Coreldraw9 Manual

Table of contents
Chapter 1 Welcome to CorelDRAW® . . . . . . . . . . . . . 3

Using Help . . . . . . . . . . . . . . . . . . 4
CorelDRAW concepts . . . . . . . . . . . . . . . . 6
Exploring the work area . . . . . . . . . . . . . . . 8
Corel services and support . . . . . . . . . . . . . . . 14
Before calling Corel Technical Support . . . . . . . . . . . . . 15
Telephone technical support options . . . . . . . . . . . . . 15
Other CorelDRAW support options . . . . . . . . . . . . . . 16
Customer Service . . . . . . . . . . . . . . . . . 17
Chapter 2 Getting started . . . . . . . . . . . . . . . . 21
Creating and opening drawings . . . . . . . . . . . . . . 22
Saving and closing drawings . . . . . . . . . . . . . . 24
Archiving files . . . . . . . . . . . . . . . . . 30
Backing up your work . . . . . . . . . . . . . . . . 32
Setting up the Drawing page . . . . . . . . . . . . . . 34
Using consistent settings for new documents . . . . . . . . . . . 47
Using the Scrapbook . . . . . . . . . . . . . . . . 48
Browsing files, clipart, and photos using the Scrapbook . . . . . . . . . . 49
Browsing the preset fills and outlines using the Scrapbook . . . . . . . . . 50
Browsing FTP sites using the Scrapbook .
. . . . . . . . . . . . 52
Using the rulers, grid, and guidelines . . . . . . . . . . . . 54
Using the rulers and grid . . . . . . . . . . . . . . . 55
Working with guidelines . . . . . . . . . . . . . . . 62
Viewing your work . . . . . . . . . . . . . . . . 69
Zooming and panning . . . . . . . . . . . . . . . . 69
Using the View Manager . . . . . . . . . . . . . . . 74
Setting the view quality . . . . . . . . . . . . . . . 76
Using full-screen previews . . . . . . . . . . . . . . . 78
Viewing computer and document information . . . . . . . . . . . 79
Displaying warning messages . . . . . . . . . . . . . . 80
Chapter 3 Drawing and shaping objects. . . . . . . . . . . . . 85
Drawing basic objects . . . . . . . . . . . . . . . . 85
Table of contents 1
Selecting objects . . . . . . . . . . . . . . . . . 89
Moving objects . . . . . . . . . . . . . . . . . 94
Shaping basic objects . . . . . . . . . . . . . . . . 98
Drawing lines and curves . . . . . . . . . . . . . . . 103
Drawing with the Natural Media tool . . . . . . . . . . . . 107
Shaping lines, curves, and curve objects . . . . . . . . . . . . 117
Drawing dimension, connector, and flow lines. . . . . . . . . . . 125
Drawing dimension lines . . . . . . . . . . . . . . . 126
Drawing Connector lines and Flow lines . . . . . . . . . . . . 133
Setting tool preferences . . . . . . . . . . . . . . . 136
Chapter 4 Working with styles and templates . . . . . . . . . . . 143
Working with styles . . . . . . . . . . . . . . . . 144
Working with graphic and text styles . . . . . . . . . . . . . 145
Working with color styles . . . . . . . . . . . . . . . 152
Working with templates . . . . . . . . . . . . . . . 158
Chapter 5 Organizing objects . . . . . . . . . . . . . . . 165
Undoing and redoing changes . . . . . . . . . . . . . . 165
Arranging objects . . . . . . . . . . . . . . . . 168
Finding and replacing . . . . . . . . . . . . . . . 173
Changing the order of objects . . . . . . . . . . . . . . 176
Aligning and distributing objects . . . . . . . . . . . . . 178
Grouping and ungrouping objects . . . . . . . . . . . . . 181
Combining and breaking apart objects . . . . . . . . . . . . 183
Locking and unlocking objects . . . . . . . . . . . . . . 185
Using the Object Manager . . . . . . . . . . . . . . . 186
Opening and setting up the Object Manager . . . . . . . . . . . . 187
Editing objects using the Object Manager . . . . . . . . . . . . 189
Using layers to organize your drawing . . . . . . . . . . . . . 193
Setting layer properties . . . . . . . . . . . . . . . 196
Creating an object database . . . . . . . . . . . . . . 201
Setting up the object database . . . . . . . . . . . . . . 202
Assigning and editing object data . . . . . . . . . . . . . 204
Viewing, editing, and formatting an object data summary . . . . . . . . . 206
2 Table of contents
Chapter 6 Filling and outlining objects . . . . . . . . . . . . . 211
Filling objects . . . . . . . . . . . . . . . . . 211
Working with basic fills . . . . . . . . . . . . . . . 212
Working with fountain fills . . . . . . . . . . . . . . . 215
Customizing fountain fills . . . . . . . . . . . . . . . 219
Working with PostScript textures . . . . . . . . . . . . . . 226
Working with pattern fills . . . . . . . . . . . . . . . 227
Working with texture fills . . . . . . . . . . . . . . . 233
Customizing pattern and texture fills . . . . . . . . . . . . . 235
Creating Mesh Fill objects . . . . . . . . . . . . . . . 241
Outlining objects . . . . . . . . . . . . . . . . 246
Working with outlines . . . . . . . . . . . . . . . 247
Applying and editing line-ending shapes . . . . . . . . . . . . 254
Chapter 7 Transforming objects . . . . . . . . . . . . . . 261
Finding and using the transformation tools . . . . . . . . . . . 262
Undoing transformations . . . . . . . . . . . . . . . 265
Applying transformations to duplicates . . . . . . . . . . . . 266
Splitting and erasing portions of objects . . . . . . . . . . . . 267
Positioning and moving objects. . . . . . . . . . . . . . 271
Sizing and stretching objects . . . . . . . . . . . . . . 274
Scaling objects . . . . . . . . . . . . . . . . . 278
Rotating objects . . . . . . . . . . . . . . . . . 282
Skewing objects . . . . . . . . . . . . . . . . . 287
Mirroring objects . . . . . . . . . . . . . . . . 290
Welding, trimming and intersecting objects . . . . . . . . . . . 294
Chapter 8 Working with color . . . . . . . . . . . . . . . 303
Choosing colors . . . . . . . . . . . . . . . . . 306
Working with Multiple On-Screen Color Palettes . . . . . . . . . . 318
Customizing Color Palettes . . . . . . . . . . . . . . 320
Reproducing colors accurately . . . . . . . . . . . . . . 325
Chapter 9 Working with text . . . . . . . . . . . . . . . 337
Adding, converting, and selecting text . . . . . . . . . . . . 337
Adding graphics, symbols, and special characters . . . . . . . . . . 343
Table of contents 3
Editing text. . . . . . . . . . . . . . . . . . 347
Formatting text . . . . . . . . . . . . . . . . . 351
Applying character properties . . . . . . . . . . . . . . 351
Specifying text spacing . . . . . . . . . . . . . . . 357
Shifting and rotating characters . . . . . . . . . . . . . . 362
Formatting Paragraph text . . . . . . . . . . . . . . 364
Adding columns to Paragraph text frames . . . . . . . . . . . . 364
Adjusting paragraph alignment . . . . . . . . . . . . . . 367
Applying drop caps to paragraphs . . . . . . . . . . . . . 368
Applying tabs to paragraphs . . . . . . . . . . . . . . 370
Specifying paragraph indentation . . . . . . . . . . . . . 372
Adding bullets to paragraphs . . . . . . . . . . . . . . 374
Hyphenating text . . . . . . . . . . . . . . . . 376
Managing Paragraph text frames . . . . . . . . . . . . . 378
Linking Paragraph text frames . . . . . . . . . . . . . . 387
Fitting text to a path. . . . . . . . . . . . . . . . 392
Using the writing tools . . . . . . . . . . . . . . . 398
Using the automatic spell checker . . . . . . . . . . . . . 398
Working with the Spell Checker . . . . . . . . . . . . . . 401
Working with Grammatik . . . . . . . . . . . . . . . 404
Working with user word lists . . . . . . . . . . . . . . 415
Using Type Assist . . . . . . . . . . . . . . . . 418
Using the Thesaurus . . . . . . . . . . . . . . . . 419
Checking statistics . . . . . . . . . . . . . . . . 421
Substituting unavailable fonts . . . . . . . . . . . . . . 422
Setting preferences . . . . . . . . . . . . . . . . 424
Chapter 10 Creating special effects . . . . . . . . . . . . . . 431
Blending Objects . . . . . . . . . . . . . . . . 431
Creating blends . . . . . . . . . . . . . . . . 432
Modifying the intermediate objects of a blend . . . . . . . . . . . 436
Editing blends .
. . . . . . . . . . . . . . . . 440
Distorting Objects . . . . . . . . . . . . . . . . 445
Creating Push and Pull distortions . . . . . . . . . . . . . 446
Creating Zipper distortions . . . . . . . . . . . . . . . 448
Editing Zipper distortions . . . . . . . . . . . . . . . 451
4 Table of contents
Creating Twister Distortions . . . . . . . . . . . . . . 453
Modifying distortions. . . . . . . . . . . . . . . . 455
Working with envelopes . . . . . . . . . . . . . . . 457
Creating envelopes . . . . . . . . . . . . . . . . 457
Editing envelopes . . . . . . . . . . . . . . . . 460
Extruding objects . . . . . . . . . . . . . . . . 465
Creating vector extrusions . . . . . . . . . . . . . . . 465
Editing vector extrusions . . . . . . . . . . . . . . . 469
Filling vector extrusions . . . . . . . . . . . . . . . 476
Lighting vector extrusions . . . . . . . . . . . . . . . 479
Creating bitmap extrusions . . . . . . . . . . . . . . . 481
Editing bitmap extrusions . . . . . . . . . . . . . . . 483
Filling bitmap extrusions . . . . . . . . . . . . . . . 485
Lighting bitmap extrusions . . . . . . . . . . . . . . . 485
Working with drop shadows . . . . . . . . . . . . . . 488
Creating drop shadows . . . . . . . . . . . . . . . 488
Editing drop shadows . . . . . . . . . . . . . . . 491
Working with transparencies . . . . . . . . . . . . . . 495
Creating transparencies . . . . . . . . . . . . . . . 496
Editing transparencies . . . . . . . . . . . . . . . 500
Contouring Objects . . . . . . . . . . . . . . . . 503
Creating contoured objects . . . . . . . . . . . . . . . 504
Editing contoured objects . . . . . . . . . . . . . . . 507
Using lenses . . . . . . . . . . . . . . . . . 509
Creating lenses . . . . . . . . . . . . . . . . . 510
Editing lenses . . . . . . . . . . . . . . . . . 521
Adding perspective to objects . . . . . . . . . . . . . . 523
Creating perspective . . . . . . . . . . . . . . . . 523
Editing an object’s perspective . . . . . . . . . . . . . . 525
Working with PowerClip . . . . . . . . . . . . . . . 526
Creating a PowerClip object . . . . . . . . . . . . . . 527
Editing a PowerClip object . . . . . . . . . . . . . . . 528
Chapter 11 Working with bitmaps . . . . . . . . . . . . . . 535
Cropping bitmaps . . . . . . . . . . . . . . . . 535
Working with linked bitmaps . . . . . . . . . . . . . . 538
Table of contents 5
Tracing bitmaps . . . . . . . . . . . . . . . . . 541
Coloring bitmaps . . . . . . . . . . . . . . . . 544
Adjusting the tones in images . . . . . . . . . . . . . . 548
Resampling and editing bitmaps . . . . . . . . . . . . . 564
Inflating bitmaps . . . . . . . . . . . . . . . . 566
Converting bitmaps . . . . . . . . . . . . . . . . 566
Converting vectors to bitmaps . . . . . . . . . . . . . . 567
Converting images to the Paletted color mode . . . . . . . . . . . 576
Applying special effects to bitmaps . . . . . . . . . . . . . 584
Using bitmap effects . . . . . . . . . . . . . . . . 584
Applying 3D effects . . . . . . . . . . . . . . . . 585
Applying Art Strokes effects . . . . . . . . . . . . . . 592
Applying Blur effects . . . . . . . . . . . . . . . . 605
Applying Color Transform effects . . . . . . . . . . . . . . 612
Applying Contour effects . . . . . . . . . . . . . . . 616
Applying Creative effects . . . . . . . . . . . . . . . 619
Applying Distort effects . . . . . . . . . . . . . . . 634
Applying Noise effects . . . . . . . . . . . . . . . 645
Applying Sharpen effects . . . . . . . . . . . . . . . 653
Using plug-in filters . . . . . . . . . . . . . . . . 657
Chapter 12 Creating documents for the World Wide Web . . . . . . . . 661
Creating HTML text . . . . . . . . . . . . . . . . 661
Inserting Internet objects . . . . . . . . . . . . . . . 663
Creating Hyperlinks . . . . . . . . . . . . . . . . 665
Checking your document for HTML object conflicts. . . . . . . . . . 671
Publishing to the Internet . . . . . . . . . . . . . . . 672
Publishing documents to the Internet . . . . . . . . . . . . . 673
Setting HTML export options . . . . . . . . . . . . . . 674
Chapter 13 PRINTING . . . . . . . . . . . . . . . . . 679
Setting up a print job . . . . . . . . . . . . . . . 679
Using imposition layouts . . . . . . . . . . . . . . . 687
Previewing, sizing, and positioning a print job . . . . . . . . . . 695
Using PostScript to optimize a print job . . . . . . . . . . . . 700
Fine-tuning a print job . . . . . . . . . . . . . . . 708
6 Table of contents
Using print merge . . . . . . . . . . . . . . . . 714
Commercial printing . . . . . . . . . . . . . . . . 717
Preparing a print job for a commercial press. . . . . . . . . . . . 717
Working with bitmaps and halftone screens . . . . . . . . . . . . 726
Creating color separations . . . . . . . . . . . . . . . 729
Color trapping . . . . . . . . . . . . . . . . . 735
Chapter 14 Importing, exporting, and OLE . . . . . . . . . . . . 743
Importing and exporting files . . . . . . . . . . . . . . 743
Importing and opening files . . . . . . . . . . . . . . 745
Exporting and saving files in nonnative file formats . . . . . . . . . . 751
Working with Kodak Photo CDs . . . . . . . . . . . . . 754
Working with Encapsulated Postscript . . . . . . . . . . . . 756
Object linking and embedding . . . . . . . . . . . . . . 763
Linking (OLE) . . . . . . . . . . . . . . . . . 765
Embedding (OLE) . . . . . . . . . . . . . . . . 768
Chapter 15 Publishing to PDF . . . . . . . . . . . . . . . 773
Publishing a PDF file . . . . . . . . . . . . . . . . 773
Job ticketing . . . . . . . . . . . . . . . . . 776
Publishing PDF objects . . . . . . . . . . . . . . . 777
Setting image options . . . . . . . . . . . . . . . 782
Publishing PDF documents . . . . . . . . . . . . . . 785
Chapter 16 Customizing Corel applications . . . . . . . . . . . . 791
Customizing workspace settings . . . . . . . . . . . . . 791
Customizing keyboard shortcuts . . . . . . . . . . . . . 792
Customizing menus . . . . . . . . . . . . . . . . 797
Customizing a Color Palette . . . . . . . . . . . . . . 802
Customizing toolbars. . . . . . . . . . . . . . . . 804
Customizing the Property Bar . . . . . . . . . . . . . . 811
Customizing the Status Bar . . . . . . . . . . . . . . 813
Customizing filters . . . . . . . . . . . . . . . . 815
Customizing file associations . . . . . . . . . . . . . . 816
Customizing feedback sounds . . . . . . . . . . . . . . 817
Table of contents 7
Chapter 17 Automating application tasks . . . . . . . . . . . . 821
Creating and running scripts . . . . . . . . . . . . . . 821
Using Corel SCRIPT Editor. . . . . . . . . . . . . . . 822
Using Visual Basic for Applications . . . . . . . . . . . . . 829
8 Table of contents
WELCOME TO CORELDRAW® 1
CorelDRAW® is a comprehensive vector-based drawing program that makes
it easy to create professional artwork — from simple logos to intricate
technical illustrations. CorelDRAW provides tools and effects that let you
work efficiently to produce high-quality graphics. You can also deliver your
artwork to a service bureau for printing or publishing your document to the
Internet.
Before you begin using CorelDRAW, there are some areas with which you
should become more familiar. To assist you in using the application,
CorelDRAW provides several types of Help. When using CorelDRAW, you
may find it useful to know the difference between vectors and bitmaps.
Furthermore, getting to know the various controls that appear in the
application lets you work more effectively. Corel® also provides several
support services that can assist you with the application.
About Corel Corporation

Corel Corporation is recognized internationally as a world leader in the
development of PC-based graphics and business application software.
CorelDRAW is now available in more than 17 languages and has won more
than 215 international awards from major trade publications.
We pride ourselves on delivering high-quality graphics, productivity, and
business application software by actively seeking your input. We use this
feedback and respond quickly to you, the users of Corel products worldwide.
For more information about Corel and our products, visit our web site at
http://www.corel.com
We want your feedback

If you have any comments about the CorelDRAW documentation, you can
email them to drawdoc@corel.ca or mail them to the address below.
Unfortunately, we may not be able to respond to your message personally.
Graphics Software Documentation Manager
Corel Corporation
1600 Carling Avenue
Ottawa, Ontario, Canada
K1Z 8R7
Welcome to CorelDRAW® 3
Using Help
CorelDRAW features a variety of electronic resources that provide on-screen
assistance as you need it. The main form of assistance is the online Help,
which, apart from a minimum of graphics, is an electronic version of the
CorelDRAW manual. You can find information in online Help by
double-clicking specially coded words, phrases, or icons that display the
topic. In addition to the online Help you can also get help using
PerfectExpert™. Context-sensitive Help is accessible from anywhere within
CorelDRAW. You can access context-sensitive Help from the menus, dialog
boxes, Docker™ windows, Property Bars, and all other toolbars in
CorelDRAW. ToolTips describe individual features in the application, whereas
the CorelDRAW tutorial guides you through basic tutorial procedures as you
complete a range of tasks. The Online Hints window provides you with
information about the tool you’re using, or the possible tasks or actions you
can perform.
Accessing online Help

Online Help connects you to an overview or a procedural topic when you
choose a topic from the table of contents or the index. You can also search for
a topic using keywords that describe a feature or task.
To access online Help

1 Click Help, Help Topics.
2 Double-click a topic.
To access an online Help topic using a word search

2 Click the Index tab.
3 Type a word in the search box, and click the Search button.
4 Choose a topic from the list, and click the Display button.
Printing online Help

You can print entire sections of the online Help or only specific topics.
To print an entire section

2 Click a book, and click the Print Topics button.
4 CorelDRAW: Chapter 1
To print a topic
2 Click a topic, and click the Print Topic button.
You can also print an individual topic by clicking the Print button in the
CorelDRAW Help window.
Accessing PerfectExpert
CorelDRAW comes with its own built-in expert, which is ready to help you
find the information on performing tasks.
To access the PerfectExpert

Click Help, PerfectExpert.
Accessing context-sensitive Help

The most common ways to access context-sensitive Help are as follows:
To get help on ... Do this ...

Dialog boxes Click the Help button, or press F1.
Menu commands Click the Help button on the Standard toolbar, click a menu, and click a
command.
Or, press F1 when a command is highlighted.
Tools and controls Click the Help button on the Standard toolbar, and click the item for
which you want help.
Or, click Help, What’s This?
Use the Status Bar at the bottom of the Application Window to familiarize
yourself with the tools. The Status Bar displays details of what buttons,
controls, and menu commands do as you move the mouse cursor over
them.
Accessing ToolTips
ToolTips identify the icons and buttons that correspond to various features in
CorelDRAW, such as toolbars, the Property Bar, and tool flyouts.
To access ToolTips
Position the cursor over an icon or a button.
Accessing Online Tutors

CorelTUTOR™ guides you through a series of practical lessons that give you
a general idea of the application’s major capabilities. Although intended
mainly for novices, the tutorial also offers helpful information for advanced
users, and explores concepts that are common to many CorelDRAW
operations.
To access Tutors
Click Help, CorelTUTOR.
Accessing Online Hints

The Online Hints relays information that applies to the action you’re
performing with the active tool. When you select a different tool, the Online
Hints window provides information about the new tool and its options.
To access Hints
Click Help, Hints.
CorelDRAW concepts
Computer imaging applications are based on creating either vector graphics
or bitmap images. This section presents the basic concepts of a vector-based
program, like CorelDRAW, and outlines the differences between vector
images and bitmap images, such as ones you work with in Corel
PHOTO-PAINT®.
If you haven’t worked with drawing applications before, or if you’ve worked
solely with paint or photo-editing (i.e., bitmap images) applications, you’ll
find this section especially informative.
What is a vector image?

Vector images, also called object-oriented or draw images, are defined
mathematically as a series of points joined by lines. Graphical elements in a
vector file are called objects. Each object is a self-contained entity, with
properties such as color, shape, outline, size, and position on the screen
included in its definition.
An example of a
vector graphic.
Since each object is a self-contained entity, you can move and change its
properties over and over again while maintaining its original clarity and
crispness without affecting other objects in the drawing. These
characteristics make vector-based applications ideal for illustration, in which
the design process often requires individual objects to be created and
manipulated.
Vector-based drawings are resolution independent. This means that they
appear at the maximum resolution of the output device, such as your printer
or monitor. As a result, the image quality of your drawing is a higher quality
resolution if you print from a 600 dots per inch (dpi) printer than from a
300-dpi printer.
CorelDRAW allows you to incorporate bitmaps into your drawings and to
export bitmaps you create. For simple drawings, you can use the Autotrace
command or the Freehand tool to trace around the outline manually. For
more information, see “Tracing bitmaps” on page 541.
What is a bitmap image?

Photo-editing applications like Corel PHOTO-PAINT work with bitmap
images. When you work with bitmap images, you can refine small details,
make drastic changes, and intensify effects.
Bitmap images, also called raster or paint images, are made of individual dots,
called pixels (picture elements), that are arranged and colored differently to
form a pattern. When you zoom in, you can see the individual squares that
make up the total image. Increasing the size of a bitmap has the effect of
increasing individual pixels, making lines and shapes appear jagged.
An example of a
bitmap image.
However, the color and shape of a bitmap image appear continuous when
viewed from a greater distance. Because each pixel is colored individually,
you can create photorealistic effects, such as shadowing and intensifying
color.
Reducing the size of a bitmap distorts the original image, because pixels are
removed to reduce the overall image size. Also, because a bitmap image is
created as a collection of arranged pixels, its parts cannot be manipulated
(e.g., moved) individually.
You can open vector-based CorelDRAW files, which have been saved as CPT
file format, directly in Corel PHOTO-PAINT. Corel PHOTO-PAINT
automatically creates a bitmapped version of the original.
Exploring the work area

The large white portion of the CorelDRAW Application Window is the
Drawing Window. The rectangle in the center with the drop shadow is the
Drawing Page. Usually, only the part of your drawing that falls within the
Drawing Page is printed. You can use the remaining space, called the
Desktop layer, in the Drawing Window to keep your tools and pieces of your
drawing handy. For more information about the Desktop layer, see “Using
layers to organize your drawing” on page 193.
The CorelDRAW Toolbox contains tools for creating, filling, and modifying
objects interactively. The drawing tools let you design a variety of objects for
your drawing, and the shaping tools let you modify your drawing. The
Toolbox also contains tools that let you apply a number of effects
interactively.
Futhermore, the Toolbox contains flyouts which are toolbars that are
accessible through one tool in the Toolbox. A small black arrow at the bottom
right corner of a tool indicates that it is a flyout grouped with other tools. You
can separate flyouts from the Toolbox to display them as separate toolbars.
The toolbars contain buttons that represent commands. Some are shortcuts
to menu commands; others are commands that are available only as toolbar
buttons.
The Property Bar, whose appearance is similar to a toolbar, provides you with
quick access to frequently used functions that are relevant to the active tool
or the task you’re currently performing. For example, when you click the
Text tool, the Property Bar contains only text-related commands.
A Docker window contains the same type of controls as a dialog box, such as
command buttons, options, and list boxes. However, unlike most dialog
boxes, you can keep Docker windows open while working on a document to
access the operations you use most frequently, or to experiment with
different effects. Docker windows can be docked to any edge of the
Application window, or you can undock them. Furthermore, you can minimize
Docker windows so they don’t use up valuable screen real estate.
With CorelDRAW you have the ability to create multiple workspaces. A
workspace is a configuration of settings you specify which you can save and
reapply. If several people are using a single version of CorelDRAW, or if you
find you need different settings for different tasks, you can use workspaces to
save the settings for each user or task.
The toolbars are optimized for 800 x 600 resolution. If you are working at
a lower resolution, portions of toolbars may appear cut off.
Using the Toolbox

This table describes all of the tools in the CorelDRAW Toolbox.
Tool... Description...
The Pick tool lets you select and transform objects.
The Shape tool lets you edit the shape of objects.
The Knife tool lets you cut through objects.
The Eraser tool lets you remove areas of your drawing.
The Free Transform tools lets you transform your object by using the Free
Rotation, Angle Reflection, Scale, and Skew tools.
The Zoom tool lets you change the magnification level in the Drawing
Window.
The Pan tool lets you move the display of the Drawing Window.
The Freehand tool lets you draw lines and curves.
The Bezier tool lets you draw curves using a connect-the-dots style of
drawing.
The Natural Media tool provides access to the Brush, Sprayer,

Calligraphic, and Pressure tools.
The Dimension tool lets you draw vertical, horizontal, slanted, or angular
dimension lines.
The Connector tool lets you join two objects with a line.
The Flow Chart tool lets you join two objects with a flow chart line.
The Rectangle tool lets you draw rectangles and squares.
The Ellipse tool lets you draw ellipses and circles.
The Polygon tool lets you draw polygons and stars.
The Spiral tool lets you draw symmetrical and logarithmic spirals.
The Graph Paper tool lets you draw a grid of lines similar to that on
graph paper.
The Text tool lets you type words directly on the screen as Artistic Text or
as Paragraph Text.
The Interactive Fill tool lets you apply various fills using the mouse.
The Interactive Mesh tool lets you apply a mesh grid to an object using
the mouse.
The Interactive Transparency tool lets you apply transparencies to objects

using the mouse.
The Interactive Blend tool lets you blend two objects.
The Interactive Distortion tool lets you apply a Push or Pull distortion, a
Zipper distortion, or a Twister distortion to an object.
The Interactive Envelope tool lets you distort an object by dragging the
nodes of the envelope that is placed on top of the object.
The Interactive Extrude tool lets you apply a third dimension to objects.
The Interactive Drop Shadow tool lets you apply a drop shadow to an
object.
The Interactive Contour tool lets you apply a contour to an object.
The Eyedropper tool lets you select a fill from an object on the Drawing
Window using the mouse.
The Paintbucket tool lets you fill an object on the Drawing Window after
selecting a fill using the Eyedropper tool.
The Outline Tool opens a flyout that lets you set the outline properties.
The Fill Tool opens a flyout that lets you set the fill properties.
Accessing flyouts
You can access multiple tools from a flyout on the Toolbox. You can also
display the flyout as a toolbar by separating it from the Toolbox.
To access flyouts
Place the cursor on the tool, and hold down the mouse button.
You can also access flyouts by clicking the arrow on the tool.
To display a flyout as a separate toolbar

Click outside the buttons area on the flyout, and drag the flyout from its
host toolbar.
You can return the flyout to the Toolbox by closing the flyout.
Using the Property Bar

You can customize your work area by displaying, hiding, or docking the
Property Bar.
To display the Property Bar

1 Click Window, Toolbars.
2 Enable the Property Bar check box.
To hide the Property Bar

2 Disable the Property Bar check box.
To dock the Property Bar

Drag the Title Bar of the Property Bar toward the menus at the top of the
Application Window or to any of the other sides.
You can also customize the Property Bar. For more information, see
“Customizing the Property Bar” on page 811.
Using toolbars
You can customize your work area by displaying, hiding, sizing, or docking
the toolbars. You can also dock a toolbar to any side of your screen.
To display toolbars
2 Enable the check boxes beside the toolbars you want to display.
To hide toolbars
2 Disable the check boxes beside the toolbars you want to hide.
To dock toolbars
Drag the Title Bar of the toolbar that you want to dock toward the menus
at the top of the Application Window or to any of the other sides.
To size floating toolbars

1 Position the cursor over one of the toolbar’s edges and wait until it
becomes a two-sided arrow.
2 Drag until the toolbar is the shape you want.
You can size only floating toolbars. When you dock a toolbar, it becomes
horizontal when placed on the top or bottom side of the Application
Window or vertical when placed on the left or right side.
Using Docker windows

The following lists common actions you can perform on a Docker window:
To ... Do this ...
Open a Docker window Click Window, Dockers, and click the Docker window you want to open.
Collapse a Docker window Click the arrow button at the corner of the Docker window.
Undock a Docker window Drag the top of the Docker window away from the edge of the Application
Window.
Dock a Docker window Drag the Docker window to the edge of the Application Window.
Close a Docker window Click the “X” button at the corner of the Docker window.
Separate Docker windows Undock the Docker windows, and drag a tab from the list of Dockers.
Using multiple Workspaces

You can create multiple Workspaces for specific users or specific tasks and
then apply them when required. You can also delete workspaces when they
are no longer needed. For more information about using workspaces, see
“Customizing workspace settings” on page 791.
To create a Workspace
1 Click Tools, Options.
2 Click the New button.
3 Type the name of the Workspace in the Name Of New Workspace box.
4 From the Base New Workspace On list box, choose an existing Workspace
on which to base the new Workspace.
5 Type a description of the Workspace in the Description Of New
Workspace box, if you want to include a description of the Workspace.
The description that you type in the Description Of New Workspace box
appears in the list of available workspaces.
You can enable the Set As Current Workspace check box to apply the new
workspace immediately.
To choose a Workspace
2 Choose a workspace from the Workspaces Available list.
3 Click the Set As Current button.
You can choose from several preset Workspaces. Each preset Workspace
is designed to provide a working environment tailored to your
requirements. For example, if you are using a low-resolution monitor
setting, you can use the preset workspace designed for such a setting.
To delete a Workspace
2 Choose a Workspace from the Workspaces Available list.
3 Click the Delete button.
Corel services and support

Corel is committed to providing customers with high-quality technical
support. The following sections describe the variety of support services
available.
Before calling Corel Technical Support
Before calling Corel Technical Support, please have the following information
available. This information assists the Technical Support representative to
help you more quickly and efficiently:
A brief description of the problem, including the exact text of any error
messages received, and the steps to recreate the problem.
The type of computer, monitor, pointing device (e.g., mouse, tablet),
printer, and video card (display adapter) in use.
The version of Microsoft Windows and the Corel product in use. Choose
the About Windows 95 command from the Help menu in Windows
Explorer to find which version of Windows you are running.
A list of any programs loaded into RAM (e.g., Terminate and Stay
Resident programs). Check the Startup folder in the Programs menu to
determine if you are running any other programs.
For more information on getting Technical Support, to go the Technical

Support Help found under the Help menu.
Telephone technical support options

CorelDRAW users can use complimentary and fee-based telephone technical
support options. Complete information about these options, including phone
numbers, is available in the Technical Support online Help file. This online
Help file explains the various levels of support available to you and your
organization.
Classic services
Classic Service is designed to address the technical support needs of
CorelDRAW such as a technical understanding of new product features and
basic installation and configuration issues.
Basic services
Corel offers the following technical support options, most of which are
available 24 hours a day, 365 days a year. These services are useful if you
prefer not to pay for support or encounter problems during off-hours.
Priority services
Priority service is a fee-based service for users that require the help of
second-level technicians. Priority Service may be purchased by the minute,
by the incident, or on a term basis. Options range from core business hour
access for individual users, to around-the-clock access for multiuser
environments.
Other CorelDRAW support options

Corel offers the following technical support options, most of which are
available 24 hours a day, 365 days a year. These services are useful if you
prefer not to pay for support or if you encounter problems during off-hours.
Interactive Voice Answering Network (IVAN )

The Interactive Voice Answering Network contains answers to commonly
asked questions about Corel products and is available 24 hours a day, 365
days a year. It is regularly updated with the latest information, tips, and
tricks. You can also request that IVAN solutions be faxed to you. There is no
charge for this service beyond the cost of the telephone call. To call IVAN dial
(613) 728-7070.
Automated FAX on Demand

Technical Support maintains an automated FAX on Demand system of
numbered documents that contain up-to-date information about common
issues, tips, and tricks. This service is available 24 hours a day, 365 days a
year.
To use this service call:
(613) 728-0826, extension 3080
You will be asked for a document number and your fax number. The
document you request is automatically sent to you. To fax a catalog of
documents to yourself, call the Automated FAX on Demand system number
and request document 2000.
Bulletin Board System (BBS)

If you have a modem and communications software package, you can access
the Corel BBS. You can download files, including printer drivers,
troubleshooting information, and utilities. You can also transfer problem files
to Customer Support through the BBS. For an explanation of how to access
and use the BBS, call:
European BBS (++353)-1-7082700
North American BBS (613) 728-4752
CompuServe
Interact with other users and Corel technicians to obtain product information
and support. CompuServe is available 24 hours a day, 7 days a week,
including holidays. Corel representatives will respond from 8:30 A.M. to 5:00
P.M. Eastern Standard Time, from Monday to Friday, excluding holidays.
If you have a CompuServe membership, you can access Corel technical
information by entering one of the following at the CompuServe prompt:
GO COREL (for English)
GO CORELGER (for German)
GO CORELFR (for French)
GO CORELNL (for Dutch)
GO CORELSCAN (for Scandinavian)
Technical Support on the World Wide Web

The World Wide Web address for Corel products on the Internet is
http://www.corel.com. At this location, you can quickly search Corel’s
Searchable Knowledge Base. From the database you can read, print, or
download documents that contain answers to many of your technical
questions or problems. This site also contains files you can download.
AnswerPerfect™
Customers can now submit support incidents (questions) by email to Corel’s
web site at a price of $14.95 U.S. per incident, payable by credit card for
English language products only. Corel is committed to responding to
AnswerPerfect™ support incidents within one business day.
File Transfer Protocol (FTP)

You can download updates, patches, and utilities by accessing our anonymous
FTP site at ftp.corel.com.
The terms of Corel technical support offerings are subject to change

without notice.
Customer Service
Corel Customer Service can promptly and accurately provide you with
information about Corel product features, specifications, pricing, availability,
and services. You can access Customer Service support through the
following avenues.
World Wide Web

You can access general customer service and product information through
the World Wide Web at http://www.corel.com/support.
Mail, fax, email

You can send specific customer service questions to Corel Customer Service
representatives by mail, fax, and email.
Corel Corporation
Corel Customer Service
1600 Carling Avenue
Ottawa, Ontario
Canada
K1Z 8R7
Fax: 1-613-761-9176 or 1-613-761-1295
Email: custserv2@corel.ca
Telephone
You can also telephone Corel Customer Service centers with your questions.
In North America, you can reach Corel Customer Service by calling our
1-800-772-6735 toll-free line. The hours of opertation are 9:00 a.m. to 9:00
p.m., Eastern Time, Monday through Friday, and from 10:00 a.m. to 7:00 p.m.
on Saturday.
Corel customers residing outside North America can contact Corel Customer
Service representatives in Dublin, Ireland on a toll line at 353-1-706-3916 or
by calling a local authorized Corel Customer Service Partner.
To view a listing of Corel’s International Customer Service telephone
numbers refer to the online Technical Support Help file under the Help menu
or visit our web site at http://www.corel.com/support.
GETTING STARTED 2
Understanding the flexible, intuitive features offered by CorelDRAW for
setting up your drawings will make it easy for you to create a variety of
documents, from individual graphics to newsletters, pamphlets, business
cards and labels.
Let the advanced
tools and features of
CorelDRAW inspire
your creativity.
This chapter will help you start using CorelDRAW effectively. It describes
how to create new drawings or open existing files, as well as how to save,
close, archive, and back up documents. You will learn about the different
options associated with these commands, and when to use them. Using these
options properly will help you keep your files organized and find them faster.
Before you start creating drawings, you may want to know how to set up an
effective working environment. This chapter contains instructions on setting
up the Drawing Page, including page size, orientation, and background. It also
tells you how add and remove pages, and how to navigate multipage
documents.
You’ll also want to take advantage of the tools offered by CorelDRAW for
ensuring that objects are accurately drawn and placed. These include the
rulers, grid, and guidelines.
It’s a good idea to become familiar with the Scrapbook™ as an organizational
tool. The Scrapbook is a Docker window in which you can browse the folders
that store files, clipart, photos, preset fills and outlines, and File Transfer
Protocol (FTP) sites. The Scrapbook provides drag-and-drop access to these
folders and sites. It also lets you organize, store, and access your own
favorite designs, fills, and outlines.
The viewing and panning features of CorelDRAW let you view drawings in a
variety of ways according to your needs. This chapter contains information
Getting started 21
on how to magnify or reduce your view, save specific views for future use,
and pan quickly through multipage documents.
Finally, you’ll learn how to view information about your computer and your
documents, and how to turn CorelDRAW warning messages on and off.
Creating and opening drawings

After you start CorelDRAW, you have several choices. In addition to opening
the CorelDRAW tutorial or touring the features that are new for CorelDRAW
9, you can:
create a new drawing
open an existing drawing, even if it was created with a previous version of
CorelDRAW
open the drawing you last worked on
create a new drawing from a template
For a type of document you create frequently, such as newsletters or greeting
cards, it is a good idea to base your new drawing on a template. You can also
scan images into CorelDRAW or acquire them from a digital camera.
For more information about templates, see “Working with Styles and
Templates” on page 143.
Creating a new drawing

Creating a new drawing causes a blank Drawing Window to appear. This
Drawing Window contains the styles in the default template,
CORELDRW.CDT. If you’re not planning to work with styles, you don’t need
to be concerned with the concept of styles and templates. For more
information on styles and templates, see “Working with Styles and
Templates” on page 143.
To create a drawing
Click File, New.
You can also create a new drawing by clicking the New button.
Creating a new drawing based on a template

If there is a document type you create frequently, such as an advertising flyer,
a brochure, or a newsletter, using a template will make creating your drawing
easier. In CorelDRAW, the Template wizard guides you through the steps
involved in creating a document based on a template. You can use one of the
templates supplied with CorelDRAW, or create one of your own. For easy
access to custom templates saved in previous versions of CorelDRAW, add
the templates to the Template wizard. For more information, see “Working
with styles and templates” on page 143.
To create a drawing based on a template

1 Insert the CorelDRAW CD-ROM which contains the templates.
2 Click File, New From Template.
3 Enable one of the following buttons:
CorelDRAW Templates — to choose from a set of CorelDRAW
templates
PaperDirect Templates, text and paper samples — to choose from a
selection of PaperDirect text and paper templates
PaperDirect Templates, text only — to choose from a selection of
PaperDirect text templates
4 Click the Next button.
5 Follow the instructions.
6 Click the Finish button when you’re satisfied with your choices.
To return to a previous option, click the Previous button.
To preview the contents of a template, enable the Open With Contents

check box to display its thumbnail.
Opening a drawing
Opening a file in CorelDRAW is easy. CorelDRAW lets you view a thumbnail
of the file you are about to open. This allows you to save time by ensuring
you are opening the file you want.
To open a drawing
1 Click File, Open.
2 From the Look In list box choose the drive where the file is stored.
3 Double-click the folder where the file is stored.
4 Double-click the filename.
Getting started 23
To view a thumbnail of a file before opening it
Enable the Preview check box in the Open dialog box.
When you open a drawing, the bottom right corner of the Open Drawing
dialog box provides information about the version of the file and the
compression ratio with which it was last saved (e.g., 60% means the file
was 60% smaller after saving).
If you try to open a drawing that is already open, and to which you have
made changes, a message box appears asking if you want to revert to the
saved version of the drawing. Click Yes to replace the open drawing with
the saved version. Click No to keep the changes you made.
You can also open files by clicking the Open button.
Saving and closing drawings

CorelDRAW lets you save your files in the way that best suits your file
management needs. You can save only the selected objects of a drawing,
make a copy of a drawing by saving it with a different name, or save a
drawing in a format that is compatible with an earlier version of CorelDRAW.
There are also several vector formats you can choose from.
Save your files and
drawings in the way
that suits you best.
CorelDRAW offers advanced options that let you assign notes, keywords, and
thumbnails so you can find your files more easily in future sessions. You can
save fonts, textures, blends, and extrudes with the file, or save references to
them. These references reduce the size of your file, making it faster to open
and save.
Before you close an active file, CorelDRAW asks whether or not you wish to
save it. You can also close specific viewing windows, and close all open files
or views using a single command.
Saving files
You can specify a new filename for your drawing and a location in which to
store it. If you want to save only parts of your drawing, select and save them
under a filename that you specify.
To save a new drawing

1 Click File, Save As.
2 From the Save In list box, choose the drive where you want to save the
file.
3 Double-click the folder in which you want to save the file.
4 Type the filename in the File Name box and click Save.
To save selected objects only

1 Select the objects with the Pick tool.
3 Enable the Selected Only check box.
4 To keep the original drawing intact, type a different name in the File Name
box or choose a different folder from the Save In list box.
5 Click Save.
You can also use the Save As command to save a copy of an existing
drawing. Saving a copy under a different name keeps the original intact.
You can also save a file by clicking the Save button.
Saving files using other options

You can save your drawing in formats compatible with versions 5, 6, 7, or 8 of
CorelDRAW; in vector formats other than .CDR; or with the fonts embedded.
Embedding the fonts allows someone else to open the file without having the
drawing’s fonts on their system.
Getting started 25
Assigning keywords, notes, and thumbnails when you save a file can help you
find files later without having to remember their names.
To save a drawing in CorelDRAW 5, 6, 7, or 8 format

2 Choose Version 5, 6, 7, or 8 from the Version list box.
3 To keep the original drawing, type a different name in the File Name box
or choose a different folder from the Save In list box.
4 Click Save.
If you want to open your drawing in CorelDRAW version 5, 6, 7, or 8, but

your drawing contains fonts not supplied with those versions, convert the
text to curves using the Convert To Curves command before you save the
file.
To save a drawing in vector formats other than .CDR

2 Choose one of the vector formats in the Save As Type list box.
3 Click Save.
To save a drawing with the fonts embedded

2 Enable the Embed Fonts Using TrueDoc check box.
To add notes and keywords to a file

2 Type the information you want to record about the file in the Notes box.
Type the keywords you want to assign to the file in the Keywords box,
separating each keyword with a comma.
3 Click Save.
To set up the thumbnail of a file

1 Do one of the following:
Click File, Save — saves the file for the first time
Click File, Save As — changes the thumbnail of a file you saved
previously
2 Choose a thumbnail type from the Thumbnail list box.
3 Click Save.
Keywords can contain a maximum of 37 characters.

By default, CorelDRAW adds a color thumbnail to a file when you save it.
You can specify a monochrome thumbnail instead, or turn the thumbnail
off.
If your drawing has more than one page, CorelDRAW uses objects from
the active drawing page to create the thumbnail.
Saving files using Advanced Settings

CorelDRAW lets you make your files smaller, more portable, or faster to
open and save.
You can save various elements of your drawing (such as textures, blends, or
extrudes) with the drawing instead of saving a reference to them. Saving
textures, blends, and extrudes with the drawing increases the file size, but
causes complex drawings to open faster.
To save a drawing using Advanced Settings

2 Click the Advanced button.
3 Enable one or both of the following check boxes:
Save Presentation Exchange (CMX) — makes the drawing readable by
all applications that support the .CMX format. File size may increase.
Use Current Thumbnail — saves the drawing with the last thumbnail
generated. This speeds up saving.
4 In the File Optimization section, enable one or both of the following check
boxes:
Use Bitmap Compression — compresses bitmaps in the drawing to
reduce the file size
Use Graphic Object Compression — compresses graphic objects in the
drawing to reduce the file size
5 In the Textures section, enable one or both of the following check boxes:
Getting started 27
Save Textures With The File — allows complex drawings to open
faster. This increases the file size.
Rebuild Textures When Opening The File — creates smaller files.
Complex files may take longer to open.
6 In the Blends And Extrudes section, enable one or both of the following
check boxes:
Save Blends And Extrudes With The File — allows complex drawings
to open faster. This increases the file size.
Rebuild Blends And Extrudes When Opening The File — creates
smaller files. Complex files may take longer to open.
You can also access the Advanced Settings from the Options dialog box
under Document, Save.
Creating swap disk space for temporary file storage

You can store temporary files that are not currently in use in the swap disk
space that you specify in CorelDRAW. If you have two hard drives or two
partitions, you can use them to set up both a primary and a secondary swap
disk. For best results, set the total amount of swap disk space two or three
times larger than the size of your uncompressed open images.
To create swap disk space for temporary file storage

2 In the Options dialog box, click Workspace, Memory.
3 In the Swap Disk section, do the following:
From the Primary box, choose the drive letter that corresponds to the
hard disk you want to use first to store temporary files.
From the Secondary box, choose the drive letter that corresponds to
the second hard disk you want to use to store temporary files.
4 You will need to restart CorelDRAW for the new settings to take effect.
If you have customized the amount of swap disk space available, it is
displayed in the Status Bar.
You can click File, Document Info to see an image’s size. The Document
Info dialog box tells you whether the file size displayed is compressed.
When you work with .CPT or .BMP images, the file size is always shown
uncompressed.
Specifying how much RAM is used to store images

You can choose how much of the available RAM on your computer is
reserved for storing the images you open and edit. Set the amount of
memory based on the type of work you perform and the number of
applications you usually run simultaneously. If you increase the amount of
memory reserved for images and find the application’s performance has
decreased, you might need to reduce this amount so that more RAM is
available to run CorelDRAW.
To specify how much RAM is used to store images

2 In the Options dialog box, click Workspace, Memory in the list of
categories.
The Memory Usage section of the Memory page displays the total amount
of memory available on your computer.
3 In the Max box, type the percentage of the total memory you want to
make available for images in CorelDRAW.
The amount of memory this percentage corresponds to appears to the
right of the Max box.
4 You will need to restart CorelDRAW for the new settings to take effect.
The amount of memory allocated for images is displayed in the Status Bar.
Closing files and windows

If you want to keep the changes made to a file, save it before closing it. If you
try to close the file without saving, CorelDRAW asks if you want to save the
changes before closing the file. If you don’t want to keep the changes, close
without saving.
Getting started 29
The Close command on the Windows menu allows you to close the active
window or close all windows.
To close a file
Click File, Close.
To close the active window

Click Window, Close.
To close all windows

Click Window, Close All.
Archiving files
Archiving is a method of saving successive versions of your drawings, and it
provides two main benefits: you can access previous versions of your files,
and you can do so without creating a large number of files that take up
valuable disk space.
Keep old versions of
your files and
drawings organized
by archiving them.
When are files archived?

Your files are archived when you choose to do so; archiving is not automatic.
You control which versions are archived, depending on how significant they
are to you.
You can archive a file as a temporary or a permanent version of the file.
Temporary versions are replaced by newer versions when the maximum
number of temporary versions for the file is reached. Permanent versions are
kept until you choose to delete them.
Where do the archived files end up?
CorelDRAW lets you designate a directory for storing archived files.
Archived files have the same folder and filenames as your files.
You can also keep archived files in the same directory as the original file. No
matter where a file is archived (either to a local directory or to the versions
directory), the filename is the same. The filename is the full path of the
archived file, with special characters (backslash and colon) replaced with a $.
Archiving the current version of your file

CorelDRAW lets you save successive versions of your drawings, including
the one you are currently working on. This is called archiving, and it provides
two main benefits: access to previous versions of your files, and more disk
space. To archive files, you must first enable Version Control in your
Windows Control Panel.
To enable Version Control

1 Click Start, Settings, Control Panel.
2 Double-click Corel Versions.
3 Enable the Enable Version Control check box.
To archive the current version of your drawing

1 Click File, Version Control, Archive Document.
2 Enable one or more of the following check boxes:
Make First Version Permanent — preserves your first version as a
permanent version. This is a useful option if the file is fairly complete;
otherwise it is not necessary.
Use Compression — compresses your saved versions. This saves disk
space, but adds to your retrieval time for larger files.
Archive To Single Location — saves the archive to the directory
specified in the Corel Versions dialog box. If this box is not checked,
CorelDRAW stores the archive in the same directory as the original
file.
3 Type the desired number in the Maximum Number Of Temporary
Versions box.
This number is not affected by the number of permanent versions you
keep.
Getting started 31
When you enable the Make First Version Permanent check box, your file
is kept until you choose to delete it.
To set the default folder for archiving to a single location

1 Click Start, Settings, Control Panel.
2 Double-click Corel Versions.
3 Click the Browse button.
4 Double-click the folder where you want to archive your files.
Retrieving a previous version of the active file

Opening previous versions of your archived files is easy.
To retrieve a previous version of the active file

1 Click File, Version Control, Retrieve From Current Archive.
2 Select the version of the file you wish to retrieve from the Choose A
Version To Retrieve list box.
3 Click the Retrieve button.
To retrieve a previous version of another archived file

1 Click File, Version Control, Retrieve From Saved Archive.
2 In the Look In list box, double-click the folder containing the archived file
you wish to use.
3 Click the filename.
4 Click the Open button.
5 Select a version of the file in the Choose A Version To Retrieve box.
6 Click the Retrieve button.
Backing up your work

It’s important to safeguard your work against power failures or system
problems that can corrupt and destroy your files. CorelDRAW provides
automatic saves and backup features that protect your files in case you forget
to save them manually.
You can set values to specify automatic save intervals. CorelDRAW saves
your file according to the time intervals that you set. This file is named
BACKUP_OF_FILENAME, where Filename is the name of your file.
Another way to safeguard your work is to instruct CorelDRAW to
automatically create a backup copy of your image every time you save. This
file is named AUTOBACKUP_OF_FILENAME, and is saved in the same
folder as your CorelDRAW file.
When a non-CorelDRAW file is opened, it opens in the CorelDRAW file
format. This version of the file is then backed up.
Saving your images automatically

To safeguard your work against accidents and system problems, save your
images automatically as you work.
To save images automatically

2 In the list of categories, click Workspace, Save.
3 Enable the Auto-backup check box in the Auto-Backup section.
4 Type a value in the Minutes box.
The number that you type represents the time interval between
auto-saves.
Save Back-up To Same Folder As The CDR File
Always Back-up To: click the Browse button and choose a folder
Files created by the Auto-backup feature are named

AUTOBACKUP_OF_FILENAME.
Creating backup copies of your images

You can create a backup copy of an image each time you save it so that you
always have another version of the file on your computer.
To create backup copies of images

2 In the list of categories, click Workspace, Save.
Getting started 33
3 Enable the Make Backup On Save check box.
By default, CorelDRAW backs up files to the same folder in which you
save your document.
Backup files are named BACKUP_OF_FILENAME.
Setting up the Drawing page

To start a drawing, you’ll need to know what page size and orientation you
want to use. You can change and customize the size, orientation, and layout of
the pages in your document according to your needs. There are also controls
that allow you to modify your view of the document, or modify background
properties such as bitmaps, color, printing options, and exporting options.
Use the page setting
options in the
Options dialog box to
adjust the
appearance of the
page.
You can also choose from nearly 40 predefined page sizes and orientations,
including standard legal and letter paper, envelopes, and slides. If you can’t
find the page size you require, you can create and save your own custom
page size.
Creating labels
CorelDRAW provides more than 800 label formats from some 40 label
manufacturers. You can choose a label and (in most cases) adjust it as needed.
You can also create and save your own original labels.
Each label you create should appear on a separate Drawing Page. Before you
print labels, however, check your printer’s warranty information. Some
manufacturers state that your warranty is invalidated if your labels damage
the printer.
Setting the layout style
CorelDRAW offers layouts for single-page documents as well as standard
multipage publications like booklets and pamphlets. You work with the pages
in sequential order on screen, and when you are ready to print them
CorelDRAW automatically arranges them in the order required for printing
and binding.
For example, if you create a four-page newsletter using standard letter-size
pages, you will work with the pages upright and in sequential order.
However, the printer will need to work with printer spreads. In this example,
printer spreads require that pages two and three be facing pages, while pages
one and four are also facing pages. These sets of facing pages are printed on
opposite sides of one tabloid-size sheet of paper, which is then folded in half
to create the newsletter. But while you are still creating the newsletter, you
can work with the pages one by one, upright and in sequential order.
Inserting, renaming, and deleting pages

You can add, rename, and delete pages in your document. If you have a
document with three or more pages, you can delete a range of pages.
To insert a page
1 Click Layout, Insert Page.
2 Type the number of pages you want to add in the Insert Pages box.
3 Click Before or After to specify where you want to add the page relative to
the active page.
In multipage documents, type a new page number in the Page box to
change the relative page.
To rename a page
1 Click Layout, Rename Page.
2 Type the name of the page in the Page Name box.
To delete a page
1 Click Layout, Delete Page.
2 Type the number of the page you want to delete in the Delete Page box.
To delete a range of pages

1 Click Layout, Delete Page.
Getting started 35
2 Type the number of the first page in the Delete Page box.
3 Enable the Through To Page check box.
4 Type the number of the last page in the box beside the Through To Page
check box.
Setting the default page size for multipage documents

CorelDRAW provides an array of preset page sizes to choose from, including
standard North American and European sizes, and it also lets you create your
own custom page sizes. You can use these settings to design a wide variety of
publications, from small Internet graphics to newsletters or giant posters.
In a multipage document, the page size you assign anywhere in your
document becomes the default size for all pages. Any new pages you add to
the document later are automatically assigned the same default page size.
However, you can give individual pages a custom size within a multipage
document without affecting other pages that are using the default. For
instance, you can have a 10-page document containing letter-size pages; any
pages you add to the document will assume the default page size (letter). But
if you wish, you can change page two, or six, or any other individual page, to
a different size — legal, for instance — without affecting the rest of the
document.
To set the default page size for a multipage document

1 With your document open on any page, click the top of the Set Default or
Current Page Size & Orientation button on the Property Bar.
2 Choose a preset paper size from the Paper Type/Size list box on the
Property Bar.
To set the size of a single page within a multipage document

1 On the page you want to change, click the bottom of the Set Default or
Current Page Size & Orientation button on the Property Bar.
2 Choose a preset paper size from the Paper Type/Size list box on the
Property Bar.
Setting a page to a size that is not the default causes any Preset guidelines
on that page to disappear.
Mixed page sizes are unavailable if you have enabled the View Facing
pages option, are creating labels, or have the document page layout set to
anything other than full page.
The Set Default or Current Page Size & Orientation button is also used to
set default and individual page orientations. For information on setting the
default page orientation, see “Setting the default page orientation for
multipage documents” on page 38.
You can also specify a single page’s size by clicking Layout, Resize Page.
Defining, saving and removing a custom page size

If CorelDRAW doesn’t provide the page size you require, you can create your
own. Custom page sizes are useful for creating Web graphics, icons, or
buttons. You can create a page as large as 150 by 150 feet or as small as 1
pixel by 1 pixel.
Custom pages are displayed in the Paper Type/Size list box on the Property
Bar.
To define a custom page size

1 Click Layout, Page Setup.
2 Enable the Normal Paper button.
3 Choose Custom from the Paper list box.
4 Type the horizontal and vertical page dimensions in the Width and Height
boxes.
5 If required, choose a different unit of measurement from the list box that
appears beside the Width box.
The dimensions automatically convert when you change units.
You can also define a custom paper size by typing values in the Paper
Width and Height boxes on the Property Bar.
To save a custom page size

1 Follow steps 1 to 4 from the previous procedure.
Getting started 37
2 Click the Save Custom Page button.
3 Type the name of the new page type in the Save Custom Page Type As
box.
To delete a custom page size

3 Choose the custom page size from the Paper list box.
4 Click the Delete Custom Page button, and click Yes to confirm the
deletion.
Setting the default page orientation for multipage documents

The default page orientation that you choose — landscape or portrait —
automatically applies to every page in a multipage document. Any new pages
you add after creating the document are automatically assigned the same
orientation.
You can set the page
orientation to
landscape or
portrait.
However, you can change the orientation of an individual page within a

multipage document without affecting the orientation of other pages using
the default. For instance, you can have a 10-page document using portrait
orientation as the default. Any new pages you add will assume the default
orientation (portrait). But you could change page two or six, or any other
individual page, to landscape orientation — without affecting the other pages.
To set the default page orientation for a multipage document

using the Property Bar
1 With your document open to any page, click the top half of the Set Default
or Current Page Size & Orientation button on the Property Bar.
2 Enable one of the following buttons on the Property Bar:
Landscape — if you want the horizontal dimension of the page to be
greater than the vertical dimension
Portrait — if you want the vertical dimension of the page to be greater
than the horizontal dimension
You can also set the default page orientation for a multipage document by
clicking Layout, Switch Page Orientation.
To set the orientation of a single page within a multipage

document
1 With your document open to the page whose orientation you wish to
change, click the bottom half of the Set Default or Current Page Size &
Orientation button on the Property Bar.
2 Enable the Portrait button or the Landscape button on the Property Bar.
Setting a page to an orientation that is not the default will cause any
Preset guidelines on that page to disappear.
Mixed page orientations are unavailable if you have enabled the View
Facing pages option, are creating labels, or have the document page layout
set to anything other than full page.
The Set Default or Current Page Size & Orientation button is also used to
set default and individual page sizes. For information on setting the default
page size, see “Setting the default page size for multipage documents” on
page 36.
Matching page size and orientation to the current printer settings

If the paper size and orientation don’t match the printer’s current settings, a
message appears when you attempt to print the drawing. This message asks
if you want CorelDRAW to match these settings automatically. You can click
Yes, or use the following procedure to get the page properties you need.
To match the page size and orientation to the current printer

settings
1 Click Layout, Page setup.
2 In the list of categories, click Size.
Getting started 39
Landscape — if you want the horizontal dimension of the page to be
greater than the vertical dimension
Portrait — if you want the vertical dimension of the page to be greater
than the horizontal dimension
Matching page size and orientation to the current printer settings will not
reorient or resize pages that were individually reoriented or resized in a
multipage document.
Navigating multipage documents

The Navigator lets you add and delete pages, and helps you view multipage
documents quickly without interrupting your work.
The Navigator helps
you flip through
multipage documents
quickly.
The Navigator appears in the bottom-left corner of the Drawing Window,

immediately to the left of the page tabs. It shows the total number of pages in
your drawing as well as the number of the active page.
To add, rename or delete a page, or change its size or orientation

Right-click the page’s tab, and click a command.
To add a page at the beginning or end of the document

Move to the first or last page, then click the Add Page button on the
Navigator.
To go to a specific page in the document quickly

Click one of the following buttons on the Navigator:
First Page button — moves you to the first page in the document
Last Page button — moves you to the last page in the document
Forward One button — goes forward one page
Back One button — goes back one page
Page Number button — lets you choose a specific page number to go to
Setting the layout style

CorelDRAW offers layouts for single-page documents as well as standard
multipage publications like booklets and pamphlets. You work with the pages
in sequential order on screen, but when you are ready to print them,
CorelDRAW automatically arranges them in the order required for printing
and binding. Depending on the type of document you create, the printing
order may need to be different from the order you work in.
CorelDRAW
automatically prints
your documents to
match the layout
style you’re using.
The advantage of the layouts offered by CorelDRAW is that regardless of the

layout required to print your document, you can edit each page in upright
orientation in sequential order in the Drawing Window.
To set the layout style

2 In the list of categories, click Layout.
3 Choose a layout style from the Layout list box.
Each layout style is accompanied by a short description and a graphical
example in the Preview window.
Viewing facing pages

You can display two consecutive pages on the screen at the same time. This
option lets you create objects that span two pages. You can specify whether
you want CorelDRAW to start the document on a right- or left-facing page.
Getting started 41
To view facing pages
2 In the list of categories, click Layout.
3 Enable the Facing Pages check box.
To set the starting side of a multipage document

1 Follow steps 1 and 2 from the previous procedure.
2 Choose one of the settings from the Start On list box:
Left Side — starts the document on a left-facing page
Right Side — starts the document on a right-facing page
You will be unable to view facing pages if your document uses multiple
page sizes and orientations, or a Tent Card or Top Fold Card layout style.
The Left Side option is only available for the Full Page and Book layout
styles.
Setting the rulers’ resolution

When you change the resolution at which you plan to view or print your
document, CorelDRAW adjusts the Horizontal and Vertical rulers to reflect
the new resolution. The number of pixels equals the resolution multiplied by
the page dimensions. For example, a document that is five inches by five
inches at 72 dpi has 360 pixels. You can change the resolutions used by the
Horizontal and Vertical rulers to configure the rulers.
For information about using pixels as the unit for a drawing, see “Setting
ruler units for Internet graphics” on page 58.
To set the rulers’ resolution

3 Choose a resolution from the Resolution list box.
If required, choose Other, and type custom values in the Horizontal
Resolution and Vertical Resolution boxes.
Adding and removing a page background
You can color the background of the Drawing Page with a solid color or a
bitmap. You can also print and export backgrounds with your drawing. When
using a bitmap to create a background, specify the dimensions of the bitmap
and link the graphic to (or embed it in) your document.
You can add a page
background to
enhance the
appearance of a
document.
When you link a graphic to your document, your document automatically

reflects any changes you make to the source graphic. Embedded objects
remain the same. Remember to include any linked graphics when sending
the file to someone.
To color a page background using a solid color

2 In the list of categories, click Background.
3 Enable the Solid button.
4 Choose the color you want from the list box.
If you don’t see an appropriate color, click the Other button. The Select
Color dialog box opens, allowing you to create a custom color or to choose
a color from any of the color models provided with CorelDRAW.
To color a page background using a bitmap

2 In the list of categories, click Background.
3 Enable the Bitmap button.
5 Choose the file format of the bitmap you want to import from the Files Of
Type box.
Getting started 43
6 Choose the drive and folder where the file is stored from the Look In list
box.
7 Double-click the folder and the filename.
To link or embed the bitmap background

1 Follow all of the steps from the previous procedure.
Linked — links the bitmap externally
Embedded — adds the bitmap to your document
To alter the size of the bitmap background

1 Follow all of the steps from the “To color a page background using a
bitmap” procedure.
2 Enable the Custom Size button.
Enable the Maintain Aspect Ratio check box — maintains the
horizontal and vertical proportions of the bitmap
Disable the Maintain Aspect Ratio check box — specifies
nonproportional height and width values
4 Type values in the H (horizontal) and V (vertical) boxes to specify the
background width.
You can set the size of a bitmap to its default size by enabling the Default
Size button.
To make the background printable and exportable

1 Follow all of the steps from the “To color a page background using a
bitmap” procedure.
2 Enable the Print And Export Background check box.
Disabling the check box allows you to use the background for display
purposes only.
To remove a page background

2 In the list of categories, double-click Document, Page, and click
Background.
3 Enable the No Background button.
Hiding and displaying the page border and bleed

The page border — the shadowed rectangle that appears in the Drawing
Window — indicates the dimensions and orientation of the Drawing Page.
Although displayed by default, you can hide the page border while you work.
However, it’s a good idea to display the frame again before printing to ensure
that your drawing fits on the page.
A bleed is the extra bit of color, image or text that goes over the edge of the
page so that after the printer cuts, binds, and trims it, there is no white space
between the edges of your image and the edge of the paper. If you want a
bleed, ensure that you draw your image so that it extends a few millimetres
over the page borders. The bit extending over the borders is called the bleed,
and CorelDRAW displays it with dotted lines along the page borders.
To hide or display the page border

2 In the list of categories, double-click Document, and click Page.
Disable the Show Page Border check box — hides the page border
Enable the Show Page Border check box — shows the page border
To hide or display the bleed

2 In the list of categories, double-click Document, and click Page.
Disable the Show Bleed Area check box — hides the bleed
Enable the Show Bleed Area check box — shows the bleed
Viewing the bleed on screen is not the same as setting a bleed limit for
printing; the dotted line that indicates the bleed is a visual guideline only.
You may also need to set a bleed limit in the Print dialog box when you
prepare your drawing for printing. For more information on setting a bleed
limit in the Print dialog box, see “Setting a bleed limit” on page 722.
Getting started 45
You can display the bleed quickly by clicking View, Bleed.
Starting new documents with default options

You can begin new documents with default options of your choice, presetting
such features as guidelines, page size and orientation, grid, and rulers.
To start new documents with specific page layout options

1 Click Tools, Options, Document.
2 Enable the Save Options As Defaults For New Documents check box.
Creating labels
CorelDRAW offers more than 800 predesigned label formats from some 40
label manufacturers for you to choose from. The list uses a file and folder
setup (similar to Windows Explorer) and the label formats are arranged
alphabetically by manufacturer. You can preview the dimensions of the labels,
and see how they fit on a printed page. If CorelDRAW does not provide a
label style that meets your requirements, you can modify an existing style or
create and save your own original style. You can also remove any label style
from the list.
You can create labels
quickly and easily
using preset label
styles.
To use a preset label style

2 In the list of categories, click Label.
3 Enable the Labels button.
4 Choose the manufacturer name from the list.
5 Choose the label style you want from the list.
To add a custom label style
2 Double-click the manufacturer name, and choose the label style closest to
the one you want in the list.
3 Click the Customize Label button.
4 Adjust the label size, margins, gutters, and the number of labels appearing
on each sheet by typing values in the boxes provided.
5 Click the Add button.
6 Type a name for the new label style in the Save As box.
You will be unable to create labels if your document uses multiple page
sizes and orientations.
Using consistent settings for new documents

When you close a CorelDRAW file, certain settings are automatically
retained. These include all settings currently displayed in the Options dialog
box, as well as all toolbar settings. CorelDRAW also remembers which
Docker and Color Palette you were using when you closed the drawing.
The Document page lets you save settings so that CorelDRAW always opens
new drawings using them. The following table outlines each setting type and
the individual settings it comprises.
Setting type What CorelDRAW saves

General options The current general document settings
Page options The current page size and orientation, label settings, print layout, page
border, and page background settings
Grid And Ruler options The current grid, ruler, snap to grid, and scale settings
Guideline options The current guideline and snap to guideline settings
Styles The current default fill, outline, fill settings, and text properties
Save options The current advanced file saving settings, including thumbnail, file
optimization, textures, blends, and extrusions (accessed by clicking the
Advanced button in the Save Drawing dialog box)
Publish To Internet options The current publish to Internet settings
Getting started 47
Saving settings for new documents
You can create a basic work environment that will be the same every time
you start a new drawing or document. For example, if you most often display
inches on the rulers, enable the Snap To Grid command, and use a drawing
scale of 1:16, you can save these settings so that they are used by default for
all new documents.
To apply the settings of the active drawing to all new documents

2 In the list of categories, click Document.
4 Enable the check boxes that correspond to the settings you want to use
for each new document.
Using the Scrapbook

The Scrapbook allows you to browse your computer’s folders, view
collections of clipart and photographs, import files into your drawing, apply
your favorite fills and outlines, and browse File Transfer Protocol (FTP)
sites.
The Scrapbook is a
folder filled with
clipart, photos, fills,
outlines, FTP sites,
and other items you
can use in your
drawings.
The Scrapbook Docker window is divided into six pages: Browse, Clipart,
Photos, Favorite Fills And Outlines, 3D Models, and FTP Sites. To open the
Scrapbook to a specific page, choose that page from the Scrapbook submenu
in the Tools menu.
The Browse page lets you import items into your document from any folder
in your computer. The Clipart and Photos pages let you import clipart and
photo files into your document from the Clipart and Photo CD-ROMs. You
can drag items to the Browse page directly from your document.
The Favorite Fills And Outlines page lets you apply preset fills and outlines
to objects in your document. You can also save an object’s fill and outline
properties so that you can apply them to other objects. The FTP Sites page
lets you browse any FTP site and import or download files from those sites.
Browsing files, clipart, and photos using the Scrapbook

The Scrapbook’s Browse page provides a searchable view of your computer’s
folder and file hierarchy. This page serves two main functions: it allows you
to search your computer for a file you want to import, and after you find the
file, it allows you to drag it directly into your document. This function is
especially useful for importing objects or files created using one of the
applications in the CorelDRAW Graphics Suite or other compatible
applications.
The Clipart and Photo pages of the Scrapbook also allow you to search for the
type of file you want and allow you to drag it into your drawing. The Browse,
Clipart, and Photo pages let you do basic file management tasks.
Importing, opening, and printing files, clipart, and photos using the
Scrapbook
The Scrapbook makes it easy to import, open, and print files, clipart, and
photos from your computer’s hard drive or from the clipart CD-ROM
included with CorelDRAW.
To import files, clipart, or photos into your document

Click Tools, Scrapbook, Browse — opens files stored on your computer
Click Tools, Scrapbook, Clipart — opens a clipart image or object
Click Tools, Scrapbook, Photos — opens a photograph
2 Open the folder that contains the file you want.
3 Drag the file’s icon from the Scrapbook to the Drawing Window.
You can also copy and paste into your document by using the commands in
the right mouse button Context menu.
To open a file, clipart, or photo file

Getting started 49
Double-click the file’s icon.
Right-click the file’s icon, and click Open.
To print a file, clipart, or photo

1 Follow steps 1 and 2 from the procedure “To import files, clipart, or
photos into your document.”
2 Right-click the file’s icon, and click Print.
Managing files, clipart, and photos using the Scrapbook

After you use the Scrapbook’s Browse, Clipart, or Photos pages to find a file,
you can cut, copy, delete, or rename it, create a shortcut to it, or view its
properties.
To rename a file, view its properties, or to cut, copy, delete, or

rename it
Right-click the file’s icon, and click a command.
Browsing the preset fills and outlines using the Scrapbook

The Scrapbook’s Favorite Fills And Outlines page offers preset fills and
outlines that you can add to objects. You apply these fills and outlines to
objects the same way you add items from the Browse, Clipart, Photos, and
3D Models pages: by dragging them from the Scrapbook to your document.
In this case, however, you drag the fill or outline to a specific object.
The Favorite Fills And Outlines page also allows you to save your own
favorite fills and outlines for future use. This allows you to apply the fills and
outlines you use most without having to recreate them each time.
For information about applying fills and outlines to objects, see “Filling and
outlining objects” on page 211.
Saving a fill or outline on the Scrapbook’s Favorite Fills And Outlines

page
The Scrapbook’s Favorite Fills And Outlines page allows you to save an
object’s fill and outline properties so that you can apply them to other objects
in your document. By saving a fill or outline, you won’t have to recreate it
each time you want to apply it to an object.
To save a fill or outline in the Scrapbook

1 Click Tools, Scrapbook, Favorite Fills And Outlines.
2 Open the folder in which you want to save the fill or outline.
3 Using the Pick tool, drag the object that has the fill or outline you want to
the Scrapbook.
4 In the Save A Favorite dialog box, enable or disable the check boxes to
indicate the fill and outline properties you want to save.
You can also save a favorite fill and outline in the Scrapbook by dragging
the object with the right mouse button to the Scrapbook.
To display the contents of a folder, double-click its icon. If you want to
move up one level in the folder hierarchy, click the Up One Level button.
Applying a favorite fill or outline to an object

The Scrapbook’s Favorite Fills And Outlines page offers access to preset fills
and outlines provided by CorelDRAW, as well as fills or outlines that you’ve
created and stored. You can apply these fills and outlines to any object you
create in CorelDRAW. Fills appear in closed shapes only. For added
convenience, the fill and outline icons display thumbnails for each file.
To apply a favorite fill or outline to an object

1 Click Tools, Scrapbook, Favorite Fills And Outlines.
2 Open the folder that contains the fill or outline you want to apply.
3 Drag the icon of your favorite fill or outline to the object.
You can also apply a favorite fill or outline by selecting an object with the
Pick tool, then double-clicking the icon that represents the fill or outline.
Managing favorite fills and outlines using the Scrapbook

After you use the Scrapbook’s Favorite Fills And Outlines page to find a file,
you can use the right mouse button to access a full set of file management
commands.
To cut, copy, delete, or rename a file, or to create a shortcut or

view its properties
Right-click the file’s icon, and click a command.
Getting started 51
Browsing FTP sites using the Scrapbook
Using the Scrapbook, you can connect, either anonymously or by supplying a
user name and password, to any File Transfer Protocol (FTP) site. After you
connect to a site, you can browse its contents for files to include in your
document. When you find a file you want to use, you can import it into your
document or download a copy to your local drive. You can’t upload files from
your document to the FTP Sites page.
Initially, you connect to an FTP site by typing its address. After you connect
to a site, you can create a shortcut to the site so that you don’t have to retype
its address each time you visit. Creating shortcuts is the easiest way to
access the sites you use most often. However, if you choose not to create a
shortcut, you can connect to a site by retyping its address. CorelDRAW also
maintains a history of the last eight sites to which you’ve connected.
A shortcut to Corel’s FTP site (ftp.corel.com) is saved as your first favorite
on the Scrapbook’s FTP Sites page.
Connecting to FTP sites

Most FTP sites let you connect anonymously to the site by typing an address
— for example, ftp.corel.com. However, some FTP sites are restricted and
you cannot access them unless you supply a valid user name and password.
After you connect to a site, you can create a shortcut to it so that you don’t
have to retype the address each time you visit. Creating shortcuts is the
easiest way to access the sites you use most often.
To connect anonymously to an FTP site

1 Click Tools, Scrapbook, FTP Sites.
2 On the Scrapbook’s FTP Sites page, right-click a blank area, and click Go
To Site.
3 Enable the Perform an Anonymous Login check box.
4 In the Enter FTP Site Name dialog box, do one of the following:
Type the address of the site to which you want to connect.
Choose an address from the list box.
To connect to an FTP site by supplying a user name and password

2 Disable the Perform An Anonymous Login check box.
3 Click OK.
4 In the Enter Username And Password dialog box, type the appropriate
information in the User Name and Password boxes.
To maintain the security of a restricted FTP site, your user name and
password are not saved with the site if you save it as a favorite. You are
required to type your user name and password each time you connect to a
restricted FTP site.
To create a shortcut to a favorite FTP site

Right-click a blank area in the favorite site, and click Save Site.
The shortcut appears as a folder on the Scrapbook’s FTP Sites page.
To connect to an FTP site using a shortcut

1 Double-click a shortcut on the Scrapbook’s FTP Sites page.
2 In the Enter Username And Password dialog box, perform an anonymous
login or supply a user name and password.
If you choose not to create a shortcut, you can connect to a site by either
retyping its address or choosing the address in the Enter FTP Site Name
dialog box.
You can also log in by right-clicking a shortcut, then clicking Browse.
Obtaining files from FTP sites

After you connect to an FTP site, you can browse the site for files to include
in your document. When you find a file you want to use, you can import it
into your document, download a copy to your local drive, or drag it to your
document.
To open a folder within an FTP site

1 Click Tools, Scrapbook, FTP Sites.
2 Connect to the FTP site you want to browse.
Getting started 53
In the FTP site, double-click a folder.
Right-click a folder, and click Open.
To import a file into your document from an FTP site

Double-click the file.
Right-click the file, and click Import.
To save a file to your local drive from an FTP site

1 Follow steps 1 to 3 from the procedure “To open a folder within an FTP
site.”
2 Right-click the file, and click Get File.
3 In the Save As dialog box, select the drive and folder where you want to
save the file.
4 Type a name for the file in the File Name box.
5 Choose the file format in which you want to save the file from the Save As
Type list box.
To drag a file to your document from an FTP site

1 Follow steps 1 to 3 from the procedure “To open a folder within an FTP
site.”
2 Drag the file from the Scrapbook to your document.
You can’t upload files from your document to the FTP Sites page.
You can drag a file using the right mouse button. When you release the
mouse button, a pop-up menu appears, allowing you to click the Drop
CorelDRAW Internet File Data command.
Using the rulers, grid, and guidelines

The rulers, grid, and guidelines help you draw and arrange objects with
precision. The rulers are adjustable and give you a sense of location and size
in the Drawing Window. The grid is also adjustable and is superimposed on
your drawing to help you draw and align objects precisely. Guidelines are
lines that you add to the Drawing Window to help you align objects. By
default, guidelines do not appear when you print your work; you can set them
to print using the controls in the Object Manager. For more information
about the Object Manager, see “Using the Object Manager” on page 186.
How and when to use the rulers, grid, and guidelines is up to you; you can
set the properties that control how these tools operate in your drawing. You
will probably find it helpful to ensure that the rulers, grid, and guidelines are
set up the way you want before you start adding objects to a drawing.
Although you can change their settings at any time — for instance, viewing
the grid as lines and then changing it to dots, or moving the guidelines
around the Drawing Window — you’ll probably find that you work more
quickly if you set up the rulers, grid, and guidelines first.
Using the rulers and grid

The on-screen rulers help you determine the size and position of objects in
your drawing. The rulers can be particularly effective when you use them to
position objects when dragging them with the mouse. As you move the
mouse pointer around the Drawing Window, the rulers find your current
position relative to their origin (the position where the rulers’ 0 points
intersect). The Status Bar displays the mouse pointer’s position by default.
The rulers can display the unit of measurement that best suits your drawing.
The grid works with the rulers to help you align and position objects
accurately. CorelDRAW displays the grid as a series of intersecting lines
spaced according to settings you specify. Displaying the grid is an easy and
accurate way to position objects relative to one another and to the Drawing
Page. In addition, you can snap objects to the grid to ensure they
automatically line up with the grid when you move them.
The grid and rules
work together to help
you set an object’s
size and position.
Setting a drawing scale

You can increase the effectiveness of the rulers and grid by establishing a
drawing scale that relates all distances in the drawing to distances in the real
Getting started 55
world. For example, if you create a technical drawing in which you want to
show large objects on a small page, you can adjust the drawing scale
accordingly.
Setting ruler parameters

The rulers can help you determine the size and position of objects. Before
using the rulers, determine the position of the ruler origin — the place
where the rulers’ 0 points intersect. Putting the ruler origin exactly where
you want it on the Drawing Page ensures that the ruler coordinates begin
from the exact location you need.
Drag the ruler
intersection to the
Drawing Window to
reposition the ruler
origin.
In addition to positioning the ruler origin, you can move the rulers within the
Drawing Window so that you can use them most effectively. For example,
you can move the rulers over your drawing to create or move an object with
precision.
Reposition the rulers
to create or move
objects with
precision.
To set the ruler origin

2 In the list of categories, double-click Document, and click Rulers.
3 Type values in the Horizontal Origin and Vertical Origin boxes to set the
location of the origin.
The values you specify represent the position of the ruler origin relative
to the bottom-left corner of the Drawing Page. For example, if you set 1.0
as the horizontal coordinate and 5.0 as the vertical coordinate,
CorelDRAW places the ruler origin 1 inch to the right and 5 inches up
from the bottom-left corner of the Drawing Page.
You can also set the ruler origin by dragging the ruler intersection point
onto the Drawing Window.
To reposition the rulers

Do one of the following:
Hold down SHIFT, and drag the ruler to a new position.
Hold down SHIFT, and drag the ruler intersection point to move both
rulers simultaneously.
To return a ruler to its previous position

Hold down SHIFT, and double-click the ruler.
You can open the Rulers page in the Options dialog box by double-clicking
either of the rulers in the Drawing Window.
Setting ruler units

You can change the units of measurement displayed on the Horizontal and
Vertical rulers. CorelDRAW provides an array of units, ranging from points,
millimeters, and inches to larger units such as meters, kilometers, and miles.
Use the unit setting that best suits the type and size of drawing you want to
create.
To set ruler units using the same units for the horizontal and
vertical rulers
3 Enable the Same Units For Horizontal And Vertical Rulers check box, and
choose a unit of measurement from the Horizontal list box and Vertical list
box.
Getting started 57
To set ruler units using different units for the horizontal and
vertical rulers
2 Disable the Same Units For Horizontal And Vertical Rulers check box, and
choose units of measurement from the Horizontal list box and the Vertical
list box.
When you change the ruler units, the grid frequency automatically
converts to maintain the same relative distance between lines on the grid.
For instance, if your preference is to have four lines per inch, and you
change the ruler units to centimetres, CorelDRAW will automatically
convert the grid frequency to the right number of lines per centimetre —
in this case, one line every 1.6 centimetres.
Enable the Show Fractions check box if you want the rulers to display
measurements in fractions instead of decimals.
You can also change the units of measurement on the rulers by choosing a
unit of measurement for the Horizontal and Vertical rulers from the
Drawing Units list box on the Property Bar.
Setting ruler units for Internet graphics

When creating a graphic for Internet use, it is usually best to use pixels as
your ruler unit. Using pixels and setting a horizontal and vertical resolution
for your graphic ensures that it looks the same regardless of what application
is used to display it.
For more information, see “Setting up the Drawing page” on page 34.
To display ruler measurements in pixels

3 Choose Pixels from the Horizontal list box.
4 Enable the Same Units For Horizontal And Vertical Rulers check box.
5 Click the Resolution button.
6 Type a value in the Horizontal Resolution box.
To make the horizontal and vertical resolutions the same, enable the
Identical Values check box.
To make the horizontal and vertical resolutions different from each
other, disable the Identical Values check box, and type a value in the
Vertical Resolution box.
Setting ruler precision marks

You can choose how many precision marks appear between each full unit
mark or “tick” on the Horizontal and Vertical rulers.
To set the number of tick division marks

3 Choose the option you want from the Tick Divisions list box.
Setting the drawing scale

You can set the scale for your drawing. In CorelDRAW, the scale represents a
ratio between the drawing (page distance) and the real world (world
distance). For example, if you choose a drawing scale of 1:10, one unit on the
ruler corresponds to 10 units of “real” distance. Setting a drawing scale is
particularly useful when creating a technical or architectural drawing in
which you need to draw a large item on a relatively small page.
You can choose from preset scales or create a custom scale to suit your
needs.
To choose a preset drawing scale

3 Click the Edit Scale button.
4 Choose a drawing scale from the Typical Scales list box.
To create a custom drawing scale

2 Choose Custom from the Typical Scales list box.
3 Type a value in the Page Distance box to set the part of the scale
represented in the drawing.
Getting started 59
4 Choose a unit for the page distance from the list box.
5 Type a value in the World Distance box to set the distance you want
represented by each unit of page distance.
If you want to change the World Distance units, change the Horizontal
ruler units.
If the drawing scale is set to anything other than 1:1, the Vertical ruler
units will always be the same as the Horizontal ruler units. For more
information about changing ruler units, see “Setting ruler units” on page
57.
Setting grid parameters

You can set the spacing between grid lines using two options: frequency and
spacing. Frequency sets the distance between grid lines according to how
many grid lines you want per horizontal and vertical unit. Spacing sets this
distance by specifying the exact distance you want between each line. The
grid acts the same way no matter which option you choose.
By default, CorelDRAW displays the grid as lines resembling graph paper.
You can choose to display the grid as dots, which are not as noticeable. The
points where horizontal and vertical lines intersect represent grid dots. The
frequency or spacing settings you specify apply to both lines and dots.
Displaying the grid
as lines.
To set the distance between grid lines

2 In the list of categories, double-click Document, and click Grid.
3 Click one of the following buttons:
Frequency — sets the grid spacing as a number of lines per unit of
measurement selected
Spacing — specifies the distance between each grid line
4 Type values in the Horizontal and Vertical boxes.
To display the grid as dots

2 Click the Show Grid As Dots button.
Set high Frequency values or low Spacing values for added precision.
Using Snap To Grid

The Snap To Grid feature helps you align objects precisely. When you enable
Snap To Grid, objects you move or draw automatically snap to the grid so that
they line up vertically and horizontally with the nearest grid marker.
To have objects snap to the grid

2 In the list of categories, double-click Document, and click Grid.
3 Enable the Snap To Grid check box.
You can also make objects snap to the grid by clicking the Snap to Grid
button on the Property Bar, or by clicking View, Snap To Grid.
Displaying the rulers and the grid

You can choose when and how you want to display the rulers and the grid. If
screen space is limited, you might choose to hide the rulers and display them
only when you need them. Or, if you want to view your drawing as it will
appear when you print it, you can hide the grid and display it later. The rulers
and grid maintain their settings even when you hide them.
Getting started 61
To display or hide the rulers
Click View, Rulers.
If no check mark appears next to the command name, the rulers are
hidden. If a check mark appears, the rulers are displayed.
To display or hide the grid

Click View, Grid.
If no check mark appears next to the command name, the grid is hidden. If
a check mark appears, the grid is displayed.
Working with guidelines

Guidelines are lines that you can place anywhere in the Drawing Window to
help you align and position objects. You can create any number of Horizontal,
Vertical, and Slanted guidelines and save them with your drawing. You can
also enable snapping to guidelines so that objects automatically align with the
guidelines when moved or drawn nearby.
Use guidelines to
help you create,
align, and position
objects in the
Drawing Window.
You can select, rotate, nudge, duplicate, and delete guidelines as you would
other objects. You can choose any color for your guidelines, but selected
guidelines always appear red. You can also hide the guideline layer using the
Object Manager. For information about the Object Manager, see “Using the
Object Manager” on page 186.
By default, guidelines do not appear in printed copies of your work. If you
want to print guidelines, you can do using the Object Manager. For more
information, see “Enabling and disabling the printing of a layer” on page 197.
Adding standard guidelines

You can set up precise Horizontal, Vertical, and Slanted guidelines. You set up
Horizontal and Vertical guidelines based on the horizontal or vertical distance
from the 0 point on the appropriate ruler. Conversely, you set up Slanted
guidelines based on two specific ruler coordinates or one coordinate and an
angle. You can align objects along a guideline visually or have them snap to
the guideline for exact positioning.
You can create
horizontal and
vertical guidelines by
dragging from a
ruler to the Drawing
Window
For more speed than precision, use the mouse to add guidelines to your
drawing. You can create Horizontal and Vertical guidelines by dragging from a
ruler to the Drawing Window. To create Slanted guidelines, rotate a
Horizontal or Vertical guideline.
Any guidelines you add appear on every page of a multipage document
except for individually resized or reoriented pages.
You can begin all new documents with the same preset guidelines if you
choose.
To add a Horizontal or Vertical guideline

1 Click View, Guidelines Setup.
2 In the list of categories, choose Horizontal or Vertical.
3 Type a location for the guideline (relative to the 0 point on the Horizontal
or Vertical ruler) in the box.
4 Choose a unit from the Units list box.
To place a guideline below or to the left of the 0 point (for Horizontal or

Vertical guidelines, respectively), type negative numbers in the boxes.
You can also add a guideline by clicking on the Horizontal or Vertical ruler
and dragging onto the Drawing page.
Getting started 63
To add a Slanted guideline
2 In the list of categories, choose Slanted.
3 Choose a method of setting the guideline from the Specify list box.
Set two coordinates or one coordinate and an angle. For example, if you
choose Angle And 1 Point, you must set coordinates in the X and Y boxes
and an angle in the Angle box. The guideline you create passes through
that coordinate at the angle you set.
4 Type the endpoint coordinates relative to the 0,0 point on the rulers in the
X and Y boxes.
5 If you’re using the Angle And 1 Point option, type an angle value in the
Angle box.
You can turn an existing horizontal or vertical guideline into a slanted

guideline by clicking on the guideline twice so the rotation and skewing
handles appear.
To begin all new documents with preset guidelines

1 In the Tools menu, click Options, Document.
3 Enable the Guideline Options check box.
4 Disable the checkboxes beside options you do not want.
Double-clicking a guideline opens the Guidelines Setup page of the

Options dialog box.
Adding preset guidelines

Preset guidelines make it easy to apply frequently used guidelines to your
drawings. You can create your own presets, and you can apply those presets
to all new documents. If you resize or reorient the page after applying a
preset, the guidelines regenerate in the appropriate places.
Preset guidelines are available only on default pages in multipage documents,
and not on individually resized or oriented pages. For information about
setting up documents, see “Setting up the Drawing Page” on page 34.
To add preset guidelines

2 In the list of categories, choose Preset.
Corel Presets — lets you choose one or more of the different presets
offered by CorelDRAW
User Defined Presets — lets you define your own presets
4 Enable the check boxes beside the options you want.
If you’re using User Defined Presets, type the values you want in the
Margins, Columns and Grid boxes.
5 Click the Apply Presets button.
Positioning guidelines
You can move guidelines to positions that better suit your needs after you’ve
begun drawing. There are two ways to position guidelines that have already
been set: visually, by selecting them and dragging them with the mouse; or
with greater precision, using the Options dialog box.
To position Horizontal or Vertical guidelines using the mouse

Click on the guideline and drag it anywhere in the Drawing Window.
To position a Slanted guideline using the mouse

Double-click it, and rotate it as you would any other object until you get
the angle you want.
To position Horizontal or Vertical guidelines precisely

2 In the list of categories, choose Horizontal or Vertical.
3 Choose a guideline from the list at the left side of the dialog box.
4 Type a new location relative to the 0 point on the Horizontal or Vertical
ruler.
Getting started 65
If you want to move the guideline to the left of or below the 0 point (for a
Vertical or Horizontal guideline, respectively), type a negative number.
5 Choose a unit from the units list box, if required.
6 Click the Move button.
To position a Slanted guideline

2 In the list of categories, choose Slanted.
3 Choose a guideline from the list.
4 Choose a method of moving the guideline from the Specify list box.
5 Type the endpoint coordinates relative to the 0,0 point on the rulers in the
X and Y boxes.
6 If you’re using the Angle And 1 Point option, type an angle value in the
Angle box.
7 Click the Move button.
Repositioning a preset guideline changes it into a standard guideline.

