the object itself—

not the underlying objects—becomes transparent to varying degrees, based on the rate

you set on the Lens docker The perk to using a transparency lens effect over using the

Transparency tool is that you can freeze the effect and then move a partially transparent

copy of the underlying area anywhere you like on the page

Wireframe Lens Effect

The Wireframe lens converts the color and outline properties of objects to specific colors;

this is a very useful effect for pointing out the technical details in an illustration You can set

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FIGURE 22-5 A Magnify lens effect rate of just 8 times enlargement is enough to make

5-point text in an illustration completely legible

Viewpoint

the outline and fill colors of objects beneath the lens to any uniform color you choose by using the color selectors The fill and outline colors of your objects are replaced with the selected colors, while outline properties—such as applied widths and line styles—are ignored Wireframe produced a fixed width outline, and if your illustration has no outline width on an object, no wireframe effect is produced

Using Lens Options

Only one option has been discussed so far with the Lens docker, the types of effects You’ll

gain more control of your effects in a moment, while the other options on the docker are explained in the following sections Locking an effect, altering viewpoints, and controlling whether the page background is involved in an effect will open extra doors to this docker

Using the Frozen Option

The Frozen option causes the view seen through any lens effect to remain constant—even if the lens object itself is moved This gives you the option to apply and freeze the lens object view and use it for other purposes Behind the scenes, some complex calculations are being performed A Frozen lens object can actually be ungrouped to reveal a set of objects based

on the lens you've applied If the effect is applied above a bitmap, the result is often a complete copy of the image area, filtered, and can be exported as a bitmap

After the Frozen option is chosen, the lens object can be ungrouped (CTRL+U) This action breaks the dynamic link between the lens object and the view of objects seen through

it and converts the effect to a collection of ungrouped vector and/or bitmap objects Each of the objects representing the complete effect becomes a separate object, including the lens object, the page background, and the objects within the lens view

Walk through the following tutorial to see how the Wireframe lens is used in combination with freezing a lens object so that the lens object can be moved and edited independently of the spanner illustration Open Spanner.cdr now

Making a Frozen Treat

1. Choose the Polygon tool (pressY) to make this a mechanical-looking composition

On the property bar, set the Points or Sides to 7, and then holdCTRLand drag to create a symmetrical polygon about 2" in width

2. With the Pick tool, select the spanner group of objects and then right-click over black on the Color Palette Wireframe doesn’t work if the underlying objects have no outline, and ostensibly doing this action ruins the look of the illustration, but you’re not done yet

3. Put the polygon over any area of the spanner, and then on the Lens docker, choose

the Wireframe type, set the Outline color to white, and then set the Fill color to blue,

to create a blueprint-style lens effect You can’t change the Outline width, so the

effect might look a little wimpy right now; just wait a few steps to dramatically

enhance the Lens view

4. Select the Frozen check box (see Figure 22-6) A lens can be frozen and unfrozen

(thawed?) and then moved; however, if you alter the contents of the frozen object, it

is no longer a lens object—it becomes a group of objects

5. On the toolbox, click the Outline tool, and then choose 2 pt from the list

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FIGURE 22-6 Freezing a lens object lets you move and edit it without affecting the underlying

objects

Freeze lens