Hướng dẫn sử dụng Coreldraw x5 - part 48 doc

While the Interactive fill tool is active and the Fill Type selector in the property bar has Full Color Pattern selected, click the Create Pattern button.. Two-color patterns are created

● Row and Column Offsets By default, pattern tiles join to appear seamless.

However, you can intentionally ruin the pattern (or just create an “interesting” one)

by offsetting the pattern seams through either of these two options To apply an offset, choose either Row or Column as the offset option, and enter a value between

0 and 100 percent, as shown here:

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Create Your Own Two-Color and Full-Color Patterns

Two-color patterns are harder to think up than they are to create, and the details are covered right after this section Full-color (vector) patterns are created by sampling an area on the page While the Interactive fill tool is active and the Fill Type selector in the property bar has Full Color Pattern selected, click the Create Pattern button This opens a dialog for specifying the new pattern type and resolution After you choose the type and resolution, crosshairs appear on your screen, and you then click-drag to define an area in your

document to use for the new pattern

The saved pattern is located in C:\Users\your user name\AppData\Roaming\Corel\

CorelDRAW Graphics Suite X5\Custom Data\Patterns To apply a custom pattern, you need

to click the Edit tool on the property bar to display the Pattern Fill box, where you click Load

Two-color patterns are created using a special editor box displayed by clicking the Edit Fill button on the property bar when the Interactive fill tool is active and the Fill Type selector is set to Two Color Pattern Once the Pattern Fill box is displayed, click Create As you can see in Figure 15-8, two-color patterns are created by choosing a bitmap size, a pen size, and then left-dragging and/or clicking to set the foreground pattern Right-clicks and right-click-drags act like an eraser Alternatively, you can click Load if you’ve created a

Row offset 40 percent Column offset 40 percent

bitmap image (a two-color one works best, so the Editor doesn’t brute-force a tonal image to

black or white); the Editor accepts TIF, BMP, and other image file formats Two-color

patterns you create are immediately applied to a selected object, unlike full color patterns,

which are saved to a PAT file on hard disk If you want to later load a two-color pattern

you’ve designed, click Load in the Pattern Fill dialog

You can also create patterns by using the Tools | Create | Pattern Fill menu

command.

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FIGURE 15-8 Create your own two-color pattern by clicking the Create button in the Pattern

Fill dialog; then edit an existing preset pattern

Left-click-drag to paint.

Right-click-drag to erase.

Applying Texture Fills

When the Interactive fill tool has been chosen and you then pick a texture fill, the property bar (shown next) displays texture options, including a Texture Library selector, a Texture Fill selector, and options for controlling the appearance of the texture

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The interactive handles surrounding a texture fill are the same as those for pattern fills; they’re there for you to set the size, offset, skew, and rotation of the texture If you have experience manipulating pattern fills by click-dragging the control handles above the object,

you’ll discover bitmap fills are exactly the same However, because these are bitmap-based

textures, you’ll need to take note of some transformation limitations, covered shortly

Edit Fill Texture Library

Texture Fill Selector

Transform Fill With Object

Mirror Fill Tiles

Regenerate Texture

Texture Options

Copy Fill Properties

As you’ll discover next, each texture is based on a range of variables specific to a style

type To view these core styles, you’ll need to open the Texture Fill dialog by clicking the

Edit Fill button

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You’ll notice that the same options available in the property bar are in the dialog above—

but also included when you click the Edit Fill button are the texture variables There are

settings for texture, color, frequency of properties of the textures, and so on Don’t hesitate

to drag a spin box value and then to click Preview; although several of the values might

seem to have strange labels for the values, they’ll indeed modify the texture preset (changing

the Texture # is a great place to begin experimenting) Also, it’s very hard to give a label to

some of the properties of fractal math; they’re abstract attributes and fairly difficult to write

in the first place! Start by choosing a type of texture from the Texture List, and then use

different values in fields such as colors (another good starting place) Click Preview, and if

you like what you see, save it as a Preset, click OK to apply the texture, and then use the

control handles for the Interactive fill tool to adjust the fill as it appears in the selected shape

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The textures are based on more than a hundred different styles ranging from bubbles and clouds through minerals, raindrops, ripples, rock, and vapor

Many of the fractal patterns in the Samples libraries do not seamlessly tile all on their own Fractal math can be coded as non-terminating (which creates an infinite branching and can be quite processor-intensive) and terminating, which means the math ends at a certain point, and you’ll see a tile edge in your design once in a while.