Resizing or reorienting the page causes the original preset guideline to
regenerate.
Selected guidelines are always red.
Using Snap To Guidelines

The Snap To Guidelines feature helps you align objects precisely. When you
enable Snap To Guidelines, objects you move or draw near a guideline
automatically snap so that they line up with the guidelines. Objects snap to
guidelines in two ways. With Horizontal and Vertical guidelines, the edges of
an object’s selection box snap to the guidelines. With all types of guidelines,
the point you click on in the object when dragging it will snap to guidelines.
To use Snap To Guidelines

2 Enable the Snap To Guidelines check box.
To centre objects on guidelines
1 Click View, Snap to Guidelines, and make sure there is a check mark
beside Snap to Guidelines.
2 Select an object and move it over a guideline until its center of rotation
snaps to the guideline.
Objects also snap to the point where two guidelines intersect.
You can also snap objects to guidelines by clicking the Snap To Guidelines
button on the Property Bar, or by clicking View, Snap to Guidelines.
Displaying guidelines
You can alter how guidelines are displayed in a drawing at any time. You’ll
find it best to have guidelines showing when you’re drawing and positioning
objects. However, you might find it useful to hide them when you want your
drawing to look like it will when you print it.
You can change the
way guidelines are
displayed on the
page by coloring,
repositioning, or
hiding them.
You can change the colors of both default guideline and new guidelines you
create.
To display or hide guidelines

Click View, Guidelines.
You can also display guidelines by enabling the Show Guidelines check
box on the Guidelines page in the Options dialog box.
Getting started 67
To change the color of a guideline
Drag a color from the Color Palette onto the guideline.
Select the guideline and right-click on a color in the Color Palette.
You have to deselect the guideline to see the new color, since selected
guidelines are always red.
Locking guidelines
Locking a guideline prevents it from being selected, moved, or deleted
accidentally. You can unlock locked guidelines if you decide to move or delete
it.
To lock a guideline
1 Select the guideline.
2 Click Arrange, Lock Object.
To unlock a guideline
1 Select the guideline.
2 Click Arrange, Unlock Object.
You can also lock and unlock a guideline by right-clicking it, and clicking
Lock or Unlock Object.
Deleting standard guidelines

You can delete guidelines by selecting them with the Pick tool, then pressing
DELETE. If you remove a guideline from a multipage document, it is
removed from all pages.
To delete a guideline
2 In the list of categories, click Horizontal, Vertical, or Angle.
3 Choose the guideline.
To delete all Horizontal, Vertical, or Slanted guidelines
2 Click the Clear All button.
To delete a locked guideline

Right-click the guideline, and click Unlock Object.
You can select multiple guidelines by holding down SHIFT while selecting
them.
You can also use the Guidelines dialog box to delete one, some, or all of
the guidelines in the active document.
Deleting preset guidelines

You must delete preset guidelines using the Guidelines page of the Options
dialog box. If you delete a preset guideline any other way, the guideline
regenerates when you resize or reorient the page.
To delete a preset guideline

2 In the list of categories, click Presets.
3 Disable all the check boxes in the list of Corel Presets, and click OK.
Viewing your work

The view controls in CorelDRAW let you view your drawing according to
your needs. These controls consist of the Zoom flyout and View Manager as
well as commands available from toolbars and menus. You can use these
controls to change the way CorelDRAW displays objects, to magnify or
reduce your view, or to save specific views for future use.
Zooming and panning

CorelDRAW gives you quick access to tools that let you reduce or magnify
the view of your drawing. You can zoom in for a more detailed view, or out for
a broader view. You can also change your view by moving your drawing
around in the Drawing Window.
You’ll also find zoom controls on the Property Bar, the Zoom toolbar, and the
Standard toolbar. Using the Property Bar, you can zoom to any level of
Getting started 69
magnification. You can also choose from preset zoom levels to revert to a
specific magnification percentage quickly.
Zooming and panning do not affect your drawing — only your view of it.
Changing your view using the Zoom flyout

The Zoom and Pan tools make it easy to change your view of a drawing. The
Zoom tool lets you zoom in to get a closer look at an area of your drawing, or
out to get a view of a larger area. The Pan tool lets you move the Drawing
Page around to get the view you want. Using the Pan tool is much like using
your hand to move a piece of paper on a desk.
To zoom in on a
specific object, use
the Zoom tool to
enclose an object in
a marquee box.
CorelDRAW supports the Microsoft IntelliMouse. You can zoom and pan
using the wheel. Every notch you encounter on the wheel increases the
magnification level by 10 or 50 per cent. When you zoom between 1 per cent
and 100 per cent, the zoom level increases and decreases in 10 per cent
increments. When the magnification level is above 100 per cent, the zoom
increments increase to 50 per cent.
Use the pan tool to
move around the
Drawing Window
quickly.
To zoom in on an area of the drawing
1 Open the Zoom flyout and click the Zoom tool.
2 Click and drag diagonally in the Drawing Window to create a marquee box
around the area you want to magnify.
To zoom out
1 Open the Zoom flyout, and click the Zoom tool.
2 Right-click inside the Drawing Window.
To move a drawing in the Drawing Window

1 Open the Zoom flyout and click the Pan tool.
2 Drag the document to place it within the Drawing Window.
To zoom in or out using IntelliMouse

1 Point the mouse over an object.
Rotate the wheel forward (toward the monitor) to zoom in on the
object.
Rotate the wheel back (away from the monitor) to zoom out from the
object.
To pan using IntelliMouse

1 Click the Wheel button.
2 Point the mouse in the direction you want to move the Drawing Page.
To increase the panning rate, move the cursor away from the origin mark.
3 Click the wheel button to stop panning.
To zoom in on part of a page quickly — zoom to fit — , simply double-click

the Zoom tool, or click anywhere in the Drawing Window when the Zoom
tool is selected.
If you hold down SHIFT while left- or right-clicking the mouse, you
reverse the actions of the Zoom tool.
Getting started 71
Changing your view using the Property Bar
When you click the Zoom or Pan tool (found in the Toolbox), the Property
Bar displays a new set of controls. These controls include the Zoom and Pan
tools, as well as tools for changing your view. You can open the View
Manager to save and delete specific views.
These controls are visible on the Property Bar only when you select the
Zoom tool or Pan tool.
To change your view using the Property Bar

To see ... Do this (on the Property Bar) ...
A magnified view of the drawing Click the Zoom In button.
More of the drawing Click the Zoom Out button.
Objects at actual size Click the Zoom Actual Size button.
All selected objects Click the Zoom To Selected button.
All objects Click the Zoom To All Objects button.
The entire Drawing Page Click the Zoom To Page button.
The width of the Drawing Page Click the Zoom To Page Width button.
The height of the Drawing Page Click the Zoom To Page Height button.
The View Manager Click the View Manager button.
Changing your view using the Zoom and Standard toolbars

You can display the Zoom toolbar so that you always have zoom controls
available, regardless of what other tool you’re using. The Zoom toolbar
provides all the tools you need to get the view you want. These tools work
the same way as their counterparts on the Property Bar and in the View
Manager. For information about using these tools, see “Changing your view
using the Property Bar” on page 72 and “Changing your view using the View
Manager” on page 75.
You can jump to a preset magnification level in one step, or jump to a specific
magnification level. If the value you type exceeds the maximum
magnification level, CorelDRAW reverts to the maximum level. If you specify
high magnification levels (for example, 100000 per cent), CorelDRAW
displays the closest possible magnification level. You can also name and save
the magnification level you specify, using the Standard toolbar. For more
information, see “Saving user-defined zoom levels” on page 73.
To display the Zoom toolbar
2 Enable the Zoom check box.
To jump to a specific magnification level

Choose a magnification level from the Zoom Box control on the
Standard toolbar.
Type a value in the Zoom Box control.
Saving user-defined zoom levels

You can save a zoom level so that you can jump to it quickly. Once you have
zoomed in on an area of a Drawing Page, you can name and save it. After you
save it, you can remagnify any area by choosing that zoom level.
User-defined zoom levels are page specific. For example, if you name and
save a user-defined zoom level on page 1 of a multipage document, the zoom
level is only available when you display page 1.
If you rename the user-defined zoom level, the View Manager reflects the
new name.You must use the View Manager to delete a user-defined zoom
level. For more information, see “Saving, using, and deleting specific views”
on page 75.
To save a user-defined zoom level

1 Click in the Zoom Levels list box on the Standard toolbar.
2 Type a name for the zoom level, and press ENTER.
Setting Zoom tool defaults

You can customize the Zoom tool default settings to have it respond a certain
way when you right-click it with the mouse button. You can choose between
having the Zoom tool automatically zoom out by a factor of two, or display a
menu of commands that let you quickly choose from a variety of other zoom
levels.
To establish default settings for the Zoom tool

1 Right-click the Zoom tool on the Zoom flyout, and select Properties.
2 To specify what you want the Zoom tool to do when you right-click on it in
the Drawing Window, enable one of the following buttons:
Getting started 73
Zoom Out — zooms out by a factor of two
Context Menu — displays a menu of commands that you can choose
from to zoom to a specific level
To establish default settings for the Pan tool

1 Right click the Pan tool on the Zoom flyout, and select Properties.
2 To specify what you want the Pan tool to do when you right-click on it in
the Drawing Window, enable one of the following buttons
Zoom Out — zooms out by a factor of two
Context Menu — displays a menu of commands that you can choose
from to zoom to a specific level
Matching real-world distance to screen distance

You can specify that one inch on your screen equals one inch of “real”
distance. You’ll find this tool particularly useful if you are drawing in 1:1
Zoom mode, as it lets you work using real world distances as opposed to
relative distances that depend on screen resolution.
Before you can perform this procedure, you need a clear plastic ruler for
comparing real-world and on-screen distances. This ruler should use the
same unit of measurement you set for the grid and rulers. For more
information, see “Using the rulers and grid” on page 55.
To match on-screen distance to real-world distance

1 Right-click the Zoom tool on the Zoom flyout, and select Properties.
2 Click the Calibrate Rulers button.
3 Place your plastic ruler under the on-screen Horizontal ruler.
4 Click the Up or Down Arrow on the Horizontal box to match one unit of
measurement on the on-screen ruler with one unit of measurement on the
actual ruler.
5 Place your ruler beside the on-screen Vertical ruler.
6 Click the Up or Down Arrow button on the Vertical box to match one unit
of measurement on the on-screen ruler with one unit of measurement on
the actual ruler.
Using the View Manager

The View Manager serves two functions. It provides a set of tools for
adjusting your view so that you see your drawing the way you want; and it
lets you save any view of a specific Drawing Page so that you can revert to it
whenever you want.
Changing your view using the View Manager

The View Manager provides tools that let you change your view of a drawing.
For example, you can use the Zoom In and Zoom Out tools to get a better
view of an area, or use the Zoom To Selected or Zoom To Page Width tools to
look at a specific area.
To open the View Manager

Click Tools, View Manager.
If you have selected the Zoom tool or Pan tool, click the View Manager
button on the Property Bar.
To see a magnified view of the drawing

Click the Zoom In button as many times as necessary.
To see a magnified view of a specific area of the drawing

Click the Zoom One Shot button, then drag a marquee around the area you
want to magnify.
To see more of the drawing

Click the Zoom Out button as many times as necessary.
To see all selected objects

Click the Zoom To Selected button.
To see all objects

Click the ZoomTo All Objects button.
Saving, using, and deleting specific views

The View Manager lets you save different views of a document so that you
can switch easily between them. For example, you can save a 230%
magnification level on page 2 of a document and revert to that page and view
at any time.
If you no longer need a saved view, you can remove it from the list.
Getting started 75
To save a view
1 Click Tools, View Manager.
2 Use the Zoom tools on the View Manager to get the view you want.
For example, use Zoom In to get a closer look at an object.
3 Click the Add Current View button.
The new view is given a default name, for example, View 1.
4 To give the view a new name, click the default name and type a new name.
To switch to a saved view

2 Choose the view from the View Manager.
3 Click , Switch to View.
To delete a saved view

2 Click the view you want to delete.
3 Click the Delete Current View button.
When working with multipage documents, use the page and magnifying
glass icons to change the way you use a saved view. If you disable the
page icon beside a saved view, CorelDRAW reverts to the magnification
level only — not the page. Similarly, if you disable the magnifying glass
icon, CorelDRAW reverts to the page only — not the magnification level.
Use the flyout in the View Manager Docker (accessed by clicking ) to

access additional commands for adding, deleting, and renaming views, as
well as a command for hiding and showing the View Manager’s toolbar.
Setting the view quality

You can change the view quality — the way CorelDRAW displays the objects
in a drawing. For example, you can display objects using only outlines, or
using fills, outlines, and bitmaps.
The view quality
settings control how
you view objects in
the Drawing Window.
Choose this view... If you want to...

Simple Wireframe Hide fills, extrusions, contours, and intermediate blend shapes; display
only the outline of any objects; and display bitmaps in monochrome
Wireframe Hide fills; display extrusions, contours, and intermediate blend shapes;
and display bitmaps in monochrome
Draft Show uniform fills, low-resolution bitmaps, and fountain fills as solid
colors
Normal Display all fills except PostScript fills and high-resolution bitmaps
Enhanced Use 2X oversampling to show the best possible display, including
PostScript fills
In Draft view, CorelDRAW represents fountain fills by a blend of the first and
last fill colors. The Draft view displays unique patterns to represent fills. The
checkerboard pattern represents two-color fills; the two-way arrow pattern
represents full color fills; the hatched line pattern represents bitmap fills; and
the PS pattern represents PostScript fills.
Choosing a view quality

The View menu gives you quick access to the five view qualities available in
CorelDRAW, letting you choose how CorelDRAW displays a drawing on the
screen. If you have a fast computer or want to see the closest approximation
to what a drawing will look like when it’s printed, use the Normal or
Enhanced view. If you have a slower computer or just want to speed up
redrawing of a complex drawing, you may find the Simple Wireframe or
Wireframe view most effective.
Changing the view quality does not affect the drawing’s content or the way it
will print; it affects only the way it displays on the computer screen.
To view a document in Simple Wireframe view

Click View, Simple Wireframe.
Getting started 77
To view a document in Wireframe view
Click View, Wireframe.
To view a document in Draft view

Click View, Draft.
To view a document in Normal view

Click View, Normal.
To view a document in Enhanced view

Click View, Enhanced.
Using full-screen previews

You can display a full-screen preview of a page from your drawing. You can
preview all objects on the active page using the Normal or Enhanced view
quality (depending on the view quality currently selected). You can also see a
full-screen preview of only the objects you select.
Previewing a drawing
You can see what your drawing will look like when you print it. You can also
set the view quality of the full-screen preview to Normal or Enhanced, and
display PostScript fills.
To set the full-screen preview view quality

2 In the list of categories, click Workspace, Display.
3 Enable one of the following:
Use Normal View button — specifies the Normal view quality
Use Enhanced View button — specifies the Enhanced view quality
Use Enhanced View button and the Show PostScript Fills In
Enhanced View check box — displays PostScript Fills
To view a full-screen preview of the current page

Click View, Full-Screen Preview.
To view a full-screen preview of selected objects only
1 Select the objects you want to preview.
2 Click View, and enable the Preview Selected Only command.
3 Click View, Full-Screen Preview.
To return to the Drawing Window from any full-screen preview

Right-click or press any key.
Although you can draw anywhere in the Drawing Window, only objects
positioned in the Printable Area are printed. To display the Printable Area,
click View, Printable Area.
Viewing computer and document information

You can view information about your computer as well as information about
CorelDRAW itself. For example, you can view details about your computer’s
setup. You can view detailed information about your system, display and
printing properties, Corel .EXE and .DLL files, and system .DLL files.
CorelDRAW information consists of the program name, version number,
serial number, and user name. This information doesn’t change. You’ll find
this information particularly useful if you need help from Corel Technical
Support Services.
You can also view information about your CorelDRAW document and other
details, including the number of pages it contains, the number of layers, and
the number of graphics and text objects.
Viewing system information

You can view the following types of information in terms of the current state
of your computer: system, display, printers, Corel .EXE and .DLL files, and
system .DLL files. This feature is useful, for instance, to find out how much
memory you have on the drive to which you want to save a file. Save any
system information in a text file called SYSINFO.TXT.
To view system information

1 Click Help, About CorelDRAW.
2 Click System Info.
3 Choose a category from the Choose A Category list box.
Getting started 79
Use the Save button to store system information for printing. System
information is saved as SYSINFO.TXT. A message box tells you where the
file is saved.
Viewing document information

CorelDRAW displays detailed information about the contents of your
document and the objects it contains. You can print and save this information
for future reference.
To view document information

1 Click File, Document Info.
2 Enable the check boxes beside each object you want to display.
Saving and Printing document information

You can save document information in a text file that can be opened by other
applications, such as word processing software. You can also print document
information.
To save document information

2 Click the Save As button.
3 Double-click the folder where you want to save the file.
4 Type a filename in the File Name box.
5 Click the Save button.
To print document information

2 Click the Print button.
Displaying warning messages

You may encounter warning messages while working in CorelDRAW.
Warning messages explain the consequences of an action you are about to
perform, and inform you of permanent changes that might result from that
action.
You can decide
whether or not you
want to view warning
messages before
continuing with
certain operations.
Although the warnings are helpful, you may not want to view them after you
become familiar with the software. Avoid disabling warning messages until
you are comfortable with the application and familiar with the results of the
commands you use.
Enabling and disabling warning messages

You can enable or disable any warning message.
To enable or disable warning messages

2 In the Options dialog box, click Workspace, Warnings in the list of
categories.
3 Enable or disable one or more of the check boxes.
Getting started 81
DRAWING AND SHAPING
OBJECTS 3
Once you have opened and formatted your drawing page, you are ready to
start drawing. To create your drawing, you will need to know how to create
geometrical shapes, straight lines, curves, and irregular shapes. This chapter
describes how to use the basic drawing tools available in CorelDRAW for
creating these types of objects.
The chapter also describes how to use the specialized drawing tools, such as
the Natural Media. The Natural Media tool is a powerful drawing tool you use
to apply different effects to a line. For example, you can use the tool in Brush
mode to apply text or graphics to a curve. The Natural Media tool has five
drawing modes: Preset, Brush, Object Sprayer, Calligraphic, and
Pressure-sensitive.
As well as the Natural Media tool, CorelDRAW also has tools for creating
dimension, connector, and flow line.
Once you have created a shape or line, you can move and shape the object to
create the effect you want. Some types of objects, such as rectangles and
ellipses, can only be shaped in specific ways. For example, you can round one
or more corners of a square or create a pie-shape or arc from a circle. Lines
and curves — including Natural Media strokes — can be formed into any
shape by dragging the curve’s nodes or moving the control lines.
If you want to make more extensive changes to a rectangle, ellipse, or
polygon, you can convert the object to a curve. For example, you can create a
trapezoid from a rectangle by converting the rectangle to a curve object and
then dragging the corners using the Shape tool.
Drawing basic objects

CorelDRAW provides drawing tools for drawing basic shapes, such as
rectangles, ellipses, polygons, stars, grids, and spirals. To draw a shape with
one of these tools, drag diagonally in any direction until the shape is the size
you want. For each tool, the Status Bar displays the dimensions of the shape
as you draw it.
Drawing a rectangle or square

The Rectangle tool lets you draw rectangles and squares.
Drawing and shaping objects 85

To draw a rectangle
1 Click the Rectangle tool.
2 Position the cursor where you want the rectangle to appear.
3 Drag diagonally to draw the rectangle.
To draw a square
Hold down CTRL and drag diagonally.
If you hold down SHIFT, CorelDRAW creates the rectangle or square from
the center outward as you drag.
Double-clicking the Rectangle tool creates a rectangle covering the entire
drawing page. This is useful if you want to create a background for the
drawing.
Drawing an ellipse or a circle

The Ellipse tool lets you draw ellipses and circles.
To draw an ellipse
1 Click the Ellipse tool.
2 Position the cursor where you want the ellipse to appear.
3 Drag diagonally to draw the ellipse.
To draw a circle
If you hold down SHIFT, CorelDRAW creates the ellipse or circle from the
center outward as you drag.
Drawing a polygon or star

The polygon tool lets you draw polygons and stars. A polygon is a closed
shape having from three to 500 sides. Stars have from three to 500 points.
To draw a polygon
1 Open the Object flyout, and click the Polygon tool.
2 Position the cursor where you want the polygon to appear.
3 Drag diagonally to draw the polygon.
4 If you want to change the number of sides on the polygon, type the
appropriate number in the Number Of Points On Polygon box on the
Property Bar, then press ENTER.
To draw a star
1 Follow all the steps from the previous procedure.
2 Click the Polygon/Star button on the Property Bar.
To draw a symmetrical polygon

If you hold down SHIFT, CorelDRAW creates the polygon or star from the
center outward as you drag.
Drawing spirals
The Spiral tool lets you draw spiral shapes. There are two types of spirals:
symmetrical and logarithmic. In a symmetrical spiral, the distance between
each revolution of the spiral is constant. In a logarithmic spiral, this distance
increases as the spiral progresses outward.
A symmetrical spiral
(left) and a
logarithmic spiral
(right).
To draw a symmetrical spiral

1 Open the Object flyout, and click the Spiral tool.

2 Type a number in the Spiral Revolutions box on the Property Bar to
indicate the number of revolutions you want for the spiral.
3 Click the Symmetrical Spiral button on the Property Bar.
4 Position the cursor where you want the spiral to appear.
5 Drag diagonally to draw the spiral.
To draw a logarithmic spiral

1 Open the Object flyout and click the Spiral tool.
2 Type a number in the Spiral Revolutions box on the Property Bar to
indicate the number of revolutions you want for the spiral.
3 Click the Logarithmic Spiral button on the Property Bar.
4 Move the Spiral Expansion Factor slider adjust the amount by which the
spiral expands as it moves outward.
Move the slider to the right to increase this amount; move it to the left to
decrease this amount.
6 Drag diagonally to draw the spiral.
To draw a spiral with equal horizontal and vertical dimensions

Follow steps 1 to 4 of the “To draw a symmetrical spiral” procedure to
draw a symmetrical spiral
Follow steps 1 to 5 of the “To draw a logarithmic spiral” procedure to
draw a logarithmic spiral
2 Hold down CTRL, drag diagonally to draw the spiral.
If you hold down SHIFT, CorelDRAW creates the spiral from the center
outward as you drag.
Drawing grids
The Graph Paper tool lets you draw a grid pattern. This pattern is formed by
a series of grouped rectangles arranged in rows and columns.
To draw a grid
1 Open the Object flyout, and click the Graph Paper tool.
2 Type the number of columns you want in the column number box in the
Graph Paper Columns And Rows box on the Property Bar.
3 Type the number of rows you want in the row number box in the Graph
Paper Columns And Rows box on the Property Bar.
5 Drag diagonally to draw the grid.
To draw a square grid

1 Follow steps 1 to 4 of the previous procedure.
2 Hold down CTRL and drag diagonally.
If you hold down SHIFT, CorelDRAW creates the grid from the center
outward as you drag.
Selecting objects
Before you can move or shape an object, you must select it. When you select
an object, a selection box appears around the object. A selection box appears
as an invisible rectangle having eight black squares, called selection handles,
arranged at the corners and midpoints, and a small “x” in the center.
When you select an
object, eight selection
handles appear
around the object.
The center of the
selection box is
marked by a small
“x”.
If necessary, you can perform actions on more than one object by selecting all
the objects you want. When you select multiple objects, a single selection
box encloses all the objects and the “x” appears in the center of the selection
box. You can select objects using the mouse, keyboard, or menu commands.

You can select objects on any unlocked layer as long as the Edit Across
Layers option is enabled in the Object Manager. If this option is disabled,
then you can only select objects on the active layer. For more information
about layers, see “Using layers to organize your drawing” on page 193.
If you select a locked object, the selection handles appear as padlocks. You
cannot edit a locked object. To make changes, you must first unlock the
object. For more information, see “Locking and unlocking objects” on page
185.
Selecting an object
You must select an object before you can make changes to it. If the Treat All
Objects As Filled option is enabled, you can select objects without fills by
clicking anywhere within the outline. If the option is disabled, you must click
on the object’s outline to select it.
If you are working with unfilled and filled objects that overlap, you may find it
useful to select objects by their outline.
To select an object
Click the object with the Pick tool.
To choose the Pick tool, you can press either the SPACEBAR or, if the
Text tool is selected in edit mode, CTRL + SPACEBAR.
You can press TAB to select the next object, or press SHIFT + TAB to
select the previous object.
To enable or disable the Treat All Objects As Filled option

1 Click a blank space in the Drawing Window to deselect any objects.
Enable the Treat As Filled button to select unfilled objects by clicking
within the outline
Disable the Treat As Filled button to select unfilled objects by clicking
on the outline
The button is disabled when it appears raised.
You can also change the Treat All Objects As Filled option by
right-clicking the Pick tool and enabling or disabling the check box.
Selecting all objects

You can select all objects in the active page. You can also select all text
objects, guidelines, or nodes.
To select all objects

Click Edit, Select All, Objects.
Guidelines are excluded when you choose the Select All, Objects option.
You can also select all the objects in the active page by double-clicking the
Pick tool.
To select all text

Click Edit, Select All, Text.
Any Paragraph text or Artistic text becomes selected.
To select all guidelines

Click Edit, Select All, Guidelines.
To select all nodes of a selected object

Click Edit, Select All, Nodes.
You can also select all nodes by double-clicking the Shape tool.
Marquee selecting objects

If you want to select several objects, you can drag a marquee box around
them. You can also select objects without completely enclosing them with a
marquee box.

To marquee select several objects
Using the Pick tool, drag the mouse diagonally until a marquee box
encloses all objects.
To marquee select objects without entirely surrounding all

objects
1 Click the Pick tool.
2 Hold down ALT, and drag diagonally until the marquee box touches the
objects you want to select.
If the objects you want to select are arranged so you cannot use the
marquee selection method, you can hold down SHIFT and use the Pick
tool to select each of the objects you want in turn.
Selecting objects in a group

You can select an object that is part of a group or nested group. This
eliminates the need to ungroup a group in order to make changes to one or
more of them.
To select an object in a group

2 Hold down CTRL, and click the object.
To select an object in a nested group

2 Hold down CTRL, and double-click the object.
When you select an object that is part of a group, the handles on the
selection box appear as circles instead of squares.
Selecting hidden objects

If you have overlapping objects on a page, you can select a hidden object
within a series or within a group without having to move or reorder the other
objects.
You can also select multiple hidden objects within a series. When you select
the bottom-most object, the cursor moves to the top-most object in the
series. You may find it useful to refer to the Object Manager to see which
objects are selected. For information on using the Object Manager, see
“Using the Object Manager” on page 186.
The cursor must be positioned over the bottom-most and top-most objects
for them to be included in the selection.
To select an object hidden below a series of objects

Hold down ALT, and click the top-most object using the Pick tool until the
object you want is selected.
As you click, CorelDRAW displays the selection box for each selected
hidden object.
To select multiple objects hidden below a series of objects

1 Using the Pick tool, click the top-most object in the series you want to
include in the selection.
2 Hold down ALT + SHIFT, and click to add the next object to the
selection.
3 Click until you add all the objects you want to your selection.
To select a hidden object within a group

Hold down CTRL + ALT, and click the top-most object with the Pick
tool until the object you want is selected.
The Simple Wireframe view or Wireframe view makes it easier to identify

the objects you select.
You can also select hidden objects with the drawing tools using the same
method.
Selecting locked objects

When an object is locked the selection handles appear as small locks.
Selecting multiple locked objects is the quickest way to unlock objects in
order to modify them.
To select locked objects

Select the locked object with the Pick tool.

To select hidden locked objects
1 Select the object with the Pick tool.
2 Click ALT to select the locked object hidden under other objects.
The locked object has selection handles that appear as locks.
To select multiple locked objects

1 Select the locked objects with the Pick tool.
2 Click SHIFT to select additional objects.
You cannot marquee select locked objects.
Deselecting objects
Deselect an object when you are finished modifying it.
To deselect all objects

Click a blank space in the Drawing Window.
You can also press ESC to deselect all objects.
To deselect an object from several selected objects

Hold down SHIFT, and click anywhere on the object’s fill or outline.
If you’re not sure which object is selected, refer to the Status Bar or the
Object Manager.
Moving objects
The easiest way to move and position objects in your drawing is to drag and
drop the object using the pick tool or a drawing tool. To drag an object using a
drawing tool, you must position the cursor over the small “x” at the center of
the selection box.
When you drag an object, CorelDRAW indicates the new position of the
selected object as you drag by displaying the object in either outline,
transparent fill, or opaque fill. By displaying the new position of the object,
CorelDRAW lets you position objects exactly where you want them.
You can also move objects with precision by entering new coordinates for the
object or by “nudging” the object incrementally into place.
Moving objects by dragging and dropping

By dragging an object, you can move it to a new location quickly. While you
are dragging an object, CorelDRAW displays an outline, transparent fill, or
opaque fill of the object to indicate the new position.
To move an object by dragging and dropping

2 Drag the object to a new place in your drawing.
When you drag an object, the values in the Object(s) Position box on the
Property Bar indicate the new coordinates of the object.
You can constrain the object to horizontal or vertical movements by

holding down CTRL as you drag the object.
To position an object exactly where you want it, you can choose to snap
the object to a grid, guideline, or other object. For information on snapping
objects to grids, guidelines, and objects, see “Using the rulers, grid, and
guidelines” on page 54.
Displaying an object while positioning it

You can display an object in one of three different forms while positioning it.
You can display the object in its outline, opaque fill, or transparent fill forms.
By displaying the new position of the object, CorelDRAW lets you position
objects exactly where you want them.

When dragging an
object, you can
display either its (1)
outline, (2)
transparent fill, or
(3) opaque fill.
For very complex illustrations that would take too long to redraw,
CorelDRAW indicates the new position while you drag by displaying a
rectangle with a dashed border. You can choose to have CorelDRAW redraw
the object’s outline if you pause while dragging. By default, CorelDRAW
displays a rectangle when you drag complex objects.
To select a display mode while positioning an object

1 Using the Pick tool, position the cursor over an object.
2 Click and hold the left mouse button until the cursor changes to a
four-way cursor.
3 Press TAB to switch between the three display forms of the object:
outline, transparent fill, or opaque fill.
4 Choose a display form and drag the object in this form to the desired
location.
To enable the Redraw Complex Objects option

1 Right-click the Pick tool, and click Properties.
2 Enable the Redraw Complex Objects check box to display the outline of
complex objects when you pause while dragging the object.
3 Type a value in the Delay box to specify the delay time from the moment
you pause to the moment CorelDRAW redraws the outline.
CorelDRAW draws the outline of a complex object when you pause while
positioning it.
Moving objects in increments
You can use the Arrow keys on the keyboard to move an object in
increments. By using the arrow keys, you can nudge an object up, down,
right, or left. By default, objects move in 0.1-inch increments. You can also
use the super nudge feature to nudge an object using a larger increment.
You can set the Nudge and Super Nudge values to suit your needs. The
Super Nudge value is based on the Nudge value.
To nudge an object
2 Press the Arrow key(s).
To move an object in larger increments (super nudge)

2 Hold down SHIFT, and press the Arrow key(s).
As you nudge an object, you can leave a copy of it by pressing + on the

numeric keypad before pressing the Arrow key.
To set the nudge or super nudge distance

2 From the tree, click Edit under Workspace.
3 Type a nudge distance in the Nudge box.
4 Type a value in the Super Nudge box.
The value you type is multiplied by the nudge distance to determine the
super nudge distance.
4 Choose a unit of measurement from the Units list box.
You can also specify the nudge distance by deselecting all objects, and
typing a value in the Nudge Offset box on the Property Bar.

Shaping basic objects
Once you have created basic objects, you can use a number of tools, buttons,
and commands to change the shape of the object. For example, you can use
the Shape tool to round the corners of a rectangle or shape an ellipse into an
arc or a pie-shape.
To shape a polygon or star, you can use the Polygon/Star button to switch
from polygon to star and from star to polygon. You can use the Sharpness
slider to adjust the sharpness of a star. You can also use the Shape tool to
drag nodes on the object. Nodes cannot be moved individually. Instead, when
you drag a node on a polygon or star, other nodes of the same type move in
the same way. For example, if you drag a corner node counterclockwise, all
other corner nodes move counterclockwise. This form of editing is referred
to as mirror editing.
For example, a pentagon has 10 nodes — one at each corner and one on each
side. All the corner nodes are associated and all the side nodes are
associated. If you drag a side node towards the center, all the side nodes
move towards the center. Also, if you add a node to a pentagon, five nodes are
added (one on each side).
Mirror editing a
polygon.
To shape a grid, you can ungroup the grid and then shape each rectangle
individually.
If you want more freedom to change the shape of an object, you can convert it
to a curve object. Once you convert an object to a curve object, you can drag
nodes independently. For example, you can create an irregular four-sided
object by converting a rectangle to a curve and then dragging the corner
nodes independently.
If you want to edit a grid as a curve, you must first ungroup the grid before
you can convert it to curves. Spirals are curved objects when created and can
be edited as such.
Rounding the corners of a rectangle

You can use the Shape tool to round one or more of the corners of a rectangle
or square. A rectangle has a node at each corner. When you round the
corners of a rectangle, CorelDRAW splits each corner node in two and draws
an arc between each of these two new nodes. You can control the size of this
arc by moving any of the corner nodes. The amount of rounding is displayed
on the Property Bar.
You can round one or
more corners of a
rectangle.
To round the corners of a rectangle

1 Select the rectangle with the Shape tool.
2 Drag one of the four corner nodes along the outline of the rectangle or
square.
Each corner node splits into two nodes joined by an arc. As you drag the
node away from the corner along the outline, the corners of the rectangle
become rounder.
To round a single corner of a rectangle or square

1 Select the rectangle with the Shape tool.
2 Click a corner node to deselect the other three corner nodes.
3 Drag the corner node along the outline of the rectangle or square.
The corner node splits into two nodes joined by an arc. As you drag the
node away from the corner along the outline, the corner of the rectangle
becomes rounder.

You can also round the corners of rectangles using the Pick tool or any of
the basic drawing tools.
You can round the corners of a rectangle with precision by entering values
in the Rectangle Corner Roundness boxes on the Property Bar. To round
only one corner, unlock the Round Corners Together button.
Changing an ellipse to an arc or a pie shape

You can use the Shape tool to turn an ellipse or circle into an arc or a pie
shape. A simple ellipse has one node, but when you create an arc or pie
shape, CorelDRAW splits this node in two.
You control the appearance of the arc or the pie shape by moving these two
new nodes. You can also change the direction in which CorelDRAW draws
arcs and pie shapes.
An ellipse (left), an
arc (top right), and
a pie-shape (bottom
right).
To create an arc or pie shape from an ellipse

1 Select the ellipse with the Shape tool.
2 Drag the node along the outline of the ellipse.
Drag with the cursor outside the perimeter of the ellipse to create an
arc.
Drag with the cursor inside the perimeter of the ellipse to create a pie
shape.
To change the direction in which arcs or pie shapes are drawn

1 Select the arc or pie shape with the Shape tool.
2 Click the Clockwise/Counterclockwise Arcs or Pies button on the Property
Bar.

You can also change ellipses to arcs and pie shapes using the Pick tool or
any of the basic drawing tools. Simply position the cursor over the node
(the cursor changes to the Shape tool cursor) and drag as necessary.
When dragging nodes you can constrain the their position to 15-degree
increments by holding down CTRL.
You can quickly convert between ellipses, arcs, and pie shapes by
selecting the shape and clicking the Ellipse, Pie or the Arc button on the
Property Bar.
Changing the properties of a polygon or star

You can change the properties — such as number of points — of a polygon or
star. You can also use the Shape tool or Pick tool to change the shape of the
polygon or star.
A polygon (top), a
star (right), and a
star shaped polygon
(left).
You can control which points of a star are connected to which others by
adjusting the sharpness level. As you increase the sharpness level, the points
on the star become more pronounced.
If you want the changes you make to one node to be reflected on all
associated nodes, you can mirror edit the polygon or star. When mirror
editing, you can move, add, and remove segments and nodes. Nodes can be
changed to smooth, cusped, or symmetrical, and segments can be straight or
curved. For more information about editing nodes and segments, see
“Shaping lines, curves, and curve objects” on page 117.
To change a polygon to a star or a star to a polygon

1 Select the polygon or star with the Pick tool.
2 Click the Polygon/Star button on the Property Bar.

To change the number of sides of a polygon or points on a star
2 Type a number in the Number Of Points On Polygon box on the Property
Bar, then press ENTER.
To mirror edit a star or polygon

2 Hold the Pick tool over a node until it changes into the Shape tool cursor.
3 Click and drag the node.
To change the sharpness of a star

1 Select the star with the Pick tool.
2 Move the Sharpness slider on the Property Bar to adjust the sharpness of
the star.
Move the slider to the right to increase the sharpness; move it to the left
to decrease it.
To access the Sharpness slider, a star must have at least seven points. The
sensitivity of the slider increases with the number of points.
You can also adjust the sharpness of polygon objects by right-clicking the
Polygon tool, clicking Properties and adjusting the Sharpness slider on the
Polygon tool page. You can only adjust the sharpness of a star or a polygon
as star but not a regular polygon.
Shaping parts of a grid

The grid is a set of grouped rectangles created using the Graph Paper tool. A
grid object must be ungrouped before you can make changes to its shape.
Once you ungroup the grid object, it becomes a set of individual rectangles.
For more information about shaping the corners of a rectangle, see
“Rounding the corners of a rectangle” on page 99.
To ungroup a grid
1 Select the grid with the Pick tool.
2 Click Arrange, Ungroup.

Changing objects to curves
To shape an object without restriction, you must first convert it to a curve
object. When you convert an ellipse or rectangle to a curve object, you can
shape it by editing its nodes or segments.
To shape a polygon or star without mirror editing, you must first convert it to
a curve object. When you convert a polygon or star to a curve object, you can
shape it by editing each node and segment individually.
The grid, created by the Graph Paper tool, is formed with a series of grouped
rectangles. It must be ungrouped before it can be converted to a curve object.
To convert an ellipse, rectangle, polygon, or star to a curve

object
2 Click Arrange, Convert To Curves.
To convert a grid to a curve object

1 Select the grid with the Pick tool.
Objects created with the Spiral tool are curve objects. Once you create a
spiral, you can edit each node and segment individually.
You can also convert an object into a curve object by selecting the object
and clicking the Convert To Curves button on the Property Bar when the
Pick tool is selected.
Drawing lines and curves

Besides the tools for drawing basic shapes, CorelDRAW also includes two
tools for drawing simple lines and curves. These are the Freehand tool and
the Bezier tool. Once you have drawn a line or curve, you can apply various
effects using the Natural Media tool. For more information on the Natural
Media tool, see “Drawing with the Natural Media tool” on page 107.

The same glass
drawn using the
Freehand (left),
Bezier (center), and
Natural Media tool
(right).
The Freehand tool lets you draw a line or curve by dragging the mouse
cursor across the page like a pencil on paper. If the resulting curve is rougher
than desired, you can smooth out the line by adjusting the Drawing settings
or by editing the curve after you have drawn it. For more information, see
“Shaping lines, curves, and curve objects” on page 117.
The Bezier tool lets you draw smooth, precise curves by placing nodes and
adjusting the curvature of the line between the nodes. When you draw a line
or curve using the Bezier tool, you place nodes by each click of the mouse.
Each node is connected to the previous node by a segment. To control the
curvature of the segment you are drawing, position the node’s control points.
The control points are black boxes connected to the node by dotted lines. By
using control points and by placing each node individually, you can create
precise lines and curves.
Drawing lines and curves with the Freehand tool

The Freehand tool lets you draw lines and curves by dragging the mouse like
a pencil on paper. You can format lines and curves as you do outlines. For
example, you can choose a line width, a line style, as well as start and end
arrowheads for the line. For more information, see “Outlining objects” on
page 246.
To draw a curve with the Freehand tool

1 Open the Curve flyout, and click the Freehand tool.
2 Click the Freehand Smoothing box and move the pop-up slider to select a
smoothness setting.
Move the slider to the right for maximum smoothing; move the slider to
the left for no smoothing.
3 Position the cursor where you want the curve to start.
4 Drag to draw the curve.

To draw a straight line with the Freehand tool
2 Click where you want the line to begin.
3 Click where you want the line to end.
To draw a curve or straight line connected to another curve or

line
Position the Freehand tool over the node at the end of the existing line or
curve, then draw a new line or curve.
You must click within five pixels of the end point to join the two curves.
You can adjust this five-pixel threshold by changing the Freehand tool’s
Auto-join setting. Access this setting by right-clicking the Freehand tool
and clicking Properties.
To erase a portion of a curve as you draw with the Freehand tool

Without releasing the mouse button, hold down SHIFT and drag
backwards along the portion of the curve you want to erase.
When you are finished erasing, you can resume drawing your line by
releasing the SHIFT key and continuing to drag the mouse.
To draw a closed shape with the Freehand tool

smoothness setting.
3 Draw a curve or a series of connected straight lines that begins and ends
at the same point.
If you’re drawing a series of connected straight lines, double-click to
create a node and click the starting point to close the shape. If you’re
drawing a curve, drag over the starting point and release to close the
shape.

You can draw lines that have both straight and freehand sections with the
Freehand tool by using TAB to toggle between straight and freehand
mode as you drag the mouse.
To constrain the angle of a straight line to 15-degree increments, you
must hold down CTRL before placing the end of the line. You can specify a
different angle using the controls in the Options dialog box. For more
information. see “Controlling the behavior of the Freehand and Bezier
tools” on page 137.
Drawing lines and curves with the Bezier tool

The Bezier tool lets you draw lines and curves by placing each node with the
mouse. As you place each node, it is connected to the previously placed node
by a line or curve. The Bezier tool lets you create complex, irregular shapes
quickly and easily and gives you precise control over the position and number
of nodes that form a curve.
You can format lines and curves as you do outlines. For example, you can
choose a line width, a line style, as well as start and end arrowheads for the
line. For more information, see “Outlining objects” on page 246.
To draw a curve with the Bezier tool

1 Open the Curve flyout, and click the Bezier tool.
2 Click where you want to place the first node and drag the control point in
the direction you want the curve to bend.
3 Position the cursor where you want to place the next node and drag the
control point to create the curve you want.
The position and angle of the control points affects the shape of the
segment you’ve just created and the next segment you add (if you add
one).
4 Repeat step 3 to add nodes to the curve.
5 Press SPACEBAR to finish the curve.
To draw a straight line with the Bezier tool

1 Open the Curve flyout, and click the Bezier tool.
2 Click where you want to place the first node.
3 Click where you want to place the next node.

4 Repeat step 3 for each node you want to add.
5 Press SPACEBAR to finish the curve.
To draw a closed shape with the Bezier tool

1 Follow steps 1 to 4 of the “To draw a curve with the Bezier tool”
procedure or the “To draw a straight line with the Bezier tool” procedure.
2 Position the cursor over the first node and click once.
Hold down CTRL as you position the control points to move in 15 degree
increments. You can specify a different angle of constraint using the
controls in the Options dialog box. For information, see “Controlling the
behavior of the Freehand and Bezier tools” on page 137.
Holding down ALT while drawing with the Bezier tool lets you drag to
reposition the last node created. Holding down C changes the last node to
a cusp node, while holding down S changes the last node to a smooth
node.
Drawing with the Natural Media tool

The Natural Media tool lets you apply various effects to a curve. For
example, you can create curves that look like strokes from a calligraphic pen
or a pressure-sensitive pen. As well, you can apply text, shapes, or images to
a curve using the Natural Media tool. If you need to change the position or
shape of the curve, you can edit the Natural Media stroke’s control path. For
more information, see “Shaping lines, curves, and curve objects” on page
117.
The Natural Media tool has five modes:
Preset mode — draws curves that change thickness based on preset line
shapes you can choose from a list box on the Property Bar.
Brush mode — applies text or shapes to the curve when you draw it.
Object sprayer mode — applies a series of images to a curve when you
draw it.
Calligraphic mode — draws curves that change thickness based on the
direction of the curve. This creates an effect similar to that of a
calligraphic pen.
Pressure-sensitive mode — draws curves that change thickness based on
feedback from a pressure-sensitive pen or a keyboard.

You can select the type of Natural Media stroke you want to use by clicking
the appropriate button on the Property Bar. You must first click the Natural
Media tool to display its Property Bar controls.
You can draw lines that have both straight and freehand sections with the
Natural Media tool by using TAB to toggle between straight and freehand
mode as you drag the mouse. Holding down CTRL constrains the line to
15-degree increments.
If you change any of the Property Bar settings for the Natural Media tool,
while nothing is selected, then these settings become the default tool
settings.
Using the Arrange, Separate command you can separate the Natural
Media stroke from the control path, allowing you to shape the Natural
Media stroke independently of the control path.
Drawing curves in Preset mode

The Preset mode allows you to draw curves in one of a number of preset
shapes. The preset shapes are closed paths that follow the curve you draw.
Because the presets are closed paths, you can apply different kinds of fills
and change the outline style and color.
A hat drawn using
the Bezier tool (left)
and the same hat
after applying preset
curves using the
Natural Media tool
(right).
To draw a curve in Preset mode

1 Open the Curve flyout, and click the Natural Media tool.
2 Click the Preset button on the Property Bar.
smoothness setting.

4 Type a width in the Natural Media tool Width box on the Property Bar,
then press ENTER.
The width you set here represents the curve’s maximum width.
5 Choose a preset curve shape from the Preset list box.
Drawing curves in Brush mode

The Brush mode allows you to apply shapes or text to a curve. You can select
a preset brush from the Brush list box or save a graphic or text object as a
brush stroke.
An object applied to
a curve using the
brush mode of the
Natural Media tool.
To draw a curve in Brush mode

2 Click the Brush button on the Property Bar.
smoothness setting.
then press ENTER.

5 Select a brush from the Brush list box.
6 Place the cursor where you want the curve to start.
To create a brush stroke

2 Click the Brush button on the Property Bar.
3 Select the graphic or text object you want to use as a brush with the
Natural Media tool.
4 Click the Save button from the Property Bar.
5 In the Save As dialog box, type a name for the brush stroke in the File
Name box, and click Save.
You can also create a brush stroke by selecting the graphic or text object,
clicking the Save button in the Natural Media docker, and enabling the
Brush button.
To delete a brush stroke

2 Select the brush stroke you want to delete from the Brush list box, and
click the Delete button.
Drawing curves using the Object Sprayer

The Object Sprayer mode allows you to “spray” a series of objects along a
curve. Besides graphic and text objects, you can import bitmaps and spray
them along a curve. Of course, the more complex the object you want to
spray, the more system resources you use, the longer CorelDRAW takes to
produce the curve, and the larger your file size.

A series of objects
“sprayed” along a
curve using the
Object Sprayer.
The Object Sprayer has a number of features that allow you to control how
the spray appears on the curve. For example, you can adjust the spacing
between the objects, vary the order of the objects in the curve, adjust the
Sprayer to rotate the objects along the curve, and offset the objects from the
curve you draw.
All settings are saved to a spraylist. If you make changes to a spraylist, you
can either reset the spraylist to its saved settings, or save the new settings
to the spraylist. You can choose to spray some or all the objects in the
spraylist. The series of objects selected for the spray is referred to as the
“playlist.”
To draw a curve using the Object Sprayer

2 Click the Sprayer button on the Property Bar.
smoothness setting.
4 Type a percentage value in the Size of Objects to be Sprayed box on the
Property Bar, then press ENTER.
The value you set here represents the size of the sprayed object as a
percentage of the original. If you want the objects to increase of decrease
along the curve, click the Incremental Scaling button to enable the
Incremental Scaling box, type a percent value, and then press ENTER.

5 Select a spray from the Spraylist File list box.
To adjust the dabs setting for the Spraylist

1 Select the Spraylist you want to adjust.
2 Type the number of objects you want placed at each spacing point.
For example, if you type “4”, CorelDRAW places four objects at each
spacing point on the curve.
To adjust the spacing between dabs on a curve

Type the distance you want between the centers of each object on the
curve, then press ENTER.
To adjust the rotation of objects to be sprayed

2 Click the Rotation button on the Property Bar.
3 Type a value between 0 and 360 in the Angle box.
For example, to rotate all objects in the spray by 45 degrees, type “45” in
the Angle box.
4 If you want each object in the spray to rotate incrementally, enable the
Use Increment check box and type a value in the Increment box.
Enable the Path Based button to rotate objects in relation to the curve.
Enable the Page Based button to rotate objects in relation to the page.
To offset objects from the curve

2 Click the Offset button on the Property Bar.
3 Enable the Use Offset check box to offset objects from the curve.
If you want the objects to follow the curve, disable the check box.
4 If you want to adjust the offset distance, type a new value in the Offset
box.

5 Choose an offset direction from the Offset Direction list box.
For example, if you want to alternate between the left and right of the
curve, choose Alternating.
To create a new Spraylist

1 Choose New Spraylist from the Spraylist File list on the Property Bar.
2 Select the object you want to add to the Spraylist, then click Add to
Spraylist.
3 Repeat step 2 for each object you want to add.
4 Click the Save button and type a name for the Spraylist in the File name
box.
To create or edit a Playlist

1 Choose the Spraylist from the Spraylist File list box.
2 Click the Spraylist Dialog button on the Property Bar.
3 From the Create Playlist, do the following as necessary:
To add an image to the Playlist, choose the image from the Spraylist
list box and click Add.
To remove an image from the Playlist, choose the image from the
Playlist list box and click Remove.
To change the order of the Playlist, choose an image from the Playlist
and click the Up or Down arrow.
To reverse the order of the Playlist, click the Reverse Order button.
To clear the Playlist, click Clear.
To delete a Spraylist
From the Property Bar, choose the Spraylist you want to delete and click
the Delete button.
To reset a Spraylist to its saved settings

1 Choose the Spraylist you want to reset from the Spraylist File list box.
2 Click the Reset Values button on the Property Bar.
3 Click Yes to save the new values to the Spraylist, or No to reset the
Spraylist to its saved settings.

You can also create a Spraylist by selecting the graphic or text object,
clicking the Save button in the Natural Media Docker, and enabling the
Object Sprayer button.
Drawing curves in Calligraphic mode

The Calligraphic mode allows you to simulate the effect of using a
calligraphic pen. Curves drawn in calligraphic mode vary in thickness
according to the direction of the line and the angle of the pen nib.
Lines drawn using
the Calligraphic
mode vary in width
according to the
direction of the line.
To draw a curve in Calligraphic mode

2 Click the Calligraphic button on the Property Bar.
smoothness setting.
then press ENTER.
5 Type an angle in the Calligraphic Angle box on the Property Bar, then
press ENTER.

The Calligraphic Angle box controls the angle of the pen nib. For example,
type “0” if you want narrow horizontal lines and thick vertical lines or
“90” if you want thick horizontal lines and narrow vertical lines.
Drawing curves in Pressure-sensitive mode

The Pressure-sensitive mode allows you to use a pressure-sensitive pen to
create curves of varying thickness. You can also use the mouse and keyboard
to simulate the effect of a pressure-sensitive pen.
Lines drawn using
the pressure-sensitive
mode vary in width
according to the
pressure applied.
To draw a curve in Pressure-sensitive mode

2 Click the Pressure button on the Property Bar.
smoothness setting.
then press ENTER.

If you are using the mouse, press the Up Arrow or Down Arrow to vary
the pen pressure. The Up Arrow increases the pressure effect, making the
curve wider; the Down Arrow decreases this effect. To set the maximum
width of the curve, type a value in the Natural Media tool Width box.
Applying strokes using the Natural Media Docker

A powerful feature of the Natural Media tool is the ability to apply Natural
Media strokes to existing objects. The outline of the object will be used as
the control path for the Natural Media stroke. To make it easier to apply
Natural Media strokes, you can open the Natural Media Docker and either
drag and drop Natural Media strokes or choose strokes and apply them to
selected objects.
When you apply a Natural Media stroke, the stroke appears in the Last Used
list box. This makes it easier to find frequently used Natural Media strokes.
To apply Natural Media strokes to existing objects

1 Click Effects, Natural Media.
2 Choose the folder with the strokes you want from the Group list box.
To find another folder, click the Browse button.
3 Using the Pick tool, select the object you want to apply the Natural Media
stroke to.
4 From the Docker, choose a stroke either from the Last Used or from the
Group list box, then click Apply.
To delete a Natural Media stroke

Choose the stroke from the Group list box, then click the Delete
button.
To specify which types of strokes are displayed in the Natural

Media Docker
1 Click .
2 Enable one or more of the following options:
Preset — to display Preset strokes
Brushes — to display Brush strokes
Object Sprayer — to display Spraylists
A check mark appears beside enabled options.

You can also drag and drop Natural Media strokes by dragging the stroke
from the list box on the Docker to the object on your Drawing Page.
Shaping lines, curves, and curve objects

The Shape tool lets you change the shape of all curve objects by editing their
nodes and segments. You can also select and edit curves using the Pick tool.
A curve object is a line, curve, or shape created using the Freehand tool, the
Bezier tool, the Natural Media tool, or the Spiral tool. Rectangles, ellipses,
polygons, or text objects become curve objects when you use the Convert To
Curves command.
A control point (item
1), a node (item 2),
and a subpath (item
3).
Segments
A segment is the part of a curve lying between two nodes. Segments are of
two types: curved or straight. You can bend a curved segment by dragging it
with the Shape tool or by dragging the control points of the nodes on either
end of it. If you want to bend a straight segment, you must convert it to a
curved segment.
Nodes
A node is a small square on a line, curve, or object outline you use to edit the
object. When you select a curve object with the Shape tool, CorelDRAW
displays all the object’s nodes. You can shape a curve object by moving a
node or by moving the control points attached to a node.
Control points determine the curve of a segment as it passes through a node.
You can control the curve of a segment by varying the control point’s angle
and its distance from the node. Each node has a control point for each curved
segment connected to it. A node at the end of a curved segment has one
control point, while a node between two segments has two control points.

Since straight segments cannot bend, a node at the end of a straight segment
does not have a control point for that segment.
You can add nodes to a path if you can’t shape the path the way you want by
moving the existing nodes. If, on the other hand, you want to smooth the
shape of an object, you can remove unwanted nodes.
Subpaths
A single curve object can consist of more than one curve or shape. Each of
these curves or shapes is referred to as a subpath. For example, when you
convert text to curves, you often create subpaths. Once converted to a curve,
the letter “O” appears as two ellipses. Each of these ellipses is a subpath.
When you edit a Natural Media stroke, you edit the control path of the
stroke. The stroke itself is a closed path following the control path. When
you shape the control path, the stroke shifts according to how you edit the
control path. If you want to edit the closed path directly, you must first
separate it from the control path.
Selecting nodes and segments

You must select a node or a segment before you can make changes to the
curve. When you select a node attached to a straight segment, the node
appears as an unfilled square. If the node is attached to a curve segment, it
appears as a solid square. The Status Bar indicates the type of node (smooth,
cusp, or symmetrical) and segment (line or curve) selected.
To select a segment, you must use the Shape tool. To select a node, you can
use the Shape tool, Pick tool or any of the basic drawing tools.
To select a node or segment on a curve object

Click the node or segment with the Shape tool.
To select multiple nodes

1 Select the curve object with the Shape tool.
2 Hold down SHIFT, and click the nodes with the Shape tool.
You can also drag a marquee box around the nodes to select them.

To select all nodes of a selected object
Click Edit, Select All, Nodes.
If the selected curve has too many nodes to display, Pick tool node editing
is automatically disabled.
You can also select all nodes by holding down CTRL + SHIFT, and
clicking a node on the object with the Shape tool.
To select the first or last node in a curve object, you can select the object
with the Shape tool and then press HOME to select the first node, or
END to select the last node.
Double-clicking a curve with the Pick tool puts you in full node edit mode.
Deselecting nodes
Deselect nodes when you are finished shaping the curve.
To deselect one or more nodes

2 Hold down SHIFT, and click the nodes with the Shape tool.
You can also hold down SHIFT and drag a marquee box around the nodes
you want to deselect. This method also selects any nodes inside the
marquee box that are not selected.
To deselect all nodes on an object, you can also click a blank space in the
Drawing Window.
Adding nodes
You can add nodes to a curve object if you more nodes to create the curve
you want.
To add a node to a curve object

1 Click the Shape tool.
2 Double-click the curve where you want to add the node.

To add several nodes to a curve object
1 Using the Shape tool, select the nodes between which you want to add
nodes.
2 Click the Add Node(s) button on the Property Bar.
You can also use the Shape tool to add a single node to a curve object by
clicking the curve and then clicking the Add Node(s) button on the
Property Bar.
Removing nodes
Removing nodes from an object reduces redraw and printing time and can
also make the object appear smoother. You can select the nodes you want to
remove yourself, or you can use the Curve Smoothness slider to remove
unnecessary nodes automatically. The higher the setting on the slider, the
more nodes that will be removed.
To remove a node from a curve object

1 Click the Shape tool.
2 Double-click the node you want to remove.
To remove several nodes from a curve object

1 Using the Shape tool, marquee select the nodes you want to remove.
2 Click the Delete Node(s) button on the Property Bar.
Joining nodes
You can close an open path by joining its two end nodes. You can also join end
nodes on separate paths if the paths are all subpaths of the same object. You
cannot join nodes of two separate objects. If you want to join nodes from
separate curve objects, you must first combine them into a single curve
object, then join the two end nodes.
To join two nodes

1 Using the Shape tool select the nodes you want to join.
2 Click the Join Two Nodes button on the Property Bar.
A joined node is placed between the positions of the original two nodes.

To join two nodes with a line
1 Using the Shape tool, select the nodes you want to join.
2 Click the Extend Curve To Close button on the Property Bar.
To close an open path

1 Using the Pick tool or the Shape tool, select the object.
2 Click the Auto-Close button on the Property Bar.
Shaping nodes and segments

You can change the shape of a curve object by moving its segments, nodes
and control points. Normally, you move the segments and nodes to make
coarse adjustments, then fine tune the shape by moving the control points of
the nodes. By holding down CTRL as you drag a node or control point, you
can force it to move on a straight horizontal or vertical path.
You can edit a curve object’s nodes using the Pick tool or any drawing tool.
To edit a curve object’s segments and control points you must select it with
the Shape tool.
To shape a curve object by moving its curved segments

2 Drag a curved segment to reshape it.
To shape a curve object by moving its nodes

1 Select the curve object with the Pick tool or any drawing tool.
2 Drag a node to reshape the curve.
As you drag, the segments on either side of the node move. If the node is
on a curved segment, the control points also move so that the angles at
which the curve enters and leaves the node remain unchanged.
To shape a curve object by moving several nodes at once

1 Hold down SHIFT, and click the nodes you want to select with the Shape
tool.
2 Drag any of the selected nodes.
To shape a curve object by moving its control points

1 Select a node with the Shape tool.

Control points only extend from the selected node and from those nodes
on either side of the selected node if it is on a curved segment.
2 Drag a control point to reshape the curve.
The control points move differently depending on whether the node they
are associated with is smooth, cusp, or symmetrical. This, in turn, affects
the shape of the curve.
To move a control point hidden under its node, deselect all nodes on the
curve object, hold down SHIFT, and drag the control point out from under
the node.
Aligning nodes and control points

You can align two or more nodes on the same curve object. You can also align
the control points associated with these nodes. Nodes and control points can
be aligned horizontally or vertically.
To align nodes and control points

2 Hold down SHIFT, and select the nodes you want to align.
3 Click the Align Nodes button on the Property Bar.
4 Disable any options you do not want.
Transforming parts of a curve object

You can change the shape of an object by applying basic geometric
transformations (such as scaling) to selected nodes. You might want to do
this if, for example, you need to enlarge a portion of an object.
To stretch or scale parts of a curve object

2 Select the nodes along the curve you want to transform.
3 Click the Stretch And Scale Nodes button on the Property Bar.
Eight sizing handles appear.
4 Drag the corner handles to scale the selected nodes, or drag the side
handles to stretch the selected nodes.

To rotate or skew parts of a curve object
2 Click the Rotate And Skew Nodes button on the Property Bar.
Eight rotating/skewing handles appear.
3 Drag the corner handles to rotate the selected nodes, or drag the side
handles to skew the selected nodes.
Changing a node’s properties

There are three types of nodes: cusp, smooth, and symmetrical. The control
points of each node type behave differently.
A symmetrical node
(item 1), a smooth
node (item 2), and a
cusp node (item 3).
Node type Properties

Cusp The control points of a cusp node move independently from one another.
A curve that passes through a cusp node can bend at a sharp angle.
Smooth The control points of a smooth node are always directly opposite each
other. When you move one control point, the other moves also. The
control points of a smooth node may be of different lengths. Smooth
nodes produce a smooth transition between line segments.
Symmetrical The control points of a symmetrical node are always directly opposite
each other. Also, the control points are always equal lengths.
Symmetrical nodes produce the same curvature on both sides of the
node.
Unless a curve changes direction sharply as it passes through a node,

changing the node type will not noticeably affect the curve’s shape. It will,
however, affect the way you can reshape a curve.
To make a node smooth, cusp, or symmetrical


2 Click the node you want to change.
If you select more than one node, you can change all the nodes
simultaneously.
3 Click the Cusp, Smooth, or Symmetrical button on the Property Bar.
Changing a segment’s properties

here are two types of segments: straight and curved. If you click on a node
with the Shape tool, the Status Bar displays the type of segment entering the
node and the node type itself, for example, Selected Node: Curve Smooth.
The Convert Line To Curve and Convert Curve To Line buttons make it easy
to turn segments from straight to curved and from curved to straight.
You can also change the direction of a curve and smooth out a curve using
buttons on the Shape tool Property Bar.
To make a segment straight or curved

2 Click the segment you want to change.
If you select several segments at once, you can change them
simultaneously.
Click the Convert Curve To Line button on the Property Bar to make a
segment straight
Click the Convert Line To Curve button to make a segment curved
To reverse the direction of a curve

Select the curve with the Shape tool, and then click the Reverse Curve
Direction button.
To smooth out a curve

1 Marquee select the curve with the Shape tool.
2 Click the Curve Smoothness box and move the pop-up slider to select a
smoothness setting.

Breaking a path
You can turn a closed curve object into an open one by breaking its path at
any point. You can also break an open path into one or more subpaths or into
separate objects.
When you break a path, any subpaths and nodes that are created remain a
part of the original object.
To break a path
2 Click where you want to break the path.
Select multiple nodes to break the path at several different places.
3 Click the Break Curve button on the Property Bar.
Two superimposed nodes appear at each break.
To extract a path from an object

2 Using the Shape tool, select a segment, node, or group of nodes that
represents the portion of the path you want to extract.
3 Click the Extract Subpath button on the Property Bar.
When you break a path in an object it still remains as one object. When
you extract a subpath, you create two separate objects.
Drawing dimension, connector, and flow lines

Dimension lines
Dimension lines let you show the size of objects or the distance between
objects. Dimension lines are extremely useful for creating technical
diagrams, floor plans, or any drawing where exact measurements and scale
are important. A dimension line can be attached to an object so that when the
object is moved, the dimension line moves with it. This feature makes
dimension lines very flexible, especially when combined with dynamic
dimensioning.

Connector and flow lines
The Connector Line tool and the Flow Line tool let you connect two objects
with a line. If you move either or both of the objects, the connector or flow
line is adjusted accordingly.
Linking dimension, connector, and flow lines to objects

For dimension, connector, and flow lines to be effective, they must be linked
to the objects you label. When you use the Dimension tool, the Connector
tool, or the Flow Line tool, special points on each object, called snap points,
are activated. When the mouse passes over a snap point, the point becomes
visible. Dimension, connector, and flow lines can only be linked to objects at
these snap points.
Basic objects and curve objects generally have snap points at each node and
at the center of the object.
An object showing
the position of snap
points for dimension,
connector, and flow
lines.
For snap points to be visible the Show Snap Location Marks check box
must be enabled. To access the check box, click Tools, Options, then, in
the list of categories, click Workspace, Display.
Drawing dimension lines

Dimension lines let you show the size of objects or the distance between
objects. Dynamic dimensioning automatically displays the length of the
dimension line, ensuring you use accurate measurements in your drawing.
Also, dynamic dimension lines automatically change as you change your

drawing. If you prefer to type in your own approximate measurements or
other text, you can disable the dynamic dimensioning feature.
You can use
dimension lines to
indicate the distance
between two points
in your drawing.
When you use dimension lines to label objects, you can set the scale of your
drawing to reflect the actual size of the objects you are labeling. By default,
the scale is 1:1; therefore, one inch in your drawing equals one inch in the
real world. However, if you want to create an office floor plan, a scale of 1:12
(one inch equals one foot) might be more appropriate.
Callout lines
The Callout tool lets you draw lines that point to and label objects in a
drawing. When you draw a callout line, a text cursor appears at the end of the
line. This cursor indicates where to type a label for the object. You can format
this text as you would format Artistic text. You can also alter the format of
the callout line as you would format an outline.
Dimension Text
When you have finished measuring an object using the Dimension tool, a text
block displays the object’s measurement units and value. This text block is
called the dimension text and CorelDRAW lets you customize its display
options.
You can choose the style, font, and position of the dimension text. You can
also choose a unit of measurement and specify the number of decimal places
for the measurement.
You can add a prefix and suffix to the dimension text to help you keep track of
the various measurements of your drawing. You can also select the
dimension text and type custom text.
Drawing dimension lines

The Dimension tool lets you draw vertical, horizontal, slanted, and angular
dimension lines. Vertical and horizontal dimensions are restricted to the
vertical and horizontal axes; slanted dimensions can be drawn at any angle.

Angular dimension lines measure angles. An angular dimension consists of
two lines extending from a single point. An arc and label between the two
lines indicate the angle between the two lines in degrees, gradians, or
radians.
To draw a vertical, horizontal, or slanted dimension line

1 Open the Curve flyout, and click the Dimension tool.
2 Click one of the following from the Property Bar:
Vertical Dimension tool
Horizontal Dimension tool
Slanted Dimension tool
3 Click where you want to begin measuring.
If you want the dimension line to be linked to an object, click on one of the
object’s snap points.
4 Click where you want to finish measuring.
5 Click where you want to place the dimension text.
The dimension text appears where you clicked, provided you have not
specified a default dimension text location on the Property Bar.
The dimension text value is expressed in the same units as the horizontal
ruler, unless you have specified another unit on the Property Bar.
To draw a dimension line using the Auto Dimension tool

1 Open the Curve flyout, and click the Auto Dimension tool.
2 Click where you want to begin measuring.
If you want the dimension line to be linked to an object, click on one of the
object’s snap points.
3 Press TAB to toggle the Auto Dimension tool from vertical to horizontal
or slanted dimension lines.
4 Click where you want to finish measuring.
5 Click where you want to place the dimension text.
If you are drawing a slanted dimension line, hold down CTRL while you
drag to constrain the angle to 15-degree increments, or to the value you
specified for the Constrain Angle setting in the Options dialog box.

To draw angular dimension lines
2 Click the Angular Dimension Tool button on the Property Bar.
3 Click where you want the two lines that measure the angle to intersect.
4 Click where you want the first line to end.
If you are measuring an angle between two objects and you want the
dimension line to change when the objects move, place the end of each
line on a snap point.
5 Click where you want the second line to end.
6 Click where you want the angle’s label to appear.
Drawing callouts
The Callout tool lets you create callouts for labeling your drawing. For
callouts to be effective, they must be linked to the objects they are labeling.
To link callouts, use the object’s snap points.
CorelDRAW lets you customize the text in callouts in the same way you
format and edit text in CorelDRAW. For more information, see “Working with
text” on page 337.
To draw a two-segment callout

2 Click the Callout button on the Property Bar.
3 Click where you want the first callout segment to start.
4 Click where you want the first segment to end and where you want the
second segment to start.
5 Click where you want to place the callout text.
6 Type the callout text.
To draw a one-segment callout

Follow steps 1 to 3 in the previous procedure, then double-click where
you want to place the callout text.
Linking dimension lines to objects

When dimension lines are linked to objects, operations performed on these
objects will affect the dimension lines. The following is a list of common
operations and the effects each operation has on linked dimension lines:

When you... an object, the...
Rotate horizontal and vertical dimension lines remain horizontal and vertical
regardless of the object’s orientation. Slanted dimension lines rotate with
the objects that they label. If you plan to rotate an object, you may find
the slanted dimension lines more useful than the horizontal and vertical
dimension lines.
Skew linked dimension line does not get skewed. CorelDRAW updates the
dimension text to reflect changes in measurement.
Stretch dimension line is also stretched. CorelDRAW updates the dimension text
to reflect the new measurement.
Delete the dimension line attached to a deleted snap point is also deleted.
Duplicate dimension line linked to the object does not get duplicated. To duplicate
both the object and any linked dimension lines, you must select the
object and the dimension lines before duplicating.
Clone dimension line linked to the object does not get cloned. To clone both the
object and any linked dimension lines, you must select the object and the
dimension lines before cloning.
Separate link between the dimension line and the object is broken. Once
separated, a link can only be reestablished by clicking Edit, Undo.
Node edit dimension lines connected to the edited node are affected.
Changing dimension text

You can change the units for dimension text and add a prefix and a suffix to
the text. If you want to change what the dimension text says you can turn off
dynamic dimension lines and type a custom label. To restore the true
dimension, select the dimension line and enable the Dynamic Dimensioning
To specify how dimension units are displayed

1 Select the dimension line with the Pick tool.
2 If you want the units displayed next to the value on the dimension line,
enable the Show Units For Dimension button on the Property Bar.
3 Choose a style from the Dimension Style list box on the Property Bar.
You can choose from Decimal, Fractional, U.S. Engineering, or U.S.
Architectural style. (This option is not available with Angular Dimension
lines.)

4 Choose the precision level from the Dimension Precision list box on the
Property Bar.
5 Choose a unit of measurement from the Dimension Units box on the
Property Bar.
To add a prefix or a suffix to dimension text

2 Type text in the Prefix For Dimension or Suffix For Dimension box on the
Property Bar.
To type custom text on a dimension line

2 Disable the Dynamic Dimensioning button on the Property Bar.
3 Select the text you want to change with the Text tool, and type in new text.
To change the default settings

1 Press ESC, or click on blank space, to deselect all objects in your drawing.
3 Change the settings on the Property Bar.
You can change the default settings by accessing the Options dialog box.
You cannot change the default for dynamic dimension lines. Whenever you
create a dimension line, it is dynamic unless you change it.
Changing the dimension text font

You can change the font and size of dimension text after you have created the
dimension line.
To change the point size and font of dimension text

1 Select the dimension text with the Pick tool.
If the dimension line is already selected, click a blank space on the
Drawing Window before you try to select the dimension text.

2 Type the size in the Font Size list box on the Property Bar.
3 Choose a font from the Font list box on the Property Bar.
Positioning dimension text

You can specify how dimension text is positioned relative to the dimension
line, and you can move the text to a different position on the page.
To specify the position of dimension text relative to the

dimension line
2 Click the Text Position Drop Down button on the Property Bar.
3 Specify where you want to place the dimension text relative to the
dimension line.
Click to place it above the line.
Click to place text within the line.
Click to place it below the line.
Click to have the text placed horizontally.

This option places the text horizontally even if the dimension line is
diagonal or vertical. If you don’t choose this option, CorelDRAW places
the dimension text at the same angle as the dimension line.
Click to have the text centered relative to the dimension

line.
This option centers the text on the dimension line. If you don’t choose the
Center option, CorelDRAW places the dimension text where you last
clicked when you drew the dimension line.
To change the position of dimension text

Select the dimension text with the Pick tool and drag it to a new location.
The dimension line changes accordingly.

Drawing Connector lines and Flow lines
The Connector Line and Flow Line tools let you dynamically connect two
objects with a line. A line drawn with one of these tools is attached to both
objects so that if you move one or both of the objects, the line is repositioned
to maintain the connection. If only one end of a line is connected to an object,
the other end is fixed to the page.
The Connector Line tool draws straight lines at any angle. For example, if
you connect two objects where one is above and two the right of the other,
the Connector Line tool draws a straight, diagonal line between the objects.
Connector lines can be set either to remain attached to the nodes you choose
or to shift to the closest nodes on the two connected objects. You can only
reposition a connector line by moving the objects it is attached to.
The Flow Line tool makes it easy to create flowcharts and organizational
charts. Unlike the Connector tool, the Flow Line tool draws lines with only
vertical and horizontal segments. If you connect two objects where one is
above and to the left of the other, the Flow Line tool draws alternating
vertical and horizontal line segments in a step-like fashion. Flow lines remain
attached to the nodes you choose when the objects are moved. You can
detach a flow line from an object freely.
An organizational
chart showing lines
drawn with the
Connector Line and
Flow Line tools.
You can customize the style, thickness and end points of connector and flow
lines using the Property Bar.
Drawing connector lines

The Connector Line tool lets you draw lines that connect objects in your
drawing. For connector lines to be effective they must be linked to the
objects they are labeling. To link objects, use the object’s snap points. When

a connector line is linked to an object, it moves when you move the object.
You can only move connector lines by moving either or both of the objects
they connect.
You can change the outline of connector lines as well as customize connector
line styles and arrowheads. For more information, see “Filling and outlining
objects” on page 211.
To draw a connector line between two objects

1 Open the Curve flyout, and click the Connector Line tool.
2 Click a snap point on the first object.
When the mouse is over a snap point, the snap point is highlighted.
3 Click a snap point on the second object.
By default, the Lock To Connector Node button is disabled. When the

button is disabled, the connector line will always draw the shortest line
between the two objects it connects. When enabled, the connector line
remains fixed to the nodes to which it was originally attached.
You can access the connector line settings by clicking Tools, Options and
selecting the Connector Line tool in the list of categories.
Drawing flow lines

The Flow Line tool lets you draw flow lines that connect objects in your
drawing. For flow lines to be effective they must be linked to the objects they
are labeling. To link objects, use the object’s snap points. When a flow line is
linked to an object, it moves when you move the object, and will redraw to
reflect the change in position.
You can change the outline, line styles and arrowheads of flow lines. For
more information, see “Filling and outlining objects” on page 211.
To draw a flow line between two objects

1 Open the Curve flyout, and click the Flow Line tool
2 Click a snap point on the first object.
When the mouse is over a snap point, the snap point is highlighted.
3 Drag to a snap point on the second object.

Editing flow lines
You can make some changes to flow lines using the Shape tool. Nodes on the
line can be dragged horizontally or vertically, but not both. This means that
all angles in a flow line will be right angles.
If you move one of the objects the flow line is connected to, the line will be
redrawn and any edits you have made may be lost.
To edit a flow line

1 Select the flow line with the Shape tool.
2 Click and drag the node you want to move.
Linking connector and flow lines to objects

When connector and flow lines are linked to objects, operations performed on
these objects will affect the lines. The following is a list of common
operations and the effects each operation has on linked connector and flow
lines:
When you... an object, the...

Rotate, skew, or stretch connector or flow line will be redrawn to reflect the change to the
object’s position. Connector lines which are not locked to the connection
node will jump to whichever two nodes of the objects are closest together,
while connector lines which are locked to the connection line will remain
attached to the same node.
Delete connector line or flow line attached to the deleted object is also deleted.
Duplicate connector or flow line linked to the object does not get duplicated. To
duplicate both the object and any linked connector or flow lines, you
must select the line and both of the objects it is connected to before
duplicating.
Clone connector or flow line linked to the object does not get cloned. To clone
both the object and any linked connector or flow lines, you must select
the line and both of the objects it is connected to before cloning.
Separate link between the connector or flow line and the object is broken. Once
separated, a link can only be reestablished by clicking Edit, Undo. If you
exceed the maximum number of Undo levels available, you must delete
and reconstruct the line.
Node edit connector line or flow line attached to the edited node are redrawn.

Setting tool preferences
CorelDRAW lets you control the default settings of your drawing tools. The
options of the Freehand and Bezier tools such as Auto-join, Freehand and
Autotrace tracking, Corner and Straight Line Threshold, can be preset only
through the Options dialog box. The Auto-join option determines how close
two end nodes must be to join automatically.
The Freehand Tracking option determines how closely a freehand curve
matches the movement of the mouse. The Autotrace Tracking sets the
accuracy of the Freehand and Bezier tools’ bitmap autotrace function.
The Corner Threshold option sets the limit at which a corner node is cusped
(as opposed to smooth). Through the Straight Line Threshold option, you can
set the amount at which a line can deviate from a straight path and still be
treated as straight.
CorelDRAW also gives you options that help you pay attention to the details
of your drawing. It lets you measure your values up to six decimal places. You
can preset the constrain angle at which the object turns per rotation. When
using dimension lines in your drawing, you can set the scale to measure
distances that represent real world distance values.
Changing the default settings of a drawing tool

The default settings of a drawing tool determine its behavior when you use it
to create an object. If you want a drawing tool to behave differently, you can
change its default settings.
If no objects are selected and you select a tool, any changes you make to the
settings on the Property Bar become the default settings. Otherwise, the
changes you make are applied to the selected object. If you want to deselect
all objects while a drawing tool is active, press ESC.
To change the default settings of a drawing tool using the

Options dialog box
2 In the list categories, double-click Toolbox, and click the tool you want to
change from the list.
3 Change the settings.
To change the default settings of a drawing tool using the

Property Bar
1 Click the drawing tool you want to change.

2 Press ESC to ensure that no objects are selected.
3 Change the settings on the Property Bar.
Controlling the behavior of the Freehand and Bezier tools

You can change the way that the Freehand tool and Bezier tool behave by
changing their properties on the Toolbox page in the Options dialog box.
To set Freehand and Bezier tool properties

2 In the list of categories, double-click Toolbox, and click Freehand/Bezier
Tool in the list of tools.
3 Change any of the following property settings by typing a value (in pixels)
in the appropriate box. In each case, you can set a value from 1 to 10.
Freehand Smoothing determines how closely a freehand curve will
match the movement of the mouse. Lower numbers produce more
accurate matches; higher numbers produce less accurate matches.
Autotrace Tracking sets the accuracy of the Freehand and Bezier tools’
bitmap autotrace function. Lower values produce more accurate
tracing; higher values produce less accurate tracing.
Corner Threshold sets the limit at which a corner node is cusped (as
opposed to smooth). A node is more likely to be cusped if the value is
lower.
Straight Line Threshold sets the amount a line can deviate from a
straight path and still be treated as straight. If you set the threshold to
a high value, you don’t need to be as accurate in your freehand drawing
to produce a straight line.
Auto-join determines how close two end nodes must be to join
automatically.
Double-click the Freehand tool or the Bezier tool to display the Toolbox
page in the Options dialog box.
By default, the Fill Open Curves check box is disabled. When it is enabled,
you can apply fills to open curves. To enable the Fill Open Curves check
box, you must open the Options dialog box, and then click Document,
General.

Setting the constrain angle
The Options dialog box provides the controls you need to change the
constrain angle. The constrain angle represents the increment by which
control points, lines, and objects rotate when you hold down CTRL as you
use the mouse to draw or rotate them. For example, if you set the constrain
angle to 14 degrees, an object will rotate in 14-degree increments if you hold
down CTRL as you drag one of the object’s rotation handles.
To set the constrain angle

2 In the list of categories, click Workspace, Edit.
3 Type the number of degrees in the Constrain Angle box.
Setting measurement precision for a drawing

You can specify the number of decimal places displayed in measurements and
coordinates by changing the drawing precision. This setting does not affect
the drawing itself, it only affects how the numbers are displayed in dialog
boxes, on the Property Bar, and on the Status Bar.
To set drawing precision

3 Type the desired number of decimals in the Drawing Precision box.
Drawing dimensions to scale

If you are using dimension lines to measure distances, you will probably need
to set the scale in CorelDRAW. It is necessary to set the scale when
distances in your drawing represent greater or lesser distances in the real
world. For example, if you want to illustrate the size of the head of a pin, you
may want a centimeter in your drawing to represent one thousandth of a
centimeter in the real world.
To choose a preset drawing scale

3 Click the Edit Scale button.
4 Choose a drawing scale from the Typical Scales list box.

To set a custom drawing scale
2 Choose Custom from the Typical Scales list box.
3 Type a value in the Page Distance box.
4 Choose a unit for the page distance from the list box provided.
5 Type a value in the World Distance box to set the actual distance you want
represented by each unit of page distance.
If you want to change the World Distance units, change the Horizontal
ruler units. If the drawing scale is set to anything other than 1:1, the
Vertical ruler units will always be the same as the Horizontal ruler units.
For more information about changing ruler units, see “Setting ruler units”
on page 57.

WORKING WITH STYLES AND
TEMPLATES 4
This chapter describes how to use styles and templates to help you format
drawings and documents in CorelDRAW.
A style is a set of formatting settings that simplifies the task of formatting
objects in your drawings. When you apply a style to an object, all the settings
of the style are applied to that object in one step. Styles can save you
considerable time if you need to apply the same formatting to many different
objects. For example, you can create a graphic style for quickly formatting
certain objects in your drawing.
You can use a style
to apply the same
formatting to many
different objects in
your drawing.
By using styles, you also make it easier to change your drawing. To change
the fill for the graphics objects in your drawing, you can simply edit the
graphic style to update all the objects using this style.
A template is a set of styles and page layout settings that govern the layout
and appearance of a drawing or document. You can use the default template
(CORELDRW.CDT) or choose one of a wide variety of other templates
available on the CorelDRAW CD-ROM.
You can also create your own templates to suit your needs. For example, if
you regularly put together a newsletter, you can save the newsletter’s page
layout settings and styles to a template. You can also save drawing objects to
your template. As with the above example, you can save the newsletter’s
banner with the template. When you create a new drawing using the
template, CorelDRAW formats the page using the page layout settings and
loads the styles saved with the template.
Working with styles and templates 143

Working with styles
With CorelDRAW, there are three types of styles you can save and apply in
your drawings: graphic, text, and color styles.
A graphic style is a combination of fill and outline settings. For more
information on creating fills and outlines, see “Filling and outlining objects”
on page 211.
A text style is a set of text settings including font, point size, and font style.
Text styles also include fill and outline settings. For example, you can create
a style that applies a texture fill to 72 point Wide Latin font. There are two
types of text styles: Artistic and Paragraph styles.
A color style is a color you save and apply to objects in your drawing. Since
there are millions of colors available in CorelDRAW, color styles can make it
easier to find and apply the exact color you want. One powerful feature of
color styles is that you can create a series of shades based on a color style.
The original color style is referred to as the “parent” color; and the shades,
as “child” colors. For most of the available color models and palettes, child
colors share the same hue as the parent but have different saturation and
brightness levels. With the Pantone Matching System, Pantone Hexachrome,
and UserInks palettes, child and parents share a common ID but have
different tint levels.
You can create child colors if you need to apply lighter and darker shades to
an object. If you later need to change the color of the object, you can edit the
parent color, and CorelDRAW will automatically adjust the child colors. For
example, if you change a parent color from red to yellow, CorelDRAW
converts the child colors of the red parent to shades of yellow.
When you change the
parent color,
CorelDraw
automatically adjusts
all the child colors.

With CorelDRAW, when you change the settings of a style, all the objects
using this style are automatically updated. This allows you to make design
changes to your drawing in one step.
By creating and applying styles, you can significantly reduce layout time and
also ensure a consistent look for your drawings.
Working with graphic and text styles

This section describes how to create and apply graphic and text styles. To
make it easier to use these styles, CorelDRAW includes a Graphic and Text
Styles Docker. You can use this Docker to drag and drop styles into your
drawing. You can also use the Docker to create, edit, apply, and delete styles.
Every CorelDRAW template includes default styles for graphics, artistic text,
and paragraph text. When you create graphics or text, CorelDRAW
automatically applies the appropriate default style. For example, if you have
the Default Artistic Text style set to format text in 24 point AvantGarde, any
artistic text you create will have these properties.
Once you have created an object, you can apply a new style or change the
settings of the default style to update your object. You cannot delete a default
style.
When you create a style, the new style is saved to the current drawing. To
use the style in another drawing, you can copy the style to the new drawing
or save the save the style in a template. For more information on creating
and loading templates, see “Working with templates” on page 158.
Creating a style
The Graphic And Text Styles Docker displays all the styles available in the
current drawing or template. You can use this Docker to create a new
graphics or text style. Once you have created a style, you can change the
properties of the style.
You can define styles for graphics, Artistic text, and Paragraph text.
To create a style
1 Click Tools, Graphic And Text Styles.
2 Click , New.
Graphic Style — creates a new Graphic style based on the Default
Graphic style
Artistic Text Style — creates a new Artistic Text style based on the
Default Artistic Text style

Paragraph Text Style — creates a new Paragraph Text style based on
the Default Paragraph Text style
4 Choose the new style from the list in the Graphic And Text Styles Docker.
5 Click , Properties.
6 Click the Edit button beside the property you want to change.
7 Adjust the Text, Fill, or Outline properties where necessary.
To create a style from a graphic or text object

1 Right-click the object using the Pick tool.
2 Click Styles, Save Style Properties.
Type a name for the style in the Name box.
Leave the name of the style unchanged to overwrite the existing style.
4 Enable any of the following:
Text — to use the text properties of the object for the new style
Fill — to use the fill settings of the object for the new style
Outline — to use the outline settings of the object for the new style.
When you create a style based on an object, CorelDRAW does not

automatically apply the style to the object. If you want the object to use
the style, you must apply the style.
You can also create a new style based on an object by dragging the object
from the drawing window to the Graphic and Text Styles Docker. By
default, the new style is named “New Graphic”, “New Artistic Text”, or
“New Paragraph Text” depending on the type. If a style with this name
exists, CorelDRAW numbers the new style to distinguish it from the
existing style.
Editing a style
With CorelDRAW, you can edit the properties of a style either by changing
the style’s properties in the Options dialog box, or by saving the properties of
a selected object to the style.

To edit a style
2 Choose the style from the list in the Graphic And Text Docker.
3 Click , Properties.
4 Click the Edit button beside the property you want to change.
5 Adjust the Text, Fill, or Outline properties as desired.
To edit a style based on changes to an object

1 Make the desired changes to the object.
2 Right-click the object.
3 Click Styles, Save Style Properties.
4 Type the name of the style you want to update in the Name box.
5 Enable or disable the Text, Fill, or Outline boxes as desired.
You can also edit a style by copying object properties from an object to a
style. You do this by dragging the object from the drawing window over
the style in the Graphic and Text Styles Docker. You can also copy object
properties by choosing the style, and then using the Copy Properties
From command from the Docker menu.
To rename a style
2 Right-click the style, and click Rename.
3 Type the new name, and press ENTER.
Deleting a style
You can delete any custom style from a template. You can’t delete any of the
default styles: Default Paragraph Text, Default Artistic Text, and Default
Graphic.
To delete a style

2 Choose the style you want to delete.
3 Click , Delete.
Applying a style
When you apply a style to an object, CorelDRAW overrides the existing text
or graphic properties with the properties of the selected style.
To apply a style to an object

2 Using the Pick tool, select the object you want to apply a style to.
3 Choose a style from the list in the Graphic And Text Styles Docker.
4 Click , Apply Style.
You can also apply a style to an object by right-clicking the object with the
Pick tool, selecting Styles, Apply, and then selecting a style from the
submenu.
You can also apply a style by either selecting the object and
double-clicking the style or by dragging the style over the object in the
Drawing Window.
You can apply text styles from the Text property bar. Select the text with
the Text tool or the Pick tool. Choose an appropriate style from the Style
List box on the Text property bar.
Reverting to an object’s style

The Revert To Style command allows you to undo changes made to an
object’s properties after applying a style.
To revert to an object’s style

1 Right-click the object using the Pick tool.
2 Click Styles, Revert To Style to reapply the style to the object.
Using styles from other drawings or templates

If you want to use a style from another drawing or template, you must either
copy the style to the new drawing or load the template containing the style.
To copy a style, you must copy an object using the style or import the
drawing containing the style. If you copy or import a style with the same

name as an existing style, CorelDRAW renames the styles by adding a
number to the style name.
To load styles from another template

2 Click , Template, Load.

3 Choose the drive where the template file is located from the Look In List
box.
4 Click the name of the template you want.
5 Click Open.
The styles from the loaded template appear in the Graphic and Text Styles
Docker.
Changing a default style

When you create a new graphic or text object, CorelDRAW applies the
default graphic or text style. You can edit the default styles as you would any
style. CorelDRAW saves the new default style properties with the drawing.
If you want to use the new default style properties for new drawings, you
must save the new settings. For information on saving default styles for
future CorelDRAW sessions or documents, see “Using consistent settings
for new documents” on page 47.
To change the fill for a default graphic or text style

2 Choose a color from the Color Palette.
3 Enable any of the following check boxes:
Graphic — changes the fill color for new graphic objects
Artistic Text — changes the fill color for new Artistic text objects
Paragraph Text — changes the fill color for new Paragraph text objects
To change the outline for a default graphic or text style

Right-click a color in the Color Palette to change the default outline
color

Click the Outline tool and choose a outline width from the flyout to
change the default outline width
Graphic — changes the outline color for new graphic objects
Artistic Text — changes the outline color for new Artistic text objects
Paragraph Text — changes the outline color for new Paragraph text
objects
To change a default text style

2 Click Text, Format Text.
3 Choose the properties you want to assign as the new defaults and click
OK.
4 Enable one or both of the following boxes to indicate which default styles
you want to change:
Artistic Text
Paragraph Text
You can also change the default text or graphic style by dragging a text or
graphic object over either the Default Graphic, Default Artistic Text, or
Default Paragraph Text style.
Finding objects assigned a selected style

The Find command in the Graphic And Text Docker lets you find any object
using a given style. For example, you can use this command to find all objects
that use the Default Graphic style. You can find these objects in the active
drawing only.
To find objects assigned a specific style

2 Click the style assigned to the objects you want to find.
3 Click , Find.
A selection box appears around the first object with the specified style.
4 Click , Find Next to find the next object that uses the style.

Assigning a shortcut key to a style
You can assign a shortcut key combination to any style in CorelDRAW. When
you press the shortcut key combination, CorelDRAW applies the style to the
selected object. For example, you could assign the key combination ALT + H
to a paragraph text style for headings. The shortcut key combination can use
up to four different keystrokes.
If the shortcut key combination you enter is already in use, you can override
the existing setting and assign the combination to the style.
You can also use the Customize dialog box to assign a shortcut key. For more
information, see “Assigning and deleting keyboard shortcuts” on page 793.
To assign a shortcut key to a style

2 Choose the style you want to assign a shortcut key to.
3 Click , Edit Hot Key.

4 Click the Press New Shortcut Key box.
The Current Shortcut Keys box lists any shortcut keys currently assigned
to that style.
5 Press the combination you want to assign to the style, and click the
Assign button.
To assign an existing shortcut key to a style

2 Enable the Delete Conflicts Shortcut check box.
3 If you want to assign a new shortcut key to the style or command you are
overriding, enable the Navigate To Conflict check box.
4 Click the Assign button.
Customizing the display of the Graphic And Text Docker

You can choose what types of styles — graphic, artistic text, or paragraph
text — are displayed in the Graphic And Text Styles Docker. You can also
customize the Graphic And Text Docker to display only the styles you can
apply to a selected object. For example, when you select artistic text, only
artistic text styles appear in the Graphic And Text Styles Docker. If you are
using a lot of styles to format your document, displaying only the styles
applicable to the selected object makes it easier to find the style you want. As

you move from graphic objects to text objects, CorelDRAW automatically
refreshes the Docker and displays only the relevant styles.
To specify which styles are displayed in the Graphic And Text

Styles Docker
2 Click , Show.
3 Enable any of the following options:
Graphic Styles — to display Graphic styles
Artistic Text Styles — to display artistic text styles
Paragraph Text Styles — to display paragraph text styles
To set CorelDRAW to display only the styles you can apply to a

selected object
2 Enable the Auto-View option.
Working with color styles

This section describes how to create and apply color styles. To make it easier
to use these styles, CorelDRAW includes a Color Styles Docker. You can use
this Docker to drag and drop color styles into your drawing. You can also use
the Docker to create and edit parent and child colors, as well as delete color
styles you do not need.
When you create a color style, the new style is saved to the current drawing.
To use the style in another drawing, you can open the other drawing and drag
the color style from one drawing folder to another in the Docker.
CorelDRAW also has an Auto-Create feature for creating color styles from
selected objects. When you create color styles from an object, CorelDRAW
automatically applies the new styles to this object. When you use the
Auto-Create feature, you can choose to create few or many parent color
styles. Once you convert all colors to color styles, you can, for example, use
one parent color to control all your red objects, or many parents, one for each
shade of red in the drawing.
Creating a color style

The Color Styles Docker allows you to create styles and link colors together
in a “parent-child” relationship. You can create color styles by opening the

New Color Style dialog box and selecting a color. The New Color Style dialog
box is identical to the Uniform Fill dialog box. For more information on
creating uniform fills, see “Applying a uniform fill” on page 212. For
information on color models, mixers, fixed and custom palettes, see
“Choosing colors” on page 306.
You can also quickly by dragging colors from the color palette or from your
drawing to the Docker.
To create a color style using the New Color Style dialog box
1 Click Tools, Color Styles.
2 Click the New Color Style button.
3 Select a color using the New Color Style dialog box.
To create a color style from the Color Palette

2 Drag a color from the Color Palette to the Color Styles Docker.
To create color style from an object

2 Drag the object with the fill or outline color you want to the Color Styles
Docker.
Creating a child color

You can create child colors based on a color style by selecting the style and
adjusting the saturation, brightness, or tint of the child. You can create child
colors one at a time or you can create multiple child colors automatically.
If you change the parent color, all child colors change as well.
To create a child color

2 Choose the color style you want to link a child color to.
3 Click the New Child Color button.
4 From the Create A New Child Color dialog box, choose a color by clicking
in the rectangular Color Palette provided.
5 Type a name in the Color Name box.

You can also create a child color by right-clicking a color style, and clicking
Create a Child Color.
You can also choose a child color by typing values in the Saturation and
Brightness boxes of the Create A New Child Color dialog box.
To create a series of child colors

2 Click the Create Shades button.
3 Type a number from 1 to 20 in the Create box.
Lighter Shades — creates child colors that are lighter than the parent
Darker Shades — creates child colors that are darker than the parent
Light and Darker Shades — creates an equal number of light and dark
child colors
5 Move the Shade Similarity slider to determine the similarity of the child
colors to the parent color.
Move the slider to the left to create very different shades; move the slider
to the right to create very similar shades.
You can also create a series of child colors by right-clicking a color style,
and clicking Create Shades.
Creating parent and child colors from an image

You can easily create parent and child colors from colors in your drawing
using the Auto-create Color Styles feature. You can choose to create a
number of unrelated color styles, or you can group related colors together in
a parent-child relationship.
When creating child colors, colors added from a color-matching system are
converted to CMYK so that they can be grouped into appropriate parent-child
groups automatically. Once you have converted colors to CMYK, they cannot
be converted back to their original format.
To create parent and child colors from an image


2 Select the image or group of objects with the Pick tool.
3 Click the Auto Create Color Styles button.
4 Enable any of the following:
Use Fill Colors — to create color styles based on the fill colors in the
selected image
Use Outline Colors — to create color styles based on the outline colors
in the selected image
5 Enable the Automatically Link Similar Colors Together check box to link
similar colors together under their appropriate parent colors.
If you disable this check box, CorelDRAW does not group similar colors
under a parent color.
6 If you enable the Automatically Link Similar Colors check box, move the
Parent Creation Index slider to determine the number of parent colors
created.
Moving the slider to the right creates only a few parent colors; moving the
slider to the left creates many parent colors. To test different slider
values, click the Preview button.
7 Enable or disable the Convert Child Palette Colors To CMYK check box.
When enabled, colors added from a color-matching system are converted
to CMYK so that they can be grouped under an appropriate parent color.
When disabled, all colors added from a color-matching system are made
into separate color styles.
Editing color styles

You can edit both parent and child colors in CorelDRAW. For most of the
available color models and palettes, child colors share the same hue as the
parent but have different saturation and brightness levels. With the Pantone
Matching System, Pantone Hexachrome, and UserInks palettes, child and
parents share a common ID but have different tint levels.
When you change the hue of a parent color, all related child colors are
updated, based on the new hue and the original saturation and brightness
values. For color styles using the Pantone Matching System, Pantone
Hexachrome, and UserInks palettes, if you change to the color ID of the
parent, all child colors are updated, based on the new ID and the original tint.
To edit a parent color

2 Choose the parent color you want to edit.

3 Click the Edit Color Style button.
4 Select a color from the Edit Color Style dialog box.
For more information on uniform fills, see “Applying a uniform fill” on
page 212.
You can also edit a parent color by right-clicking the parent color and
clicking Edit Color.
To edit a child color

2 Choose the child color you want to edit.
3 Click the Edit Color Style button.
4 Select a color from the Edit Child Color dialog box.
You can also edit a child color by right-clicking the child color and clicking
Edit Color.
To rename a color style

2 Right-click the color style you want to rename and click Rename.
3 Type a new name for the color, then press ENTER.
You can also rename a color style by clicking twice on the color style you
want to rename, typing the new name, and pressing ENTER.
Applying color styles

Once you create a color style, you can apply it to objects in your drawing
using the Color Styles Docker.
To apply a color style


3 Double-click the name of the style you want to apply.
To apply a color style using drag and drop

Drag a color style from the Color Styles Docker to an object.
As the mouse pointer moves over the object, the mouse pointer changes
shape to indicate whether the color will be applied as a fill or an outline.
Deleting color styles

You can delete color styles from the Color Styles Docker if you find that you
no longer need them.
To delete a color
2 Right-click the color style you want to delete and click Delete.
Sorting colors
You can sort your color styles in alphabetical order, or you can have all parent
colors with child colors listed first.
To sort colors by name

Right-click the drawing folder you want to reorder, and click Sort, By
Names.
This sorts the colors in the drawing alphabetically.
To sort colors by links

Right-click the drawing folder you want to reorder, and click Sort, By
Color Styles With Children.
This moves all parent colors with child colors to the top of the drawing
list.
Moving a color style under another parent

You can copy a color style (parent or child) and make that style a child of
another parent. If the color style has child colors, both the parent and its child
colors become child colors of the selected color style. When you move a child
color to another parent, the child color changes color based on the new hue
or color ID and the original saturation, brightness, or tint levels.

To move a child color from one parent to another
2 Right-click the color style you want to move and click Make Child Of An
Existing Color.
3 Using the right arrow, click the color style you want to make the parent of
the selected color.
Press ESC or click outside the Color Styles Docker to cancel this action.
To drag a child color from one parent to another

2 Select the color with the Pick tool.
3 Drag a child color over a child color under the parent color you want.
To copy a color style from one drawing to another

1 Open both the drawing with the color style and the drawing you want to
copy the style to.
The Color Styles Docker displays folders for every open drawing.
3 Drag the color style to another drawing folder to copy the style to that
drawing.
Working with templates

A template is a set of styles and page layout settings that determine the
appearance of a drawing or document.
When you create a new drawing, CorelDRAW automatically loads the default
template (CORELDRW.CDT). This template has one graphics style, one
Artistic text, style, and seven Paragraph text styles.
In addition to the default template, CorelDRAW provides a wide variety of
preset templates to help create drawings. You can find the preset templates
on the CorelDRAW CD-ROM or by running the Template Wizard.
If desired, you can modify any of these templates and then save it as a new
template. For example, if you like a template but want to make it more
versatile, you can add styles that you’ve created or that you’ve taken from
another template.

You can use preset or
custom templates to
control the
appearance of your
documents.
If none of the preset templates meets your needs, you can create your own
template based on your own styles or styles taken from other templates. You
can also create a template from any drawing you create in CorelDRAW. If
desired, you can even save graphics or text objects with the template. When
you save objects with a template, you can choose to include these objects
when you create a new drawing using the template.
Templates can be applied at any time during a CorelDRAW session. For
example, you can use the New From Template command (in the File menu)
to open the Template wizard, which will help you find the template you want.
If you’ve already created a drawing, you can apply a template to it using the
Load command (in the Graphic And Text Styles Docker).
If you want, you can save templates to the Template folder on your hard
drive. You can also make your templates available when open a template
using the Template wizard.
Creating a template
You can create a template using custom styles or styles from another. To save
a template, you can use the Graphic And Text Styles Docker or the Save
Drawing dialog box. If you have objects on the Drawing Page, you can save
them along with the styles, so that when you load the template, you can add
the objects to your page. Also, if you altered the page layout, you can save
the page settings along with the styles. When you use the Save Drawing
dialog box, CorelDRAW automatically saves objects on the Drawing Page
with the template.
To create a template from the Graphic And Text Styles Docker

2 Do any of the following:
Create text and graphics, and use them to create the styles you want.

Use the Clipboard to add objects with the styles you want to save in
your new template.
Load an existing template with the styles you want, and apply them to
objects on the page.
3 Click , Template, Save As.

4 Type a name in the File Name box to save the template in the current
drive and folder.
Enable the With Contents check box to include page settings and
objects on the active page.
Disable the With Contents check box to save only the styles.
You can also save a template using the Save Drawing dialog box by
clicking File, Save As, and saving the file in the CorelDRAW Templates
folder as a CorelDRAW Template (CDT) file.
Opening a template for editing

If you want to edit a template, simply open the template and make changes to
the styles, page layout settings, or objects. For information on setting page
layout options, see “Setting up the Drawing page” on page 34.
To open a template for editing

1 Click File, Open.
box.
3 Choose CorelDRAW Template (CDT) from the Files Of Type list box.
4 Double-click the template you want.
The Open Template dialog box appears.
5 Enable the Open for Editing check box.
Loading a template
Each drawing you create using the New command uses the default
CORELDRW.CDT template. If you want to use another template, you can
use the New From Template or the Open command from the File menu. The

New From Template command opens the Template wizard, which helps you
find the CorelDRAW or the PaperDirect template you want. For more
information about adding custom templates to the Template wizard, see
“Adding templates to the Template wizard” on page 162.
When you load a template, you can also choose to load just the styles or to
load styles, page layout settings, and objects.
To start a drawing using a template from the Template wizard

1 Insert the CorelDRAW CD-ROM in your computer’s CD-ROM drive.
2 Click File, New From Template.
3 Follow the Instructions in the Template wizard to find the template you
want.
To load a template using the Open Drawing dialog box

1 Click File, Open.
box.
3 Choose CorelDRAW Template (CDT) from the Files Of Type list box.
4 Double-click the template you want.
The Open Template dialog box appears.
5 Enable the New from Template check box.
Enable the With Contents check box to load the template’s styles, page
settings and objects.
Disable the With Contents check box to load only the styles.
Assigning a new template to the drawing

When you’ve already started a drawing and want to change templates, use
the Load command from the Graphic And Text Styles Docker menu.
If objects in your drawing use styles with the same names as those in the
new template, CorelDRAW prompts you to indicate whether you want to
apply the new styles to those objects.
To assign a new style template using the Graphic And Text Styles
Docker

2 Click , Template, Load.
box.
4 Click the template you want to load.
When you use the Load command, only the styles are loaded. CorelDRAW
does not use the template’s page layout settings and does not add objects
saved with the template to your page.
Adding templates to the Template wizard

The Template wizard helps you find templates in the Template folder of the
CorelDRAW CD-ROM. If you have custom templates or templates from
previous versions of CorelDRAW, you can still make them accessible from
the Template wizard. To do this, you need to run the TempWiz script from
the Script And Preset Manager. This script provides easy-to-follow
instructions to guide you through the task of adding templates to the
Template wizard’s list.
To add templates to the Template wizard’s list

1 Click Tools, Corel SCRIPT, Script And Preset Manager.
2 From the Script and Preset Manager Docker, double-click the Scripts
folder.
3 Double-click the TempWiz icon.
4 Follow the instructions provided to select the templates you want to add.
You can also rename and remove templates from the Template wizard’s
list.

ORGANIZING OBJECTS 5
CorelDRAW provides powerful tools for arranging and organizing objects in
your drawings. You can accomplish tasks that range from simple operations
like copying, grouping, and combining objects, to more advanced operations,
such as using the Object Manager to organize an entire document.
You can control the vertical order of objects in a drawing, and align or
distribute objects on the page. The object arrangement tools can help you
expand the scope of your creativity and increase your efficiency.
This chapter also provides information on finding and replacing object and
text properties, grouping and ungrouping objects, duplicating and cloning
objects, and using layers to organize your drawing.
For people in charge of creating or supervising large projects, there is also a
section on using the Object Data Manager. The Object Data Manager is an
advanced feature of CorelDRAW that helps you track expenses, deadlines,
assignments, progress and other project-related tasks you need to organize.
Undoing and redoing changes

CorelDRAW gives you the freedom and flexibility to experiment and be
creative without worrying about permanently altering your drawings or
having to start over. If you make a change to your document, then wish you
hadn’t, you can undo the change.
You can:
undo the last few actions performed
change the number of undo levels, up to a number limited only by your
system’s memory configuration
undo a series of changes from a chosen point, and redo them if you
choose — regardless of how many times you have already saved your
drawing
undo all changes since you last saved, and revert to the last saved
version of your drawing
repeat commands and copy object properties from one object to
another
The ability to repeat commands and copy object properties means you can
apply the same properties to several objects without having to recreate them
each time.
Organizing objects 165

Undoing the last change
You can undo the last several actions you performed.
To undo the last change

Click Edit, Undo.
Changing the number of undo levels

You can undo 99 actions by default. You can increase or decrease this default
number to suit your needs.
To change the number of undo levels

2 In the list of categories, click Workspace, General.
3 Type a value in the Regular box in the Undo Levels section.
The number of undo levels is limited only by your system’s memory
configuration.
The higher the undo value, the greater the demand on your system
resources will be.
Undoing a series of changes

You can view a chronological list of the last several actions performed and
choose the point from which to undo them. The action you choose, and all
those that follow it, are reversed.
To undo a series of changes

1 Click the Undo List button on the Standard toolbar.
2 Choose a command from the Undo list.
Use this option to undo some or all changes since your last save.
File Open, File New, and File Save do not appear in the Undo list because
they can’t be undone.

You can undo changes regardless of how many times you have saved your
document.
Undoing all changes since you last saved

You can revert to the last saved version of your file. This function is useful if
you tend to save your file whenever you are satisfied with the latest changes
in your drawing.
To undo all changes since you last saved

Click File, Revert.
Redoing a series of changes

You can view a chronological list of each action undone and choose the point
from which to redo the undone actions. The action you choose, and all those
that follow it, are redone.
To redo a series of changes

1 Click the Redo List button on the Standard toolbar.
2 Choose a command from the Redo list.
Repeating commands
You can repeat commands in CorelDRAW. For example, you can fill one
object, then select another and fill it with the same fill.
To repeat a command
1 Select an object with the Pick tool and apply one of the following
commands:
Fill
Outline
Move
Scale
Skew
Nudge
Rotate
Duplicate

Copy Attributes From
2 Select another object with the Pick tool, and click Edit, Repeat [command
name].
The command name in the Edit menu changes depending on the

command you’re repeating, for example, Repeat Move, Repeat Skew, etc.
Copying object properties

When you apply a fill or outline to an object, you can copy the same
properties to another object.
To copy another object’s fill properties

1 Using the Pick tool, select the object to which you want to copy the
properties.
2 Click Edit, Copy Properties From.
3 Enable one or more of the following check boxes:
Outline Pen — copies outline pen attributes from one object to another
Outline Color — copies outline color attributes from one object to
another
Fill — copies fill attributes from one object to another
Text Properties — copies text attributes from one text object to
another
4 Click OK. The cursor changes to a large arrow.
5 Click the object that contains the properties you want to copy.
Arranging objects
You can use many basic editing functions to arrange objects in your drawing.
You can manipulate objects by using the Clipboard to cut, copy, and paste
them. The Clipboard is a temporary storage area used to transfer text and
graphics between applications, as well as within or between CorelDRAW
files.

The various editing
functions in
CorelDRAW let you
arrange your
drawing any way you
want.
CorelDRAW also offers advanced features such as cloning and duplicating.

Cloning copies selected objects directly on screen, creating a connection
between the original object (the “master”) and the new object (the “clone”).
This connection means that any changes made to the master object are also
applied to the clone. For example, if you change the master’s fill, the clone’s
fill also changes.
Duplicating places a copy of the initial object directly on screen, offsetting it
slightly from the original object. The duplicate takes on all of the original
object’s attributes, but has no lasting connection to the original object.
CorelDRAW lets you change the offset for duplicated and cloned objects to
suit your needs.
You can also delete objects. When you delete an object instead of cutting it,
CorelDRAW does not place it on the Clipboard. Delete an object (rather than
cutting it) only when you are sure you will not use it again.
Using the Clipboard to copy objects

You can copy or cut an object and place it on the Clipboard. Then you can
paste it from the Clipboard back onto the Drawing Window.
To copy an object
2 Click Edit, Copy.
To cut an object
2 Click Edit, Cut.

To paste an object from the Clipboard
Click Edit, Paste.
If the object was cut or copied from CorelDRAW, it is placed at the same
location from which it was cut or copied.
You can also access the Cut, Copy and Paste commands by right-clicking a
selected object in the Drawing Window.
Duplicating objects
Duplicating objects is the quickest way to create copies of them. When you
duplicate an object, CorelDRAW creates a copy of it and places it above and
to the right of the original object, with a default offset of 0.25 inches (or the
equivalent in other units of measurement). For information about changing
the offset distance, see “Changing the offset for duplicates and clones” on
page 172.
The quickest way to
create a copy of an
object is to duplicate
it.
After you move the duplicated object, you can duplicate it again to create
another copy. The new duplicate is placed the same distance from the first
duplicate as the first duplicate was from the original. This type of duplicate is
called smart duplicate.
To duplicate an object
2 Click Edit, Duplicate.
To duplicate an object using smart duplication


3 Select the duplicate with the Pick tool, and move it to another position on
the Drawing Page.
Smart duplication settings revert to the default after you deselect the
object, select another object, or change tools. The smart duplicate
maintains the relative stretch, skew, and rotation attributes of the last
duplicate.
To make many duplicates of an object quickly, select the object with the
Pick tool and move it around the Drawing Window while holding down the
SPACEBAR.
Cloning objects
Cloning creates an offset copy of an object that remains linked to the original
object. When you clone an object, the changes you make to the original object
(the master) are automatically applied to the copy (the clone).
To clone an object
1 Select the original object with the Pick tool.
2 Click Edit, Clone.
To determine a clone’s master object

Right-click the clone, and click Select Master.
To determine a master’s clones

Right-click the master, and click Select Clones.
To revert to a clone’s master

1 Select the modified clone with the Pick tool.
2 Right-click the clone, and click Revert to Master.
3 In the Revert To Master dialog box, enable one or more of the following
check boxes:
Clone Fill — restores the master fill attributes
Clone Outline — restores the master outline attributes

Clone Path Shape — restores the master shape attributes
Clone Transformations — restores the master shape and size
attributes
Clone Bitmap Color Mask — restores the master color settings
You can only enable options that have changed from the master object’s
properties. Features that have not changed are dimmed.
The Select Clones option is available only when a clone and master are on
the same page.
If you select a clone and change one of its attributes, that attribute is no
longer dependent upon the master.
For more information about special effects and cloning, see “Creating
special effects” on page 431.
Changing the offset for duplicates and clones

You can specify the offset distances for duplicates and clones. Positive values
result in offsets right and upward; negative values result in offsets left and
downward.
To change the offset for duplicated and cloned objects

3 In the Duplicate Placement section, type offset values in the Horizontal
and Vertical boxes.
You can also use the Property Bar to change the default clone and
duplicate offset.
Deleting objects
When you delete an object, you remove it from the Drawing Window without
placing a copy of it on the Clipboard. The only way to retrieve a deleted
object is using the Undo command.

To delete an object
2 Click Edit, Delete.
If you may need to retrieve a deleted object later, cut it and place it on the
Clipboard instead of deleting it.
Finding and replacing

The CorelDRAW Find and Replace wizards let you search for objects with
specific properties and replace those properties with new ones. For instance,
you can search for 16-point bold text and replace it with 10-point plain text.
The Find and Replace wizards also allow you to search for specific words and
replace them with others. For instance, you can search for all instances of the
word “walking,” and replace them with “running.”
The Find and Replace
wizards let you
update your
drawings quickly and
easily.
The Find wizard takes you step by step through the process of finding objects
in your drawings that fit the criteria you specify. The Replace wizard takes
you through the steps of replacing colors, palettes, outline pen properties,
text properties (such as font, weight, or size), words, and other properties.
Finding objects
The Find wizard identifies graphical and text objects that match the search
criteria you specify.
To find objects
1 Click Edit, Find And Replace, Find Objects.
Begin A New Search — begins a new search

Load A Search From Disk — loads a preset search or one you’ve
previously saved
Find Objects That Match The Currently Selected Object — finds
objects whose properties match those of the currently selected object
3 Click Next.
4 Follow the instructions until you reach the end of the search.
CorelDRAW searches your drawing for words or objects that match your
search criteria. It then displays the first match it finds, or displays a
message indicating that none were found.
You can search for objects that match the criteria of a selected object in
your drawing — for instance, rectangles with individually rounded
corners.
You can change your search criteria in the middle of a search.
Replacing object properties

The Replace wizard searches for the properties you specify and replaces
them with other properties. For example, you can search for specific outline
pen properties and replace them with different outline pen properties.
To replace object properties

1 Click Edit, Find And Replace, Replace Objects.
Replace A Color
Replace A Color Model Or Palette
Replace Outline Pen Properties
Replace Text Properties
3 Enable the Apply To Currently Selected Objects Only check box.
4 Click the Next button.
5 Specify Find and Replace properties as required.
6 Click the Finish button.

If the Replace wizard cannot find properties that match your search
criteria, it displays a message that no object was found.
7 Click the Find Previous, Find Next, Find All, Replace, or Replace All
buttons on the Find and Replace toolbar until your search is finished.
Finding and replacing text objects

In CorelDRAW, you can search for text objects with specific properties. You
can also search and replace specific characters.
To find text
1 Click Edit, Find and Replace, Find Text.
2 Type the text you want to find in the Find What box.
3 To find only words whose case matches the text you typed into the Find
box, enable the Match Case check box.
4 Click the Find Next button.
To find and replace text

1 Click Edit, Find And Replace, Replace Text.
2 Type the text you want to replace in the Find What box.
3 Type the replacement text in the Replace With box.
4 To find only words whose case matches the text you typed into the Find
and Replace boxes, enable the Match Case check box.
Replace — replaces the first occurrence of the text specified in the
Find What box
Replace All — replaces all occurrences of the text specified in the Find
What box
Find Next — finds the next occurrence of the text specified in the Find
What box
Close — ends the search

You can also search for text objects with specific properties and replace
those properties with different ones. For information about finding text
objects with specific properties, see “Finding objects” on page 173.
For information about replacing text properties, see “Replacing object
properties” on page 174.
Changing the order of objects

At its most basic level, a CorelDRAW drawing consists of a series of objects
stacked on top of each other. The vertical order of these objects — the
stacking order — helps determine the appearance of the drawing. You can
organize these objects using invisible planes called layers. Each of these
layers has its own internal stacking order.
The stacking order is
most obvious when
you have objects that
overlap.
The stacking order is most evident in drawings that contain overlapping

objects with contrasting properties. If the objects do not overlap, the stacking
order may not be evident. In all cases, however, the stacking order is
determined by the order in which you add objects to the drawing. Until you
rearrange them, the first object you draw occupies the lowest position,
whereas the last object you draw occupies the top position.
You can change the stacking order of objects within any layer, sending them
to the front or back, or behind or in front of another object. For example, if
you select the bottom object on a layer and move it to the front, CorelDRAW
places the object on top of all other objects on the layer. The top object
becomes the second object, the second becomes the third, and so on.

You can also place objects at precise positions in the stacking order. For
example, if you have 10 overlapping objects, you can place the top object
behind the third object. In addition, you can select multiple objects and
reverse their relative stacking order.
Changing the order of objects on a layer

You can change the stacking order of objects on a layer. Before using any of
the following commands, select the object you wish to move with the Pick
tool.
To move the selected object to the front of its layer

Click Arrange, Order, To Front.
To move the selected object to the back of its layer

Click Arrange, Order, To Back.
To move the selected object forward one position

Click Arrange, Order, Forward One.
To move the selected object back one position

Click Arrange, Order, Back One.
To move the selected object in front of a specific object

Click Arrange, Order, In Front Of, then click the appropriate object.
To move the selected object behind a specific object

Click Arrange, Order, Behind, then click the appropriate object.
To reverse the stacking order of objects on a layer

1 Using the Pick tool, hold down SHIFT to select more than one object.
2 Click Arrange, Order, Reverse Order.
The Reverse Order command applies to only the selected objects; other
objects in the drawing are not affected.

The To Front and To Back commands are also available on the Property
Bar when an object is selected.
Aligning and distributing objects

The ability to align objects precisely can be an important requirement for
virtually any type of drawing. CorelDRAW provides controls that allow for
the exact alignment of any series of objects.
You can use the Align
feature to line
objects up
horizontally or
vertically.
You can specify whether you want objects to line up horizontally or vertically
(or both), using their edges or center points. When you’ve indicated how you
want to align the objects, you indicate where you want to line them up: the
edge of the page or the center of the page. For maximum precision, you can
also choose to align the objects to the grid line nearest to the alignment point
you selected.
To line up objects, CorelDRAW uses the imaginary boxes — selection boxes
— that surround selected objects. When you select an object using the Pick
tool, its frame and handles become visible, allowing you to manipulate the
object.
You can use the
Distribute feature to
create equal
horizontal or vertical
spacing of objects.
By distributing objects, you can give your drawing a polished, professional

look. You can arrange objects so that their center points or specific edges (for

example, top or right) are separated at equal intervals. You can also
distribute objects so that they sit an equal distance apart. Once you’ve
indicated how you want to distribute the objects, you can choose the area
over which you want to distribute them. In each case, you can choose to
distribute the objects to the extent of the length or width of the selection box
that surrounds them, or to the length or width of the Drawing Page.
Snapping objects forces them to line up with the grid, guideline, or other
objects in your drawing, depending on what you specify. For information on
aligning objects using snapping, see “Using the rulers, grid, and guidelines”
on page 54.
Aligning objects horizontally and vertically

You can align a series of objects horizontally or vertically. You can choose
how you want the objects to line up in relation to each other, which is
different from specifying where you want them to line up on the page. For
example, enabling the Right check box in the Align and Distribute dialog box
aligns the right edges of the objects’ selection boxes with each other — not
necessarily on the right side of the page.
To align a series of objects horizontally

2 Click Arrange, Align and Distribute.
3 To indicate how you want the objects to line up with each other, enable
one of the following check boxes:
Top
Center
Bottom
4 To indicate where on the page you want alignment to occur, enable one of
the following check boxes:
Edge Of Page — aligns objects with the edge of the page
Center Of Page — centers objects on the page
Align To Grid — aligns objects with the nearest grid line
To align a series of objects vertically

2 To indicate how you want the objects to line up with each other, enable

Left
Center
Right
3 To indicate where on the page you want alignment to occur, enable one of
the following check boxes:
Edge Of Page — aligns objects with the edge of the page
Center Of Page — centers objects on the page
Align To Grid — aligns objects with the nearest grid line
You can use the Preview button to view the alignment settings in the
Drawing Window.
To make alignment occur at the target object, leave the Edge Of Page,
Center Of Page and Align To Grid check boxes disabled.
You can also align objects by selecting them and clicking the Align button
Distributing objects horizontally and vertically

You can distribute a series of objects or guidelines evenly, either horizontally
or vertically.
To distribute a series of objects horizontally

2 Click Arrange, Align and Distribute.
3 Click the Distribute tab.
4 To specify how you want to distribute the objects, enable one of the
following check boxes:
Left
Center
Right
5 To indicate the area over which you want to distribute the objects, enable

Extent Of Selection
Extent Of Page
To distribute a series of objects vertically

2 To specify how you want to distribute the objects, enable one of the
Top
Center
Spacing
Bottom
3 To indicate the area over which you want to distribute the objects, enable
Extent of Selection
Extent of Page
You can also distribute objects by selecting them and clicking the Align
You can use the Preview button to view the alignment settings in the
Drawing Window.
Grouping and ungrouping objects

Grouping objects binds them together so that you can manipulate them as a
single unit. This is particularly effective for protecting and maintaining
connections and spatial relationships between objects. For example, you can
group all the objects that make up the background or framework of a drawing,
and move them without disturbing their relative positioning.
You can break a complex object down into its component objects by
ungrouping it. This is useful when you need to make changes to some of the
individual objects that comprise a grouped object.
After you have grouped several objects together, you can still select a single
object within the group.

Grouping objects
When you group multiple objects, each object in the group maintains its
original properties. You should group objects together when you want to
prevent accidental changes to the relationships between objects. The Group
command also lets you create nested groups — groups composed of several
objects or groups of objects (or both). Nested groups are particularly effective
for drawings that contain many complex elements.
Grouping objects
creates a single
object based on
multiple objects.
Grouping is useful when you want to apply the same formatting, properties,
or other changes, such as resizing or mirroring, to multiple objects.
To group objects
Hold down SHIFT to select multiple objects.
2 Click Arrange, Group.
To create a nested group

1 Using the Pick tool, select two or more groups (or one or more groups and
one or more individual objects).
Hold down SHIFT to select multiple objects.
2 Click Arrange, Group.
This forms a single group composed of two or more nested groups,
depending on the number of groups you selected in step 1.
You can also group objects using the Group button on the Property Bar.
You can select a single object that is part of a larger grouped object by
holding down CTRL while selecting.

Ungrouping objects
You can break a grouped object into its component objects.
To ungroup objects
1 Using the Pick tool, select a grouped object.
To ungroup all objects

Click Arrange, Ungroup All.
If you have nested groups (groups inside a group), repeat the ungrouping
process until you get to the group level you want.
You can also use the Ungroup All command on the Property Bar.
Combining and breaking apart objects

In CorelDRAW, you can fuse multiple curves, lines, and shapes to create a
new shape with common fill and outline attributes. If the original objects
overlap, the overlapping areas are removed to create clipping holes that allow
you to see what’s underneath. If the objects don’t overlap, they still become
part of a single object, but maintain their spatial separation.
When you combine rectangles, ellipses, polygons, stars, spirals, graphs, or
text, CorelDRAW converts them to curves before converting them to a
single curve object. When text is combined with other text, however, the text
objects are not converted to curves; they are converted into larger blocks of
text. To change the shape of an Artistic text object, make the text a curve
object first. For more information see “Converting Artistic text to curves” on
page 341.
The Combine
command creates
new shapes with
common attributes
by fusing multiple
curves, lines and
objects.

You can break apart combined objects. This feature is particularly useful for
modifying clipart created by combining several independent objects. When
you break apart Clipart (or any combined object), you can change the
attributes and properties of its individual components.
Combining objects can create clipping holes and joining line or curve
segments. In all cases, the object produced is a curve that can be manipulated
just like any other curve in CorelDRAW.
Combining two or more objects

You can combine two or more objects to create one object.
To combine objects
2 Click Arrange, Combine.
You can’t convert Paragraph text to curves.

If you place a combined object on top of another object, you can see
another object through the clipping holes by placing the combined object
on top. For information about the vertical stacking order of objects, see
“Changing the order of objects” on page 176.
You can also combine objects using the Combine button on the Property
Bar.
Breaking apart combined objects

You can break apart any object that has been combined.
To break apart combined objects

1 Select the combined object with the Pick tool.
2 Click Arrange, Break Apart.

If you break apart an object that has been created by combining Artistic
text, the text breaks apart into lines first, then into words. Paragraph text,
on the other hand, breaks into separate paragraphs. Both Artistic and
Paragraph text can be recombined.
You can also break apart combined objects using the Break Apart button
You can break apart Artistic text by converting the text to curves first. For
more information, see “Converting Artistic text to curves” on page 341.
Locking and unlocking objects

Locking anchors an object in a specific location and prevents you from
accidentally moving, sizing, transforming, cloning, filling, or modifying it. You
can lock single, multiple, or grouped objects. To modify a locked object,
unlock it first.
When objects
arelocked you are
unable to modify
them.
Locking objects
You can lock an object, multiple objects, and grouped objects.
To lock an object
To lock multiple objects or groups of objects

1 Hold down SHIFT, and select the objects with the Pick tool.

When an object is locked, the Status Bar and Object Manager will indicate
Locked Object on Layer.
Unlocking objects
You can unlock the anchor on an object, multiple objects, and grouped objects
to make changes.
To unlock an object
1 Select the locked object with the Pick tool.
2 Click Arrange, Unlock Object.
To unlock multiple objects or groups of objects

1 Select the locked objects with the Pick tool.
2 Click Arrange, Unlock All Objects.
Using the Object Manager

The Object Manager displays the vertical structure — the stacking order —
of objects, layers, and pages in your document. For each object, the Object
Manager displays a small icon and a brief description indicating its basic fill
and outline properties. You can set the display options for the pages, layers,
and objects using the Object Manager.
The Object Manager
keeps complex
drawings organized
by displaying the
stacking order of
objects, layers and
pages in your
document.
You can modify the objects in your drawing using the features and controls in
the Object Manager. The Object Manager lets you arrange objects (within
layers as well as between layers on the same page), edit outline and fill
colors, drag-and-drop styles (color, graphics, and text), and group and
ungroup objects.

Using the Object Manager, you can create, rename, and edit layers to
organize your drawing. Setting the layer properties can assist you with
managing the display, printing, and editing of objects on layers.
When you select an object in the Drawing Window it is automatically
highlighted in the Object Manager, and vice versa. Changes to objects (for
example, fills and outlines) are reflected in both places.
If you prefer a simpler view of the Object Manager, you can switch to Layer
Manager view. The Layer Manager view lists all the layers in your document,
but does not show sublevels or objects. It is the most basic view available,
and is an easy way to switch between layers or move objects between layers.
It is also the only view in which you can access the Move To and Copy To
commands in the Object Manager flyout.
Opening and setting up the Object Manager

Understanding the Object Manager’s basic functions will help you use its
more powerful features. You can begin by learning how to open the Object
Manager, as well as how to add, delete and rename pages.
To open the Object Manager

Click Tools, Object Manager.
To add pages in your drawing

Right-click a Page name, and click Insert Page After or Insert Page
Before.
To delete pages from your drawing

Right-click a Page name, and click Delete Page.
To rename pages in your drawing

1 Right-click a Page name, and click Rename.
2 In the Rename Page dialog box, type a new name.
You can apply the rename, delete, or add pages functions by right-clicking
on any page in the Object Manager except the Master Page.

Using the display options in the Object Manager
The Object Manager displays the hierarchical structure of the pages, layers,
and objects in the active document. Buttons in the Object Manager toolbar
let you add layers, show or hide details, and edit across layers.
To display object properties

Click the Show Object Properties button.
Click the button again to hide object properties.
To display pages only

In the Object Manager Docker, click , Show Pages.
To display the layer summary

In the Object Manager Docker, click , Show Layers.
To display pages and layers

In the Object Manager Docker, click , Show Pages and Layers.
To expand the Object Manager upon object selection

In the Object Manager Docker, click , Expand To Show Selection.
You can also access the Show Object Properties, Show Pages, Show
Layers, and Show Layers and Pages commands by right-clicking in the
white space of the Object Manager.
Using the Layer Manager view

The Layer Manager view lists all the layers in your document, without
displaying sublevels or objects. It is the simplest view available, and is an
easy way to switch between layers or move objects between layers.
To select Layer Manager view in the Object Manager

Click the Layer Manager icon.
The different pages in your document, and any objects on them, disappear
from your list, leaving only the names of the layers.

Switching to Layer Manager view causes all other views to be disabled.
Options such as Show Pages, Show Layers, or Show Pages and Layers
become unavailable.
The Layer Manager view is the only one in which you can access the
Move To and Copy To functions in the Object Manager flyout.
Editing objects using the Object Manager

The Object Manager lets you edit objects the same way that you would in the
Drawing Window. Before you can edit an object you must select it.
CorelDRAW lets you select, group, copy, move, delete, lock, and replace
object properties quickly using the Object Manager.
When you’ve selected an object in the Object Manager, you can change its
properties. For example, you can select an object and change its fill or outline
just as you do when you’re working in the Drawing Window. You can also
complete more advanced operations, such as coloring objects and creating
PowerClip™ objects.
Selecting objects using the Object Manager

Just as you do in the Drawing Window, you must select objects in the Object
Manager before you can manipulate, format, or edit them. You can select any
object or group of objects using the mouse.
To select one object or group of objects

Click the object or group name tag.
To select multiple objects or groups of objects on a single layer

Hold down CTRL, and click each of the name tags of the objects or groups
of objects you want to select. Hold down SHIFT to select a series of
objects.
To select multiple objects or groups of objects on multiple layers

Ensure that the Edit Across Layers button is enabled, then hold down
CTRL and select objects on the same layer or different layers.

You can only select objects on different layers when the objects are on the
same page (or on the Master Page and any other page). You cannot, for
example, select multiple objects on different layers of pages 1 and 3 of a
document.
Moving and copying objects between layers

You can move or copy selected objects to a new layer. To do so, you must be
in Layer Manager view.
When you move or copy an object to a layer below its current layer, the
object becomes the top object on its new layer. Similarly, when you move or
copy an object to a layer above its current layer, the object becomes the
bottom object.
To move or copy an object to another layer in Layer Manager

view
2 In the Object Manager Docker, click Move To Layer or Copy To Layer on
the flyout.
A large black arrow appears.
3 Drag the arrow to the layer to which you want to move or copy the object,
and click.
To move an object to another layer using the mouse in any view

Select the object with the Pick tool and drag to a new layer.
You can only use the Move To Layer and Copy To Layer commands when
you are in Layer Manager view. In all other views, these commands are
disabled. To move or copy objects in any other view, use the mouse.
In Layer Manager view, you can right-click in a white space in the Object
Manager to access the Move To Layer and Copy To Layer commands.
When using these commands, remember which layer you are moving or
copying from.
You can hold down CTRL to select multiple objects or SHIFT to select a
series of objects.

Ordering and copying object properties using the Object Manager
The Object Manager lets you move objects behind or in front of other objects
on the same layer. You can also copy the fill and outline attributes from one
object to another located on the same layer.
To place an object behind or in front of another object

1 In the Object Manager Docker, right-click and begin to drag the object
name that you want to move.
The cursor changes to a dashed rectangle.
2 Drag over another object and click Move In Front Of or Move Behind.
To copy an object’s properties to another object

1 In the Object Manager Docker, right-click and begin to drag the object
name that you want to copy from.
2 Drag over the object you want to copy to and click one of the following
options:
Copy Fill Here
Copy Outline Here
Copy All Properties
Creating PowerClip objects using the Object Manager

You can create PowerClip objects using the Object Manager. When you create
a PowerClip, you place one object inside a second object, called the container
object. For information on PowerClip objects, see “Creating a PowerClip
object” on page 527.
You can create
PowerClip objects
easily by using the
Object Manager.

To create PowerClip objects using the Object Manager
1 In the Object Manager Docker, right-click and begin to drag the name of
the object that you want to place inside a container to create the
PowerClip.
2 Without releasing the mouse, drag the dashed rectangle over the name of
a second object in the same layer that you want to use as the container
object.
3 Release the mouse and click PowerClip Inside.
To edit or extract the contents of a PowerClip object

In the Object Manager Docker, right-click the PowerClip object name and
click Extract Contents or Edit Contents.
Grouping objects using the Object Manager

The Object Manager lets you group objects on one layer quickly. You can also
add or remove objects from groups.
To group objects on the active layer

In the Object Manager Docker, click the object name that you want to
group, and drag it over another object.
The cursor changes to show that the objects will be grouped. Repeat this
step to add more objects to the group.
To group objects on the active layer using the menu command

1 In the Object Manager Docker, right-click the object name that you want
to group.
2 Drag it over another object and click Add to Create Group.
Repeat this procedure to add more objects to the group.
To add or remove an object to or from a group

Click the name of the object and drag it into or out of an existing group on
the active layer.

The Object Manager lists the objects that are grouped. To remove an
object from a group, drag the object to the active layer.
You can select objects from different layers and group them. However,
once grouped, the objects will reside on the same layer. Objects cannot
remain grouped across layers.
Using layers to organize your drawing

The layering feature of CorelDRAW gives you added flexibility for organizing
and editing the objects in your drawings. You can divide a drawing into
multiple layers, each containing a portion of the drawing’s contents. For
example, using layers could help you organize an architectural plan for a
building. You could organize the building’s various components (plumbing,
electrical, structural, etc.) by placing them on separate layers. You could then
use the Object Manager to view, print, or edit specific layers or combinations
of layers. Together, layers act as a hierarchy that helps determine the vertical
arrangement of a drawing’s components. In this arrangement (the stacking
order), objects on the top layer always overlay objects on the layer below.
You can use layers to
separate and
organize different
elements in a
complex drawing.
Each new file, regardless of how many pages it contains, has one master
page. This master page controls four default layers: the Grid, Guides, and
Desktop layers, plus one Layer (called Layer1) for drawing. The Grid,
Guides, and Desktop layers are containers for the grid, guidelines, and any
objects outside the borders of the Drawing Page. The Desktop layer is a
useful place to create experimental drawings you may want to use later. You
can easily drag an object from the Desktop layer to an active layer on the
Drawing Page when you decide to keep or print it. You can also create an
Internet Layer by inserting an Internet object. For more information about
layer properties, see “Setting layer properties” on page 196.

Creating a layer
In the Object Manager, you can add new layers to help you organize the
objects in your drawing.
To add a new layer using the menu command

In the Object Manager Docker, click , New Layer.
The new layer becomes the active layer.
To add a new layer using the New Layer button

In the Object Manager Docker, click the New Layer button.
By default, each new layer has its editing, printing, and display properties
enabled and its master layer property disabled. You can change these
properties using the controls provided in the Layer Properties dialog box.
For more information about layer properties, see “Setting layer
properties” on page 196.
Renaming a layer
You can assign a new name to any layer you create in the Object Manager.
You might want a layer’s name to indicate its contents, position in the
stacking order, or relationship with the drawing’s other layers.
To rename a layer
1 In the Object Manager Docker, right-click the layer name and click
Rename.
2 Type a new name for the layer and press ENTER.
To rename a layer using the layer properties

1 In the Object Manager Docker, right-click a layer name and click
Properties.
2 In the Layer Properties dialog box, type a new name in the Layer Name
box.
You can’t rename the Grid, Guides, Desktop or Internet layer.

Changing the active layer
To use a layer in the drawing — for example, to add objects to it — you must
first make the layer active. Once active, a layer is ready to receive any new
objects you draw, import, or paste onto it. In the Object Manager, the active
layer appears highlighted in red. When you start a drawing, the default layer
(Layer 1) is the active layer.
To change the active layer

In the Object Manager Docker, click the name of the layer you want to
activate.
You highlight a layer to change its basic settings so that you can view,
print, or edit it. Note that highlighting a layer is different from activating
it, which enables you to add objects to it in the drawing. For more
information about layer settings, see “Setting layer properties” on page
196.
Reordering layers
The Master Page layer list in the Object Manager shows the order in which
layers are stacked in the active drawing. The first layer in the list is the top
layer; the last layer is the bottom layer.
To change a layer’s position in the stacking order

In the Layers list, drag the layer’s name tag to the desired position.
As you drag, a position line indicates the layer’s current position.
It is easiest to reorder layers in Layer Manager view. You can switch to

Layer Manager view by clicking the Layer Manager View button in the
Object Manager.
You can change the vertical order of layers in the drawing. When you do
so, each layer’s contents move to reflect changes in this order.
Deleting a layer
The Delete command removes the current layer highlighted in the Object
Manager.

To delete a layer
1 In the Object Manager Docker, click the name of the layer you want to
delete.
2 Click , Delete Layer.

3 If a layer contains objects on other pages, click OK to confirm that you
want to delete the layer.
You can’t delete a locked layer or any of the three special default layers of
the Master Page (Grid, Guides, or Desktop).
When you delete a layer, you also delete all of the objects on it. If you
want to keep certain objects on the layer you’re deleting, move them to a
different layer first.
Setting layer properties

CorelDRAW lets you use layers to organize your drawings. You can view,
edit, or make a layer printable, or place a layer’s contents onto every page of
a multipage document. You can also lock layers to prevent accidental
changes, or override the full-color view of a layer so that its contents display
as outlines of a specific color.
By hiding certain layers, you make it easier to identify and edit the objects on
other layers. You also reduce the time CorelDRAW needs to refresh your
illustration when you edit it. This setting is particularly effective in
illustrations with many objects on multiple layers.
Showing and hiding a layer

You can show or hide any layer in your drawing.
To show a layer
1 In the Object Manager Docker, click the layer name.
2 Right-click the layer, and click Properties.
3 Enable the Visible check box.
To hide a layer
3 Disable the Visible check box.

You can also show or hide a layer by clicking its Eye icon. An Eye icon
appears beside each layer name in the Object Manager. When a layer is
hidden, its Eye icon and the objects on that layer are dimmed.
Locking and unlocking a layer

Locking a layer prevents accidental changes to its contents. When a layer is
locked, objects on it can’t be selected or edited. When you unlock the layer,
you can change any object it contains as long as the object is not locked.
To lock a layer
3 Disable the Editable check box.
To unlock a layer
3 Enable the Editable check box.
You can also lock or unlock a layer by clicking its Pencil icon. A Pencil icon
appears beside each layer name in the Object Manager. When a layer is
locked, its Pencil icon is dimmed and the objects on that layer are also
dimmed.
You can lock and unlock individual, multiple, or grouped objects using the
Arrange menu. For more information, see “Locking and unlocking
objects” on page 185.
You can’t lock or unlock the Grid layer. Its Pencil icon is always grayed
out.
Enabling and disabling the printing of a layer

CorelDRAW allows you to print selected layers of your drawing. If you enable
a layer’s print setting, the layer and its contents appear in printed copies of
the drawing. If you disable a layer’s print setting, the layer and its contents
won’t appear when you print the drawing.

To enable printing for a specific layer
3 Enable the Printable check box.
To disable printing for a specific layer

3 Disable the Printable check box.
If printing is disabled for a layer, its contents do not display in full-screen

previews. For information about full-screen previews, see “Using
full-screen previews” on page 78.
You can also enable or disable the printing of a layer by clicking its Printer
icon. A Printer icon appears beside each layer name in the Object
Manager. When printing is disabled for a layer, its Printer icon appears
dimmed.
Creating a master layer

Master layers are layers whose contents appear on each page of a multipage
document. Master layers are particularly useful if you have an object (such as
a corporate logo) that you want to appear on each page of a document.
Create a master layer
if you want certain
objects displayed on
all pages of a
document.

To create a master layer
Right-click a layer name, and click Master.
Working with multiple layers simultaneously

You can edit objects on any unlocked layer. You can also move and copy
objects between any layers that are unlocked, as long as they are on the same
page (or on the Master Page and another page).
If you disable the Edit Across Layers function, you can work only on the
active layer and the Desktop layer — you can’t select or edit objects on
inactive layers.
To allow editing of all layers

In the Object Manager Docker, click , Edit Across Layers.
To allow editing of the active layer only

In the Object Manager Docker, click , then disable the Edit Across
Layers command.
To enable or disable the Edit Across Layers option

Enable or disable the Edit Across Layers button on the Object Manager.
Identifying objects on a layer using color override

You can display the contents of a selected layer as colored outlines. Changing
to outlines — using color override — doesn’t affect the objects’ true
appearance; it only affects the way they appear on-screen. This function is
useful for identifying objects on different layers — for example, in a complex
technical diagram — or even for changing the colors of the grid and
guidelines.
You can use the
Overrride Full-color
View option to view
full-color objects (1)
as colored outlines
(2). This can help
you to distinguish
between objects on
different layers.

To override layer fill and outline attributes
3 Enable the Override Full Color View check box.
4 Click the Layer Color picker.
5 Choose a color for the objects on the selected layer.
To restore layer fill and outline attributes

2 Disable the Override Full Color View check box.
To change a layer color on a specific page

1 In the Object Manager Docker, double-click the layer color swatch.
2 Choose a color from the list.
To apply color override on a single page

1 Follow steps 1 and 2 from the “To override layer fill and outline
attributes” procedure.
2 Enable the Apply Layer Changes To The Current Page Only check box.
To change a layer color on all pages

1 In the Object Manager Docker, double-click the layer color swatch on a
master page.
2 Choose a color from the list.
In Wireframe or Simple Wireframe, the object’s outline always appears

using the color override.
Defining Master layer setup options

The Grid and Guides layers on the Master Page allow you to modify the
settings for these master layers.
To set the Grid on the Master Page

1 In the Object Manager Docker, click the Grid layer on the Master Page.

3 Click the Setup button.
4 Modify the settings as desired.
To set the Guidelines on the Master Page

1 In the Object Manager Docker, click the Guides layer on the Master Page.
3 Click the Setup button.
4 Modify the settings as desired.
For more information about rulers, grids and guidelines, see “Using the
rulers, grid and guidelines” on page 54.
Creating an object database

The Object Data Manager is an advanced feature that is particularly useful as
a project management tool when you create or supervise a large project. The
Object Data Manager is like having a small spreadsheet program within your
graphics program. Like Corel® Quattro® Pro or Microsoft Excel, it lets you
track expenses, deadlines, assignments, progress, or anything else you need
to organize. You can enter many types of data about individual objects or
groups of objects.
The Object Database
Manager is a
powerful project
management tool.
You create the database by entering information about specific objects in the
Object Data Docker. This information is set up on a datasheet called the
Object Data Manager. Categories of information are organized in columns. If
you’re creating a technical drawing, for example, you might include
component names in one column, part numbers in another, cost in a third,

and so on. For each component in the drawing, you enter the same
categories of information.
After you have created your database, you can view information on any object
in either list or datasheet form. The Object Data Docker displays a list of all
the information you’ve assigned; the Object Data Manager displays this
information in a formatted datasheet that resembles a spreadsheet.
CorelDRAW also provides basic functions for formatting and manipulating
the information you add to the database. For example, you can add and delete
columns, indent rows to show hierarchical relationships, and summarize data
for selected objects. You can print the entire database or only parts of it.
Using the Clipboard, you can copy data to different locations within the
datasheet or between datasheets for different CorelDRAW documents. You
can also use the Clipboard to copy data to and from other Windows database
or spreadsheet programs, such as Corel Quattro Pro and Microsoft Excel.
Setting up the object database

Before you assign data to objects in a drawing, you need to know what
information you want to display. By default, CorelDRAW creates four data
fields: Name, Cost, Comments, and CDRStaticID. The first three fields are
for your convenience, and can be edited or deleted as required. The
CDRStaticID field is used by CorelDRAW to identify objects, and can’t be
edited or deleted.
If you require custom fields, you can define their formats using the controls
in the Format Definition dialog box. This dialog box gives you access to four
basic field formats: General, Date/Time, Linear/Angular, and Numeric. Each
of these formats provides a series of common settings. You can use these
formats or create your own.
You can create and assign as many data fields as you want, as long as they use
permitted format variables.
Adding new object data fields

If the preset formats in CorelDRAW don’t provide the information you want
in your data summary, you can create your own custom formats using the
variables available for the format type you’re using. The field format you
select is used for all objects in the active drawing.
To add a field that uses a preset format

1 Click Tools, Object Data Manager.
2 In the Object Data Docker, click , Field Editor.
3 Click the Create New Field button.

4 Type a name for the field in the box.
5 Click the Change button (unless you want to keep the format displayed
beside the Current label).
6 In the Format Type box, enable the format type you want to create.
7 Choose a format from the list box and press ENTER.
8 Click the Add Selected Field(s) button.
To add a field that uses a custom format

2 In the Create box, type the format you want to create and press ENTER.
3 Click the Add Selected Field(s) button.
Enable the List Of Default Fields check box to add the new field to the list
of default fields. This field is then applied to all new documents you
create.
Enable the All Objects check box to apply the field to objects that have
already been created in addition to those you will be creating.
Editing object data fields

You can change any object data field by giving it a preset or custom format.
For example, you can change a numeric field to display more or fewer
decimal places, or to display numbers in thousands.
To change a field’s format


3 Click the field name.
4 Click the Change button.
5 In the Format Type box, enable the format type you want to create.
Choose a format from the list box and press ENTER.
In the Create box, type a format to create and press ENTER.

Renaming, reordering, and deleting object data fields
You can change the name of any field to better suit your object data summary.
You can also change the location of fields to make them appear in a logical
order on the data summary.
You can delete any data field except for CDRStaticID. When you delete a
field, you also delete all data entered for that field in the active document.
To rename a data field


3 Choose the name of the data field you want to change from the list.
4 Type a new name in the box and press ENTER.
To reorder data fields

2 Reorder the names of the fields in the list box by dragging to get the order
you want.
As you drag, the cursor changes to indicate the field’s position in the list.
To delete a data field


3 Choose the field’s name from the list box at the left side of the dialog box.
To choose multiple fields, hold down SHIFT as you choose the field
names.
4 Click the Delete Field(s) button.
You can access the Object Data Field Editor dialog box by double-clicking
a field name in the Object Data Docker.
Assigning and editing object data

After creating all the data fields you want for your drawing, you can create
your database. The Object Data Docker and the Object Data Manager provide
all the commands and features you need to add and edit object information.

The Object Data Docker is best for entering data for single objects. It lets
you add, edit, and delete object data.
The Object Data Manager, in contrast, is best for entering and editing data for
multiple objects. It provides many of the editing features available in popular
spreadsheet applications.
Assigning data
The Object Data Docker makes it easy to assign data to objects one at a time.
To assign data to several objects at the same time, use the Object Data
Manager. Using the Object Data Manager helps speed up the data entry
process and lets you look at the data summary as it begins to take shape.
To assign data to an object

3 In the Field/Value list, click a data field name.
4 Type the data you want in the text box at the top of the Object Data
Docker.
5 Repeat steps 3 to 4 to add data to other fields.
To assign data to multiple objects

1 Select the objects using the Pick tool.
3 Click the Object Data Manager button.
4 In the Object Data Manager, click a cell.
5 Type the appropriate data.
6 Press ENTER to assign your entry to the cell, the fields, and the objects.
Copying data between objects

The Copy Data From command lets you use one object’s data entries to
update another object’s data entries. This command does not replace an
object’s data entries; rather, it appends fields and data where appropriate.
To copy data from one object to another

1 Select the object to which you want to copy data.

3 In the Object Data Docker, click , Copy Data From.
4 Click the object from which you want to copy data.
Viewing, editing, and formatting an object data summary

The Object Data Manager provides the commands and functions you need to
edit and format your object data summary. For example, you can add and
delete columns, indent rows to show hierarchical relationships, and
summarize data for selected objects. You can also print part or all of the
database.
Viewing an object data summary

The Object Data Manager summarizes the information you’ve assigned to
the objects in your drawing. While it can be used to view and edit data
associated with a single object, its main purpose is to help you manage large
amounts of data associated with multiple objects contained in various groups
in a drawing.
To view an object data summary for one object

3 In the Object Data Docker, click the Object Data Manager button.
To view an object data summary for multiple objects

To view an object data summary for an entire document

1 Click Edit, Select All.
Displaying data for grouped objects

You can place a two-space indent before data relating to objects in groups to
create a visible distinction between groups in a column.
You can also display individual group subtotals for fields sharing multiple
groups. Use this command when more than one group of objects is displayed

in a datasheet. This command applies only to fields with numeric formats.
For more information about viewing summaries in the Object Data Manager,
see “Viewing an object data summary” on page 206.
To indent all groups in a column

1 In the Object Data Manager, select the column to which you want to apply
indents.
2 Click Field Options, Show Hierarchy.
To show group subtotals

1 In the Object Data Manager, select the column in which you want to show
group subtotals.
2 Click Field Options, Summarize Groups.
Showing the sum of values in a column

The Object Data Manager can automatically sum the values in the selected
column. It displays the sum at the bottom of the column.
To show the sum of the values in a column

1 In the Object Data Manager, select the column.
2 Click Field Options, and click Show Totals.
To hide the sum of values in a column

1 In the Object Data Manager, select the column.
2 Click Field Options, and click Show Totals.
For information about viewing summaries in the Object Data Manager, see
“Viewing an object data summary” on page 206.
Printing an object data summary

The Object Data Manager gives you access to all of the application’s printing
capabilities. This gives you the option to print quickly or print using specific
settings.
To print an object data summary

1 In the Object Data Manager, click File, Print.

2 Choose a printer from the Name list box.
3 Type the number in the Number of Copies box.
For information about viewing summaries in the Object Data Manager, see
“Viewing an object data summary” on page 206.
For more information about the printing capabilities of CorelDRAW, see
“Printing” on page 679.

FILLING AND OUTLINING
OBJECTS 6
When you add an object to a drawing, CorelDRAW gives it a default outline
attribute, a default fill attribute, or both. The object’s outline is the line that
surrounds the object. The fill is the color or pattern contained in the object.
You can change these attributes using the Outline and Fill flyout tools. For
information about changing the default fill and outline see, “Changing a
default style” on page 149.
Using the Fill and
Outline flyout tools
you can define
objects.
With CorelDRAW you can apply a fill and outline to objects. Text objects are
closed objects, so you can specify a fill and an outline. Normally, text objects
are filled but have no outline properties. You can assign additional properties
to text, including font and style, point size, and inter-line spacing. For more
information see, “Working with text” on page 337.
Filling objects
You can change the appearance of an object by using a fill. To fill an object,
you apply colors or patterns inside its borders. If you leave an object without
a fill or remove its fill, the object is transparent. CorelDRAW includes
Uniform fills, Fountain fills, Pattern fills, Texture fills, and PostScript fills.
You can apply fills to specific objects or set defaults so that every object you
draw has the same fill. You can also customize Fountain fills, Pattern fills, and
Texture fills. You can also apply a mesh fill to an object.
Filling and outlining objects 211

Working with basic fills
CorelDRAW lets you apply uniform fills, which are even-colored and solid.
You can choose from color models, palettes, and color mixers to fill objects
with solid colors. The default display is the CMYK color model and the
custom Color Palette. By setting the Fill Open Curves option, you can apply a
fill to any curve object. You can also make an object transparent by removing
its fill.
Applying a uniform fill

You can apply uniform fills using the Uniform Fill dialog box, the Interactive
Fill tool, or the on-screen Color Palette. The Uniform Fill dialog box lets you
exercise more control over the fill. The other on-screen methods let you
apply color more quickly and easily. You can also mix colors in a solid fill by
using the Interactive Fill tool in conjunction with the on-screen Color Palette.
To select a color from a specific color model, see “Working with color” on
page 303.
To apply a uniform fill using the Uniform Fill dialog box

2 Open the Fill Tool flyout, and click Fill Color Dialog.
3 Choose a color model from the Model list box.
4 Click a color from the Color Bar and from the visual selector.
You can also enter the color components of a color in the appropriate
boxes.
To apply a uniform fill using the Interactive Fill tool

2 Open the Interactive Fill flyout, and click the Interactive Fill tool.
3 On the Property Bar, choose Uniform Fill from the Fill Type list box.
4 Choose a color model from the Uniform Fill Type list box.
5 Adjust the color by typing values in the appropriate boxes, then press
ENTER.

To apply a uniform fill using the Color Palette
2 Click the color you want from the on-screen Color Palette.
You can also drag a color from the Color Palette to any object. As the
mouse pointer moves over the object, it changes shape to show where the
color will be applied. Holding down SHIFT while you drag over an object
applies only the fill attributes to the object.
You can display multiple Color Palettes on-screen to access swatches
quickly.
To mix a color using the Color Palette

2 Hold down CTRL, and click a color from the Color Palette. Release the
mouse button before releasing CTRL.
Managing fills
CorelDRAW lets you copy and paste fill and outline colors from one object to
another using the Eyedropper and Paintbucket tools.
To copy a fill or outline to another object

1 Open the Eyedropper flyout, and click the Eyedropper tool.
2 Click one of the following buttons to set the selection area:
Fill/Outline — lets you select the fill or outline
1X1 — lets you select the color in a 1X1 area
Selection — lets you marquee select an area
3 Click on the object whose fill you want to copy.
4 Open the Eyedropper flyout, and click the Paintbucket tool.
5 Select the object I which you want to paste the fill.

Fills that are copied may not be representative of the original fill. In some
cases, the closest equivalent RGB colors appear when you paste a fill.
If you select the Paintbucket tool before you choose a color with the
Eyedropper tool, the default is no fill.
You can switch from the Eyedropper tool to the Paintbucket tool by
holding down the SHIFT key.
Setting the Fill Open Curves option

CorelDRAW lets you fill open curves. By enabling and disabling the Fill Open
Curves option you can define the default fill for curves.
To enable the Fill Open Curves setting

2 In the list of categories, double-click Document, and click General.
3 Enable the Fill Open Curves check box.
To disable the Fill Open Curves setting

2 Disable the Fill Open Curves check box.
Removing fills
You can remove an object’s fill so that objects behind it show through.
To remove an object’s fill using the Color Palette

2 Click No Color on the Color Palette.
To remove an object’s fill using the Fill Tool flyout

2 Open the Fill Tool flyout, and click No Fill.

Working with fountain fills
A fountain fill causes two or more colors to flow into each other smoothly,
letting you add depth and color to your drawing. The fill can flow in a straight
line across the object (Linear), in concentric circles from the center of the
object (Radial), in rays from the center of the object (Conical), or in
concentric squares from the center of the object (Square).
Fountain fills can
follow a linear,
radial, conical, or
square path.
There are two types of fountain fills: two-color and custom. Two-color
fountain fills have a direct blend from one color to another. Custom fills let
you create a cascade of many colors. You can customize fountain fills by
changing the direction of the fill, adding intermediate colors, or changing the
angle of the fill.
Applying a two-color fountain fill

A fountain fill — also known as a gradient fill or a ramp fill — is a progression
of colors through the Color Wheel that follows a linear, radial, conical, or
square path. CorelDRAW provides preset fountain fills that you can use to
simulate the appearance of neon tubes, metal cylinders, and other real-life
objects.
To apply a two-color fountain fill using the Fountain Fill dialog

box
2 Open the Fill Tool flyout, and click Fountain Fill Dialog.
3 In the Color Blend section, enable the Two Color button.

4 From the Type list box, choose one of the following fountain fill types:
Linear
Radial
Conical
Square
5 Open the From color picker, and click the color you want at the start of the
color progression.
6 Open the To color picker, and click the color you want at the end of the
color progression.
7 Move the Mid-Point slider to set the mid-point between the two colors.
8 Click one of the following buttons to set the direction:
Direct — determines the intermediate fill colors according to hue and
saturation changes along a straight line, beginning at the From color
and continuing across the Color Wheel to the To color
Clockwise Color Path — blends colors along a clockwise path around
the Color Wheel
Counterclockwise Color Path — blends colors along a counterclockwise
path around the Color Wheel
You can see how your fill appears in the Preview window of the Fountain
Fill dialog box.
The Color Wheel displays the fountain fill direction.
To apply a fountain fill using the Interactive Fill tool

3 On the Property Bar, choose Fountain Fill from the Fill Type list box.
4 On the Property Bar, click one of the following buttons:
Linear
Radial
Conical
Square

5 Click the First Fill picker, and click a color on the palette.
6 Click the Last Fill picker, and click a color on the palette.
To apply a preset fountain fill

3 Choose a preset fountain fill from the Presets list box.
Creating and saving custom fountain fills

You can customize fountain fills by adding intermediate colors. You can also
specify where you want the intermediate colors to appear by moving the
markers that appear above the Preview Ribbon, or by entering a value in the
Position box. You can add as many as 99 intermediate colors to a fountain fill.
You can also save the fill to use it again.
You can customize a
fountain fill by
adding intermediate
colors.
To create a custom fountain fill

3 In the Color Blend section, enable the Custom button.
4 Double-click the Preview Ribbon to add a color marker.
5 Type a placement value for the marker in the Position box.
6 Do one of the following to select a color:
Click a color from the Color Palette to assign to the marker.
Click the Others button and create a custom color.
7 Repeat steps 4 to 6 until you achieve the desired effect.

You can move existing markers by dragging them along the Preview
Ribbon and delete them by double-clicking.
To create a custom fountain fill using the Interactive Fill tool

3 On the Property Bar, choose Fountain Fill from the Fill Type list box.
4 Click one of the following button on the Property Bar:
linear
radial
conical
square
5 Drag a color from the Color Palette to any spot along the line that appears
inside the object.
As the mouse pointer moves over the line that represents the fill’s
direction, a plus sign appears to indicate where the color is applied.
6 Move existing colors by dragging them along the vector inside the object
and delete them by right-clicking the color.
You can also adjust the color position for custom fountain fills by using the
Node Position box on the Property Bar.
To save a custom fountain fill

3 Type a name for the new fountain fill in the Presets box.
4 Click the Add button to save the custom fountain fill.
New patterns are added to the pattern list and placed in alphabetical order.
To remove a custom fountain fill


2 Select the preset that you want to remove from the list.
Customizing fountain fills

Customizing fountain fills can affect how they appear on screen and how they
print. There are a number of ways to determine how fountain fills print and
display. You can improve the appearance of fountain fills by controlling the
printing, by adjusting the overall quality of the fountain fill, or by changing
the default display.
Printing proofs of a drawing with fountain fills can take less time if you
reduce the number of steps the printer uses to create them. For information
about setting fountain fill steps for printing see, “Printing” on page 679.
You can also change a fountain fill’s color, center point, mid-point, angle,
direction, and edge pad. These options vary depending on the type of
fountain fill.
Changing a fountain fill’s quality

When you create a fountain fill, the space required to blend the colors is
divided by the number of fountain steps displayed in the Steps box. By
default, CorelDRAW displays each object with the same number of fountain
steps, making small objects seem more detailed than larger ones. Unlocking
the Steps option overrides all other settings. You can then increase the
number of steps used in larger objects, making them appear the same as fills
displayed in smaller objects. The number of steps specified in the Fountain
Fill dialog box overrides the number of steps in the Options and Print dialog
boxes.
To change the quality of a fountain fill

1 Select a fountain fill object with the Pick tool.
3 To unlock the Steps box, click the Padlock icon that appears to the right of
the Steps box.
4 Type a value in the Steps box to change the number of steps used to
display and print the fountain fill.
To change the quality of a fountain fill using the Property Bar

2 Select a fountain fill.

3 On the Property Bar, click the Fountain Step Lock/Unlock button to unlock
the Steps box. (The Steps box is unlocked when the button appears
pressed.)
4 Type a value in the Fountain Step box to change the number of steps used
to display and print the fountain fill.
When the Steps box is locked, the fill prints with the number of steps
specified in the Print dialog box and displays on screen with the number of
steps specified in the Options dialog box.
To change the default display of fountain fills

2 In the list of categories, click Workspace, Display.
3 Type the number of steps in the Preview Fountain Steps box.
Changing colors in a two-color fountain fill

Once you have created a two-color fountain fill, you can change the
appearance of a two-color fountain fill without altering its pattern. You can
change its appearance by changing the colors used to create the fountain fill.
When using the Fountain Fill dialog box, you can preview your fill in the
Preview window.
You can modify a
fountain fill’s
appearance by
changing the colors.
To change the colors of a two-color fountain fill

1 Select a two-color fountain fill with the Pick tool.

3 Open the From color picker, and click a color for the start of the fountain
fill’s color progression.
4 Open the To color picker, and click a color for the end of the fountain fill’s
color progression.
You can click the Other button to create or choose a custom color.
To change the colors of a two-color fountain fill using the

Interactive Fill tool
2 Select a two-color fountain fill.
3 To change the color used for the start of the color progression, do one of
the following:
Drag a color from the Color Palette to the start fill handle that appears
at the beginning of the fountain fill.
Click the First Fill picker on the Property Bar, and click a color on the
palette.
4 To change the color used for the end of the color progression, do one of
the following:
Drag a color from the Color Palette to the end fill handle box that
appears at the end of the fountain fill.
Click the Last Fill picker on the Property Bar, then click a color on the
palette.
To mix colors in a two-color Fountain Fill using the mouse

2 Hold down CTRL, and click a color from the on-screen Color Palette.
Release the mouse button before releasing CTRL.
You can apply a mix to a single color swatch by holding down CTRL and
dragging a color from the Color Palette to a color swatch.
To change the color of custom fountain fills see, “Creating and saving
custom fountain fills” on page 217.

Changing a fountain fill’s center point
Offsetting the center point horizontally or vertically lets you alter the
appearance of the fountain fill. Most fountain fills radiate from a point that
appears in the center of the fill. Radial and square fountain fills progress in a
series of concentric circles or squares from the center of the object outward.
Conical fountain fills progress in a circular path from the center of the object
outward. Linear fountain fills do not have a center point.
Adjusting the
center-point alters
the appearance of
radial, square and
conical fills.
To change the center point

3 Choose the type of fountain fill you want from the Type list box.
You can choose a radial, conical, or square fountain fill.
4 Type a value in the Horizontal and Vertical boxes.
Negative values shift the center point to the left; positive values shift the
center point to the right. For example, a value of -50% places the center
point on the left edge of the object; a value of 50% places the center point
on the right edge.
To change the center point using the mouse

2 Select a fountain fill object.
3 Drag the start point of the vector inside the object to change the center of
the fill.

Changing a fountain fill’s mid-point
The mid-point is an imaginary line between two colors in a fountain fill. The
value of the mid-point represents its position in relation to two fountain fill
colors. By changing this value, you can set the point at which two colors in a
fountain fill converge.
Adjusting the
mid-point of a
fountain fill adjusts
the point at which
two colors in a
fountain fill
converge.
For example, in a two-color fountain fill using the colors black and white, a
value of 50 positions the mid-point in the center of the fill so that half of the
fill is black and half is white. Increasing the mid-point value to 99 results in a
fountain fill dominated by black. Decreasing the mid-point value to 1 results
in a fountain fill dominated by white.
To change the mid-point

1 Using the Pick tool, select a two-color fountain fill object.
3 Move the Mid-point slider to change the start and end color proportions.
To change the mid-point using the Interactive Fill tool

2 Select a two-color fountain fill object.
3 Move the Fountain Fill MidPoint slider on the Property Bar.
To change the mid-point using the mouse

2 Drag the mid-point slider that appears inside the object.

Changing a fountain fill’s angle
You can change the angle of linear, conical, and square fountain fills. Changing
the angle of gradation affects the slant of the fountain fill. Radial fountain fills
progress in a series of concentric circles, so you can’t change their angle.
Adjusting the angle
of gradation affects
the slant of linear,
conical, and square
fountain fills.
To change the angle

1 Using the Pick tool, select a fountain fill object.
3 Type a value in the Angle box.
To change the angle using the Interactive Fill tool

2 Select a fountain fill.
3 On the Property Bar, type a value in the top portion of the Fountain Fill
Angle and Edge Pad box, and press ENTER.
Positive values rotate the fill counterclockwise; negative values rotate it

clockwise.
To change the angle using the mouse

2 Drag one of the end point handles of the vector inside the object in a
circular direction.

Changing a fountain fill’s edge pad
You can change the edge pad of linear, radial, and square fountain fills. The
edge pad value determines how long the beginning and end colors remain
solid before they start blending with the next color in the fountain fill.
Conical fountain fills progress in rays, so you can’t change their edge pad.
Adjusting the edge
pad value determines
how long the
beginning and ending
colors remain as
solid colors before
they start blending
with the next color in
linear, radial, and
square fountain fills.
To change the fountain fill edge pad

1 Using the Pick tool, select a fountain fill object.
3 Type a value in the Edge Pad box to set the amount of the fill taken up by
the progression’s beginning and end colors.
To change the edge pad using the Interactive Fill tool

2 Select a fountain fill object.
3 On the Property Bar, type a value in the bottom portion of the Fountain
Fill Angle and Edge Pad box, and press ENTER.
Higher values let the colors remain solid longer before blending, causing
the colors to spread more quickly. Lower values result in a smooth
transformation between the two colors.
To change the edge pad using the mouse

2 Drag one of the end point handles of the vector inside the object in an
inward or outward direction.

Working with PostScript textures
A PostScript texture is a texture fill designed using PostScript language.
Some textures are very complex, and large objects that contain PostScript
texture fills may take time to print or to update on screen. Therefore,
CorelDRAW represents PostScript fills on screen with the letters “PS,”
rather than the actual texture (unless you are in Enhanced view). You can
enable or disable the Show PostScript fills to display the fill.
Choose from a
variety of Postscript
texture fills included
with CorelDRAW.
For more information on viewing PostScript fill see, “Setting the view
quality” on page 76.
Applying a PostScript texture pattern

PostScript textures are fills that you can change by altering a set of variables.
These patterns don’t appear on screen. Instead, you see a pattern that
contains the letters “PS” (unless you are in Enhanced view).
You can use the PostScript Texture dialog box or the Interactive Fill tool to
apply PostScript texture fills. The PostScript Texture dialog box lets you
choose a texture, adjust options, and view the effects in the Preview window.
PostScript textures created in CorelDRAW can be exported in Encapsulated
PostScript (.EPS) format for use in other applications. For more information
see “Importing, exporting, and OLE” on page 743.
To apply a PostScript texture fill

2 Open the Fill Tool flyout, and click PostScript Fill Dialog.
3 Choose a texture from the list.
4 In the Parameters section, adjust the various settings to customize the
texture as required.

5 Enable the Preview Fill check box to preview the texture with the current
settings.
6 Click the Refresh button to update the image.
To apply a PostScript texture fill using the Interactive Fill tool

3 On the Property Bar, choose PostScript Fill from the Fill Type list box.
4 Choose a texture from the PostScript Fill Textures list box.
The settings listed in the Parameters section of the PostScript Texture

dialog box vary depending on the type of PostScript texture fill you
choose.
Working with pattern fills

In CorelDRAW you can choose from a two-color, full-color, or bitmap pattern
fill. A two-color pattern is a simple picture composed of only “on” and “off”
pixels. The only colors included in the bitmap are the two that you assign. A
full-color pattern is a picture composed of lines and fills, instead of dots of
color like a bitmap. These vector graphics are smoother and more complex
than bitmap images and are easier to manipulate. A bitmap pattern is a
regular color picture (like you might get with an electronic photograph).
These bitmaps vary in complexity, and it is best to use less complex bitmaps
for fill patterns, because complex ones are memory-intensive and slow to
display. The complexity of a bitmap is determined by its size, resolution, and
bit depth.
CorelDRAW provides preset pattern fills. You can also create a pattern using
the Bitmap Pattern Editor, or import your own 1-bit bitmap.
Applying a two-color pattern fill

You can fill an object with a pattern composed of repeating bitmap images.
CorelDRAW provides a collection of black-and-white bitmap patterns that
you can use as is or customize. You can set the foreground and background of
a pattern and change the size of the tiles. Using the Interactive Fill tool in
conjunction with the Property Bar, you can apply two-color pattern fills
quickly, as well as mix the colors in the pattern.

Choose from a
variety of two-color
pattern fills included
with CorelDRAW.
To apply a two-color pattern fill

2 Open the Fill Tool flyout, and click Pattern Fill Dialog.
3 Enable the 2-color button.
4 Click the Pattern picker, and click the pattern.
5 Open the Front color picker, and click a color for the bitmap pattern’s
foreground.
6 Open the Back color picker, and click a color for the bitmap pattern’s
background.
To apply a two-color pattern fill using the Interactive Fill tool

3 On the Property Bar, choose Pattern Fill from the Fill Type list box.
4 Click the Two-color Bitmap Pattern Fill button.
5 Click the First Fill picker, and click a pattern you want from the list.
6 Open the Front Color picker, and click a color for the bitmap pattern’s
foreground.
7 Open the Back Color picker, and click a color for the bitmap pattern’s
background.
To mix colors in a two-color pattern fill using the Color Palette


2 Select a two-color pattern fill.
3 Hold down CTRL, and click a color on the Color Palette. Release the
mouse button before you release CTRL.
Applying a full-color pattern fill

You can fill objects with a pattern composed of repeating vector images.
CorelDRAW provides a large selection of full-color pattern fills that you can
use.
Choose from a
variety of full-color
pattern fill included
with CorelDRAW.
To apply a full-color pattern fill

3 Enable the Full Color button.
4 Click the Pattern picker, and click a pattern from the list.
To apply a full-color pattern fill using the Interactive Fill tool

4 Click the Full-color Pattern Fill button.
5 Click the First Fill picker, and click a pattern from the list.
Applying a bitmap pattern fill

You can fill objects with a pattern composed of repeating bitmap images.
CorelDRAW provides a large selection of bitmap pattern fills that you can use
as is or customize.

Choose from a
variety of bitmap
pattern fills included
with CorelDRAW.
To apply a bitmap pattern fill

3 Enable the Bitmap button.
4 Click the Pattern picker, and click a pattern from the list.
To apply a bitmap pattern fill using the Interactive Fill tool

4 Click the Bitmap Pattern Fill button.
5 Click the First Fill picker, and click a pattern from the list.
Creating a two-color pattern fill

You can create your own pattern from scratch. New patterns are added to the
end of the list of preset patterns.
To create a two-color pattern fill

3 Enable the 2-color button.
4 Click the Create button.
5 To set the resolution of a pattern, enable one of the following Bitmap Size
buttons:

16 X 16 — changes the resolution of the Edit Grid to 16 x 16 squares
6 To determine how many squares in the drawing area are filled when you
click with the mouse, enable one of the following buttons:
1 X 1 — changes the pen size to a 1-grid square
2 X 2 — changes the pen size to a 2 x 2 square
4 X 4 — changes the pen size to a 4 x 4 square
8 X 8 — changes the pen size to an 8 x 8 square
7 To create a pattern, do one or both of the following:
Click with the left mouse button over the grid to fill squares.
Click with the right mouse button over the grid to erase squares.
Creating a pattern fill using the Create Pattern command

You can create two-color and full-color pattern fills based on an area in your
drawing using the Create Pattern command. CorelDRAW lets you marquee
select an area, which then becomes a pattern fill.
To create a two-color pattern using the Create Pattern command

1 Click Tools, Create, Pattern.
2 Enable the Two-Color button.
3 Specify a resolution by enabling one of the following buttons:
Low — creates a low-resolution, two-color pattern
Medium — creates a medium-resolution, two-color pattern
High — creates a high-resolution, two-color pattern
4 Click OK. The cursor changes to cross hairs.
5 Drag a marquee box around the graphic or area of the graphic that you
want to make into a pattern.
The new pattern appears at the bottom of the Pattern picker list.
To create a full-color pattern using the Create Pattern command

1 Click Tools, Create, Pattern.
2 Enable the Full Color button.

3 Click OK. The cursor changes to cross hairs.
4 Drag a marquee box around the graphic or area of the graphic that you
want to make into a pattern.
5 Click OK in the Create Pattern message box.
6 Type a name for the pattern in the File Name box, and click the Save
button.
The new pattern appears at the bottom of the Pattern picker list.
You can also access the Create Pattern dialog box by clicking the Select
Pattern button on the Property Bar.
Importing pattern fills

You can import a graphic to use as a pattern fill. Imported patterns are added
to the end of the list of preset patterns. The graphic is then tiled to form a
pattern in a path to which it is applied.
To create a pattern fill from an imported image

Two-Color
Full Color
Bitmap
4 Click the Load button.
5 Choose the file that you want to import from the Import dialog box, and
click Import.
Removing a pattern fill

You may want to remove a pattern fill to conserve disk space or to shorten
the list of two-color, full-color, or bitmap pattern fills.
To remove a pattern fill

1 Select a pattern filled object with the Pick tool.

Two-color
Full-color
Bitmap
4 Click the Pattern picker, and click the pattern you want to remove from
the list.
Working with texture fills

A texture fill is a random, fractally-generated fill that you can use to give
your objects a natural appearance. Texture fills increase the size of a file and
the time it takes to print. Therefore, you may want to use these fills
sparingly, especially with larger objects.
Choose from a
variety of texture fills
included with
CorelDRAW.
You can use colors from any color model or palette for texture fills. Since
texture fills can only hold RGB colors, however, this can cause a color shift
when you display or print the files.
Corel TEXTURE™
Corel TEXTURE™ lets you design bitmap texture fills and modify preset
textures. You can recreate the natural textures of wood, clouds, stone,
ripples, waves, and wrinkles, or create artificial patterns such as checkers,
dots, lines, and swirls. Corel TEXTURE lets you control lighting, design,
color combinations, and gradations. The Texture wizard guides you through
the process, or you can start with a blank texture.

Applying a texture fill
Texture fills are fills that look like clouds, water, gravel, minerals, and other
natural and artificial substances. CorelDRAW provides preset textures, and
each texture has a set of options that you can change. The Texture Fill dialog
box and the Interactive Fill tool let you apply texture fills and create custom
textures.
To apply a texture fill

2 Open the Fill Tool flyout, and click Texture Fill Dialog.
3 Choose the library containing the texture you want from the Texture
Library list box.
4 Choose a texture from the Texture list box.
The Preview window in the dialog box displays the fill attributes that are
assigned to the selected object.
5 Adjust the style options to customize the texture as required.
6 Click the Options button to adjust the bitmap resolution and texture size.
Click the Preview button to see the results of your modifications.
To apply a texture fill using the Interactive Fill tool

3 On the Property Bar, choose Texture Fill from the Fill Type list box.
4 Choose the library containing the texture from the Texture Library list.
5 Click the First Fill picker, and click a texture from the list.
6 Click the Texture Options button to adjust the bitmap resolution and
texture size limit.
7 Click the Regenerate Texture button to regenerate the texture fill.
Creating, saving, and deleting custom texture fills

When you create a custom texture fill, you can save it to use it again. You
can’t save or overwrite textures in the Styles library. You can, however,
modify a texture in the Styles library and save it to another library.

To create a custom texture fill
1 Select a texture fill with the Pick tool.
3 Modify the texture settings in the Texture Style Name section. Use the
Preview button to view your changes before saving a custom texture fill.
To save a custom texture fill

3 Type a name in the Texture Name box.
4 Do one of the following to specify the Library Name:
From the Library Name List, choose a sample library in which you
want to save the texture.
Type the name of a new library in the Library Name box.
To delete a custom texture fill

1 Follow steps 1 and 2 from the “To create a custom texture fill” procedure.
2 Select a Texture Library from the list.
3 Select the Texture you want to delete from the Texture List box.
Customizing pattern and texture fills

You can rotate, skew, adjust the tile size, and change the center of the pattern
or texture to create a custom fill. You can adjust the pattern or texture fill
using the on-screen fill tiling vector. The Transform Fill With Object option
lets you perform transform an object and fill simultaneously.
Changing a fill’s tile size

You can change the dimensions of the pattern or texture tile used to fill an
object. Decreasing the size of a pattern or texture tile, increases the pattern
or texture density. You can resize a pattern fill or texture fill manually using
the tiling handles, or more precisely, using the dialog box.

You can change the
appearance of your
tile by adjusting the
size.
To change the size of pattern tiles

1 Select the pattern fill with the Pick tool.
3 In the Size section, type a value in the Width and Height box.
To change the size of pattern tiles using the Interactive Fill tool
2 Select the pattern fill.
3 On the Property Bar, type a value in the top and bottom portion of the Edit
Tiling of Pattern box, and press ENTER.
To change the size of pattern tiles quickly, enable the Small (25% of width
and height or 4x4), Medium (50% of width and height or 2x2), or Large
(100% of width and height or 1 tile) buttons on the Property Bar.
To change the size of texture tiles

1 Select the texture fill with the Pick tool.
3 Click the Tiling button.
4 In the Size section, type a value in the Width and Height box.
To change the tile size interactively


2 Select the pattern or texture fill.
3 To size the pattern, drag the square handles of the tiling vector.
Setting a fill’s tile origin

Setting the tile origin in a pattern fill or texture fill, lets you specify exactly
where the patterns or textures begin. When you adjust the horizontal or
vertical position of the first pattern or texture, relative to the top of the
object, your adjustments affect the rest of the tile. The Preview window in
the dialog boxes reflects the changes of any offset.
To set the tile origin of a pattern

3 In the Origin section, type a value in the X box to set the amount of
horizontal offset.
4 In the Origin section, type a value in the Y box to set the amount of
vertical offset.
To set the tile origin of a texture

Increasing the value in the X box moves the tile to the right; decreasing
the value moves the tile to the left. Increasing the value in the Y box
moves the tile down; decreasing the value moves the tile up.
To set the tile origin interactively

3 Drag the center handle of the tiling vector that appears on the object to the
location that you want to set as the origin.

Rotating a fill
You can rotate a pattern fill or texture fill to change the appearance of the tile.
You can rotate a pattern or texture fill using the Interactive Fill tool or by
adjusting the rotation settings in the dialog boxes.
You can change the
appearance of your
rotation angle.
To rotate a pattern fill

3 In the Transform section, type an angle value in the Rotate box.
To rotate a texture fill

4 In the Transform section, type an angle value in the Rotate box.
To rotate a pattern or texture fill using the Interactive Fill tool

3 Drag the circular rotation handle on the tiling vector and rotate the pattern
in a clockwise or counterclockwise direction.
Skewing a fill
You can skew or slant a pattern fill or texture fill. CorelDRAW lets you skew
a pattern or texture fill using the Interactive Fill tool or by adjusting the
settings in the dialog boxes.

You can adjust the
appearance of your
skew angle.
To skew a pattern fill

3 In the Transform section, type an angle value in the Skew box.
To skew a texture fill

4 In the Transform section, type an angle value in the Skew box.
To skew a pattern or texture fill using the Interactive Fill tool

3 To skew, drag one of the square skew handles on the tiling vector.
Setting the transform fill option

The Transform Fill With Object option lets you rotate, scale and skew a
pattern or texture fill while transforming an object.
To set the pattern Transform Fill With Object option

3 Enable the Transform Fill With Object check box.

To set the texture Transform Fill With Object option
4 Enable the Transform Fill With Object check box.
To set the Transform Fill With Object option using the Property
Bar
3 On the Property Bar, click the Transform Fill With Object button.
Offsetting tiles of a fill

Offsetting the tiles in a pattern fill or texture fill, lets you specify exactly
where the patterns or textures begin. When you adjust the horizontal or
vertical position of the first pattern or texture, relative to the top of the
object, your adjustment affects the rest of the pattern or texture. The
Preview window reflects the changes of any offset.
To offset rows or columns of pattern tiles

3 In the Row or column offset section, do one of the following:
To offset rows, enable the Row button.
To offset columns, enable the Column button.
4 Type the amount of offset in the % Of Tile Size box.
To offset rows or columns of texture tiles


Creating Mesh Fill objects
Using a mesh object lets you create unique effects by adjusting many of the
fill properties. You can define the mesh object by specifying a grid and its
intersecting points. Unique effects result from manipulating the nodes that
comprise the grid. Using the node editing features of CorelDRAW you can
also modify the node type, reduce the number of nodes, or add and remove
nodes from the mesh object.
Creating a mesh object

You can create a mesh object that meets your needs. Using the Interactive
Mesh Fill tool you can apply a mesh object to simple objects, curves, and
bitmaps. When you apply a mesh to an object the object is converted to a
mesh fill object.
To create a mesh object

1 Open the Interactive Fill flyout, and click the Interactive Mesh Fill tool.
2 On the Property Bar, type the number of columns in the top portion of the
Grid Size box, and press ENTER.
3 On the Property Bar, type the number of rows in the bottom portion of the
Grid Size box, and press ENTER.
4 Using the shape cursor, adjust the nodes in the grid to create the desired
mesh.
You can apply a mesh fill to closed objects only.

When an object is complex you need to PowerClip the objects into a grid
mesh. For more information see “Working with PowerClip” on page 526.
Editing a mesh object

Using the Interactive Mesh Fill tool you can edit the grid by adding and
removing nodes.
To add a node to a mesh object

2 Select the mesh fill object.
3 Click on a grid line where you want to add a node.
4 Hold down SHIFT, and double-click using the shape cursor.

To add an intersection point to a mesh object
2 Click on the mesh where you want to add an intersection node.
3 Click the Add Node(s) button on the Property Bar.
You can also double-click in a mesh to add intersection nodes.
To remove nodes to a mesh object

1 Follow steps 1 and 2 from the “To add a node to a mesh object” procedure.
2 Click on the node or intersection node that you want to delete.
3 Click the Delete Node(s) button on the Property Bar.
You can also double-click a node or intersection node to delete it.
Copying a mesh
You can copy a mesh from one object to another in the Drawing Window.
To copy a mesh from another object

2 Select the object you want to copy a mesh to.
3 Click the Copy Mesh Fill Properties From button on the Property Bar
4 Select the object that you want to copy the mesh from.
CorelDRAW copies the number of rows and columns as well as the

intersection point colors to the new object. When you copy a mesh
CorelDRAW tries to duplicate the mesh as closely as possible.
Adding color to a mesh object

You can add color to individual nodes or to patch in a mesh object.

Creating a mesh
object lets you blend
colors in a grid.
To add color to an intersection node in a mesh object

2 Select an intersection node.
3 Click a color from the Color Palette.
To mix a color in a mesh object

2 Hold down CTRL and click a color from the Color Palette.
You can also drag a color from the on-screen Color Palette on to an
intersection node.
You can also marquee select nodes to apply a color to an entire area of the
mesh. For more information see, “Selecting nodes and segments” on page
118.
To add color to a patch in a mesh object

2 Drag a color from the Color Palette to a patch in the mesh object.

Shaping and adjusting a mesh object
You can shape a mesh object to create unique fill effect. You can modify the
appearance of the mesh by adjusting the position of the nodes and
intersection nodes. You can also transform a mesh object using the
transformation tools. For more information see, “Transforming objects” on
page 261.
You can shape a
mesh by adjusting
the intersection or
outline nodes.
To shape a mesh by the intersection node

2 Using the shape cursor, select an intersection node on the outline of the
object.
3 Drag the node to a new location.
To adjust a node vertically

2 Using the shape cursor, select a node on a vertical grid line.
3 Drag the node vertically.
To adjust a node horizontally

2 Using the shape cursor, select a node on a horizontal grid line.
3 Drag the node horizontally.

To adjust an intersection node
2 Using the shape cursor, select an intersection node.
3 Drag the node to a new position.
When you drag intersection points from inside the mesh towards the
outside of the object no fill is applied.
If the mesh object contains color, adjusting the intersection nodes within
the mesh blends the colors.
You can also set the outline properties for a mesh object. For more
information, see “Outlining objects” on page 246.
You can also marquee select nodes to shape an entire area of the mesh.
Changing the node and segment type

Using the node and segment properties you can change the type nodes or
segments that make up the mesh grid. You can also adjust the curve
smoothness slider to reduce the amount of nodes between the intersection
points.
To change the node type

2 Using the shape cursor, select a node.
Cusp — makes the node a cusp node which have independent control
points. A curve that passes through a cusp node can bend at a sharp
angle.
Smooth — makes a node smooth which have control points always
directly opposite each other. Smooth nodes produce a smooth
transition between line segments.
Symmetrical — makes a symmetrical node which have control points
always directly opposite each other. Also, the control points are always
equal lengths. Symmetrical nodes produce the same curvature on both
sides of the node.

To change the segment type
2 Using the shape cursor, select a node.
Convert Curve To Line — makes a segment straight
Convert Line To Curve — makes a segment curved
To change the curve smoothness

2 Using the shape cursor, marquee select the intersection nodes.
3 Click the Curve Smoothing box on the Property Bar, and adjust the
Smoothness slider.
Moving the slider to the right, reduces the number of nodes between
intersection points.
Removing a mesh
You can remove a mesh from an object. When you remove a mesh the object
remains a curve and has all the same properties as other curve objects.
To remove a mesh
2 Select a mesh fill object.
3 Click the Clear Mesh button on the Property Bar.
Outlining objects
You can change the size, shape, and color of outlines. Lines or objects with
open paths can have ends that are rounded, square, cropped, or tipped with
arrowheads and other line-ending shapes. Objects with closed paths (e.g.,
squares and polygons) do not have end-points, but you can choose from
pointed, rounded, or truncated corners.

Working with outlines
An outline is the area that surrounds an object. When you create an object,
CorelDRAW gives it a default outline that is a black solid fill. You can specify
the outline’s color as well as set its width and style.
Applying outline colors

You can change the color of an outline to create a contrast to the object’s fill
color. Applying an outline using the Outline Color dialog box lets you
exercise more control over the outline color. Applying an outline using the
Outline Pen dialog box lets you set the outline thickness, style and corner
shape. To color an outline quickly you can use the on-screen Color Palette.
To select a color from a specific color model, see “Working with color” on
page 303.
To apply an outline color using the Outline Color dialog box

2 Open the Outline Tool flyout, and click Outline Color Dialog.
3 Choose a color model from the Model list.
4 Click a color from the Color Bar and from the visual selector.
You can also enter the color components of a color on the Property Bar.
To apply an outline color using the Outline Pen dialog box

2 Open the Outline Tool flyout, and click Outline Pen Dialog.
3 Open the Color picker, and click a color in the Color Palette.
You can also click the Other button to create or choose a custom color.
To apply an outline color using the Color Palette

2 Right-click a color from the Color Palette.

You can also drag a color from the Color Palette to the object’s edge. As
the mouse pointer moves over the object, it changes shape to show where
the color will be applied.
Converting outlines to objects

You can convert an outline to an object which lets you apply a fill to an
outline. When you use thick outlines, the fill can continue through to the
outer edge of the object, including the outline. When an outline is converted,
it acquires all the properties of any object.
Converting outline to
an object lets you
apply fill and outline
properties.
To convert an outline to an object

2 Click Arrange, Convert Outline To Object.
You can only convert objects that have an outline.

If the Behind Fill option is enabled, the outline object appears behind the
original object.
Adjusting an outline’s width

The width of an outline determines the thickness of the line in points.
Changing the thickness of an object’s outline changes the appearance of the
object.
To adjust the outline width


3 Type the new line width in the Width box.
To adjust the outline width using the Interactive Fill tool

1 Click the object with the Pick tool.
3 On the Property Bar, type a width in the Outline Width list.
A number of preset outline widths are also available from the Outline Tool
flyout. Options include: Hairline, 1/2 Point, 2 Point (Thin), 8 Point
(Medium), 16 Point (Medium-Thick), and 24 Point (Thick).
Setting the corner shape

Setting the corner shape changes the appearance of lines and curves,
especially if the object has a very thick line weight or the object is
particularly small.
Choose one of the
Corner Styles:
Bevelled, Rounded, or
Mitered corners.
To set an object’s corner shape

3 Enable one of the following Corner Style buttons:
Mitered Corners
Beveled Corners
Rounded Corners

Setting the line cap style
The line cap style affects the appearance of the endpoints of open paths.
Setting the line cap shape to Rounded or Extended makes the line slightly
longer.
Choose one of the
Line Cap Styles:
Square, Rounded, or
Extended corners.
To set an object’s line cap style

3 Enable one of the following Line Caps Style buttons:
Square Line Caps
Rounded Line Caps
Extended Square Line Caps
Choosing and editing a line style

CorelDRAW comes with many different line styles. Line styles are preset
lines that have different attributes, such as dotted lines, or dashed lines.
Applying a line style does not change the shape of the line or the amount of
space it occupies. You can edit an existing line style to meet your needs.
To choose a line style

3 Choose a line style from the Line Style selector.

You can also choose a line style from the Outline Style Selector on the
Property Bar.
To edit a line style

3 Click the Edit Style button.
4 Adjust the line end by moving the bar to the right.
5 Click the squares to turn dots on or off.
6 Click the Add button to add the line style to the bottom of the list.
7 Click the Replace button to replace a style that was previously added to
the list.
Creating calligraphic outlines

You can give an object a hand-drawn look using Calligraphy settings. By
adjusting these settings, you can vary the thickness of an object’s outline.
Calligraphy settings
let you give an object
a hand-drawn
appearance by
varying the thickness
of its outline.
To create a calligraphic outline

3 Enable one of the Corner Style buttons. The first and third options make
the nib square; the second option makes it round.
4 Type a value in the Stretch box.
Reducing the value makes square nibs rectangular and round nibs oval,
creating more pronounced calligraphic effects.

5 Type a value in the Angle box.
The angle controls the orientation of the pen in relation to the drawing
surface.
You can also adjust the Stretch and Angle values by dragging in the
Preview box.
You can also modify line widths after creating the calligraphic outline by
changing the value in the Width box.
Using the Behind Fill option

Use the Behind Fill option to apply an outline to a stylized font such as a
script font. Normally, outlines are applied after the fill is applied. Half of the
outline lies inside the object, while the other half lies outside the object.
When you enable the Behind Fill check box, the outline is drawn first, then
the fill is placed on top of the outline. Consequently, half of the outline is
covered by the fill.
The Behind Fill
option allows you to
apply an outline to a
stylized font.
To enable the Behind Fill option

3 Enable the Behind Fill check box.
Using the Scaling With Image option

Scaling an image specifies whether the thickness of the object’s outline
remains the same or changes in proportion to the object’s size. If the Scale
With Image check box is enabled, the outline thickness increases when you
enlarge the object (by scaling or stretching) and decreases when you make
the object smaller.

Scaling an image
determines whether
the outline thickness
remains the same or
scales with the
image.
To enable the Scale With Image option

3 Enable the Scale With Image check box.
Setting the miter limit

When two lines meet at a sharp angle and form a spike that extends beyond
the intersection of the lines, the miter limit controls when the application
switches from a mitered (pointed) join to a beveled (squared-off) joint.
Setting the miter
limit determines the
end shape of two
intersecting lines.
To set the miter limit

3 Type a value from 5 and 45 degrees in the Miter Limit box.

Any corner that is less than the Miter Limit will have a beveled
(squared-off) point. Corner joints above the limit will come to a mitered
(sharp) point. This limit prevents corners from extending far beyond the
actual corner at small angles, such as when a text character comes to a
spike, for example, in the letter “M.”
Removing outlines
You can remove an object’s outline quickly using the Color Palette or the
Outline Tool flyout.
To remove an object’s outline using the Color Palette

2 Right-click No Color on the Color Palette.
To remove an object’s outline using the Outline Tool flyout

2 Open the Outline Tool flyout, and click No Outline.
Applying and editing line-ending shapes

Line-ending shapes let you design the start or end point of a curve object.You
can apply, edit, or create arrowheads using the Edit Arrowhead dialog box.
New line-ending shapes are added to the top of the list of line styles.
Applying line-ending shapes

You can apply arrowheads and other line-ending shapes to the ends of an
open path.
Choose from a
variety of line-ending
shapes included with
CorelDRAW.

To apply line-ending shapes using the Outline Pen dialog box
1 Select a line or curve with the Pick tool.
3 Click the left Arrowhead selector, and choose the shape you want for the
start of the line.
4 Click the right Arrowhead selector, and choose the shape you want for the
end of the line.
To apply line-ending shapes using the Property Bar

2 Click the Start Arrowhead selector on the Property Bar, and choose the
shape you want for the start of the line.
3 Click the End Arrowhead selector on the Property Bar, and choose the
shape you want for the end of the line.
Use the Outline Style selector to select another outline style.
Switching line-ending shapes

If you change the direction of a line or curve, you can switch arrowheads
from one end of the line to the other. You can also remove the arrowheads
from the end of a line or curve.
To switch arrowheads from one end of the line to another

3 Click one of the Arrowhead selectors, and choose the shape you want for
the line.
4 Click Options, Swap.
To remove an arrowhead
2 Click Options, None.
Creating line-ending shapes

You can create your arrowhead or other line-ending shape. New arrows
appear on the Property Bar, at the bottom of the arrowhead list in the Outline
Pen dialog box.

The arrow you create can be any size — you can adjust the size later using
the Edit Arrowhead dialog box. The number of arrowheads is limited to 100.
If you already have this many and want to create new ones, you must first
delete some of the existing ones. If the arrowhead consists of more than one
object, you must combine all objects using the Combine or Weld command.
To create arrowheads and other line-ending shapes using the

Create Arrow command
1 Draw an arrowhead.
The arrowhead shape assumes the fill and outline attributes of the line to
which it is applied.
2 Click the arrowhead shape with the Pick tool.
3 Click Tools, Create, Arrow.
The new arrowhead appears at the bottom of the Arrowhead selector.
To create arrowheads using the Outline Pen dialog box

2 In the arrowhead section, click Options, New.
3 Drag the side handles along the arrowhead’s box to stretch vertically or
horizontally, or drag the corner handles to change the size of the
arrowhead.
4 Drag the hollow nodes along the arrowhead’s outline.
To get a closer view of the arrowhead, enable the 4X Zoom check box.
Editing line-ending shapes

When you apply an arrowhead to a path, its size is determined by the
thickness of the path’s outline. When you increase the thickness, the
arrowhead size increases proportionately. To create a larger arrowhead
without changing the outline of the path to stretch the arrowhead. You can
also adjust the arrowhead’s position relative to the end of the path, center the
arrowhead, or flip it horizontally or vertically.
To stretch an arrowhead or line-ending shape


3 Under the arrowhead you want to edit, click Options, Edit.
4 Drag the side handles along the arrowhead’s box to stretch vertically or
horizontally, or drag the corner handles to change the size of the
arrowhead.
To move an arrowhead or line-ending shape

2 Drag the hollow nodes along the arrowhead’s outline.
To center an arrowhead or line-ending shape

1 Follow steps 1 to 3 from the “To stretch an arrowhead or line-ending
shape” procedure.
Click the Center In X button to center the arrowhead vertically on the
line. The letter “X” refers to the horizontal axis.
Click the Center In Y button to center the arrowhead horizontally on
the line. The letter “Y” refers to the vertical axis.
To flip an arrowhead
1 Follow steps 1 to 3 from the “To stretch an arrowhead or line-ending
shape” procedure.
Click the Reflect In X button to flip the arrowhead vertically on the
line. The letter “X” refers to the horizontal axis.
Click the Reflect In Y button to flip the arrowhead horizontally on the
line. The letter “Y” refers to the vertical axis.
Deleting line-ending shapes

You can delete arrowheads or line-ending shapes.
To delete arrowheads or line-ending shapes

3 Choose an arrowhead or line-ending shape.
4 Under the arrowhead that you want to edit, click Options, Delete.

TRANSFORMING OBJECTS 7
To transform an object in CorelDRAW, the first thing you must do is select it.
You can transform all graphic and text objects in the following ways without
altering their basic shapes:
position — moves the object to another area of the Drawing Window
based on coordinates you specify
size — changes the size of an object by an amount you specify in pixels,
millimeters, inches or other units, while maintaining its shape and relative
proportions
scale — changes the size of an object by a percentage value you specify,
making it larger or smaller either proportionally or nonproportionally
stretch — changes an object’s relative horizontal or vertical proportions,
making one larger compared to the other
rotate — turns an object upside down or sideways, or tilts it by any degree
you specify
skew — adds a slant to an object
mirror — creates a reflection of an object horizontally, vertically, or
diagonally
You can perform multiple transformations on single objects, on multiple
objects, and on combined or grouped objects. There are always several
different ways to make each transformation; you can choose the method that
works best for you, depending on whether you prefer to transform objects
quickly and interactively or with greater precision.
There are other transformations you can do that alter an object’s basic shape:
you can split, cut, and erase portions of objects; and you can weld, trim, and
intersect objects. These features allow you to create entirely new shapes.
Welding several objects binds them together to create one object. Trimming
removes the areas that are overlapped by other selected objects. Intersecting
objects creates a new object from the area where two or more objects
overlap.
If you perform a transformation to a single object or a group of objects and
are not happy with it, CorelDRAW lets you undo the transformation.
Transforming objects 261

Finding and using the transformation tools
In CorelDRAW there are numerous ways to transform objects, but most fall
into one of two categories: transforming interactively, and transforming with
precision. You can choose the method that suits you best, depending on your
preference and your drawing. An interactive transformation is one you do
quickly and visually on screen, often using the mouse. A more precise
transformation involves specifying numerical coordinates and values that tell
CorelDRAW exactly how to change the object.
When applying transformations to objects in CorelDRAW using the mouse,
you can usually hold down CTRL or SHIFT to constrain or transform the
object from its center, respectively. By maintaining these CorelDRAW
settings, you ensure that they work in the traditional CorelDRAW fashion.
However, you can change these default settings to Windows standards if you
prefer.
Using the transformation tools

There are up to five different ways to transform most objects: using the
mouse, the Free Transform tools, the Property Bar, the Transform toolbar, or
the Transformation Docker. The mouse is usually the quickest and most
intuitive way to transform objects, but will not necessarily work by itself for
every transformation (for instance, to weld, trim, or intersect objects, you
will need to use the mouse in conjunction with the Property Bar or the
Shaping Docker). If you require greater precision or more options, you can
choose from several other methods. Choose the method that works best for
your drawing.
To transform objects quickly using the Pick tool and Property Bar
2 Enter new values in the appropriate boxes on the Property Bar and press
ENTER.
To transform objects interactively using the Free Transform Tools

1 Click the Shape Edit flyout in the Toolbox.
2 Click the Free Transform tool.
3 Click one of the following tools on the Property Bar:
Free Rotation tool
Free Angle Reflection tool
Free Scale tool

Free Skew tool
4 Select the object to transform.
5 Follow the procedure for the transformation you are making.
This method only works for rotating, mirroring, scaling, and skewing
objects.
To transform objects with precision using the Transformation

Docker
1 Click Arrange, Transformation, and click one of the following buttons in
the Transformation Docker:
the Position button
the Rotation button
the Scale And Mirror button
the Size button
the Skew button
2 Follow the instructions for the transformation you are applying.
To weld, trim, or intersect objects, use the Shaping Docker instead by

clicking Arrange, Shaping.
To transform objects with precision using the Transform toolbar

2 Enter new values in the appropriate boxes on the Transform toolbar and
press ENTER.
You can’t use all of these methods for every transformation. For instance,
you can’t cut, erase, weld, trim, or intersect objects using the Transform
toolbar. Therefore, the first thing you should do is find out which methods
are possible for the transformation you’re making — and then choose the
best of all the possible methods, depending on your personal preferences
and your particular drawing.