To fix this: click the Mirror button on the property bar when the object is selected and when the Interactive fill tool is chosen Alternatively, this option is available by clicking the Edit Fill button on the property bar, which displays the Texture Fill dialog, where there’s a Tiling button Clicking this takes you to the Tiling box, where you can check Mirror Fill and set other options The texture fill will then appear in your object

as a seamless one, regardless of how you scale, rotate, and skew the pattern.

What Is a Fractal?

Fractal geometry is based on mathematical equations, whose core is beyond the scope

of this book However, fractal geometry usually appears to have the following visual characteristics:

● Self-similarity Fractal designs branch with variations set by the mathematician writing the fractal math, but typically a fractal design repeats a basic structure within itself at smaller scales, branching from a main body in the design This

is why many fractals look like organic forms such as ferns, broccoli, and seashells—these designs in nature also obey fractal math

● A recursive structure with irregularities As with self-similarity, fractals repeat, with variations, as they branch If you’re familiar with Euclidean geometry, fractal math is too unpredictable when plotted to 2D space to be described in Euclidian geometric functions

● Exist within a domain of 2D or 3D space Fractal math is used in several 3D programs to generate organic sculptures KPT Frax4D, in fact, is a plug-in for PHOTO-PAINT and other bitmap programs that can generate fractal designs in 3D space Fractals were once described by a mathematician using

this analogy: if a square represents the number 2 and a cube represents the number 3, fractals live somewhere between these two integers.

Not all the texture fills use fractal math; some use procedures (a recipe of

equations), but overall, they’re just fun to add to a design And because they’re math

based, they can be rendered to the size you need—this is part of what the Regenerate button on the property bar is for

Setting Texture Fill Options

Besides being able to set the appearance of your texture fill interactively and to customize

the fill using the value fields in the Texture Fill dialog, you’ll want to be able to set other

options, too For example, if your texture fill looks like it’s been pushed through a screen

window, it means the resolution is too low, as measured in pixels per inch (called dots per

inch [dpi] in the dialog) To increase the texture size and its resolution, click the Texture

Options button in the property bar to open the Texture Options dialog

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By default, texture fills are initially created at a resolution of 300 dpi and at a tile width

of 2,049 pixels Increasing both of these settings will reduce harsh areas and add definition

to your texture, as shown here:

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Original filled object

Texture options affect the appearance of your texture fill in the following ways:

● Bitmap Resolution The Bitmap Resolution option sets the amount of detail in the bitmap image created By default, the bitmap resolution setting is 300 dpi, but it can

be reset to preset values ranging between 75 and 400 dpi, and to a maximum value

of 9,999 dpi

● Texture Size Limit This option should be set according to both the desired resolution of your texture and the size of your object To avoid seeing seams between your texture’s tiles (which will ruin the effect), set the tile larger than the

object it fills and ensure that the tile seams are hidden from view; use the Mirror

button on the property bar if necessary

Increasing the Bitmap Resolution and Maximum Tile Width settings of your texture fill can dramatically increase your saved CDR file size and the time it takes for high-resolution textures to display on your monitor For screen display, you can usually get an accurate view of a texture at 1:1 viewing resolution (100%) with a texture resolution of 96 dpi (pixels per inch, dots per inch) Coincidentally, this is also an ideal texture resolution for web graphics, because visitors to your website are also viewing your texture at 1:1 on their monitors.

Creating and Saving Texture Samples

Once you’ve gone to the effort of selecting or editing a texture fill to suit your needs, you may wish to save it for later retrieval To save a texture, click the + button to the right of the Texture Library selector drop-down list You’ll then be prompted in the Save Texture As

Calculating the Resolution of Texture Fills

If you’re the ambitious, professional sort, you can use a very non-nerdy equation to determine your maximum tile width setting Calculate the value based on twice the final line screen multiplied by the longest object dimension in inches Line screens are what PostScript laser printers and commercial printer image-setting devices use for reproduction You’re good to go with 133 lines per inch (lpi; this value is half of