To open the Transform toolbar, click Window, Toolbars, and enable the
Transform check box.
The Free Transform tools on the Property Bar function independently of
the number boxes on both the Property Bar and the Transform toolbar —
not in conjunction with them. Therefore, choose one method or the other;
and ensure that you follow the appropriate procedures for the method you
choose.
Using and customizing the interactive transformation options

You will find the CTRL, SHIFT, and ALT keys useful when transforming
objects using the mouse. These commands can constrain an object’s
transformation by degrees, transform an object from its center, or transform
it horizontally and vertically at the same time.
You can also change the number of increments by which you split, rotate,
skew, or mirror an object. The default value for splitting, rotating, skewing,
and mirroring while holding down CTRL is 15 degrees.
To cut, rotate, skew, or mirror an object in 15-degree increments

Hold down CTRL while dragging with the mouse.
To change the number of increments by which you cut, rotate,

skew, or mirror an object
1 Click Tools, Options and click Workspace, Edit.
2 Type a new value in the Constrain Angle box.
Using the CorelDRAW default settings

CorelDRAW lets you switch to Windows standards if you prefer. When you
work in Windows standards, pressing the SHIFT key constrains the object,
transforming it in increments, while holding down CTRL transforms a copy
of the object, leaving the original intact.
To switch to Windows standards

2 In the list of categories, double-click Toolbox.
3 Click Pick tool.
4 Enable the Windows Standard button.

Undoing transformations
When you work on a drawing, CorelDRAW keeps track of the operations and
commands you perform. If you make a mistake or change your mind about
transformations you have just finished, you can clear them easily.
You can undo transformations (i.e., rotate, size, stretch, scale, rotate, skew,
and mirror) applied to an object or group of objects. If you select a group, only
the transformations performed on the group as a whole are cleared;
transformations performed on individual objects before they were grouped
remain unchanged.
CorelDRAW also lets you undo a transformation while you are in the midst of
applying it. For example, if you begin rotating an object, then decide you
don’t want to, you can use the ESC key to stop the transformation.
CorelDRAW will revert your object to its original size, position, and shape,
unchanged.
Clearing transformations
You can clear all transformations to an object except for changes to its
position. You can also redo transformations you have cleared.
To undo all transformations applied to an object

2 Click Arrange, Clear Transformations.
To redo all cleared transformations

2 Click Edit, Undo Clear Transformations.
To undo a transformation in progress when using the mouse

Press ESC before you release the mouse.
Pressing ESC to undo a transformation in progress only works if you have

not yet released the mouse button to complete the transformation. If you
have already released the mouse button and still wish to undo a
transformation, use the Clear Transformations or Undo commands.

Applying transformations to duplicates
CorelDRAW offers you an easy way to experiment with different
transformations. If you want to see the effect of a transformation but keep
the original intact, you can transform a copy of the object.
The advantage of
transforming a
duplicate is that you
can experiment:
CorelDRAW lets you
view the
transformation on a
copy of the object
(2) without changing
the original (1).
CorelDRAW creates a copy of the object as it is being transformed, leaving

the original unaffected. If you decide that you’d rather keep the original, you
can simply delete the copy.
Transforming duplicates
You can transform a copy of the object to see how your original object would
look after the transformation, without actually changing it. If you don’t like
the effects of the transformation, simply delete the copy. CorelDRAW creates
the copy while you are applying the transformation. You can transform
duplicates using the mouse, the Transformation Docker, or the Transform
toolbar.
To transform a duplicate using the mouse

1 Begin a transformation using the mouse.
2 Click the right mouse button during the transformation, and release it
before you release the left mouse button.
CorelDRAW creates a copy of the object while you are transforming it,
leaving the original intact.
To transform a duplicate using the Transformation Docker

After entering new values for the transformation you want to apply, click
the Apply to Duplicate button in the Transformation Docker.
To transform a duplicate using the Transform toolbar


2 Click Window, Toolbars, and enable the Transform check box.
3 Click the Apply To Duplicate button on the Transform toolbar.
The button is activated when it appears pressed.
4 Type new values in the Transform toolbar boxes, then press ENTER.
As long as you keep the Apply To Duplicate button activated, CorelDRAW
will continue to transform duplicates.
When using the Transform toolbar to transform a duplicate, ensure that

you are not mistakenly trying to use the Free Transform tools on the
Property Bar. The Free Transform tools on the Property Bar function
independently of the boxes on the Property Bar and Transform toolbar
(not in conjunction with them), and will not produce a duplicate — even if
you have enabled the Apply To Duplicate button.
Splitting and erasing portions of objects

When you split an object, CorelDRAW lets you choose between cutting the
object into two objects, or leaving it as one object composed of two or more
subpaths. You can also reshape objects by redrawing their paths. When you
do, CorelDRAW automatically draws a path in an object starting at the point
you select, and converts the object to curves.
Using the Knife tool
or the Eraser tool,
you can split objects
or erase parts of
them.
Separating one part of an object from another can require careful node
editing. CorelDRAW makes this easier by letting you erase unwanted
portions of objects. You can remove parts of a selected object by erasing

them, automatically closing any affected paths. If you erase connecting lines,
CorelDRAW does not create new objects; it simply creates separate
subpaths. Whenever you erase part of an object, it automatically becomes a
curve object.
What is a path?
Paths are the basic elements from which all shapes and lines are constructed.
A path has no width or color, but you can give it width or color by adding an
outline to it. By default, paths are drawn with a thin black outline. This
makes paths visible when you first create them.
What is a subpath?
Subpaths are the basic curves and shapes from which a single curve object is
constructed. For example, a single curve object with subpaths is often
created when text is converted to curves. The letter “O,” for instance, is
composed of two ellipses. The ellipses are subpaths that compose the single
curve object, “O.” One of the simplest reasons for creating an object with
subpaths is that you can produce objects with holes in them. In the above
example, you can see objects underneath the center of the letter “O.”
Splitting an object with the Knife tool

You can split an object in two and completely reshape it by redrawing its path.
By default, the Knife tool automatically closes open paths when it cuts them.
You can split an object along a straight line, along a freehand line, or by
redrawing a path. You can choose to split an object into two subpaths or two
objects, and you can specify whether you want to close paths automatically or
keep them open.
To split an object along a straight line

1 Open the Shape Edit flyout, and click the Knife tool.
2 Position the knife cursor where you want to start cutting.
The cursor will snap upright when it’s ready to cut.
3 Click once.
4 Move the cursor to where you want to stop cutting.
5 Click again.

To split an object along a freehand line
2 Drag the mouse from where you want the cut to start to where you want
it to end.
To reshape an object by redrawing a path

1 Open the Shape Edit flyout, and click the Knife tool.
2 Position the knife cursor where you want to start cutting.
The cursor will snap upright when it’s ready to cut.
3 Drag the mouse from where you want the cut to start to where you want
the cut to end.
Do not release the mouse.
4 Press TAB once or twice to choose the cut you want.
Hold down TAB for a second or two each time to view the different cuts.
5 Release the mouse.
To specify that you want to split an object into two subpaths

Enable the Leave As One Object button on the Property Bar.
Disabling this button splits the object into two objects.
To specify whether you want to close paths automatically or keep

them open
Enable the Auto-Close On Cut button on the Property Bar.
Disabling this button leaves new pathe open after splitting an open path.
Holding down SHIFT while splitting an object with the Knife tool puts you
in Bezier curve mode. Holding down SHIFT + CTRL puts you in Bezier
curve mode with the curve constrained by increments of 15 degrees.
Holding down ESC while splitting an object with the Knife tool will undo
the Knife operation and return the cursor to the beginning, leaving the
object intact. This only works if you have not yet released the mouse
button to finish the cut.

As soon as you use the Knife tool on an object, it becomes a curve object.
Erasing portions of an object

The Eraser tool removes portions of selected objects that you drag it over,
and closes any affected paths.You can change the size and shape of the eraser
nib to suit your purposes.
To erase portions of an object

2 Open the Shape Edit flyout, and click the Eraser tool.
3 Drag the eraser over the object.
To create a hole in an object

1 Follow steps 1 and 2 from the above procedure.
2 Double-click anywhere on the object.
To erase portions of an object in straight lines

1 Follow steps 1 and 2 from the “To erase portions of an object” procedure.
2 Click once on the object at the point where you want to begin to erase.
3 Release the mouse, hold down TAB, and click again where you want to
stop erasing.
Hold down CTRL if you also want to constrain the line.
To change the size of the Eraser nib

Type a value in the Eraser Thickness box on the Property Bar and press
ENTER.
The Eraser tool automatically reduces the number of nodes on a curve it

is erasing, but you can change this by disabling the Auto-Reduce On Erase
As soon as you use the Eraser tool on an object, it becomes a curve
object.

You can click the Circle/Square button on the Property Bar to toggle
between a circle or square nib shape.
Holding down ESC while erasing part of an object with the Eraser tool
will undo the operation and return the cursor to the beginning, leaving the
object intact. This will only work if you have not yet released the mouse
to finish erasing.
Positioning and moving objects

Dragging with the mouse is the quickest way to move objects in your
drawing. You can move an object interactively by dragging it anywhere in
your drawing and releasing the mouse button at the desired location. If you
require more precision, you can place objects at specific ruler coordinates.
You can also move objects by a specific distance, and move copies of objects.
CorelDRAW also lets you nudge objects in increments using the keyboard.
You can set the nudge distance to any value you want.
By default, when you move or position an object, the object moves according
to its center anchor point. Consequently, the center of the object moves to
specific ruler coordinates. However, you can assign a new anchor point. The
anchor points correspond to the object’s selection handles. You can also reset
the anchor point to its original position.
Positioning objects with precision

To position an object precisely in CorelDRAW, you must specify the
horizontal and vertical coordinates of where to place it on the ruler. By
default, you position an object according to its center anchor point, which is
also the center of the object. You can reset the anchor point to position the
object relative to a different set of coordinates. Note that this is different from
moving an object, which involves relocating it a specified distance from its
current position. For more information, see “Moving objects a specified
distance” on page 272.
To position an object
2 Open the Shape Edit flyout, and click the Free Transform tool.
3 Disable the Relative To Object button on the Property Bar.

4 Type values in the X (horizontal) and Y (vertical) Object(s) Position boxes
5 Keep the cursor in the X or Y box, and press ENTER.
You can also position an object by selecting it with the Pick tool and typing
new values in the X and Y Object(s) Position boxes in the Property Bar.
These values specify the coordinates of the new location where you want
to place the object, relative to the origin (0,0 coordinates) of the rulers.
Positive values move the object up and to the right; negative values move
it down and to the left.
To position an object using a different anchor point

2 Click Arrange, Transformation, and click the Position button.
3 Disable the Relative Position check box in the Transformation Docker.
4 Type values in the H (horizontal) and V (vertical) Position boxes to specify
a new location in your drawing.
5 Enable an Anchor Point check box to assign an anchor point.
The check boxes correspond to the eight selection handles and the
object’s center.
6 Click the Apply button.
When you disable the Relative Position check box in the Transformation
Docker, the H and V boxes identify the ruler coordinates of the anchor
point.
You can use the ruler as a guide when you’re specifying coordinates. You
can place the ruler’s point of origin (0,0) anywhere in your Drawing
Window to help you reposition the selected object.
Moving objects a specified distance

When you move an object in CorelDRAW, you move it a specified distance
from its current position. By default, you move an object according to its
center anchor point, which is also the center of the object. You can change
the anchor point to move the object relative to a different center location.

Note that this is different from positioning an object, which involves
specifying horizontal and vertical coordinates on the ruler. For more
information, see “Positioning objects with precision” on page 271.
To move an object a specified distance

3 Enable the Relative To Object button on the Property Bar.
The button is enabled when it appears pressed.
4 Type values in the X (horizontal) and Y (vertical) Object(s) Position boxes
You can also move an object by selecting it and typing new values in the X
and Y Object(s) Position boxes on the Property Bar. These values specify
the distance you want to move the object, relative to its current location.
Positive values move the object up and to the right; negative values move
it down and to the left.
To move an object a specified distance using a different anchor

point
3 Enable the Relative Position check box in the Transformation Docker.
The values in the H (horizontal) and V (vertical) boxes both change to 0.
object’s center.
5 Type values in the H and V boxes to specify the distance you want to
move the object.

When you enable the Relative Position check box in the Transformation
Docker, the H and V boxes identify the position of the center anchor point
as 0,0. When you specify a different anchor point, the values in the H and
V boxes represent that anchor point’s position relative to the center
anchor point (0,0).
Resetting the position anchor

By default, you position or move an object according to its center anchor
point, which is also the center of the object. If you change the anchor point
using the Transformation Docker, you can reset it later.
To reset the anchor point to an object’s center

3 Enable the Anchor Point button representing the object’s center.
Sizing and stretching objects

CorelDRAW lets you size and stretch objects interactively or with greater
precision, depending on your preference and your drawing. An interactive
size or stretch is one you do quickly and visually on screen, often using the
mouse. A more precise size or stretch involves specifying numerical
coordinates and values that tell CorelDRAW exactly how to change the
object.
Sizing changes an object’s dimensions by specific values, as opposed to
scaling, which changes the dimensions by a specified percentage. For more
information, see “Scaling objects” on page 278.
When you stretch an object, you change its horizontal and vertical
dimensions to alter the object’s proportions. By dragging one of the object’s
side selection handles, you can stretch objects in either a vertical or
horizontal direction.
When you size an object, you can choose to maintain its aspect ratio. When
you maintain the aspect ratio, you preserve the relationship between the
height and the width of the object.
For example, if you draw a square that is five inches by five inches, and you
double its size proportionally, the new object will be 10 inches by 10 inches.
If you increase its size nonproportionally, you can change it to 10 inches by
20 inches (or any other nonproportional size). However, when you size an
object nonproportionally you create a ratio between the X and Y dimensions

which will affect any further transformations. If you want to revert the object
to its original one-to-one proportions before transforming it again, you must
disable the Non-proportional check box, then re-enter the equal values.
Sizing objects using the mouse

The easiest way to size objects is to drag the corner handles of the selection
box using the mouse. CorelDRAW displays the object’s outline while you
drag, so that you can preview the effects of the new size.
You can use the
corner selection
handles to increase
or decrease an
object’s size
proportionally.
To size an object using the mouse

2 Drag one of the corner selection handles — inward to decrease the size of
the object, or outward to increase it.
To size an object from its center

2 Hold down SHIFT, and drag one of the corner selection handles.
To increase the size of an object in increments of 100%, hold down CTRL

while dragging a handle.

To increase the object’s size in increments of 100% from its center, hold
down CTRL + SHIFT while dragging a handle.
To size the object horizontally and vertically at the same time, hold down
ALT when you drag a corner handle.
Stretching objects using the mouse

When you stretch an object, you resize its horizontal and vertical dimensions
unproportionally. You can stretch objects interactively by dragging the
horizontal and vertical selection handles using the mouse.
Using the mouse, you
can stretch an object
by dragging its
selection handles
horizontally or
vertically.
To stretch an object horizontally or vertically using the mouse

2 Drag one of the side selection handles — inward to decrease the size of
the object, or outward to increase it.
To stretch an object from its center

2 Hold down SHIFT, and drag one of the side selection handles.

To stretch an object in increments of 100%, hold down CTRL as you drag
a side selection handle.
To stretch an object vertically and horizontally at the same time, hold
down ALT as you drag one of the corner selection handles.
Sizing and stretching objects with precision

Sizing involves changing an object’s dimensions horizontally and vertically
while maintaining its proportions. Stretching involves increasing an object’s
size either horizontally or vertically. You can specify precise dimensions to
produce an object that is the size and shape you require.
To size an object with precision using the Transformation Docker

2 Click Arrange, Transformation, and click the Size button.
3 Disable the Non-proportional check box to maintain the proportion of
width to height.
4 Type a value in either the H (horizontal) box or the V (vertical) box.
The number in the other box changes to reflect the object’s new
proportional size.
To stretch an object with precision using the Transformation

Docker
2 Enable the Non-proportional check box to specify that the length and
width will be sized nonproportionally.
3 Type a value in the H (horizontal) box to specify the object’s width.
4 Type a value in the V (vertical) box to specify the object’s height.

When you stretch an object by enabling the Non-proportional check box in
the Transformation Docker, CorelDRAW lets you enter values in the H
(horizontal) or V (vertical) boxes that change the object’s original
proportions, creating a new ratio between the two values. If you then
disable the check box to resize the object, CorelDRAW will resize it based
on the new, nonproportional values you just entered. Therefore, if you
stretch an object, then decide you want to resize it based on its original
proportions, you must first disable the Non-proportional check box and
re-enter the original one-to-one proportional values.
You can also size and stretch an object precisely by selecting it with the
Pick tool and entering new values in the Object(s) Size boxes on the
Property Bar.
Scaling objects
When you scale an object in CorelDRAW, you change its size without altering
its basic shape. You can scale objects interactively, or with greater precision.
An interactive scale is one you do quickly and visually on screen, often using
the mouse. A more precise scale involves specifying percentage values that
tell CorelDRAW exactly how to change the object.
Scaling changes an object’s dimensions by a specified percentage. Note that
scaling is different from sizing, which changes an object’s dimensions by a
specified amount.
When you scale an object, you can choose to maintain its aspect ratio. When
you maintain an object’s aspect ratio, you preserve the relationship between
the height and the width of the object.
For example, if you draw a square that is five inches by five inches, and you
scale it by 200% proportionally, the new object will be 10 inches by 10 inches.
If you scale it nonproportionally instead, you could enter percentage values
that change it to 10 inches by 20 inches (or any other nonproportional size).
However, when you scale an object nonproportionally you create a ratio
between the X and Y dimensions which will affect any further
transformations. If you want to revert the object to its original one-to-one
proportions before transforming it again, you must disable the
Non-proportional check box, then re-enter the equal values.
The Free Scale tool lets you scale an object along its horizontal and vertical
axes simultaneously, and quickly enlarge or reduce an object relative to its
anchor point.

CorelDRAW also lets you set an anchor point anywhere in the Drawing
Window simply by clicking. By clicking inside an object, you can scale the
object from its center. By clicking outside of an object, you can scale and
position it according to the distance and direction in which you drag the
mouse. CorelDRAW displays the object’s outline as you drag, so you can
preview the effects of the scale.
Scaling objects interactively

There are two interactive ways to scale an object in CorelDRAW: using the
mouse and using the Free Scale tool. You can scale an object along its
horizontal and vertical axes simultaneously, and quickly enlarge or reduce an
object relative to its anchor point.
The Free Scale tool
scales an object
along the horizontal
and vertical axis
simultaneously.
To scale an object using the mouse

2 Hold down CTRL, and drag one of the corner selection handles.
The object scales by increments of 100% as you drag.
To scale an object using the Free Scale tool

2 Click the Free Scale tool on the Property Bar.
3 Click the object you want to scale.

4 Click anywhere in the Drawing Window to fix an anchor point, and do not
release the mouse.
5 Drag to scale the object.
To maintain the horizontal and vertical proportions of an object when

scaling using the mouse, hold down CTRL while dragging, or disable the
Non-proportional Scaling/Sizing Ratio button on the Property Bar.
For better control when setting an anchor point, click near the object and
drag away from it slowly. If you find that the object is moving off the
Drawing Window, zoom out to retrieve it.
Scaling objects with precision

Scaling changes an object’s dimensions by a specified percentage. For
example, a value of 100% leaves the object unchanged; 200% doubles the
size of the object; and 50% reduces its size by half.
You can scale by a horizontal or a vertical factor. When you use the
Transformation Docker, you can also maintain the aspect ratio.
To scale an object using the Transformation Docker

2 Click Arrange, Transformation, and click the Scale And Mirror button.
3 Type percentage values in the Scale H (horizontal) and V (vertical) boxes.
By default, CorelDRAW scales an object from its center.
You can also scale an object precisely by selecting it with the Pick tool and
entering new values in the Scale Factor boxes on the Property Bar.
To maintain the aspect ratio while scaling using the

Transformation Docker
2 Disable the Non-proportional check box.

3 Type a percentage value in the Scale H (horizontal) or V (vertical) box.
As you change one value, the other value changes automatically to
maintain the original proportions of the object. If you type different values
in the H and V boxes, CorelDRAW uses the last number you typed as the
scale factor.
When you scale an object by enabling the Non-proportional check box in

the Transformation Docker, CorelDRAW lets you enter values in the H
(horizontal) or V (vertical) boxes that change the object’s original
proportions, creating a new ratio between the two values. If you then
disable the check box to rescale the object, CorelDRAW will scale it again
based on the new, nonproportional values you just entered. Therefore, if
you scale an object, then decide you want to scale it again based on its
original proportions, you must disable the Non-proportional check box and
re-enter the original proportional values.
Setting the scale anchor point

You can change an object’s anchor point from its center to any of its eight
selection handles by enabling a different anchor point button at the bottom of
the Transformation Docker. Clicking one of these buttons defines a point that
remains fixed when you scale the object. As a result, you scale the object
around that point.
To set an object’s scale anchor point

2 Click Arrange, Transformation, and click the Scale and Mirror button.
object’s center.
To reset the scale anchor point to its center

2 Enable the Anchor Point button representing the object’s center.

By default, an object scales around an anchor point in the middle of its
selection box, but you can change the anchor point to suit your needs.
Rotating objects
Like the other transformation tools, the rotation tools are flexible and easy to
use. You can rotate an object around any point in your illustration in a variety
of ways.
Dragging an object’s rotation handles with the mouse is a simple and quick
way to rotate it. By dragging one of the rotation handles in circular motions,
you can rotate an object around its current position interactively while
viewing the changes you make on-screen.
If you use the Free Rotation tool to rotate an object instead, you can set the
center of rotation with a click of the mouse. When you start to drag the
mouse, an outline of the object and a line of rotation — a dashed blue line
that extends beyond the Drawing Page — appear. The line of rotation
indicates the angle at which you are rotating the object from the center of
rotation. The object’s outline allows you to preview the effects of the
rotation.
There are also tools that allow you to rotate objects more precisely. You can
pivot an object by a precise amount around its center of rotation, or rotate it
around a different coordinate in your illustration.
The Free Rotation
tool lets you quickly
rotate an object
around any point in
the Drawing Window.
By default, an object always rotates around its center of rotation. You can
move the center of rotation to any location in your drawing. You can also
reset the center of rotation.

Rotating objects interactively
You can rotate an object interactively by dragging its rotation handles with
the mouse or by using the Free Rotation tool.
You can rotate an
object clockwise
using the mouse.
To rotate an object using the mouse

1 Double-click the object with the Pick tool.
The rotation and skewing handles appear as two-way arrows; the center of
rotation marker appears in the middle of the selection box.
2 Click a rotation handle (the corner two-way arrows) and drag in a
clockwise or counterclockwise direction to rotate.
To rotate an object around a different anchor point using the

mouse
2 Drag the center of rotation marker to the desired location — anywhere
inside or outside the object.
3 Click a corner rotation handle, and drag in a clockwise or
counterclockwise direction to rotate.
To rotate a line, a curve, or a closed curve using the mouse

2 Click a rotation handle, and drag in a clockwise or counterclockwise
direction to rotate.

To rotate an object using the Free Rotation tool
2 Click the Free Rotation tool.
3 Select the object you want to rotate.
4 Click in the Drawing Window to specify the center of rotation.
5 Drag the line of rotation to rotate the object.
The closer you move the cursor to an object’s center of rotation, the more
sensitive the rotation is to mouse movement. The further you move the
cursor along the line of rotation, the smoother the rotation.
You can skew or size an object while you rotate it by holding down ALT to
skew or SHIFT to size.
To have the center of rotation snap to various points of other object(s) in
your drawing, click Layout, Snap To Objects. Then move the center of
rotation towards the other object(s).
Rotating objects with precision

You can rotate an object by a specific number of degrees for extra precision.
You can also rotate an object around a point relative to its current position.
To rotate an object with precision using the Transformation

Docker
2 Click Arrange, Transformation, and click the Rotation button.
3 Disable the Relative Center check box in the Transformation Docker.
4 Type values in the Rotation H (horizontal) and V (vertical) boxes to
specify the coordinates around which you want to rotate the object.
5 Type a value in the Rotation Angle box.

You can also rotate an object precisely by selecting it with the Pick tool
and typing a new value in the Angle Of Rotation box on the Property Bar.
A positive value in the Rotation Angle box rotates the object

counterclockwise; a negative value rotates it clockwise from its current
position.
You can also rotate the object around any of its selection handles. For
more information, see “Setting the center of rotation with precision” on
page 285.
Setting the center of rotation with precision

When you rotate an object, it revolves around its center by default. You can
move an object’s center of rotation to anywhere in the Drawing Window,
You can also move the center of rotation to a specific ruler coordinate or by a
specific distance. The object will rotate around that new point.
You can set the
center of rotation
precisely to rotate an
object around
another object.
To rotate an object around a specified ruler coordinate

3 Disable the Relative To Object button on the Property Bar.
The Relative To Object button is disabled when it appears raised.
4 Type values in the X (horizontal) and Y (vertical) Center Of Rotation
Position boxes on the Property Bar.
5 Type a value in the Angle box on the Property Bar, and press ENTER.

To rotate an object around a point relative to its current position
The Relative To Object button is enabled when it appears pressed.
3 Type values in the X (horizontal) and Y (vertical) Center Of Rotation
Position boxes on the Property Bar.
4 Type a value in the Angle box, and press ENTER.
Negative (-) values rotate the object clockwise; positive (+) values rotate
it counterclockwise.
Moving the center of rotation to a specific coordinate is useful for rotating
a number of objects while maintaining their alignment because you can
specify the same coordinates for multiple objects.
You can also rotate an object precisely relative to its current position using
the Transformation Docker.
Resetting the center of rotation

By default, an object rotates around a point (called the center of rotation) in
the middle of its selection box. If you move the center of rotation, you can
reset it to the center again using the Property Bar or the mouse.
To reset the center of rotation using the mouse

The rotation and skewing handles appear as two-way arrows, and the
center of rotation marker appears in the middle of the box.
2 Hold down CTRL, and drag the center of rotation marker towards the
middle of the object.
3 Release the mouse button to snap the marker to the object’s center.
To reset the center of rotation for a line, curve, or closed object


2 Click the object to display its rotation handles.
3 Hold down CTRL and drag the center of rotation towards the middle of
the object.
To reset the center of rotation precisely

The Relative To Object button is enabled when it appears pressed.
4 Type 0,0 in the X (horizontal) and Y (vertical) Center Of Rotation Position
boxes.
You can also use the Transform toolbar or the Transformation Docker to
reset the center of rotation.
Skewing objects
Like the other transformation tools, the skewing tools are flexible and easy to
use. You can skew objects interactively, or with greater precision. An
interactive skew is one you do quickly and visually on screen, often using the
mouse. A more precise skew involves specifying percentage values that tell
CorelDRAW exactly how to change the object.
Dragging an object’s skewing handles with the mouse is the fastest way to
add a slant to objects in your illustration. The Free Skew tool is also a quick
way to skew the horizontal and vertical dimensions at the same time.
When you use the Free Skew tool, it slants the horizontal and vertical lines of
an object simultaneously around a fixed point, called an anchor point. You can
quickly set an anchor point by clicking anywhere in the Drawing Window, and
you can reset the anchor point if you choose.

The Free Skew tool
lets you slant an
object around any
point in the Drawing
Window.
The skew is relative to the anchor point. For example, if you click inside the
object, you can skew from its center. If you click outside the object, you skew
according to the anchor point you set, to the distance between the object and
the anchor point, and to the direction and the distance you drag with the
mouse.
Skewing objects interactively

You can skew objects interactively with the mouse by dragging the skewing
handles. Skewing handles are the straight horizontal and vertical arrows
which appear at the mid-points of the object. The Free Skew tool changes the
slant and the position of the object.
Using the mouse to
skew an object
horizontally and to
the right.
To skew an object using the mouse


Drag a horizontal skewing handle to skew the object left or right.
Drag a vertical skewing handle to skew the object up or down.
To skew an object horizontally and vertically

2 Hold down ALT, and drag a skewing handle.
To skew a line, curve, or closed object

2 Drag a skewing handle in any direction.
To skew an object using the Free Skew tool

2 Click the Free Skew tool on the Property Bar.
3 Click the object you want to skew.
4 Click anywhere in the Drawing Window to fix an anchor point.
5 Drag to skew the object.
To maintain control when setting an anchor point, click close to the object
and drag away from it slowly. If you find that the object is moving off the
Drawing Window, you can zoom out to retrieve it.
To skew an object along its horizontal and vertical dimensions at the same
time, hold down ALT as you drag the skewing handle. Keep the cursor
close to the object to control it.
Skewing objects with precision

You can skew objects by a specific amount. By default, the skew anchor point
is at the center of the object.
To skew an object with precision


3 Type a horizontal value in the top portion and a vertical value in the lower
portion of the Skew Angle boxes on the Property Bar.
4 Keep the cursor in one of the Skew Angle boxes, and press ENTER.
To change an object’s skew anchor point

2 Click Arrange, Transformation, and click the Skew button.
3 Click an Anchor Point check box to assign an anchor point.
object’s center.
Resetting the skew anchor to an object’s center

By default, an object skews around an anchor point in the center of its
selection box. If you move the skew anchor point, you can reset it to the
center again.
To reset the skew anchor point to an object’s center

2 Click Arrange, Transformation, and click the Skew button.
3 Enable the center Anchor Point button in the Transformation Docker.
Mirroring objects
The mirror options let you make a reflection of any object in an illustration.
You can mirror objects horizontally, vertically, or diagonally, using the mouse,
the Free Angle Reflection tool, the Property Bar or the Transformation
Docker. Mirroring an object horizontally flips it from left to right or vice
versa; similarly, mirroring an object vertically flips it from top to bottom or
vice versa.
The Free Angle Reflection toolmirrors an object in the Drawing Window
according to the angle you specify. You can set the anchor point by clicking
the mouse.

The Free Angle
Reflection tool
mirrors objects
precisely at any
angle.
If you use the Free Angle Reflection tool, an outline of the object and a
dashed blue line that intersects the anchor point appear as you begin to drag
with the mouse. They extend beyond the Drawing Page. The dashed blue
line is called the line of reflection. Where you set the anchor point
determines the distance between the object and the line of reflection. The
line of reflection indicates the angle at which you are mirroring the object
from the anchor point.
Mirroring objects
You can mirror objects horizontally, vertically, or diagonally You might find it
easiest to mirror objects using the mouse. You can also use the Free Angle
Reflection tool to mirror objects using the Property Bar. By default, the
mirror anchor point is in the center of the object. When you use the Free
Angle Reflection Tool or the Transformation Docker, you can change the
anchor point to specify the direction in which you want to mirror the object.

Using the mouse to
mirror an object
vertically.
To mirror an object horizontally using the mouse

2 Hold down CTRL and drag the object’s left or right selection handles to
the opposite side of the object.
An outline of the object appears when you reach the opposite side of the
object.
3 Release the mouse button and then release CTRL.
To mirror an object vertically using the mouse

2 Hold down CTRL, and drag the object’s top or bottom selection handles to
the opposite side of the object.
object.
To mirror an object diagonally using the mouse

2 Hold down CTRL, and drag one of the corner handles of the object’s
selection box to the opposite side.

object.
To mirror an object using the Free Angle Reflection Tool

2 Click the Free Angle Reflection tool on the Property Bar.
3 Click the object you want to mirror.
4 Click anywhere in the Drawing Window to fix an anchor point.
5 Drag the mouse to create the line of reflection.
To mirror an object using the Transformation Docker

2 Click Arrange, Transformation, and click the Scale And Mirror button.
3 Click one of the following buttons in the Transformation Docker:
Horizontal Mirror — mirrors an object horizontally
Vertical Mirror — mirrors an object vertically
object’s center. By clicking a button, you specify the direction in which
you want to mirror the object.
Mirror an object diagonally using the Transformation Docker by clicking

both the Horizontal Mirror and the Vertical Mirror buttons in the
Transformation Docker.
Because the mirror anchor point is in the center of the object, a
symmetrical object may not appear to move when you mirror it.

The closer you move the cursor to the object along the line of reflection,
the more sensitive the mouse is to movement. The further you move the
mouse from the object, the smoother the movement.
You can also mirror an object by selecting it with the Pick tool and clicking
either the Horizontal Mirror button or Vertical Mirror button on the
Property Bar.
Welding, trimming and intersecting objects

When you weld, trim, or intersect objects, you can create completely new
shapes that are irregular and unusual. There are two ways to weld, trim, or
intersect objects: using the Shaping Docker, and using the Pick tool with the
Property Bar. You can weld, trim, or intersect single objects with other single
or multiple objects, as well as multiple objects with multiple objects.
You can apply these operations to almost any object created in CorelDRAW,
including clones, objects on different layers, and single objects with
intersecting lines. However, you cannot weld, trim, or intersect Paragraph
text, dimension lines, bitmaps, or masters of clones.
Welding objects
Welding several objects binds them together to create one object with a
single outline. This new object uses the welded objects’ perimeter as its
outline, and all intersecting lines disappear.
You can weld objects regardless of whether or not they overlap each other. If
you weld objects that do not overlap, they form a weld group that acts as a
single object. In both cases, the object takes on the fill and outline attributes
of the target object — the object to which you welded the selected object(s).
You can weld any number of objects at one time, including clones, objects on
different layers, and single objects with intersecting lines. When you weld
objects on different layers, the resulting welded object resides on the same
layer as the target object. When you weld single objects with intersecting
lines, the object breaks into several subpaths, but its appearance remains the
same.
Trimming objects
When you trim an object, you remove the areas that are overlapped by other
selected objects. These areas are cut away, creating an entirely new shape.
Trimming is a quick way to create objects with irregular shapes.
The object you trim, called the target object, retains its fill and outline
attributes. For example, if you trim a rectangle that is overlapped by a circle,

you remove the area of the rectangle that was covered by the circle to create
a new, irregular shape.
Intersecting objects
Intersecting creates a new object from the area where two or more objects
overlap. The shape of this new object can be simple or complex, depending
on the shapes you intersect.
The new object’s fill and outline attributes depend on the object you define as
the target object — the object you intersect with the first selected object(s).
The resulting new object uses the fill and outline attributes of this target
object.
Welding objects
You can create a single curve object out of two or more objects. If the objects
overlap, the result is a single object with one outline. If the objects don’t
overlap, they form a weld group in which the objects appear separate but are
actually treated as one object.
The Weld command
merges overlapping
objects (1) to create
a single object with
one outline (2).
To weld objects using the Shaping Docker

2 Click Arrange, Shaping.
3 In the Shaping Docker, click the Weld button.
4 Enable one of the following check boxes:
Source Object(s) — keeps a copy of the selected object after welding

Target Object(s) — keeps a copy of the target object (the object to
which you’re welding the selected object) after welding
5 Click the Weld To button.
6 Click the object you want to be the target object.
The welded object takes on the fill and outline attributes of the target
object.
You can select multiple objects for both the source and the target of the
weld operation by holding down SHIFT while selecting them or by
marquee selecting them.
You can remove holes created after welding single objects with
intersecting lines by deleting the resulting interior subpaths.
To weld objects using the Property Bar

2 Click the Weld button on the Property Bar.
If you marquee select the objects when welding using the Property Bar,
the welded object assumes the outline and fill properties of the
bottom-most selected object. If you use multiple selection, the welded
object takes on the properties of the object you selected last.
Trimming objects
Trimming creates new, irregularly shaped objects by removing the areas that
overlap other selected objects. Before you trim objects, you must decide
which object you want to trim (the target object) and which object(s) you
want to use to trim it. The objects you use to trim must overlap — or be
overlapped by — the target object. You can trim single objects with one or
more objects, and you can trim multiple objects with multiple objects.

You can use the Trim
command to remove
areas from an object.
To trim an object using the Shaping Docker

1 Using the Pick tool, select all the objects you want to use to trim the
target object.
3 In the Shaping Docker, click the Trim button.
Source Object(s) — keeps a copy of the object you’re using to trim
Target Object(s) — keeps a copy of the object you’re trimming
5 Click the Trim button.
6 Click the target object.
To trim an object using the Property Bar

1 Using the Pick tool, select the object you want to trim and the object(s)
you want to use to trim it.
2 Click the Trim button on the Property Bar.
If you marquee select the objects, CorelDRAW trims the bottom-most

selected object. If you use multiple selection, CorelDRAW trims the
object you selected last.

To trim multiple objects with multiple objects
1 Marquee select two or more objects that you have chosen to trim the
target objects.
3 In the Shaping Docker, click the Trim button.
4 Using the Pick tool, hold down SHIFT and select the objects you want to
trim.
5 Release SHIFT.
You do not have to group multiple objects prior to trimming them.
Intersecting objects
Intersecting creates a new object from an area where two or more objects
overlap. The result is one object with the size and shape of this overlapping
area. In addition to this new object, you can keep all, some, or none of the
original objects. The new object always uses the fill and outline attributes of
the target object.
The Intersect
command creates a
new object out of the
area shared by
overlapping objects.
To intersect objects using the Shaping Docker


3 In the Shaping Docker, click the Intersection button.
Source Object(s) — keeps a copy of all other selected objects (except
the target object)
Target Object(s) — keeps a copy of the target object
5 Click the Intersect With button.
6 Click the object that you want to be the target object.
To intersect objects using the Property Bar

2 Click the Intersect button on the Property Bar.
If you marquee select the objects, the new intersected object takes on the
properties of the bottom-most selected object. If you use multiple
selection, the new intersected object takes on the properties of the object
you selected last.
To intersect multiple objects with multiple objects

1 Marquee select two or more objects that you have chosen to intersect
with the target objects.
3 In the Shaping Docker, click the Intersect button.
4 Using the Pick tool, hold down SHIFT and select the objects you want to
intersect.
5 Release SHIFT.
You do not have to group multiple objects prior to intersecting them.

WORKING WITH COLOR 8
It is important to understand how color is communicated by your scanner,
monitor, and printer in order to achieve a consistent and accurate
reproduction of the colors you desire. A basic understanding of the color
spaces and color management of your equipment helps you achieve the
precise color you want for your project. Color management is the process of
ensuring that the final colors you see in your project are as close to, or as
accurate a reproduction of the ones you want no matter which devices you
use.
We all see color differently. Color is subjective to the human eye. Each device
that interacts with your project’s file: the scanner, monitor, and printer may
have a different color space. For example, a color that is visible to the human
eye may not be reproducible by your printer.
Because there are so many color variations, a precise method for defining
each color is required. For example, once you find the perfect shade of light
orange, you need to be able to reproduce that color and possibly tell others
how to do the same. A color model defines that perfect shade of light orange
by breaking it down into precise components that allow you to accurately
transmit the information to other people and to the electronic devices you
use to create projects. A color model is a system used to organize and define
colors according to a set of basic properties which are reproducible.
Color models
There are many different color models that define colors, for example, HSB,
RGB, CMYK, and CIE Lab color models. The RGB and CMYK color models
are only two of a number of models developed to suit a variety of digital
design and desktop publishing applications. It is not necessary to be familiar
with all these models, but it is helpful to be familiar with a few of the more
widely used ones.
HSB model
Without any light or a viewer, objects all around us are colorless. Color only
occurs in our minds after our visual sensory system has seen the
wavelengths that give objects their color. Based on how people perceive
color, the HSB color model defines color in three attributes:
Working with color 303

The HSB color model
Hue (H)
Saturation (S)
Brightness (B)
Hue (H) is the name we give a color in everyday language. Hues form the
Color Wheel. The hue of a lemon is yellow, that of a strawberry is red.
Saturation (S) refers to vividness of the color or how much color
concentration does the object contain. The figurine does not contain very
much yellow when compared to the yellow saturation of lemon. Colors can be
separated into bright or dark colors when their Brightness (B) is compared.
Brightness refers to adding or removing whiteness from a color. The mask is
bright and lighter then the dark yellow lemon.
RGB model
The millions of colors your monitor produces can all be described as amounts
of red, green, and blue. These three color components form the basis for the
RGB (Red, Green, and Blue) color model. Each of the three colors is
assigned a numeric value between 0 and 255. The RGB model is based on
colors of light, and higher RGB values correspond to the presence of greater
quantities of white light. Consequently, higher RGB values result in lighter
colors. When all three color components are at the maximum value, the
resulting color is white light. Because the RGB model creates colors by
adding light, it is called an additive color model. Monitors and scanners can
employ the additive color model because they emit light. They emit particles
of red, green, and blue light and create the illusion of millions of different
colors.

The RGB color model
One of the limitations of the RGB model is that it is device dependent. This
means that not only are there color variations between monitors and
scanners by different manufacturers but there are color variations between
identical devices from the same manufacturer. All monitors drift over time
and display colors differently making it imperative to regularly calibrate your
monitor and the other electronic devices you use to create your projects. The
RGB model cannot be a color standard because its color results are not 100
percent repeatable.
CMYK model
The colors you see on your monitor are reproduced on paper using pigments
instead of light. Printers render colors on paper and other mediums through
reflected light. The most common method of reproducing color images on
paper is by combining cyan, magenta, yellow, and black pigments. These four
colors are the color components of the CMYK (Cyan, Magenta, Yellow, and
black) color model. Each color of the CMYK color model is described as a
percentage (from 0 to 100). Pigments produce color by reflecting certain
wavelengths of light while absorbing others. Darker pigments absorb more
light. Because the CMYK color model is based on pigment colors, higher
percentages of pigment result in darker colors. In theory, when 100 percent
cyan, 100 percent magenta, and 100 percent yellow are combined, the
resulting color is black. In reality, a muddy brown is produced so black
pigment must be added to the color model and to the printing process, to
compensate for the color limitations. The CMYK color model is called a
subtractive color model because it creates colors by absorbing light. The
CMYK model cannot be a color standard because its color results are not 100
percent repeatable as it is a device dependent color model.

The CMYK color model
CIE Lab model

A great deal of color research has been accomplished in order to acquire a
color model that is device independent and repeatable. In 1931 La
Commision Internationale de L’Eclairage (CIE) defined a device-independent
color model, based on how the human eye perceives color. The CIE Lab
model incorporates the theory that a color cannot be both green and red at
the same time nor can it be yellow and blue at the same time. As such, single
values are used to describe the green/red and blue/yellow components of any
color. Lab stands for the three values this model uses to define color — a
lightness value (L) which can range from 0 to 100 and two chromaticity
ranges: green to red (a) and blue to yellow (b). The two chromaticity values
can range from +120 to -120. Lab (sometimes called L*a*b*) provides a
system for defining color that bases color values on widely accepted
standards rather than on individual color-producing devices.
Reproducing colors accurately

Each piece of equipment you use, from scanners to printers, to create your
project, has a specific range of colors that it can reproduce. This is referred to
as a device gamut. If you don’t take these differences into account, the colors
you see on your monitor may not match the colors on the printed page. For
more information, see “Reproducing colors accurately” on page 325.
Choosing colors
You are able to display multiple on-screen Color Palettes. The quickest way
to choose a color is by using the on-screen Color Palettes. However, none of
the on-screen Color Palettes contain quite the right color, you can use one of
the following methods of choosing colors. Each method offers different ways
of finding the perfect color. The method you choose should be based on how
you prefer to work.

Choosing a color by a color model
The color models offer a visual representation of the full spectrum of colors.
You can change the color by manipulating the controls associated with the
color model. For example, when you use the default color viewer, which is
the HSB color model, you can change the hue (the color) by moving a slider.
Choosing a color by blending

The color blender allows you to combine colors. The color blender displays a
grid of colors that it creates from the four base colors you select.
Choosing a color using color harmonies

Color harmonies are most useful when you’re selecting several colors for a
project. By using color harmonies, you are guaranteed that the colors you
choose look good together. Color harmonies work by superimposing a shape,
such as a rectangle or a triangle, over a Color Wheel. You can also manipulate
the superimposed shape (the rectangle, triangle, or pentagon.) As you move
the black spot on the shape around the wheel, the other circles also move.
The colors at each corner are always complementary, contrasting, or
harmonious, depending on the shape you select. The color harmonies now
allow you to select the color model you prefer to use. You can choose from
several different color models, including the RGB or CMYK models.
Choosing a color from a color palette

You have the ability to display multiple on-screen Color Palettes, and keep
them floating, or dock them to any edge of the Application Window.
There are two types of color palettes from which you can choose colors: fixed
color palettes and custom color palettes. Don’t confuse these types of color
palettes with the ability to have multiple on-screen Color Palettes. On-screen
Color Palettes are used to display and select colors from both fixed and
custom color palettes. To open multiple on-screen Color Palettes, use the
Color Palette Browser and enable the on-screen Color Palettes name check
box. You can explore the new PANTONE metallic color palettes. We feature
the PANTONE MATCHING SYSTEM and PANTONE Pastel Colors, which
can be printed on coated or uncoated paper.
Fixed color palettes are provided by third-party manufacturers and are most
useful when accompanied by a color swatch book. A swatch book is a
collection of color samples that shows exactly what each color looks like
when printed. The best reason for using a color from a fixed color palette is
seeing exactly how that color appears when it’s printed correctly. Swatch
books are available at most art supply stores or directly from a swatch book
manufacturer.

An example of a
swatch book
Several fixed color palettes are collections of spot color inks. If you select a
color from one of these palettes, be aware that each color requires its own
color separation. Spot color palettes have a tint control slider, which allows
you to choose the percentage of ink density you desire for that color. For
more information about spot colors and color separations, see “Creating color
separations” on page 729.
Custom color palettes are collections of colors you have chosen to save as a
color palette file (.CPL extension).You have the ability to copy a color swatch
by dragging a color swatch from any palette into your custom palettes. There
is no limit to the number of custom palettes you can create. For more
information, see “Customizing Color Palettes” on page 320. Any on-screen
Color Palette can be selected to be the default on-screen Color Palette. The
default Color Palette is used in all of the color pickers.
Choosing a color from the Color Docker window

The Color Docker window can be docked to any edge of the Application
Window or float as a separate window. You can also change the appearance
and size of the Color Docker window. With the Color Docker window open,
you can access other tools and windows.
Choosing a color from the on-screen Color Palette

The quickest way to add colors to an object is by clicking on a color swatch
within any of the on-screen Color Palettes. One feature that is unique to all
on-screen Color Palettes, is that they let you augment the current color of an
object with a new color. For example, you can add some red to a yellow object
to create an orange object. Spot colors in the on-screen Color Palette are
marked by a dot in the bottom-left corner of the color swatch.

To choose the fill or outline color of an object
Click a color in the on-screen Color Palette to change the fill color.
Right-click a color in the on-screen Color Palette to change the outline
color.
To augment the current fill or outline color of an object

Hold down CTRL, and click a color in the on-screen Color Palette to
change the fill color.
Hold down CTRL, and right-click a color in the on-screen Color Palette
to change the outline color.
3 Repeat step 2 to add more color.
You can also change the fill or outline color of an object by dragging the
color swatch from the on-screen Color Palette to the outline or fill of the
object.
You can also augment the current fill or outline color of an object by
holding down CTRL and dragging the color swatch from the on-screen
Color Palette to the outline or fill of the object.
Hold down the mouse on a color swatch to view a grid of neighboring
colors.
Choosing a color from the color viewer

The default color viewer is based on the HSB color model. You can select
different color models, e.g., CMYK, RGB, Lab, or grayscale for the color
you’re choosing, but the color viewer remains based on the HSB model. You
can select other color viewers if you don’t want to use the HSB color viewer.
You may want to add the color you chose into a custom palette. For more
information see “Editing an existing Custom Palette” on page 322.


Open the Fill Tool flyout, and click the Uniform Fill button to change
the fill color.
Open the Outline Tool flyout and click the Outline Color Dialog button
3 Click the Models Tab.
4 Hold down the mouse button on the Models list box to display the color
model list.
5 Hold down the mouse button on the Options, select Color Viewers to
display and select the color model from the color viewer list.
Drag the small box in the color selection area to the color you want to
use.
Move the color slider up or down to change the range of colors
displayed in the color selection area on the left.
Use the name list box, and select a color by name.
To use an alternate color viewer

2 Hold down the mouse button on the Models list box to display the color
model list.
3 Hold down the mouse button on the Options button, and select Color
Viewers to display the color viewer list.
4 Click an alternate color viewer.
Each color viewer lets you use a slider and a color selection area to
choose a color.
To change the model of the color being selected

1 Follow steps 1 to 3 from the “To choose the fill or outline color of an
object” procedure.
2 Choose another model of the color from the Model list box.
Sometimes when selecting a color you choose an out of gamut color and
an in gamut button appears to the left of the new selected color. Clicking
the in gamut button selects the closest in gamut color.

Choosing a color by blending other colors
You can only blend colors that are in your default on-screen Color Palette. If
you want to blend other colors, change the default on-screen Color Palette.
You can increase or decrease the number of blended color swatches displayed
by changing the color grids’ cell size. You can select multiple colors from the
Color Blend area to add to your custom palettes. For more information see
“Customizing Color Palettes” on page 320.

the fill color.
Open the Outline Tool flyout, and click the Outline Color Dialog button
3 Click the Mixers tab.
4 Click the Options button, and select Mixers, Color Blend.
5 Click each of the four color pickers, and choose a color from each of the
four color pickers.
6 In the color selection area, click the color you want to choose.
To change the color grid cell size

2 Slide the Size Slider to select the grid cell size you want to use.
When selecting a color you choose an out of gamut color. An in gamut

button then appears to the left of the new selected color. Clicking the in
gamut button selects the closest in gamut color.
Choosing a color using color harmonies

Each option in the Hues list box corresponds to a shape that is superimposed
on the Color Wheel. Each row in the color grid below begins with the color
underneath one of the points on the shape superimposed on the Color Wheel.
Since color harmonies are most useful when you are selecting several colors,
try using color harmonies when working with custom palettes. For more

information see “Adding or deleting multiple colors in a Custom Palette” on
page 324.
To choose the uniform fill or outline color of an object

Open the Fill tool flyout and click the Uniform Fill button to change the
fill color.
3 Click the Mixers tab.
Drag the black circle around the Color Wheel to change the color
swatches below the wheel.
Click on a spot on the Color Wheel and the black point will move there.
5 From the color grid below the Color Wheel, click the color swatch you
want to use.
To change the relationship between the colors on the Color

Wheel
2 Choose a hue option from the Hues list box.
Each hue option corresponds to a different configuration of points on the

Color Wheel. Experiment to find the configuration that provides the color
set you prefer.
To change the appearance of colors in the color swatches

1 Follow steps 1 to 3 from the “To choose the uniform fill or outline color of
an object” procedure.
2 Choose a color variation option from the Variations list box.
3 To change the number of swatches in the color grid, do one of the
following:
Type a number in the Number box.
Move the size Slider.

Sometimes when selecting a color you choose an out of gamut color and
an in gamut button appears to the left of the new selected color. Clicking
the in gamut button selects the closest in gamut color.
Choosing a color from a fixed color palette

Fixed color palettes are provided by third-party manufacturers and work best
when accompanied by a color swatch book. It is recommended that you use
Netscape Navigator or Microsoft Internet Explorer fixed color palettes if you
will be creating information for these mediums. The PANTONE MATCHING
SYSTEM, Focoltone, TOYO COLOR FINDER, and DIC fixed color palettes
are all spot colors. If you create color separations when you print, each color
from these palettes requires a separate printing plate. This can significantly
increase the cost of your print job. If you want to use these colors but you
don’t want to use spot colors, convert the spot colors to process colors when
you print. For more information, see “Choosing General Color Settings” on
page 332. You are able to drag colors from the fixed palettes to your custom
palettes. The colors within a fixed palette cannot be altered.

the fill color.
3 Click the Fixed Palettes tab.
4 Choose a palette from the Palette list box.
5 Click the color scroll bar to change the range of colors displayed in the
color selection area on the left.
Scroll the color scroll bar to the color swatch you want to select.
Click on the name list box arrow and scroll down to the color name you
want to select.
Type in the color name in the name list box.
Hold down the mouse button on a color swatch and select a color from
the neighborhood color picker.

To hide or display the names of the colors
2 Click the Options button, and enable or disable Show Color Names.
If the selected color is within a fixed palette that supports tints, then
change the tint by moving the tint slider or by typing a number in the Tint
number box.
The neighborhood color picker for Fixed Palettes shows the same color
with different ink densities. The neighborhood color picker for Custom
Palettes shows colors that is closest to the chosen color by Hue and
Lightness.
Choosing a color from a custom color palette

A custom color palette can include colors from any color model or fixed color
palette. Custom color palettes should be saved as a color palette file (.CPL
extension.) The User Defined Inks are all custom spot colors. If you create
color separations when printing, each color from this palette will require a
separate printing plate. If you don’t want to use spot colors, convert the spot
colors to process colors when printing. For more information see “Creating
color separations” on page 729.

the fill color, or press SHIFT + F11.
to change the outline color, or press SHIFT + F12.
3 Click the Custom Palettes tab.
4 Choose a palette from the Palette list box.
Scroll the color scroll bar to the color swatch you want to select.
Click the name list box arrow and scroll down to the color name you
want to select.
Type in the color name in the Name list box.

Hold down the mouse button on a color swatch and select a color from
the neighborhood color picker.
6 Click the color swatch you want to use.
To display or hide the names of the colors

2 Click the Options button and enable or disable Show Color Names.
The Palette list box displays only the currently open custom palettes and
palettes inside the Custom\Palettes folder. Open another palette through
the Palette list box by choosing Open Palette and specifying the folder and
filename.
The neighborhood color picker for Custom Palettes shows colors that are
the closest to the chosen color swatch by Hue and Lightness.
Choosing a color by setting numeric values

You can select a color by entering the values of its color components. The
color components you can change depend on the color model being used to
define the color. You can select a color by entering the values of its color
components only while in the Models or Mixers areas.

the fill color.
3 Click the Options button and select the a color model.
4 Type values in the color value boxes.

The color model you choose will determine the color values you can
change. For example, if you choose RGB, then the color values are Red,
Green, and Blue. If you choose HSB, then the values are Hue, Saturation,
and Brightness.
You can type in numeric values only for the Models and Mixers areas. You
can not change any of the numeric values within the Fixed or Custom
Palette areas. The range of acceptable values varies from color model to
color model.
You can also change the color model and numeric color values of an object
by selecting it with the Interactive Fill tool, then changing the color
component values on the Property Bar.
You are not able to select a color by entering the values of its color
components for Fixed or Custom Palette. You are able to view the color
component values in different color models.
Choosing the default fill and outline colors

You can change the default outline and fill colors by choosing a color when no
object is selected. A dialog box prompts you to select the type of object for
which you want to change the default color.
To choose the default fill or outline color

1 Ensure that no object is selected.
the fill color.
3 Enable any or all of the following check boxes:
Graphic
Artistic Text
Paragraph Text
You can also enable the Don’t Show Me Again check box.

Choosing a color from the Color Docker window
The Color Docker window can be docked to any edge of the Application
Window or float as a separate window. You can also change the appearance
and size of the Color Docker window. The Color Docker window allows you
access other tools and windows while the Color Docker window remains
open. The Color Docker window displays primarily the HSB Hue based color
space. You can view the colors expressed as numerical values in other color
spaces.
To choose a from the Color Docker window

1 Click Window, Dockers, Colors.
2 Select your object.
Drag the small box in the color selection area to the color you want to
use.
Move the color slider up or down to change the range of colors
displayed in the color selection area.
Type numeric values in the color space spin boxes.
Click the Fill button to select the color as the Fill color.
Click the Outline button to select the color as the Outline color.
To view the color in another color space

2 From the list box at the top of the Color Docker window select the color
space you want to see the colors numerical expressed as.
The color selection area displays the default HSB Hue based color space.
If you do choose Grayscale, you will see a different color space and the
numerical value available is Lightness (L).
You can see the Fill and Outline colors and their numeric values on the
bottom of the Application window.

Working with Multiple On-Screen Color Palettes
Multiple on-screen Color Palettes provide quick access to numerous palettes
and to the colors you use most. You can display any fixed or custom color
palette as an on-screen Color Palette. On-screen Color Palettes can be
docked to any edge of the Application Window or float as a separate window.
You can change the appearance and size of one or all multiple on-screen
Color Palettes. The advantage of having access to multiple on-screen Color
Palettes is that it gives you the ability to create a custom palette by dragging
color swatches from any palette to your custom palette. This does not
remove the color swatch from the source palette, but rather copies the color
swatch onto your custom palette.
Accessing On-Screen Color Palettes

This procedure explains how to access different on-screen Color Palettes.
For information on changing individual colors, see “Customizing Color
Palettes” on page 320. Spot colors in the on-screen Color Palette are marked
by a dot in the bottom left corner of the color swatch.
To access an On-Screen Color Palette

Click Window, Color Palettes, click on the on-screen Color Palette you
want to display.
To open an On-Screen Color Palette

1 Click Window, Color Palettes, click Color Palette Browser.
2 To open a palette enable the check box beside the palette(s) in the Color
Palette Browser Docker Window.
To open an On-Screen Color Palette that is not in the Color

Palettes Browser Docker Window
Click Window, Color Palette, and click Color Palette Browser Docker
Window.
Click Window, Color Palette, and Open Palette.
2 Click Open at the bottom of the Color Palettes Browser Docker Window.
3 Select the Palette you wish to open.

To close an On-Screen Color Palette
Disable the check box beside the palette in the Color Palettes Browser
Docker Window.
Right-click the on-screen Color Palette’s title bar to hide it.
Any docked on-screen Color Palette can be identified by placing the cursor
over a color swatch and its name will appear beneath in a tip box. Floating
on-screen Color Palettes display their name in their Title Bar.
Changing the Default On-Screen Color Palette

The Default on-screen Color Palette is the color palette that you will see in
any of the drop down color pickers. You can select any Color Palette to be the
Default on-screen Color Palette.
To choose a different default On-Screen Color Palette

Right-click, hold and release on a color swatch of the on-screen Color
Palette you want as your default on-screen Color Palette, and click Set As
Default Palette.
Changing the position and size of an On-Screen Color Palette

You can float the on-screen Color Palette in the Application Window or dock
the on-screen Color Palette and change its size.
To undock the on-screen Color Palette

Hold down the mouse button on the border of the on-screen Color
Palette and drag it away from the edge of the Application Window.
Double Click on the border of the on-screen Color Palette.
To dock the On-Screen Color Palette

Drag the title bar of the on-screen Color Palette to any edge of the
Application Window.
Double click on the title bar to return the Floating on-screen Palette.

To specify the number of rows in a docked On-Screen Color
Palette
1 Right-click the on-screen Color Palette, and click Properties.
2 Type a value in the Maximum palette Rows When Docked box.
Customizing the On-Screen Color Palette

You are able to customize the appearance and behavior of the on-screen
Color Palette to match the way you work. You can choose to work with large
color swatch boxes and display or hide the No Color color swatch. If you have
difficulty right-clicking on the gray area of the on-screen Color Palette to
access the pop-up menu, you can set the right mouse button to display the
pop-up menu.
To use large swatches

2 Enable the Large Swatches check box.
To display a No Color color swatch

2 Enable the Show No Color well check box.
To change the behavior of the right mouse button

Display Pop-Up Menu
Set Outline Color
The Pop up menu can still be shown, using the right mouse key to click
and release.
Customizing Color Palettes

Custom Color Palettes are collections of colors that you save as a color
palette file (.CPL file extension.) These palettes can contain both spot colors
and colors created using any color model. Many previously created custom
palettes are available to you in the Palette folder or you can create new
palettes from scratch. Custom palettes are useful when you repeatedly select

the same colors or when you want to work with a set of colors that look good
together. There are three ways to customize a palette: create a custom
palette using the Palette Editor, use the “New Palette From Selection”
command, or “New Palette From Document” command.
Creating custom palettes

When you create a custom palette, the palette is empty and ready for you to
choose the colors you want to include in it. You can create a custom palette
that includes all the colors from the object that you selected or from the
current document.
To create a custom palette

1 Click Window, Color Palette, Palette Editor.
3 Specify a palette filename (.CPL file extension.)
4 Include a description of the palette in the Description box.
5 Click Save.
To create a new palette from Selection

1 Click Window, Color Palettes, Create Palette From Selection.
4 Click Save.
To create a new palette from a document

1 Click Window, Color Palettes, Create Palette From Document.
4 Click Save.
The description you write in the Description box becomes the name of the
new custom palette. If you do not write in a description, the filename is
displayed as the palette name.

Select your objects before using the New Palette From Selection
command.
A document must be open before using the New Palette From Document
command.
Editing an existing Custom Palette

There are five commands you can use to edit your custom palettes: Edit
Color, Add Color, Delete Color, Sort Colors, and Reset Palette. Your palette
does not need to be open in order to edit it. Palettes that are currently open
appear in the Palette list box. Remember to save before you exit the Palette
Editor or your changes will be lost.
To edit an unopened custom palette

1 Click Window, Color Palettes, Palette Editor.
Click the Open button.
Choose Open Palette from the list box at the top of the Palette Editor
dialog box.
3 Click palette filename you want to open.
4 Select the modifying command you wish to use.
To edit an open palette that is currently open

2 Choose the palette from the list box at the top of the Palette Editor dialog
box.
3 Click Edit Color.
To edit a color within your palette

box.
3 Click Edit Color.
4 Edit the color in the Select Color dialog box.
5 Click OK to change colors.

To add a color within your palette
box.
3 Click Add Color.
4 Select a new color in the Select Color dialog box.
5 Click Add To Palette.
To delete a color within your palette

box.
3 Select the color you wish to delete from your palette.
4 Click Delete Color.
To sort colors within your palette

box.
3 Click sort colors and click the method you wish use to sort your colors.
To reset the palette you are currently editing

Click Reset Palette if you want to cancel the changes you have made to
your palette since the last time you saved changes.
Saving a custom palette

Save the changes you make to a custom palette before exiting or your
changes are lost.
To save a palette with a new filename

3 Specify a folder and palette filename.

Adding or deleting multiple colors in a Custom Palette
The methods for choosing colors in the Palette Editor are identical to the
methods available in the Uniform Fill dialog box. Select multiple colors from
the Blend area, Fixed and Custom Palettes. For information about choosing a
color, see “Choosing colors” on page 306.
To add multiple colors to a custom palette

box.
3 Click Add Color.
4 In Select Color dialog box, do one of the following:
Position the cursor over the first color swatch you want to choose, hold
down SHIFT, and click the color swatches you want to add to the
palette.
Position the cursor over the first color swatch you want to choose, hold
down CTRL, and click the color swatches that you want to add to the
palette.
5 Click Add To Palette.
To delete multiple colors from a custom palette

box.
3 In the color selection area, do one of the following:
Position the cursor over the first color swatch you want to delete, hold
down SHIFT, and click the color swatches you want to delete from the
palette.
Position the cursor over the first color swatch you want to delete, hold
down CTRL, and click the color swatches you want to delete from the
palette.
4 Click the Delete Color button.

Click the Reset Palette button to return the palette to the state it was in
before you began making changes.
You can move individual colors by dragging them to a new position in the
palette area.
Naming colors in a custom palette

Naming colors helps you to keep track of, or quickly locate, colors in a
custom palette.
To name a color
box.
3 Choose a color in the palette dialog.
4 Type a name in the Name box.
Reproducing colors accurately

Each piece of equipment you use to create a project has a specific range of
colors it can reproduce. This is referred to as a device gamut. For example, a
monitor displays a different range of colors, or color gamut, than the color
gamut that reproduced on a printing press. It is important that the colors
your customer requests are the colors you provide in your final product, be it
in a magazine, or a newspaper, or on television or the Internet.
This means that your document might include colors that appear properly on
your monitor but can’t be reproduced on paper. Different monitors, scanners,
printers, and other types of equipment all have slightly different color
gamuts. Different color gamuts can occur even between similar models of
equipment from the same manufacturer. For colors to be accurately
translated from device to device, you need to account for the differences
between the color gamuts of each device.
Using a Color management system

A color management system (CMS) can minimize the differences in color
gamuts. Without a CMS, each application you use generates its own color
profile, this means that your output colors may not be consistent. A CMS:
provides device profiles (scanner, monitor, printer) to map the color
spaces between these devices

can convert from one color model to another color model (for example,
from RGB to CMYK)
provides accurate on-screen or print previews of colors when printed
to allow color corrections
Without color management system, it is not possible to accurately achieve
color consistency throughout the publishing process which involves the use
of different devices or systems. Enabling color correction causes on-screen
colors to look duller than they did before color correction was enabled.
Choosing Color Profiles

Profiles, or ICC Color Profiles, are files in a format defined by the
International Color Consortium. They describe the color characteristics of
color devices and color spaces. Color management software, such as the
software in CorelDRAW, uses ICC profiles to transform colors from device to
device, and from one color space to another. Having the right profiles is
important to getting good color.
Corel software ships with many pre-defined profiles for scanners, monitors,
and printers that you can choose to load into your system. Many device
manufacturers have ICC Color Profiles available for you to download. Work
with profiles that most closely match the devices you have on your system.
When you first install your software, generic device profiles will be selected
for you to use.
There are 5 profiles you can set to manage color. Use the Monitor profile
when displaying documents to your monitor. Use the Scanner profile when
scanning images from a scanner device. Use the Composite Printer profile
when printing to a local or networked color printer. Use the Separations
Printer profile to define CMYK colors in your documents and when creating
color separation for printing. Use the Internal RGB profile to define RGB
colors in your documents. Changing any of these profile will influence the
colors you see and get from the software.
The quickest approach for setting profiles is to set the Monitor profile to the
profile for your monitor, and the Composite Printer profile to the profile for
your local printer. If you have a special RGB color space you need to work in,
you can change the Internal RGB profile to that color space. If you are
scanning and have a profile for your scanner, choose your scanner’s profile
from the scanner list.
Using Embedded color profiles

Embedded color profiles take into account the different color gamuts that
exist and provide cross-platform communication of the different color spaces.
A color profile is a description of a device’s color handling capabilities and
characteristics. An embedded color profile is a color profile, attached to or

embedded into a color document. It describes the color space of the colors
contained within the document. Corel supports ICC-embedded profiles. This
allows the same color profile to be communicated across platforms, and
ensures accurate color management throughout the publishing process.
Embedded color profiles ensure accurate color reproduction between the
input (scanner) and the output (printer) device. The ability to embed ICC
profiles into many file formats, including CorelDRAW .CPT and .CDR
formats, allows for consistent color spaces between all applications that
support ICC profiles. TIFF and .EPS formats are supported by CorelDRAW.
Use Color profiles to correct on-screen colors so each color displays as
accurately as possible based on its color values. Color profiles can display
colors on screen as they will appear when they are printed. Proper color
profiles can also warn you when a selected color is outside your printer’s
color gamut. Accurate color profiles of your scanner, monitor, and printer
make it possible for colors to be corrected so the color you see on the screen
matches the color in the final output.
Setting the General color settings

The General color settings page contains several additional controls for color
behavior. The first three check boxes let you control how colors from some
special palettes are separated when printing to color separations. With the
check boxes enabled, colors from these palettes separate into their own
individual printing plates.
The next group of check boxes control several functions. Enabling “Show
CMYK in percentages” causes the screen display of CMYK values to fall into
the range of 0 to 100. Disabling this option causes CMYK values to display
within the range 0 to 255. “Map spot colors into CMYK gamut” is a useful
option which allows you to avoid making additional color separation plates for
any spot colors contained in your document. Spot colors separate into the
basic C, M, Y, and K printing plates for the printing process. “Composite
printer simulates color output of separations printer” is useful for previewing
on a local printer what the document will look like when printed on a printing
press as color separations. It does this by using the color profiles of both the
local printer and the separations printer.
The “Rendering Intent” drop down list, controls the method the color
management system uses when it converts colors between spaces that are
different sizes or different gamuts. The problem is what to do with colors in
one space that are not part of the other space? How do you pick a color in the
smaller space to represent the starting color in the larger space? There are
three ways to do this. The Rendering Intent option lets you control the
method used.
If you choose Saturation, a matching color is chosen so that the saturation
component is maximized. It emphasizes saturation in colors, and may cause

noticeable shifts in out-of-gamut colors. This is the best for vector graphics
(lines, text, and solid colored objects.)
If you choose Perceptual, a matching color is chosen so that it and all colors
that are like it, all have the same relationship to each other in the new color
space. There is no abrupt changes between colors, but all colors are
somewhat different in the new color space. It shifts all the colors in an image
so the range of colors lies within the color gamut. This ensures that the
relationship between colors is unchanged. This technique works extremely
well for bitmaps and photographic-like images
If you choose Automatic, the application chooses for you on an
object-by-object basis: vector objects will use Saturation, and bitmap objects
will use Perceptual. Automatic is the default mode.
Calibrating your equipment

It is equally important that you calibrate your devices before working on a
project in order to achieve color consistency. Calibration refers to the process
of building a profile for your monitor, so its particular color characteristics are
captured for use by a color management system. After calibrating your
monitor, you know what its color space limits are and what colors you expect
it to produce.
Calibrating your monitor

All monitors respond differently to the same electronic information. Two
identical monitors from the same manufacturer respond differently and
display slightly different colors on screen when provided with the identical
color file. This is due to a number of factors such as monitor age, ambient
lighting, or monitor settings. To achieve consistent color reproduction, it is
recommended that you calibrate your monitor and be aware of factors that
can affect your monitor’s performance.
The following are recommendations to aid you in achieving accurate color
reproduction in your projects.
Warm up your monitor for up to one hour before beginning calibration.
Clean your monitor screen before beginning calibration.
Manually adjust your monitor controls and tape them down so they are not
accidentally readjusted after system calibration.
Calibrate your monitor on a regular basis, especially if it is an older
monitor because phosphors fade over time.
Have consistent lighting. Each type of lighting, fluorescent, incandescent,
and natural, will affect the colors you see displayed on your monitor. Avoid

natural light as much as possible since this changes constantly throughout
the day. Consider having grid diffusers installed over fluorescent lighting.
Use a neutral background on your monitor and for your work area to avoid
influencing your perception of colors.
Take breaks. Give your eyes a rest throughout your work period. Take the
time to look away from your monitor to avoid eye strain and fatigue.
If you view your work on more then one monitor, make sure they are all
set at the same white point.
Use monitor profile building software to build a profile for your monitor.
Calibrating your scanner

Perform scanner calibration every month or so, depending on use. Scanner
bulbs change color with age, affecting the color of your scans. Keep the glass
clean to improve scanning quality.
There are several tools available for scanner calibration. All of them use the
same basic technique: place a known source image on the scanner, scan the
image, and look at the colors recorded. Knowing what the values, the colors
should be and comparing them to the colors scanned, build a profile that
corrects the scanner to produce the right colors. Refer to the accessories
that came with your software or your scanner for more information. After
you have made your profile, you set it as your Scanner profile.
Calibrating your printer

Color from printers can vary widely, from day to day, from printer to printer,
and from one set of inks or color sheets to another. Colors are influenced by
the paper used. Inkjet printers, for example, take a wide variety of papers:
plain copy paper, coated paper, glossy paper, and many other types of paper.
The interaction between the inks and the paper affects the resulting colors.
To insure accurate color, create a profile for each combination of media (inks,
paper, etc.), and update the profiles as conditions change. Printers age with
time, and this, too, can cause colors to shift. Updating profiles periodically
will ensure your printer colors are as accurate as possible.
Given all the warnings above, you can still get decent color behavior from a
stock or pre-made color profile for your printer. The general behavior of the
printer and inks will be captured in such a profile, and the differences due to
age and paper will be ignored.
To make a profile for your printer, use a third party printer or output
profile-making tools. You need a device to “read” the colors produced by your
printer. There are several profile making tools available that let you scan the
printer output on a calibrated scanner. The end result is a printer profile that
you can use as your Composite Printer profile.

Correcting color
Color correction adjusts screen colors to display them as accurately as
possible. If you only correct the display colors, then the on-screen colors are
adjusted according to your monitor’s color profile. If you display colors as
they will print, then the on-screen colors are adjusted according to your
monitor and your printer’s color profiles. The color matching mode
determines how colors are adjusted when corrections are necessary.
To color correct display colors

1 Click Tools, Color Management.
2 Enable the Calibrate Colors For Display check box.
This check box must be enabled in order to use color management.
To display colors as they will print

2 Enable the Display Simulated Printer Colors check box.
Click the Simulate Composite Printer button to display colors as they
will print on a composite printer.
Click the Simulate Separations Printer button to display colors as they
will print on a printer that uses color separations.
To change the color matching mode

1 Follow step 1 from the “To color correct display colors” procedure.
2 In the list of categories, click General.
3 Choose one of the following from the Color Matching Mode list box:
Saturation
Perceptual
Automatic
You won’t see the effects of changing the color mode on screen if color
correction is not enabled.

Viewing out-of-gamut colors
When enabled, the gamut alarm, overlays out-of-gamut colors with a warning
color.
The bright yellow
portions of the chair
and hat represent
out-of-gamut colors.
To enable the gamut alarm

1 Click Tools, Color Management.
2 Enable the Highlight Colors Out Of Printer Gamut check box.
To change the warning color

2 Choose a color from the Warning Color picker.
3 Move the transparency slider to set the transparency of the warning color.
To view out-of-gamut colors in the Palette Editor

2 Click on one of the following:
Edit Color
Add Color
3 In the Select Color dialog box, click Options, Gamut Alarm.
Setting color profiles

Setting color profiles properly is required for accurate color reproduction.
When you are setting up a color profile, use the provided profile. If color
profiles are not available, obtain a professionally created profile from the
manufacturer of the device. Color profiles are often available through the
Internet.

To set the appropriate color profiles
1 Click Tools, Color Management, and click Profiles in the list of categories.
2 Choose a profile from the Monitor, Scanner, Composite Printer,
Separations Printer and Internal RGB list boxes.
Many of the supplied printer color profiles were created using ColorBlind
color management software. For more information regarding ColorBlind
and color profiles, contact Color Solutions, Inc. at http://www.color.com.
If you are sending your file off to a print shop, ask for a profile for their
printer.
Choosing General Color Settings

The General color settings page in the Options dialog box contains additional
controls for color behavior. The first three check boxes let you control how
colors from some special palettes are separated when printing to color
separations. Map spot colors into CMYK gamut if you want to avoid
additional color separation plates for any spot colors contained in your
document. Spot colors require their own individual printing plates and add
additional costs to the printing process. For more information see “Creating
color separations” on page 729. The next set of checkboxes control the
behavior of CMYK color space. The Rendering Intent list box controls the
method the color management system uses when it converts colors between
spaces that are different sizes.
To treat FOLCOLTONE, TOYO and DIC colors as spot inks

1 Click Tools, Color Management, and click Profiles.
2 Enable the color palette check box you want as spot inks.
To control the behavior of CMYK color space

2 Enable the CMYK behavior check box you want to control.
To select the method of color space conversion

2 Click one of the following methods of color space conversion from the
Rendering Intent list box:
Automatic

Perceptual
Saturation
Saturation works well for vector graphics (lines, text, and solid colored
objects.)
Perceptual works well for bitmaps and photographic-like images.

WORKING WITH TEXT 9
CorelDRAW lets you apply word-processing features to text. Using the Text
tool, you can create Artistic text and Paragraph text. Artistic text is best
when you’re working with short lines of text because you can apply a large
range of effects. For larger bodies of text that have greater formatting
requirements, you should create Paragraph text.
After adding text to documents, you can change the text type (e.g., from
Paragraph text to Artistic text) or convert Artistic text to curves. Before you
start any task, you must select the text. You can enhance text by embedding
graphics, and adding symbols and special characters. CorelDRAW lets you
edit text in the Drawing Window and the Edit Text dialog box.
Some formatting features apply to both Artistic text and Paragraph text. For
example, spacing text and applying bold formatting. Other formatting
features apply only to Paragraph text. For example, adding columns and drop
caps.
Managing Paragraph text frames can involve basic tasks, such as moving
frames, or more involved tasks, such as linking frames to direct the flow of
text.
You can create effects by fitting Artistic text to a path. You can also customize
this effect. For example, you can change the distance between the text and
path.
While working with text, you can use the writing tools to verify grammar and
spelling, replace a word with a synonym, create a user word list for the
writing tools to use, or generate a count of text elements.
You may need to open a document containing fonts that aren’t installed on
your system. You can substitute these missing fonts for fonts that are
available on your system. You can accept the PANOSE suggestions or choose
a font.
By changing the default text preferences that control how text and text
features are displayed, you may find working with text more efficient.
Adding, converting, and selecting text

In CorelDRAW, you create both Paragraph text and Artistic text with the Text
tool. Clicking in the Drawing Window and typing, creates Artistic text.
Adding a Paragraph text frame first and typing text in the frame, creates
Working with text 337

Paragraph text. You can think of Paragraph text frames as containers that
hold text.
Adding Paragraph
text to a Paragraph
text frame.
There are two types of Paragraph text frames: fixed-sized and automatically
sized. When you add a frame of a fixed size, the size of the frame you draw
doesn’t change. If you type more text than the frame can hold, the frame size
doesn’t change, and the text is cut off. If you choose to add a frame that sizes
automatically, the frame size adjusts vertically according to the amount of
text you type.
After you create a text object you can convert the text type. For example,
you can convert Artistic text to Paragraph text and vice versa.
When you’re working with Artistic text, you can modify the shape of
characters. Before you do this, you must convert the text to curves. By
converting, you can transform characters to single line and curve objects.
Then you can use the Shape tool to add, delete, or move the nodes
comprising a character to alter its shape.
Before performing any operation to text, you need to select the text. The tool
you use to select a character, line, or paragraph varies with the operation.
When you select a text object, eight selection handles and an X appears in
the center of the object. By clicking the center X, you can transform, apply
special effects, and make global formatting changes to whole text objects. For
information about transforming text, see “Transforming objects” on page
261. For information about what special effects you can apply to text, see
“Creating special effects” on page 431.
You can add Asian characters when you’re running one of the following
versions of Windows 95, Windows 98, or Windows NT Workstation 4:
Korean, Chinese simplified, Chinese traditional, or Japanese. When you’re
running CorelDRAW on the Arabic, Hebrew, or English BiDi enabled
version of Windows 95, Windows 98, or Windows NT 4, you can add

bidirectional text. For more information, see the Reference section of the
online Help.
You can also add text using the Clipboard. When you use the Special Paste
command, you can insert text as Paragraph text, as Artistic text, or as an
OLE object, provided the originating application is OLE compliant and it is
open. For information about importing, see “Importing, exporting, and
OLE” on page 743.
Adding Paragraph text

You can add Paragraph text to a drawing by adding a frame. You can add a
Paragraph text frame that maintains its size or one that adjusts vertically as
you type.
Adding Paragraph
text to frames that
size automatically.
To add Paragraph text in fixed-sized frames

1 Click the Text tool.
2 Click anywhere in the Drawing Window and drag away (in any direction)
from this point to size the Paragraph text frame.
The frame is created when you release the mouse button. The text cursor
appears at the top left corner of the frame if your default alignment is set
to Left or None.
3 Type in the Paragraph text frame.

You can automatically adjust the size of text to fill the frame. For more
information, see “Fitting text to a Paragraph text frame” on page 380.
To add Paragraph text in automatically-sized frames

2 In the list of categories, double-click Text, and click Paragraph.
3 Enable the Expand And Shrink Paragraph Text Frames To Fit Text check
box.
4 Click OK.
Adding Artistic text

You can add Artistic text to a drawing to add short lines of text to a
document, especially if you plan to work with special effects.
Adding Artistic text.
To add Artistic text

2 Click anywhere in the Drawing Window, and type.
Converting Artistic text to Paragraph text and vice versa

You can convert from one text type to another.
To convert Paragraph text to Artistic text

1 Select the Paragraph text frame with the Pick tool.
2 Click Text, Convert To Artistic Text.

To convert Artistic text to Paragraph text
1 Select the Artistic text with the Pick tool.
2 Click Text, Convert To Paragraph Text.
If you convert Paragraph text to Artistic text, you lose attributes that are
specific to Paragraph text, such as columns, tabs, and drop caps.
You cannot convert Paragraph text to Artistic text when: the frame
containing the Paragraph text is linked to another frame, the Paragraph
text has special effects applied to it, or the Paragraph text overflows the
frame that contains it.
If the Paragraph text overflows the frame, you can change the font size so
that the text fits the frame exactly. For more information, see “Fitting text
to a Paragraph text frame” on page 380.
You can also convert one text type to another using the Convert Text
Converting Artistic text to curves

You can convert Artistic text to curves to manipulate individual nodes to
change the shape of characters.
To convert Artistic text to curves

1 Select the Artistic text with the Pick tool.
3 Open the Shape Edit Flyout, and click the Shape tool.
4 Shape the text.
Converting text to curves ensures that the appearance of the fonts used in
your drawing are not compromised when another user views your file.

After you convert Artistic text to curves, text commands are no longer
available. The converted object will print as curves using your printer
fonts.
For more information about using the Shape tool to shape, modify, and
delete nodes, see “Drawing and shaping objects” on page 85.
You can also convert text to curves using the Convert To Curves button
Selecting Paragraph and Artistic text

You can select characters or paragraphs within a line of Artistic text or a
Paragraph text frame. You can also select text with the Shape tool to
manipulate characters individually.
Selection handles and
a center X appear
when you select text.
To select specific characters

2 Click at the beginning or end of a word or sentence in the Artistic text or
Paragraph text frame.
3 Drag the cursor across the text you want to select.
To select a whole text object

2 Click the text object.

When you’re changing the font of the whole text object, you need to select
the text with the Pick tool.
Select multiple text objects by holding down SHIFT as you click with the
Text tool.
You can also select whole text objects using the Pick tool.
To select single characters

1 Open the Shape Edit flyout, and click the Shape tool.
2 Select the text.
Character nodes appear next to each character.
3 Click the node to the left of a character to select it.
Select multiple nodes by holding down SHIFT as you click with the Shape
tool.
Adding graphics, symbols, and special characters

Enhance text by adding special characters and symbols, or embedding
graphics.
You can add special characters and symbols to text as a text object or as a
graphic object. When you add symbols and special characters to text,
CorelDRAW treats them as text. When you add them as graphic objects,
CorelDRAW treats special characters and symbols as curves. Consequently,
the symbol is a separate graphic object, that you can edit as you would other
graphic objects or use to create background patterns for a document.
When you tile symbols, each symbol within the pattern is a separate object to
which you can apply effects. You can change the spacing between the rows
and columns in which the symbols are arranged.
Additionally, you can change objects, such as company logos or modified
letter shapes, into symbol characters and add them to the symbol sets in the
Symbols And Special Characters Docker window. The object you use can be
any size. CorelDRAW resizes it to match the proportions of other symbols in
the set. Symbols you create appear at the end of the pattern list.
When you embed a graphic object or bitmap into Artistic text and Paragraph
text, it’s treated as a text character. As a result, you can apply formatting

options according to the type of text into which you embed the graphic
object.
Adding symbols and special characters to a document

You can add a symbol as a text object or as a graphic object.
You can add symbols
as text or as a
graphic object.
To add a symbol or a special character as a text object

1 Select the text (Artistic text or Paragraph text frame) with the Text tool.
2 Place the insertion point where you want to add the symbol.
3 Click Window, Dockers, Symbols And Special Characters.
4 Choose a symbol category from the list box.
5 Double-click a symbol in the Sample window.
You can type a value in the Size box to change the symbol height.
To add a symbol and special characters as a graphic object

2 Click a symbol in the Sample window, and drag it to the Drawing Page.
You can make more symbol fonts available by adding them during a
custom installation of CorelDRAW.
You can change the default outline and fill properties of symbols and
special characters that you add as graphic objects. For more information
about styles, see “Working with styles” on page 144.

You can also choose a symbol by typing its index number in the Number
(#) box. The CorelDRAW Libraries Catalog list index numbers.
Embedding graphic objects in text

You can embed graphics into Artistic text or Paragraph text. You can also
remove an embedded object from text. The object returns to its original
state.
Embedding graphic
objects in text.
To embed graphic objects in text

1 Select the graphic object with the Pick tool.
2 Hold down the right mouse button, and drag the graphic object to its
desired location in the text.
The cursor changes to an insert in text cursor.
3 Click one of the following:
Move Into Text — to move the graphic object from the Drawing
Window into the frame
Copy Into Text — to copy the graphic object into the frame
You must save the file as a version 8 or 9 file to preserve the graphic
object in text.
You can apply special effects to the graphic object (for example, envelope,
blend, and distortion) before you embed it in text.

You can also drag an embedded graphic from one frame to another. For
more information, see “Editing by dragging in the Drawing Window” on
page 348.
To remove an embedded object from the Paragraph text frame

1 Select the object from the text using the Text tool.
2 Hold down the right mouse button, and drag the graphic object to the
Drawing Window.
3 Click Move Here.
You can also copy the object to the Drawing Window by clicking Copy
Here.
Creating a pattern using symbols

You can create background patterns by tiling symbols.
Tiling symbols to
create a pattern.
To create a pattern using symbols

1 Click View, Dockers, Symbols.
2 Choose a symbol category from the list box.

3 Choose a symbol from the Sample window.
4 Enable the Tile check box.
5 Drag the symbol to the Drawing Page.
To change the row and column spacing

2 Click the Tile Options button.
Type values in the Horizontal and Vertical boxes to specify the spacing
between symbols.
Enable the Identical Values check box to maintain equal spacing around
a symbol.
4 Click OK.
5 Drag the symbol to the Drawing Page.
Adding symbols and special characters to a symbol set

You can add objects, such as company logos or modified letter shapes, to the
symbol sets in the Symbols And Special Characters Docker window.
To add a symbol
2 Click Tools, Create, Symbol.
3 Type a name for a new symbol category, or choose an existing category
from the list box.
To add a symbol or special character to a symbol set, the object must have
a closed path. If the object contains multiple objects, you must combine all
the objects. For more information, see “Combining two or more objects”
on page 184. In addition, you must use TrueType fonts to create symbols.
Editing text
You can edit Artistic text and Paragraph text directly in the Drawing Window
or in the Edit Text dialog box.

When working with small bodies of text, you might find editing text directly
in the Drawing window more convenient. You can edit Artistic and Paragraph
text by dragging it.
For large bodies of text, you may want to edit in the Edit Text dialog box,
which lets you find and replace text and provides access to writing tools and
formatting options. In cases where perspective, envelope, or extrude effects
have been applied to Artistic text, you must use the Edit Text dialog box. For
more information about perspective, envelope, and extrude, see “Creating
special effects” on page 431.
In addition, if you use the Edit Text dialog box frequently, you may want to
change your default settings to display it automatically when you click the
Text tool. You can also use the Microsoft Intellimouse to scroll through the
Edit Text dialog box.
Editing by dragging in the Drawing Window

You can change your default settings and edit a line of Artistic text or
Paragraph text by dragging in the Drawing Window. You can drag Artistic text
to a Paragraph text frame, and you can drag Paragraph text between frames.
To edit text by dragging in the Drawing Window

2 In the list of categories, click Text.
3 Enable the Drag And Drop Text Editing check box.
4 Using the Text tool, select the text you want to move.
5 Hold down the right mouse button, and drag the text to its new location.
Move Here
Copy Here
You can drag an embedded graphic in a Paragraph text frame to another

frame. For more information, see “Embedding graphic objects in text” on
page 345.
Editing text in the Edit Text dialog box

You can edit text in the Edit Text dialog box.

To type or edit text in the Edit Text dialog box
1 Select the text with the Text tool.
2 Click Text, Edit Text.
3 Type your changes as required.
You can only edit Artistic text that hasn’t been converted to curves.
The Edit Text dialog box doesn’t display changes you make to spacing.
Finding and replacing text characters in the Edit Text dialog box
You can search a document to find text you want to edit. You can also find and
replace text.
To find text characters

1 In the Edit Text dialog box, click the Options button, and click Find Text.
3 Enable the Match Case check box to find the exact case of the text you
specified, if required.
4 Click the Find Next button.
CorelDRAW finds the first text block that contains the characters you
specified.
You can also find text characters in the Drawing Window by clicking Edit,
Find And Replace, Find Text.
To find and replace text characters

1 In the Edit Text dialog box, click the Options button, and click Replace
Text.
3 Type the replacement text in the Replace With box.
4 Enable the Match Case check box to find the exact case of the text you
specified in the Find What and Replace With boxes, if required.

Replace — replaces the first occurrence of the text specified in the
Find What box
Replace All — replaces all occurrences of the text specified in the Find
What box
Find Next — finds the next occurrence of the text specified in the
Find What box
You can also find and replace text characters in the Drawing Window by
clicking Edit, Find And Replace, Replace Text.
Displaying the Edit Text dialog box automatically

You can change your default settings so that the Edit Text dialog box displays
automatically when text is selected and you click the Text tool, when you
select text using the Text tool, or when you click a blank space in the
Drawing Window with the Text tool.
To display the Edit Text dialog box automatically

3 Disable the Edit Text On Screen check box.
Scrolling in the Edit Text dialog box using Intellimouse

You can use the Microsoft IntelliMouse to scroll through the Edit Text dialog
box.
To scroll in the Edit Text dialog box using Intellimouse

1 Click the wheel button.
2 Point the mouse in the direction you want to scroll.
To increase the panning rate, move the cursor away from the origin mark.
3 Click the wheel button to stop scrolling.
You can also scroll by turning the wheel button.

Formatting text
There are formatting properties you can apply to Artistic text and Paragraph
text. You can adjust the spacing between characters, words, and lines, as well
as enhance text by shifting and rotating characters.
You can customize toolbars by adding buttons for the commands and
options you use most frequently. For more information, see “Customizing
toolbars” on page 804.
Applying character properties

You may want to enhance Artistic text and Paragraph text by modifying its
character properties, applying lines to text, and changing the text case. You
can change the font type and size of text, and apply bold and italic formatting.
You can accent text by underlining and overscoring (placing a line above the
text) it. The strikethrough feature lets you indicate text you may want to
remove. By changing the line properties of underlines, overscores, and
strikethroughs, you can further emphasize text.
If your document includes scientific notation, you can make text subscript or
superscript. You also can change the case of text. For example, you can
change lowercase text to title case without deleting or replacing characters.
Changing the font type and size

You can change the font type for specific characters or the whole text object.
You can also increase or decrease the size of text.
You can change (1)
text by altering the
(2) font type and (3)
size.
To change the font for specific characters


3 Click the Font tab.
4 Choose a font type from the Font list box.
To change the font for the whole text object

1 Select the text with the Pick tool.
You can also type a name in the Font list box.
To change the font size

2 Type a value in the Size box.
If someone else plans to view your file, each font you use in your
document must also be installed on their machine. Otherwise,
CorelDRAW substitutes the font using PANOSE. (For more information
about PANOSE, see “Substituting unavailable fonts” on page 422. To avoid
this problem, you can save the font with the document by enabling the
Embed Fonts Using TrueDoc in the Save Drawing dialog box. Click File,
Save As, and enable the Embed Fonts Using TrueDoc check box.
You can also change the font type and size using the Property Bar.
Applying bold and italic formatting

You can apply bold and italic formatting to text.

You can change (1)
text by applying (2)
bold and (3) italic
formatting.
To apply bold formatting

1 Select the text.
4 Choose Bold from the Style list box.
You can also use the Bold button on the Property Bar to apply bold
formatting.
To apply italic formatting

2 Choose Italic from the Style list box.
Because some fonts do not support bold and italic properties, they are not
always available.
You can also use the Italic button on the Property Bar to apply italic
formatting.
Adding, modifying, and removing underline, overscore, and

strikethrough formatting
You can apply underlines, overscores, and strikethroughs to text.

You can apply (1)
underlines, (2)
overscores, and (3)
strikethroughs to
text.
To underline text
1 Select the text.
2 Click Text, Format text.
4 Choose a line style from the Underline list box.
You can also underline text by clicking the Underline button on the
Property Bar.
To overscore text
2 Choose a line style from the Overscore list box.
To strikethrough text
1 Follow steps 1 to 3 from the “To underline text” procedure.
2 Choose a line style from the Strikethrough list box.
To remove underline, overscore, or strikethrough

1 Follow steps 1 to 3 from the “To underline text” procedure.
2 Choose None from the Underline, Overscore, or Strikethrough list box.
Changing underline, overscore, and strikethrough line properties

You can change the thickness of underlines, overscores and strikethroughs.
You can also change the distance between text and a line.

To change the thickness of a line
1 Select the text to which underline, overscore, or stikethrough formatting
is applied.
4 Click the Edit button next to the line type (Underline, Overscore, or
Strikethrough).
5 Type a value in the Thickness box to specify the line width.
To change distance between the line and text

2 Type a value in the Baseline Shift box.
3 Choose a unit value from the Units list box.
Making text superscript or subscript

You can make text appear in superscript or subscript.
You can make text
(1) subscript and (2)
superscript.
To make text superscript

1 Select the text.
4 Choose Superscript from the Position list box.

To make text subscript
2 Choose Subscript from the Position list box.
You can also make text superscript by using the Shape tool to click the
Superscript button on the Property Bar.
You can also make text subscript by using the Shape tool to click the
Subscript button on the Property Bar.
Changing text case

You can change text case without retyping the text.
You can change the
text case to (1)
sentences case, (2)
lowercase, (3)
uppercase, (4) title
case, and (5) toggle
case.
To change text case

1 Select the text you want to change with the Text tool.
2 Click Text, Change Case.
3 Enable one of the following text case buttons:
Sentence Case — capitalizes the initial letter of the first word in each
sentence
Lowercase — makes all text small letters
Uppercase — capitalizes all letters

Title Case — capitalizes the initial letter of each word
Toggle Case — reverses the case; all capital letters become lowercase
and all lowercase letters become uppercase
To make text small caps

1 Select the text.
4 Choose Small Caps from the Uppercase list box.
Specifying text spacing

By changing the spacing of Artistic text and Paragraph text, you can enhance
the text and make it more readable. You can change the spacing between
characters, words, and lines. When you space characters manually, you can
change default settings to display or hide character outlines. You can also
align Artistic text horizontally.
You can change the space between all characters, all words, or characters and
words proportionately. You can also kern specific characters. Kerning
balances the optical space with other letters in a word or line. Kerning differs
from spacing in that it affects only the white space between the specified
characters.
Changing the line spacing for Artistic text applies the spacing to lines of text
with a carriage return between them. For Paragraph text, the space applies to
lines of text within the same paragraph. You can also change the spacing
before and after paragraphs for Artistic text and Paragraph text.
Setting a value for character outlines determines whether CorelDRAW
shows the outlines of characters you’re spacing manually. If the number of
characters selected is less than or equal to the value you specify,
CorelDRAW displays their outlines as you space them.
Aligning Artistic text is different from aligning Paragraph text. When you
align Paragraph text, you align text with respect to the frame. For more
information, see “Aligning Paragraph text horizontally” on page 367.
However, when you align Artistic text, it is aligned with the point you first
clicked when you entered the text. If characters have not been shifted
horizontally, applying No Alignment produces the same result as applying
Left Alignment.

Options available for specifying text spacing depend on the tool you use to
select the text. Selecting with the Text tool or the Pick tool lets you adjust
spacing between characters, words, lines, and paragraphs. Selecting with
the Text tool also lets you adjust kerning between a range of characters.
Selecting with the Shape tool lets you specify horizontal and vertical
spacing with precise values using the Property Bar.
Changing character and word spacing

You can change the spacing between characters, words, and paragraphs with
precision for both Artistic text and Paragraph text.
You can change the
(1) default spacing
between (2)
characters, (3)
words, and (4) words
and characters.
To change the spacing between characters

1 Select the text.
3 Click the Space tab.
4 In the Character box, type a value for the amount of space you want to
insert between individual characters.
This value represents a percentage of the space character (the space
inserted when you press SPACEBAR). The maximum percentage value is
2000; the minimum percentage value is -100.

You can change the spacing of all characters in a Paragraph text frame, or
selected paragraphs. To change spacing in the entire frame, select the
frame with the Pick tool. To change specific paragraphs only, select the
paragraphs with the Text tool.
To change spacing between words

2 In the Word box, type a value for the amount of space you want to insert
between words.
2000; the minimum percentage value is 0.
To change spacing between words and characters

2 Select the text.
3 Drag the Interactive Horizontal Spacing arrow right to increase, or left to
decrease the spacing.
You can also change the spacing of selected characters by holding down
CTRL and dragging character nodes with the Shape tool.
Using range kerning

You can adjust the spacing between a selected series of letters to improve
their appearance on the printed page.
Kerning adjusts the
spacing between
selected characters.

To use range kerning
1 Using the Text tool, select two or more characters of Paragraph text or
Artistic text.
4 Type a value in the Range Kerning box.
1000; the minimum percentage value is -100.
You can also use the Pick tool for Paragraph text.
Changing the spacing between lines

You can change the space between all lines. In Paragraph text frames, you
can adjust the spacing before and after paragraphs.
Changing the (1)
default spacing (2)
between lines.
To change spacing between lines

1 Select the text.
4 Choose a unit of measurement from the list box beside the Line box.
This value represents a percentage of the character height. The maximum
percentage value is 2000; the minimum percentage value is 0.
5 Type a value for the amount of space you want to add between the lines of
text in the Line box.

To change the amount of space before a paragraph
1 Select the Paragraph text frame or paragraph.
4 Type a value in the Before Paragraph box to specify the amount of space
you want before each paragraph.
This value represents a percentage of character height for the chosen
font.
To change the amount of space after a paragraph

4 Type a value in the After Paragraph box to specify the amount of space
you want after each paragraph.
This value represents a percentage of character height for the chosen
font.
When you change line spacing for Artistic text, the spacing applies to lines
of text with a carriage return between them. For Paragraph text, the space
applies to lines of text within the same paragraph.
Displaying character outlines when spacing

You can specify a value to determine if CorelDRAW displays or hides
character outlines when you space characters manually.
To specify a display value for character outlines for manual

kerning
3 Type a value in the Display box.
Aligning Artistic text horizontally

You can align Artistic text horizontally from the point you click when you
enter text.

To align Artistic text horizontally
1 Select Artistic text with the Pick tool.
3 Click the Align tab.
No Alignment — applies no justification
Left Alignment — aligns text along the left margin
Center Alignment — aligns text between the left and right margins
Right Alignment — aligns text along the right margin
Full Alignment — aligns text evenly along the left and right margins
Force Full Alignment — aligns text evenly along the left and right
margins and stretches the last line to the right margin
You can align Artistic text horizontally only.
You can also align text using the alignment buttons on the Property Bar.
Shifting and rotating characters

Shifting individual and multiple Artistic text and Paragraph text objects
vertically and horizontally can add an interesting effect to text. You can also
rotate characters.
You can return characters you’ve shifted horizontally to the baseline and
maintain a vertical shift or rotation. You can also remove vertical shifts and
rotations.
Shifting characters horizontally and vertically

You can shift characters horizontally and vertically. When you shift
characters, you move them from the baseline.

Shifting characters
horizontally and
vertically.
To shift a character horizontally

1 Select a text character.
4 Type a value in the Horizontal box.
To shift a character vertically

2 Type a value in the Vertical box.
You can also shift characters with the Shape tool by typing values in the
Horizontal Shift box and Vertical Shift box on the Property Bar.
Rotating characters
You can rotate Artistic text and Paragraph text characters.
Rotating a character.

To rotate a character
1 Select a character.
4 Type a value in the Rotation box.
You can also rotate characters with the Shape tool by typing a value in the
Angle of Rotation box on the Property Bar.
Straightening shifted and rotated characters

You can straighten text characters that you’ve angled, shifted horizontally,
and shifted vertically. You can remove the vertical shift only by returning
characters to the baseline.
To remove the rotation or shift

2 Click Text, Straighten Text.
To return a character to the baseline

2 Select the node to the left of the character.
3 Click Text, Align To Baseline.
Formatting Paragraph text

Formatting Paragraph text makes it more readable and effective. You can add
columns, tabs, indents, bullets, and drop caps. You can also change the
vertical and horizontal alignment, and automatically hyphenate text.
Paragraph text frames are also referred to as “frames.”
Adding columns to Paragraph text frames

Columns are an effective way to lay out text-intensive documents, such as
newspapers, magazines, and newsletters. You can create columns of equal or

varying widths and gutters. When you add, edit, or delete columns, you can
maintain the width of the Paragraph text frame and resize the columns or you
can maintain the width of the columns and resize the frame.
When you import text with column formatting, CorelDRAW maintains the
column formatting.
You can change the vertical alignment of text in columns. For more
information, see “Aligning Paragraph text vertically” on page 367.
Adding and editing columns of equal widths

You can create columns of equal or varying widths and spacing. When you’re
adding and removing columns, you can fix the frame width or the column
width.
Adding columns of
equal widths.
To add columns of equal widths

1 Using the Pick tool, select the Paragraph text frame to which you want to
add columns.
3 Click the Frames And Columns tab.
4 Type a value in the Number Of Columns box.
5 Enable the Equal Column Width button to create columns and gutters of
equal widths.
To maintain the current frame width while adding or deleting

columns
2 Enable the Maintain Current Frame Width button.

You can add or delete columns, and the column widths adjust to fit the
width of the frame.
To maintain the current column width while adding or deleting

columns
1 Follow steps 1 to 3 from the “To add columns of equal widths” procedure.
2 Enable the Automatically Adjust Frame Width button.
3 Follow steps 4 and 5 from the “To add columns of equal widths”
procedure.
You can add or delete columns, and the current column width remains
fixed while the width of the frame adjusts automatically.
Edit the frame, column, or gutter width by dragging the borders with the
Text tool.
Edit the columns and gutters proportionately by dragging a side selection
handle with the Text tool.
Adding columns of varying widths

You can create columns of varying widths and spacing in Paragraph text
frames.
To add columns of varying widths

1 Select a Paragraph text frame.
4 Type a value in the Number Of Columns check box.
5 Disable the Equal Column Width check box.
6 Type a value in the Width box beside each column # (number).
7 Type a value in the Gutter box to indicate the amount of space you want
between the columns.

Edit the frame or column width by dragging the border with the Text tool.
Edit the gutter width by dragging the border with the Text tool, however
you also change the width of the adjacent column.
Adjusting paragraph alignment

Aligning Paragraph text, lines up text according to the Paragraph text frame.
You can horizontally align all paragraphs, or a select few within a Paragraph
text frame. Furthermore, you can vertically align all paragraphs in the
columns of a selected Paragraph text frame.
Aligning Paragraph text horizontally

You can horizontally align all paragraphs, or select a few within a Paragraph
text frame.
To align Paragraph text horizontally

1 Select the Paragraph text or frame.
4 Enable an alignment button.
You can also align all columns vertically within a frame.

You can align multiple Paragraph text frames using the Align And
Distribute command. For more information, see “Aligning objects
horizontally and vertically” on page 179.
Aligning Paragraph text vertically

You can adjust the vertical alignment of Paragraph text.

Adjusting the vertical
alignment of
columns.
To align Paragraph text vertically

1 Select the Paragraph text frame with the Pick tool.
4 Choose an option from the Vertical Justification list box.
You can also align columns vertically in a Paragraph text frame.
Applying drop caps to paragraphs

Drop caps are an effective way to attract a reader’s eye to the beginning of a
chapter or paragraph. Applying drop caps to paragraphs enlarges the initial
letter and insets it into the body of text.
You can customize a drop cap by changing its settings. For example, you can
change the distance between a drop cap letter and the body text.
Adding and removing drop caps

You can create an eye-catching chapter or paragraph by adding a drop cap.
You can also remove the drop cap without deleting it.

Adding drop caps.
To add a drop cap

1 Select the Paragraph text frame or paragraphs.
3 Click the Effects tab.
4 Choose Drop Cap from the Effect Type list box.
Dropped — wraps text around the dropped letter
Hanging Indent — offsets the initial letter away from the body of text
To remove a drop cap

2 Choose None from the Effect Type list box.
You can draw more attention to a drop cap, change the font or color or by
adding a border. For more information, see “Filling and outlining objects”
on page 211.
You can also add a drop cap by clicking the Show/Hide Drop Cap button on
the Property Bar.
Changing drop cap settings

You can specify the number of lines that appear beside a drop cap. You can
also specify the distance between the drop cap letter and the body of text.

To specify the number of lines that appear beside the drop cap
letter
4 Choose Drop Cap from the Effect Type list box.
5 Type a value in the Dropped Lines box.
To specify the distance between the drop cap letter and the body
of text
2 Type a value in the Distance From Text box.
Applying tabs to paragraphs

You can add tabs to indent Paragraph text. You can delete all or some of the
default tab stops and set your own. You can also change the tab alignment.
In addition, you can set trailing leader tabs. A leader tab automatically creates
dots that precede the tab. Often leadered tabs are used in tables and lists,
such as tables of contents and indexes. You can customize a trailing leader
tab by changing the character or the space between the characters.
Adding and removing tabs

You can add and remove tabs from Paragraph text frames.
To add a tab
3 Click the Tabs tab.
4 Click the Add Tab button.
A row is added to the bottom of the list.
5 Click the new cell in the Tabs column, and type a value.
To remove a tab
2 Click the cell in the Tab column you want to remove.

Delete Tab — removes that tab
Delete All — removes all of the tabs
When you select frames with the Text tool, you can add and remove tabs
using the Horizontal ruler.
Changing tab settings

You can set tabs at regular intervals and change the tab alignment. For
example, you can change the default alignment from left to right.
To set tabs at regular intervals

1 Select the Paragraph text frame or paragraph with the Text tool.
4 Type a value in the box beside the Set Tabs Every button.
5 Click the Set Tabs Every button to add the tabs.
To change the alignment of tabs

2 Double-click the cell in the Alignment column.
3 Choose an alignment option from the list box.
When you select frames with the Text tool, you can change the alignment
of tabs using the Horizontal ruler.
Setting trailing leader tabs

You can add trailing leader tabs to Paragraph text. You can also change the
character used and adjust the space between characters.

Setting trailing
leader tabs.
To add tabs with a trailing leader character

4 Click the cell in the Leadered column to enable the check box.
To change the trailing leader character

2 Type a character in the first Character box.
To decrease or increase space between trailing leader characters

1 Follow steps 1 to 3 from the “To add tabs with a trailing leader character”
procedure.
2 Type a value from 0 to 10 in the Spacing box.
Lower values decrease and higher values increase the spacing between
leader characters.
Specifying paragraph indentation

You can change the space between a Paragraph text frame and its text by
indenting. You can indent an entire paragraph, the first line of a paragraph, all
but the first line of a paragraph (a hanging indent), or indent from the right
side of the frame.
You can also remove an indent without deleting or retyping.

Adding indents
You can indent the first line of a paragraph, all but the first line, or the entire
paragraph. You can also right indent a paragraph.
To indent the first line of a paragraph

4 Type a value in the First Line box.
To create a hanging indent

2 Type a value in the Left box.
To indent an entire paragraph

1 Follow steps 1 to 3 from the “To indent the first line of a paragraph”
procedure.
2 Type the same value in the First Line box and the Left box.
To right indent a paragraph

1 Follow steps 1 to 3 from the “To indent the first line of a paragraph”
procedure.
2 Type a value in the Right box.
You can also increase and decrease indents by clicking the Increase Indent
button or Decrease Indent button on the Property Bar.
Removing indents
You can remove indents without deleting.
To remove indents

4 Type 0 in the First Line, Right, and Left boxes.
Adding bullets to paragraphs

You can use bulleted lists to present nonsequential, parallel pieces of
information in a consistent format. To create several bulleted lists, you can
use one of the predefined Paragraph text bullet styles to format them
consistently. You can customize bullets by changing the size, position, and
spacing of bullets. You can make your own bullets by adding symbols to a
symbol set. For more information, see “Adding symbols to a symbol set” on
page 347.
Adding and removing bullets

You can add bullets that text wraps text around. You can also offset a bullet
from text to create a hanging indent. You can remove a bullet without
deleting your text.
To add a bullet that text wraps around

4 Choose Bullet from the Effect Type list box.
5 Choose a font from the Font list box.
6 Choose a symbol from the Sample window.
You can also choose a bullet by entering its index number in the Symbol #
box. Index numbers are listed in the Symbol and Clipart Libraries Catalog.
7 Click the Bulleted button.
To add a bullet with a hanging indent

2 Click Hanging Indent in the Indents section.
3 Type a value in the Position box.
You can also add a bullet with a hanging indent by clicking the Show/Hide
Bullet button on the Property Bar.

To remove a bullet
1 Follow steps 1 to 3 from the “To add a bullet that text wraps around”
procedure.
2 Choose None from the Effect Type list box.
Customizing bullets
You can customize the appearance of a bullet by changing its size, position,
and spacing.
Adding customized
bullets.
To change the bullet size

4 Choose Bullet from the Effect Type list box.
5 Type a value in the Size box.
To raise or lower the position of a bullet

2 Type a value in the Baseline Shift box.
Negative values lower the position of the bullet; positive values raise it.
To change the space between the bullet and text

1 Follow steps 1 and 2 from the “To change the bullet size” procedure.
3 Type a value for the amount of space you want between the bullet and the
text in the First Line box.

4 Type the same value that you specified in step 3 in the Left box.
The space between the frame and the text changes. As a result, the
spacing between the bullet and the text changes.
Hyphenating text
Hyphenation can be useful when you work with columns or have limited
space for text. By enabling hyphenation, CorelDRAW automatically divides
words at the end of lines instead of wrapping them to the next line. You can
apply hyphenation to a Paragraph text frame or to selected paragraphs within
a frame.
By customizing the hyphenation settings, you can control when hyphenation
occurs. For example, you can specify a character requirement and whether
hyphenation occurs in words with capital letters.
Applying hyphenation to Paragraph text

You can apply automatic hyphenation for selected paragraphs in a Paragraph
text frame or for all paragraphs in the document.
To set automatic hyphenation for all paragraphs in the document

1 Click the bottom Default Style To Edit button on the Property Bar.
Default Paragraph Text appears in the Style list box.
4 Enable the Use Automatic Hyphenation check box.
Apply — applies the formatting and keeps the Format Text dialog box
open
OK — applies the formatting and closes the Format Text dialog box
6 Enable the Paragraph text check box.
7 Disable the Artistic text check box.
The existing text in your document remains unaffected. Only subsequent
frames you create will use automatic hyphenation.
To set automatic hyphenation for selected Paragraph text


Specifying hyphenation settings

You can customize hyphenation settings by applying hyphenation to words
containing capital letters and specifying the minimum number of characters
required in a word for hyphenation to occur. You can also specify the
minimum number of letters before and after a hyphen, as well as the distance
from the right margin that CorelDRAW starts hyphenating words (also called
the hot zone).
To hyphenate words containing capital letters

5 Click the Hyphenation Settings button.
6 Enable the Break Capitalized check box to hyphenate words with initial or
all capital letters.
To specify the minimum number of characters a word requires

for hyphenation
5 Click the Hyphenation Settings button.
6 Type a value in the Minimum Word Length box.
To specify the minimum number of characters before a hyphen

2 Type a value in the Minimum Characters Before box.

To specify the minimum number of characters after a hyphen
1 Follow steps 1 to 5 from the “To specify the minimum number of
characters a word requires for hyphenation” procedure.
2 Type a value in the Minimum Characters After box.
To specify the hot zone for hyphenation

1 Follow steps 1 to 4 from the “To specify the minimum number of
characters a word requires for hyphenation” procedure.
2 Click the Hyphenation Settings button in the Hyphenation section.
3 Type a value in the Hot Zone box to specify the distance from the right
margin that you want CorelDRAW to start hyphenating words.
Managing Paragraph text frames

Managing Paragraph text frames helps you use them more effectively.
CorelDRAW treats frames similarly to other objects in a drawing, so you can
size and move a frame like any object. Fitting text to a frame, increases or
decreases the point size of text so that it fits the frame exactly. You can hide
and show the frame outline, specify the minimum number of characters in a
line, as well as hide and show spacing arrows. You can hide spacing arrows if
you don’t plan to adjust the spacing between words, characters, and lines of
text.
You can break frames apart to create paragraphs in separate frames. You can
continue to break frames apart to the character level. You can also combine
frames. When working with Paragraph text, you can drag text out of a frame
to create a new frame.
By inserting Paragraph text frames inside graphic objects, you can use
objects as containers for text and change the shape of frames. Inserting a
frame inside an object positions the frame inside of the object’s outline. You
can also separate a frame from an object and the frame will retain the shape
of the object. You can also change the shape of text by wrapping frames
around objects. Additionally, you can wrap Paragraph text around Artistic text
and Paragraph text frames. You can wrap text using contour or square
wrapping styles. The contour wrapping styles follow the curve of the object.
The square wrapping styles following the bounding box of the object.
Furthermore, you can link frames to direct the flow of text between frames.
Paragraph text frames are also referred to as “frames.”

Sizing Paragraph text frames
You can size a Paragraph text frame independent of its text, or you can size a
frame and its text together.
Sizing a Paragraph
text frame.
To increase or decrease the frame size independent of its text

1 Using the Pick tool, click anywhere in or on the border of the frame.
2 Drag any selection handle outward to increase, or inward to decrease the
size of the frame.
To size Paragraph text and its frame

3 Disable the Expand And Shrink Paragraph Text Frames To Fit Text check
box.
4 Click OK.
5 Click anywhere in or on the border of a Paragraph text frame with the
Pick tool.
6 Hold down ALT, and drag one of the corner selection handles to resize the
frame and the text simultaneously.
The text maintains the shape of the original font, but the font size
changes.
To size a frame with columns of varying widths, you must drag the side
selection handles to resize the frame. Dragging the frame border adjusts
the width of that column.

If you’re resizing the frame with the Text tool, you can also drag the frame
border to resize the frame.
You can also use the Pick tool to resize a frame.
Moving Paragraph text frames

You can move Paragraph text frames in a drawing.
To move a frame using the Text tool

1 Using the Text tool, click the X in the center of the frame.
The cursor changes to a four-way cursor.
2 Drag the Paragraph text frame outline to a new location.
You can also move a frame using the Pick tool.
Fitting text to a Paragraph text frame

You can have CorelDRAW adjust the point size of text so that the text fits the
Paragraph text frame exactly.
Fitting text to a
frame so it fits the
frame exactly.

To fit text to a Paragraph text frame
1 Select the frame with the Pick tool.
2 Click Text, Fit Text To Frame.
If you fit text to linked frames, CorelDRAW adjusts the size of text in all
the linked frames. For more information about linking frames, see
“Linking Paragraph text frames together” on page 388.
Showing and hiding Paragraph text frame outlines

You can hide or show Paragraph text frame outlines.
To show or hide Paragraph text frame outlines

Click View, Text Frames.
If a check mark appears beside the Text Frames command name, frame
outlines are displayed. If no check mark appears, frame outlines are
hidden.
Specifying the minimum number of characters per line

You can specify the minimum number of characters permitted in each line of
a Paragraph text frame. For example, when you set the minimum width to
five, each line must have at least five characters to appear.
To specify the minimum number of characters per line

3 Type a value in the Minimum Line Width box.
Showing and hiding interactive spacing arrows

You can show or hide the Interactive Horizontal Spacing and Interactive
Vertical Spacing arrows when you select a Paragraph text frame.
To show the interactive spacing arrows

3 Enable the Show Selection Handles While Editing check box.

To hide the interactive spacing arrows
2 Disable the Show Selection Handles While Editing check box.
Breaking apart Paragraph text frames

You can break Paragraph text into the following subcomponents: columns,
paragraphs, bullets, lines, words, and characters. Every time you break apart
a frame, the subcomponents are placed in separate frames. For example, You
can break apart a frame containing multiple words, with each frame
containing one word from that line.
Breaking apart (1)
multiple paragraphs
in a frame into (2)
single paragraphs,
(3) sentences, (4)
words, and (5)
characters.
To break apart a Paragraph text frame

2 Click Arrange, Break Apart.
To break apart a frame to the next component, repeat the above

procedure.
Combining Paragraph text frames

You can combine two or more Paragraph text frames to create one frame.

To combine Paragraph text frames
1 Hold down SHIFT and select the frames with the Pick tool.
2 Click Arrange, Combine.
The text in the first frame you select appears first in the combined frame.
You can’t combine frames with envelopes or when text is fitted to a curve.
If you select the frame with columns first, the combined frame will have
columns.
Dragging text from a Paragraph text frame to create a frame

You can drag text out of a Paragraph text frame to create a frame.
To drag text into a new frame

1 Using the Text tool, select the Paragraph text.
2 Hold down the right-mouse button, and drag the text to the Drawing
Window.
The cursor changes to a text from frame cursor.
Copy — copies the text to the frame
Move — moves the text to the frame
You can also drag text from a frame to another existing frame. For more
information, see “Editing by dragging in the Drawing Window” on page
348.
Inserting Paragraph text frames inside objects

You can insert a Paragraph text frame inside an object.

A Paragraph text
frame inside of an
object.
To insert text inside an object


3 Drag the cursor over the object’s outline.
4 Click the object when the cursor changes to an insert in object cursor.
A frame appears inside the object.
5 Type inside the frame.
You can also apply an envelope to a Paragraph text frame. For more
information about envelopes, see “Creating envelopes” on page 457.
Separating a Paragraph text frame from an object

You can separate a Paragraph text frame from an object.
To separate a Paragraph text frame from an object

2 Click Arrange, Separate.
3 Click the outline of the frame, and drag it to a new location.
Wrapping Paragraph text around objects

You can wrap Paragraph text around objects so that the text follows the shape
of the object. You can also wrap text so that it follows the object’s bounding
box. You can also adjust the space between text and the object.

Wrapping Paragraph
text around objects.
To wrap Paragraph text around an object so that it follows the

object’s shape
2 On the Property Bar, click the Wrap Paragraph Text button, and click one
of the following Contour wrapping styles:
Text Flows Left — wraps text around the left side of the object
Text Flows Right — wraps text around the right side of the object
Straddle Text — wraps text around all sides of the object
3 Click OK.
4 Click the Text tool, and create a Paragraph text frame on top of the object.
The text flows around the object, leaving the space occupied by the object
blank.
To wrap Paragraph text around an object so that it follows the

object’s bounding box
of the following Square wrapping styles:
Text Flows Left — wraps text around the left side of the object
Text Flows Right — wraps text around the right side of the object
Straddle Text — wraps text around all sides of the object
Above/Below — wraps text above and below the object

You can wrap existing Paragraph text around an object by applying the
wrapping style to the object, and dragging the frame on the object.
To change the amount of space between the text and an object

2 On the Property Bar, click the Wrap Paragraph Text button.
3 Type a value in Text Wrap Offset box.
To remove wrapping styles

2 Click None.
You can also remove the text wrap by disabling the Wrap Paragraph Text
Wrapping Paragraph text around text

You can wrap Paragraph text around Artistic text or a Paragraph text frame.
The wrapping styles let you follow text’s shape or the text’s bounding box.
To wrap Paragraph text around text so that it follows the text’s

shape
of the following Contour wrapping styles:
Text Flows Left — wraps text around the left side of the frame or
Artistic text
Text Flows Right — wraps text around the right side of the frame or
Artistic text
Straddle Text — wraps text around all sides of the frame or Artistic
text
3 Click OK.
4 Click the Text tool, and create a Paragraph text frame on top of the text.

The text in the Paragraph text frame flows around the text, leaving the
space occupied by the object blank.
To wrap Paragraph text around text so that it follows the text’s

bounding box
1 Select the frame with the Pick tool.
of the following Square wrapping styles:
Text Flows Left — wraps text around the left side of the frame or
Artistic text
Text Flows Right — wraps text around the right side of the frame or
Artistic text
Straddle Text — wraps text around all sides of the frame or Artistic
text
Above/Below — wraps text above and below the frame or Artistic text
Linking Paragraph text frames

Linking Paragraph text frames directs the flow of text from one frame to the
other, if the amount of text exceeds the original frame. When you shrink or
enlarge a linked frame, or change the size of the text, the amount of text in
the next frame adjusts automatically. You can remove links or change the
direction of flow.
You can also link a frame to an open or closed path object. When you link a
frame to an open path (i.e., a line), the text flows onto the line. When you link
a frame to an object with a closed path (e.g., a rectangle), a Paragraph text
frame is inserted and the text flows inside the object. You can also link to
frames and objects across pages. When the linked frame is on a different
page, the page number appears beside the blue arrow.
You can change your settings so that Paragraph text formatting is applied to
all linked frames, selected frames, or all selected and subsequently created
frames.
After linking frames, you can redirect the flow. By selecting the frame or
object, a blue arrow indicates the direction of the text flow. (You can change
your settings to hide and display direction arrows.) When you’re changing
the flow, it’s important to remember that text flows from the bottom of the
frame or object. Therefore, you must select the bottom text flow tab of the

frame or object whose text flow you want to change, then select the frame or
object into which you want the flow to continue.
You can also remove the link. When you have only two linked frames and you
remove the link, the text flows into the remaining frame. When you remove a
link between frames or objects and you have a series of links, the text flows
into the next frame or object.
Linking Paragraph text frames together

You can link two or more Paragraph text frames to allow text to flow between
them.
Graphic 1 shows
selecting a frame to
contain overflow text.
Graphic 2 shows the
linked frames.
To link Paragraph text frames

1 Select the starting frame with the Pick tool.
2 Click the text flow tab at the bottom of the frame.
If there is too much text in the frame, the text flow tab contains an
arrow. The cursor changes shape.
3 Click inside the frame to which you want to create a link.
The text flow tab and a blue line indicate that the frame is linked.
You can create and link Paragraph text frames before you type text into
the starting frame.

You can also use the text flow tab at the top of a frame to link to another
frame.
Linking a Paragraph text frames to an object

You can link a Paragraph text frame to an open path or closed path object.
Linking Paragraph
text frames to
objects.
To link a Paragraph text frame to an object

1 Select the text frame with the Pick tool.
2 Click the text flow tab at the bottom of the frame.
If there is too much text in the frame, the text flow tab contains an arrow
.
The cursor changes shape.
3 Click the object to which you want to link.
The text flow tab and a blue line indicate that the frame is linked to the
object.
If the text exceeds the open or closed path, you can link it to another
frame or object.

You can also insert a frame inside an object with a closed path, then link to
other objects and frames. For more information, see “Inserting Paragraph
text frames inside objects” on page 383.
Linking frames and objects on different pages

You can link Paragraph text frames and objects that on different pages.
Linking Paragraph
text frames across
pages.
To link frames on different pages

1 Select the starting frame with the Pick tool.
2 Click the text flow tab at the bottom of the Paragraph text frame.
If there is too much text in the frame, the tab contains an arrow .
3 Using the Navigator, click the Page tab that contains the second frame.
4 Select the frame into which you want to continue the text flow.
The text flow tab and a dashed blue line indicate that the frame is
linked. The page number to which the frame is linked also appears.
To link a frame to an object on a different page

1 Using the Pick tool, select the frame from which you want the text to flow.
3 Select the object into which you want to continue the text flow.

Changing the text flow to a different Paragraph text frame or object
You can redirect the flow of text to different Paragraph text frame or object.
To change text flow to a different frame

1 Using the Pick tool, click text flow tab at the bottom of the frame whose
link you want to change.
2 Select the frame into which you want the text flow to continue.
To change text flow to a different object

1 Using the Pick tool, click the text flow tab at the bottom of the object
whose link you want to change.
2 Select the object into which you want the text flow to continue.
Hiding and showing link flow indicators

You can hide or show the arrows that indicate the direction of the text flow.
To hide the link flow indicators

To All Linked Frames — applies the same text formatting to all
connected frames
To Selected Frames Only — applies the same text formatting only to
selected frames
To Selected And Subsequent Frames — applies the same text
formatting only to selected and succeeding linked frames
4 Disable the Show Linking Of Text Frame check box.
To show the link flow indicators

2 Enable the Show Linking Of Text Frame check box.
Specifying link options for frames

You can apply formatting to all linked Paragraph text frames, selected frames,
or selected and subsequently created frames.

To choose Paragraph text frame formatting options
To All Linked Frames — applies the same text formatting to all
connected frames
To Selected Frames Only — applies the same text formatting only to
selected frames
To Selected And Subsequent Frames — applies the same text
formatting only to selected and succeeding linked frames
The link options affect only the formatting attributes that you can
apply to frames (e.g., columns, drop caps, indents, and tabs), as well as
general formatting attributes (e.g., font type, size, and weight); color
doesn’t apply. You must apply color to the text in each linked frame or
to the text object separately.
Removing links between frames or objects

You can remove links between Paragraph text frames and objects. You can
also delete the frame or object.
To remove links between frames or object

1 Using the Pick tool, select the frames or object you want to separate.
To delete a linked Paragraph text frame or object

1 Using the Pick tool, select the frame or object you want to delete.
Fitting text to a path

You can position Artistic text along the path of an open object (e.g., a line) or
closed object (e.g., a square). Once you’ve fit text to a path, you can
specify the orientation of characters relative to the path. This allows you
to create the impression that letters are standing upright. You can also
rotate individual characters to follow the contours of the path.
adjust the spacing between the text and path

specify the vertical position and vertical orientation of the text using the
characters’ baseline, ascender, descender, or center point
specify the horizontal position of text along the path
position text to the opposite side of the path
CorelDRAW treats text fitted to a path as one object. You can also separate
the text from the object. When you separate a text from a curved or closed
path, the text retains the shape of the object to which it was fitted.
Straightening reverts text to its original appearance.
Fitting text to a path

You can fit Artistic text to open and closed paths.
Fitting text (1)
interactively, (2) to
an open path, and
(3) to a closed path.
To fit text to a path using the Fit Text To Path command

1 Using the Pick tool, select the path.
2 Click Text, Fit Text To Path.
3 Type along the path.
To fit text to a path interactively

1 Select the path to which you want to fit the text.
3 Drag the cursor over the path.

4 Click the path when the cursor changes to the fit to path cursor.
5 Type along the path.
You can’t fit text to the path of another text object.
To edit Artistic text on a path directly, double-click the text with the Text
tool.
Adjusting the orientation of text fitted to a path

You can create interesting effects by changing the orientation of characters
on the path.
Adjusting the
orientation of text
fitted to a path.
To adjust the orientation of text fitted to a path

1 Select the text fitted to a path with the Pick tool.
2 Choose an option from the Text Orientation list box on the Property Bar.
You can also adjust the orientation by holding down CTRL and selecting
the text with the Pick tool. Hold down CTRL and drag the selection
handles to change the orientation.

Adjusting the distance between the text and path
You can adjust the distance between the text and the path to which its fit.
Changing the
distance between text
and a path.
To adjust the distance between the text and path

2 Type a value in the Distance From Path box on the Property Bar.
3 Press ENTER.
You can also adjust the horizontal spacing of text fitted to a path by
clicking text with the Shape tool, and dragging the Interactive Horizontal
Spacing arrows.
Specifying the vertical alignment of text fitted to a path

You can specify the vertical alignment of the text relative to the path.
Specifying the
vertical alignment of
text fitted to a path.

To specify the vertical alignment of text
2 Choose one of the following from the Vertical Placement list box on the
Property Bar:
Baseline
Ascender
Descender
Center
Variable
You can also edit Artistic text or Paragraph text fitted to paths directly in
the Drawing Window.
Changing the horizontal position of text fitted to a path

You can change the horizontal position of the text relative to the path. You
also can change the horizontal position of text according to the start node,
end node, or center of the open path to which its fit. For text fit to a closed
path, you can change the quadrant to which the text is fit.
Changing the
horizontal position of
text fitted to a path.
To change the horizontal position of text fitted to a path

2 Type a value in the Horizontal Offset box on the Property Bar.
3 Press ENTER.

You can also change the horizontal position of text along a path by
dragging character nodes with the Shape tool.
To change the horizontal position of text fitted to an open path

1 Select the text fitted to an open path with the Pick tool.
2 Choose an option from the Text Placement list box on the Property Bar.
To change the quadrant of text fitted to a close path

1 Select the text fitted to a closed path with the Pick tool.
2 Choose an option from the Text Placement list box on the Property Bar.
Positioning text on the opposite side of the path

You can position text so that it appears on the opposite side of the path.
Positioning text on
the other side of a
path.
To position text on the opposite side of the path

2 Click the Place On Other Side button on the Property Bar.
Removing text from a path

You can separate Artistic text from an open path or closed path. The text and
graphic object become two objects, allowing you to select and manipulate
each individually. You can also straighten separated text to return it to its
original appearance.

You can return (1)
text fitted to a path
to its original state
by (2) separating it
from the path, and
(3) straightening it.
To separate text from a path

To straighten text
2 Click Text, Straighten Text.
Using the writing tools

The writing tools help you correct spelling and grammatical errors in
documents, as well as find alternative words.
There are two tools you can use to verify spelling — the automatic spell
checker and the Spell Checker that you access through the Text menu. The
automatic spell check is controlled with the right-mouse button and indicates
errors as you type.
Grammatik® verifies the spelling, grammar, punctuation, and style. You can
change the rules and style Grammatik uses to check documents.
CorelDRAW sometimes indicates that a word is incorrect because the word
isn’t in the word lists it’s consulting. By adding these words to user word
lists, CorelDRAW recognizes them words the next time it checks the
document.
By adding words to Type Assist, you can replace abbreviations and words you
often mistype.
Using the automatic spell checker

You can create text in a drawing and automatically spell check the text as you
type. A red wavy underline identifies misspelled text. You can change the

settings so that CorelDRAW spell checks all Paragraph text frames, or only
selected frames. The automatic spell checker is controlled with the
right-mouse button.
You may decide to ignore the indicated errors. You can change the settings to
have CorelDRAW indicate ignored errors by underlining them with a blue
wavy line.
By adding corrections to Type Assist, misspelled words are added to a list
with the correct spelling beside them. The next time you type the misspelled
word, Type Assist correct the word automatically.
The automatic spell checker creates a suggestion list for misspelled words
that you can use to help you correct the word. You can set the maximum
number of spell checking suggestions CorelDRAW displays.
You can use the Spell Checker to check the whole document at once. For
more information, see “Working with the Spell Checker” on page 401.
Spell checking a document automatically

You can spell check the document as you type. You can also spell check all or
selected Paragraph text frames.
To enable automatic spell checking

2 In the list of categories, double-click Text, and click Spelling.
3 Enable the Perform Automatic Spell Checking check box.
To show errors in all Paragraph text frames

2 Enable the Show Errors In All Text Frames button.
To show errors in selected Paragraph text frames

1 Follow steps 1 and 2 from the “To enable automatic spell checking”
procedure.
2 Enable the Show Errors In Selected Text Frame Only button.

Ignoring spelling errors
You can ignore the spelling suggestions CorelDRAW offers. You can change
the settings and have CorelDRAW indicate ignored errors with a blue wavy
line. You can also remove the option that ignores spelling errors.
To ignore an error during a spell check

Right-click the misspelled word, and choose Ignore All.
To indicate errors you ignore during the spell check

3 Enable the Show Errors Which Have Been Ignored check box.
To remove the ignore flag

Right-click the ignored error, and click Unignore All.
Adding your corrections to Type Assist automatically

You can add misspelled words and their corrections to Type Assist
automatically.
To add corrections to Type Assist automatically

3 Enable the Add Corrections To Type Assist check box.
Choosing an alternate word when the Add Corrections To Type Assist

check box is enabled adds the correction to Type Assist.
Specifying the maximum number of spell checking suggestions

You can specify the maximum number of spelling suggestions CorelDRAW
displays.
To specify the maximum number of spell checking suggestions


3 Type a value in the Display Spelling Suggestions box.
You can a maximum of 10 spelling suggestions.
Working with the Spell Checker

The Spell Checker lets you check a whole document, a paragraph, a word, or
specified text. You can use the Spell Checker to insert corrections, or you can
edit text manually by interrupting the spell check and typing corrections
directly in the Drawing Window.
During a spell checking session, the Spell Checker may not recognize some
words and indicate them as errors. You can add these words to user word
lists so that they aren’t indicated in future sessions.
By setting options, you can determine how the Spell Checker verifies the
document. For example, you can have the Spell Checker verify only new and
modified text after you’ve spell checked the document, or recheck the whole
document.
Additionally, you can change the language the Spell Checker uses to verify
documents.
Using the Spell Checker

You can spell check the entire document, part of the document, or selected
text.
To spell check the whole document

2 Click Text, Writing Tools, Spell Check.
The misspelled word appears in the Not Found box. The most likely
correction appears in the Replace With box. A list of other possible
replacements appear in the Replacements box.
3 Choose the correct word from the Replacements list to display it in the
Replace With box, if required.
If necessary, type your own correction in the Replace With box, and press
ENTER.

Replace — replaces the highlighted word in your document with the
word in the Replace With box
Auto Replace — replaces all instances of the same error in your
document with the word in the Replace With box
Skip Once — overlooks this occurrence of the word, during this spell
check, and moves to the next word
Skip All — overlooks all occurrences of this word during this spell
check
To spell check part of the document

1 Select a text object with the Pick tool.
3 Choose an option from the Check list box.
4 Click the Start or the Resume button.
To spell check selected text

1 Select the specific word or words with the Text tool.
The Spell Checker can’t correct words used in the wrong context. For
example, if you type “she had too apples” instead of “she had two apples,”
the Spell Checker doesn’t indicate that the word “too” is an error.
You can spell check the whole document after it has already been verified
by choosing Document from the Check list box.
Correcting misspelled words manually

You can correct misspelled words by typing in the Drawing Window.
To correct text manually in the Drawing Window during a spell

check

Any misspelled words are highlighted in the document.
4 Select the highlighted text, and type the correction in the Drawing
Window.
5 Click the Resume button to continue with the spell check.
Adding words to a word list during a spell check

You can add words that the Spell Checker doesn’t recognize to a user word
list, so that they will be recognized in future spell checks. For more
information about user word lists, see “Working with user word lists” on
page 415.
To add a word to a user word list during a spell check

4 Click the Add button when the Spell Checker stops on a word it doesn’t
recognize.
Specifying options for the Spell Checker

You can specify options in the Spell Checker to determine how it verifies the
document.
To specify spell check options

1 Click Text, Writing Tools, Spell Checker.
2 Click the Options button, and click any of the following:
Auto Start — starts the Spell Checker as soon as you open it
Beep on Misspelled — makes CorelDRAW beep when the Spell
Checker finds misspelled words
Recheck All Text — rechecks the entire text, not just new or modified
text, after you have spell checked the document
Check Words With Numbers — checks any text containing numbers
Check Duplicate Words — checks for duplicate words positioned
side-by-side
Check Irregular Capitalization — checks any irregular capitalization
Prompt Before Auto Replacement — asks you before the Spell
Checker automatically replaces text

Show Phonetic Suggestions — displays a list of words that sound like
the word in the Replace With (or Insert Word) box
Changing the spell check language

You can change the default spell checking language the Spell Checker uses.
To change the spell check language

2 Click the Options button, and click Language.
3 Choose a language from the Current Language list.
You can change only to a language that is installed on the computer.
You can also type the abbreviated language name in the Language box.
To save a language as the default spell check language

2 Enable the Save As Default Writing Tool Language check box.
Working with Grammatik

Grammatik checks documents for spelling, grammar, and punctuation errors.
By typing in the Drawing Window, you can edit documents manually. By
setting options, you can control how Grammatik functions. For example, you
can have Grammatik start proofreading as soon as you open the dialog box.
You can use Grammatik to replace passive sentences with active sentences
or add words it doesn’t recognize to a user word list. When a passive
sentence doesn’t have a subject, you can specify the subject for Grammatik
to use. You can also change the default language Grammatik uses to check
documents.
Grammatik bases its checks on a style. Styles are comprised of grammar
rules, writing styles, and levels of formality. You can change the grammar
checking style, and as a result, change the interpretation of these elements.
You can also edit grammar checking styles by removing or adding grammar
rules which those styles contain. You can also create, edit, and restore
grammar checking styles.

You can have Grammatik analyze the grammatical structure of your writing
and your writing style to determine its level of readability. You can use this
information to decide how to correct possible errors and refine your writing
style.
Grammatik can assign a part of speech to each word or group of words in a
sentence (e.g., subject, verb, or subordinate clause) and display it in a parse
tree. You can also analyze the parts of speech (e.g., conjunction, abbreviation,
or preposition) of a selected sentence.
In addition, you can generate and view three statistical summaries: Basic
Counts, Flagged List, and Readability Report. For Basic Counts, Grammatik
provides a count of paragraphs, sentences, words (as well as their levels of
complexity), and syllables. It also provides counts for the average number of
syllables per word, words per sentence, and sentences per paragraph. You
can use the Basic Counts report to determine if you use many long words in
your writing.
The Flagged summary provides a list of the types of errors flagged in the
document. It also lists the number of times each error was flagged. Flagged
summaries can be useful for identifying the types of grammar problems that
appear frequently in your writing.
The Readability summary estimates the skill level required for a reader to
understand your document. Grammatik analyzes readability by comparing
your document with a comparison document, then generates a Readability
report. You can choose a Grammatik comparison document or add a
comparison document. Grammatik evaluates a document according to a
readability formula, which is dependent on the language you select, the level
of difficulty required to read the document, how often you use the passive
voice, the length and complexity of sentence structure, and the complexity of
words.
Using Grammatik
You can use Grammatik to check your whole document, part of a document,
or specific text.
To use Grammatik to check the whole document

2 Click Text, Writing Tools, Grammatik.
3 Choose Document from the Check list box.
Suggestions for corrections appear in the Replacements box. The
sentence with the suggested correction appears in the New Sentence box.

Replace — replaces the highlighted text in your document with the
highlighted correction in the Replacements box
Skip Once — overlooks the highlighted text during this grammar
check and moves to the next error
Skip All — overlooks all occurrences of the highlighted text during this
grammar check
Auto Replace — replaces all instances of the same error in your
document with the word in the Replacements box
To use Grammatik to check part of a document

2 Choose an option from the Check list box.
3 Click the Start or the Resume button.
To use Grammatik to check specific text

1 Select the specific word or words with the Text tool.
Editing grammar errors manually

You can edit errors by typing in the Drawing Window.
To edit grammar errors manually

4 Select the highlighted text, and type the correction in the Drawing
Window.
5 Click the Resume button to continue with the grammar check.
Specifying options for Grammatik

You can determine the way in which Grammatik works by specifying options.
To specify options for Grammatik

2 Click the Options button.

3 Click one of the following options:
Auto Start — begins proofreading as soon as you open Grammatik
Prompt Before Auto Replacement — displays a prompt before
Grammatik inserts an automatic replacement
Suggest Spelling Replacements — displays suggestions for
replacements automatically
A check mark appears beside the enabled options.
Replacing passive sentences with active sentences

You can enable the passive voice grammar rule and replace passive sentences
with active sentences. When a passive sentence doesn’t contain a subject,
you can add the subject for Grammatik to use in the replacement sentence.
To enable the passive voice rule

2 Click the Options button, and click Checking Styles.
3 Click the Edit button.
4 Enable the Passive Voice check box in the Rule classes list.
Save — edits the grammar checking style
Save As — creates a grammar checking style
To replace a passive sentence with an active sentence

3 Choose Document from the Check list box.
4 Choose the replacement text from the Replacement box.
5 Click the Replace button.
To specify a subject
2 Double-click <Subject> in the Replacements box.
3 Type a subject in the New Subject box.

4 Click OK.
Grammatik flags passive sentences when the Passive Voice rule is

enabled. For more information about rules, see “Creating and editing
grammar checking styles” on page 410.
Adding words to a word list during a grammar check

You can add words Grammatik doesn’t recognize to a user word list.
To add a word to a user word list during a grammar check

3 Click the Add button when Grammatik stops on a word it doesn’t
recognize.
Changing the grammar checking language

You can change the language Grammatik uses to check a document and save
it as the default language.
To change the grammar checking language

2 Click the Options button, and click Language.
3 Choose a language from the Language list.
To save a language as the default grammar check language

2 Enable the Save As Default Writing Tool Language check box.
Changing the grammar checking style

You can change the grammar checking style Grammatik uses to check a
document. By disabling and enabling rules, you can remove the rule options
the style uses or add a rule you want the style to use.

To change the grammar checking style
3 Choose one of the following options from the Checking Style list box.
Fiction — allows for artistic writing. The level of formality is Informal
Advertising — emphasizes mechanics and grammatical accuracy rather
than style. The level of formality is Informal
Documentation Or Speech — targets a general, non-scientific audience
and challenges jargon and special terminology. The level of formality is
Standard
Technical Or Scientific — targets scientific publications containing
long, complex noun phrases and a technical vocabulary. The level of
formality is Formal
Informal Memo Or Letter — allows industry-specific jargon and is
designed for less formal memos and letters. The level of formality is
Informal
Formal Memo Or Letter — targets correspondence, meeting minutes,
and legal documents which require a formal tone and a strict
interpretation of grammar and style rules. The level of formality is
Formal
Student Composition — targets longer documents. The level of
formality is Formal
Spelling Plus — verifies spelling and simple rules such as punctuation
and capitalization. The level of formality is Standard
Quick Check — targets most types of documents written for a general
audience, such as general correspondence, informal reports, essays,
and speeches. The level of formality is Standard
Very Strict — targets correspondence, meeting minutes, and legal
documents which require a formal tone and a strict interpretation of
grammar and style rules. The level of formality is Formal
4 Click the Resume button.
To disable a rule during a proofreading session

2 Click the Turn Off button when Grammatik displays an error you don’t
want it to indicate.

To enable a rule class during a proofreading session
2 Click the Options button, and enable the Turn On Rules check box.
3 Enable the check boxes beside the rules you want in the Rules list.
The Turn On Rules option is available only when you disable a rule during
a proofreading session.
Creating and editing grammar checking styles

You can create and edit grammar checking styles by adding and removing
rules, changing the consecutive elements settings, and changing the level of
formality.
To customize the rules of a grammar checking style

3 Choose a checking style from the list box.
Enable the check boxes beside the rules in the Rule Classes list you
want to apply .
Disable the check boxes beside the rules in the Rule Classes list you
don’t want to apply.
Click Save to save the changes to the checking style.
Click Save As to save create a new checking style. Type the name of
the new style in the Custom Style Name box.
To change the maximum allowed settings

2 In the Rule Classes list, enable the Consecutive Elements check box.
3 Type a value in any of the following boxes:

Consecutive Nouns — specifies the number of consecutive nouns
allowed
Consecutive Prepositional Phrases — specifies the number of
consecutive prepositional phrases allowed
Long Sentence Length — specifies the maximum number of words
allowed in a sentence
Spell Numbers Below Or Equal To — specifies the range of numbers to
be spelled out. Set this value to zero if you don’t want figures to be
flagged as errors
Words Allowed In Split Infinitive — specifies the number of words
allowed in a split infinitive
4 Follow step 6 from the previous procedure.
To set the formality level

1 Follow steps 1 to 4 from the “To customize the rules of a grammar
checking style” procedure.
Informal — allows relaxed usage of the language and colloquial
expressions
Standard — allows moderate, everyday language
Formal — uses strict rules of diction and language usage
3 Follow step 6 from the “To customize the rules of a grammar checking
style” procedure.
When you save an edited default checking style, an asterisk (*) appears
beside the style name.
Restoring an edited grammar checking style

You can restore an edited predefined grammar checking style to its original
settings.
To restore an edited checking style

3 Choose the checking style you want to restore from the list.

5 Click the Restore button.
You can identify an edited checking style by the asterisk (*) that appears
beside its name.
Deleting a grammar checking style

You may want to remove a grammar checking style that you no longer
require.
To delete a checking style

3 Choose the checking style you want to delete from the list.
You can delete only grammar checking styles that you create.
Using Grammatik to analyze writing style

You can have Grammatik analyze the grammatical structure of your writing
and your writing style to determine the level of readability.
To analyze text
1 Using the Text tool, place the cursor in the sentence you want to analyze.
4 Click Analysis.
Parse Tree — analyzes the parts of sentence you selected
Parts Of Speech — identifies the parts of speech in the sentence you
selected
Basic Counts — counts the text elements

Flagged — displays the number and types of flagged grammar issues
Readability — analyzes the readability of the text
Analyzing parts of speech

You can have Grammatik analyze the parts of speech of a sentence and view
the report.
To analyze parts of speech

1 Using the Text tool, place the cursor in the sentence you want to analyze.
4 Click Analysis.
5 Click Parts Of Speech.
The Parts Of Speech dialog box automatically updates as new errors are
found.
Analyzing parts of a sentence

You can analyze a sentence by having Grammatik assign a sentence part to
each word or group of words. View the assignments by using a parse tree.
To view a parse tree

1 Place the Insertion point in the sentence you want to analyze with the
Text tool.
4 Click Analysis.
5 Click Parse Tree.
Displaying basic text elements and flagged counts

You can generate a count of the basic text elements used. You can also
generate a count of the types of errors flagged.

To view a basic word count
1 Place the Insertion point in the sentence you want to analyze with the
Text tool.
4 Click Analysis.
5 Click Basic Counts.
To view a list of the types of errors flagged

2 Click the Flagged option.
Testing the readability of a document

You can have Grammatik estimate the amount of skill required for a reader to
understand a document. Grammatik does this by comparing your document
with a comparison document. You can change the comparison document
Grammatik uses, or add a new comparison document.
To test the readability of a document

1 Using the Text tool, place the Insertion point in the sentence you want to
analyze.
4 Click Analysis.
5 Click Readability.
To change the comparison document

2 Choose a comparison document from the Comparison Document list box.
To add a comparison document

1 Open the document you want to use as a comparison document.
2 Follow the steps from the “To test the readability of a document”
procedure.
3 Click the Add Document button.

You can add custom comparison documents to the list of comparison
documents only one at a time.
Use the Compare Documents feature to track your writing progress by

comparing one version of the document to the next revision.
Working with user word lists

User word lists are personal vocabulary lists which you create by adding
words or phrases that you commonly misspell, or words which the Spell
Checker and Grammatik don’t recognize. When the Spell Checker and
Grammatik detect an unknown word or phrase, they treat the word or phrase
like an error. By adding such words and phrases to user word lists, the
writing tools will recognize them as being correct.
The Spell Checker and Grammatik scan two types of word lists — user word
lists and main word lists. You can have up to ten lists of each type active
when you use the writing tools. CorelDRAW first scans the document user
word lists. If the word or phrase is not found there, CorelDRAW scans the
active word lists in the order in which they are displayed. If you write a
document in another language, you can create and use a word list for that
language and enable it. Alternative words appear in the Replacements or
Suggestions list box in the Spell Checker and Grammatik.
In addition, you can customize user words lists. For example, you can add a
word you want the Spell Checker and Grammatik to skip.
You can also disable or remove a user word list from the Spell Checker and
Grammatik.
Each document has its own user word list to which you can add words and
phrases that pertain to that document. You can create and use multiple
user word lists when you spell check or grammar check a document. If
more than one word list is activated, the document user word list is the
first list the program scans.
Creating and activating user word lists

You can create a user word list and add words to it or add words to an existing
list. You can enable a user word list so the writing tools use it to verify
documents. You can also select a user word list for another language.

To create a user word list
1 Click Text, Writing Tools, Grammatik or Spell Check.
2 Click the Options button, and click User Word Lists.
3 Click the Add List button.
4 Choose the drive and folder where you want to store the file, and type a
name in the File Name box.
To add a word to a user word list

2 In the Word Lists list, enable the check box next to the user word list to
which you want to add a word.
3 Click the Add Entry button when Grammatik stops on a word you want to
add.
To enable a user word list

1 Follow steps 1 and 2 from the “To create a user word list” procedure.
2 In the Word Lists list box, enable the check box next to the word list.
To select a user word list for another language

1 Follow steps 1 and 2 from the “To create a user word list” procedure.
2 Choose a language from the Language list box.
Customizing user word lists

You can also add a list of alternative words or phrases for the Spell Checker
and Grammatik to display. You can add words and phrases you want the
writing tools to replace or skip. If a user word list contains an error, you can
edit the list or delete the entry.
To add a list of alternative words to a user word list

3 In the Word Lists list, enable the check box next to the word list you want
to edit, if there are multiple word lists.
4 Type the word or phrase you want to replace in the Word/Phrase box, and
type its replacement in the Replace With box.

5 Click the Add Entry button.
6 Repeat steps 3 and 4 for each alternative word.
To add a replacement word to a user word list

2 Type the word or phrase you want to replace in the Word/Phrase box, and
type its replacement in the Replace With box.
To add a word you want to skip to a user word list

1 Follow steps 1 to 3 from the “To add a list of alternative words to a user
word list” procedure.
2 Type the word or phrase you want to skip in the Word/Phrase box.
To edit a word or phrase in a user word list

2 Select the word or phrase you want to edit in the box located at the
bottom of the User Word Lists dialog box.
3 Edit the word or phrase in the Replace With box.
4 Click the Replace Entry button.
To delete a word from a user word list

2 Choose the word or phrase you want to delete in the box located at the
bottom of the User Word Lists dialog box.
3 Click the Delete Entry button.
Disabling and removing user word lists

You can disable or remove a user word list from the Grammatik or Spell
Checker dialog box.
To disable a user word list


3 In the Word Lists list, disable the check box next to the word list you want
to disable.
To remove a user word list

2 Choose the user word list from the Word Lists list box.
3 Click the Remove List button.
Removing a user word list does not delete it.
Using Type Assist

Using Type Assist, you can correct capitalization errors automatically and
create shortcuts to frequently used words and phrases. For example, you can
store the phrase “for your information” under the abbreviation “FYI” so that
each time you type “FYI” followed by a space, it is replaced with the phrase.
Customizing Type Assist

You can use Type Assist to replace text and punctuation marks and change
letter case automatically. You can also undo a Type Assist correction.
To customize Type Assist

1 Click Text, Writing Tools, Type Assist.
Capitalize First Letter Of Sentences
Change Straight Quotes To Typographic Quotes
Correct Two Initial, Consecutive Capitals
Capitalize Names of Days
Replace Text While Typing, and type the text in the Replace box. Type
the replacement text in the With box, and click the Add button

The Correct Two Initial, Consecutive Capitals option doesn’t make a
change when a capital letter is followed by a space or period, or if a word
contains other capital letters.
You can change the text case instead of enabling the Capitalize First
Letter Of Sentences check box to change selected text to sentence case.
For more information, see “Changing text case” on page 356.
To undo a Type Assist correction

Click Edit, Undo Typing.
Using the Thesaurus

The Thesaurus displays a list of synonyms, antonyms, definitions, and
examples of usage of words for which you request alternatives. Alternatives
for a selected word are displayed in the Replacements list and definitions and
examples of selected words are displayed in the Definitions list.
You can change the settings of the Thesaurus to control how it operates. For
example, you can display a list of definitions for word. You can also specify
the language the Thesaurus uses.
You can customize the Thesaurus look-up options to specify what types of
alternative words appear when you look up a word.
Looking for alternative phrasing

You can use the Thesaurus to find alternative words or phrases. You can also
use the Thesaurus to replace a word with a synonym.
To use the Thesaurus

2 Click Text, Writing Tools, Thesaurus.
The selected word and its part of speech appears in the Replacements
box. The definitions appear in the Definitions list.
3 Double-click a word in the Replacements box to display the list of its
definitions in the Definitions For list.
4 Click the word you want to use as the replacement text.

You can display a list of synonyms for a word by double-clicking it.
Customizing Thesaurus settings

You can customize Thesaurus settings.
To customize Thesaurus settings

Auto Look Up — enables the Thesaurus as soon as you open the dialog
box
Auto Close — closes the Thesaurus when you click the Replace button
Show Definitions — displays definitions for words
Spelling Assist — displays spelling suggestions when you type a word
the Thesaurus doesn’t recognize
Changing the Thesaurus language

You can change the default language the Thesaurus uses.
To change the Thesaurus language

3 Enable Language, and choose the language you want to use from the
Current Language list box.
Customizing Thesaurus look-up options

You can customize the Thesaurus look-up options to specify what types of
alternative words appear when you look up a word.
To customize Thesaurus look-up options


Synonyms — looks up words with the same meaning
Related Words — looks up words with a similar meaning
Antonyms — looks up words with opposite meanings
Words For One Definition — displays words for one definition of a word
at a time
4 Select a word or type a word in the Replace With box.
5 Click the Look Up button.
You can also look up a word by double-clicking it in the Thesaurus dialog

box.
Checking statistics
You can check text statistics to count text elements, including the number of
lines, words, characters, and the names of the fonts and styles used. You can
either display statistics for selected text objects or for the entire document. If
no text objects are selected, all text elements in the document, including tab
and space characters, are counted.
Checking statistics in a document

You can count text for an entire document or selected text.
To count text elements for an entire document

2 Click Text, Text Statistics.
To count text elements for selected text

1 Using the Pick tool, select a text object — either a line of Artistic text or a
2 Click Text, Text Statistics.
3 Enable the Show Style Statistics check box to display information about
the styles used.

Substituting unavailable fonts
When you open a file that contains a font that is not installed on your
computer, PANOSE provides you with a list of fonts you can use to substitute
the font. You can accept the suggestion, or choose another font. You can make
the substitution for the current document only, or make it permanent.
Rather than substituting missing fonts each time you open a document
containing missing fonts, you can set up a list of matches for uninstalled
fonts. This list is saved for all subsequent documents when you exit
CorelDRAW.
Additionally, if you use CorelDRAW to import documents from Macintosh
programs, you can add to or change the table to match Windows font names
to Macintosh font names.
Changing font substitutions

You can change the font substitution by replacing the substitute font. You can
make this font substitution temporary or permanent for that document.
To change a font substitution

1 Open the file.
If the document contains fonts that are not installed on your computer, the
PANOSE Font Matching Results dialog box appears.
2 Choose the Missing Font and Substituted Font match you want to change.
3 Choose a new font from the Substituted Font list box.
4 Click OK.
5 PANOSE Font Matching asks you if you want to save the changes to the
Font Matches Exceptions file; choose the option that best suits your
needs.
To change a font substitution for a document temporarily

In the PANOSE Font Matching Results dialog box, click the Temporary
option.
To change a font substitution for a document permanently

In the PANOSE Font Matching Results dialog box, click the Permanent
option.

When you choose the Permanent option, you are given the choice to make
the change in the Exceptions file. Making this change means the font
substitution will be permanent for all documents.
Building a list of matches for missing fonts

You can build a list of matches for uninstalled fonts.
To build a list of matches for missing fonts

2 In the list of categories, double-click Text, and click Fonts.
3 Click the PANOSE Font Matching button.
4 Click Exceptions in the PANOSE Font Matching Preferences dialog box to
change the default substitution font.
6 Type the name of the font to replace in the Missing Font box.
7 Choose a font that is installed on your computer from the Substituted Font
list.
Accurately map fonts that have a different font family but look similar by
editing the Alternate Spellings list.
Matching a Windows font to a Macintosh font

You can specify the Windows equivalents for Macintosh fonts contained in a
document.
To match a Windows font to a Macintosh font

2 In the list of categories double-click Text, and click Fonts.
3 Click the PANOSE Font Matching button.
4 Click the Spelling button.
6 Choose a Windows font name from the Windows Name box.
7 Type the Macintosh spelling for the font in the Macintosh Name box.

The PANOSE Font Matching feature works only with .CDR and .CDT
files. It will not work with text that you copy from the Clipboard.
Setting preferences
When you’re creating text, you can change the settings. You can change the
appearance of text on-screen and adjust the increment used to change the
font size through the keypad. You can also specify a text unit of
measurement, change how CorelDRAW displays fonts and symbols, and
change the Clipboard settings.
Greeking text increases the redraw speed by representing text with lines.
You specify the maximum text size, and text below that value is greeked.
Make text readable again by reducing the greeking value or by using Zoom.
Greeking does not affect the printed text.
You can also change the on-screen appearance of text by smoothing
characters. Anti-aliasing fills jagged pixels with intermediate color or shades
of gray to increase clarity.
You can can increase or decrease the text point size using the keypad. By
default, the size changes by increments of one point. You can change the
default point size setting.
By default, the setting for text units of measurement is points. You can
change this setting for the current and all subsequent documents you create.
When you’re creating text, you can change how CorelDRAW displays fonts
and symbols. For example, you can display only fonts used in the active
document or display only TrueType symbols. You can also determine what
nonprinting characters CorelDRAW displays in the Drawing Window and the
Edit Text dialog box.
Changing the Clipboard settings affects how CorelDRAW transfers text to
the Clipboard. You can specify whether text is copied or cut to the Clipboard
as text or as curves. You can also specify whether calligraphic pen outlines
transfer to the Clipboard or export using any of the vector graphics export
filters. However, some export filters retain calligraphic outlines regardless of
the setting selected.
Changing the appearance of text on-screen

You can greek text to make text below a specified font size appear as lines.
You can also smooth text by filling in jagged pixels.
To specify the size of text to greek


3 Type a value in the in the Greek Text Below box.
This specifies the number of pixels at which you want to start greeking
text.
To smooth edges of screen fonts

2 Enable the Smooth Edges Of Screen Fonts check box.
Specifying the increment used to size text

You can specify the increment CorelDRAW uses to size text the keypad.
To specify the increment used to size text

3 Type a value in the Keyboard Text Increment box.
By holding down CTRL and pressing 8 and 2 on the keypad, you can
increase and decrease the font size.
Changing the default text unit of measurement

You can change the unit of measurement used for text, which affects the
current and all subsequent documents you create in CorelDRAW.
To specify default text units

3 From the Default Text Units list box, choose the units of measurement
you want to work with when formatting text.
Choosing font and symbol display options

You can specify the symbol and font types displayed in the font lists on the
Text toolbar and Property Bar. You can also show samples in the font lists,
show only the fonts used in the active document, and specify a value to
determine the number of most recently used fonts displayed in the font lists.

You can also specify the symbol and font groupings for the Symbols And
Special Characters Docker window.
To customize the contents of the font lists

2 In the list of categories, double-click Text, and click Fonts.
3 In the Font List Contents section, enable any of the following check boxes
for the font and symbol groupings you want to display in the font list in the
Text toolbar and Property Bar:
Show TrueType Fonts
Show Type 1 Fonts
Show TrueType Symbols
Show Type 1 Symbols
To show font samples in the font lists

2 Enable the Show Font Sample In Drop Down Fonts Lists check box.
To show only the fonts used in the active document

1 Follow all of the steps from the “To customize the contents of the font
lists” procedure.
2 Enable the Show Document Fonts Only check box.
To specify a value for the number of most recently used fonts

displayed in the font lists
1 Follow all of the steps from the “To customize the contents of the font
lists” procedure.
2 Type a value in the Display The Most Recently Used Fonts box.
To specify the contents of the symbols and special characters list

2 In the Symbol List Contents section, enable any of the following check
boxes for the symbol and font groupings you want to display in the
Symbols And Special Characters Docker window:
Show TrueType Fonts
Show Type 1 Fonts

Show TrueType Symbols
Show Type 1 Symbols
Displaying and specifying options for nonprinting characters

You can specify which nonprinting characters are displayed in the Drawing
Window and the Edit Text dialog box.
To display nonprinting characters while editing in the Edit Text

dialog box
1 Using the Pick tool, select a text object — a line of Artistic text or a
2 Click Text, Edit Text.
3 Click the Non-printing Characters button to display soft returns, hard
returns, tabs, and spaces in the Edit Text dialog box.
To display or hide the nonprinting characters in the Drawing

Window
Enable the Non-printing Characters button on the Property Bar to
display nonprinting characters.
Disable the Non-printing Characters button on the Property Bar to
hide nonprinting characters.
To specify which nonprinting characters are displayed

3 Enable or disable the following check boxes in the Non-printing Character
box:
Soft Returns
Hard Returns
Tabs
Spaces

Setting Clipboard options
You can specify whether to copy or cut text to the Clipboard as text or as
curves. You can also specify whether to transfer calligraphic pen outlines to
the Clipboard or to export them using any of the vector graphics export
filters.
To paste text to the Clipboard as text

3 Enable the Text In Metafile check box.
To paste text to the Clipboard as curve objects

2 Disable the Text In Metafile check box.
To paste text from the Clipboard as calligraphic text

1 Follow steps 1 and 2 from the “To paste text to the Clipboard as text”
procedure.
2 Enable the Calligraphic Text check box.

CREATING SPECIAL EFFECTS 10
The special effects in CorelDRAW let you alter the appearance of objects.
You can distort objects, add new elements to objects, and change the
relationship between objects.
By blending two objects, you create a series of intermediate objects that
show a transition in color, shape, and size. Three distortion effects let you
change the shape of objects: Push and Pull, Zipper, and Twister. You can also
change the shape of an object by applying an envelope to it then shaping the
envelope. The object conforms to the shape of the envelope. By extruding an
object, CorelDRAW adds surfaces to make it appear three-dimensional.
Adding one and two-point perspective lets you create the illusion of depth
and distance. You can create the illusion of depth between objects by adding
drop shadows. You can apply transparencies, which are grayscale masks, to
objects. Transparencies are applied on top of the object’s current fill,
therefore the object’s color show through the transparency. The lenses in
CorelDRAW let you change the appearance of objects you view through
them. You can contour an object, creating the effect created by contour lines
on a topographical map. When you create PowerClip objects, you place an
object inside another object. One object becomes the contents; the other
object becomes the container.
You can apply effects to both Paragraph text and Artistic text. However, some
effects are exclusive to Artistic text and others to Paragraph text because
CorelDRAW treats the two text types differently.
Effects you can apply to Paragraph text frames include applying envelopes,
drop shadows, and PowerClip objects.
Effects you can apply to Artistic text include extrusions, blends, contours,
distortions, envelopes, lenses, PowerClip objects, perspectives, and drop
shadows.
Blending Objects
You can create a number of different blends, including straight-line blends
and compound blends, among others. When you’ve created a blend, you
change its intermediate objects. For example, you can set the number of
steps and distance between intermediate objects. You can also change the
entire blend. For example, you can change the start or end object, split the
blend, or change the blend path.
Creating special effects 431

Creating blends
CorelDRAW offers a variety of features for creating interesting blend effects,
such as straight-line blends, blending along a path, compound blends, and
copying and cloning blends.
Straight-line blends
The intermediate objects, in a straight-line blend, show a progression in
shape and size between the original objects. The outline and fill colors of the
intermediate objects progress on a straight-line path across the color
spectrum. Special fills (i.e., fountain, pattern, and texture fills) show a
progression between the objects’ fills. The intermediate objects’ outlines
show a gradual progressions between different thickness and formats.
Blending along a path

By fitting a blend to a path or drawing a path freehand while you’re blending
objects, the objects follow the shape of the path. By default, the intermediate
objects take on the original objects’ horizontal and vertical orientation and
are attached to the path at their respective centers of rotation.
Compound blends
Adding one or more objects to a blend creates a compound blend. To create a
compound blend, you need two components: an existing blend and an object.
You can connect the object at the blend’s start or end object, but not at one of
its intermediate objects. The object where you connect is shared between
the two branches of the compound blend but maintains its relationship (that
is, start or end object) with both.
Copying and cloning blends

You can also create new blends by copying or cloning a blend’s settings to
two selected objects. The objects take on all of the blend-related settings,
except for their outline and fill attributes. With cloned blends, changes made
to the original blend (also called the master) are also applied to the clone.
Creating a straight-line blend

You can create a blend in which the intermediate objects progress in size,
shape, and color from the start object to the end object along a straight line.

Straight-line blends
let you create a
variety of effects.
To create a straight-line blend

1 Open the Interactive Tools flyout, and click the Interactive Blend tool.
2 Drag the end handle of one of the objects you want to blend over the other
object you want to blend.
The end handle appears after you start dragging the object.
By pressing ESC when you’re dragging the Interactive Blend tool, you
return the object to its state prior to dragging.
Blending objects along a path

You can create a blend in which the intermediate objects progress along an
existing path and stretch the objects along the full length of the path. You can
also blend along a path you draw freehand.
If you have two
objects and a path,
you can create a
blend along a path.
To blend objects along a path


2 Drag the end handle of one of the objects you want to blend over the other
object you want to blend.
The end handle appears after you start dragging the object. This creates a
straight-line blend between the two objects.
3 Right-click the blend with the Pick tool.
4 Drag the blend over the path.
5 Click Fit Blend To Path.
To stretch the blend along the entire path

2 Click the Miscellaneous Blend Options button on the Property Bar.
3 Enable the Blend Along Full Path check box.
To blend objects along a freehand path

2 Hold down ALT, and draw a freehand path from one of the objects you
want to blend to the other object you want to blend.
Creating compound blends

You can create a compound blend by adding one or more objects to a blend’s
start or end object. The object you add becomes the end object of that
component of the compound blend.
In this compound
blend, the palette is
the end object for
the three component
blends.

To create a compound blend
2 Drag the end handle of the object you want to add over the blend’s start or
end object.
The end handle appears after you start dragging the object.
You can also create a compound blend by splitting a blend. For more
information, see “Splitting a blend” on page 442.
Copying and cloning blends

You can copy and clone blend settings and apply them to two selected objects
to create a blend.
To copy a blend
1 Hold down SHIFT, and using the Pick tool, select the two objects to which
you want to copy a blend.
2 Click Effects, Copy, Blend From.
3 Using the horizontal pointer that appears, select the blend you want to
copy.
You can use the Copy Blend Properties button on the Property Bar when
you want to copy the blend properties from one blend to another.
To clone a blend
1 Hold down SHIFT and using the Pick tool, select the two objects to which
you want to clone a blend.
2 Click Effects, Clone, Blend From.
3 Using the horizontal pointer that appears, select the blend you want to
clone.

Modifying the intermediate objects of a blend
You can alter the appearance of a blend by adjusting the space between
intermediate objects, rotating them, setting their color progression, or
accelerate their fills and outlines, you alter the appearance.
You can control the spacing between intermediate objects by setting the
distance between objects, or by specifying the number of intermediate
objects in the blend. When you’re working with a blend that’s fit to a path,
you can specify the exact distance between the intermediate objects.
When you rotate a blend’s intermediate objects, the rotation progresses
counterclockwise around the centers of rotation of the intermediate objects.
Looping, rotates the intermediate objects around a point halfway between the
objects’ centers of rotation.
By setting the color progression of intermediate objects, you determine the
way outline and fill colors progress between the start and end objects of a
blend. CorelDRAW provides a straight, clockwise, or counterclockwise path
through the color spectrum.
In a basic blend, the intermediate objects are spaced evenly as they progress
between the start and end objects. Similarly, the intermediate colors progress
evenly between these objects. You can change object and color progressions
so that they appear to accelerate toward the start or end object. For example
when you accelerate objects in one direction, they get closer together as they
progress in that direction.
By mapping nodes, you control the way the start object is transformed into
the end object. As a result, you have greater control over the appearance of
the intermediate blend objects.
Setting the number of intermediate objects in a blend

You can specify the number of intermediate objects (steps) in a blend. The
number of intermediate objects you specify determines the amount of space
between the objects.
To set the number of steps in a blend

1 Select the blend with the Pick tool.
2 Enable the top portion of the Use Steps Or Fixed Spacing For Blend button
3 Type a value in the top portion of the Number Of Steps Or Offset Between
Blend Shapes box on the Property Bar.
4 Press ENTER.

Higher numbers create less space.
Setting the distance between the intermediate objects blended along a

path
You can specify the distance between the intermediate objects that are
blended along a path.
To set the distance between intermediate objects blended along a

path
1 Select the blend along a path with the Pick tool.
2 Enable the bottom portion of the Use Steps Or Fixed Spacing For Blend
3 Type a value in the bottom portion of the Number Of Steps Or Offset
Between Shapes box on the Property Bar.
4 Press ENTER.
Rotating the intermediate objects in a blend

You can rotate the intermediate objects in a blend as they progress between
the start and end objects. By default, objects are attached to the path by their
centers of rotation. You can change the default by looping the intermediate
objects to rotate them halfway between the start and end objects’ centers of
rotation.
From top to bottom:
a direct blend with
no rotation, with a
180-degree rotation,
and with a
180-degree rotation
and the Loop button
enabled.

You can also rotate intermediate objects that are blended along a path.
To rotate the intermediate objects of a straight-line blend

2 Type the degree to which you want to rotate the intermediate objects in
the Blend Direction box on the Property Bar.
3 Press ENTER.
Negative numbers rotate the objects clockwise.
To loop the intermediate object of a straight-line blend

2 Enable the Loop button on the Property Bar.
You can enter degree values between -360 and 360. Negative numbers
rotate the objects clockwise.
To rotate intermediate objects that are blended along a path

1 Select the blend along a path with the Pick tool.
3 Enable the Rotate All Objects check box.
Setting the color progression for the intermediate objects in a blend

You can determine how the outline and fill colors of the intermediate objects
in a blend progress through the color spectrum from the start object to the
end object. You can choose from a straight, clockwise, or counterclockwise
path through the color spectrum.
To set the color progression for intermediate objects

2 Enable one of the following buttons on the Property Bar to indicate the
type of color progression you want:
Direct Blend

Clockwise Blend
Counterclockwise Blend
You can set the color progression for any blend that uses uniform or
fountain fills. You can’t create color progressions using bitmap, texture,
vector pattern, PostScript, or transparent fills.
Accelerating the intermediate objects’ distance, fills and outlines, and

size
You can change the distance between intermediate objects as they progress
between the start and end objects. You can also change the progression of the
outline and fill colors, as well as the progression of the size of intermediate
objects. You can link the rates of color and object acceleration so that they
accelerate at the same rate.
Accelerating the
objects in a blend.
To accelerate the distance between intermediate objects

2 Click the Object And Color Acceleration button on the Property Bar.
3 Move the Object Acceleration slider to set the direction and rate of object
acceleration.
To accelerate the colors of intermediate objects

2 Move the Color Acceleration slider to set the direction and rate of color
acceleration.

To accelerate the size of intermediate objects
2 Enable the Accelerate Sizing For Blend button on the Property Bar.
To link the rates of color and object acceleration

2 Enable the Link Blend Accelerations button on the Property Bar.
Mapping nodes to set the progression of objects in a blend

You can specify which nodes CorelDRAW treats as the first node on start and
end object’s first nodes. These nodes determines how the intermediate
objects are transformed from the start object to become the end object.
Map the nodes shown
in the first two
examples to produce
the rotation in the
third example.
To change a blend’s appearance by mapping nodes

3 Click the Map Nodes button.
4 Using the curved pointer that appears, select a node (hollow black square)
on the end object and select a node on the start object.
Editing blends
Editing blends lets you customize their appearance. You can manipulate a
blend’s intermediate objects and change its path. You can also work with the
individual components of a blend by separating it.

You can edit blends by selecting changing the start and end objects of a blend.
By reversing a blend’s direction, the blend progresses from the end object to
the start object. You can also split blends to create a compound blend or fuse
the components of a compound blend to create a single blend. When you split
a blend, the object you choose to split the blend becomes the end object for
one component in the blend and the start object for the other.
When you blend an object along a path, you can select the path and apply the
blend to new path. You can also remove a blend from its path. When you
remove a blend from its path, the start and end objects remain stationary and
the intermediate objects revert to their original, straight-line path.
You can separate a blend into four possible components: the start object, the
end object, the intermediate objects, and the path (if the objects were
blended along a path). You can also clear a blend by removing the
intermediate objects and leaving the start and end objects.
Selecting the start and end objects of a blend

You can identify and select a blend’s start and end objects.
To select the start object in a blend

2 On the Property Bar, click the Start And End Object Properties button, and
click Show Start.
To select the end object in a blend

2 On the Property Bar, click the Start And End Object Properties button,
and click Show End.
Changing the blend direction and start and end objects

You can change a blend’s start and end object without having to reblend.
CorelDRAW automatically redirects the blend, using the same settings as the
original blend. By changing the direction of a blend, the blend progresses
from the end object to the start object.
To change a blend’s start object

2 On the Property Bar, click the Start And End Object Properties button, and
click New Start.
3 Using the horizontal pointer that appears, click the new start object.

The new start object must be layered behind the selected blend’s end
object. For information about the stacking order of objects, see “Changing
the order of objects” on page 176.
To change a blend’s end object

2 On the Property Bar, click the Start And End Object Properties button,
and click New End.
3 Using the horizontal pointer that appears, click the new end object.
The new end object must be layered in front of the selected blend’s start
object. For information about the stacking order of objects, see “Changing
the order of objects” on page 176.
To reverse the direction of a blend

2 Click Arrange, Order, Reverse Order.
Splitting a blend
You can split a blend to create a compound blend. The object you choose to
split the blend becomes the end object for one component in the blend and
the start object for the other. Thus, the original blend is split into two
components. For more information about compound blends, see “Creating
compound blends” on page 434.
Splitting a
straight-line blend to
create a compound
blend.

To split a blend
2 Click the Miscellaneous Options button, on the Property Bar.
3 Click the Split button.
4 Using the curved pointer that appears, click the intermediate object at
which you want to split the blend.
You can’t split a blend using the intermediate object that is immediately
adjacent to the start or end object.
You can change the appearance of one component of a compound blend
without affecting the other component.
You can also select a component of a compound blend by a holding down

CTRL and clicking any of its intermediate objects.
Fusing a blend
You can fuse the components of a split or a compound blend to create a single
blend.
To fuse the start object in a split or compound blend

1 Hold down CTRL, and select the end component of the blend with the
Pick tool.
3 Click the Fuse Start button.
To fuse the end object in a split or compound blend

1 Hold down CTRL, and select the start component of the blend with the
Pick tool.
3 Click the Fuse End button.

If the selected blend and at least two of the compound blend’s components
share the same start or end object, a curved pointer appears. Use this
pointer to click the intermediate object in the component blend that you
want to fuse.
Selecting the blend path

You can identify and select the path along which objects are blended.
To select the blend path

2 Click the Path Properties button on the Property Bar, and click Show Path.
Changing the blend path

You can apply a blend to a different path. The blend retains all of its settings
as it follows the shape of the new path.
To change the blend path

2 Click the Path Properties button on the Property Bar, and click New Path.
3 Using the curved pointer that appears, select the path to which you want
to apply the blend.
The new path to which you want to apply the selected blend must already
be drawn.
Removing a blend from a path

You can detach a blend from its path.
To remove a blend from a path

2 Click the Path Properties button on the Property Bar, and click Detach
From Path.

You can select and detach a component of a compound blend by holding
down CTRL while you select the component. For more information about
compound blends, see “Creating compound blends” on page 434.
Separating and removing a blend

You can break a blend into four possible components: the start object, the end
object, the intermediate objects, and the path (if the objects were blended
along a path). You can also remove the intermediate objects from a blend,
leaving its start and end objects.
To separate blended objects

You can ungroup the intermediate objects by selecting the group with the
Pick tool and clicking Arrange, Ungroup.
To remove a blend
2 Click Effects, Clear Blend.
You can also click the Clear Blend button on the Property Bar.
Distorting Objects
The interactive distortion tools let you apply interesting effects to objects.
You can push or pull the nodes of objects you’re distorting away from or
towards their centers. By applying a zipper, you can create a jagged, pointy
outlines. You can also edit the effects of the Zipper distortion. You can also
twist objects. By twisting an object, you wind the object around itself into a
shape that resembles a coil.
Additionally, there are modifications which you can apply to all of the
distortions which let you distort and customized them further. For example,
you can change the center of a distortion.

You can apply each type of distortion effect to any object you create using
CorelDRAW, including shapes, lines, curves, and Artistic text.
Creating Push and Pull distortions

When you apply a Push distortion to an object, the object’s nodes are forced
towards its center thereby rounding the object. The Pull distortion draws an
object’s nodes away from its center, making the object pointy.
When you create a Push or Pull distortion you like, you can copy it and apply
it to other selected objects. If you don’t like the distortion, you can remove it
without deleting the object.
Applying and removing a Push distortion

You can apply a Push distortion to any object you create. If you don’t like the
distorted object, you can remove the Push distortion.
Applying a Push
distortion.
To apply a Push distortion

1 Open the Interactive Tools flyout, and click the Interactive Distortion tool.
2 Enable the Push And Pull Distortion button on the Property Bar.
3 Select the object to which you want to apply the distortion, and drag the
mouse to the right.
The point at which you click the object determines the center of the
distortion.
By pressing ESC when you’re dragging the Interactive Distortion tool,
you return the object to its state prior to dragging.

You can also create a Push distortion by typing a value (from -200 to -1) in
the Push And Pull Distortion Amplitude box on the Property Bar.
To remove a Push distortion

1 Select the distorted object with the Pick tool.
2 Click Effects, Clear Distortion.
You can also remove a distortion by clicking the Clear Distortion button
Applying and removing a Pull distortion

You can apply a Pull distortion to any object you create. If you don’t like the
distorted object, you can remove the Pull distortion.
Applying a Pull
distortion.
To apply a Pull distortion

2 Enable the Push And Pull Distortion button on the Property Bar.
mouse to the left.

distortion.
You can also create a Pull distortion by typing a value (from 1 to 200) in
the Push And Pull Distortion Amplitude box on the Property Bar.
To remove a Pull distortion

You can also remove a distortion by clicking the Clear Distortion button
Copying Push and Pull distortions

You can copy Push and Pull distortions and apply them to selected objects.
To copy a Push or Pull distortion

2 Select the object to which you want to copy the distortion.
3 Click Effects, Copy Effect, Distortion From.
4 Using the horizontal pointer that appears, select the distortion you want
to copy.
You can also use the Copy Distortion Properties button on the Property
Bar.
Creating Zipper distortions

When you apply a Zipper distortion to an object, you create a series of points
above and below the object’s original outline. The outline follows these
points to create a zipper effect. You can also create a random Zipper

distortion, where the horizontal and vertical points follow a haphazard
course.
When you create a Zipper distortion you like, you can copy it and apply it to
selected objects. If you don’t like the distortion, you can remove it without
deleting the object.
Applying and removing a Zipper distortion

You can apply a Zipper distortion to an object. If you don’t like the distorted
object, you can remove the Zipper distortion.
Applying a Zipper
distortion.
To apply a Zipper distortion

2 Enable the Zipper Distortion button on the Property Bar.
3 Select the object to which you want to apply the distortion.
4 Drag the end handle to determine the amplitude of the zipper effect.
distortion.
5 In the Drawing Window, move the slider to determine the zipper
frequency.


You can also adjust the amplitude of the zipper effect by typing a value in
the Zipper Distortion Amplitude box on the Property Bar. You can type
values from 0 to 100. Higher values produce a more pronounced zipper
distortion.
To remove a Zipper distortion

You can remove a distortion by clicking the Clear Distortion button on the
Property Bar.
Applying a random Zipper distortion

You can apply the Zipper distortion to an object randomly. You can also return
the random Zipper distortion to a uniform pattern.
Applying a random
Zipper distortion.
To apply a random Zipper distortion

3 Select the object to which you want to apply the distortion.
4 Drag the end handle to determine the amplitude of the zipper effect.
5 Enable the Random Distortion button on the Property Bar.

To return the Zipper distortion to a uniform pattern
Disable the Random Distortion button on the Property Bar.
Copying Zipper distortions

You can copy a Zipper distortion and apply it to a selected object.
To copy a Zipper distortion

to copy.
Bar.
Editing Zipper distortions

When you’re working with Zipper distortions, you can customize the effect
by rounding the zipper’s points, adjusting the number of points per line
segment, and emphasizing the distortion in a given area of the object.
Rounding the points of a Zipper distortion

You can round the points of a Zipper distortion.
Rounding the points
of a Zipper
distortion.
To round the points of a Zipper distortion


2 Select the object whose zipper points you want to round.
4 Enable the Smooth Distortion button on the Property Bar.
To return to a pointed Zipper distortion, disable the Smooth Distortion

button.
Changing the number of zipper points

You can change the number of zipper points per line segment.
To change the number of zipper points

2 Select the object to which a Zipper distortion is applied.
4 Type a value in the Zipper Distortion Frequency box on the Property Bar.
Higher values produce a greater zipper frequency.
Emphasizing a Zipper distortion in a specific area

You can emphasize a Zipper distortion in a specific area of an object.
Emphasizing the
points of a Zipper
distortion.
To emphasize a Zipper distortion in a specific area of an object


2 Select the object whose zipper distortion you want to localize.
3 Ensure that the Zipper Distortion button is enabled on the Property Bar.
4 Enable the Local Distortion button on the Property Bar.
5 Drag the reposition handle to the area of the object where you want the
zipper distortion to be more pronounced.
Creating Twister Distortions

The Twister distortion turns an object around itself. When you apply a
Twister distortion to an object, the point at which you click becomes the
center of the distortion, which can be also identified by a diamond-shaped
handle. The center is fixed while one end of the object is wound around this
fixed point. A dashed line, the Horizontal Line Of Origin, extends from the
center of the object. This line measures the amount of Twister distortion in
degrees you apply as you drag the rotation handle in either a clockwise or
counterclockwise direction. One full rotation is 359 degrees.
CorelDRAW also lets you adjust the rotation of Twister distortions. For
example, you can change the number of degrees you’ve rotated an object, as
well as the direction of the rotation.
When you create a Twister distortion you like, you can copy it and apply it to
other selected objects. If you don’t like the distortion, you can remove it
without deleting the object.
Applying and removing a Twister Distortion

You can apply a Twister distortion to an object. If you don’t like the effect,
you can remove the Twister distortion.
Applying a Twister
distortion.
To apply a Twister distortion


2 Enable the Twister Distortion button on the Property Bar.
mouse to the right along the x-axis, and up slightly along the y-axis to
apply a small amount of distortion.
After you complete one full rotation (359 degrees), the Number Of
Rotations box counts one and the Degrees box resumes counting from
zero.
To remove a Twister distortion

You can remove a distortion by clicking the Clear Distortion button on the
Property Bar.
Adjusting the rotation of a Twister distortion

You can adjust the number of degrees, as well as the number of complete
rotations you’ve applied to an object. You can also rotate the object clockwise
or counterclockwise.
A Twister distortion
with multiple
rotations.
To change the number of degrees the object is rotated


2 Select the object with the Twister distortion.
3 Type a value in the Additional Degrees box on the Property Bar.
To change the number of complete rotations

2 Type a value in the Complete Rotations box on the Property Bar.
To rotate the Twister distortion clockwise

1 Follow steps 1 and 2 from the “To change the number of degrees the
object is rotated” procedure.
2 Click the Clockwise button on the Property Bar.
To rotate the Twister distortion counterclockwise

1 Follow steps 1 and 2 from the “To change the number of degrees the
object is rotated” procedure.
2 Click the Counterclockwise button on the Property Bar.
Copying Twister distortions

You can copy a Twister distortion and apply it to a selected object.
To copy a Twister distortion

to copy.
Bar.
Modifying distortions
When you’re working with Push and Pull, Zipper, and Twister distortions,
you can change the effect by moving the center of the distortion. You can also
apply a different distortion to a distorted object. For example, you can apply a
Twister distortion to an object to which you’ve applied a Zipper distortion.

Changing the center of a distortion
You can change the center of a distortion. You can also return the reposition
handle to center of the distortion.
To change the center of a distortion

2 Select the distorted object.
3 Ensure that the appropriate distortion button is enabled on the Property
Bar.
4 Drag the diamond-shaped position handle to a new location.
The distortion effect updates as you drag the reposition handle.
To center the reposition handle of a distortion

3 Ensure that the appropriate distortion button is enabled on the Property
Bar.
4 Click the Center Distortion button on the Property Bar.
Applying a new distortion

You can apply a new distortion to a distorted object.
Applying Zipper and
Twister distortions.
To apply a new distortion to a distorted object


3 Click the Add New button on the Property Bar.
4 Enable the distortion button you want to apply on the Property Bar.
5 Apply the distortion effect to the object.
Working with envelopes

Envelopes provide a powerful and simple way to shape objects. When you
apply an envelope to an object, the envelope surrounds the object and
appears as a dotted red line with a series of squares at points along its path.
By dragging the nodes in any direction, you shape the envelope. In turn, as
the envelope changes shape, the associated object automatically reshapes to
conform to the envelope.
Additionally, you can continue to shape an envelope and the object it
surrounds by editing the envelope. For example, you can change an
envelope’s line segments from lines to curves.
Creating envelopes
You can distort the shape of an object by applying an envelope to it and
shaping the envelope. You can apply a basic or a preset envelope. You can
also copy an envelope from an object in your drawing and apply it to another
object.
Applying envelopes
distorts the shape of
the objects.
By removing an envelope from an object, you return the object to its shape
prior to applying the envelope.

Applying and removing envelopes
You can apply an envelope to an object to shape the object. You can also apply
an envelope to an object with an envelope. Remove envelopes one at a time,
starting with the one you applied most recently.
Clockwise from the
top-left, the four
envelope editing
modes: Straight Line,
Single Arc, Double
Arc, Unconstrained.
To apply an envelope
1 Open the Interactive Tools flyout, and click the Interactive Envelope tool.
2 Select the object to which you want to apply an envelope.
3 Click one of the following buttons on the Property Bar to indicate the
editing mode you want:
Straight Line
Single Arc
Double Arc
Unconstrained
4 Drag a node to change the shape of the envelope.
5 Repeat steps 3 and 4 until the envelope is the shape you want.
You can apply envelopes to Paragraph text frames and Artistic text.
By pressing ESC when you’re dragging the Interactive Envelope tool, you
To apply an envelope with an envelope

2 Select the object to which you want to apply another envelope.

3 Click the Add New Envelope button on the Property Bar.
To remove an envelope
1 Using the Pick tool, select the object that has the envelope you want to
remove.
2 Click Effects, Clear Envelope.
Before clearing an envelope, you have to remove any effects that were
applied to the object after you applied the envelope.
You can also remove an envelope with the Interactive Envelope tool by
clicking the Clear Envelope button on the Property Bar.
Applying preset envelopes

You can apply preset envelopes of various shapes.
To apply a preset envelope

3 Enable the Keep Lines button on the Property Bar to prevent CorelDRAW
from changing the object’s straight lines to curves when you apply the
envelope.
4 Click the Add Preset button on the Property Bar, and choose the envelope
shape you want to apply.
By pressing ESC when you’re dragging the Interactive Envelope tool, you
You can adjust the shape of a preset envelope after you apply it to an
object.
Copying an envelope
You can copy an envelope from one object and apply it to another object.

To copy an envelope
envelope.
2 Click Effects, Copy, Envelope From.
3 Using the horizontal pointer that appears, select the object that has the
envelope you want to copy.
If you’ve applied an effect to the object since you applied the envelope,
you won’t be able to copy the envelope.
You can apply the same envelope effect to several different objects.
You can also copy an envelope using the Copy Envelope Properties button
Editing envelopes
After you’ve applied an envelope to an object, you can edit the envelope in a
variety of ways — you can change its editing mode, apply a new mapping
mode, convert envelope segments from lines to curves and vice versa, and
edit an envelope’s node. You can add, remove, move, or change the shape of
envelope nodes.
The editing modes control the shape of the envelope itself. Three of these
modes — Straight Line, Single Arc, and Double Arc — let you drag a node or
control point horizontally or vertically to change the shape of one side of the
envelope. The fourth mode, Unconstrained, lets you drag a node in any
direction to make more dramatic changes. In addition, the Unconstrained
mode has control points for each node, which let you make precise
adjustments to get the exact envelope shape you want.
By applying a new mapping mode, you change how CorelDRAW fits the
object to the envelope, not the shape of the envelope itself. There are four
mapping modes: Horizontal, Original, Putty, and Vertical. A fifth mode, Text,
appears if you’re using the envelope to reshape Paragraph text.
As with object segments, envelope segments can be converted from curves
to straight lines or from straight lines to curves. By changing the segment’s
type, you change the way the envelope reacts when it’s edited.
When you add nodes to an envelope, you can make minute adjustments to
give the envelope a more complex shape. You can simplify the envelope’s
shape by removing nodes.

The most basic method of editing an envelope is to move its nodes. For
example, you can move adjacent nodes an equal distance in the same
direction.
You can change a node’s type, which changes the way the envelope segments
on either side pass through the node. Changing the node type changes the
shape of the envelope, which in turn changes the effect the envelope has on
the object.
Changing the editing mode of an envelope

You can continue to shape an envelope by changing its editing mode.
To shape an envelope
2 Select the object that has the envelope you want to edit.
3 On the Property Bar, click one of the following buttons to choose an
editing mode:
Envelope Straight Line Mode
Envelope Single Arc Mode
Envelope Double Arc Mode
Envelope Unconstrained Mode
4 Drag the nodes (or the nodes’ control points) to attain the desired
envelope shape.
Changing the mapping mode of an envelope

You can change the mapping mode of an envelope to adjust the way the object
fits to the envelope.
Envelope mapping
modes: (1) Original,
(2) Vertical, (3)
Putty, (4) Horizontal.