266 dpi, which is commonly used in high-quality art books); 1,200 dpi laser printers can use 85 lpi Inkjet printers don’t arrange dots in a logical order (they sort of splatter ink on the page), but a ballpark estimate (if inkjets were to render lines of dots) would

be about 180 lpi for inkjet printers manufactured as late as 2007 Or you can overestimate,

be on the safe side, and use 300 dpi, which vendors often suggest because it’s an easy number to remember Enter your calculated value in the Maximum Tile Width box, or choose the next highest preset value available

dialog for the name of your texture (type any name you like), and for the name of the library

in which you want the texture saved Click a library name found in the drop-down list, click

OK, click OK in the Texture Fill dialog, and your custom texture is ready to be applied to

the selected object

Applying PostScript Fills

PostScript fills are vector based and use PostScript page-descriptor language to create a

variety of patterns from black-and-white to full color Each PostScript fill included with

CorelDRAW has individual variables that control the appearance of the pattern, much the

same way as you can customize texture fills PostScript pattern styles come in a variety of

patterns, as shown in Figure 15-9, and also come as non-repeating fills

While using the Interactive fill tool with PostScript Fill selected in the property bar Fill

Type selector, very few options that relate to the individual fills are available on the property

bar You need to click the Edit Fill button on the property bar to get access to line widths,

how large the pattern elements should be, and to color options, depending on the specific

preset

The image you see onscreen is an accurate representation of the actual pattern that will

be printed; again, PostScript is a printing technology, but Corel Corporation has made the

technology viewable in CorelDRAW and printable without the need for a PostScript printer

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FIGURE 15-9 PostScript fills come in a variety of repeating and non-repeating patterns

Note that PostScript fills will print exceptionally well to any PostScript device; that’s what

the fills are intended for, but you don’t necessarily have to use PostScript However, you

must be using Enhanced View to see it (choose View | Enhanced).

To apply a PostScript fill, use these steps:

1. Create and then select the object to apply any PostScript texture fill, and then choose the Interactive fill tool (G)

2. Using property bar options, choose a PostScript fill texture from the selector by name

3. To customize the fill, click the Edit Fill button in the property bar to open the PostScript Texture dialog, shown in Figure 15-10 To view your currently selected fill, check the Preview Fill option Notice that each fill has its own set of Parameters that can be changed

4. Make any changes to your fill, and click the Refresh button to view the results of your new settings

5. Click OK to accept the fill, close the dialog, and apply the new fill to your object Your object is now filled with a PostScript texture fill

FIGURE 15-10 The PostScript Texture dialog lets you customize a PostScript fill

PostScript fills can be very useful in schematic and roadmap illustrations, and if you use

no background color when you customize many of the fills, the fills support transparency So

you can actually apply, for example, crosshatching, over a color-filled object to enhance the

shading

Applying Mesh Fills

Mesh fills can be used to create the effect of several blending-color fountain fills over a

mesh of vertical and horizontal Bézier curves Editing a mesh grid creates a sort of fill that

doesn’t really look like a fountain fill but instead looks very much like a painting Mesh fills

make it easy to create, as you’ll see in the following figures, most of the visual complexity

of a reflective sphere—using only one object and one fill Add to the visual complexity the

capability to set transparency levels to each patch of a mesh fill individually, and in no time

you’ll be creating scenes that look like paintings, using a fraction of the number of individual

objects you’d imagine You’ll find the Mesh fill tool, shown at left, in the toolbox grouped

with the Interactive fill tool; or pressMfor speedy selection

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While the Mesh fill tool is selected, the property bar features a number of options,

shown next, for controlling this truly unique fill type Use these options to set the vertical

and horizontal size in the mesh grid, to change node and path properties, and to set the

smoothness of curves

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Applying a mesh grid to an object is a quick operation Mesh fills are dynamic, so they

can be edited and reedited at any time Editing the shape and color of a mesh grid can be a

little bit of a challenge your first time out, but to be able to smear and to almost paint on a

fill will make the effort worthwhile to you and to your work Node- and curve-editing

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Color Eyedropper Horizontal Grid Size

Vertical Grid Size Selection Mode

Add Intersection

Delete Node

Curve Command Buttons

Node Command Buttons

Curve Smoothness

Smooth Mesh Color Transparency ClearMesh Fill

Copy Mesh Fill Properties