To change the mapping mode
3 Choose one of the following mapping options from the Mapping Mode list
box on the Property Bar:
Horizontal Mode — stretches the object to fit the basic dimensions of
the envelope, then compresses it horizontally to fit the shape of the
envelope
Original Mode — maps the corner handles on the object’s selection
box to the envelope’s corner nodes. The other nodes are mapped
linearly along the edge of the object’s selection box. The nodes’ control
points are taken into consideration during mapping
Putty Mode — maps the corner handles on the object’s selection box
to the envelope’s corner nodes only. The other nodes are ignored
Vertical Mode — stretches the object to fit the basic dimensions of the
envelope, then compresses it vertically to fit the shape of the envelope
4 Select the object you selected in step 1.
5 Edit the envelope until it is the shape you want.
You can’t change the mapping mode for Paragraph text.
Changing a segment of an envelope

You can change a segment of an envelope from a straight line to a curve or
vice versa.
To change an envelope segment to a straight line or curve

2 Select the segment you want to change.
3 Click one of the following buttons on the Property Bar:
Convert Curve To Line
Convert Line To Curve

You must use the Unconstrained envelope editing mode to change the
envelope segment type.
Adding and removing envelope nodes

You can add nodes to and remove nodes from envelopes to help shape the
envelope.
To add a node to an envelope

3 Click the Unconstrained button on the Property Bar.
4 Double-click the envelope at the point where you want to add a node.
You can also click the envelope where you want to add a node and click
the Plus button on the Property Bar.
To remove a node from an envelope

2 Double-click a node to remove it from the envelope.
You can also select the node and click the Minus button on the Property
Bar.
Moving envelope nodes

You can move several envelope nodes at the same time provided you’re using
the Unconstrained editing mode. You can also move opposite nodes an equal
distance in the same direction when you’re using an editing mode other than
Unconstrained.
To move several envelope nodes at once


4 Marquee select the nodes you want to move.
5 Drag any of the selected nodes.
Each of the selected nodes move the same distance and direction as the
node you drag.
CorelDRAW reshapes the selected object after you reshape its envelope.
You can limit node movement horizontally or vertically in the

Unconstrained editing mode by holding down CTRL as you drag.
To move nodes on opposite sides of the object an equal distance

in the same direction
Envelope Straight Line Mode
Envelope Single Arc Mode
Envelope Double Arc Mode
3 Hold down CTRL as you drag a node.
You can move nodes on opposite sides an equal distance in the opposite
direction by holding down SHIFT as you drag.
Changing the envelope node type

You can change the envelope node type.
To change an envelope node type

4 Click the node you want to change.

Make Node A Cusp
Make Node Smooth
Make Node Symmetrical
For more information about cusp, smooth, and symmetrical nodes, see
“Drawing and shaping objects” on page 85.
Extruding objects
Applying extrusions gives a two-dimensional object the illusion of depth.
There are two types of extrusions — vector and bitmap.
For vector extrusions, CorelDRAW projects points from the object and joins
them to create extruded surfaces. These surfaces are projected toward a
vanishing point, adding depth to the original object so that it appears
three-dimensional. However, the vanishing points for Back Parallel and Front
Parallel extrusions are infinite, therefore the extruded surfaces can never
converge.
After you’ve created a vector extrusion, you can edit it, apply fills to all or
various extruded surfaces, and add light sources to enhance the effect of the
extrusion.
You can also apply bitmap extrusions to objects you create in CorelDRAW.
Applying bitmap extrusions lets you work with objects in three dimensions.
Once you’ve created a bitmap extrusion, you can apply bevels, Ambient and
Point lights, and texture fills. By rendering bitmap extrusions, CorelDRAW
creates a two-dimensional bitmap.
Creating vector extrusions

You can apply a basic vector extrusion to objects to make them appear
three-dimensional. You can also apply a bevel to an object and to an vector
extrusion, as well as copy and clone an object’s extrusion attributes to
another object.
Beveling creates the illusion that an object’s edges are cut at an angle other
than 90 degrees. You specify the appropriate angle and depth values for the
size of the object being cut. The illusion itself is created through the addition
of objects on top of the control object (the object you extruded). These
objects work together to give the object a three-dimensional look.
You can create vector extrusions by copying and cloning. Copying transfers
an object’s extrusion attributes to a selected object. The selected object
takes on all vector extrusion-related settings, while its fill and outline

attributes remain unaffected. The two extruded objects have no connection
and can be edited independently.
Cloning also transfers an object’s vector extrusion attributes to a selected
object. The selected object takes on all vector extrusion-related settings,
while its fill and outline settings remain unaffected. With clones, however,
changes made to the original extruded object (also called the master)
afterward are also applied to the clone. Additionally, you can’t edit the cloned
object’s extrusion settings; any changes must be made to the master object.
Applying basic vector extrusions

You can apply a vector extrusion to an object to give it the illusion of depth.
Creating basic vector
extrusions.
To apply a basic vector extrusion

1 Open the Interactive Tools flyout, and click the Interactive Extrude tool.
2 Select the object you want to extrude.
A small arrow appears below the cursor to indicate that you can extrude
the object.
3 Click the Vector Extrusion Mode button on the Property Bar.
4 Drag the vanishing point marker (represented by “X”) to set the depth
and direction of the extrusion.
The vanishing point marker appears after you begin to drag.
5 Choose an extrusion type from the Extrusion Type list box on the
Property Bar.
6 Choose a vanishing point option from the Depth box on the Property Bar.

By pressing ESC when you’re dragging the Interactive Extrude tool, you
You can place the vanishing point at a precise coordinate by typing values
in the X and Y boxes on the Property Bar.
If you’re creating a perspective extrusion, you can also set the depth by
typing a value in the Depth box on the Property Bar or by dragging the
slider in the Drawing Window.
Applying beveled vector extrusions

You can apply beveled edges to an object or a vector extrusion.
Creating beveled
vector extrusions.
To apply a bevel to a vector extrusion

1 Using the Pick tool, select the extrusion.
2 Click the Bevels button on the Property Bar.
3 Enable the Use Bevel check box.
4 Type a value in the Bevel Depth box to specify how deep you want the
bevel.
You can specify values from 0.001 to 1980 inches (or the equivalent in
other units of measurement).
5 Type a value in the Bevel Angle box to specify the angle at which you
want to cut the bevel edge.
You can specify values from 1.0 (a nearly straight bevel) to 89.0 degrees (a
high-angle bevel).

You can also set the bevel depth and angle using the Interactive Display
box.
To apply a bevel to an object

2 Select the object to which you want to apply a bevel.
4 Enable the Use Bevel check box.
5 Enable the Show Bevel Only check box.
By pressing ESC when you’re dragging the Interactive Extrude tool, you
Copying and cloning a vector extrusions

You can copy and clone an object’s extrusion attributes and transfer them to
another object.
To copy a vector extrusion

1 Using the Pick tool, select the object to which you want to copy an
extrusion.
2 Click Effects, Copy Effect, Extrude From.
3 Using the horizontal pointer that appears, select the extrusion you want to
copy.
You can also use the Copy Extrude Properties button on the Property Bar.
To clone a vector extrusion

1 Using the Pick tool, select the object to which you want to clone an
extrusion.
2 Click Effects, Clone Effect, Extrude From.
3 Using the horizontal pointer that appears, select the extrusion you want to
clone.

The selected object’s fill and outline settings remain unaffected.
Editing vector extrusions

After you’ve applied a vector extrusion to an object, you can select the
various components and edit them. You can also edit a vector extrusion by
shaping the control object, changing the depth of the extruded surfaces, and
by the rotating the vector extrusion. You can also change the vector
extrusion type, as well as move, lock, copy, and share an extrusion’s
vanishing point. You may also want to control the facet size used when
CorelDRAW renders and prints illustrations containing extrusions.
Extruded surfaces form a dynamically linked group with the original object
(also called the control object). When you change the shape of the control
object, the extruded surfaces automatically reflect these changes. For
example, if you extrude a polygon, and use the Shape tool to make the
polygon a star, the extruded surfaces change to reflect the control object’s
new shape.
By changing the vector extrusion type, you determine the position of the
extruded surfaces relative to the control object, as well as the position of the
vanishing point.
You can move a vector extrusion’s vanishing point without changing the
extrusion type. You can also lock a vanishing point to the page or to the
control object. When you lock the vanishing point to the page, it remains
fixed in its position relative to the page. When you move the control object,
the vanishing point maintains its position. The vector extrusion is redrawn
based on the control object’s new position.
Further, you can copy and share vanishing points. When you copy a vector
extrusion’s vanishing point to another object, a new vanishing point is
created on top of the existing vanishing point. As a result, both objects
appear to recede toward the same point. The two vanishing points can be
edited independently. When you share a vanishing point, the vector
extrusions all use one vanishing point. Changes to the vanishing point’s
position affect all the extrusions that share that point.
Facet size represents the minimum size of the polygonal surfaces used to
create the extrusions. Each facet consists of a unique color, therefore,
smaller facets create smoother color transitions and larger facets create
blockier color transitions on lighted extrusions.
When you’re editing your drawing, you may want to separate the various
extruded surfaces or decide to clear them completely.

Selecting vector extrusions
You can select the entire vector extrusion, the control object (the original
object), the extruded surfaces, and the beveled surfaces.
You can select the
entire extrusion,
control object
(yellow), extruded
surfaces (red), or
beveled surfaces
(lavender).
To select an entire vector extrusion

2 Click any of the extrusion’s extruded surfaces.
To select a vector extrusion’s control object

2 Click the control object.
To select an extruded surface

2 Hold down CTRL, and click an extruded surface.
To select a beveled surface

2 Hold down CTRL, and click a beveled surface.
You must separate the extrusion before you can select the components.
For more information see, “Separating vector extrusions” on page 475.
Changing the shape of an extrusion’s control object

You can change the shape of a vector extrusion’s control object.

To change the shape of the control object of an extrusion
2 Select the control object.
3 Click and drag the object’s nodes one at a time to change its shape.
When you release the mouse button, the extruded surfaces reshape to
reflect your changes.
You can’t use the Shape tool to edit a control object in all cases.
Perspective extrusions that have been rotated using the rotation tools on
the Property Bar and extrusions that have been altered using the Add
Perspective or Envelope effects can’t be edited. You need to clear the
effect before you shape the control object for these extrusions. For more
information about shaping objects, see “Drawing and shaping objects” on
page 85.
You can use the controls in the Format Text dialog box to format the
extruded text. Double-click the text nodes on the object using the Shape
tool to access the dialog box.
Setting the depth of a vector extrusion

You can adjust the depth of an vector extrusion.
Changing the depth
of a vector extrusion.
To set the depth of a vector extrusion

1 Select the extrusion with the Pick tool.
2 Type a value in the Depth box on the Property Bar.
3 Press ENTER.

Rotating vector extrusions
You can rotate a vector extrusion using precise values.
Rotating a vector
extrusion.
To rotate a vector extrusion

2 Click the Extrude Rotation button on the Property Bar.
3 Type a value in the X-Axis Percentage box to rotate the extrusion along
the x-axis.
4 Type a value in the Y-Axis Percentage box to rotate the extrusion along
the y-axis.
5 Type a value in the Z-Axis Percentage box to rotate the extrusion along
the z-axis.
The Rotation feature does not apply to Front Parallel and Back Parallel
extrusions types.
Changing the extrusion type

You can specify the vector extrusion type to change the vanishing point to
which the extruded surfaces project.
To change an extrusion type

2 Choose an extrusion type from the Extrusion Type list box on the
Property Bar.

The vanishing points for Back Parallel and Front Parallel extrusions are
infinite, therefore the extruded surfaces can never converge.
Moving an extrusion’s vanishing point

You can change the depth of a parallel extrusion and you can control the
perspective of a perspective extrusion by moving the vanishing point.
To move an extrusion’s vanishing point

2 Type horizontal and vertical coordinates (relative to the 0,0 point on the
rulers) in the Vanishing Point Coordinate boxes on the Property Bar.
Locking an extrusion’s vanishing point

You can lock a vector extrusion’s vanishing point to the page or to the control
object.
To lock an extrusion’s vanishing point

1 Using the Pick tool, select an extrusion by clicking an extruded surface.
2 Choose one of the following from the Vanishing Point Properties list box
on the Property Bar:
VP Locked To Object
VP Locked To Page
By default, all new extrusions use the VP Locked To Object setting.
Copying and sharing vanishing points

You can copy a vanishing point to another object or have multiple vector
extrusions share the same vanishing point.

Sharing the vanishing
point of a vector
extrusion.
To copy the vanishing point from one extrusion to another

1 Using the Pick tool, select the extrusion to which you want to copy a
vanishing point.
2 Choose Copy VP From from the Vanishing Point Properties list box on the
Property Bar.
3 Select the extruded object from which you want to copy the vanishing
point.
You can edit the two vanishing points independently.
To have extrusions share one vanishing point

1 Using the Pick tool, select the extrusion with the vanishing point you
want to change.
2 Choose Shared Vanishing Point from the Vanishing Point Properties list
box on the Property Bar.
3 Select the extrusion that has the vanishing point you want shared.
Increasing the printing speed of vector extrusions

You can control the facet size used when CorelDRAW renders and prints
illustrations containing extrusions. You can also save the facet size with your
document.
To increase the printing speed of vector extrusions


3 In the Minimum Extrude Facet Size box, type a value between 0.001
inches and 36 inches (or equivalent) to set the facet size used when
CorelDRAW renders and prints extrusions.
For best results, set the minimum extrude facet size to a value from 0.001
and 0.5 inches. A higher value (0.5 inches) will reduce screen refresh
time. For high-quality output, decrease the facet size when you are ready
to print your illustration.
To save the facet size with your document

2 Enable the Save Facet Size With Document check box.
Separating vector extrusions

You can separate the components of a vector extrusion. By separating the
components you can select and edit them. For more information, see
“Selecting vector extrusions” on page 470.
To separate a vector extrusion

Clearing vector extrusions

You can remove the extruded surfaces from the control object.
To clear a vector extrusion

2 Click Effects, Clear Extrude.
You can also click the Clear Extrude button on the Property Bar.

Filling vector extrusions
You can apply fills to an entire vector extrusion, the extruded surfaces, or to
the beveled surfaces of a vector extrusion. You can apply uniform fills,
fountain fills, two-color and full-color patterns, texture fills, and bitmap
pattern fills to extrusions.
Additionally, you can apply the control object’s fill to the extruded surfaces.
You can cover each surface individually with the fill or drape the fill so it
covers the object like a blanket and doesn’t break the fill’s pattern or texture.
Applying fills to extruded and beveled surfaces

You can apply the control object’s fill to the extruded surfaces. You can drape
the control object’s fill so that it covers the entire extrusion seamlessly. You
can also apply the extrusion’s fill or a different fill to beveled surfaces.
Clockwise from
top-left: using the
object’s fill, draping
the fill, applying a
different fill or the
extrusion’s fill to a
bevel.
To apply a control object’s fill to extruded surfaces

2 Click the Color button on the Property Bar.
3 Enable the Use Object Fill button.
To drape the fill

2 Enable the Draped Fills check box.
To apply an extrusion’s fill to beveled surfaces

1 Follow all of the steps from the “To apply a control object’s fill to extruded
surfaces” procedure.

2 Enable the Use Extrude Fill For Bevel button.
To apply a different fill to beveled surfaces

1 Follow all of the steps from the “To apply a control object’s fill to extruded
2 Disable the Use Extrude Fill For Bevel button.
3 Open the Bevel Color picker, and click a color.
Applying solid fills to extruded and beveled surfaces

You can apply any solid color to an object’s extruded or beveled surfaces
without affecting the color of the control object. You can also use the
extruded surfaces’ fill for beveled objects.
From top-left: e
extrusion with a solid
fill, bevel with the
extrusion’s fill, bevel
with a different solid
fill.
To apply a solid fill color to extruded surfaces

3 Click the Use Solid Color button.
4 Open the color picker, and click a color.
To apply the extrude fill to beveled surfaces

2 Enable the Use Extrude Fill For Bevel button.

To apply a different solid fill to beveled surfaces
1 Follow steps 1 to 3 from the “To apply a solid fill color to extruded
Applying gradient fills to extruded and beveled surfaces

You can apply a gradient fill — a fill that shows a progression between two
colors — to an object’s extruded or beveled surfaces without affecting the
control object. You can also apply a solid fill to an object’s beveled surfaces.
From top-left:
beveled object with a
gradient fill, beveled
surfaces with a
gradient fill and
extruded surfaces
with a solid fill,
beveled and extruded
surfaces with a
gradient fill.
To apply a gradient fill to extruded and beveled surfaces

3 Enable the Use Color Shading button.
4 Open the Solid/Shade From Extrude Color picker, and click the color you
want at the start of the gradient fill’s color progression.
5 Enable the Use Extrude Fill For Bevel button on the Property Bar.
6 Click the Shade To Extrude Color picker, and click the color you want at
the end of the gradient fill’s color progression.
To apply a gradient fill to an object’s beveled surfaces


To apply a solid fill to an object’s bevel surfaces.

1 Follow all of the steps from the “To apply a gradient fill to extruded and
beveled surfaces” procedure.
Lighting vector extrusions

Light sources enhance the three-dimensional effect created with vector
extrusions as well as the effect of the fill you apply. CorelDRAW produces the
lighting effect by creating and applying simulated white light sources. You can
add up to three light sources that you can project toward the extruded object
from different with varying intensity.
You can control the amount of light (also called intensity) originating from the
selected light source. Creating multiple light sources with high intensity
settings, for example, causes extruded surfaces to appear very light in color.
Light sources always strike the control object directly and affect extruded
surfaces to a lesser degree. Therefore, if the control object is partially hidden
from view because it has been rotated, the change in light source direction or
intensity may not be readily apparent.
Applying light sources to and removing them from vector extrusions

You can enhance an extrusion’s effect and fill attributes by applying as many
as three light sources. You can also remove applied light sources.
Applying light to a
vector extrusion.
To apply light sources to a vector extrusion


2 Click the Lighting button on the Property Bar.
3 Enable up to three of the Light buttons.
The lights appear as numbered circles in the Preview window. A Light
button is enabled when the button appears pressed.
4 Drag the numbered circles in the Preview box to position the lights.
To remove a light source from a vector extrusion

2 Disable the Light button (#1, #2, or #3) that corresponds to the light you
want to remove.
A Light button is disabled when the button appears raised.
Adjusting the intensity of a light source

You can darken and brighten the fill colors in a vector extrusion by adjusting
the intensity of the light sources. You can have CorelDRAW combine the
light and dark shades (brightness and saturation) precisely to create a more
realistic extrusion or use a more basic shading process.
To adjust the intensity level of a light source

2 Click the Lighting button on the Property Bar.
3 In the Preview box, click the light (represented by a numbered circle) you
want to adjust.
4 Move the Intensity slider to set the desired level of light intensity.
To make shading appear more realistic

2 Enable the Use Full Color Range check box.
To use a basic shading process

1 Follow steps 1 and 2 from the “To adjust the intensity level of a light
source” procedure.
2 Disable the Use Full Color Range check box.

Creating bitmap extrusions
Applying a bitmap extrusion to an object lets you work with the object in
three dimensions. You can simulate the effect of beveling tools by applying
bevels edges — beveled edges changes the corner shape of the object. You
can specify the angle and the depth of the bevel for the front face of the
object, the back face, or both.
Rendering captures a view of your three-dimensional object and saves it as a
two-dimensional bitmap. If you don’t like the effect, you can remove the
bitmap extrusion.
Applying, rendering, and removing bitmap extrusions

You can apply a bitmap extrusion to an object and render it. If you don’t like
the effect you created, you can remove the bitmap extrusion.
Applying a bitmap
extrusion to text.
To apply a bitmap extrusion

2 Select the object.
3 Click the Bitmap Extrusion Mode button on the Property Bar.
To render a bitmap extrusion

Click outside the bounding box of the bitmap extrusion.
You can change the resolution of a bitmap extrusion. For more

information, see “Changing the rendering resolution of drop shadows” on
page 495.

To remove a bitmap extrusion
1 Select the rendered bitmap extrusion with the Pick tool.
2 Click Edit, Undo Bitmap Extrude Command.
Applying beveled bitmap extrusions

You can apply preset beveled edges to the front face of object, the back face,
or both. You can also specify the height and width of a bevel.
Applying a beveled
bitmap extrusion to
text.
To apply a beveled edge

1 Select the bitmap extrusion with the Pick tool.
2 Click the Front Bevel list box on the Property Bar, and choose a bevel for
the front of the extrusion.
3 Click Back Bevel list box on the Property Bar, and choose a bevel for the
back of the extrusion.
To change the bevel width

3 Type a value in the Bevel Width box.
4 Press ENTER.
To change the bevel height

2 Type a value in the Bevel Height box.
3 Press ENTER.

Editing bitmap extrusions
After you’ve applied a bitmap extrusion to an object, you can select the
rendered object to edit it. You can also change the position of bitmap
extrusions with or without rendering them.
When you apply a bitmap extrusion, a bounding box surrounds the object.
You can use the bounding box to size and stretch the bitmap. Furthermore,
you can rotate and change the depth of bitmap extrusions.
Editing rendered bitmap extrusions

You can make changes to a rendered bitmap extrusion any time.
To select a rendered a bitmap extrusion

Double-click the bitmap extrusion with the Pick tool.
Positioning bitmap extrusions

You can position a bitmap extrusion without rendering it. You can also move a
rendered bitmap extrusion.
To position a bitmap extrusion without rendering it

2 Type a value in the X Object(s) Position box on the Property Bar.
3 Type a value in the Y Object(s) Position box on the Property Bar.
4 Press ENTER.
To position a rendered bitmap extrusion

2 Drag the bitmap extrusion to a new location.
Sizing and stretching bitmap extrusions

You can size bitmap extrusions proportionately or you can stretch bitmap
extrusions. You can also fit the bitmap to the bounding box, if the bounding
box is too large for the extrusion or if the bounding box is limiting the view of
the extrusion.

To size a bitmap extrusion proportionately
2 Drag one of the corner selection handles on the bounding box.
To stretch a bitmap extrusion

2 Drag one of the middle selection handles on the bounding box.
You can also type values in the Object(s) Size boxes on the Property Bar.
To fit a bitmap extrusion to its bounding box

1 Double-click the bitmap extrusion with the Pick tool.
2 Click the Fit To View button on the Property Bar.
Setting the depth of a bitmap extrusion

You can set the depth of a bitmap extrusion.
Changing the depth
of a bitmap
extrusion.
To change the depth of a bitmap extrusion

1 Click the bitmap extrusion with the Pick tool.
2 Type a value in the Extrude Depth box on the Property Bar.
3 Press ENTER.
Rotating bitmap extrusions

You can rotate bitmap extrusions by specifying values or by using rotation
handles.

To rotate a bitmap extrusion using the Property Bar
2 Click the Extrude Rotation button on the Property Bar.
3 Type a value in the X-Axis Percentage box to rotate the extrusion along
the x-axis.
4 Type a value in the Y-Axis Percentage box to rotate the extrusion along
the y-axis.
5 Type a value in the Z-Axis Percentage box to rotate the extrusion along
the z-axis.
6 Press ENTER.
To rotate a bitmap extrusion interactively

1 Double-click the bitmap extrusion with the Pick tool.
2 Double-click the bitmap extrusion to make the rotation handles appear.
3 Drag the rotation handles to rotate the object.
Filling bitmap extrusions

You can change the fill of bitmap extrusions by applying texture fills. Texture
fills are random, fractally generated fills that you can use to give your objects
a natural appearance. Texture fills significantly increase the size of your file
and the time it takes to print. Therefore, you may want to use these fills
sparingly, especially with larger objects.
Adding texture fills to bitmap extrusions

You can apply a texture fill to a bitmap extrusion.
To add a texture fill to a bitmap extrusion

2 Choose a pattern from the Texture list box on the Property Bar.
Lighting bitmap extrusions

You can use lighting to enhance the realism and effects of bitmap extrusions.
The same object rendered using different light can provide strikingly
different results. For example, rendering without light is like taking a
photograph without a flash. Conversely, too much lighting washes out subtle
effects.

From top to bottom:
a bitmap extrusion
with no light, with
Abmbient light, with
Point light.
When you first create a bitmap extrusion, there is no lighting. You can add as
many lights as you want, but as the number of lights increases, so does the
time it takes to render your final illustration. You can choose from several
different types of lights to create the effect you want.
Ambient
Ambient light is uniform. It has no specific origin and casts no shadows. It is
the equivalent of daylight in a real-world scene. Ambient light radiates in
every direction, has no position, and no source of origin.
Point
A Point light is a special object that casts light in all directions.
Applying Ambient light to bitmap extrusions

You can apply Ambient light to a bitmap extrusion. Ambient light is the
equivalent of environmental light.
To apply Ambient light to a bitmap extrusion

2 Click the Ambient button on the Property Bar.
3 Enable the On check box.
4 Click a color, and click OK.
5 Move the Brightness slider left or right to decrease or increase the
intensity of the light.

For deeper shadows and high contrast with lit areas, use a lower Ambient
light value. As you increase the brightness of Ambient light, the intensity
of shadows and other effects generated by other light setting decreases.
This flattens the image. To rely exclusively on the other light setting, set
Ambient light to zero. For example, to create the dramatic effect of a spot
light on a theater stage, you would use no Ambient light.
You can also type a value in the Brightness box.
Applying Point light to a bitmap extrusion

You can apply a Point light to a bitmap extrusion. You can position the light to
project it toward the object from any direction. You can also change the
intensity and color of a Point light. If you don’t like the lighting effect, you
can remove it.
To apply Point light to a bitmap extrusion

2 Click the Point Light button on the Property Bar.
3 Click the Add Light button.
The light source appears in the center of the black-filled circle in the
Preview window.
To position a Point light

1 Follow sets 1 and 2 from the previous procedure.
2 Drag the light source from the center of the black circle to another area of
the Preview window.
To change the intensity of the light source

1 Follow steps 1 and 2 from the “To apply Point light to a bitmap extrusion”
procedure.
2 Click the Point light in the Preview window.
3 Move the Brightness slider to the left or right to decrease or increase the
intensity.

You can also type a value in the Brightness box.
To change the color of a Point light

procedure.
2 Click the Point light in the Preview window.
3 Click the Color button.
4 Click a color, and click OK.
To remove a Point light

procedure.
2 Click the Point light in the in the Preview window.
3 Click the Remove Light button.
Working with drop shadows

By adding drop shadows, you create the illusion of depth between objects.
You can add drop shadows to most objects (or groups of objects) you create
using CorelDRAW, including Artistic text, Paragraph text, and bitmap images.
However, you cannot add drop shadows to link groups such as blended
objects, contoured objects, beveled objects, extruded objects, or other drop
shadows.
Additionally, you can edit drop shadows to customize their effects. For
example, you can change the color of a drop shadow.
Creating drop shadows

When you apply a drop shadow to an object, you create a linked group. The
object to which you applied the drop shadow is the control object. Changes
you make to the control object are reflected in the drop shadow. For example,
if you change the size of the of the control object, the size drop shadow
changes to reflect the control object’s size. However, you can separate the
drop shadow, which is a bitmap, and the control object to make them separate
objects.
By copying or cloning, you can apply drop shadows to other objects. Copying
a drop shadow transfers the drop shadow’s attributes to another selected
object. Cloning also transfers a drop shadow’s attributes to a selected object;

however, changes made to the original drop shadow (also called the master)
are applied to the clone. Additionally, you can’t edit the cloned drop shadow’s
settings; any changes must be made to the master drop shadow.
If you don’t like a drop shadow effect that you’ve added, you can remove it
from the object. You can also remove the object and keep the drop shadow.
Adding and removing a drop shadow

You can add a drop shadow to most objects you create in CorelDRAW. You can
also remove a drop shadow from an object or remove the object and keep the
drop shadow.
Adding a drop
shadow to an object.
To add a drop shadow to an object

1 Open the Interactive Tools flyout, and click the Interactive Drop Shadow
tool.
2 Select the object to which you want to apply a drop shadow, and do one of
the following:
Position the cursor over the center of the object to create a Flat
perspective
Position the cursor over the right side of the object to create a Right
perspective
Position the cursor over the left side of the object to create a Left
perspective
Position the cursor over the bottom of the object to create a Bottom
perspective
3 Drag the end fill handle to position the drop shadow.

For a list of objects to which you can’t apply a drop shadow, see “Working
with drop shadows” on page 488.
An object must have a fill before you apply the drop shadow for the drop
shadow to be visible.
By pressing ESC when you’re dragging the Interactive Drop Shadow tool,
To remove a drop shadow from an object

1 Click the drop shadow with the Pick tool.
Clicking the drop shadow selects both the drop shadow and its parent
object. If you click the object, the drop shadow won’t be included in your
selection.
2 Click Effects, Clear Drop Shadow.
You can also remove a drop shadow from an object using the Clear Drop
Shadow button on the Property Bar.
To remove an object but not its drop shadow

1 Select an object’s drop shadow with the Pick tool.
Copying and cloning a drop shadow

You can transfer a drop shadow’s attributes to other objects by copying and
cloning.
To copy a drop shadow from one object to another

1 Using the Pick tool, select the object to which you want to copy a drop
shadow.

2 Click Effects, Copy Effect, Drop Shadow From.
3 Using the horizontal pointer that appears, select the drop shadow that you
want to copy.
You can also use the Copy Drop Shadow Properties button on the
Property Bar.
To clone a drop shadow from one object to another

1 Using the Pick tool, select the object to which you want to clone a drop
shadow.
2 Click Effects, Clone Effect, Drop Shadow From.
3 Using the horizontal pointer that appears, select the drop shadow that you
want to clone.
If you modify the original drop shadow, the clone drop shadow will also
change. You can’t edit the cloned drop shadow’s settings; you must change
the master drop shadow.
Editing drop shadows

By editing a drop shadow, you can customize the effect. You can adjust the
horizontal and vertical distance between control objects and drop shadows.
You can change the color of drop shadows, make them fade, and change the
level of opacity. You can also change the feathering properties and the
perspective of drop shadows. Furthermore, drop shadows are bitmaps that
are rendered. You can change the rendering resolution.
Changing the offset of drop shadows

You can change the distance between a drop shadow and its control object.
To change the amount a drop shadow is offset from a control

object
tool.
2 Select the drop shadow.

3 On the Property Bar, type a value in the X box to change the horizontal
offset.
4 On the Property Bar, type a value in the Y box to change the vertical
offset.
You can only change the offset for drop shadows if the perspective type is
Flat. For information about changing the perspective type, see “Changing
the perspective of drop shadows” on page 494.
Changing the color of a drop shadow

You can change the color of a drop shadow.
Changing the color of
the drop shadow.
To change the color of a drop shadow

tool.
3 Click the Drop Shadow Color picker on the Property Bar, and click a color.
You can also change the drop shadow’s color using the Interactive Drop
Shadow tool by dragging a color from the Color Palette to the end fill
handle.
Adjusting the opacity of a drop shadow

You can adjust the opacity of a drop shadow.

To adjust the opacity of a drop shadow interactively
tool.
2 Select the object whose drop shadow opacity you want to adjust.
3 Move the slider to adjust the opacity of the drop shadow.
Moving the slider towards the drop shadow’s anchor decreases the drop
shadow’s intensity. Moving the slider towards the end fill handle increases
the drop shadow’s intensity.
To adjust the opacity of a drop shadow using the Property Bar

tool.
2 Select the object whose drop shadow opacity you want to adjust.
3 Type a value in the Drop Shadow Opacity box on the Property Bar.
You can type values between 0 and 100. Low values create a less opaque
drop shadow, while high values create a more opaque drop shadow.
Modifying the feathering properties of a drop shadow

You can change a drop shadow’s feathering edge style, the feathering
direction, as well as the level of feathering.
To change the feathering edge style of a drop shadow

tool.
3 Choose an edge style from the Drop Shadow Feathering Edges list box on
the Property Bar.
You must choose a feathering direction other than Average to change the
edge style type.
To change the feathering direction

2 Choose a feathering direction from the Drop Shadow Direction list box on
the Property Bar.

To change the feathering intensity
1 Follow steps 1 and 2 from the “To change the feathering edge style of a
drop shadow” procedure.
2 Type the value you want in the Drop Shadow Feathering box on the
Property Bar.
You can type values between 0 and 100. Low values create a more subtle
feathering effect, while high values create a more pronounced effect.
Changing the perspective of drop shadows

You can change the perspective of a drop shadow. The perspective type and
drop shadow angle work in tandem.
Changing the
perspective of the
drop shadow.
To change the perspective type of a drop shadow

tool.
3 On the Property Bar, choose a perspective type from the Drop Shadow
Perspective Type list box.
You can also change the perspective of a drop shadow by dragging the
start handle using the Interactive Drop Shadow tool.
To change the angle of a drop shadow

2 Type a value in the Drop Shadow Angle box on the Property Bar.

You can also change the angle of the drop shadow by dragging the end
handle with the Interactive Drop Shadow tool.
Fading the drop shadow

You can change the fade level of a drop shadow.
To fade a drop shadow

tool.
3 Move the Drop Shadow Fade slider on the Property Bar.
You can’t change the fade level of a drop shadow which has a Flat
perspective.
Moving the slider to the left makes the drop shadow more faint. Moving
the slider to the right makes the drop shadow’s color more solid.
Changing the rendering resolution of drop shadows

You can change the resolution by which bitmaps are rendered.
To change the rendering resolution of a drop shadow

1 Click Tool, Options.
2 In the list of categories, click Document, General.
3 Type a value in the Resolution box.
Working with transparencies

When you apply a transparency to an object, it appears as though you’re
applying a fill. However, a transparency is a grayscale bitmap, which acts as a
grayscale mask, that you apply on top of the object’s current fill. Since a
transparency is applied on top of an object, the object’s color shows through
the transparency. You can use fountain, uniform, texture, and pattern fill
types to create your transparency.

Additionally, you can edit transparencies. For example, you can change the fill
type or change the level of opacity which is determined by the grayscale
level you specify.
Creating transparencies
When you apply a transparency to an object, you’re creating a grayscale mask
using the uniform, fountain, texture, or pattern fill type, which is applied on
top of the object. By positioning a transparent object on top of another object,
you simulate a lens.
A Uniform transparency is filled with a solid color. The color is consistent
throughout the object to which it’s applied.
A Fountain transparency flows smoothly from one color to another. The
transparency can flow in a straight line across the object (linear), in
concentric circles from the center of the object out (radial), in rays from the
center of the object out (conical), or in concentric squares from the center of
the object out (square).
A Texture transparency is a random, fractally generated transparency that
you can use to give your objects a natural appearance. Transparency handles
let you control the block of fractal texture that controls the transparency of
the object.
A Pattern transparency is a pregenerated, symmetrical image that is repeated
over and over, making it extremely useful for creating tiles. You can fill an
object completely with one image, but you would more often use a series of
repeated images to form a tiled fill. The effect is similar to applying wallpaper
to a wall.
Applying uniform transparencies

You can apply a solid color transparency to an object.
An object with a
uniform transparency
overlaps another
object.

To apply a uniform transparency
1 Select the object with the Interactive Transparency tool.
2 Choose Uniform from the Transparency Type list box on the Property Bar.
3 Click a color from the Color Palette.
You can edit the transparency by clicking the Edit Transparency button on
the Property Bar. This opens the Uniform Transparency dialog box which
is similar to the Uniform Fill dialog box. For more information, see
“Applying a uniform fill” on page 212.
By pressing ESC when you’re dragging the Interactive Transparency tool,
You can remove the transparency by clicking the Clear Transparency
Applying fountain transparencies

You can apply a fountain transparency to an object.
An object with a
fountain
transparency
overlaps another
object.
To apply a fountain transparency

2 Choose Fountain from the Transparency Type list box on the Property Bar.
3 Enable one of the following buttons that represents the type of fountain
transparency you want to apply:
linear
radial
conical

square
4 Click the object where you want the transparency to start, and drag to
where you want the transparency to end.
the Property Bar. This opens the Fountain Transparency dialog box which
is similar to the Fountain Fill dialog box. For more information, see
“Customizing fountain fills” on page 219.
Applying textured transparencies

You can apply a textured transparency to an object.
An object with a
textured
transparency
overlaps another
object.
To apply a textured transparency

2 Choose Texture from the Transparency Type list box on the Property Bar.
3 Choose a sample containing textures from the Texture Library list box on
the Property Bar.
4 Click the First Transparency Picker on the Property Bar and click a
texture.


Texture transparencies add significantly to the size of your file and the
time it takes to print. You may want to use these transparencies sparingly,
especially with large objects with texture transparencies.
Three transparency handles let you control the block of fractal texture
that controls the transparency of the object. One handle moves the entire
fractal and the other two scale, skew and rotate it. For more information
see, “Customizing pattern and texture fills” on page 235.
the Property Bar. This opens the Texture Transparency dialog box which
is similar to the Texture Fill dialog box. For more information, see
“Customizing pattern and texture fills” on page 235.
Applying pattern transparencies

You can apply a pattern transparency to an object.
An object with a
pattern transparency
overlaps another
object.
To apply a pattern transparency

2 Choose Pattern from the Transparency Type list box on the Property Bar.
Two-color Bitmap Pattern Tranparency
Full-color Pattern Transparency
Bitmap Pattern Transparency
4 Click the First Transparency Picker on the Property Bar and click a
pattern.

You can import bitmaps or vector graphics to use as pattern
transparencies, and you can create simple two-color bitmap pattern
transparencies.
the Property Bar. This opens the Pattern Transparency dialog box which is
similar to the Pattern Fill dialog box. For more information, see
“Customizing pattern and texture fills” on page 235.
Copying transparencies
You can copy a transparency to another object.
To copy a transparency
transparency.
2 Click Effects, Copy, Lens From.
3 Using the horizontal pointer that appears, select the object from which
you want to copy the transparency.
The object’s color attributes are not copied.
You can also use the Copy Transparency Properties button on the
Property Bar.
Editing transparencies
After you’ve created a transparent object, you may want to edit its attributes.
By adjusting the grayscale level of the transparency, you can change its
opacity. You can freeze the contents of a transparency to create a bitmap.
Once frozen, the contents of the object no longer interact with other objects
on the screen. For example, when you move the frozen transparency, its
contents doesn’t change.

By applying merge modes, you can determine how the color of a
transparency is combined with the color of objects that appear behind the
transparency. Merge modes are available for fountain, pattern, and texture
transparencies.
You can change the resolution by which transparencies are rendered. For
more information, see “Changing the rendering resolution of drop
shadows” on page 495.
Adjusting the opacity of a transparency

You can adjust the opacity of a transparency.
To adjust the opacity of a uniform transparency

1 Select the uniform transparency with Interactive Transparency tool.
2 Move the Starting Transparency slider on the Property Bar.
To adjust the opacity of a fountain transparency

1 Select the fountain transparency with Interactive Transparency tool.
2 Move the Transparency Midpoint slider on the Property Bar.
To adjust the opacity of a textured or pattern transparency

1 Select the textured or pattern transparency with Interactive Transparency
tool.
2 Move the Starting Transparency slider on the Property Bar to change the
opacity of the starting color.
3 Move the Ending Transparency slider on the Property Bar to change the
opacity of the ending color.
Lower values (less than 20) produce a more opaque effect. Higher values
(over 80) produce a more transparent effect.
You can also type values in the Starting Transparency and Ending
Transparency boxes on the Property Bar.
Freezing a transparency
You can fix the contents of a transparency by freezing it.

Freezing a
transparency lets you
move an object
without changing its
contents.
To freeze a transparency
2 Click the Freeze button on the Property Bar.
Applying merge modes to transparencies

You can apply a merge mode to a transparency to determine how the color of
a transparency is combined with the color of objects that appear behind the
transparency.
To apply merge modes

1 Using the Interactive Transparency tool, click the fountain, textured, or
pattern transparency.
2 Choose one of the following merge modes from the Transparency
Operation list box on the Property Bar.
Normal — applies the transparency color on top of the base color
Add — adds the values of the transparency color and the base color
Subtract — adds the values of the transparency color and the base
color together, then subtracts 255
Difference — subtracts the transparency color from the base color and
multiplies by 255. If the transparency color value is 0, the result will
always be 255
Multiply — multiplies the base color by the transparency color, then
divides by 255. This has a darkening effect unless you are applying
color to white. Multiplying black with any color results in black.
Multiplying white with any color leaves the color unchanged
Divide — divides the base color by the transparency color, or vice
versa, depending on which color has the higher value

If Lighter — replaces any base pixels that are a darker color with the
transparency color. Base pixels that are lighter than the transparency
color are not affected
If Darker — replaces any base pixels that are a lighter color with the
transparency color. Base pixels that are darker than the transparency
color are not affected
Texturize — converts the transparency color to grayscale, then
multiplies the grayscale value by the base color
Hue — uses the hue of the transparency color as well as the saturation
and lightness of the base color. If you are adding color to a grayscale
image, there will be no change because the colors are desaturated
Saturation — uses the lightness and hue of the base color and the
saturation of the transparency color
Lightness — uses the hue and saturation of the base color and the
lightness of the transparency color
Invert — uses the transparency color’s complementary color. If a
transparency color value is 127, there will be no change because the
color value falls in the center of the Color Wheel
Logical AND — converts the transparency and base colors to binary
values, then applies the Boolean algebraic formula AND to these
values
Logical OR — converts the transparency and base colors to binary
values, then applies the Boolean algebraic formula OR to these values
Logical XOR — converts the transparency and base colors to binary
values, then applies the Boolean algebraic formula XOR to these values
Red — applies the transparency color to the red channel of RGB
images
Green — applies the transparency color to the green channel of RGB
images
Blue — applies the transparency color to the blue channel of RGB
images
Contouring Objects
When you apply contour lines to an object, you add a series of concentric
lines or “steps” that radiate inside or outside of the object’s borders. You
create an effect like that created by contour lines on a topographical map. You
can apply contours to any object you create using CorelDRAW, including
shapes, lines, and curves. In addition, you’ll find that you can create an array
of interesting effects by applying contours to Artistic text.

Once you’ve created a contoured object you like, you can copy or clone its
attributes to another object. When you copy a contour, the object to which
you copied the contour takes on all contour-related settings of the original
object, however the outline and fill attributes remain unaffected. The two
objects have no connection and can be edited independently.
Creating contoured objects

When you add contour lines to an object, you create lines that progress to the
center, to the inside, or to the outside of an object. You can specify the
number of evenly spaced lines contour lines that are added to the object, as
well as the distance between these lines. However, when you’re working
with contours that progress to the center or to the inside of an object, the
number of steps you set is limited by the offset and the size of the object. For
example, if you set an offset value of 0.1 and a steps value of 3, CorelDRAW
will add three contour lines spaced 0.1 inches apart inside the original object.
If the object is too small to accommodate your settings, CorelDRAW inserts
the maximum number of steps that fit between the object’s outline and
center.
You can also create a contour by copying or cloning a contoured object’s
settings to another object. By copying a contour, you transfer all
contour-related settings to the other object; its outline and fill attributes
remain unaffected. The two objects have no connection and can be edited
independently.
When you clone a contour, you transfer all contour-related settings; its
outline and fill attributes remain unaffected. However, changes made to the
original contour (also called the master) are applied to the clone. In addition,
you can’t edit the clone’s contour settings; any changes must be made to the
master object.
Contouring to the center of an object

You can add contour lines that progress to the center of the selected object.
Applying a contour
to the center of an
object.

To contour to the center of an object
2 Open the Interactive Tools flyout, and click the Interactive Contour tool.
3 Drag the start handle to the center of the object.
When you can’t drag the handle any further, you’ve reached the center of
the object.
4 Move the slider to change the number of contour steps.
Use the Contour Offset box on the Property Bar to specify the distance
between contour lines. This automatically adjusts the number of contour
steps.
You can change a contour to a center contour by selecting the contour and
clicking the To Center button on the Property Bar.
Contouring to the inside of an object

You can add evenly spaced contour lines inside the selected object.
Applying a contour
to the inside of an
object.
To contour inside an object

3 Drag the start handle towards the center of the object.
The distance you drag the start handle determines the contour’s final
step.

The slider may disappear if there isn’t much distance between the
concentric shapes. You can use the Zoom tool to magnify the contoured
object and make adjustments.
By pressing ESC when you’re dragging the Interactive Contour tool, you
You can type a value in the Contour Steps box on the Property Bar to
change the number of concentric lines in a contour.
You can type in the Contour Offset box on the Property Bar to change the
distance between concentric lines.
You can change a contour to an inside contour by selecting the contour
and clicking the Inside button on the Property Bar.
Contouring to the outside of an object

You can add contour lines outside the selected object.
Applying a contour
to the outside of an
object.
To contour outside of an object

3 Drag the start handle away from the object.
The distance you drag the start handle determines the contour’s final
step.
By pressing ESC when you’re dragging the Interactive Contour tool, you

You can type a value in the Contour Steps box on the Property Bar to
change the number of concentric lines in a contour.
You can type in the Contour Offset box on the Property Bar to change the
distance between concentric lines.
You can change a contour to an outside contour by selecting the contour
and clicking the Outside button on the Property Bar.
Copying and cloning contours

You can transfer an object’s contour attributes by copying or cloning it.
To copy a contour
contour.
2 Click Effects, Copy Effect, Contour From.
3 Using the horizontal pointer that appears, select the contour you want to
copy.
You can also use the Copy Contour Properties button on the Property Bar.
To clone a contour
1 Using the Pick tool, select the object to which you want to clone the
contour.
2 Click Effects, Clone Effect, Contour From.
3 Using the horizontal pointer that appears, select the contour you want to
clone.
Editing contoured objects

When you’re working with a contoured object, you can change the fill and
outline colors assigned to the concentric objects. You can also change the
progression of colors between the original object’s fill and outline colors and
the final contour line’s fill and outline colors. The color progression can
follow a straight, clockwise, or counterclockwise path through the color
spectrum.
When you apply contour lines to an object, the object becomes attached to
these lines. In this state, all changes you make to the original object (e.g.,
shaping it) also affect the contour lines. By separating the original object

from its contour lines, you can then make changes to the original object
without altering the contour lines.
After you separate a contoured object, you are left with two units: the
original object and its contour lines group. You can further separate the
contour lines into a series of objects and edit them individually.
Setting color progressions in a contoured object

You can change both the outline and fill colors of a contoured object. You can
also set the color progression of the outline and fill colors of a contoured
object. When you apply a contour to an object with a fountain fill, you can
change the end fountain fill color, which is applied to the last concentric
shape.
To set the outline color in a contoured object

2 Select the contoured object.
3 Click the Outline Color picker on the Property Bar, and click the color you
want at the end of the outline progression.
To set the fill color in a contoured object

2 Click the Fill Color picker on the Property Bar, and click the color you
want at the end of the fill progression.
If the original object has a fountain fill, a second color picker appears. Use
this control to have a fountain fill at the end of the fill progression.
You can change the outline and fill colors of the original object just as you
would with any other object you create using CorelDRAW. See “Filling
Objects” on page 211 or “Outlining objects” on page 246.
You can change the color of the last concentric shape using the Interactive
Contour tool by dragging a color from the Color Palette to the end fill
handle.
To specify how the outline and fill colors progress through the
color spectrum
1 Follow steps 1 and 2 from the “To set the outline color in a contoured
object” procedure.

Linear Contour Colors
Clockwise Contour Colors
Counterclockwise Contour Colors
To change the end fountain fill color applied to the last

concentric shape
2 Select the contoured object with a fountain fill.
3 Click the End Fountain Fill Color picker on the Property Bar, and click a
color.
Separating an object from its contour

You can separate an object from its contour lines. You can also ungroup the
contour lines to make a series of objects.
To separate an object from its contour lines

1 Select a contoured object with the Pick tool.
The contoured object is now two units: the original object and the group of
contour lines.
To ungroup the contour lines

2 Select the contour lines with the Pick tool.
You can also ungroup contour lines by clicking the Ungroup button on the
Property Bar.
Using lenses
When you apply a lens to an object, you change the way you perceive the
objects behind it. You can choose amongst several types of lenses, each
producing distinctive results. These results range from color alteration (as
produced by heat map, inverting, and brightening lenses, for example) to

distortion (as produced by magnifying and fish eye lenses). In each case, the
lens changes the way you perceive the objects behind it, not the actual
properties and attributes of those objects.
After you create a lens object, you can edit it to modify how you perceive the
objects behind it.
Creating lenses
You can apply lenses to any closed-path object you create using CorelDRAW.
For example, you can apply lenses to rectangles or objects you draw with the
Freehand tool and Natural Media tools. You can also apply lenses to
open-ended lines and curves, such as Paragraph text and Artistic text.
Additionally, you can create lenses using objects imported from other
applications, such as bitmaps. Once you create a lens you like, you can copy it
to other objects in your drawing.
You can choose from the following lens types: Transparency, Magnify,
Brighten, Invert, Color Limit, Color Add, Tinted Grayscale, Heat Map,
Custom Color Map, Wireframe, and Fish Eye.
Transparency lens
When you apply a Transparency lens to an object, the object takes on the
appearance of a piece of tinted film or glass. A Transparency lens can be any
color. When you place the lens over other objects, these objects take on the
lens tint. You can set the lens’ level of transparency.
Magnify lens
A Magnify lens creates an effect similar to that produced by a magnifying
glass. The Magnify lens overrides the original object’s fill (if any), so that the
object appears transparent. Objects beneath the lens appear magnified by the
amount you specify.
Brighten lens
A Brighten lens adds brightness or darkness to the objects underneath the
lens. You can set the rate of brightness or darkness created by the lens.
Invert lens
An Invert lens causes all colors underneath it to appear as their
complementary CMYK colors. Complementary colors are colors that appear
opposite one another on the Color Wheel. For example, when an Invert lens
is applied to a photo bitmap, the result simulates a photographic negative.

Color Limit lens
A Color Limit lens works much like a color filter lens on a camera, allowing
only black and the lens color itself to show through. White and light colors in
objects beneath the lens are converted to the lens color. For example, if you
place a green Color Limit lens over a bitmap, all colors except green and
black are filtered out within the lens area.
Color Add lens

The Color Add lens simulates an additive light model. Imagine shining three
spotlights — one red, one blue, and one green — on a black background.
Where the three spotlights combine, the result is white light. The
intermediate colors are magenta, cyan, and yellow. When you create a Color
Add lens, the colors of the objects beneath the lens are added to the color of
the lens as if you were mixing colors of light.
You can specify a rate to control the extent of color addition. You can also
choose the color you want to add to the lens.
Tinted Grayscale lens

The Tinted Grayscale lens changes the colors of objects underneath it to
their grayscale equivalents. The lens color becomes the darkest color in any
object under the lens. All other colors in the object become lighter shades of
the lens’ color. You’ll find Tinted Grayscale lenses particularly effective for
creating sepia-tone effects. For example, if you place a brown grayscale lens
over a color photograph, the photograph takes on a sepia-tone look. You can
also turn a color photograph into a black-and-white photograph by placing a
black grayscale lens over the photograph.
Heat Map lens

The Heat Map lens creates the effect of an infrared image. This lens uses a
limited Color Palette of white, yellow, orange, red, blue, violet, and cyan to
illustrate the “heat” levels of colors in objects underneath the lens. By
adjusting the palette, you control which colors are “hot” and which colors are
“cool”. Hot colors beneath the lens appear as red or orange, while cool colors
appear as violet or cyan.
Custom Color Map lens

The Custom Color Map lens changes all the colors of objects behind it to a
color range between any two colors you select. In addition to defining the
range’s start and end colors, you choose the progression between the two
colors. The progression can follow a direct, forward, or reverse route through

the color spectrum. Areas of the lens that do not cover other objects are
filled with the color at the end of the color map.
Wireframe lens
Objects behind the Wireframe lens display with the outline or fill color you
choose. For example, if you set red for the outline and blue for the fill, all
objects (or parts of objects) behind the lens appear to have red outlines and
blue fills. Objects with no fill remain unchanged when viewed through the
lens.
Fish Eye lens

The Fish Eye lens distorts and either magnifies or shrinks the objects behind
it, depending on the percentage value you specify.
When you apply a lens fill to an object, the object’s fill properties are lost.
You cannot apply lenses to objects that already have extrude, contour, or
blend effects applied to them. If you apply a lens to a group, the lens
applies separately to each of the group’s component objects (as long as
they fit the requirements above).
Creating a Transparency lens

You can apply a Transparency lens to an object. The lens object takes on the
appearance of a piece of tinted film or glass.
Transparency lenses
apply a color tint to
objects behind them.
To create a Transparency lens

2 Click Effects, Lens.

3 Choose Transparency from the list box in the Lens Docker window.
4 Type a percentage value from 0 to 100 in the Rate box to specify the rate
of transparency.
As you increase the value, the object becomes more transparent. At
100%, the lens fill disappears.
Creating a Magnify lens

You can apply a Magnification lens to an object. The lens object magnifies
objects underneath it.
Magnify lenses
enlarge areas of
objects behind them.
To create a Magnify lens

3 Choose Magnify from the list box in the Lens Docker window.
4 Type a value from 0.1 to 100.0 in the Amount box to indicate the amount
of magnification you want.
Creating a Brighten lens

You can apply a Brighten lens to an object. The lens object brightens or
darkens objects underneath it.

Brighten lenses add
brightness or
darkness to any
object or image
behind them.
To create a Brighten lens

3 Choose Brighten from the list box in the Lens Docker window.
4 Type a percentage value from -100 to 100 in the Rate box.
Values between 0 and 100% increase the level of brightness. Values
between 0 and -100% increase the level of darkness.
You’ll find the Brighten lens particularly effective for applying brightness
or darkness to a bitmap image.
Creating an Invert lens

You can apply an Invert lens to an object. The lens object makes all color
behind it appear as their complementary CMYK colors.
Invert lenses display
colors as their
complementary CMYK
colors.

To create an Invert lens
3 Choose Invert from the list box in the Lens Docker window.
Creating a Color Limit lens

You can apply a Color Limit lens to an object. The lens object filters out all
colors except black and the lens color you specify.
Color Limit lenses
filter out all colors
except the lens color
and black.
To create a Color Limit lens

3 Choose Color Limit from the list box in the Lens Docker window.
4 Type a percentage value from 0 to 100 in the Rate box to indicate the filter
strength you want.
Creating a Color Add lens

You can apply a Color Add lens to an object. The color of the object behind
the lens object is added to the lens color.

Color Add lenses add
the lens color to the
colors of objects
behind them.
To create a Color Add lens

3 Choose Color Add from the list box in the Lens Docker window.
4 Type a percentage value from 0 to 100 in the Rate box to indicate the rate
of color addition.
A rate of 0% results in no color addition and the lens appears to have no
fill. A rate of 100% represents maximum color addition.
Since white light contains all colors of the spectrum, creating a colored
lens and placing it over a white object or a white page turns the lens
white. Adding a color to white light produces white light. To see the
effects, the background or object beneath the lens cannot be white.
Creating a Tinted Grayscale lens

You can apply a Tinted Grayscale lens to an object. The lens object changes
the colors of objects behind it to their grayscale equivalents.

Tinted Grayscale
lenses convert colors
behind them to their
grayscale equivalents.
To create a Tinted Grayscale lens

3 Choose Tinted Grayscale from the list box in the Lens Docker window.
Colors under the lens are mapped from the lens color to an equivalent
tonal color of the lens. For example, a blue lens over a light-colored object
creates light blue. Accordingly, the same lens over a dark colored object
creates dark blue.
Creating a Heat Map lens

You can apply a Heat Map lens to an object. The lens object uses a specified
color palette to illustrate the “heat” levels of objects’ colors behind it.
Heat Map lenses let
you map hot and
cool colors to
simulate the
appearance of an
infrared image.

To create a Heat Map lens
3 Choose Heat Map from the list box in the Lens Docker.
4 Type a percentage value from 0 to 100 in the Palette Rotation box to
indicate the amount you want to rotate the Heat Map palette.
A value of 0 or 100 causes cool colors under the lens to change to white
and cyan. A value of 50 causes cool colors to appear as red tones.
Creating a Custom Color Map lens

You can apply a Custom Color Map lens to an object. The lens objects applies
a specified color range to the objects behind it.
From top-left
clockwise: Use the
Direct Palette,
Forward Rainbow,
and Reverse Rainbow
settings to create
different effects with
a Custom Color Map
lens.
To create a Custom Color Map lens

3 Choose Custom Color Map from the list box in the Lens Docker window.
4 From the second list box, choose the type of Custom Color Map lens you
want.
You can choose a Direct Palette, Reverse Rainbow, or Forward Rainbow
lens.

5 Open the From color picker, and click the color you want at the start of the
color map.
6 Open the To color picker, and click the color you want at the end of the
color map.
You can switch the From and To colors by clicking the Switch button.
Creating a Wireframe lens

You can apply a Wireframe lens to an object. The lens object displays the
objects underneath it with the fill and outline you specify.
Wireframe lenses
display objects
behind them using
specific fill and
outline colors.
To create a Wireframe lens

3 Choose Wireframe from the list box in the Lens Docker window.
4 Enable the Outline check box.
5 Click the Outline color picker, and click the outline color you want.
6 Enable the Fill check box.
7 Click the Fill color picker, and click the fill color you want.
To maintain the outline or fill of the object

2 Disable one of the following check boxes:

Outline — maintains the object’s outline
Fill — maintains the object’s fill
3 Enable the Remove Face check box.
Creating a Fish Eye lens

You can apply a Fish Eye lens to an object. The lens object distorts and either
magnifies or shrinks objects underneath it.
Fish Eye lenses
distort the size and
shape of objects
behind them.
To create a Fish Eye lens

3 Choose Fish Eye from the list box in the Lens Docker window.
4 Type a value from -1000 to 1000 in the Rate box to indicate the percentage
by which you want the lens to distort the underlying objects.
Positive values distort and magnify objects by increasing amounts as their
rate settings progress from 1 to 1000. Negative values shrink and distort
objects by increasing amounts as their rate settings progress from -1 to
-1000. A rate of 0 results in no change to the appearance of objects behind
the lens.
Copying lenses
You can copy lens attributes to another object. The lens type and any
rotation, rate, or magnification settings are copied to the selected object.
To copy a lens from one object to another

1 Using the Pick tool, select the object to which you want to copy the lens.

2 Click Effects, Copy Effect, Lens From.
3 Using the horizontal pointer that appears, select the object from which
you want to copy the lens.
Editing lenses
When you’re working with a lens, you may want to change how it perceives
objects beneath it. You can change the viewpoint of a lens, determine if it
displays white space, and freeze its contents.
By changing the viewpoint of a lens, you can display any portion of a drawing
through the lens without moving it. The viewpoint represents the center
point of what is being viewed through the lens. This point is indicated by an
“X” in the Drawing Window. You can position the lens anywhere in the
drawing, but it always shows the area around its viewpoint marker. For
example, you can use the viewpoint marker on a Magnify lens to enlarge part
of a map without obscuring any part of the map.
You can have CorelDRAW display a lens only where it overlaps other objects.
As a result, the lens effect is not seen where the lens object covers blank
space in the Drawing Window.
You can fix the contents of a lens by freezing it. You can then move the lens
without changing what’s displayed through the lens. Changes you make to
the objects seen through the lens have no effect on the lens contents.
Moving a lens’ viewpoint

You can display any portion of a drawing through a lens without having to
move the lens itself.
Move the viewpoint
(X) to show a
different part of the
drawing without
moving the lens.
To move a lens’ viewpoint

1 Select the lens with the Pick tool.

3 Enable the Viewpoint check box in the Lens Docker window.
At this point, the Edit button appears to the right of the check box.
4 Click the Edit button to display the viewpoint marker (represented by an
“X”) in the Drawing Window.
5 Drag the viewpoint marker to the desired position.
6 Click the End button.
Displaying a lens only where it covers other objects

You can show a lens only where it covers other objects.
To display a lens only where it covers other objects

3 Enable the Remove Face check box.
The Remove Face option is available for color-altering lenses only and
isn’t available for Fish Eye and Magnify lenses.
You can make a lens invisible by removing the outline from the lens
object. For more information, see “Outlining objects” on page 246.
Freezing a lens’ current view

You can fix the contents of a lens by freezing it. You can remove the freeze
from a lens.
To freeze a lens’s current view

3 Enable the Frozen check box.

To undo the Frozen effect
2 Disable the Frozen check box.
Frozen lenses redraw more quickly than non-frozen lenses.
Adding perspective to objects

Adding perspective to objects creates the illusion of distance and depth.
Although objects are two-dimensional, applying one and two-point
perspective adds another dimension to your drawing. By creating one-point
perspective, you can make an object look like it’s receding from view in one
direction. By creating two-point perspective, on the other hand, you can
make the object look like it’s receding from view in two directions.
After you add perspective to an object, you can further edit it to create the
illusion you want.
Creating perspective
Perspective is created by shortening one or two sides of an object. For
one-point perspective, you shorten one side of an object so that it appears to
recede in one direction. By shortening two sides, you get two-point
perspective in which the object appears to recede in two directions.
Once you add perspective to an object, you drag the nodes at the corners of
the object’s grid box to simulate the effect of one-point or two-point
perspective.
As you drag a node, you’ll notice an “X” (or two, if you’re working with
two-point perspective) that moves as the node moves. This symbol indicates
the vanishing point. If you drag the node so that it meets another node or the
vanishing point marker, the grid box reverts back to its original shape. You
can also make adjustments to the perspective by dragging the vanishing point
marker.
When you’ve created a perspective you like, you can copy and apply it to one
or more objects in your drawing. You can copy perspective to any object
you’ve created using CorelDRAW, except Paragraph text.
Removing the perspective effect from objects restores the object to its
original state.

You can add perspective to any object (or group of objects) you create
using CorelDRAW, including Artistic text. However, you can’t apply
perspective to Paragraph text or bitmap images.
Applying one-point and two-point perspective to objects

You can create a three-dimensional effect on a two-dimensional page by
applying perspective to objects.
Graphics 2 and 3
show one-point and
two-point perspective
applied to the object
in graphic 1.
To add a one-point perspective effect to an object

2 Click Effects, Add Perspective.
A grid box with four nodes (at the corners) appears around the object. The
Shape tool is now selected.
3 Hold down CTRL, and drag one of the nodes horizontally or vertically.
By holding down CTRL, you constrain the node’s motion to its horizontal
or vertical axes to create a one-point perspective.
Hold down CTRL + SHIFT as you drag to move opposing nodes the same
distance in opposite directions.

To add a two-point perspective effect to an object
2 Click Effects, Add Perspective.
3 Drag one of the grid box nodes diagonally toward or away from the
object’s center.
4 Repeat step 3 using the other nodes until you create the perspective
effect you want.
Copying an object’s perspective

You can copy the perspective effect from one object to another.
To copy an object’s perspective effect

perspective effect.
2 Click Effects, Copy Effect, Perspective From.
3 Using the horizontal pointer that appears, select the object with the
perspective you want to copy.
You can only copy an object’s perspective if perspective is the most recent
effect applied.
Removing an object’s perspective

You can remove the perspective effect applied to an object.
To remove an object’s perspective effect

2 Click Effects, Clear Perspective.
If you’ve applied an effect to the object since you applied perspective, you
need to clear that effect before clearing perspective.
Editing an object’s perspective

When you’re working with an object’s perspective, you may want to edit it by
moving nodes or changing the vanishing point.

Moving nodes to adjust an object’s perspective
You can adjust an object’s one-point or two-point perspective by moving its
nodes.
To edit a one-point perspective effect by moving nodes

3 Drag the appropriate nodes to adjust the perspective.
Hold down CTRL + SHIFT to move opposing nodes the same distance in
opposite directions.
To edit a two-point perspective effect by moving nodes

2 Drag the nodes horizontally toward or away from the center point.
Moving an object’s vanishing point to change its perspective

You can move an object’s vanishing point to change its perspective.
To edit an object’s perspective effect by moving a vanishing point

3 Drag the vanishing point marker or markers (represented by “X”) to
create the desired perspective effect.
Working with PowerClip

When you PowerClip objects, you put one object inside another object or
group of objects. One object becomes the contents, while the other becomes
the container. You can create a container from any object you create using
CorelDRAW, including shapes, lines, curves, Artistic text, and groups. A
contents object can be any object you create using CorelDRAW or import
from another program.
After you create a PowerClip object, you can edit it to change the way the
contents and container objects interact.

Creating a PowerClip object
When you’re creating PowerClip object, you may want to compare the
container object to a window. Just as a window’s frame represents the limits
of what you can see, a container object lets you see only the portion of a
contents object (or group of objects) that fits inside the container’s
boundaries. If the size of the contents object exceeds that of its container,
CorelDRAW automatically crops the contents object. You see only the
portion of the contents object that fits inside the container.
You’ll find the PowerClip feature particularly useful for placing photo files
(like bitmaps) inside containers of different shapes. You can create more
complex PowerClip effects by placing a container object into another
container object to produce a nested PowerClip object. Nested PowerClip
objects can have up to five editable levels.
Additionally, you can copy the contents of a PowerClip object to another
PowerClip object.
Applying a PowerClip
You can create a PowerClip object by placing an object inside another object.
You can create a nested PowerClip object by adding the PowerClip object to
another object in the Drawing Window. This object becomes the container
object.
Create PowerClip
objects by placing
one object inside of
another.
To create a PowerClip object

1 Using the Pick tool, select the object you want to use as the contents.
2 Click Effects, PowerClip, Place Inside Container.
3 Using the horizontal pointer that appears, select the object you want to
use as the container.
The contents object is placed inside the container object. The contents
and container now become a single unit.

You can also create a PowerClip object using the Object Manger. For more
information, see “Creating PowerClip objects using the Object Manager”
on page 191.
To create nested PowerClip objects

1 Follow all of the steps in the previous procedure.
2 Select the PowerClip object.
A nested PowerClip object can have up to five nested levels.
Copying the contents of a PowerClip object

You can copy the contents of a PowerClip object to another PowerClip object.
To copy the contents of a PowerClip

contents of a PowerClip object.
2 Click Effects, Copy Effect, PowerClip From.
3 Using the horizontal pointer that appears, select the PowerClip object that
contains the contents you want to copy.
Editing a PowerClip object

When you’re working with PowerClip objects, you may want to offset the
contents object from the center of the container, edit the contents object,
lock or unlock the contents, or extract the contents of a PowerClip object.
By default, CorelDRAW automatically centers PowerClip contents objects
inside their containers. However, you can change the default so that contents
objects are offset from the center of the container.
When you edit the contents object, CorelDRAW temporarily separates the
contents and container objects. You can then edit the contents of the
PowerClip object, for example, by changing its fill and outline properties,
without altering the container object.

When you lock or unlock the contents of a PowerClip object, you control the
interaction between the contents and container objects. When a contents
object is locked to its container object, both objects undergo the same
changes. For example, when a PowerClip object is moved, rotated, or resized,
both the contents and container objects are affected in the same way. When
the contents object is unlocked, it’s locked to the page and remains stationary
even if you move or rotate its container.
By extracting the contents from a PowerClip object, the container and
contents objects return to being separate objects.
Changing the default placement of a PowerClip object

You can change the default placement of a contents object.
To change the default placement of a contents object

3 Disable the Auto-center New PowerClip Contents check box.
4 Position the object you want to become the contents over the container.
If the contents and container objects do not overlap, the contents won’t
appear in the PowerClip object.
This setting applies to all documents, not just the active document.
Editing the contents of a PowerClip object

You can edit the contents of a PowerClip object without affecting its
container.
To edit the contents of a PowerClip object

1 Select the PowerClip object with the Pick tool.
2 Click Effects, PowerClip, Edit Contents.

3 Make the desired changes to the contents object or add new objects as
needed.
4 Click Effects, PowerClip, Finish Editing This Level.
During editing, the container object appears in Wireframe mode and can’t
be selected.
You can also edit the contents of a PowerClip object using the Object
Manager. For more information, see “Creating PowerClip objects using
the Object Manager” on page 191.
Locking and unlocking a PowerClip object

You can lock or unlock the contents of a PowerClip object.
To lock the contents and container objects

Right-click the PowerClip object, and click Lock Contents To PowerClip.
When enabled, a check mark appears beside the command name.
You can also lock the PowerClip’s contents and edit it’s container using
the Object Manager. For more information, see “Creating PowerClip
objects using the Object Manager” on page 191.
To unlock the contents from the container object

Right-click the PowerClip object, and click Lock Contents To PowerClip.
When disabled, no check mark appears beside the command name.
When you unlock the contents object, it’s locked to the page.
Disabling the Lock Contents To PowerClip command is useful for
repositioning the container over its contents.
Extracting the contents of a PowerClip object

You can remove the contents from a PowerClip object.

To extract the contents of a PowerClip object
1 Select the PowerClip object with the Pick tool.
2 Click Effects, PowerClip, Extract Contents.
If you created nested PowerClip objects and want to extract all contents
objects in succession, you’ll need to use perform this task for each nested
level.
You can also extract the contents of a PowerClip using the Object
Manager. For more information, see “Creating PowerClip objects using
the Object Manager” on page 191.

WORKING WITH BITMAPS 11
Bitmaps are graphics composed of dots called pixels. Bitmaps have a fixed
resolution and look best when you display or print them at their original size.
Enlarging the bitmap appears to enlarge each pixel because extra pixels are
added, making the graphic look jagged and distorted. Reducing the size of the
bitmap eliminates pixels and shrinks the bitmap.
Vectors are defined mathematically as a series of points joined by lines.
Unlike bitmaps, vectors represent shapes as a series of lines and curves that
you can resize without loss of quality. Graphical elements in a vector file are
called objects. Each object is a self-contained entity with properties such as
color, shape, outline, and size included in its definition. For more information
about vectors, see “CorelDRAW Concepts” on page 6.
Because a bitmap is a collection of arranged pixels, you cannot manipulate its
parts individually. The color and shape appear continuous when viewed from
a distance. However, CorelDRAW lets you manipulate bitmaps in different
ways. You can crop bitmaps to decrease the visible area and reduce the size
of files by linking bitmaps to your drawings. You can also trace bitmap
images, which converts them to vector images that are easier to manipulate.
CorelDRAW also lets you change an image by manipulating colors and tones,
and by resampling. For example, you can hide or show bitmap colors, adjust
image tone, or resample to change image size or resolution. You can inflate a
bitmap to make an effect cover the entire image. You can convert an image
from vectors to bitmaps, or from one color mode to another.
CorelDRAW provides special effects that you can apply to images. For
example, you can create three-dimensional images, mimic artistic styles, blur
or clear your images, and manipulate image colors, contours, noise,
distortions, and sharpness. For more information on applying special effects
to bitmaps, see “Applying special effects to bitmaps” on page 584.
Cropping bitmaps
Cropping a bitmap reduces the visible area of the bitmap. You can crop a
bitmap before you import it or after you import it. You can also revert a
cropped bitmap to its original form.
Cropping a bitmap before importing

You can crop a bitmap before you import it. This lets you import only the area
of a bitmap that you want to use, which decreases file size.
Working with bitmaps 535

To crop a bitmap before you import it
1 Click File, Import.
2 Choose Crop from the list box to the left of the Options button.
3 From the Look In list box, choose the drive and folder where the file is
stored. Double-click on the folder to open it.
4 In the Crop Image dialog box, do one of the following:
Drag a corner handle on the cropping frame — crops in two directions,
horizontally and vertically.
Drag a side handle — crops in one direction, horizontally or vertically.
5 Choose a unit type from the Units list.
6 Click OK.
7 Position the import placement start cursor where you choose and do one of
the following:
Click — places the bitmap at its original size
Drag — places the bitmap proportionally at the size you choose
Hold down ALT, and drag — creates a non-proportional bitmap at the
size you choose. Release the mouse button before you release ALT.
To recrop the bitmap

Click the Select All button in the Crop Image dialog box.
Type values in the Top and Left or Width and Height boxes to make your
cropping more precise.
Cropping a bitmap after importing

After you import a bitmap, you can crop it using the Shape tool and node
editing. Node editing is very powerful, allowing you to add nodes, remove
nodes, and convert lines to curves to create effects. Then you can crop the
image, literally removing the parts of the bitmap you have edited out. For
more information on node editing, see “Drawing and shaping objects” on
page 85.

You can crop bitmaps
using the Shape tool
by adding nodes,
removing nodes, and
converting lines to
curves.
To crop a bitmap after you import it

1 Open the Shape Edit flyout and click the Shape tool.
2 Select the bitmap with the Shape tool.
3 Drag the bitmaps’ nodes to change the shape of the bitmap outline.
4 Click on the Pick tool.
5 Click Bitmaps, Crop Bitmap.
To allow only vertical or horizontal movement

Hold CTRL while dragging the node from its original location.
After you crop a bitmap using the Crop Bitmap command, the bitmap
cannot be returned to its original state.
You cannot crop externally linked bitmaps.
You can also access the Crop Bitmap command by right-clicking the
bitmap or choosing the Crop Bitmap button from the Property Bar.
You can multi-select nodes to drag by holding the SHIFT key while
clicking on the nodes you want.

Working with linked bitmaps
Instead of importing and embedding bitmaps in a drawing, you can link
bitmaps to the drawing. When you link a bitmap, the document references
the bitmap instead of actually attaching it. Changes you make to the original
bitmap are applied to the bitmap in your drawing. Linking bitmaps is an
advantage because it decreases file size.
If you later want to embed the bitmap in a drawing — for example, you want
to send the file to someone who doesn’t have access to the original bitmap
files — you can resolve the links, which embeds the bitmaps in your drawing.
The Link Manager Docker acts as the repository for all the links in a
CorelDRAW document, including all externally linked bitmaps, bookmarks,
and hyperlinks. Using the Link Manager, you can check the status of links,
update linked bitmaps from their original source file, and resolve links to
permanently embed bitmaps into your drawing.
Linking bitmaps
You can link bitmaps when you import them into CorelDRAW. When you link
a bitmap, a thumbnail appears in the document. The thumbnail is a
representation of the original image which resides in another location.
To link a bitmap to your drawing

2 Choose a file format from the Files of Type box.
stored.
4 Double-click to open the folder.
5 Select the file name.
6 Enable the Link Bitmap Externally checkbox.
7 Click the Import button.
8 Position the import placement start cursor where you choose and do one of
the following:
Click — places the bitmap at its original size
Drag — places the bitmap proportionally at the size you choose
Hold down ALT, and drag — creates a non-proportional bitmap at the
size you choose. Release the mouse button before you release ALT.

Understanding the Link Manager Docker
The Link Manager Docker helps you visualize links. It displays all the links
within a CorelDRAW document and gives you information about each link in
the Index control. The Index control is a columnar list with various,
categorical headers. You can find the following headers in the Link Manager
Docker:
Name — displays the name of the linked bitmap, bookmark, or
hyperlink
Page — displays the location of the link in the document
Status — displays the progress of link validation
Type Icon — displays the file type of the link
By default, the Link Manager primarily sorts links according to page number.
The secondary sort is alphabetical.
The Link Manager Docker displays the status of each link using four
different icon images.
Icon Status
Indicates a valid link
Indicates a broken link
Indicates a link that needs to be updated
Indicates a link that needs to be checked
You can perform a number of tasks using the Link Manager. For more
information, see “Using the Link Manager” on page 539.
Using the Link Manager

The Link Manager lets you monitor and control externally linked bitmaps,
bookmarks, and Internet hyperlinks. It tells you which links are broken,
provides a small thumbnail of each linked bitmap, shows where each bitmap
is linked from, and which page in a document each bitmap is linked to.
The Link Manager lets you complete a variety of tasks:
Resolve — embeds the selected bitmap into the CorelDRAW document
Update — updates the status of all Out of Date bitmaps

Open — launches the system default browser of the selected hyperlink
or launches the associated bitmap editor of the selected bitmap
Refresh — reruns the Docker’s starter thread to check the validity of
all links
To resolve a linked bitmap

1 Click Tools, Link Manager.
2 Select the bitmap in the Link Manager Docker.
3 Click the Resolve button.
To edit a bitmap in its native application

To update a linked bitmap

1 Follow steps 1 and 2 from the “To resolve a linked bitmap” procedure.
2 Click the Update button.
To refresh the list of links

1 Click Tools, Link Manager.
2 Click the Refresh button.
To select multiple links

Multiple sequential links — press SHIFT and click on the links
Multiple, non-sequential links — press CTRL and click on the links
you want to select
You can only update an out of date bitmap, a bitmap where the file has
changed more recently than the link was made.
You can only resolve or refresh more than one link item at a time.

You can also access the Link Manager by clicking Window, Dockers, Link
Manager.
You can also update and resolve linked bitmaps from the Bitmaps menu.
Setting the Link Manager Docker options

The Link Manager Docker automatically provides you with information about
links in a document using the Index Control. You can control the information
that the Link Manager Docker displays for you by customizing its format. For
example, you can specify whether to have URL checking, and at what
intervals, or whether to display large bitmaps.
To set the Link Manager Docker options

2 In the Workspace tree, double-click Customize, and click Link Manager.
3 Enable one or both of the following check boxes:
URL checking — checks URLs at intervals you specify. Specify how
often to check URLs by typing a minute value in the box.
Display large bitmaps — displays large bitmaps
Tracing bitmaps
Bitmaps are images composed of individual dots called pixels. The
disadvantage of bitmaps is that their resolution is fixed. This means that
image quality can deteriorate when you scale bitmaps to different sizes. You
can, however, modify vector graphics without a loss of quality. You can create
vector copies of bitmap images by tracing the bitmaps.
You can trace imported bitmaps in three ways: using CorelTRACE™, using
the Autotrace feature to trace automatically, or by using the Freehand or
Bezier tools to trace manually.
CorelTRACE lets you automatically trace bitmaps and save them in a vector
format suitable for CorelDRAW. You can launch CorelTRACE from
CorelDRAW, trace a bitmap, and then return to CorelDRAW.
The Autotrace feature creates vector shapes from areas of a bitmap. You can
trace an imported bitmap by clicking an area of high contrast in the bitmap
using the Freehand tool. You can create an outline that matches the edge of
contrasting colors in a bitmap tightly (producing many nodes along the path)
or loosely (producing a less accurate path with fewer nodes).

Tracing bitmaps lets
you turn bitmaps
into vectors.
The Freehand or Bezier tools let you trace images manually. You don’t have
to be an experienced draftsperson to trace a bitmap precisely. With
CorelDRAW, you trace bitmaps in the same way you trace objects using
tracing paper. By magnifying the areas you trace and adjusting the settings,
you can trace quickly and still achieve accurate results.
Tracing bitmaps using CorelTRACE

You can access CorelTRACE from CorelDRAW. Use CorelTRACE to trace
complex bitmaps with precision.
You have the ability to save the CorelTRACE file to a separate file. Once you
complete your tracing task, you can return the results to CorelDRAW.
To trace a bitmap using CorelTRACE

1 Click Bitmaps, Trace Image.
2 Trace your image using CorelTRACE functionality.
3 Click File, Exit and Return to CorelDRAW.
If you modify an image in both CorelDRAW and CorelTRACE, closing

CorelTRACE causes your changes in CorelDRAW to be overwritten by
CorelTRACE.
You can also access CorelTRACE by right-clicking on the bitmap, or

selecting the bitmap and clicking the Trace Bitmap button on the Property
Bar.

Tracing bitmaps automatically
The Autotrace feature lets you turn bitmaps into vector graphics that you can
edit, scale, and print without distortion. Autotrace produces an approximation
of a bitmap; traced bitmaps do not look the same as the original bitmap. You
can lose many subtle details of bitmaps when you convert them to vector
objects. For more complex bitmap tracing, see “Tracing bitmaps using
CorelTRACE” on page 542.
Many bitmaps cannot be autotraced. If the cursor changes to cross hairs with
a thin straight line on the right side of the horizontal cross hair, you can use
the Autotrace feature. If a wavy line accompanies the cross hairs, you cannot
use the Autotrace feature. However, you can still trace all or part of the
image manually.
You can change the way the tracing tools respond by changing their
properties. For more information about changing the properties of tracing
tools, see “Controlling the behavior of the Freehand and Bezier tools” on
page 137.
To trace a bitmap automatically

1 Select the bitmap with the Pick tool.
2 Open the Curve flyout, and click the Freehand tool or Bezier tool.
The pointer changes to the Autotrace pointer.
3 Position the Autotrace pointer on the bitmap and click.
A closed curve object encloses the contours of the bitmap.
4 Repeat step 3 until you have finished selecting areas of the bitmap.
5 With the Pick tool, click outside one of the closed curves of the bitmap.
6 Press DELETE to delete the bitmap and view your work.
Tracing bitmaps manually

You can trace bitmaps manually using the Freehand or Bezier tool. Manual
tracing is faster and easier than autotracing if the imported bitmap contains
multiple subjects with no abrupt changes in brightness levels or colors from
one pixel to the next.
To trace a bitmap manually

1 Click a blank spot in the Drawing Window to ensure that the bitmap is not
selected.
2 Open the Curve flyout, and click the Freehand tool or the Bezier tool.

With the Bezier tool, position the cursor anywhere along the outline of a
closed area, then trace in a series of small joined segments. Place a
node every time the angle of the curve changes to avoid the jaggedness
that can occur when you trace large areas with a single sweep of the
mouse.
With the Freehand tool, position the cursor anywhere along the outline
of a closed area, then trace using a smooth motion the way you move a
pencil on paper.
Click each spot where the object curves or changes direction.
Use the Shape tool to manipulate the nodes and line segments to
customize the trace.
If you make a mistake while tracing, you can erase portions of the curve
before you release the mouse button by pressing SHIFT as you drag the
mouse backward over the line you’ve just drawn. Once you release the
mouse button, however, this erase method will not work.
Switch to Wireframe view or Simple Wireframe view to see the paths

more clearly.
Coloring bitmaps
Some bitmaps are imported in CorelDRAW as monochrome bitmaps.
Monochrome means that the pixels have only two colors: black and white.
You can change the appearance of bitmaps by changing the colors of pixels or
by applying halftone screens to them.
You can hide or show colors in a bitmap. Hiding colors lets objects or
backgrounds show through a bitmap. Hiding a color can also alter the
bitmaps’ shape. For example, if you have a bitmap with the image of a person
on a black background, you can hide the background. As a result, the bitmap
appears to take on just the shape of the person.
You can select colors and change the tolerance of the colors you select. If you
increase the tolerance, CorelDRAW shows or hides a broader range of colors.
For example, if you hide baby blue and increase the tolerance, CorelDRAW
may also hide powder blue and navy blue.

Coloring monochrome bitmaps
You can change the color of pixels in a monochrome bitmap.
To color a monochrome bitmap

2 Click a color on the Color Palette with the right mouse button to change
the color of the foreground (black) pixels.
3 Click a color on the Color Palette with the left mouse button to change the
color of the background (white) pixels.
Applying a PostScript halftone screen to a bitmap

You can apply screens to bitmaps in a drawing if you plan to print to a
PostScript printer. The screens create special effects or ensure clearer
printing. The screen’s effect on the bitmap is only apparent when you print
the bitmap.
For information about setting your screen and screen angles, see “Setting
the halftone screen frequency” on page 727.
To apply a screen to a bitmap

2 Open the Fill Tool flyout, and click Fill Color Dialog.
3 Click the Fixed Palettes tab.
4 Choose PANTONE MATCHING SYSTEM from the Type list box.
5 Click the Options button and choose PostScript Options.
6 Choose an option from the Type list box to set the shape of the screen.
7 Type a value in the Frequency box to set the number of lines (or other
shape selected above) that appear in every inch of the screen.
8 Type a value in the Angle box to set the angle of the lines (or other
shapes) that appear on the screen.
Hiding bitmap colors

Color bitmaps can slow the speed at which objects are rendered on the
screen. Hiding some colors in a bitmap increases the redraw speed.

Use Hide Colors to
remove specific
colors from your
image.
To hide a color in a bitmap

2 Click Bitmaps, Bitmap Color Mask.
3 Enable the Hide Colors button.
4 Enable the check box next to the color that you want to hide.
5 Move the Tolerance slider to set the color tolerance for the color.
Higher levels remove a broader range of colors around the color you
select. For example, if you select baby blue and increase the tolerance,
CorelDRAW removes pastel blue, electric blue, and so on.
6 Click the Color Selector.
7 Point to the bitmap and click the color that you want to hide.
The color appears in the Bitmap Color Mask Docker.
Displaying bitmap colors

You can display certain colors in a bitmap to change the bitmap’s appearance
or to see where a particular color has been applied.

Use Show Colors to
display a specific
color in your image.
To display a color in a bitmap

3 Enable the Show Colors button.
4 Enable the check box next to the color you want to display.
5 Move the Tolerance slider to set the color tolerance for the color.
Higher levels show a broader range of colors around the color you select.
For example, if you select baby blue and increase the tolerance,
CorelDRAW shows pastel blue, electric blue, and so on.
6 Click the Color Selector.
7 Point to the bitmap and click the color you want to display.
The color appears in the Bitmap Color Mask Docker.
Opening, saving, and editing bitmap color masks

The Bitmap Color Mask Docker lets you mask as many as 10 colors in a
bitmap. When you mask colors, you can edit them without altering the other
colors in an image. You can also save bitmap color masks for future use.
To open a bitmap color mask

2 Click the Open Mask button.
3 In the Files of Type box, choose the file you want to open.
Bitmap color mask files have the extension .INI.

stored. Double-click on the folder to open it.
5 Double-click the file to open the bitmap color mask.
To change the color of the bitmap color mask

2 Choose a color from the list of colors.
3 Click Edit Color.
4 Use the controls in the Select Color dialog box to edit the color.
5 Click OK.
To save a bitmap color mask

2 Click the Save Mask button.
3 From the Look In list box, choose the drive and folder where you want to
save the current color mask.
5 Click Save.
You can also access the Bitmap Color Mask Docker by clicking the Bitmap
Color Mask Docker button on the Property Bar.
Adjusting the tones in images

The Color Adjustment effects control the relationship between the shadows,
midtones, and highlights in objects in a drawing. You can also use these
effects to adjust the brightness, intensity, lightness, and darkness of colors.
The Color Adjustment effects let you restore the detail lost in shadows or
highlights, correct underexposure or overexposure, and improve the quality
of images.
Color adjustment effects use filters to change image colors. Filters are
applications that perform conversion tasks. These filters do not work with
objects that contain colors from the PANTONE Matching System.

Brightness-Contrast-Intensity
The Brightness-Contrast-Intensity effect lets you adjust the brightness,
contrast, and intensity of the tones in a drawing using HSB values.
Color Balance
The Color Balance effect shifts drawing values between primary (RGB) and
secondary (CMY) colors.
Deinterlace
The Deinterlace effect removes horizontal lines from scanned images to
produce clearer results.
Desaturate
The Desaturate effect automatically reduces the saturation of each color to
zero. It removes the hue component and converts each color to grayscale.
Gamma
The Gamma effect picks up details in low contrast drawings without
significantly affecting the shadows or highlights.
Hue-Saturation-Lightness
The Hue-Saturation-Lightness effect adjusts the hue, saturation and
lightness in images by using HLS values. This effect is useful for adjusting
the intensity of hue, saturation, and lightness in colors.
Invert
The Invert effect makes a negative of an image by converting all color values
to their opposites: black becomes white, blue becomes yellow, etc.
Level Equalization
The Level Equalization effect adjusts shadow, midtone, and highlighted areas
by redistributing shades from darkest to lightest.
Local Equalization
The Local Equalization effect enhances the contrast near edges and reveals
the details of light and dark areas of a bitmap.

Posterize
The Posterize effect converts color ranges in an image to solid blocks of
color.
Replace Colors
The Replace Colors effect replaces one image color with another color.
Sample/Target Balance
The Sample/Target Balance effect adjusts color values in an image with
sample colors taken directly from the image itself.
Selective Color
The Selective Color effect modifies colors by adjusting the percentage of the
component process colors (CMYK values) in a color spectrum option (reds,
yellows, greens, cyans, blues, magentas). It can also add process color to the
grayscale tonal component of an image.
Tone Curve
The Tone Curve effect lets you correct colors precisely, by changing
individual pixel values.
For information about common controls used in the Color Adjustment

effects, see “Using bitmap effects” on page 584.
Applying the Brightness-Contrast-Intensity effect

The Brightness-Contrast-Intensity effect uses HSB values to adjust the
brightness, contrast, and intensity of the tones in a drawing.
Adjusting the
brightness, contrast,
and intensity lets you
improve the clarity
and quality of the
image.

To apply the Brightness-Contrast-Intensity effect
2 Click Effects, Color Adjustment, Brightness-Contrast-Intensity.
3 Move the following sliders:
Brightness — shifts all pixel values up or down the tonal range,
lightening or darkening all colors equally
Contrast — adjusts the difference between light and dark colors
Intensity — brightens the light areas of the drawing or darkens the
dark areas
Contrast and intensity usually go hand-in-hand because an increase in

contrast sometimes washes out detail in shadows and highlights, and an
increase in intensity can bring it back.
You can also apply the Brightness-Contrast-Intensity effect by clicking the

Adjusts Brightness, Contrast, and Intensity button on the Property Bar.
Applying the Color Balance effect

The Color Balance effect shifts the colors in a drawing between RGB and
CMY color values. For example, if you want to tone down the blue color in a
photo, you can select the area you want to adjust and shift the color values
from blue to yellow.
The Color Balance
effect has been used
to shift the colors in
the image.
To apply the Color Balance effect


2 Click Effects, Color Adjustment, Color Balance.
3 In the Range section, enable any of the following check boxes:
Shadows — color corrects the shadow areas of the drawing
Midtones — color corrects the midtone areas of the drawing
Highlights — color corrects the highlight areas of the drawing
Preserve luminance — maintains the luminance level of the drawing
under the effects of color correction, ensuring the drawing retains its
original brightness level.
4 Move the following Color Channel sliders to set color levels:
Cyan-Red — adds cyan or red to the drawing to correct color
imbalance. Move the slider to the left to add cyan and to the right to
add red.
Magenta-Green — adds magenta or green to the drawing to correct
color imbalance. Move the slider to the left to add magenta and to the
right to add green.
Yellow-Blue — adds yellow or blue to the drawing to correct color
imbalance. Move the slider to the left to add yellow and to the right to
add blue.
Disabling any of the first three options in the Range section means the
color correction does not effect the specified area. Disabling the Preserve
luminance check box means the color correction does affect the luminance
level, i.e., the drawing is darkened.
You can also apply the Color Balance effect by clicking the Balances
Bitmap Colors button on the Property Bar.
Applying the Deinterlace effect

The Deinterlace effect removes horizontal lines from scanned images. You
can also use this effect to remove interlaced lines from video captures.
To apply the Deinterlace effect

2 Click Effects, Transform, Deinterlace.
3 In the Scan Lines section, enable one of the following buttons:

Even Lines — removes even lines
Odd Lines — removes odd lines
4 In the Replacement Method section, enable one of the following buttons:
Duplication — fills the spaces with copies of the adjacent lines of pixels
Interpolation — fills the spaces with colors created by averaging the
surrounding pixels
Applying the Desaturate effect

The Desaturate effect reduces the saturation of each color in an image to
zero, thus removing the hue component and converting each color to its
grayscale equivalent. This effect produces a grayscale image without
changing the color mode.
Desaturating the
image removes its
colors.
To apply the Desaturate effect

2 Click Effects, Color Adjustment, Desaturate.
Applying the Gamma effect

Gamma is a method of tonal correction that takes the human eye’s perception
of neighboring values into account. For example, if you were to place a 10
percent gray circle on a black background and an identical gray circle on a
white background, the circle surrounded by black appears lighter to the
human eye than the circle surrounded by white, even though the brightness
values are identical.

Adjusting the
midtones lets you
increase the detail in
a low-contrast image
without affecting the
shadows or
highlights.
The Gamma effect lets you pick up detail in a low contrast drawing without
significantly affecting the shadows or highlights. It affects all the values in
the drawing but it is curve-based so that the changes are weighted toward
the midtones.
To apply the Gamma effect

2 Click Effects, Color Adjustment, Gamma.
3 Move the Gamma slider to set a gamma curve value.
Higher values brighten midtones; lower values darken them.
You can also apply the Gamma effect by clicking the Adjusts Gamma
Applying the Hue-Saturation-Lightness effect

The Hue-Saturation-Lightness effect uses HLS values to adjust the colors in
a drawing. Hue represents color, saturation represents color depth or
richness, and lightness represents the overall percentage of white in an
image.

The
Hue/Saturation/Light
ness effect has been
used to change the
colors in the image.
To apply the Hue-Saturation-Lightness effect

2 Click Effects, Color Adjustment, Hue-Saturation-Lightness.
3 Enable a Channels button.
4 Move the Hue slider to redistribute the colors in the drawing.
5 Move the Saturation slider to set the strength of the colors.
A setting of -100 results in a grayscale (black-and-white) drawing. A
setting of 100 produces vibrant, but unnatural colors.
6 Move the Lightness slider to set the amount of white (positive values) or
The image’s color black (negative values).
values have been
inverted. 7 Repeat steps 3 through 6 for each channel button.
Enabling the Master button in the Hue/Saturation/Lightness box affects

all the color channels in an image.
You can compare the original colors and the new colors using the Before
and After color ribbons.
You can also apply the Hue, Saturation & Lightness effect by clicking the
Adjusts Hue, Saturation and Lightness button on the Property Bar.
Applying the Invert effect

The Invert effect makes a negative of a drawing by converting all color
values to their opposites: black becomes white, blue becomes yellow, and so
on.

To apply the Invert effect
2 Click Effects, Transform, Invert.
Applying the Level Equalization effect

The Level Equalization effect preserves detail in shadow or highlight areas
that can be lost when you adjust the brightness, contrast, and intensity of an
image’s tone. Defining the start and end points of the tonal range allows you
to redistribute the pixel values throughout the entire tonal range. A
histogram displays the distribution of pixels according to brightness.
You can also use the Level Equalization effect to create color gradations on
posterized images; to lighten or darken any combination of shadows,
midtones, or highlights; to compress brightness values to printable limits;
and to adjust the gamma curve (midtones).
To apply the Level Equalization effect

2 Click Effects, Color Adjustment, Level Equalization.
Set Input Values — sets the minimum values for the Input Value
Clipping and the Output Range Compression
Set Output Values — sets the maximum values for the Input Value
Clipping and the Output Range Compression
4 Click one of the following eyedroppers:
Set Input Values Eyedropper tool — lets you choose a color for the input
values

Set Output Values Eyedropper tool — lets you choose a color for the
output values
5 Click a color in the Drawing Window.
6 Choose a color channel from the Channels list box.
7 Enable the Auto-Adjust check box to automatically redistribute pixel
values throughout the tonal range.
8 Move the Gamma Adjustment slider to set the midtones.
9 Do one of the following histogram sliders:
Input Value Clipping — sets a clipping range for the darkest and
brightest pixels in the image
Output Range Compression — sets an output brightness value for the
darkest and brightest pixels in the image
To adjust outlying pixel values

Click the Options button and set values in the Black Limit To and White
Limit To boxes to adjust the percentage of outlying pixels on either end of
the tonal range.
Enabling the Automatically check box causes a percentage of the extreme

brightness values to be ignored when the lightest and darkest pixels are
identified in the histogram. Disabling the Automatically check box lets you
set the amount of clipping by typing a value in the Display Clipping
Percent box.
You can adjust each channel separately, or simultaneously in the
composite channel.
You can also adjust the input and output values of the shadows and
highlights by typing precise values in the Input Value Clipping Boxes and
the Output Range Compression boxes.
Applying the Local Equalization effect

The Local Equalization effect enhances the contrast near edges and reveal
details in both light and dark regions. This process can produce artificial
contrast variations in the center of relatively uniform regions. You can
correct this by expanding the region so that it is larger than any uniform area
in the image.

The Local
Equalization effect
has been applied to
the image.
To apply the Local Equalization effect

2 Click Effects, Color Adjustment, Local Equalization.
Width — sets the width of the region around the pixels
Height — sets the height of the region around the pixels
4 If you want to maintain equal proportions, enable the Lock button.
Applying the Posterize effect

The Posterize effect converts color ranges in an image to solid blocks of
color. This simplifies the image by removing tonal gradations, creating large
areas of flat color.
To apply the Posterize effect

2 Click Effects, Transform, Posterize.

3 Move the Level slider to set the level at which posterization begins.
The slider values range from 2 to 32. A level of 2 results in drastic
posterization; a level of 32 has no effect on most drawings.
Applying the Replace Colors effect

The Replace Colors effect replaces selected colors images. When you select
the colors that you want to replace, a temporary color mask is created.
The Replace Colors
to replace all
instances of the color
red with purple.
Depending on the range you set, you can use the Replace Colors effect to
replace a single color or to shift from one color range to another in an image.
To apply the Replace Colors effect

2 Click Effects, Color Adjustment, Replace Colors.
3 Click the Old Color picker, and click the color that you want to replace.
4 Click the New Color picker, and click a replacement color.
5 In the Adjust section, move any of the following sliders:
Hue — sets the hue level of the new color
Saturation — sets the saturation level of the new color
Lightness — sets the lightness level of the new color
Range — sets the range of affected colors. A range of 1 affects only a
single color; a range of 100 shifts most of the colors in the direction of
the new color.
6 To ignore all grayscale pixels when replacing colors, enable the Ignore
Grayscale check box.
7 To replace all colors that fall within the current range of the new color,
enable the Single Destination Color check box.

Disabling the Ignore Grayscale check box replaces gray pixels based on
saturation and lightness values alone.
You can also use the Old Color Eyedropper tool and the New Color
Eyedropper tool to choose the color you want to replace and the
replacement color, respectively.
Applying the Sample/Target Balance effect

The Sample/Target effect adjusts color values in an image with sample colors
taken directly from the image itself. After you choose samples from the
low-point (shadow), mid-point(midtone), and high-point (highlighted) ranges
of color in your image, you choose the target colors for each range. The
pixels in the image or image area with the same color as the sample colors
adjust to display the corresponding target color.
The Sample/Target
to adjust the
shadows, midtones,
and highlights in the
image.
To apply the Sample/Target Balance effect

2 Click Effects, Color Adjustment, Sample/Target Balance.
3 Choose a color channel from the Channel list box.
Click the Low-Point Eyedropper tool and choose a point of dark color in
the image.
Click the Mid-Point Eyedropper tool and choose a point of medium color
in the image.
Click the High-Point Eyedropper tool and choose a point of highlighted
color in the image.

5 Double-click the color appearing in the Target column to access the
specified color range.
6 In the Select Color dialog box, choose a target color, and click OK.
All colors at or below the sample color’s level of darkness are shifted in
the direction of the target color.
7 Enable the Clip Automatically check box to set the range of the histogram
display and to ensure that all spikes in the histogram fit on the chart.
The color channels that appear in the Channels list box depend on the
image’s color mode. There is one composite channel and one channel for
each color component.
Type a value in the Clipping box to determine the percentage of

brightness values that are ignored when identifying the light and dark
colors in the histogram (when the Clip Automatically check box is
disabled).
Enable the Always Adjust All Channels check box to adjust all color
channels — even when you are viewing an individual color channel.
Applying the Selective Color effect

The Selective Color effect adds or removes an absolute or relative
percentage of the CMYK process color from the red, yellow, green, cyan,
blue, and magenta color spectrums. You can also add color to the grayscale
pixels in a color image.
The Selective Color
to adjust the color
value in the green
spectrum.
Selective color modifications increase and decrease the percentage of cyan,

magenta, yellow, and black pixels that make up each primary color in the
color spectrum. For example, decreasing the percentage of magenta in the

reds spectrum results in a color shift toward yellow. Increasing the
percentage of magenta in the reds spectrum causes a color shift toward
magenta and an increase in red. The extent of any color modification depends
on the adjustment percentage method you select.
To apply the Selective Color effect

2 Click Effects, Color Adjustment, Selective Color.
3 In the Color Spectrum section, enable the button that corresponds to the
color spectrum that you want to adjust.
4 In the Adjustment Percentage section, enable one of the following
buttons:
Relative — adds or removes a percentage of the process color to or
from the selected color spectrum. For example, adding 10% magenta to
a 50% red pixel results in an adjustment of + 5%.
Absolute — adds or removes the absolute value of the process color to
or from the selected color spectrum. For example, adding 10% magenta
to a 50% red pixel results in an adjustment of + 60%.
5 Move any of the following sliders:
Cyan — increases or decreases the percentage of cyan in the color
spectrum
Magenta — increases or decreases the percentage of magenta in the
color spectrum
Yellow — increases or decreases the percentage of yellow in the color
spectrum
Black — increases or decreases the percentage of black inherent in
the color spectrum
To add color to grayscale pixels

Enable the Shadows, Midtones, or Highlights button and enable the
Absolute button in the Selective Color dialog box.
When you move the Cyan, Magenta, Yellow, and Black sliders, the
percentage of those colors increases or decreases for the selected color
tones.
Applying the Tone Curve effect

The Tone Curve effect corrects colors precisely, local control over individual
pixel values.

The Tone Curve effect
has been applied to
the image.
You can pinpoint a problem area and produce a subtle or pronounced change
in that area that dissipates — according to the tone curve — as you move
away from the targeted area. The Tone Curve effect lets you take current
pixel brightness values as input and change them to different values. The
response curve represents the balance between shadows, midtones, and
highlights.
To apply the Tone Curve effect

2 Click Effects, Color Adjustment, Tone Curve.
3 Choose a color channel from the Channels list box.
Curve — lets you shape the curve by clicking and dragging and
smoothes the distribution of values.
Linear — lets you draw the curve by clicking and dragging but retains
straight line segments between nodes.
Freehand — lets you draw the curve by clicking and dragging.
Gamma — lets you weigh corrections toward the midtones. If you
select Gamma, you must move the Gamma slider to set a gamma curve
value.
Click the Options button to change the percentage of outlying pixels on
either end of the tonal range.
Click the Smooth button to smooth a freehand curve.
Click and hold the Smooth button down to continuously smooth the
tone curve.
Click the Null button to reset the Tone Curve.

Click the Horizontal Flip button or the Vertical Flip button to invert the
tone curve.
Press ALT and right-click to change the resolution of the grid.
Click the Invert button to flip the axis of the graph.
6 Click and drag the tone curve on the grid.
Response curve files are saved with the extension .CRV.

Enable the Display All check box to view the tone curves for all of the
image’s channels at once.
Adjust each channel’s response curve separately or simultaneously by
working in the composite channel.
You can undo your last action in the Tone Curve dialog box by pressing
CTRL + Z.
You can press and hold CTRL to constrain the nodes to a vertical
movement.
Resampling and editing bitmaps

A resampled bitmap is a bitmap that has been changed in size or resolution.
When you resample a bitmap, you can resize it, change its horizontal and
vertical bitmap resolution, choose the processing quality, and correct bitmap
distortion.
You can remove the jagged edges from the original image to create a smooth,
clear bitmap. You can change the bitmap resolution and processing quality
without affecting its size.
You may want to change a bitmap completely by editing it in Corel PHOTO
PAINT. CorelDRAW gives you the ability to launch Corel PHOTO-PAINT to
modify an image.
Resampling bitmaps
You can resample bitmaps in two ways: by resizing it or by changing its
resolution. Resolution is the amount of detail and information an image file
contains. When you work with bitmaps, resolution affects both the quality of
the final output and the file size.
You can resize the bitmap using absolute or percentage values. You can resize
a bitmap while maintaining its original proportions. It is best to adjust bitmap

width or height separately. In fact, if you want to maintain the integrity of the
bitmap, you should never increase its size.
You can change the resolution of a bitmap in one of three ways: by changing
the horizontal and vertical bitmap resolution, by choosing the processing
quality of the resampled bitmap, or by correcting bitmap distortion when you
resample.
To resample by changing the size of a bitmap

2 Click Bitmaps, Resample.
3 Choose a unit of measurement from the Units list box.
4 In the Image Size section, type values in the Width and Height boxes.
To resample by changing the resolution of a bitmap

2 Enable the Maintain Original Size check box.
3 Disable the Maintain Aspect Ratio and the Identical Values check boxes to
enter different values for the Resolution.
4 In the Resolution section, type values in the Horizontal and Vertical
boxes.
If you enable the Maintain Aspect Ratio check box, typing one value
adjusts the other value automatically.
5 Enable the Anti-Alias check box to produce a smoother bitmap.
You can also resample a bitmap by clicking the Resamples the Bitmap
Editing bitmaps
CorelDRAW provides access to other applications to allow you to work
quickly and efficiently. You can edit any bitmap after it has been imported in
to CorelDRAW by using the Edit Bitmap option. This feature lets you edit a
bitmap in Corel PHOTO-PAINT and then return to CorelDRAW.
To edit a bitmap

2 Click Bitmaps, Edit Bitmap.
3 Edit the bitmap in Corel PHOTO-PAINT.
You can also edit a bitmap by clicking the Edit Bitmap button on the
Property Bar.
Inflating bitmaps
CorelDRAW automatically inflates a bitmap to ensure that the effect covers
the entire image. Disabling the automatic inflate option truncates the effect
on the image. For example, if you apply a Blur effect to a rectangle, the
corners are cut off. You can also inflate a bitmap manually.
Inflating bitmaps
You can inflate bitmaps automatically or manually. When you inflate bitmaps
automatically, CorelDRAW adds a default border to the bitmap. You can set
your own border size when you inflate a bitmap manually.
To enable the auto inflate bitmap option

2 Click Bitmaps, Inflate Bitmap, Auto Inflate Bitmap.
A check mark appears next to the Auto Inflate Bitmap indicating that the
option is enabled. Repeat step 2 to disable the Auto Inflate Bitmap option.
To inflate a bitmap manually

2 Click Bitmaps, Inflate Bitmap, Manually Inflate Bitmap.
3 Type a number representing the pixel amount to inflate in the Width and
Height boxes or a percentage amount to inflate the bitmap in the
Percentage boxes. Use the original bitmap size as reference.
Enable the Maintain Aspect Ratio check box to inflate the bitmap
proportionally.
Converting bitmaps
Converting is the process of changing something from one form to another.
There are two types of conversions that you might want to do on an image:

converting from a vector image to a bitmap and converting an image from
one color mode to another.
When you convert a vector image to a bitmap, you can access and apply
effects that were not available to vector images.
A color mode is a system that defines the number and kind of colors that
make up a bitmap image. When you convert an image from one color mode to
another, you can change the look of an image. You might also want to convert
to a less memory-intensive color mode to decrease file size, for example
converting to the Grayscale color mode.
You can select from Black and White (1-bit), Grayscale (8-bit), Duotone
(8-bit), Paletted (8-bit), RGB color (24-bit), LAB color (24-bit) or CMYK
color (32-bit) color modes. When converting a bitmap, the active color mode,
the mode the image is currently using, appears dimmed.
Converting vectors to bitmaps

You can convert a vector image to a bitmap. Converting an image in this
manner enables you to apply a variety of effects to a drawing.
Converting vectors to bitmaps

You can convert vector objects created in CorelDRAW to bitmaps.
To convert a vector object to a bitmap

2 Click Bitmaps, Convert to Bitmap.
3 From the Color list box, choose the color mode to be saved with the
bitmap.
Anti-Aliasing — smoothes the edges of the bitmap
Dithered — improves the transition between colors
Transparent Background — makes the background of the bitmap
transparent
Use Color Profile — applies the current color profile
5 From the Resolution list box, choose a resolution value.
Converting an image to a different color mode

CorelDRAW lets you convert an image to the following color modes:
Black-and-White, Grayscale, Duotone, RGB, CMYK, or LAB. You can also

convert a bitmap to the Paletted color mode. For information about
Converting to Paletted color mode, see “Converting images to the Paletted
color mode” on page 576.
An image is
converted from the
RGB color mode to
the CMYK color mode.
The Black-and White, Duotone and Paletted color modes share common
controls. For information on how to use these common controls, see “Using
bitmap effects” on page 584.
Converting to the Black-and-White color mode

The Black-and-White color mode is a 1-bit color mode that stores images as
two solid colors — usually black and white — with no gradations. This mode
is useful for line art and simple graphics.
Converting to the Grayscale color mode

The Grayscale color mode uses 256 shades of gray to represent an image.
Every pixel in a grayscale image has a brightness value ranging from 0,
which is black, to 255, which is white. In some cases, you must convert an
image to grayscale before you can convert it to other modes. For example,
you must convert an image to the Grayscale color mode before you can
convert it to the Duotone color mode.
Converting to the Duotone color mode

The Duotone color mode consists of the Grayscale color mode enhanced with
one to four additional colors. The Duotone color mode adds color to grayscale
images or creates effects using tone curve settings. A duotone image can be
monotone, duotone, tritone, or quadtone, according to the number of
additional colors.
Converting to the RGB Color color mode

The RGB Color color mode is a 24-bit color mode that uses percentages of
three colors (red, green, and blue) to create colors. Each color has 100 levels

of intensity, ranging from black to the color’s full intensity. RGB Color is the
most commonly used color mode.
You can use the RGB Color color mode to create high-quality photographic
color bitmaps, and to print to an RGB or CMY printer.
Converting to the Lab Color color mode

The Lab Color color mode creates color based on luminance or lightness (L)
and two chromatic components: “a” and “b.” The “a” component consists of
colors ranging from green to red and the “b” component consists of colors
ranging from blue to yellow.
You can use the LAB Color color mode for working with Photo CD images or
for editing the luminance and color values of an image independently. You can
also use the Lab color mode to move images between systems and for
printing to PostScript Level 2 printers.
Converting to the CMYK Color color mode

The CMYK Color color mode assigns each pixel in the original image a
percentage value for each of the corresponding process inks. The lightest
colors are assigned small percentage values and darker shades are assigned
higher percentage values. You can use the CMYK Color color mode when
you want to print an image that has process colors. The CMYK Color color
mode is the standard mode for most full-color commercial printing.
Converting to the CMYK Color color mode is different from converting to
other modes because it is used to produce full-color separations. The CMYK
Color color mode is device-dependent, which means that its color space is
based on the characteristics of a printer. If you convert an image to a
device-dependent color mode such as CMYK Color, the color values used to
produce the image might differ from one device to another.
Converting bitmaps to the Black-and-White color mode

You can convert a bitmap to a 1-bit black-and-white bitmap. The
Black-and-White color mode provides seven options: Line Art, Ordered,
Halftone, Stucki, Jarvis, Floyd-Steinberg, and Cardinality-Distribution. Jarvis,
Stucki, and Floyd-Steinberg are types of error-diffusion conversions. Error
diffusion is best suited to photographic images.

An image is
converted from the
RGB color mode to
the Black-and-White
color mode.
Line Art
Line Art produces a high-contrast, black-and-white bitmap. You specify a
value indicating all colors below that value turn black and all colors above
that value turn white. No halftone is applied to the bitmap.
Ordered
Ordered organizes gray levels into repeating geometric patterns of black and
white pixels. Solid colors are emphasized and image edges are hard. This
option improves the quality of the displayed bitmap for monitors that have
less than 256-color capabilities. Ordered approximates pixel values by using
fixed dot patterns.
Halftone
Halftone creates different shades of gray by varying the pattern of
black-and-white pixels in an image. Similar to a photograph, Halftone enables
printing to a black-and-white laser printer.
Jarvis
Jarvis error diffusion applies the Jarvis algorithm to individual pixels.
Stucki
Stucki error diffusion applies the Stucki algorithm to individual pixels.
Floyd-Steinberg
Floyd-Steinberg error diffusion applies the Floyd-Steinberg algorithm to
individual pixels.

Cardinality-Distribution
Cardinality-Distribution creates a textured look by applying cardinality
calculation and distributing to each pixel.
To convert a bitmap to the Black-and-White color mode

2 Click Bitmaps, Mode, Black And White (1-bit).
3 In the Conversion list box, choose a type of conversion from Line Art,
Ordered, Halftone, Cardinality-Distribution, Jarvis, Stucki, or
Floyd-Steinberg.
4 If you choose Halftone, do all of the following:
Set a level of intensity using the Intensity slider.
Choose a screen type from the Screen Type list box.
Choose a unit from the list and type a value in the Lines per box to
control the line frequency.
Type a value in the Degrees box to control the screen angle.
5 If you choose Line Art, type a value in the Threshold box.
All colors with a grayscale value lower than this threshold value change to
black; all colors with a grayscale value higher than the threshold value
change to white.
6 If you choose Ordered, Jarvis, Stucki, Floyd-Steinberg, or
Cardinality-Distribution, set a level of intensity using the Intensity slider.
Higher Intensity values result in more and darker grayscale tones; lower
intensity values result in less, lighter grayscale tones.
Converting bitmaps to the Grayscale color mode

You can convert a bitmap to the Grayscale color mode. A grayscale bitmap
uses a range of 0 to 255 shades of gray to produce a bitmap that resembles a
traditional black-and-white photograph.

An image is
converted from the
RGB color mode to
the Grayscale color
mode.
To convert a bitmap to the Grayscale color mode

2 Click Bitmaps, Mode, Grayscale (8-bit).
Converting bitmaps to the Duotone color mode

A bitmap in the Duotone color mode is a grayscale image that has been
enhanced with one to four additional colors.
An image is
converted to the
Duotone color mode
and enhanced with
cyan.
Curve
When you convert a grayscale image to the Duotone color mode, the tone
curve grid displays the dynamic ink curves that will be used throughout the
conversion. The horizontal plane or x-axis displays the 256 possible shades of
gray in a grayscale image (0 is black; 255 is white). The vertical plane or
y-axis illustrates the intensity of an ink (from 1 to 100 percent) that is applied
to the corresponding grayscale values.
Overprint
Once you adjust the tone curves for the duotone conversion, you can further
customize the colors displaying your image by choosing Overprint colors.

Overprint colors are the colors appearing on an image when two or more
colors overlap. The Overprints displays all possible instances when the
colors that you have chosen for your duotone conversion can overlap.
Associated with each instance is the color produced by the overlap. You can
also choose new Overprint colors.
To access the Duotone option you must first convert your bitmap to
Grayscale. For more information, see “Converting bitmaps to the Grayscale
color mode” on page 571.
To convert a grayscale bitmap to the Duotone color mode

2 Click Bitmaps, Mode, Duotone (8-bit).
3 From the Type list box, choose one of the following:
Monotone — creates a grayscale image that prints using a single ink
Duotone — creates a grayscale image that prints using two inks. In
most cases, one ink is black and one is colored.
Tritone — creates a grayscale image that prints using three inks. In
most cases, one ink is black and the others are colored.
Quadtone — creates a grayscale image that prints using four inks. In
most cases, one ink is black and the others are colored.
The Type window displays the corresponding inks.
4 Select an ink color from the Type window.
5 Click the ink tone curve on the grid to create a node.
The node adjusts the percentage of color at that point on the curve.
6 Position the cursor over the node that you want to edit.
A target icon appears when the node is in Edit mode.
7 Drag the node to adjust the curve.
To save inks for duotone conversion

1 In the Duotone dialog box, click the Save button.
2 From the Save In list box, choose the drive where you want to store the
duotone file.
3 Double-click the folder in which you want to store the duotone file.

To load inks for duotone conversion
1 In the Duotone dialog box, click the Load button.
2 From the Look In list box, choose the drive where the duotone file is
stored.
3 Double-click the folder where the duotone file is stored, and click the
filename.
To choose an ink color for duotone conversions

1 In the Duotone dialog box, double-click an ink color.
2 Choose a new color from one of the modes.
3 Click OK.
4 Click the tone curve line on the grid to create a node.
The node adjusts the percentage of color at that point on the curve.
5 Position the cursor over the node that you want to edit.
A target icon appears when the node is in Edit mode.
6 Drag the node to adjust the curve.
To specify how Overprint colors display onscreen

1 In the Duotone dialog box, click the Overprint tab.
2 Enable the Use Overprint check box.
3 Double-click the color that you want to edit.
4 In the Select Color dialog box, choose a new color from one of the modes.
You can verify the original color and the new color in the Reference Color
and New Color boxes at the top of the Select Color dialog box.
To edit the settings of a duotone image

2 Click Bitmaps, Color Transform, Edit Duotone.

Enable the Show All box to display all of the ink tone curves on the grid at
once.
Click the Null button to return all ink tone curves to their default position
on the grid.
Converting bitmaps to the RGB Color color mode

The RGB Color color mode uses percentages of three colors (red, green, and
blue) to create colors. Each color has 256 levels of intensity, ranging from
zero to full intensity.
An image in the
CMYK color mode is
converted to the RGB
color mode.
To convert a bitmap to the RGB Color color mode

2 Click Bitmaps, Mode, RGB Color (24-bit).
Converting bitmaps to the Lab Color color mode

The Lab Color color mode creates bitmaps encompassing the color gamuts of
both the CMYK and the RGB Color color modes.
An image is
converted from the
RGB color mode to
the Lab color mode.

To convert a bitmap to the LAB Colors color mode
2 Click Bitmaps, Mode, Lab Color (24-bit).
Converting bitmaps to the CMYK Colors color mode

The CMYK Color color mode lets you combine percentages of cyan,
magenta, yellow, and black to produce virtually any color. Before you convert
images to CMYK Color color mode, you must calibrate your system
correctly.
An image is
converted from the
RGB Color color
mode to the CMYK
color mode.
To convert a bitmap to the CMYK Colors color mode

2 Click Bitmaps, Mode, CMYK Color (32-bit).
Any conversion involves some loss of information because converting

shifts a bitmap to another color space. This is especially true when
converting to CMYK, which is a smaller color space than RGB. The color
of the RGB bitmap changes noticeably when you convert to CMYK and
these changes cannot be recovered.
Converting images to the Paletted color mode

The Paletted color mode is an 8-bit color mode that stores and displays
images using up to 256 colors. Converting a complex image to the Paletted
color mode reduces file size — especially important for Internet publications
— and allows more precise control over the colors used throughout the
conversion process.
When you convert an image to the Paletted color mode, you can choose from
different color palette types. Choose a predefined palette or create your own

customized palette based on the colors displayed in your image. For more
precise control over the colors contained in the palette, you can specify the
number of colors and the range sensitivity to apply throughout the
conversion.
An image is
converted to the
Paletted color mode.
Smoothing
When you smooth an image, CorelDRAW analyzes the color differences
around each pixel in the image and blends the color transitions where abrupt
color changes occur. Smoothing creates a softly blurred image but helps
produce a more accurate palette.
Dithering
Dithering enhances the appearance of photographic images by using a limited
Color Palette. Dithering places pixels with specific colors or values relative
to other pixels of a specific color. The relationship of one colored pixel to
another helps to create the appearance of additional colors that do not exist in
the Color Palette. There are two types of dithering: error diffusion and
ordered dithering. Error diffusion scatters pixels irregularly, making edges
and colors softer. Ordered dithering approximates color blends using fixed
dot patterns; as a result, solid colors are emphasized and edges appear
harder.
Range sensitivity
If you convert an image to the Paletted color mode using an optimized
palette, you can specify a range sensitivity color. This color acts as a target
color for the conversion, meaning more colors in the specified color’s range
are used in the conversion. You can determine the importance of the range
sensitivity color and customize its appearance.

Batch conversion
You can convert multiple files to the Paletted color mode using batch
conversion. You can specify which files to convert and preview each image
before applying the conversion.
Converting to Paletted color mode

You can convert images to the Paletted color mode by choosing one of ten
palette types.
To convert a bitmap to the Paletted color mode

2 Click Bitmaps, Mode, Paletted (8-bit).
3 In the Convert To Paletted dialog box, click the Options tab.
4 From the Palette list box, choose a palette type.
Uniform — provides a range of 256 colors with equal parts of red,
green, and blue
Standard VGA — provides the Standard VGA 16-color palette
Adaptive — samples the image and uses the first 256 colors to create
the palette
Optimized — contains colors centered on the image’s spectrum of
colors. If you choose Optimized, you can enable the Color Range
Sensitivity To check box and choose a color from the Color Palette
Black Body — contains colors that are based on temperature, e.g.,
black (cold), red, orange, yellow, and white (hot)
Grayscale — provides 256 shades of gray, ranging from black (0) to
white (255)
System — contains the predefined palette of colors used by your
operating system
Microsoft Internet Explorer — contains the predefined Microsoft
Internet Explorer colors
Netscape Navigator — contains the predefined Netscape Navigator
colors
Custom — allows you to add colors to create your own customized
color palette. If you choose Custom, click the Open button beside the
Palette list box, locate the custom palette in the Open Palette dialog
box, and click Open.

5 From the Dithering list box, choose a dithering option.
None — disables dithering
Ordered — approximates color blends using fixed dot patterns
Jarvis — approximates color blends by applying the error diffusion
Jarvis algorithm to individual pixels
Stucki — approximates color blends by applying the error diffusion
Stucki algorithm to individual pixels
Floyd-Steinberg — approximates color blends by applying the error
diffusion Floyd-Steinberg algorithm to individual pixels
6 Move the Dither Intensity slider to set the intensity of the conversion.
You can preview the colors that are used to create the paletted image in
the Preview window in the Convert To Paletted dialog box. Previewing
lets you alter the conversion options before you permanently apply the
effect to the image.
The Ordered dithering option applies more quickly than the Error
Diffusion options (Jarvis, Stucki, and Floyd-Steinberg) but is less accurate.
Saving, deleting, and loading conversion options for the paletted

image
After you choose a palette and set the dithering and range sensitivity for the
conversion, you can save your settings for future use. You can add and
remove preset conversion options in the Convert To Paletted dialog box.
To save conversion options

3 Type a name in the Save New Preset As box in the Save Preset dialog box.
The palette, dithering, smoothing, and color sensitivity options are saved
as a preset that you can use in future CorelDRAW sessions.
To delete conversion options

1 Click Image, Mode, Paletted (8-bit).

2 Choose the conversion preset from the Preset list box.
3 Click the Remove button.
To load preset conversion options

2 From the Presets list box, choose a preset conversion option.
The palette, dithering, smoothing, and color sensitivity options stored in
the preset are applied to the current image.
To load a custom color palette

3 In the Open Palette, choose the drive where the color palette is stored
from the Look In box.
4 Double-click the folder where the color palette is stored.
Specifying range sensitivity for the paletted image

Specify range sensitivity to customize the palette you chose for the
conversion. When you specify range sensitivity, you choose a color that acts
as the focus color for the paletted conversion. You can also adjust the color
and specify the importance of the color in the image that you are converting.
An image is
converted to the
paletted color mode.
Range sensitivity is
set for the yellow
ball.
Because all conversions result in some loss of information, it’s a good idea to
preview the conversion before you close the Convert To Paletted dialog box.
Previewing lets you alter the conversion options that you want to apply
without permanently affecting the image.

To specify range sensitivity for the paletted image
2 Click the Options tab and, from the Palette list box, choose Optimized.
3 Enable the Color Range Sensitivity To box.
Click the Eyedropper tool and click a color on the image.
Click the Color Range Sensitivity To color picker, and choose a color.
Click the Other button at the bottom of the Color Range Sensitivity To
color picker to see more colors or to create your own.
5 Click the Range Sensitivity tab.
Importance — changes the default importance value to determines the
emphasis placed on this color (and others related to it) in the
conversion. Higher importance values mean that more shades of this
color (and those related to it) are included in the color palette — to the
point where other colors in the image are excluded. The conversion is
concentrated on the areas of the image that are displayed in that color.
Lightness — adjusts the tolerance sensitivity of the conversion
process to the lightness component of the range sensitivity color
A (Green Red Axis) — adjusts the tolerance sensitivity of the
conversion process to the green/red component of the range sensitivity
color
B (Blue Yellow Axis)-adjusts the tolerance sensitivity of the conversion
process to the blue/yellow component of the range sensitivity color
7 Click the Processed Palette tab to view the range of colors that you’ve
chosen for your palette.
Range sensitivity is only available when you choose the Optimized palette
type.
Editing the processed Color Palette

After you choose a Color Palette for the image conversion, you can
customize it by editing individual colors.

To edit the processed Color Palette
2 Click the Processed Palette tab.
3 Click a color.
5 Use the commands and controls in the Color Table to edit the selected
color.
Saving the processed palette

After you create and customize a palette for your conversion, you can save it
as a custom palette file (.CPL) for use with other applications.
To save the processed palette

2 In the Convert To Paletted dialog box, choose a palette and set conversion
and range sensitivity options.
3 Click the Processed Palette tab to view the colors in your palette.
5 In the Save Palette As dialog box, choose the drive where you want to
store your palette from the Save In box.
6 Double-click the folder where you want to store your palette.
7 Type a name in the File Name box.
8 Click Save.
For more information about converting an image to the Paletted color

mode, see “Converting to Paletted color mode” on page 578 and
“Specifying range sensitivity for the paletted image” on page 580.
Resetting the range sensitivity options

At any time throughout the conversion process you can reset the range
sensitivity color and options that you’ve set. When you reset the range
sensitivity color on the Options page, CorelDRAW resets to the color which
appears most frequently in the image.

To reset the Color Palette
2 In the Convert To Paletted dialog box, click the Options tab.
3 Click the Reset button.
The Reset button on the Options page is only available if you have set the
color range sensitivity for an Optimized palette.
To reset range sensitivity options

2 In the Convert To Paletted dialog box, click the Range Sensitivity tab.
3 Click the Reset button beside the range sensitivity option that you want to
reset.
Converting multiple images

You can convert multiple images to the Paletted color mode at once. Before
you can convert the images, they must be open in CorelDRAW. All the
images that you include in the batch are converted using the palette and
conversion options that you specify on the Options page in the Convert To
Paletted dialog box.
All the images you include in the batch are converted using the palette and
conversion options that you specify on the Options page.
To convert multiple files

2 Click the Batch tab.
The name of the active file(s) in the Drawing Window appears in the right
column on the Batch page with an asterisks(*) in front. The names of all
other open files are listed in the left column.
3 Select the files that you want to convert.
The selected files move to the right column for conversion.

To preview an image in the batch conversion
Choose an image from the Preview Image list box, and enable the Preview
button.
Batch conversion is not available if you choose Optimized from the Palette
list box on the Options page in the Convert To Paletted dialog box.
You can include all open files in the batch conversion by clicking the Add
all button on the Batch page.
You can remove files from the batch by clicking the Remove button on the
Batch page. The Remove all button removes all files from the batch.
Applying special effects to bitmaps

You can enhance or customize bitmaps using special effects.
Effects filters are small applications that execute a preset series of
commands to produce an effect on a bitmap. They automatically calculate the
values and characteristics of every pixel in a bitmap and then alter the pixels
according to new values. For example, if you apply the Motion Blur effect to a
bitmap, the effect analyzes all pixel values then “smears” the values in a
specified direction, creating the illusion of motion.
Using bitmap effects

The following chart displays common controlscontrols for using Color
Adjustment effects, converting to different color modes, and applying bitmaps
effects:
Control Description
Enable to preview the effect on screen.

Enable to display a single, large Result window, or to disable the
on-screen preview.
Enable to display Original and Result windows.
Enable to automatically update the preview as you make adjustments to

the settings.
Shows a menu of other effects you can apply to your bitmap.

You can also pan around an image using the P an tool that appears when you
move your cursor over the Original window (or the Drawing Window if the
On-Screen Preview button is enabled). Zoom in to an image by clicking in the
window; right-click to zoom out.
Setting the bitmaps effects options

The Options dialog box lets you set the way you see the preview of an effect.
You can also choose to make the default options of the effect revert to the
options you used the last time you applied the effect. You can also set the
number of activities you can undo. These options apply to all bitmap effect
dialog boxes.
To set the bitmap effects options

2 In the list of categories, double-click Global, and click Bitmap Effects.
3 In the Initial Preview Method section, enable one of the following buttons:
Full Screen — displays a preview of the effect onscreen
Before and After — displays the Original and Results windows in the
effect dialog
Result Only — displays only the Results window in the effect dialog
Last Used — displays the last used dialog, either On Screen or In
Dialog
4 Enable the Prefill dialogs with last used values check box to display the
previously entered effect settings.
To set the bitmap effects undo level

3 Type the number of undo levels in the Bitmap Effects box.
Applying 3D effects
CorelDRAW provides seven 3D effects to give your bitmaps the illusion of
three-dimensional depth. The 3D effects include:
3D Rotate — rotates an image to any degree
Cylinder — compresses and expands image pixels in the shape of a
cylinder

Emboss — creates a three-dimensional relief effect
Page Curl — creates the illusion that a corner of the paper has been rolled
over another part of the image
Perspective — applies a three-dimensional look or holds the original size
and shape
Pinch Punch — causes an image to appear as if it has been pulled out or
pushed in from the center
Sphere — creates the illusion that an image is wrapped around the inside
or outside of a sphere
Applying the 3D Rotate effect to a bitmap

The 3D Rotate effect rotates an image horizontally and vertically.
CorelDRAW applies the rotation as if the image were one side of a
three-dimensional box.
To apply the 3D Rotate effect

2 Click Bitmaps, 3D Effects, 3D Rotate.
3 Change the Vertical and Horizontal values to rotate and position the 3D
model.
4 Enable the Best Fit check box to ensure that the bitmap stays within the
boundary of the Drawing Page.
The 3D Rotate effect supports all color modes except the Black-and-White
color mode.

Applying the Cylinder effect to a bitmap
The Cylinder effect wraps an image along the inside or outside of a cylinder.
To apply the Cylinder effect

2 Click Bitmaps, 3D Effects, Cylinder.
Horizontal — shifts pixels from top to bottom
Vertical — shifts pixels from left to right
4 Move the Percentage slider to set the direction of the wrapping.
Positive values expand pixels away from the center, wrapping the image
around the cylinder’s exterior. Negative values compress pixels towards
the center, conforming the image to the interior of a cylinder.
The Cylinder effect supports all color modes except 48-bit RGB, 16-bit
Grayscale, Paletted, and Black-and-White.
Applying the Emboss effect to a bitmap

The Emboss effect creates a three-dimensional relief effect, which means
that details in an image appear to become three-dimensional ridges and
crevices on a flat surface. The Emboss effect has the most dramatic effect on
bitmaps that have medium to high contrast.
You can use several effects in combination with the Emboss effect to produce
photo-realistic effects.

To apply the Emboss effect
2 Click Bitmaps, 3D Effects, Emboss.
3 In the Emboss Color section, enable one of the following buttons:
Original Color — suppresses the color in the bitmap area and outlines
the bitmap with the colors in the original bitmap
Gray — suppresses the color in the bitmap area and outlines the
bitmap with gray. This produces a gray bitmap with moderate,
embossed highlights.
Black — suppresses the color in the bitmap area and outlines the
bitmap with black. This produces a black bitmap with high-contrast,
embossed highlights.
Other — suppresses the color in the bitmap area and outlines the
bitmap with a color you choose from the color picker
4 Move the Depth slider to control the depth of the embossing effect so that
areas of the bitmap appear raised in relief.
5 Move the Level slider to set the amount of background color that the
relief contains.
6 Type a value in the Direction box to indicate the direction of movement.
The Emboss effect supports all color modes except Paletted and
Black-and-White.

You can also use the Direction dial to indicate the direction of movement.
Click on a point along the edge of the Direction dial to choose the location
of the light source relative to the bitmap (theoretically in the center of the
circle) used for the embossing effect.
Applying the Page Curl effect to a bitmap

The Page Curl effect gives the impression that a corner of an image has
rolled in on itself. You can select a corner of the bitmap, the orientation and
size of the curl, and its transparency level. You select colors for the curl and
for the background that becomes visible when the image curls away.
To apply the Page Curl effect

2 Click Bitmaps, 3D Effects, Page Curl.
3 Click a Page Corner button to select a corner.
Click the Vertical button to begin the curl at the top or bottom edge of
the image.
Click the Horizontal button to begin the curl at the left or right edge of
the image.
5 Move the Width % and Height % sliders to set the curl size.
Higher values result in a larger, wider curl; lower values result in a
smaller, tighter curl.
6 Click the color pickers to choose colors for the Curl and Background.

Opaque Curl — creates a curl with a solid color
Transparent Curl — lets the underlying image be visible through the
curl
The Page Curl effect supports all color modes except Paletted and
Black-and-White.
You can also choose the Curl and Background colors by using the
Eyedropper and clicking a color from the Drawing Window.
Applying the Perspective effect to a bitmap

The Perspective effect gives an image the appearance of three-dimensional
depth, as if the bitmap is receding into the distance.
There are two perspective modes: Perspective and Shear. Perspective
applies a three-dimensional look to the bitmap according to the movement of
the four nodes in the dialog box. Shear also applies perspective, but
maintains the original size and shape of the bitmap.
To apply the Perspective effect

2 Click Bitmaps, 3D Effects, Perspective.
3 Enable one of the buttons in the Type section:
Perspective — lets you move two nodes at a time toward or away from
each other
Shear — maintains the distance between the nodes, while allowing you
to skew the bitmap

4 Drag one of the nodes that appears in the Preview window.
The Preview window shows how dragging the nodes affects the
perspective of the bitmap.
5 Enable the Best Fit check box to ensure that the bitmap stays within the
boundary of the Drawing Page.
The Perspective effect supports all color modes except Black-and-White.
Applying the Pinch Punch effect to a bitmap

The Pinch Punch effect warps an image by either “pinching” the bitmap away
from you or “punching” it toward you.
To apply the Pinch Punch effect

2 Click Bitmaps, 3D Effects, Pinch Punch.
3 Click the Set Center button.
4 Position the cursor over the Drawing Window, and click to set a center
point around which the pinch or punch originates.
5 Move the Punch/Pinch (-/+) slider to set the intensity of the effect.
Positive values apply a Pinch effect; negative values apply a Punch effect.
The Pinch Punch effect supports all color modes except Black-and-White.

Applying the Sphere effect to a bitmap
The Sphere effect makes an image appear as though it wraps around the
inside or outside of a sphere.
To apply the Sphere effect

2 Click Bitmaps, 3D Effects, Sphere.
3 Move the Percentage slider to set the wrapping.
Negative values shrink central pixels, wrapping your image along the
inside of a sphere. Positive values expand central pixels, wrapping your
image along the outside of a sphere.
The Sphere effect supports all color modes except 48-bit RGB, 16-bit
Applying Art Strokes effects

CorelDRAW provides 14 Art Strokes effects that give images an organic,
hand-painted look. You can use these effects to turn your images into pastel
drawings, sponge paintings, watercolors, or to create textured backgrounds
for your artwork. The Art Strokes effects are:
Charcoal — converts an image to a charcoal drawing
Conté Crayon — textures an image using a conté crayon
Crayon — scatters pixels in an image to produce the effect of a waxed
crayon drawing
Cubist — groups similar colored pixels into squares to produce an image
that resembles a Cubist painting

Impressionist — converts pixels to dabs of paint
Palette Knife — redistributes pixels to create the impression of a knife
spreading paint on a canvas
Pastels — turns an image to a pastel drawing
Pen and Ink — transforms an image into a pen and ink drawing
Pointillist — analyzes the main colors in the image and converts them to
small dots
Scraperboard — scatters and layers pixels in long strands to create the
impression of an image scratched in paint
Sketch Pad — makes an image look like a pencil sketch
Watercolor — turns an image into a watercolor painting
Water Marker — reconstructs an image as an abstract color marker
sketch
Wave Paper — makes an image look like a painting on textured wave
paper
Applying the Charcoal effect to a bitmap

The Charcoal effect converts an image to a charcoal drawing.
To apply the Charcoal effect

2 Click Bitmaps, Art Strokes, Charcoal.
3 Move the Size slider to set the size of the charcoal.
4 Move the Edge slider to set the emphasis of the image edges.

The Charcoal effect supports all color modes except 48-bit RGB, 16-bit
Applying the Conté Crayon effect to a bitmap

The Conté Crayon effect textures an image using a conté crayon.
To apply the Conté Crayon effect

2 Click Bitmaps, Art Strokes, Conté Crayon.
3 Enable one of the following Conté Colors buttons:
Black — creates a black conté crayon drawing
White — creates a white conté crayon drawing
Sanguine — creates a sanguine conté crayon drawing
Sepia — creates a sepia conté crayon drawing
Bistré — creates a bistré conté crayon drawing
4 Click the color picker, and choose a paper color.
5 Move the Pressure slider to set the brush pressure.
6 Move the Texture slider to set the amount of granularity.
The Conté Crayon effect supports all color modes except 48-bit RGB,
16-bit Grayscale, Paletted, and Black-and-White.
You can apply the Conté Color buttons cumulatively.

You can also type values in the Pressure and Texture boxes to control the
effect.
To choose a color for the paper, click the Eyedropper tool, and choose a
color from the Image Window.
Applying the Crayon effect to a bitmap

The Crayon effect scatters pixels in an image, making it appear as though it
is drawn using wax crayon.
To apply the Crayon effect

2 Click Bitmaps, Art Strokes, Crayon.
3 Move the Size slider to set the crayon size.
4 Move the Outline slider to set the crayon outline detail.
The Crayon effect supports all color modes except 48-bit RGB, 16-bit
Applying the Cubist effect to a bitmap

The Cubist effect groups similarly colored pixels into squares, creating an
image that resembles a Cubist painting.

To apply the Cubist effect
2 Click Bitmaps, Art Strokes, Cubist.
3 Move the Size slider to set the size of the squares.
4 Move the Brightness slider to set the amount of light in the image.
5 Click the Paper color picker, and choose a color.
The Cubist effect supports all color modes except 48-bit RGB, 16-bit
You can also choose a color for the paper by clicking the Eyedropper tool
and choosing a color from the Drawing Window.
Applying the Impressionist effect to a bitmap

The Impressionist effect gives an image the look of an Impressionist painting
by converting it to dabs of solid color.

To apply the Impressionist effect
2 Click Bitmaps, Art Strokes, Impressionist.
3 Move the Horizontal and Vertical sliders to set the number of pixels that
are displaced horizontally and vertically.
Increasing the value increases the effect of blurring on the original bitmap
to the point where the bitmap can become unrecognizable. The range
(between 1 and 100) is measured in pixel displacement. For example, a
setting of 10 for the vertical displacement diffuses the bitmap over a
10-pixel vertical region.
4 Enable the Lock button to set the horizontal value equal to the vertical
value.
The Lock button is enabled when it appears depressed.
The Impressionist effect supports all color modes except

Black-and-White.
Applying the Palette Knife effect to a bitmap

The Palette Knife effect creates an image that looks as though a knife has
spread paint on a canvas.

To apply the Palette Knife effect
2 Click Bitmaps, Art Strokes, Palette Knife.
3 Move the Blade Size slider to set the size of the brushstrokes.
4 Move the Soft Edge slider to set the amount of smudging.
5 Click the Angle dial to specify the direction of the brushstrokes.
The Palette Knife effect supports all color modes except 48-bit RGB,
You can also type a value in the Angle box to specify the direction of the
brushstrokes.
You can also type values in the Blade Size and Soft Edge boxes to control
the effect.
Applying the Pastels effect to a bitmap

The Pastels effect creates an image that looks as though it has been created
using pastel crayons.

To apply the Pastels effect
2 Click Bitmaps, Art Strokes, Pastels.
3 In the Pastel type section, enable one of the following buttons:
Soft — creates the image with gentle or pale pastel shades
Oil — creates the image to resemble an image made with oil pastels
4 Move the Stroke size indicator to set the thickness of each line.
5 Move the Hue variation indicator to set the colors in the image.
The Pastels effect supports all color modes except 48-bit RGB, 16-bit
Applying the Pen and Ink effect to a bitmap

The Pen and Ink effect creates an image that looks like a Black-and-White ink
drawing.

To apply the Pen and Ink effect
2 Click Bitmaps, Art Strokes, Pen and Ink.
3 Enable one of the following Style buttons:
Crosshatch — shades the image using intersecting diagonal lines
Stippling — shades the image using ink dots
4 Move the Density slider to set the density of the strokes or dots.
5 Move the Ink Pools slider to set the amount of ink in the drawing.
The Pen and Ink effect supports all color modes except 48-bit RGB, 16-bit
You can also set the density and ink amount by typing values in the
Density and Ink Pools boxes.
Applying the Pointillist effect to a bitmap

The Pointillist effect creates an image that looks as though it has been
created using a vast number of dots.
To apply the Pointillist effect

2 Click Bitmaps, Art Strokes, Pointillist.
3 Move the Size indicator to set the point size.
4 Move the Brightness indicator to set the colors in your image.

The Pointillist effect supports all color modes except 48-bit RGB, 16-bit
You can also type values in the Size and Brightness boxes to control the
effect.
Applying the Scraperboard effect to a bitmap

The Scraperboard effect creates an image that looks as though it has been
scratched through paint. Your scratching can reveal a color or white
background.
To apply the Scraperboard effect

2 Click Bitmaps, Art Strokes, Scraperboard.
3 In the Scrape to section, enable one of the following buttons:
Color — scratches the image to reveal color
White — scratches the image to reveal white
4 Move the Density slider to set the density of the brushstrokes.
5 Move the Size slider to set the size of the brushstrokes.
The Scraperboard effect supports all color modes except 48-bit RGB,

You can also type values in the Density and Size boxes to control the
effect.
Applying the Sketch Pad effect to a bitmap

The Sketch Pad effect creates an image that looks as though it is a pencil
sketch.
To apply the Sketch Pad effect

2 Click Bitmaps, Art Strokes, Sketch Pad.
3 In the Pencil Type section, enable one of the following buttons:
Graphite — creates a black-and-white image, emphasizing black lines
Color — creates a colored image, emphasizing colored lines
4 Move the Style slider to set the placement of the pixels.
5 Move the Lead slider to set the pencil type.
6 Move the Outline slider to set the intensity of the contours.
The Sketch Pad effect supports all color modes except 48-bit RGB, 16-bit
You can also type values in the Style, Outline, and Pressure boxes to
control the effect.

Applying the Watercolor effect to a bitmap
The Watercolor effect creates an image that looks as though it is a watercolor
painting.
To apply the Watercolors effect

2 Click Bitmaps, Art Strokes, Watercolors.
3 Move the Brush Size slider to set the size of the brushstroke.
4 Move the Granulation slider to set the granularity of the brushstroke.
5 Move the Water slider to set the amount of water in the brushstroke.
6 Move the Bleed slider to set the bleed rate of the brushstroke.
7 Move the Brightness slider to set the amount of light in the image.
The Watercolor effect supports all color modes except 48-bit RGB, 16-bit
You can also type values in the Brush Size, Granulation, Water, Bleed, and
Brightness boxes to control the effect.
Applying the Water Marker effect to a bitmap

The Water Marker effect creates an image that looks like an abstract sketch
created using color marker.

To apply the Water Marker effect
2 Click Bitmaps, Art Strokes, Water Marker.
3 In the Variations section, enable one of the following buttons:
Default — creates brushstrokes in a default pattern
Order — creates brushstrokes in an ordered pattern
Random — creates brushstrokes in a random pattern
4 Move the Color Variation slider to set the contrast between the
brushstrokes.
5 Move the Size slider to set the water marker nib size.
The Water Marker effect supports all color modes except 48-bit RGB,
You can also type a value in the Color Variation and Size boxes to set the
contrast between the brushstrokes.
Applying the Wave Paper effect to a bitmap

The Wave Paper effect creates an image that looks as though it is painted on
textured wave paper.
To apply the Wave Paper effect

2 Click Bitmaps, Art Strokes, Wave Paper.

3 In the Brush color section, enable one of the following buttons:
Color — creates the image using color paints
Black & White — creates the image using only black and white paints
4 Move the Brush Pressure indicator to set the pressure exerted on the
strokes.
The Wave Paper effect supports all color modes except 48-bit RGB, 16-bit
You can also type a value in the Brush Pressure box to set the brushstroke
pressure.
Applying Blur effects

CorelDRAW provides nine Blur effects. These effects let you alter the pixels
in bitmaps to soften, smooth, blend, or create motion effects. The Blur
effects are:
Directional Smooth — smoothes the regions of gradual change in an
image while preserving the edge detail and texture
Gaussion Blur — produces a hazy effect, blurring an image according to a
gaussian distribution
Jaggy Despeckle — scatters colors in an image, creating a soft, blurred
effect with minimal distortion
Low Pass — removes sharp edges and detail from an image, leaving
smooth gradients and low-frequency areas
Motion Blur — creates the illusion of movement in an image
Radial Blur — creates a blurring effect that radiates outward from a
central point in an image
Smooth, — tones down differences between adjacent pixels, resulting in
only a slight loss of detail
Soften — smoothes and tones down the harsh edges in images without
losing important image detail
Zoom — blurs pixels outward from a center point in an image

Applying the Directional Smooth effect to a bitmap
The Directional Smooth effect applies a subtle amount of blurring to an
image. It analyzes pixels with similar tonal values to determine the direction
in which to apply the greatest amount of smoothing.
To apply the Directional Smooth effect

2 Click Bitmaps, Blur, Directional Smooth.
3 Move the Percentage slider to set the intensity of the effect.
The Directional Smooth effect supports all color modes except 48-bit
RGB, 16-bit Grayscale, Paletted, and Black-and-White.
You can also set the intensity of the effect by typing a value in the
Percentage box.
Applying the Gaussian Blur effect to a bitmap

The Gaussion Blur effect produces a hazy effect, blurring the bitmap
according to a gaussian distribution. This effect can improve the quality of
bitmaps with sharp edges.
To apply the Gaussian Blur effect

2 Click Bitmaps, Blur, Gaussian.

3 Move the Radius slider to set the intensity of the effect.
Higher values result in a more blurred bitmap.
The Gaussian Blur effect supports all color modes except Paletted and
Black-and-White.
You can also set the intensity of the effect by typing a value in the Radius
box.
Applying the Jaggy Despeckle effect to a bitmap

The Jaggy Despeckle effect applies a soft, blurring effect to an image. It is
especially effective on high-contrast images.
To apply the Jaggy Despeckle effect

2 Click Bitmaps, Blur, Jaggy Despeckle.
Width — specifies the number of neighboring pixels (left and right) to
affect
Height — specifies the number neighboring pixels (top and bottom) to
affect
The Jaggy Despeckle effect supports all color modes except Paletted and
Black-and-White.

Set identical width and height values by enabling the Symmetric check
box.
You can also set the intensity of the effect by typing values in the Width
and Height boxes.
Applying the Low Pass effect to a bitmap

The Low Pass effect removes sharp edges and detail from an image.
To apply the Low Pass effect

2 Click Bitmaps, Blur, Low Pass.
Higher settings reduce harsh transitions between shadows and highlights.
4 Move the Radius slider to set the number of pixels that are successively
selected and evaluated when you apply the effect.
The Low Pass effect supports all color modes except 48-bit RGB, 16-bit
High Percentage and Radius settings can erase important detail.
You can also set the intensity and range of the effect by typing values in
the Percentage and Radius boxes.

Applying the Motion Blur effect to a bitmap
The Motion Blur effect creates the illusion of movement in an image.
To apply the Motion Blur effect

2 Click Bitmaps, Blur, Motion Blur.
3 Move the Distance slider to set the intensity of the blur effect.
4 Choose an angle by clicking on a point along the edge of the Direction dial.
5 In the Off-Imaging Sampling section, enable one of the following buttons:
Ignore Pixels Outside Image — ignores pixels that fall outside the
image
Use Paper Color — starts the blurring with the paper color
Sample Nearest Edge Pixel — starts the blurring with the colors at the
edge of the image
The Motion Blur effect supports all color modes except Paletted and
Black-and-White.
You can also indicate the direction and angle of movement by typing
values in the Direction box.
Applying the Radial Blur effect to a bitmap

The Radial Blur effect creates an image with a blurred effect that radiates out
from a central point. The center point is protected from change, and the
effect becomes more prevalent as you move away from the center point.

To apply the Radial Blur effect
2 Click Bitmaps, Blur, Radial Blur.
4 Click on the bitmap to set a center point around which the radial blur
originates.
5 Move the Amount slider to set the intensity of the effect.
The Radial Blur effect supports all color modes except 48-bit RGB, 16-bit
If you preview the Radial Blur effect in the Radial Blur dialog box, clicking
inside the preview window sets the center point around which the image
is blurred.
If you want to zoom in on the image, you must disable the Set Center
button.
You can also set the intensity of the effect by typing a value in the Amount
box.
Applying the Smooth effect to a bitmap

The Smooth effect tones down differences between adjacent pixels. It
smoothes the image and results in only a slight loss of detail. The Smooth
effect is subtle; you might have to zoom in to see its impact. You can apply
this effect several times.

To apply the Smooth effect
2 Click Bitmaps, Blur, Smooth.
3 Move the Percentage slider to set the intensity of the smoothing effect.
The Smooth effect supports all color modes except Paletted and
Black-and-White.
Applying the Soften effect to a bitmap

The Soften effect slightly blurs an image while retaining a high level of detail.
To apply the Soften effect

2 Click Bitmaps, Blur, Soften.
3 Move the Percentage slider to set the intensity of the softening.
The Soften effect supports all color modes except 48-bit RGB, 16-bit
You can also set the intensity of the effect by typing a value in the
Percentage box.
Applying the Zoom effect to a bitmap

The Zoom effect blurs pixels outward from a center point. The pixels closest
to the center point blur the least. You can control the amount of blurring.

To apply the Zoom effect
2 Click Bitmaps, Blur, Zoom.
4 Click in the Drawing Window to set a center point around which the zoom
blur originates.
5 Move the Amount slider to set the intensity of the effect.
The Zoom effect supports all color modes except 48-bit RGB, 16-bit
Grayscale, Paletted, and Black-and White.
You can also set the intensity of the effect by typing a value in the Amount
box.
Applying Color Transform effects

CorelDRAW provides four Color Transform effects that let you change the
colors in an image. The Color Transform effects are:
Bit Planes — reduces an image to basic RGB color components and
emphasizes tonal changes
Halftone — gives an image the look of a color halftone.
Psychedelic — changes the colors in a bitmap to bright, electric colors
Solarize — transforms colors in an image to look like those of a
photographic negative

Applying the Bit Planes effect to a bitmap
The Bit Planes effect reduces the colors in an image to basic RGB color
components and displays tonal changes in the image using solid colors. The
Bit Planes effect is useful for analyzing image gradients.
To apply the Bit Planes effect

2 Click Bitmaps, Color Transform, Bit Planes.
3 Move the Red, Green, and Blue sliders to set the intensity of the effect for
the different color planes.
Higher values produce coarser changes; lower values produce displays
with more tonal changes and gradations.
The Bit Planes effect supports all color modes except Black-and-White.
At the highest settings, an image shows large, flat areas where the image
is brightest and darkest. At the lowest settings, the image shows the
finest levels of tone variation.
You can also set the sensitivity of the effect by typing values in the Red,
Green, and Blue boxes.
Set equal values in each box by enabling the Apply To All Planes check
box.

Applying the Halftone effect to a bitmap
The Halftone effect gives an image the look of a color halftone. A color
halftone is an image that has been converted from a continuous tone image to
a series of dots of various sizes that represent different tones.
To apply the Halftone effect

2 Click Bitmaps, Color Transform, Halftone.
3 Move the Max Dot Radius slider to set the maximum radius of a halftone
dot.
4 ,Move the following Channel sliders to determine how colors mix:
Cyan — specifies the angle of the cyan color screen
Magenta — specifies the angle of the magenta color screen
Yellow — specifies the angle of the yellow color screen
Black — specifies the angle of the black color screen
The Halftone effect supports all color modes except 48-bit RGB, Lab,
You can also set the radius and channel angles by typing values in the Max
Dot Radius and Channels boxes.

Applying the Psychedelic effect to a bitmap
The Psychedelic effect changes the colors in a bitmap to bright, electric
colors such as orange, hot pink, cyan, and lime green. Low values result in
interesting effects.
To apply the Psychedelic effect

2 Click Bitmaps, Color Transform, Psychedelic.
3 Move the Level slider to set the intensity of the effect.
Higher values result in a radical change; lower values result in a subtle
change.
The Psychedelic effect supports all color modes except Paletted and
Black-and-White.
Applying the Solarize effect to a bitmap

Solarization is a darkroom technique that uses a sudden flash of light to
darken unfilled areas of a print. The Solarize effect transforms colors so that
they look like colors in a photographic negative. This effect is more
pronounced when applied to color bitmaps.

To apply the Solarize effect
2 Click Bitmaps, Color Transform, Solarize.
3 Move the Level slider to set the intensity of bitmap solarization.
Higher values apply more light to the bitmap; lower values apply less
light.
The Solarize effect supports all color modes except Black-and-White.
Applying Contour effects

CorelDRAW provides three Contour effects which let you detect and
accentuate the edges of images. You can set the level of edge detection,
choose the type of edges, and define the color of the edges. The Contour
effects are:
Edge Detect — detects the edges of items in an image and converts them
to lines on a single-color background
Find Edges — locates edges in an image and lets you convert these edges
to soft or solid lines
Trace Contour — traces image elements using a 16-color palette
Applying the Edge Detect effect to a bitmap

The Edge Detect effect finds the edges of elements in an image, then
converts them to lines on a background of a single color. This lets you to add
different outline effects to a bitmap. For best results, use the Edge Detect
effect on high-contrast bitmaps that include text.

To apply the Edge Detect effect
2 Click Bitmaps, Contour, Edge Detect.
3 From the Background Color section, enable one of the following buttons:
White — applies a white fill to all areas of the bitmap that are not a part
of the outlined bitmap
Black — applies a black fill to all areas of the bitmap that are not a part
of the outlined bitmap
Other — applies a color that you specify using a Color Paletteto all
areas of the bitmap that are not a part of the outlined bitmap
4 Move the Sensitivity slider to determine the amount of edge
enhancement.
The Edge Detect effect supports all color modes except Paletted and
Black-and-White.
You can also choose a background color using the Eyedropper and
selecting a color from the image.
Applying the Find Edges effect

The Find Edges effect detects the edges of objects and converts them to soft
or solid lines. The Find Edges effect is useful for high-contrast images, such
as images that contain text.

To apply the Find Edges effect
2 Click Effects, Contour, Find Edges.
3 Enable one of the following Edge Type buttons:
Soft — creates a smooth, blurred outline
Solid — creates a sharp, crisp outline
4 Move the Level slider to determine the intensity of the effect.
The Find Edges effect supports all color modes except 48-bit RGB, 16-bit
Applying the Trace Contours effect

The Trace Contour effect highlights the edges of the objects in an image. For
best results, use this effect on high-contrast images such as images that
contain text.

To apply the Trace Contours effect
2 Click Bitmaps, Contour, Trace Contour.
3 Move the Level slider to set the threshold brightness.
Brightness values range from 1 to 255.
4 Click one of the following Edge Type buttons:
Lower — traces colors with brightness values below the threshold
Upper — traces colors with brightness values above the threshold
The Trace Contour effect supports all color modes except 48-bit RGB,
You can also set the threshold level by typing a value in the Level box.
Applying Creative effects

CorelDRAW provides 14 Creative effects. These effects transform images
into a variety of shapes and textures. You can use marbles, candy, crystals,
fabric, glass, game pieces, frames, whirlpools, or raindrops. The Creative
effects are:
Crafts — uses the shapes of traditional craft items such as puzzles, gears,
marbles, candy, ceramic tiles, and poker chips as the framework for effects
Crystallize — transforms an image into crystal fragments
Fabric — transforms an image using different textiles
Frame — frames an image using a preset frame or another image
Glass Block — makes an image look like it is viewed through thick, glass
blocks
Kid’s Play — transforms an image into fun shapes such as lite pegs and
building blocks, or uses primary art methods such as finger paint and
paint-by-numbers
Mosaic — breaks an image into unequal, elliptical pieces to create the
appearance of a mosaic painting
Particles — adds bubble and star particles to an image
Scatter — distorts an image by scattering pixels

Smoked Glass — applies a transparent, colored tint to an image
Stained Glass — transforms an image into fragments and creates edges
between the glass pieces
Vignette — frames an image
Vortex — produces a whirlpool around the center point of an image
Weather — applies atmospheric conditions such as snow or rain to an
image
Applying the Crafts effect to a bitmap

The Crafts effect uses the shapes of traditional craft items as the framework
for effects.
To apply the Crafts effect

2 Click Bitmaps, Creative, Crafts.
3 From the Style list box, choose one of the following styles:
Puzzle — creates a pattern using puzzle pieces
Gears — creates a pattern using gears
Marble — creates a pattern using marbles
Candy — creates a pattern using hard, round candy
Ceramic Tile — creates a pattern using ceramic tiles
Poker Chips — creates a pattern using poker chips
4 Move the Size slider to set the size of the craft pieces.
5 Move the Complete slider to set the percentage of the image that will be
affected.

6 Move the Brightness slider to set the amount of light in the effect.
7 Click the Rotation dial to set the angle of the craft pieces.
The Crafts effect supports all color modes except 48-bit RGB, 16-bit
You can also set size, percentage, brightness, and rotation values by typing
them in the Size, Complete, Brightness, and Rotation boxes.
Applying the Crystallize effect to a bitmap

The Crystallize effect breaks an image into crystal fragments.
To apply the Crystallize effect

2 Click Bitmaps, Creative, Crystallize.
3 Move the Size slider to set the size of the crystal fragments.
The Crystallize effect supports all color modes except 48-bit RGB, 16-bit
Grayscale, and Black-and-White.
You can also set the size value by typing it in the Size box.

Applying the Fabric effect to a bitmap
The Fabric effect transforms an image by using different textiles such as
needle-point designs, rug-hooks, and quilts.
To apply the Fabric effect

2 Click Bitmaps, Creative, Fabric.
3 From the Style list box, choose one of the following styles:
Needlepoint — creates a needlepoint design
Rug Hooking — creates a rug-hooking design
Quilt — creates a quilt design
Strings — creates a design using string spools
Ribbons — creates a design using ribbons
Tissue Collage — creates a design using a tissue collage
4 Move the Size slider to set the size of the fabric items.
5 Move the Complete slider to set the percentage of the image to affect.
7 Click the Rotation dial to set the angle of the image.
The Fabric effect supports all color modes except 48-bit RGB, 16-bit

You can also set size, percentage, brightness, and rotation values by typing
them in the Size, Complete, Brightness, and Rotation boxes.
Applying the Frame effect to a bitmap

The Frame filter lets you frame your image using a preset frame or another
image.
To open a frame
2 Click Bitmaps, Creative, Frame.
3 Click the Select tab.
4 Click in the Select Frame list to select a file.
5 Click the Load button to the right of the selected file.
6 Choose the drive where the file is stored from the Look In list box.
Double-click the folder in which the file is stored.
To load a preset frame style

2 Click Bitmaps, Creative, Frame.
3 Choose a style from the Presets list box.
To customize a frame
1 Follow steps 1 to 6 from the “To open a frame” procedure.
2 Click the Modify tab.
3 Click the Color picker, and click a color from the frame.
Opacity — sets the opacity of the frame
Blur — sets the blurring of the frame
Horizontal — sets the horizontal frame size
Vertical — sets the vertical frame size
5 Click the Rotate dial to specify the degree to which you want to rotate the
frame.

6 Enable any of the following buttons:
Flip Horizontal — mirrors the frame horizontally
Flip Vertical — mirrors the frame vertically
Align — creates a center point for the frame
Re-Center — centers the frame in the document
To save customized frame settings as a preset style

1 Customize the frame settings.
2 Click the Save Preset button.
3 Type a filename for the new style in the Save As box.
The Frame effect supports all color modes except 48-bit RGB, 16-bit
Applying the Glass Block effect to a bitmap

The Glass Block effect makes an image look like it is viewed through thick,
glass blocks.
To apply the Glass Block effect

2 Click Bitmaps, Creative, Glass Block.
3 Move the following sliders to set the dimensions of the glass blocks:
Block width — specifies the width of the glass blocks
Block height — specifies the height of the glass blocks
The Glass Block effect supports all color modes except 48-bit RGB, 16-bit
You can also set block dimensions by typing values in the Block width and
Block height boxes.

Enable the Square Blocks button to set identical values in the Horizontal
and Vertical boxes.
For best results, use mid-range block sizes.
Applying the Kid’s Play effect to a bitmap

The Kid’s Play effect transforms an image into fun shapes such as lite pegs
and building blocks. You can also use primary art methods such as finger
paint and paint by numbers.
To apply the Kid’s Play effect

2 Click Bitmaps, Creative, Kid’s Play.
3 From the Game list box, choose one of the following fun shapes:
Lite Pegs — creates a pattern using lite pegs
Building Blocks — creates a pattern using building blocks
Finger Paint — creates a pattern using finger paint
Paint By Numbers — creates a pattern using the paint by number
method
4 Move the Size slider to set the intensity of the effect.
5 Move the Complete slider to set the percentage of the image to affect.
7 Click the Rotation dial to set the angle of the effect.

The Kid’s Play effect supports all color modes except 48-bit RGB, 16-bit
You can also set intensity, percentage, brightness, and rotation values by
typing them in the Size, Complete, Brightness, and Rotation boxes.
Applying the Mosaic effect to a bitmap

The Mosaic effect divides an image into colored segments.
To apply the Mosaic effect

2 Click Bitmaps, Creative, Mosaic.
3 Move the Size slider to set the size of the colored pieces.
4 In the Background Color color picker, choose a background color from the
choice of colors.
5 Enable the Vignette check box if you want to create a frame around the
mosaic.
The Mosaic effect supports all color modes except 48-bit RGB, 16-bit
You can also choose a background color using the Eyedropper tool. and
choosing a color from the image.

Applying the Particles effect to a bitmap
The Particles effect adds bubble and star particles to an image. You can
create a fine dust or use bigger fragments.
To apply the Particles effect

2 Click Effects, Creative, Particles.
3 Enable one of the following Style buttons:
Stars — adds T-shaped stars to the image
Bubbles — adds bubbles to the image
Size — sets the size of the particles
Density — sets the density of the particles
Coloration — sets the amount of color in the particles
Transparency — sets the degree to which you can see through the
particles
5 Click the Angle dial to set the direction of the light.
The Particles effect supports all color modes except 48-bit RGB, 16-bit
You can also specify size, density, color, transparency, and angle by typing
values in the Size, Density, Coloration, Transparency, and Angle boxes.

Applying the Scatter effect to a bitmap
The Scatter effect distorts images by scattering pixels.
To apply the Scatter effect

2 Click Bitmaps, Creative, Scatter.
3 Move the Horizontal slider to scatter pixels from left to right.
4 Move the Vertical slider to scatter pixels from top to bottom.
The Scatter effect supports all color modes except 48-bit RGB, 16-bit
Maintain equal horizontal and vertical values by enabling the Symmetric

check box.
Applying the Smoked Glass effect to a bitmap

The Smoked Glass effect places a colored tint over an image like a sheet of
colored glass.

To apply the Smoked Glass effect
2 Click Bitmaps, Creative, Smoked Glass.
3 Move the Tint slider to set the opacity of the effect.
4 Move the Blurring slider to set the level of blur.
5 Click the color picker, and choose a color for the tint.
The Smoked Glass effect supports all color modes except 48-bit RGB,
You can also choose a color for the tint by clicking the Eyedropper tool,
Applying the Stained Glass effect to a bitmap

The Stained Glass effect is similar to the Crystallize effect; however, this
effect lets you create edges between the glass pieces and control the
thickness and color of these edges.

To apply the Stained Glass effect
2 Click Bitmaps, Creative, Stained Glass.
3 Move the Size slider to set the size of the stained glass fragments.
4 Move the Light Intensity slider to set the amount of light in the effect.
5 Click the Solder Color color picker, and choose a color for the edges.
6 Type a value in the Solder Width box to set the width of the edges.
7 If you want to create three-dimensional lighting, enable the 3D Lighting
check box.
The Stained Glass effect supports all color modes except 48-bit RGB,
You can also choose a color for the border by clicking the Eyedropper tool,
Applying the Vignette effect

The Vignette effect creates a frame around a bitmap. A frame can have a soft
or hard edge, can be one of four shapes, and can be any color. Use a frame to
create nostalgic effects or to give an old photo an elliptical frame.

To apply the Vignette effect
2 Click Bitmaps, Creative, Vignette.
3 In the Color section, enable one of the following buttons:
Black — applies a black frame around the bitmap
White — applies a white frame around the bitmap
Other — applies a frame around the bitmap using the color you specify
using the color picker
4 In the Shape section, enable one of the following buttons:
Ellipse — applies an ellipse shape to the bitmap
Circle — applies a circle frame to the bitmap
Rectangle — applies a rectangular frame to the bitmap
Square — applies a square frame to the bitmap
5 Move the Offset slider to set the size of the center of the frame.
6 Move the Fade slider to set the transition between the frame and the
bitmap.
Higher values result in a greater fading along the edges of the frame;
lower values result in no fading.
The Vignette effect supports all color modes except Paletted and
Black-and White.

You can also specify offset and fade by typing values in the Offset and Fade
boxes.
Applying the Vortex effect to a bitmap

The Vortex effect creates a swirling whirlpool around a center point that you
specify.
To apply the Vortex effect

2 Click Bitmaps, Creative, Vortex.
3 Enable the Set Center button.
4 Click on the bitmap to set a center point around which the vortex
originates.
5 From the Style list box, choose one of the following:
Brushed — uses a regular brushstroke to create the vortex
Layered — uses a layered brushstroke to create the vortex
Thick — uses a wide brushstroke to create the vortex
Thin — uses a slender brushstroke to create the vortex
6 Move the Inner Direction dial to set the direction of the central pixels.
7 Move the Outer Direction dial to set the direction of the peripheral pixels.
8 Move the Size slider to set the stroke width.

The Vortex effect supports all color modes except 48-bit RGB, 16-bit
You can also set the size or direction of the pixels by typing values in the
Size, Inner Direction, and Outer Direction boxes.
Applying the Weather effect to a bitmap

The Weather effect applies atmospheric conditions such as snow, rain, or fog.
To apply the Weather effect

2 Click Bitmaps, Creative, Weather.
3 In the Forecast section, enable one of the following buttons:
Snow — creates a snow effect
Rain — creates a rain effect
Fog — creates a fog effect
4 Move the Size slider to set the size of the effect.
5 Move the Strength slider to set the intensity of the effect.
6 Set the direction of the effect by moving the Direction Dial.
7 If you want to randomly alter the pixel placement, click the Randomize
button.

The Weather effect supports all color modes except 48-bit RGB, 16-bit
You can also specify size, intensity, direction, and randomness by typing
values in the Size, Strength, Direction, and Randomize boxes.
Applying Distort effects

CorelDRAW provides ten Distort effects that transform the appearance of an
image without adding depth. The Distort effects are:
Blocks — breaks an image into puzzle-like pieces or blocks that resemble
a jigsaw puzzle
Displace — alters an image using a displacement map
Offset — shifts an image according to specific values
Pixelate — adds a block-like appearance to an image
Ripple — warps an image by adding a wave
Swirl — rotates an image in a swirling pattern
Tile — reduces the dimensions of an image and reproduces it as a series
of tiles on a grid
Wet Paint — gives an image a freshly painted look
Whirlpool — applies a fluid, swirling pattern across an image
Wind — blurs an image in a specific direction, creating the effect of wind
blowing across an image
Applying the Blocks effect to a bitmap

The Blocks effect breaks an image into block or puzzle-like pieces.

To apply the Blocks effect
2 Click Bitmaps, Distort, Blocks.
3 In the Undefined Areas section, choose one of the following from the list
box:
Original Image — fills the empty area with the original image
Inverse Image — fills the empty area with a negative of the original
image. For example, blues change to yellow etc.
Black — fills the empty area with black
White — fills the empty area with white
Other — fills the empty area with the color you choose from the color
picker
4 Adjust the following sliders to set the dimensions of the puzzle pieces:
Block Width — specifies the width of each puzzle piece
Block Height — specifies the height of each puzzle piece
Max. Offset (%) slider — sets the distance between pieces
The Blocks effect supports all color modes except 48-bit RGB, 16-bit
If an image contains objects that are not merged with the background, you
must enable the Lock Object Transparency button in the Objects Docker
Window before you can access the Fill Empty Area With options in the
Blocks dialog box.
You can also specify the dimensions of the blocks by typing values in the
Block Width and Block Height boxes.
Enable the Lock button button to set identical values in the Block Width
and Block Height boxes.
You can also fill the empty area with a color you choose from the image
using the Eyedropper tool.
Applying the Displace effect to a bitmap

The Displace effect evaluates the color value of pixels in two images and
then shifts the active image according to the values of the displacement map.

A displacement map is an image that maps the way pixels in the original
image change when you apply the Displace effect. Values from the
displacement map appear as forms, colors, and warp patterns in an image.
To apply the Displace effect

2 Click Bitmaps, Distort, Displace.
3 Click the Load button.
4 Choose a bitmap image to use as a displacement map and click Open.
5 In the Scale Mode section, enable one of the following buttons:
Tile — repeats the displacement image to cover the image area
Stretch To Fit — uses a single map stretched over the entire image
area
6 In the Undefined Areas list box, choose one of the following:
Repeat Edges — stretches the edges of the image to fill in exposed
areas
Wrap Around — fills the exposed areas with the opposite side of the
image
7 Move the following sliders to set the amount of displacement:
Horizontal — shifts images horizontally, from left to right
Vertical — shifts images vertically, from top to bottom
The Displace effect supports all color modes except 48-bit RGB, 16-bit

You can only choose the Repeat Edges and Wrap Around options in the
Undefined Areas section if you merge all objects with the image
background.
You can also set the horizontal and vertical values by typing values in the
Horizontal and Vertical boxes.
Applying the Offset effect to a bitmap

The Offset effect shifts an entire bitmap according to values you specify.
When the bitmap shifts, an empty area results. You can fill the empty area or
another part of the bitmap with another color.
To apply the Offset effect

2 Click Bitmaps, Distort, Offset.
3 Move the Horizontal and Vertical sliders to control the amount of bitmap
shifting along the horizontal and vertical planes.
Enable the Shift value as % of dimensions check box to set the sliders.
4 In the Undefined Areas section, select one of the following options:
Wrap Around — wraps another part of the bitmap around the edges of
the window when shifted, creating a tiling effect. This option lets you
check the edges of a bitmap you want to tile for use as a custom
texture, wallpaper for a Web page, or your Windows desktop.
Repeat Edges — fills the space left by the shifted bitmap with the color
currently appearing along the edge of the bitmap. Produces a stretched
effect.
Color — fills the exposed areas with the color you choose from the
color picker.

The Offset effect supports all color modes except Black-and-White.
You can also set the horizontal and vertical values by typing values in the
You can also fill the exposed areas with a color you choose from the image
using the Eyedropper tool.
Applying the Pixelate effect to a bitmap

The Pixelate effect divides a bitmap into square, rectangular, or circular cells.
You can use the Square or Rectangular options to create a blocky,
exaggerated digital appearance, or the Circular option to create a spider web
effect.
To apply the Pixelate effect

2 Click Bitmaps, Distort, Pixelate.
3 In the Pixelate Mode section, enable one of the following buttons:
Square — maintains equal Height and Width settings for the blocks
Rectangular — lets you set Height and Width settings for the blocks
individually
Radial — builds pixels from a center point in a radial pattern. Click the
Set Center button to specify a center point.
4 Move the Width and Height sliders to set the width and height of the pixel
blocks.

The effects of pixel-block size depend on the size of the bitmap. A value of
10 in a small bitmap produces large pixel blocks. A value of 10 in a large
bitmap produces small pixel blocks.
5 Move the Opacity slider to set the transparency of the pixels.
Higher values result in a blocky appearance; lower values result in a more
transparent appearance.
The Pixelate effect supports all color modes except Paletted and
Black-and-White.
Applying the Ripple effect to a bitmap

The Ripple effect distorts an image by adding a wave. The strength of the
first wave sets the warping of the image, while adding an additional
perpendicular wave increases the distortion.
To apply the Ripple effect

2 Click Bitmaps, Distort, Ripple.
3 In the Primary Wave section, move the following sliders:
Period — sets the span of the wave
Amplitude — sets the height of the wave
4 If you want to create a perpendicular wave, enable the Perpendicular Wave
check box.
5 Move the Perpendicular Wave Amplitude slider to set the intensity of the
perpendicular wave.

6 If you want to create waves with jagged edges, enable the Distort Ripple
check box.
7 Click the Angle Dial to set the angle of the wave.
The Ripple effect supports all color modes except 48-bit RGB, 16-bit
You can also specify the span, height, intensity, and angle by typing values
in the Period, Amplitude, Perpendicular Wave Amplitude, and Angle
boxes.
Applying the Swirl effect to a bitmap

The Swirl effect distorts a bitmap according to the direction and angle you
select.
To apply the Swirl effect

2 Click Bitmaps, Distort, Swirl.
Clockwise — sets the direction of the rotation clockwise
Counter-Clockwise — sets the direction of the rotation
counter-clockwise
5 Position the cursor over the bitmap, and click to set the center point
around which the image swirls.

6 Move the Whole Rotations slider to set the number of rotations that the
swirl completes.
Lower values result in a swirling effect; higher values result in a
concentric, whirlpool effect
7 Move the Additional Degrees slider to set additional degrees of rotation
more precisely. For example, a value of 90 rotates the bitmap an additional
quarter turn.
The Swirl effect supports all color modes except Black-and-White.
You can also set the number of rotations and degrees by typing values in
the Whole Rotations and Additional Degrees boxes.
Applying the Tile effect to a bitmap

The Tile effect reproduces an image as a series of tiles and is especially
useful for previewing tiled backgrounds for Web pages.
To apply the Tile effect

2 Click Bitmaps, Distort, Tile.
3 Move the Horizontal Tiles slider to set the number of tile columns.
4 Move the Vertical Tiles slider to set the number of tile rows.

The Tile effect supports all color modes except 48-bit RGB, 16-bit
Enable the Lock button to set equal values in the Horizontal and Vertical
boxes.
You can also set the number of rows and columns by typing values in the
Applying the Wet Paint effect to a bitmap

The Wet Paint effect creates the illusion that a bitmap is a painting that is still
wet. You can create illusions ranging from subtle changes in the
luminescence of colors to wet paint dripping down the image.
Try applying successive combinations of positive and negative wetness
values to the same bitmap to produce some interesting effects.
To apply the Wet Paint effect

2 Click Bitmaps, Distort, Wet Paint.
3 Move the Percent slider to set the size of the drips.
Higher values result in larger, longer drips; lower values result in more
subtle drips.
4 Move the Wetness slider to determine which colors drip.
Negative values cause the darker colors to drip; positive values cause the
light colors to drip. The value you select also determines the range of
light and dark pixels that drip. If you choose a lower value (e.g., -5 or 5)

fewer colors drip, but if you use a higher value, more colors drip, making
the effect more pronounced.
The Wet Paint effect supports all color modes except Paletted and
Black-and-White.
You can also specify the drip size and wetness by typing values in the
Percent and Wetness boxes.
Applying the Whirlpool effect to a bitmap

The Whirlpool effect applies a fluid, swirling pattern across an image. You can
use a preset whirlpool style or you can create custom styles by setting the
smear length, spacing, twist, and streak detail of the whirlpool effect. You can
save custom whirlpool styles for future use.
To apply the Whirlpool effect

2 Click Bitmaps, Distort, Whirlpool.
3 Move the Spacing slider to set the distance between the swirls.
4 Move the Smear Length slider to set the length of fluid streamlines.
5 Move the Twist slider to set the whirl method.
Higher values make the fluid flow around the swirls like whirlpools; low
values make the fluid flow out of the whirls like fountains.
6 Move the Streak Detail slider to set the level of smearing.

Enable the Warp check box — distorts the shape of the image
Disable the Warp check box — retains the original shape of elements
in the image
To save a customized whirlpool style

1 Create or customize a whirlpool effect using the previous procedure.
3 Type a filename.
To use a preset whirlpool style

1 Follow steps 1 and 2 from the “To apply the Whirlpool effect” procedure.
2 Choose a preset style from the Style list box.
To remove a customized or preset whirlpool style

1 Select the whirlpool effect from the Styles list box.
The Whirlpool effect supports all color modes except 48-bit RGB, 16-bit
The Whirlpool effect is memory-intensive and can take some time to
apply.
You can also type values in the Spacing, Smear Length, Twist, and Streak
Detail boxes to control the effect.
Applying the Wind effect to a bitmap

The Wind effect creates the effect of wind blowing across an image.

To apply the Wind effect
2 Click Bitmaps, Distort, Wind.
3 Move the Strength slider to set the intensity of the wind.
4 Move the Opacity slider to set the transparency of the effect.
Higher values produce visible distortion and blurring; lower values
produce a more subtle effect
5 Click the Angle dial to set the direction of the wind.
The Wind effect supports all color modes except 48-bit RGB, 16-bit
You can also set the effect by typing values in the Direction, Strength, and
Opacity boxes.
Applying Noise effects

CorelDRAW provides eight noise effects that create, control, and eliminate
noise. Noise refers to the graininess of a bitmap, when random pixels on the
surface of a bitmap resemble static on a television screen. The Noise effects
are:
Add Noise — creates a granular effect that adds texture to a flat or overly
blended bitmap
Diffuse — distributes an image’s pixels to fill in blank spaces and remove
noise

Dust and Scratch — reduces image noise by averaging pixel values
Maximum — removes noise by adjusting a pixel’s color value based on
the maximum color values of its neighboring pixels
Median — removes noise and detail by averaging the color values of the
pixels in an image
Minimum — removes noise by adjusting a pixel’s color value based on the
minimum color values of its neighboring pixels
Remove Moiré — removes undesired wave patterns that occur when
halftone screens of two different frequencies are superimposed in the
same image
Remove Noise — softens a bitmap and reduces the speckled effect caused
by scanning or capturing images from video
Applying the Add Noise effect to a bitmap

The Add Noise effect creates a granular effect that adds texture to a flat or
overly blended bitmap.
To apply the Add Noise effect

2 Click Bitmaps, Noise, Add Noise.
3 In the Noise Type section, enable one of the following buttons:
Gaussian — prioritizes colors along a Gaussian curve. Most colors
added by the effect closely resemble the original colors. Use this option
to increase light and dark pixels and produce a more pronounced effect.
Spike — uses colors that are distributed around a narrow curve (spike).
Use this option to produce a thinner, lighter-colored grain.
Uniform — results in an overall granular appearance. Use this option
to apply noise randomly.

4 Move the Level slider to set the intensity of the noise.
Higher values (set by moving the slider to the right) increase the
intensity of the effect.
5 Move the Density slider to set the amount of noise pixels per inch.
Higher values (set by moving the slider to the right) increase the
intensity of the effect.
6 Enable one of the following Color Mode buttons:
Intensity — adds a significant amount of noise
Random — creates noise using random-colored pixels
Single — creates noise using the color you choose from the color
picker
7 To add a randomly colored noise texture, enable the Color Noise check
box.
The Add Noise effect supports all color modes except Paletted and
Black-and-White.
You can also adjust the intensity and the amount of noise pixels per inch
by typing values in the Level and Density boxes.
You can also choose a color for the noise, click the Eyedropper tool, and
choose a color from the image.
Applying the Diffuse effect to a bitmap

The Diffuse effect removes noise by spreading out the pixels in an image to
fill in blank spaces.

To apply the Diffuse effect
2 Click Bitmaps, Noise, Diffuse.
3 Move the Level slider to set the intensity of the effect.
The Diffuse effect supports all color modes except Paletted and
Black-and-White.
You can also set the intensity of the effect by typing a value in the Level
box.
Applying the Dust and Scratch effect to a bitmap
The Dust And Scratch effect reduces the amount of noise in an image. You can use this
effect to eliminate dust and scratch faults.
To apply the Dust and Scratch effect

2 Click Bitmaps, Noise, Dust and Scratch.
3 Move the Threshold slider to reduce image noise.
4 Move the Radius slider to set the range of pixels used to produce the
effect.

You can also set the threshold and radius by typing values in the
Threshold and Radius boxes.
Applying the Maximum effect to a bitmap

The Maximum effect removes noise by adjusting the color value of a pixel
based on the maximum color values of its neighboring pixels. This effect
causes a mild blurring effect if applied in large percentages or if applied more
than once to a bitmap.
To apply the Maximum effect

2 Click Bitmaps, Noise, Maximum.
4 Move the Radius slider to specify the number of pixels that are
successively selected and evaluated when you apply the effect.
The Maximum effect supports all color modes except 48-bit RGB, 16-bit
You can also set the intensity and scope of the effect by typing values in
the Percentage and Radius boxes.
Applying the Median effect to a bitmap

The Median effect removes noise and detail by averaging the color values of
the pixels in an image.

To apply the Median effect

2 Click Bitmaps, Noise, Median.
3 Move the Radius slider to determine the number of pixels that are
The Median effect supports all color modes except 48-bit RGB, 16-bit
You can also specify the number of pixels to evaluate by typing a value in
the Radius box.
Applying the Minimum effect to a bitmap

The Minimum effect removes noise by darkening the pixels in an image. If
you apply this effect at a high intensity, you can lose important image detail.

To apply the Minimum effect
2 Click Bitmaps, Noise, Minimum.
4 Move the Radius slider to determine the number of pixels that are
The Minimum effect supports all color modes except 48-bit RGB, 16-bit
You can also set the percentage and radius by typing values in the
Percentage and Radius boxes.
Applying the Remove Moiré effect to a bitmap

The Remove Moiré effect removes patterned noise that can occur in a
scanned halftone image.
To apply the Remove Moiré effect

2 Click Bitmaps, Noise, Remove Moiré.
3 Move the Amount slider to determine the amount of noise to remove.
4 In the Quality section, enable one of the following buttons:
Better — applies a high-quality effect but at a slightly slower speed

Faster — applies a lower quality result but at a slightly faster speed
5 Type a value for the output dots per inch(dpi) in the Output box.
The Remove Moiré effect supports all color modes except 48-bit RGB,
For best results, scan the original image using a resolution of 300 dpi and
set the output resolution to 200 dpi in the Remove Moiré dialog box. The
output dpi should be approximately two-thirds of the original dpi.
You can also set the amount of noise and output by typing values in the
Amount and Output boxes.
Applying the Remove Noise effect to a bitmap

The Remove Noise effect softens the bitmap’s appearance and reduces the
speckled effect that can occur during the scanning or video capturing
process. The Remove Noise effect compares each pixel to surrounding pixels
and calculates an average. This effect removes each pixel with a brightness
value that exceeds the average, based on the threshold you set.
To apply the Remove Noise effect

2 Click Bitmaps, Noise, Remove Noise.

Enable the Auto check box — automatically calculates the noise
reduction level required to improve bitmap quality
Disable the Auto check box — sets the threshold manually. Move the
Threshold slider to determine the level (the pixel value) at which to
remove noise. Higher values cause less noise removal; lower values
cause greater noise removal.
The Remove Noise effect supports all color modes except Paletted and
Black-and-White.
You can also set the threshold by typing a value in the Threshold box.
Applying Sharpen effects

CorelDRAW provides five effects that sharpen the pixels of an image to focus
and enhance edges. The Sharpen effects are:
Adaptive Unsharp — accentuates edge detail by analyzing the values of
neighboring pixels
Directional Sharpen — analyzes pixels near an edge to determine the
direction in which to apply the greatest amount of sharpening
High Pass — removes low-frequency areas and shading
Sharpen — accentuates the edges in the image by increasing the contrast
between their adjacent pixels
Unsharp Mask — accentuates edge detail and sharpens some smooth
areas in an image
Applying the Adaptive Unsharp effect to a bitmap

The Adaptive Unsharp effect accentuates edge detail by analyzing the values
of neighboring pixels. This effect preserves most image detail but its effect is
apparent in high-resolution images.
To apply the Adaptive Unsharp effect

2 Click Bitmaps, Sharpen, Adaptive Unsharp.
3 Move the Percentage slider to specify the degree of sharpening.

The Adaptive Unsharp effect supports all color modes except 48-bit RGB,
You can also set the degree of sharpening by typing a value in the
Percentage box.
Applying the Directional Sharpen effect to a bitmap

The Directional Sharpen effect analyzes pixels near an edge to determine the
direction in which to apply the greatest amount of sharpening. This effect
enhances the edges of an image without creating a grainy effect.
To apply the Directional Sharpen effect

2 Click Bitmaps, Sharpen, Directional Sharpen.
3 Move the Percentage slider to determine the degree of sharpening.
The Directional Sharpen effect supports all color modes except 48-bit
RGB, 16-bit Grayscale, Paletted, and Black-and-White.
You can also set the degree of sharpening by typing a value in the
Percentage box.
Applying the High Pass effect to a bitmap

The High Pass effect removes image detail by emphasizing the highlights and
luminous areas of an image.

To apply the High Pass effect
2 Click Bitmaps, Sharpen, High Pass.
Higher values remove most of the image detail, leaving only the edge
details clearly visible; lower values emphasize highlights only.
4 Move the Radius slider to specify how far colors bleed outward from the
edges.
The High Pass effect supports all color modes except 48-bit RGB, 16-bit
You can also set the intensity and bleed distance by typing values in the
Percentage and Radius boxes.
Applying the Sharpen effect to a bitmap

The Sharpen effect accentuates the edges of a bitmap by finding the edges
and increasing the contrast between adjacent or background pixels.
To apply the Sharpen effect

2 Click Bitmaps, Sharpen, Sharpen.
3 Move the Edge Level(%) slider to set the intensity for the tracing form
edges in the bitmap.

4 Move the Threshold slider to determine how much of the bitmap remains
after edge detection.
5 If you want to apply the effect to a pixel’s intensity value, enable the
Preserve Colors check box.
The Sharpen effect supports all color modes except Paletted and
Black-and-White.
You can also specify the intensity of edges and amount of bitmap to retain
by typing values in the Edge Level and Threshold boxes.
Applying the Unsharp Mask effect to a bitmap

The Unsharp Mask effect accentuates edge detail and focuses blurred areas
in an image.
To apply the Unsharp Mask effect

2 Click Bitmaps, Sharpen, Unsharp Mask.
3 Move the Percentage slider to determine the degree of edge accentuation
and the degree of sharpening applied to smooth areas in a bitmap.
4 Move the Radius slider to control the number of pixels that are
successively selected and evaluated.
5 Move the Threshold slider to determine how much of the bitmap remains
after edge detection.

The Unsharp Mask effect supports all color modes except Paletted and
Black-and-White.
You can also specify the degree of sharpening, the number of pixels to
evaluate, and the amount of the bitmap remaining by typing values in the
Percentage, Radius, and Threshold boxes.
Using plug-in filters

CorelDRAW supports effects and enhancement filters created by other
companies. These filters are called plug-ins because they “plug in” to the
application platform. You can access these plug-ins from CorelDRAW. When
you install them, they appear at the bottom of the Bitmaps menu.
For more information about the plug-in filters included with CorelDRAW, see
the appropriate Help file included with each filter. You can view a Help file by
clicking the Help button in the dialog box that appears when you access a
plug-in filter.
Adding plug-in filters

You can add plug-in filters created by other companies.
To add a plug-in filter

2 In the list of categories, click Workspace, Plug-Ins.
4 Type in the drive and folder that contains the filters.
The Options dialog box does not show the files in the folder. You must
know the folder before you use the Options dialog box.
You can also select a folder by clicking the Browse button.
Enabling and disabling plug-in filters

You can enable or disable plug-in filters that have been added to the list of
plug-in filters.

To enable a plug-in filter
3 Enable the check box to the left of the plug-in in the list.
To disable a plug-in filter

3 Disable the check box to the left of the plug-in in the list.
Removing plug-in filters

You can remove plug-in filters from CorelDRAW.
To remove a plug-in filter

3 Choose the directory that contains the plug-in you want to remove.
The dialog box does not show the files in the directory. You must know
the directory before you use the Options dialog box.

CREATING DOCUMENTS FOR
THE WORLD WIDE WEB 12
CorelDRAW gives you the tools to create professional-looking multipage Web
documents. You can make your mark by using CorelDRAW to create
documents that visually clarify concepts and that are easy to navigate.
Before you create your Web document, you should take some time to plan
the structure of your document. Decide which elements in your document
you want to emphasize and how you want visitors to move around within the
document. You want to create a Web document that gets your message
across, that is easy and intuitive to navigate, and is enjoyable to visit.
To ensure that the graphics in your document will display well on the World
Wide Web, you need to choose an image type that Web browsers can read.
The two most popular image types are Graphics Interchange Format (.GIF)
and Joint Photographic Experts Group (JPEG or .JPG).
CorelDRAW provides various Internet objects, such as radio buttons, that
you can use in your drawing. An important aspect to consider as you design
your Web document is the positioning of objects to which you want to assign
Uniform Resource Locators (URLs) and bookmarks, and of text that is to be
HTML-compatible. When you’re satisfied with the construction of your Web
document, you can publish the document directly to HTML.
Creating HTML text

You can convert standard Paragraph text to HTML text so that you can edit
the text of your published document in a Web browser. If you don’t convert
Paragraph text to HTML text before you publish your document to the
Internet, the text is converted to a bitmap when published and cannot be
edited in a browser. Artistic text cannot be converted to HTML text and is
always treated as a bitmap.
After you convert standard Paragraph text to HTML text, you can select the
font, size, and style for your text that is supported by HTML. The default
HTML font is used automatically unless you override it with another font.
Even if you choose to override it, the default font is used if visitors to your
site don’t have the same font installed on their computers. The usual text
styles, including bold, italic, and underline, are also available. In addition, you
can apply uniform fills, but not outlines, to HTML text.
Creating documents for the World Wide Web 661

Like other Internet objects in your document, HTML text resides on the
Internet layer. The Internet layer is created automatically when you convert
your text to HTML.
Converting Paragraph text to HTML text

You can edit the HTML text in your published document directly in a Web
browser. Any non-HTML-compatible text in your document is converted to
bitmaps when you publish your document to the Internet. For information
about entering Paragraph text in your document, see “Adding Paragraph text”
on page 339.
To convert Paragraph text to HTML text

1 Select the Paragraph text with the Pick tool.
2 Click Text, Make Text HTML Compatible.
Ensure that the HTML text does not intersect or overlap other Internet
objects or extend beyond the boundaries of your Drawing Page; otherwise
the text will be converted to a bitmap and it will lose its Internet
properties.
Artistic text cannot be converted to HTML text and will always be
converted to a bitmap.
Formatting HTML text

After you convert Paragraph text to HTML text, you can use the Property
Bar and the Format Text dialog box to change its font, font size, and style.
To format HTML text using the Property Bar

1 Select an HTML text object with the Pick tool.
2 Choose the font you want to use from the Font list box.
3 Choose the font size you want to use from the HTML Font Size list box.
4 Apply any other formatting properties you want, for example italic or
underline.
To format HTML text using the Format Text dialog box

1 Select an HTML text object with the Pick tool.

3 Click one of the following tabs:
Internet Text — lets you set the alignment, font, size, and style of the
text
Align — lets you align and indent the text
Frames And Columns — lets you set the column and paragraph width
of the text
4 Apply the formatting properties you want.
The HTML text sizes, numbered 1 through 7, correspond to particular

point sizes between the 10-point and 48-point range.
Inserting Internet objects

CorelDRAW provides you with a set of Internet objects, such as radio
buttons and check boxes, with their functions already specified. All Internet
objects in your Web document are placed above all other objects on the
Internet layer. The Internet layer is generated automatically when you create
an Internet object. Graphical objects to which you assign URLs reside on the
graphics layers. For more information about URLs see “Creating
Hyperlinks” on page 665.
Using Internet
objects you can
design Web
documents quickly.
You can customize Internet objects and place them anywhere in your drawing
as long as they don’t overlap one another. If they do intersect or overlap, they
will be combined and treated as one large bitmap image. Leaving space
around Internet objects helps to ensure that these will function correctly in a
browser and helps to keep the appearance of your document clean and
attractive. However, Internet objects can overlap non-Internet objects in
your drawing because non-Internet objects reside on regular graphics layers.

Inserting an Internet object
You can insert a variety of Internet objects, such as Java applets, radio
buttons, submit buttons, check boxes, text edit boxes, and pop-up menus, in
your HTML document.
To insert an Internet object

Click Edit, Insert Internet Object, and click the object you want.
Except for Java applets and Embedded files, all other Internet objects
require a CGI Script address. Otherwise, these Internet objects might not
function properly in your Web document once it is published to the Web.
For more information about CGI Script addresses, see “Adding a CGI
Script address” on page 664.
Customizing an Internet object

You can customize each type of Internet object to create special User
Interface controls that suit your needs. You can use the Object Properties
Docker window to make the modifications you want, or you can use the
controls on the Property Bar.
To customize an Internet object using the Property Bar

1 Select an Internet object with the Pick tool.
2 Use the controls on the Property Bar to customize the object as you want.
To customize an Internet object

1 Right-click an Internet object, and click Properties.
2 In the Object Properties Docker window, click the Internet object’s tab.
3 Use the controls on the object’s page to customize the object as you want.
Adding a CGI Script address

If your document has form-related Internet objects, you need a CGI script
address to enable these Internet objects to work better once your document
is published to the Internet. Except for Java applets and Embedded files, the
rest of the Internet objects which CorelDRAW provides are form related.
You can specify a method for sending the CGI script address to the server.
You can also choose a frame type in which to display your Web document.

To type the CGI Script address of the Internet object
1 Click in a white space to deselect any objects.
2 Click Edit, Properties.
3 Click the Form tab.
4 Type the CGI Script address in the URL Of CGI Script box.
To choose a method for sending the CGI Script address to the

server
2 Choose a method from the Method list box.
To choose a frame type

1 Follow steps 1 to 3 from the “To choose a method for sending the CGI
Script address to the server” procedure.
2 Choose a frame type from the Target list box.
Creating Hyperlinks
In CorelDRAW, you can create hypergraphics that act as hyperlink navigation
tools for your HTML documents. By creating hyperlinks, you can connect to
any object in your document that is assigned a bookmark or to any document
published on the Internet by using that document’s Uniform Resource
Locator (URL).
What is a hyperlink?
A text or graphical hyperlink (hypertext or hypergraphic) is used to jump to a
specific address that’s defined by a URL. In addition to the URL, a
hypergraphic also consists of a hotspot. The hotspot is the area of the object
that you can click to jump to the address specified by the object. It appears
with a foreground cross-hatch pattern and a background fill pattern. You can
change the colors of the cross-hatch pattern and the background fill. You can
also set whether the hotspot follows the contour of the object, whether it is
limited to the same areas as the object’s fill, or whether the hotspot fills the
object’s entire bounding box.

What is a bookmark?
A bookmark is a unique name that you can assign to text or graphics in your
document. A bookmark acts as an address, or URL, for the object to which it
is assigned. Any bookmarked object can be accessed from within the same
document or from an external HTML document by using a hyperlink to that
bookmark. For information about bookmarking text or graphics, see
“Assigning a bookmark” on page 668.
The Internet Bookmark Manager contains a list of all the bookmarks you’ve
assigned throughout your document. Each bookmark is listed by name and by
the page on which it’s located. You can rename a bookmark, and create a
hyperlink from an object in your document to the bookmarked object you
choose from the Bookmark list. If the bookmarked object isn’t on the current
page, the document switches to the correct page. The Internet Bookmark
Manager also lets you clear a bookmark from the Bookmark list.
What is a Uniform Resource Locator?

A Uniform Resource Locator (URL) is a unique address you assign that
defines where a document is found on the Internet, such as
http://www.corel.com/visitors/welcome.htm. The first portion, “http,”
identifies the type of Internet resource that’s being requested, such as the
World Wide Web (http), FTP, or Gopher. The next portion, “www.corel.com,”
identifies the server where the document is located and is followed by the
folder structure, “visitors.” The last part of the URL, “welcome.htm,” is the
filename.
To successfully connect an Internet object in your published Web document,
and another document on the Internet, each URL component must exactly
match the URL address to which you want to connect. To connect to a page,
or to a specific location on a page within the document you’re browsing, you
only need to type the specific page or location address.
Defining a hypergraphic’s hotspot

Each hypergraphic has an area called a hotspot. You can define the object’s
hotspot by using the tools on the Internet Objects toolbar or the controls on
the Object Properties Docker.
To display the Internet Objects toolbar

2 In the Options dialog box, enable the Internet Objects check box.

To assign a hotspot using the Internet Objects toolbar
1 Select an object with the Pick tool.
2 On the Internet Objects toolbar, enable one of the following buttons:
Use Object Shape To Define Hotspot
Use Bounding Box To Define Hotspot
The Use Object Shape To Define Hotspot and Use Bounding Box To
Define Hotspot buttons are enabled when they appear pressed.
To assign a hotspot using Object Properties

1 Using the Pick tool, right-click an object, and click Properties.
2 In the Object Properties Docker window, click the Internet tab.
3 In the Link Extent section, enable one of the following buttons:
Use Object Bounding Box — lets you use the object as the hotspot
Use Object Shape button — lets you use the object’s bounding box as
the hotspot
Identifying hypergraphics in your drawing

CorelDRAW lets you identify the hypergraphics you create in your drawing.
You can determine the color of the hypergraphic’s cross-hatch pattern and
background fill. If you select a hypergraphic first and then change the
foreground and background hotspot colors, the change applies to the selected
object only. If you change the hotspot colors with no object selected, the
default colors are changed for this drawing and for future sessions of
CorelDRAW.
To assign a foreground hotspot color

On the Internet Objects toolbar, click the Foreground Color Of Hotspot
color picker, and click a color swatch.
To assign a background hotspot color

On the Internet Objects toolbar, click the Background Color Of Hotspot
color picker, and click a color swatch.

To display Internet objects in your document
On the Internet Objects toolbar, enable the Show Hotspots button.
All objects to which you’ve assigned URLs display in the foreground and
background hotspot colors.
Assigning a bookmark
You can assign a new or existing bookmark to any text or graphic object in
your drawing by using the Internet Objects toolbar or the Internet page
under the Object Properties Docker.
To assign a bookmark using the Internet Objects toolbar

You can select a text object or a graphical object.
2 Type the name you want to assign to the object in the Internet Bookmark
box.
3 Press ENTER.
To assign a bookmark using Object Properties

3 Type the name you want to assign to the object in the Bookmark box.
You can rename any of your bookmarks by typing in the appropriate box
on the Internet Objects toolbar or the Internet page in the Object
Properties Docker window.
You can also assign a bookmark name by right-clicking on an object.
Using the Internet Bookmark Manager

Using the Internet Bookmark Manager, you can create a hyperlink to an
object that has already been bookmarked. You can also manage bookmarks by
selecting, removing, or renaming them.

To create a hyperlink to a bookmarked object
1 Using the Pick tool, select the object for which you want to create a
hyperlink to a bookmarked object.
2 Click Tools, Internet Bookmark Manager.
3 Choose the bookmark name to which you want to link the object from the
Bookmark list.
4 Click the Link button.
You cannot hyperlink a bookmark to itself.
To select a bookmark in your document

2 In the Bookmark Manager Docker window, do one of the following:
Choose the bookmark from the Bookmark list.
Choose the page on which the bookmark is located from the Page list.
3 Click the Select button.
To remove a bookmark from an object

2 In the Bookmark Manager Docker window, do one of the following:
Choose the bookmark from the Bookmark list.
Choose the page on which the bookmark is located from the Page list.
To rename a bookmark from the bookmark list

2 Choose the name of the bookmark you want to edit from the Bookmark
list.
3 Type the new name.
Assigning a Uniform Resource Locator

You can create a hyperlink from any text or graphic object in your drawing to
another document published on the World Wide Web by assigning that

document’s Uniform Resource Locator (URL) to the selected object. You can
assign a URL to the selected object using the Internet Objects toolbar or the
Object Properties Docker.
To assign a URL using the Internet Objects toolbar

You can select a text object or a graphical object.
2 In the Internet Address list box, do one of the following:
Type the URL to which you want to create a link.
Choose a URL from the list.
3 Press ENTER.
To assign a URL using Object Properties

3 In the Location (URL) list box, do one of the following:
Type the URL to which you want to create a link.
Choose a URL from the list.
You can edit a URL by typing in the appropriate box in the Internet
Objects toolbar or the Internet page in the Object Properties Docker
window.
You can also assign a URL by right-clicking an object and choosing the
Internet Links option.
Verifying links
You can verify the hyperlinks in your drawing to another document published
on the World Wide Web using the Link Manager. For more information on the
Link Manager see “Using the Link Manager” on page 539.
To verify links using the Link Manager

1 Click Tools, Link Manager

2 In the list verify, that all URL links have a green check mark status.
3 Click the Resolve button to verify any broken links.
To view a URL link using your browser

1 Select an object with a URL link.
2 Right-click the object, and click Jump To Hyperlink In Browser.
Checking your document for HTML object conflicts

You can ensure that your Web document publishes to the Internet
successfully by performing conflict verification tests on the drawing. You can
determine the type of object conflict to be verified.
Setting HTML object conflict verification options

CorelDRAW lets you determine what you want tested in the HTML object
conflict verification process. You can specify your preferences that pertain to
your document.
To set HTML object conflict verification options

2 In the list of categories, double-click Document, Publish to Internet, and
click HTML Conflicts.
3 Enable the check boxes that correspond to the HTML object conflicts you
want to verify.
You can also click the Analyzer Options button from the HTML Conflict
Docker.
Scanning your document for HTML object conflicts

You can scan your Web document before you publish it to the Internet to
ensure that there are no conflicts between Internet objects. You can scan the
current page or the entire drawing for HTML object conflicts. Any HTML
object conflicts that are verified in your drawing are listed on the HTML
Object Conflict Analyzer Docker.

To scan the current page of your document for HTML object
conflicts
1 Click Tools, HTML Object Conflict.
2 Click the Rescan The Current Page button.
To scan your entire document for HTML object conflicts

1 Click Tools, HTML Object Conflict.
2 Click the Rescan The Entire Document button.
Repairing HTML object conflicts

You can use the HTML Object Conflict Analyzer Docker to identify conflicts
between Internet objects in your Web document. Some object conflicts can
be repaired automatically by using the controls on the Docker, while other
conflicts will require you to repair them manually.
To scroll up to an error or warning message in the object conflict

list
Click the Move To Previous Error button.
To scroll down to an error or warning message in the object

conflict list
Click the Move To Next Error button.
To locate the conflicting object in your document

Click the Select Object From The Current Error button.
To repair the conflicting object in your document automatically

Click the Fix The Current Error button.
If the conflicting object cannot be repaired automatically, you’ll have to

repair the conflict in your Web document manually.
Publishing to the Internet

You are now ready to publish your document to the Internet. With
CorelDRAW you have several options when publishing. The Publish To
Internet wizard guides you through each step of the publishing process and

lets you choose basic Internet publishing options. The Publish To Internet
dialog box also contains all the options you need to successfully publish your
document to the Internet. You can also customize the Publish to Internet
feature by setting the options to suit your needs.
Publishing documents to the Internet

When you publish your document to HTML, CorelDRAW creates an HTML
document that appears identical to the source document when viewed in Web
browsers. Also, you can choose to export the graphics in your document to
either the JPEG or GIF image type format. All of these bitmaps are saved in
an image folder of your choice — usually a subfolder of the source HTML
folder.
For objects in your drawing that are assigned Uniform Resource Locators
(URLs), CorelDRAW creates a reference to the object in the HTML
document and automatically generates HTML codes that contain all of the
information necessary to match the position of a cursor click to a specific
URL.
When you publish your document as a single image, CorelDRAW creates an
image map. An image map is a hypergraphic that links to different URLs
when you view the HTML document with a browser. When you click an
image map, the HTML document to which it is linked appears. An image map
graphic is made up of an image and a series of coordinates describing the
location of the hotspots on the image. When you publish your CorelDRAW
document as a single image, you can export the graphics in your document to
the JPEG or GIF image type format. You can also choose to export any
imported bitmaps at a resolution of 96 dots per inch (dpi).
Publishing your document to the Internet

CorelDRAW documents that are published in Hypertext Markup Language
(HTML) format appear identical to the source document when viewed in
Web browsers. CorelDRAW assigns the extension .HTM to documents you
publish in the HTML format. By default, .HTM files share the same name as
the CorelDRAW .CDR source file and are saved in the last folder you used to
place exported Web documents.
To publish a document
1 Click File, Publish To Internet.
2 Click the Use Internet Dialog button.
3 Choose one of the following from the HTML layout list:
HTML Table

Layers
Styles
Single Image with Image Map
4 Choose the folder in which you want to save your published HTML
document from the HTML Folder list box. You can also click the Browse
button to choose a different folder.
5 Do one the following to specify the location of the images:
Disable the Use HTML Name check box and specify the name of the
folder in which you want to save the bitmaps in your document.
Enable the Use HTML Name check box.
6 Click the Export All Pages button if you want to export all of the pages in
a multipage Web document.
You can also enable individual check boxes to export specific pages.
7 Enable the Replace Existing Files check box if you want CorelDRAW to
automatically overwrite existing files with the corresponding files you’ve
updated. If you don’t enable the Replace Existing Files check box,
CorelDRAW will ask for permission before overwriting any existing files.
8 Enable the View Page In Browser check box if you want to start your
browser and verify the page.
9 Enable the Statistics Page checkbox if you want to generate a document
listing the page information.
You can edit the title and filename of each page in your Web document in
the Page List section of the Publish To Internet dialog box.
On the Publish To Internet page, in the HTML Layout section, Layers
and Styles create simpler and smaller files than the HTML Tables option.
However, if you want your document to be compatible with most Web
browsers, select the HTML Tables option.
Setting HTML export options

CorelDRAW provides various options that you can specify for publishing your
document to the Internet. Setting the amount of white space and its position
are only a couple of ways in which you can customize your final product. You
can export the images in your document to the Joint Photographic Experts
Group (JPEG or .JPG) or Graphics Interchange Format (.GIF) format types
when you publish to the Internet. The JPEG and GIF image types are
standard bitmap file formats that most Web browsers can read and display.

If you export your graphics to the JPEG format, you can choose to have them
display progressively when viewed in a Web browser. JPEG files support
lossy compression, providing high-quality images with a high level of
compression. If you export your graphics to the GIF format, you can choose
to have them display in a Web browser using image interlacing. GIF files
provide lossless compression, which means that when you convert to .GIF,
the file information is stored with the image, and the .GIF file looks almost
exactly like the graphic you created.
Choosing HTML export preferences

You can customize the Publish to Internet options to suit your needs.
Specifying the type of text and graphic export will create consistent
documents for the World Wide Web.
To choose an export image type

2 In the list of categories, double-click Document, Publish to Internet, and
click Image.
3 On the Image page, enable one of the following buttons:
JPG
GIF
4 For a GIF image type, select a palette from the Palette Type list.
5 For a GIF image type, enable the Interlace check box if you want your
image to display in its entirety in your browser.
6 Enable one or more of the export checkboxes to set the image options.
7 For Image Maps, enable the Client or Server checkboxes. If you are using
the Server option you must also enable the NCSA or CERN button.
To choose HTML export preferences

2 In the list of categories, double-click Document, and click Publish To
Internet.
3 On the Publish To Internet page, choose the type of HTML layout you
want to use when you export your document to the Internet from the list.
4 Type values in the following boxes for the HTML layout you choose:

Position Tolerance — lets you specify the number of pixels text can be
automatically nudged in order to avoid introducing rows or columns
that are 1 or 2 pixels in size.
Image White Space — lets you specify the number of pixels that can
occur in an empty cell before it’s merged with an adjacent cell, in order
to avoid splitting a single graphic that spans adjacent cells. Cells, or
tables, are used to position Internet objects in your Web document
when you choose the HTML Tables layout method.
Position White Space — lets you specify the amount of white space
allowed in an image in order to make your published Web document
simpler.
5 In the list of categories, double-click Publish To Internet, and click Text.
6 Enable one of the following buttons to choose the method with which you
want to export the text in your Web document:
Export HTML-compatible Text As Text — exports the text as a single
image
Export All Text As Images — exports the text as a single image
compatible for all browsers
Export HTML compatible Text as text using TrueDoc — exports the
text using TrueDoc for use in Netscape Comunicator
7 In the list of categories click Links.
8 Enable the check boxes to apply underline and color properties to any text
that is assigned a URL in your Web document.
The link colors you set in the Options dialog box will override the default
link colors used in your Web browser, eliminating any conflict between
link color and your document’s page background color.

PRINTING 13
Corel provides extensive printing options designed for both desktop and
commercial printing. You can size, position, order, and orient the pages of a
print job. You can also preview a print job to see how it will appear on output.
Many printing features are not required to print simple documents on a
desktop printing device. For basic printing instructions, see “Setting up a
print job” on page 679.
If you are using a PostScript printing device and are having trouble printing,
see “Using PostScript to optimize a print job” on page 700. You can also
resolve certain problems by adjusting settings, as explained in “Fine-tuning a
print job” on page 708. Unless you are having trouble printing, you should
not adjust these settings.
If you plan to print a document on a commercial printing press, see
“Commercial printing” on page 717.
Setting up a print job

You must select and properly configure the appropriate printing device driver
before you print. Consult the printing device manufacturer instructions, the
Windows documentation, or the service bureau or printing shop that will be
printing the work to find out the best way to set up the printing device driver.
When setting up a printing device, it is important that you know the size of
paper on which you are printing. If the print job is larger than the paper on
which you are printing, you can “tile” the work so that it is spread across
several pieces of paper or media. You can then assemble the separate pages
to create a single sheet.
You can control which parts of a document to print. You can print specific
pages, objects, or layers. You can also choose to print more than one open
document at a time.
Collating is useful when you are printing multipage documents. You can
specify the number of copies you want to print and whether you want them
collated. If you enable the Collate check box, a complete copy of each
document is printed before the next copy is printed. If collating is disabled, all
copies of the first page are printed before copies of the second page are
printed, and so on.
Before printing a document, you can use Preflight to help reduce errors.
Preflight analyses a print job before printing, and generates a report that
states the things to be aware of before printing and proposes a solution.
Printing 679
Printing a document
When your printing device is properly configured, you can often print a
document without changing any of the default settings.
To print a document
1 Click File, Print.
Selecting and configuring a printing device

Printing device installation is controlled by Windows. Every type of printing
device has different properties. For information about installing and setting
up a printing device, refer to the printing device manufacturer documentation
and the Windows documentation.
If you try to print with an orientation different from that specified in the
device properties, a message prompts you to adjust the printing device paper
orientation. Disable this warning to adjust paper orientation automatically.
To select a printing device

2 Click the General tab.
3 Choose a printing device from the Name list box:
If the device driver you require is not listed, install it following the
usual Windows procedure.
If you are proofing or printing a job in-house, choose the device driver
for the local printing device.
If you are sending a file to a service bureau, choose the device driver
that is specified by the service bureau.
To set the printing device properties

2 Click the Properties button.
Set only the Paper Size, Orientation, Tray, and Resolution when
printing to a PostScript device. Leave all other options at their default
settings and set them from the Print dialog box instead.
Set all relevant options when printing to a non-PostScript device.

To disable the Page Orientation Prompt
2 In the list of categories double-click Global, and click Printing.
3 Choose Page Orientation Prompt from the Option list.
4 From the Setting list, choose one of the following:
Off — Always Match Orientation
Off — Don’t Change Orientation
Selecting a PPD file

For improved compatibility with third-party prepress software, you can
choose a PostScript Printer Description (PPD) file. A PPD file describes the
capabilities and features of your PostScript printer. PPD files are available
from your printer manufacturer.
To select a PPD file

3 Enable the Use PPD check box.
4 Choose the drive where the file is stored from the Look In list box.
5 Double-click the folder in which the file is stored.
6 Double-click the file name.
If you choose to use a PPD file, Corel generates all of the PostScript. If
you choose not to use a PPD file, Windows generates some of the
PostScript; however, this may cause problems on output.
Using a printing device color profile

A printing device color profile helps to ensure accurate color reproduction.
This feature can be enabled or disabled when you print.
To enable the current printing device color profile

2 Click the Misc tab.
3 Enable the Use Color Profile check box.
Printing 681
To choose a printing device color profile
2 Click the Set Profiles button.
3 Choose a color profile from one of the following list boxes:
Composite Printer — if you are not printing color separations
Separations Printer — if you are printing color separations
Printing multiple copies

You can print multiple copies of the same document. If you are printing a
document with many pages, you may want to collate the copies.
Collating allows you to print one full set of the selected pages before printing
the second full set.
To print multiple copies

3 Type the number of copies in the Number Of Copies box.
4 Enable the Collate check box to collate the copies.
Specifying the pages to print

You can set up a print job so that either all or only some pages print.
To print all pages

3 Enable the Current Document button.
To print only the current page

3 Enable the Current Page button.
To print specific pages


3 Enable the Pages button.
4 From the Pages list box choose one of the following:
Even And Odd
Odd Pages
Even Pages
5 In the Pages box, type the pages to print:
A dash (-) between numbers defines a range of sequential pages (for
example, 1-5 prints pages 1 to 5).
A comma (,) between numbers defines a series of nonsequential pages
(for example, 1, 5 prints pages 1 and 5 only).
Any combination of dashes and commas is supported (for example, 1-3,
5, 7, 10-12 prints pages: 1 to 3, 5, 7, and 10 to 12).
Specifying the documents to print

When more than one document is open, you can choose which document to
print, or print more than one open document at a time. When you select
more than one open document, the selected documents are printed together
as a single print job.
To specify the documents to print

3 Enable the Documents button in the Print Range box.
4 Enable the check boxes for the documents that you want to print.
Specifying the objects or layers to print

You can set up a print job so that every object, or only the selected objects in
a drawing print. You can also prevent layers in a drawing from printing to
exclude them from the final work. For example, the guidelines layer does not
print by default, but you can print the guidelines by changing the appropriate
setting.
To print only selected objects

1 Select the objects.
Printing 683
3 Enable the Selection button.
To print only vectors, bitmaps, or text

3 In the Proofing Options section enable one or a combination of the
Print Vectors
Print Bitmaps
Print Text
To print only selected layers

1 Click Tools, Object Manager.
2 Enable the Printable option (the picture of a printer) for each layer you
want to print.
3 If you do not want to print a layer, disable the Printable option.
If you want to print text only in black instead of in color, enable the Print
All Text In Black check box.
Printing large print jobs as tiles

If the print job is larger than your printer paper, you can choose to print it as
tiles. Portions of each page of the print job are printed on separate sheets of
paper or media that you can assemble into one large sheet or media.
To print large print jobs as tiles

2 Click the Layout tab.
3 Enable the Print Tiled Pages check box.
4 Type a value or a percentage of the page size in the Tile Overlap boxes to
specify by how much you want the tiles to overlap.

To print large print jobs as tiles from the Print Preview window
1 Click File, Print Preview.
2 Click Settings, Layout.
Using printing styles

A print style is a set of saved printing options. Each print style is a separate
file. This lets you move a print style from one machine to another, back up a
print style, and keep document specific styles in the same folder as the
document file.
To select a print style

3 From the Print Style list box, choose one of the following:
CorelDRAW Version 9
Corel PHOTO-PAINT 9 Defaults
Browse
To create a print style

3 In the Print dialog box, set the printing options.
6 Choose the drive where you want to save the file in the Save In list box.
8 Type a name for the style in the File Name box.
When you save a print style, a dialog box opens that includes a section
called Settings To Include. The settings in this section correspond to the
printing options you have already selected. You can specify which settings
to include in a print style in this dialog box.
Printing 685
To edit a print style
3 Choose a print style from the Print Style list box.
To delete a print style

2 Choose a print style from the Print Style list box.
3 Click File, Delete Print Style.
If you close the Print dialog box before you print, all of the changes you
have made to the print options are discarded. If you do not want to lose
these changes and you need to close the dialog box (that is, you need to
change the work before you print), save the settings as a print style, or
click the Apply button before you click the Cancel button.
You can also select, edit, save, and delete print styles from the Print
Preview window.
Using Preflight
Preflight analyzes the current print job and produces a summary of print
errors and possible print problems. Preflight is especially helpful when you
are sending files to a service bureau. Using Preflight, the service bureau can
find potential problems before generating output.
The Issues tab in the Print dialog box opens up the Preflight page. The
Issues tab heading changes depending on the number of issues in a print job.
For example, if you have three issues the tab reads 3 Issues. If you have no
issues, the tab heading reads No Issues. The icon on the tab heading also
changes depending on the severity of the issue(s) identified. The icons
represent:
no-severity
low-severity
medium-severity
high-severity

Every issue that Preflight detects includes a summary of the issue and a
suggestion on how to resolve the issue. By default, Preflight checks for all
printing issues. Disable the check boxes of the issues you do not want
Preflight to check.
To view a Preflight report

2 Click the Issues tab.
If you have a large or complex file, Preflight will take time to analyze the
file.
To disable specific issues

2 From the list, choose an issue to disable.
3 Enable the Don’t Check For This Issue In The Future check box.
To enable Preflight issues

1 Follow steps 1 and 2 from the “To view a Preflight report” procedure.
2 Click the Preflight Settings button.
3 Enable the check boxes for issues you want Preflight to check.
You can also change Preflight settings from the Options dialog box by
clicking Tools, Options, and clicking Global, Printing, Preflight Warnings
in the list of categories.
Using imposition layouts

Imposition layouts let you print more than one page of a document on each
sheet of paper. This is useful when you are creating documents such as
magazines, books, and other multipage documents for printing on a
commercial printing press. You can use the built-in imposition capabilities
instead of using third-party imposition software.
You can also use imposition layouts for other documents that involve cutting
or folding, such as mailing labels, business cards, pamphlets, or greeting
Printing 687
cards. Imposition layouts can also be used to print multiple thumbnails of a
document on one page.
You can choose a preset imposition layout or create your own imposition
layout. The preset imposition layouts include:
Full Page
Places one document page on the front of each sheet. Full Page is the default
layout.
Double Sided Full Page

Places one document page on the front of the sheet, and the next document
page on the back of the sheet.
Booklet
Places two document pages on each side of the sheet. Each sheet is folded in
the center, with folded sheets placed inside one another. The sheets are
ordered for saddle stitch binding.
Book
Places two document pages on each side of a sheet. The pages are ordered
for perfect binding, where each sheet is cut down the center and the cut
pages are stacked on top of one another.
A x D (N-UP)
Places pages in sequential order on a grid of “A” pages across by “D” pages
down. The layout is scaled to fit on the printed sheet if necessary.
Tri-Fold Card
Places multiple pages together to form a panel of a three-panel accordion
folded card.
Tent Card
Creates a card that is printed on both sides and folded horizontally to stand
upright.
Top-Fold Card
Creates a card that is printed on one side and folded horizontally to stand
upright.

Side-Fold Card
Creates a card that is printed on one side and folded to open like a book.
Choosing imposition layouts

The default imposition layout reflects the layout of the document you are
printing. The layout you choose does not affect the original document, only
the way it is printed. For example, if you have a four-page document set up as
a full page in a Full Page layout, but would like to print it as a top-fold, or
side-fold card, you can choose the appropriate card style and size in the Print
dialog box.
When you use an imposition layout, if the total width, height, gutters and
margins are larger than the space available on the page size, the document
pages will normally be scaled down to fit. If you do not want document pages
to be scaled down you can change the page size in printer properties, or you
can choose to maintain document page size, in the Print Preview window.
This causes the layout to be cropped at the edge of the signature, instead of
scaling down the document pages. Preflight can also notify you if the
document pages are being scaled to fit the layout. For more information on
Preflight and Preflight settings see, “Using Preflight” on page 10.
To choose an imposition layout

3 Choose an imposition layout from the Imposition Layout list box.
To maintain document page size

2 Click the Imposition Layout tool.
3 On the Property Bar, click the Maintain Document Page Size button.
Creating, editing, and deleting imposition layouts

You can create, edit, and delete custom imposition layouts in the Print
Preview window. When creating an imposition layout it is useful to have a
“folding dummy.” A folding dummy is a sheet of paper that you have folded
and labeled where your document pages should appear. If you send a print job
to a service bureau or commercial printer, they may provide a folding dummy
for your print job. If you create, edit, or delete a custom imposition layout,
keep in mind the following terminology:
Printing 689
A Document Page is sometimes called a “page.” This is one page in a
document file, what the reader views as a single file.
A Signature is one sheet as printed by the press or output device, that
contains several pages from a document. A signature may be cut, folded,
and possibly bound, to form a final document.
To create an imposition layout

3 In the Pages Across/Down boxes, type the number of pages to include on
each printed page.
4 Click each numbered box in the Print Preview window, and choose the
following:
The page number — determines which page of the document is printed
in that position
The angle — determines whether the page is printed top up (0
degrees) or top down (180 degrees)
5 If you are printing on both sides of the paper, enable the Double Sided
Layout button.
6 Click the Imposition Layout tabs at the bottom of the Print Preview
window to view each side of a double-side layout.
7 Type a name for the imposition layout in the Save As box.
When you enable the Double Sided Layout option and you are printing on
a nonduplex printing device, a wizard automatically provides instructions
on how to insert the paper into the printing device.
To edit an imposition layout

2 On the Property Bar, choose an imposition layout from the Imposition
Layout list box.
3 Make changes to the layout.
4 On the Property Bar, click the Plus button (+).
5 Type a name in the Save As box.

To delete an imposition layout
2 On the Property Bar, choose an imposition layout from the Imposition
Layout list box.
3 Click the Delete Imposition Layout button (-).
Using binding methods

When creating a custom imposition layout, you must choose a binding style
in the Print Preview window. You can choose from three preset binding
methods or you can customize a binding method. When you choose a preset
binding method all but the first signature are automatically arranged. When
you choose to customize a binding method you can layout each signature.
The following three preset binding methods are:
Perfect Binding — is a method of binding books, where individual pages
are cut apart and glued at the spine. For example, a telephone book is
typically bound using this method.
You can also use Perfect Binding if you want your pages printed in
sequence, such as when printing thumbnails. An example of this, is if you
are printing four document pages per signature, the first signature
contains pages 1 to 4, the second signature contains pages 5 to 8, and so
on.
Saddle Binding — is a method where sheets are folded and inserted into
one another. An example of a saddle stitched document is a glossy
magazine that is stapled at the spine.
Collate Cut Binding — is a method where all signatures forming a copy of
the document are collated and stacked together. The pages are cut to form
a number of stacks, which are in turn stacked on top of one another. For
example, for a 32 page document printed with four pages per signature,
the first signature contains pages 1, 8, 16, and 24. The second signature
contains pages 2, 9, 17, 25, and so on.
To choose a preset binding method

3 On the Property Bar, click one of the following buttons:
Perfect Binding
Saddle Binding
Collate Cut Binding
Printing 691
Using the custom binding method
When you use the custom binding method, you can individually arrange the
pages that are printed on each signature. To use the custom binding method,
you must begin by setting the number of signatures that are used to print the
document. You can then set the number of pages for each signature, and
specify which document page should print at each position.
To use the custom binding method

3 On the Property Bar, choose Custom Binding.
4 On the Property Bar, type a number in the Number Of Signatures box.
To select a signature
2 On the bottom of the Print Preview window, click a Signature tab.
Setting the page group rate

When you use saddle binding, you can group pages into one or more separate
saddle pieces. Normally, all the pages are printed as part of one
saddle-stitched unit. However, some books are created by binding a number
of pieces that are each arranged as an independent saddle-stitched section. If
you are creating such a document, you can specify the number of pages that
should be grouped to form each saddle-stitched piece.
To set the page group rate

3 On the Property Bar, click the Saddle Binding button.
4 On the Property Bar, type a number in the Pages Per Group box.
Arranging the pages on a signature

You can arrange pages on a signature automatically using two options.
Sequential Auto-ordering arranges the pages left to right, top to bottom, in
reading order. Cloned Auto-ordering places the same page at each location on
a signature. This is useful for creating business cards, where the same card is
printed at each location on a signature. When you arrange the pages
automatically on a signature, you can choose the angle of the image. You can

also arrange the pages by clicking on a page, and typing a page number. The
angle determines whether the page is printed top up (0 degrees) or top down
(180 degrees).
To arrange the page using Sequential Auto-Ordering

each printed page.
4 Click on a page in the Print Preview window.
5 On the Property Bar, click the Sequential Auto-Ordering button.
6 Type a page number in the Page Sequence Number box.
7 Choose an angle from the Page Rotation list box.
To arrange the page using Cloned Auto-Ordering

2 Click on a sheet in the Print Preview window.
3 On the Property Bar, click the Cloned Auto-Ordering button.
4 Type a page number in the Page Sequence Number box.
To manually arrange the page order

1 Follow steps 1 to 4 from the “To arrange the page using Sequential Auto
Ordering” procedure.
2 Type a page number.
Changing gutter size

If you have more than one page across or down, you can adjust the size of the
gutters between pages. You can choose the automatic gutter spacing option,
which sizes gutters so that the document pages fill the entire available space
in the layout. You can have all horizontal and all vertical gutters the same
width, or you can adjust the width of each gutter.
To choose automatic gutter spacing

Printing 693
each printed page.
4 Click the space between any two pages (horizontally and vertically.)
5 On the Property Bar, click the Auto Gutter Spacing button.
To apply equal horizontal and vertical gutter sizes

2 On the Property Bar, click the Equal Gutters button.
3 On the Property Bar, type a value in the Gutter Size box.
To change individual gutter sizes

1 Follow steps 1 to 4 from the “To choose automatic gutter spacing”
procedure.
2 On the Property Bar, disable both of the following:
Auto Gutter Spacing
Equal Gutters
3 On the Property Bar, type a value in the Gutter Size box.
Setting cut and fold marks

When you click the space between two pages (horizontally and vertically),
you can mark the location where cut and fold marks are placed. If you send a
job to a commercial printer, these marks guide where a document is trimmed
and folded.
To set cut and fold marks

each printed page.
4 In the Print Preview window, choose a gutter by clicking on the space
between two pages (horizontally and vertically.)
5 On the Property Bar, click one or both of the following:
Cut location — positions where the document is cut
Fold location — positions where document is folded

To set cut and fold marks in the Print Preview window, you must enable
the Crop/Fold Marks check box in the Prepress tab of the Print dialog box.
Adjusting margin sizes

When printing on a desktop printer, you may need to adjust the margins to
accommodate the nonprintable area of the printer. If the margin size is
smaller than the nonprintable area, the edges of some pages or some
printer’s marks may be clipped by your printer. You can compare the location
of the margins to the nonprintable area of your printer by clicking “Non
Printable Area” from the View menu in Print Preview.
When preparing a job for commercial press, the service bureau may request
minimum margin sizes, such as for page grippers, and printers’ marks.
To adjust margin size

each printed page.
4 In the Print Preview window, click a margin.
5 On the Property Bar, type values in the Top/Left margin boxes.
Previewing, sizing, and positioning a print job

The Print Preview window lets you view your work as it will appear when
printed. It shows you the position and size of the print job on the paper. You
can also view printing devices marks such as crop or fold marks and color
calibration bars.
If you are using a Full Page or Manual imposition layout, you can change the
position and size of the print job on the printed page. If you are printing
bitmaps, use caution when sizing print jobs. Enlarging bitmaps may cause the
output to appear jagged or pixelated.
You can also view a Mini Preview from the Print dialog box. The Mini
Preview window lets you see how a document appears before it is printed,
but does not let you change settings.
Previewing a print job

Print Preview lets you view what the work will look like when printed. You
can choose to preview a print job by choosing Print Preview from the File
Printing 695
menu. You can move from page to page, and magnify the page being
previewed. You can also view how the color separations will appear when
printed.
To preview a print job

Click File, Print Preview.
To move from page to page in the Print Preview window

2 Below the Print Preview window, do one of the following:
Click the button pointing left — the button flips back through the pages
Click the button pointing right — the button flips forward through the
pages
The arrow buttons are accessible only when print options are set for more
than one page, not when print options are set to print the current page
only.
The Go To dialog box also lets you move from page to page. To open the
Go To dialog box, click View, Go To.
To print the page being previewed

2 Click File, Print This Sheet Now.
To magnify the page being previewed

2 Click View, Zoom.
Enable one of the preset zoom level buttons.
Enable the Percent button and type a value in the Percent box.

You can also zoom in on a portion of the Print Preview by using the Zoom
tool.
To preview individual color separations

2 Click View, Preview Separations, Separations.
3 Click the appropriate tab at the bottom of the Print Preview window to
view each color separation.
You can view individual color separations only when you have enabled the
Print Separations check box in the Print Options dialog box.
The Auto (Simulate Output) preview type in the View menu automatically
sets the preview type to the settings that match the printing device driver.
For example, if you are printing to a black-and-white printing device, the
preview is grayscale.
The Auto (Simulate Output) preview type is enabled by default. If you
change the preview settings, then Auto (Simulate Output) is disabled. You
can revert to the automatic settings by enabling Auto (Simulate Output).
Previewing a job from the Mini Preview window

You can preview a print job from the Mini Preview window accessed from the
Print dialog box. However, the Mini Preview window does not let you change
any settings from its window. The Mini Preview window is useful for quickly
viewing a document before it is printed.
To preview a print job in the Mini Preview window

2 Click the Mini Preview button at the top right of the dialog box.
To move from page to page in the Mini Preview window

Click one of the following arrow buttons below the Mini Preview window:
Forward End button — takes you to the first page
Back End button — takes you to the last page
Printing 697
To preview a specific page in the Mini Preview window
Choose a page from the Page list box below the Mini Preview window.
Customizing a print preview

You can increase the speed of a print preview by hiding the images. You can
also specify a color or grayscale preview. Displaying individual color
separations in grayscale instead of color can be helpful when you are studying
color distribution. Yellow is particularly difficult to see against a white
background. Even magenta and cyan, if used sparsely, are easier to see when
displayed in grayscale.
To hide the print job

2 Click View, Show Image.
If a check mark appears beside the Show Image command, the command
is enabled.
When Show Image is disabled, the print job is represented by a bounding
box that you can use to position and size the job.
To specify a color or grayscale Print Preview

Click View, Preview Color, Color.
Click View, Preview Color, Grayscale.
Sizing a print job

You can alter the size of each page of the print job, leaving the original
unaffected. The height-to-width ratio of a print job is called its “aspect.”
To size the print job

3 Click the Print Preview window.
4 On the Property Bar, type values in the following boxes:

Width — lets you set the width of a page in the Print Preview window
Height — lets you set the height of a page in the Print Preview window
You can also size each page of a print job by dragging the handles in the
Print Preview window.
To fit the print job to the page

3 Enable the Fit To Page button.
Positioning a print job

You can alter the position of each page on the printed page, leaving the
original unaffected. If you select the Manual Imposition Layout, you can place
several pages on a single sheet of paper. Each page can be sized and
positioned.
To position a page on the printed page

3 Click the Print Preview window.
4 Type values in the following boxes on the Property Bar:
Top Corner Position — specifies the distance from the top of the
printable area
Left Corner Position — specifies the distance from the left side of the
printable area
You can also position each page by dragging the “X” in the center of the
image to the desired position.
To customize the position of a page on the printed page

2 Click the Mini Preview button at the top right of the Print dialog box.
Printing 699
4 Enable the Reposition Images To button.
5 Choose Custom from the Reposition Images To list box.
6 Click the flyout arrow below the Reposition Images To list box to choose
the page to position.
7 Position the page by typing values in the following boxes:
Position
Size
Scale Factor
# Of Tiles
The # Of Tiles box is activated only when you enable the Print Tiled
Pages check box, otherwise, it is dimmed.
To automatically position a page on the printed page

2 Choose a position from the Reposition Images To list box.
Using PostScript to optimize a print job

PostScript is a page description language that sends printing instructions to a
PostScript device. All the elements in a print job (for example, curves and
text) are represented by lines of PostScript code that the printing device uses
to produce the document.
PostScript is not the only method for sending printing instructions, and some
printing devices are not compatible with PostScript. However, there are
several functions that are unavailable when you do not use PostScript. For
example, you cannot adjust halftone screens.
There are three levels of PostScript. PostScript 1, the first PostScript
language, has certain limitations (these are described below). PostScript 2
greatly reduces potential printing errors. PostScript 3, the latest version of
PostScript, is faster than previous versions which have been largely
eliminated in PostScript 2 or PostScript 3.
Limitations of PostScript 1
Certain problems may arise when you use PostScript 1:

If a print job contains complex vector objects, a PostScript 1 printing
device may not be able to print it. To create vector curves, a PostScript
device prints a series of short straight lines called segments (any straight
line between two nodes is considered a segment.) PostScript 1 devices
cannot print vector graphics with more than 1500 segments. This limits
the allowable number of nodes in any vector object to approximately 500.
If you use a complex fill (for example, a texture fill, or a PostScript fill) in
an object, the allowable number of nodes is reduced to approximately 300.
If you fill a text object with a texture fill, a PostScript 1 device may not be
able to print it.
If you use a texture fill in an object with any subpaths (for example, a
donut made from a circle within a circle), a PostScript 1 device cannot
print it.
There are several ways to work around these limitations:
Break up complex graphics into several less complex graphics. (This may
not be possible if you are using complicated line attributes or complex
fills.)
Avoid using complex fills on graphics that are not large enough to warrant
intricate detail.
Avoid using complex fills with complex outlines, or using complex fills in
text.
Limit the number of nodes per object.
Use the PostScript features designed to reduce complexity and warn you
of potential printing problems.
Using PostScript 2 or 3
PostScript 2 and 3 are more advanced PostScript languages than PostScript 1.
Using a PostScript 2 or 3 printing device can reduce printing errors and let
you use features that are unavailable when you use a PostScript 1 printing
device. If you try to use PostScript 2 or 3 options and are not using a
PostScript 2 or 3 device, the print job does not print properly. If you are not
certain whether you are printing on a PostScript 2 or 3 device, do not enable
these options.
PostScript 2 and 3 let you use JPEG compression to compress the bitmaps in
a print job and make the file smaller. Also, PostScript 2 and 3 use a faster
method to render vector graphics.
To use PostScript 2 or 3
Printing 701
2 Click the PostScript tab.
3 Choose Level 2 or PostScript 3 from the Compatibility list box.
To compress bitmaps
2 Enable the Use JPEG Compression check box.
3 Move the Quality Factor slider to the right to increase compression and
reduce the quality of the bitmaps.
You can only compress bitmaps in .PRN or .PS files.
You can access the Print dialog box from the Print Preview window by
clicking the Options button on the Property Bar.
Printing complex print jobs

Complex graphics can often cause a PostScript 1 print job to fail. To ensure
that your print jobs print properly, you can test for complex vector graphics
and reduce curve complexity by increasing flatness. Curve flatness
determines how smooth a curve appears when printed. As the flatness
increases, curves begin to appear as connected straight lines.
To test for complex vector graphics

4 Enable one or a combination of the following check boxes:
Text With Texture Fills (PS Level 1 Only)
Bitmaps In Complex Clipping Paths (PS Level 1 Only)
Texture Fills In Complex Objects (PS Level 1 Only)
Complex Clipping Regions (PS Level 1 Only)
Objects With Outline Having Many Nodes (PS Level 1 Only)
Objects With Outline And Fill Having Many Nodes (PS Level 1 Only)

To reduce curve complexity by increasing flatness
3 Type a value in the Set Flatness To box.
4 Enable the Auto Increase Flatness check box. Use increments of two if
you want the printing device to increase the flatness of an object that is
too complex.
When the Auto Increase Flatness option is enabled, the maximum

allowable flatness value is defined by the value in the Set Flatness To box,
plus 10. If a curve is still too complex when the flatness value exceeds this
limit, the printing device skips the problematic curve. If the printing
device skips a curve, it does not appear in the final output. You are not
informed while you print that this has happened. For this reason, it is
important to inspect proofs before you publish the work.
If you are having problems with complex objects, leave the value at 1.00
and enable the Auto Increase Flatness check box. If this does not achieve
the required results, increase the flatness by two (3.0) and try again.
To reduce curve complexity by limiting control points

3 Type a value in the Maximum Points Per Curve box.
Reducing the number of points per curve helps alleviate printing problems
caused by curves that are too complex. A lower number of points per
curve does not reduce quality, but does increase printing time.
Printing 703
Including PDF marks
PDF is a file format that preserves fonts, images, graphics, and formatting of
an original application file. When creating a PDF file from a PostScript file,
you can include PDF marks such as hyperlinks and bookmarks. Hyperlinks
are links or URLs to other pages or the Internet. Bookmarks are links to
other pages in the file represented by text.
You can also choose to display a full screen, the current page, or only the
thumbnails on startup. For information about how to set hyperlinks and
bookmarks, see “Publishing PDF documents” on page 785.
To include hyperlinks
3 Enable the Include Hyperlinks check box in the PDF Marks section.
To include bookmarks
2 Enable the Include Bookmarks check box in the PDF Marks section.
To display PDF marks

1 Follow steps 1 and 2 from the “To include hyperlinks” procedure.
2 From the On Start, Display list box, choose one of the following:
Full Screen — displays a full screen of a page
Page Only — displays the current page
Thumbnails — displays the current page and all thumbnails in the
document
Font and spot color warnings

When a print job contains too many fonts, it may not print properly. When a
print job contains too many spot colors, you are creating a large number of
plates. This increases file size and ultimately the cost of the print job. You
can set the PostScript options to warn you when a print job contains more
than a set number of fonts or spot colors. You can change the number of fonts
and spot colors that trigger the warnings by changing the Spot Color
Separations Warning and the Fonts Warning Threshold settings.

To set the Spot Color Separations Warning option
2 In the list of categories double-click Global, and click Printing.
3 Choose Spot Color Separations Warning from the Option list.
4 From the Setting list, choose one of the following:
If Any Spot Colors Are Used
If More Than 1 Spot Color Used
If More Than 2 Spot Colors Used
If More Than 3 Spot Colors Used
To set the Fonts Warning Threshold option

2 Choose Fonts Warning Threshold from the Option list.
3 Choose a number between 1 and 50 from the Setting list.
Spot color and font warnings can also be accessed from the Print Preview
window. To do this, click Settings, Printing Preferences, and make the
required changes in the Special Settings section.
Optimizing fountain fills for printing

You can optimize the printing of fountain fills in two ways. First, you can test
for and correct fountain fill banding. Banding is the appearance of stripes
across a fountain fill and occurs when a fountain fill does not contain enough
steps. Second, you can reduce the complexity of fountain fills to decrease
printing time.
By enabling both the Auto Increase Fountain Steps and Optimize Fountain
Fills options, you can increase the number of fountain steps that require
more steps, and reduce the number of steps in fountain fills that are too
complex.
These options are available only for PostScript devices.
To test fountain fills for banding

Printing 705
4 Enable the Banded Fountain Fill check box.
To automatically increase fountain steps

3 Enable the Auto Increase Fountain Steps check box.
To optimize fountain fills to reduce complexity

1 Follow steps 1 and 2 from the “To test fountain fills for banding”
procedure.
2 Enable the Optimize Fountain Fills check box.
The Auto Increase option increases the number of steps used to render
fountain fills. This may increase printing time, but ensures the best
possible rendering of fountain fills.
Testing fountain fills for banding only applies to linear fountain fills.
Downloading Type 1 fonts

By default, the printing device driver downloads Type 1 fonts to the printing
device. When you disable the Download Type 1 Fonts option, fonts are
printed as graphics (either curves or bitmaps). This may be useful when the
file contains many fonts that would take an unacceptably long time to
download, or would fail to download because of their file size.
To download Type 1 fonts

3 Enable the Download Type 1 Fonts check box.

The Download Type 1 Fonts option is available only for PostScript
devices.
When you enable the Download Type 1 Fonts check box, by default the
Convert True Type To Type 1 check box is also enabled. This ensures that
True Type fonts are converted to Type 1 fonts so that they can be
downloaded. Disable this option only if the output device has difficulty
interpreting Type 1 fonts.
Setting bitmap font options

Bitmap versions of TrueType fonts look better in small point sizes and print
faster than regular fonts. Because bitmap fonts consume a lot of PostScript
memory, you may need to limit the number of bitmap fonts in a print job to
avoid a PostScript printing error.
A bitmap version of a font is created in a PostScript printing device’s memory
if the font meets the following criteria:
The printed character size is no larger than the bitmap font size threshold.
The default is 75 pixels, which corresponds to 18 points at 300 dpi, 9
points at 600 dpi, and 4.5 points at 1200 dpi. You can change the bitmap
font size threshold (see below.)
The text is not scaled or skewed.
The text does not have an outline or a fill other than a uniform fill.
The text does not have any applied nonlinear transformations.
The document is not being printed using the Sizing options or Fit To Page
option in the Print dialog box.
To limit the number of bitmap fonts created

2 In the list of categories, double-click Global, and click Printing.
3 Choose Bitmap Font Limit from the Option list.
4 Type a value between 0 and 100 in the Setting list.
To set the bitmap font size threshold

Printing 707
3 Choose Bitmap Font Size Threshold from the Option list.
4 Choose a value between 0 and 1000 from the Setting list.
Printing color bitmaps

You can output color bitmaps as CMYK, RGB, or grayscale. PostScript output
typically uses the CMYK (cyan, magenta, yellow, and black) color model to
print bitmaps. If you are printing color bitmaps to an RGB (red, green, and
blue) or CMY (cyan, magenta, and yellow) printing device, choose RGB from
the Output Color Bitmaps As list box.
RGB devices receive RGB values instead of CMYK values. CMY printing
devices convert RGB to CMY (three-color model to three-color model) more
easily than CMYK to CMY (four-color model to three-color model.)
To output color bitmaps as RGB

3 Choose RGB from the Output Color Bitmaps As list box.
To output color bitmaps as CMYK

2 Choose CMYK from the Output Color Bitmaps As list box.
To output color bitmaps as Grayscale

1 Follow steps 1 and 2 from the “To output color bitmaps as RGB”
procedure.
2 Choose Grayscale from the Output Color Bitmaps As list box.
The RGB option is available for PostScript devices only.
Fine-tuning a print job

Several problems can occur when you are printing fonts or bitmaps. The
options described in this section can help to resolve the problem. If you are

having trouble printing, try to determine what part of the print job is causing
the problem. For example, the fonts may not be printing properly, or a
bitmap may not print. Then look for a topic that relates to the type of
problem.
The Driver Compatibility page in the Printing Preferences dialog box
contains many of the options you can use to fine-tune a print job. This dialog
box lets you set options and view device capabilities for each printing device
driver.
Setting the number of fountain steps in a print job

You can specify the number of steps in the fountain fills in a print job. A low
number of steps prints faster, but the transition blend between shades may
be rather coarse, causing banding. A higher value results in a smoother
blend, but the printing time is longer.
To specify fountain steps in a print job

3 Type a value in the Fountain Steps box.
You can assign a custom fountain fill to an object in a Corel application. A

custom fountain fill overrides the settings in the Print dialog box.
Fountain steps set in the Options dialog box affect only the way fountain
fills display, not how they print.
Printing bitmaps in small chunks

You can determine whether bitmaps are sent to non-PostScript printing
devices all at once or in smaller blocks (below 64 K), called chunks. Usually,
the driver tells the application which method it can or cannot handle. If you
find that bitmaps do not print as expected, try forcing them to be printed in
smaller chunks.
If you are already printing bitmaps as chunks, you can specify the degree to
which each chunk overlaps adjacent chunks. This overlap reduces the grid
pattern that can appear on some printing devices when bitmaps are printed
as chunks.
To print bitmaps in chunks

Printing 709
2 Click Settings, Printing Preferences.
3 In the list of categories, click General, Driver Compatibility.
4 Choose a non-PostScript printing device driver from the Printer list box.
5 Enable the Output Bitmaps In 64K Chunks check box in the Settings
Specific To This Driver section.
To set bitmap chunk overlap pixels

3 Choose Bitmap Chunk Overlap Pixels from the Option list.
4 Choose a number of pixels by which each bitmap chunk overlaps the next
from the Setting list.
The options in the Settings Specific To This Driver section are available
only when you choose a non-PostScript printing device from the Printer
list box. Otherwise, they are dimmed.
Printing color print jobs in black or grayscale

When you print color work on a black-and-white printing device, you can
specify whether you want solid colors converted to solid black or a shade of
gray that approximates its hue.
To print color print jobs in black or grayscale

All Colors As Black
All Colors As Grayscale
Outputting color bitmaps

Using color management helps ensure accurate color reproduction. The Print
feature lets you choose to output color bitmaps as CMYK, RGB, or grayscale.
You can only output bitmaps as CMYK when you have chosen a PostScript
printer. If you are printing to a non-PostScript printer, you can only output
color bitmaps as RGB or grayscale. Outputting color bitmaps as CMYK or

RGB increases file size while outputting color bitmaps as grayscale
decreases file size.
To output bitmaps as CMYK

3 Choose a PostScript printer from the Name list box.
5 Choose CMYK from the Output Color Bitmaps As list box.
To output bitmaps as RGB

3 Choose RGB from the Output Color Bitmaps As list box.
To output bitmaps as grayscale

2 Choose Grayscale from the Output Color Bitmaps As list box.
Downsampling bitmaps from the Print dialog box

You can reduce file size by downsampling bitmaps. Bitmaps are made up of
pixels. When you downsample a bitmap, the number of pixels per line
decreases. The decrease in pixels per line results in a decrease in file size.
You can downsample color, grayscale, or monochrome bitmaps.
To downsample color bitmaps

3 Enable the Color check box from the Bitmap Downsampling section.
4 Type a number in the box to the right of the Color box.
To downsample grayscale bitmaps

2 Enable the Grayscale check box from the Bitmap Downsampling section.
3 Type a number in the box to the right of the Grayscale box.
Printing 711
To downsample monochrome bitmaps
1 Follow steps 1 and 2 from the “To downsample color bitmaps” procedure.
2 Enable the Monochrome check box from the Bitmap Downsampling
section.
3 Type a number in the box to the right of the Monochrome box.
Downsampling color, grayscale or monochrome bitmaps are affected only

when their resolution is higher than the resolution enabled in the Bitmap
Downsampling section.
Rasterizing pages
If you have a complex print job, you may want to rasterize each page.
Rasterizing lets you convert each page to a bitmap. You can rasterize a page
to improve print speed when proofing or to resolve printing problems with
problematic non-PostScript printer drivers.
To rasterize a page
3 Enable the Rasterize Entire Page check box.
4 Type a number in the box to the right of the Rasterize Entire Page check
box.
Controlling printer bands

Some non-PostScript printing devices cannot hold a full page in memory and
must print the page in multiple passes, or “bands.” The default setting lets
the printing device driver split the page into bands before sending it to the
printing device. If this proves too slow, or you encounter problems, you can
split a print job into bands before it is sent to the printer driver.
To split a print job into bands before it is sent to the printer

driver

5 Enable the Send Bands To Driver check box.
only when you have selected a non-PostScript printing device from the
Printer list box. Otherwise, they are dimmed.
This Send Bands To Driver check box is available only in Windows 95 and
Windows 98.
Controlling fill clipping

Any fill other than a uniform fill requires clipping when an object is not
rectangular, because these fills are sent to printing devices as bitmaps, and
bitmaps are rectangular. Clipping removes portions of a fill that should not be
visible. The default setting for clipping is controlled by the driver, because
this usually means faster processing. If you encounter a problem printing
nonuniform fills, switch control over clipping to the software.
This option applies to non-PostScript printing devices only.
To assign control over fill clipping

4 Choose a non-PostScript printing device from the Printer list box.
5 Enable the Use Software Clipping For Fills check box.
only when you have selected a non-PostScript printing device from the
Printer list box. Otherwise, they are dimmed.
Specifying the text output method for non-PostScript printing devices

When you print to a non-PostScript printing device, text is sent using the
appropriate font whenever possible. However, it may sometimes be better to
send text as graphics (not using the font) because text objects can be
incorrectly printed over by graphics.
Printing 713
To print text as graphics
3 From the list select Driver Compatibility.
5 Enable the All Text As Graphics check box.
The options in the Settings Specific To This Driver box are available only
when you select a non-PostScript printing device from the Printer list box.
Using print merge

Print merge lets you print the same document many times using different
text each time. For example, if you are printing invitations, you can
personalize each invitation by merging in different names.
Print merge works by combining a specially formatted text file with a
CorelDRAW file. The CorelDRAW file must contain text to replace with
words from the text file during the print merge. Each time the CorelDRAW
file is printed, words from the text file are substituted with the printed
version.
Preparing a drawing for print merge

To use a print merge in a drawing, you must insert the text to replace when
you perform the print merge. Each character/word of text to replace must be
a separate text object.
To prepare a drawing for print merge

1 Create a drawing in CorelDRAW that contains at least one text object.
When performing a print merge, keep the following in mind:
Each text object to be replaced must be unique.
Text must be Artistic text, not Paragraph text.
Allow enough space for the substitute text. For instance, “Name” does
not take up much room, but, when “San Francisco” is substituted, more
space is required.
The substituted text takes on the same attributes (typeface, point size,
spacing, etc.) and alignment (left, right, center) as the original text.

Any transformations applied to the original text (except Blend,
Extrude, and Fit To Path) are applied to the substituted text.
The text in each text object in the drawing must be identical to the
corresponding text in the .TXT file. This includes capital letters,
spaces, line breaks, blank lines.
Preparing a text file for print merge

To perform a print merge, you must create an ANSI text file (.TXT) that
contains the information you want to merge with the drawing.
To prepare a text file for print merge

1 Open a new text file.
2 On the first line, indicate the number of pieces of text to replace. The
example in step 4 indicates that there are three pieces of text in the
drawing to replace with text from the text file.
3 Starting on the second line, type the text exactly as it appears in each text
object in the drawing. This includes capital letters, spaces, line breaks,
blank lines, etc. The text must end with a character, blank spaces or lines
after the text prevent the merge from working.
4 Add back slashes (\) before and after each piece of text. The text can be
entered on separate lines, as in the example below:
3
\Name\
\Date\
\Instructor\
Or, you can type text on the same line as in the following example:
3
\Name\\Date\\Instructor\
5 Type the text to substitute for the text. Because back slashes serve as
markers to indicate the beginning and end of text, you cannot use them in
the text to be substituted. There must be an entry for each piece of text.
The text file should look like this:
3
\Name\
\Date\
\Instructor\
Printing 715
\Jon von Wolf\
\18 August 1995\
\Mr. Donald Smith\
\Katie MacBear\
\18 August 1995\
\Ms. Maria Santana\
Or, if you are using the linear approach, like this:
3
\Name\\Date\\Instructor\
\Chris van Wolf\\18 August 1995\\Mr. Donald Smith\
\Kelly MacBear\\18 August 1995\\Ms. Maria Santana\
6 Save the file as an ANSI text file (.TXT extension.)
Merging a text file with a drawing

When you are preparing to merge, remember that CorelDRAW neither saves
nor displays the results of the merge. It prints them directly, in sequence.
Therefore, check both the text file and the drawing for mistakes before
merging. Also, make sure there’s enough space in the drawing to
accommodate the text you plan to substitute. The print merge command is
no longer available by default, but can be customized.
To add Print Merge to the File menu

2 In the list of categories, double-click Customize, and click Menus.
3 Double-click File & Layout, File.
4 Choose Print Merge from the Commands List box.
5 Choose File From the Main Menu list box.
To merge a text file with a drawing

1 Open the text file, verifying that it has been properly prepared, then close
it. CorelDRAW needs to access the text file to do a print merge, but
cannot do so while it is open.
2 Open the CorelDRAW file. Verify that it has been properly prepared.

3 Click File, Print Merge.
4 Choose the text file.
Commercial printing
If you use commercial printing for your print jobs, you most likely deal with a
service bureau or a printing shop. These two businesses can be separate or
affiliated. Some larger establishments may offer both services. The service
bureau takes your file and converts it directly to film or to plates. The
printing shop uses the film from a service bureau to make printing plates.
Film can be created using a camera or an imagesetter. Creating film with a
camera usually requires camera-ready output that you have created on a
PostScript laser printing device. Producing film in this way may save money,
but do not try to produce complex color material using laser printed output
because desktop printing devices are not precise enough.
An imagesetter creates film directly from a file. There are several different
types of files that a service bureau may be able to use. For more information,
see “Preparing a print job for a commercial press” on page 717 and ask the
service bureau about your options.
The service bureau should provide you with either overlay proofs, blueprints,
or laminate proofs made from the film. The type of proof you require depends
on the complexity of the print job. Once you are satisfied with the proofs, the
film is imposed, the plates are burned, and the printing plates are mounted on
the press.
If the service bureau and printing shop are separate, you must ensure that
the service bureau provides the film in the form that the printing shop
requires (for example, positive or negative film, emulsion up or down, etc.).
Also, make sure that the printing shop has proofs of the final product and
instructions about the print job (for example, number of copies, type and size
of paper). These proofs and your instructions serve as a contract between
you and the printing shop.
The press operators set up and adjust the press so that the printed output
matches the contract proofs as closely as possible. When color quality and
accuracy are crucial, you may be asked to be present at printing time to
approve any color adjustments.
For an in-depth discussion of commercial printing, see the Corel Commercial
Printing Guide included with this Corel application.
Preparing a print job for a commercial press

When you prepare a print job for commercial printing, you can send
camera-ready paper output or the work on disk. If you are creating a file to
Printing 717
send to an imagesetter or a platesetter, speak with the service bureau about
the best file format and printing device settings to use.
If you are creating a file, the service bureau needs either a PostScript file or a
native file from the application you are using. Always provide a final printout
of the work to the service bureau, even if it is only a black-and-white
representation. This helps them identify and assess any potential problems.
You can use the Prepare For Service Bureau wizard to guide you through the
process of sending a file to the service bureau.
Print to file
You can exercise full control over prepress settings and save the print job in a
.PRN or .PS file. This file is sent directly to an output device by the service
bureau.
The service bureau can often verify or fix a .PRN or .PS file using a Raster
Image Processor (RIP), or Adobe Distiller, depending on the software. Be
sure to review and confirm all settings with them to avoid unnecessary
delays in your printing job.
Include a sheet with all the prepress settings that you have specified. You can
create this sheet automatically by enabling the Print Job Information Sheet
check box in the Print dialog box or the service bureau may have an order
form that outlines all the essential prepress settings.
Native file format

If you prefer not to prepare .PS files, service bureaus equipped with the
application in which you created your work can take the original files (for
example, CorelDRAW files) and apply the required prepress settings. Some
service bureaus may actually prefer to handle the prepress settings
themselves. Because it is important to include the fonts used in the original
files, CorelDRAW uses TrueDoc, which allows you to include your fonts
inside Corel applications before sending them to the service bureau.
Using a bleed to extend images to the edge of the page

Most printing presses cannot print images to the edge of the paper. If you
plan for certain areas of the print job to extend to the edge of the page, you
need to print on paper that is larger than the size you ultimately want. This
larger paper can then be trimmed so that the image extends to the paper’s
edge. When you use this method it is wise to allow for a “bleed.” A bleed is
the amount that images extend past the edge of the final page size. By
bleeding images, you allow for a margin of error during the printing and
trimming processes.

Printers’ marks
Printers’ marks provide information about how the work should be printed.
You can place printers’ marks in a .PS file. The available printers’ marks are
crop marks, registration marks, color calibration bars, densitometer scales,
page numbers, and file information. Printers’ marks can be selected on the
Prepress tab in the Print dialog box.
Using the Prepare For Service Bureau wizard

The Prepare For Service Bureau wizard guides you through the process of
preparing a file for output at a service bureau. The Wizard simplifies different
processes such as creating PostScript and PDF files, gathering different
pieces required for output of a document, and copying the original document,
any embedded image files and fonts to a user-defined location, such as a
removable Zip or Syquest cartridge.
The wizard is most effective when the service bureau provides you with a
service bureau profile. The profile is created using a separate wizard called
the Service Bureau Profiler. The service bureau can include all the
information you need to set up the print job so that it prints properly. The
profile is a file with the a .CSP extension. When you start the Prepare For
Service Bureau wizard, you can choose from a profile provided by the service
bureau or let CorelDRAW generate a profile by gathering all files associated
with a document.
To gather all files associated with a document

1 Click File, Prepare For Service Bureau.
2 Enable the Gather All Files Associated With This Document button.
To choose a profile
1 Click File, Prepare For Service Bureau.
2 Enable the Choose A Profile Provided By Your Service Bureau button.
To create a service bureau profile you need the Service Bureau Profiler
utility. This utility can be downloaded from Corel’s Web page located at
http://www.corel.com.
The PDF file settings created by the service bureau are identical to the
PDF For Prepress style settings. For information about the PDF For
Prepress style settings, see “Choosing a PDF style” on page 774.
Printing 719
Printing to a file
Printing to a file is required when you want to send the .PRN or .PS file to a
service bureau to be printed on an imagesetter. The Print To File feature lets
you choose between sending a file to a Macintosh system, sending a single
file, sending pages as separate files, or sending plates as separate files.
If you choose Pages To Separate Files, each page of a Corel document is
printed as an individual file. If you choose Plates To Separate Files, each plate
is printed as an individual file. Make sure you select the appropriate printing
device driver when you print to file, and consider the following:
When you are preparing a file for printing on an imagesetter or a
platesetter, the page size of the print job (that is, the size of the film or
plate on which the document is imaged) must be larger than the page size
of the document to allow for printers’ marks.
If you are printing to a PostScript 2 or 3 printing device, you can make the
print job smaller by using JPEG compression to compress bitmaps.
If your PostScript file is to be trapped or imposed by a service bureau, the
.PS file must conform to the Document Structuring Convention (DSC). In
this case, enable the Conform To DSC setting. If you are unsure about
which settings to choose, consult the service bureau.
To print to a file
3 Enable the Print To File check box.
4 Click the flyout arrow to the right of the Print To File check box, and
enable one of the following:
For Mac
Single File
Pages To Separate Files
Plates To Separate Files
PostScript files created using the Print To File option contain two
Control-D (^D) characters that prevent the PostScript file from printing
on any PostScript device controlled by Macintosh computers. Choose the
For Mac option from the Print To File flyout arrow, to remove the ^D
characters from the files.

To compress bitmaps in a .PRN or .PS file
3 Choose Level 2 or PostScript 3 from the Compatibility list box.
4 Enable the Use JPEG Compression check box.
5 Move the Quality Factor slider to the right to increase compression and
reduce the quality of the bitmaps.
To conform to DSC
2 Enable the Conform To DSC check box.
Printing negative film

An imagesetter produces images on film that may need to be produced as
negatives depending on which printing device you are using. Consult the
service bureau or printing shop to determine whether you can produce
images on film. You can set up the print job to produce negative images, but,
if the equipment of the service bureau also produces negatives, the result is
positive film. Do not choose negative film if you are printing to a desktop
printing device.
To print a negative
2 Click the Invert button.
Printing film with the emulsion down

Emulsion is the coating of light-sensitive material on film. Usually, print jobs
printed on a laser printing device are printed with the emulsion up. Other
types of reproduction may call for either emulsion up or down. Printing with
the emulsion down produces a backward image.
To specify film with the emulsion down

2 Click the Mirror button.
Printing 721
Setting a bleed limit
When you use a bleed to extend the print job to the edge of the page, you
must set a bleed limit. A bleed limit determines how far an image can extend
beyond the crop marks. Usually, a bleed limit of .125 to .25 inches is
sufficient. Any object extending beyond that uses memory needlessly and
may cause problems when you print multiple pages with bleeds on a single
sheet of paper.
A bleed requires that the paper you are printing on is larger than the size of
paper you ultimately want, and the print job must extend beyond the edge of
the final paper size.
Consult the service bureau or printing shop to determine the appropriate
bleed limit for the print job.
To set a bleed limit

3 Enable the Bleed Limit check box.
4 Type a bleed limit in the Bleed Limit box.
Printing crop/fold marks and registration marks

Crop/fold marks are printed at the corners of the page and represent the size
of the paper. Crop/fold marks can be used as guides for trimming the paper.
If you are printing multiple pages per sheet (for example, two rows by two
columns) you can enable the Exterior Only option to print the crop/fold
marks on the outside edge of the page. Enabling this feature ensures that all
crop/fold marks are removed after the cropping process. If you disable this
option, crop marks are placed around each row and column.
Registration marks print on each sheet of a color separation. Registration
marks are required to line up the film for proofing the printing plates on a
color press. For more information, see “Creating color separations” on page
729. You can select from several different registration mark styles.
To see crop marks and registration marks, the paper you are printing on must
be larger by 0.5 inches on all sides, than the page size of the document you
are printing.
To print crop/fold marks


2 Click the Prepress tab.
3 Enable the Crop/Fold Marks check box.
To print exterior crop/fold marks only

2 Enable the Exterior Only check box.
To print composite crop/fold marks

3 Choose Composite Crop Marks from the Option list.
4 Choose Output In CMYK from the Setting list.
To print registration marks

3 Enable the Print Registration Marks button.
4 Choose a registration mark style from the Style list box.
Printing color calibration bars and densitometer scales

Color calibration bars are color scales that print on each sheet of a color
separation. Calibration bars are required to ensure accurate color
reproduction (see “Creating color separations” on page 729). To see
calibration bars, the page size of the print job must be larger than the page
size of the work you are printing.
A densitometer scale is a series of gray boxes ranging from light to dark.
These boxes are required to test the density of halftone images (for more
information see “Working with bitmaps and halftone screens” on page 726.)
You can position the densitometer scale anywhere on the page. You can also
customize the levels of gray that appear in each of the seven squares on the
densitometer scale.
To print color calibration bars

3 Enable the Color Calibration Bar check box.
Printing 723
To print a densitometer scale
2 Enable the Densitometer Scales check box.
3 To customize the levels of gray in one of the densitometer scale squares,
choose the appropriate number from the Densities list (the top of the list
is the lightest box) and type a new density for that square.
To position a densitometer scale

3 Enable the Densitometer Scales check box.
5 Drag the Densitometer Scale to its new position, in the Print Preview
window.
It is best to position the densitometer scale outside the final printed area.
Printing page numbers and file information

Page numbers are useful when collating material that does not include page
numbers in the document or when the page numbers in the document do not
correspond to the actual number of pages.
File information includes the work’s color profile, the halftone settings, the
name of the file, the date and time the work was created, and the plate
number (useful when printing color separations.) When you enable the Print
File Information check box, you can specify a job name (also called a slug
line) included with the file information.
To see page numbers and file information, the paper on which you are
printing must be larger than the page size of the document you are printing.
However, you can print file information inside the document’s page by
enabling the Position Within Page option.
To print page numbers

3 Enable the Print Page Numbers check box.

To print file information
2 Enable the Print File Information check box.
3 Enable the Position Within Page check box to display file information on
the document’s page.
4 Type a job name in the Job Name/Slug Line box.
Positioning printers’ marks

You can change the position of printers’ marks by changing the position of the
Marks Alignment Rectangle in the Print Preview window.
To change the position of printers’ marks

2 Click the Marks Placement tool.
3 On the Property Bar, type values in the Marks Alignment Rectangle
boxes.
You can also change the position of printers’ marks by dragging the
bounding box in the Print Preview window.
Printing a job information sheet

Including a job information sheet that describes the print job helps the
service bureau or print shop to deal more effectively with any problems.
To print a job information sheet with the print job

3 Enable the Print Job Information Sheet check box.
4 Click the Info Settings button.
5 Specify any of the following:
the categories of information to include
the save or print job information
Printing 725
Working with bitmaps and halftone screens
When the document you are sending to the service bureau or print shop
contains bitmaps (for example, scanned images or photographs), you must
set up halftone screens for the bitmaps.
Halftones
Commercial printing presses cannot produce true shading but can create the
illusion of shading, by printing images made up of tiny dots. In conventional
screening, the size of the dots determines the different levels of shading (that
is, the bigger the dots, the darker the shade). In Stochastic screening, the
frequency of the dots determines the different levels of shading (the more
dots in an area, the darker the shade). A halftone screen is necessary to
convert images with true shading to images made up of tiny dots.
Originally, a halftone screen was an opaque screen with thousands of tiny
holes. An image with shading was photographed through this screen using
special photographic paper or film. The resulting image consisted entirely of
dots. This image was then used to create printing plates.
Now, however, you can create halftone images without using screens or
cameras. To ensure that the bitmaps print correctly, you must set the
halftone screen frequency and bitmap resolution correctly.
The image on the left
shows a close-up of a
bitmap. The image
on the right shows a
close-up of a
halftone.
Halftone screen frequency

The halftone screen frequency determines the number of dots used to create
the image. The screen frequency is measured in lines per inch (LPI). This
measurement refers to the number of rows of dots per inch.
When you choose a screen frequency, remember that the higher the
frequency, the sharper the image. However, there are limits to screen
frequency; these are determined by the type of printing press on which you
are printing and the type of paper you are using. In general, a screen
frequency of 85 LPI works on newsprint, and a frequency of 133 LPI works

on bond and glossy paper. If possible, consult the service bureau or printing
shop to find out which screen frequency you should use.
Bitmap resolution
When you create a halftone image, the bitmap resolution, measured in dots
per inch (DPI), should be no more than twice the halftone screen frequency.
For example, if you use a 150 LPI screen, the bitmap should have a
resolution of at least 300 DPI. A larger file size results in slower print jobs,
with no improvement in bitmap quality.
Setting the halftone screen frequency

If you are printing halftone images, the default settings should be used after
selecting the proper printing device. There are cases when you may need to
set the screen frequency properly. Consult the service bureau to determine
the appropriate screen settings.
To set the screen frequency

3 Choose a value (in lines per inch) from the Screen Frequency list box.
When the screen frequency is set to Default, the image is printed using
the default screen frequency of the output device.
The screen frequency setting is available only for PostScript devices.
Consult the service bureau for the optimum setting for the job.
Using Open Prepress Interface

Corel offers Open Prepress Interface (OPI) support. OPI allows you to
include high-resolution scanned images in the work without dramatically
increasing the file size. To accomplish this, the service bureau scans the
images on a high-end scanner. They keep the high-resolution version of the
scans and give you low-resolution equivalents. You import the low-resolution
images into the document, using them for position only (FPO). Working with
FPO images keeps the document size smaller and speeds up screen
redrawing time. When you send the print job back to the service bureau for
final imaging to film, the high-resolution images are automatically
substituted.
Printing 727
If you do not import FPO images correctly, they are not replaced at print
time.
You can only scale, crop, rotate, mirror, and clip FPO images. You cannot
apply any other effects.
Maintaining OPI and DCS links

Open Prepress Interface (OPI) lets you use low-resolution images as
placeholders for the high-resolution images that appear in the final work. To
use OPI links, you must enable the Link To High Resolution File For Output
using the OPI check box when importing the .TIF (or .CT) files, unless you
are using a .EPS file as a placeholder. These images become known as OPI
images. When the service bureau receives the print file, the OPI server
substitutes the high-resolution images for the low-resolution images. If there
are no OPI images in the file, the Maintain OPI Links option is not available
at print time.
When you import the bitmaps correctly, the Maintain OPI Links option is
enabled automatically. To proof a file that contains OPI images on a device
that does not have the high-resolution files (for example, the desktop
printing device), disable the Maintain OPI Links option.
The service bureau may also send you a Desktop Color Separation (DCS) file
to act as the low-resolution placeholder. If they do this, make sure you find
out whether the service bureau wants you to let them resolve the DCS links.
If they want to resolve the links themselves, then you must disable the
Resolve DCS Links setting.
To maintain OPI links

3 Enable the Maintain OPI Links check box.
To let the Service bureau resolve DCS links

2 Disable the Resolve DCS Links check box.

Maintain OPI links is available for PostScript devices only.
You can reduce your work time by using OPI and print management
server solutions such as, Imation Color Central. The OPI solution
releases your workstation instantly while the file is being processed by
the server. Low-resolution samples can be automatically created from the
high-resolution originals and can be placed in CorelDRAW. These files
contain their own OPI comments which the Imation Color Central server
recognizes when it receives the job, and then substitutes the
low-resolution version of the file for the high-resolution version.
Creating color separations

When you send color work to a service bureau or printing shop, either you or
the service bureau must create color separations.
Color separations are necessary because a typical printing press applies only
one color of ink at a time to a sheet of paper. A color separation is created by
first isolating each color element in a print job. Each color element is then
used to create a sheet of film or plate. Each sheet of film or plate is used to
apply one color of ink to the sheet of paper.
Printing presses produce color using either process color or spot colors. The
number of colors you plan to use is the main factor in deciding which method
to use.
Process color
If the project requires full color (for example, it contains scans of color
photographs), you must use process color. Process color is a method of
producing virtually any color using only four ink colors: cyan, magenta,
yellow, and black (CMYK). The final colors are produced by mixing
percentages of these four inks. Process color requires only four color
separations.
Printing 729
An example of
process color
separations
Corel now supports Pantone Hexachrome, a new type of printing process

that increases the range of printable colors. Pantone Hexachrome uses six
different ink colors (cyan, magenta, yellow, black, orange, and green) to
produce full color. To use Pantone Hexachrome color effectively, use the
Pantone Hexachrome color palette. Pantone Hexachrome color is sometimes
called high-fidelity color. Talk to the service bureau about whether you
should use Pantone Hexachrome color.
Spot color
If the project makes use of only one, two, or three colors (including black)
you should probably use spot colors, such as those offered by PANTONE.
Spot colors use a different ink for each color, and each color requires its own
color separation. If your budget is limited, consider the following:
obtaining a two-color look by printing on colored paper and using only one
spot color
using tints (percentages) of spot colors to create shadows or highlights,
thus giving the impression of a broader color range
Both process and spot color

Some projects require both process and spot colors. For example, a
marketing brochure may require the use of a spot color to faithfully render
the corporate color and the use of process color to reproduce scans of
photographs. Each additional spot color requires extra film, plates, ink, and a
five or six color printing press that add to the cost of printing.

A word about palettes
You can work on different elements of the document from different palettes
and color models. Ultimately, however, all colors must be printed with
process and spot color inks. Colors defined in the RGB or HSB models are
translated automatically into CMYK (process color) when printing. As for
spot colors, you can convert them to CMYK at printing time. For more
information, see “Working with color” on page 303.
Pay close attention to the number of colors used, especially when you are
importing clipart. Make sure you only use the colors available in the
method you have chosen (that is, process color or spot color).
Printing color separations

When printing color separations to a file, you can create a .PRN file that
includes all separations, one separation only, or any combination of
separations, depending on the complexity of the print job.
Generally, you should be able to save all color separation information in one
.PS file. However, if the print job contains special effects and several color
separations (for example, CMYK and a number of spot colors), saving all
color separation information in one .PS file may result in an unacceptably
large file. In this case, create a .PS file for each separation. Include the
separation name in the filename for easier file identification.
When printing color separations, you can produce a sheet of paper or film
even when there is nothing on it (for example, there may be only yellow and
black on a page but the cyan and magenta plates are printed anyway). Usually,
you would leave this option disabled to avoid wasting costly film. However,
there may be instances when you want to force plates that are blank to print.
To print color separations

2 Click the Separations tab.
3 Enable the Print Separations check box.
To print color separations from the Print Preview window

2 Enable the Enable Color Separations button.
Printing 731
To use Pantone Hexachrome process color
1 Follow steps 1 to 3 from the “To print color separations” procedure.
2 Enable the Hexachrome Plates check box.
3 If you are printing on a device that uses high solid ink density, then enable
the High Solid Ink Density check box.
To select specific color separations

1 Follow steps 1 to 3 from the “To print color separations” procedure.
2 Enable the check boxes for the color separations to be printed in the Color
Separations list box at the bottom of the dialog box.
If you are printing on a device that uses high solid ink density, enable the
High Solid Ink Density check box. However, this option works only when
you are using the Hexachrome color palette. Consult the service bureau
to determine whether you need to enable this option.
To print separations in color, enable the Print Separations In Color check

box.
Converting spot colors to process colors

If a document contains spot colors but you want to use process color, you can
convert the spot colors to process colors. If you do not convert the colors,
each spot color is printed on a different color separation. Changing the spot
colors to process colors when you print does not affect the document, only
the way it is printed.
FOCOLTONE, TOYO, and DIC colors are now treated as spot colors by
default. You can treat any of these color palettes as process colors if you
prefer.
To convert spot colors to process colors

4 Enable the Convert Spot Colors To CMYK check box.

To treat FOCOLTONE, TOYO, and DIC colors as process colors
2 In the list of categories, double-click Global, Color Management, and click
General.
3 Disable any of the following check boxes:
Treat FOCOLTONE Colors As Spot Inks
Treat TOYO Colors As Spot Inks
Treat DIC Colors As Spot Inks
Ensuring predictable color when printing

Accurate and consistent color rendition from device to device is essential
when printing in color. All components of a computer system (scanner,
monitor, and printing device) must exchange color information in a manner
that ensures a predictable result.
For the colors on screen to approximate the colors on the printed page,
enable the color correction options. For more information, see “Working with
color” on page 303.
To simulate the color output of a printing press on a composite

printing device
2 In the list of categories double-click Global, Color Management, and click
General.
3 Enable the Composite Printer Simulates Color Output Of Separations
Printer check box.
Printing color halftones

If you are printing process color halftones, you must use a halftone screen for
each different color separation. For more information, see “Working with
bitmaps and halftone screens” on page 726.
Screen angle
Because each halftone screen consists of a regular pattern of shapes, it
creates a pattern on the printed image. When the separations are combined,
the patterns created by each separate halftone screen interact. This
interaction can create an undesirable effect, called a moiré pattern.
Printing 733
In most cases, moiré patterns can be avoided by using the default settings.
However, Pantone colors and duotones, made up of spot colors and combined
with other inks, may cause printing problems. Consult your service bureau
for further consultation.
When you print color separations, the screen angles are set automatically. If
you change these settings incorrectly, the print job may not print properly.
Screen technology
When setting up advanced separation settings, in most instances the default
settings should be used. However, if you are using an Imagesetter, the screen
technology should be set to match the type of imagesetter the service bureau
uses. Consult the service bureau to determine the correct setting.
Halftone type
The halftone type refers to the type of dot used to create the halftone.
Typically, a halftone screen consists of rows of evenly spaced round or
diamond-shaped dots. However, it is possible to use halftone screens with
dots that are shaped differently. In fact, halftone screens can even use
straight lines instead of dots to create an image. You can experiment with
different halftone types to create interesting effects.
Customizing a halftone screen

Use default settings when setting halftone screens to print color separations.
Otherwise, screens can be improperly set and result in undesirable moiré
patterns and poor color reproduction. Consult the service bureau before
changing any of these settings.
To customize a halftone screen

4 Enable the Use Advanced Settings check box.
6 Change any of the following settings:
Screening Technology
Halftone Type (for example, Line or Diamond)
Printing Device or Imagesetter Resolution
Screen Frequency and Angle of any or all of the color separations

You can set the screen frequency, screen angle, and overprint options for
spot colors as well as process colors. For example, if you have a fountain
fill made up of two spot colors, you can set one to print at 45 degrees and
the other at 90 degrees.
Color trapping
Color trapping is necessary to compensate for poor color registration that
occurs when the printing plates used to print each color, called color
separations, are not aligned perfectly. Poor registration causes unintentional
white slivers to appear between adjoining colors. Trapping is accomplished
by intentionally overlapping colors so that minor problems with alignment
are not noticed.
The print job needs color trapping when two colors touch. Many service
bureaus prefer to create color traps themselves by using specialized trapping
programs. Consult the service bureau about trapping if you are unfamiliar
with the process.
An example of an
image printed with
and without color
trapping
Color trapping is achieved by overprinting. Usually, portions of an object that

are obscured by another object are not printed. However, if the top object is
set to overprint, the obscured portions of any underlying objects print
anyway, causing an overlap. This makes white gaps between different colors
unlikely. Overprinting works best when the top color is much darker than the
underlying color; otherwise, an undesirable third color may result (for
example, red over yellow may result in an orange object).
Depending on the color trapping options you choose, overprinting may affect
only an object’s outline or fill. This means that if an object with a red outline
Printing 735
is set to overprint only its outline, any portions of another object obscured by
the first object’s outline are printed. The overlap creates a color trap.
Although CorelDRAW is capable of basic trapping, specialized trapping

applications such as Imation TrapWise can provide you with a more
complete trapping solution.
Color trapping by overprinting selected objects

You can set specific objects to overprint before you open the Print dialog box.
You can overprint each object’s fill, outline, or both.
The Overprint Fill option causes obscured portions of objects to print when
they are under the overprinted object’s fill. The Overprint Outline option
causes obscured portions of objects to print when they are under the
overprinted object’s outline. When setting the outline thickness, keep in
mind that the outline straddles the path that defines the object’s shape.
Therefore, an outline of 0.30 points creates a trap of 0.15 points.
An example of
overprinting
You can also choose to preserve overprint settings in a document. If you have
deliberately set overprints in a document, you can enable the Preserve
Overprints check box to ensure that the service bureau or print shop does
not alter overprint settings. You can also choose to preserve overprint
settings if you do not want to trap objects in a document.
To trap by overprinting selected objects

1 Using the Pick tool right-click the object that requires color trapping and
click Overprint.
2 Click one or both of the following options:
Overprint Fill
Overprint Outline

To preserve document overprints
4 Enable the Preserve Document Overprints check box.
Color trapping by overprinting selected color separations

You can overprint specific color separations. You can specify whether you
want to overprint graphics, text, or both. When you set a light color to
overprint, dark colors that are usually obscured by the lighter color are
printed and show through. Therefore, it is best not to overprint a light color
separation.
To trap by overprinting selected color separations

4 Enable the Use Advanced Settings check box.
6 Choose the color separation to overprint from the Screen Technology list.
7 Click the Overprint Graphics icon in the Overprint column to overprint
graphics on the separation. The graphic appears darker when the
separation is set to overprint.
8 Click the Overprint Text icon in the Overprint column to overprint text on
the separation.
Color trapping automatically

There are two methods for color trapping automatically: always overprinting
black and auto-spreading.
Always overprinting black creates a color trap by causing any object that
contains 95% black or more to overprint any underlying objects. This option
is useful for artwork containing a lot of black text, but it should be used with
caution on artwork with a high graphics content. If the service bureau
recommends a black threshold value other than 95%, adjust the threshold.
Auto-spreading creates color trapping by assigning an outline to an object
that is the same color as the object’s fill and having it overprint underlying
Printing 737
objects. Auto-spreading is created for all objects in the file that meet three
conditions:
They do not already have an outline.
They are filled with a uniform fill.
They have not already been designated to overprint.
To trap by always overprinting black

4 Enable the Always Overprint Black check box.
To set the Overprint Black threshold

3 Choose Overprint Black Threshold from the Option list.
4 Choose a number between 0 and 100 from the Setting list.
The number you choose represents the percentage of black above which
black objects overprint.
To trap by auto-spreading
1 Follow steps 1 to 3 from the “To trap by always overprinting black”
procedure.
2 Enable the Auto-Spreading check box.
3 Type a value in the Maximum box.
The amount of spread assigned to an object depends on the maximum trap
value and the object’s color. The lighter the color, the greater the
percentage of the maximum trap value. The darker the color, the smaller
the percentage of the maximum trap value.
4 Enable the Fixed Width check box to fix the spread width.
The Maximum box changes to the Width box when you enable the Fixed
Width check box. The value in this box determines the fixed width of the
color spread.

5 Type a value in the Text Above box.
This value represents the minimum size to which auto-spreading is
applied. If you set this value too low, small text may be rendered illegible
when auto-spreading is applied.
Printing 739
IMPORTING, EXPORTING, AND
OLE 14
Importing/exporting and OLE (Object Linking and Embedding) are both ways
of exchanging information between applications. The difference between
them is the method by which the information is exchanged. When you import
or export a file, it must be converted to a format that can be understood by
the application in which it is to be placed. This means that you must have a
special filter installed on your computer for each different file format. When
you use OLE, you don’t need to worry about filters or file formats. As long as
all the applications involved support OLE, information can be freely
exchanged.
Importing and exporting files

The Import and Export filters are translators that stand between
applications, accommodating a two-way communication channel.
File formats
Data in a computer file can be stored using several methods. The method
that any one file uses is known as its file format. Different types of files, such
as bitmap, vector, sound, text, etc., use different formats. Formats are
frequently referred to by the extension that is added to the file when saving it
in that format, e.g., .CDR, .BMP, .TIF, .EPS, .JPG, etc.
Sort Type
If you want to sort the extension in the Files Of Type or Save As Type list
box, Sort Type specifies the sorting order of these files.
MRU list
The File Name list box has a Most Recently Used (MRU) list box. At first the
MRU list will be empty. Once you select a file and perform the Open/Save
operation, the selected file is saved into the MRU list. The MRU list can
contain no more than five items at a time.
Native file formats

When you save a file in a graphics application, the file is saved in the native
file format, or the proprietary format created specifically for the application.
Importing, exporting, and OLE 743

For example, the Corel PHOTO-PAINT native file format is .CPT.
CorelDRAW has two native file formats: .CDR and .CMX. These are different
from generic formats, like .TXT, which are not associated with any specific
application.
Color depth
Color depth (also called bit depth) refers to the number of colors that can be
supported in a file. To determine the number of color values a given bit depth
can produce calculate 2 raised to the power of the bit depth. For example, an
8-bit depth produces 2 to the power of 8, or 256, colors. A grayscale image is
an 8-bit file, with 256 increments between black and white. Files that support
a higher color depth are larger.
When you save or export a file, you can often specify the image’s color depth.
If you have only a few colors in your original image, saving to a higher color
depth (e.g., 16 color to 256 color) should produce an image whose colors are
very similar to the original image. However, if your original image has many
colors, and you convert it to a lower color depth (e.g., 24-bit color to
256-color), the file creates a palette of colors and uses combinations of these
colors to simulate the original color in the image. The colors in the palette
depend on the colors in the original image.
Different applications support different color depths. As well, some file
formats support only certain numbers of colors. When choosing a file format
to use when saving a file, you should consider any color limitations of the file
format and the application you’ll be using with the file. For example, the .GIF
format, used commonly for Internet graphics, only supports up to 256 colors.
The native Corel file formats (.CDR, .CMX, .CPT) support all color depths.
Whenever you are exchanging information with another application,

ensure that you have the correct filter installed. When you custom install
your Corel application, make sure you add the filter you need to the list of
active filters.
A file format that supports a large number of colors may not necessarily
support all color depths that are below its maximum bit depth. For
example, a format may support 24-bit color, but not black and white.
Sort Type, Default does not sort file extensions. It is a order read from an
INI file.
Import/Export filters
To move files from one program to another you often have to convert the
files to a format that the receiving program can read. Import/Export filters

are programs that do such conversions. For example, to import a
CorelDRAW image into Corel PHOTO-PAINT, the image must be converted
from a vector file into bitmap format. When you select a file format in the
Export dialog box of CorelDRAW, you are automatically activating the
appropriate filter program to take care of the translation.
Corel applications contain filters for the file formats that you can import and
export. Some example of filters provided with Corel applications are .TIF,
.GIF. and .BMP.
Importing and opening files

The Import and Open commands let you open files in different formats. Both
the Import and Open Drawing dialog boxes let you choose the drive and
folder where the file is stored. To display only those files with the extension
you have specified, you can choose that extension from the Files Of Type list
box.
Import dialog box options

The Import dialog box contains options that let you: control how bitmaps are
imported, import a portion of an image, resample an image, suppress filter
dialogs, detect watermarks, combine multi-layer bitmaps, apply an embedded
ICC profile, maintain layers and pages, and extract an embedded ICC profile.
When you import a bitmap, you can choose to link the bitmap externally or
link to the high resolution file for output using OPI (Open Prepress
Interface.) Enabling the Link To High Resolution File For Output Using OPI
option lets you insert a low-resolution version of a .TIF or .CT bitmap while
maintaining a link to the high resolution original. OPI is a method that
positions high-resolution bitmaps on the printed page by using low-resolution
replicas. A high-resolution version is kept on file and a low-resolution
equivalent is created. The low-resolution image is imported into your
document and used for position only (FPO). Working with FPO images keeps
your document size smaller and reduces the time needed to redraw the
screen. When you send your artwork back to the service bureau for final
imaging to film, your high-resolution files are positioned in place of the FPO
images. The final product is a high-resolution output. You can size, rotate,
move, or PowerClip the imported low-resolution image, however, you cannot
apply effects from the Effects or Bitmaps menu to the image.
Enabling the Link Bitmap Externally option lets you import the selected
bitmap and maintain a link to the original. This means that any changes that
are made to the source file can be updated in the imported image.
Choosing Resample from list box to the right of the Files Of Type list box
brings up the Resample dialog box that lets you add pixels to or subtract
pixels from a bitmap image. Resampling changes the amount of information

in an image and can involve changes to resolution or dimensions. You can
resample the image down (downsample) which reduces the number of pixels,
eliminates unusable detail and reduces the file size.
Choosing Crop from the list box brings up the Crop Image dialog box that lets
you select the exact area and size of the image you want to keep.
Enabling the Check For Watermark option alerts you when an image is
encoded with a Digimarc watermark. The presence of a Digimarc watermark
indicates that there is a copyright claim on the file. The watermarks provide
a mechanism for you to contact the creator about the image or one like it.
Enabling the Suppress Filter Dialog option lets you bypass the dialog box
that contains import options for the selected filter. Instead, the Filter
Manager uses the default settings. Only some filters, such as the .PCD filter,
produce dialogs.
Enabling the Combine Multi-Layer Bitmap option lets you import bitmaps
that contain multiple layers. This means that when you import a multi-layer
.CPT or .PSD file all the multiple bitmap layers will not be grouped together,
but will be flattened into a single bitmap.
Enabling the Apply Embedded ICC Profile option lets you apply an embedded
International Color Consortium (.ICC) profile to your imported file. The ICC
has defined a standard format for color profiles. Corel’s color management
system uses these ICC profiles. Embedding an ICC profile ensures color
consistency when transporting files between applications. Corel is able to
support the embedding of ICC profiles in CPT, CDR, TIFF, JPEG, PICT and
EPS files.
Enabling the Maintain Layers And Pages option lets you open the selected
file and maintain the pages and layers contained in the file. The Corel .CMX
file format gives you this option.
Enabling the Extract Embedded ICC Profile option lets you save an
embedded International Color Consortium (.ICC) from a selected file, to the
color directory where the application was installed. The file will have the
same name as the original file, but will be saved with Image Color Matching
(.ICM) extension.
Open dialog box vector files option

The Open dialog box contains the option that lets you open the vector file
formats that support multiple pages and layers. These vector formats give
you the option to maintain the pages and layers when you import the file.
Also you will have the option to embed or extract a ICC profile.
Enabling the Maintain Layers And Pages option lets you open the selected
file and maintain the pages and layers contained in the file. The Corel .CMX
file format gives you this option.

Enabling the Apply Embedded ICC Profile option lets you apply an embedded
International Color Consortium (.ICC) profile to your imported file. The ICC
has defined a standard format for color profiles. Corel’s color management
system uses these ICC profiles. Embedding an ICC profile ensures color
consistency when transporting files between applications. Corel is able to
support the embedding of ICC profiles in CPT, CDR, TIFF, JPEG, PICT and
EPS files.
Enabling the Extract Embedded ICC Profile option lets you save a embedded
International Color Consortium (.ICC) from a selected file, to the color
directory where the application was installed. The file will have the same
name as the original file, but will be saved with Image Color Matching (.ICM)
extension. The ICC has defined a standard format for color profiles. Corel’s
color management system uses these ICC profiles.
Importing bitmap files

You can import bitmap files using the Import command. When you import a
bitmap image, CorelDRAW gives you the option to link the original to the
imported image. Other bitmap options include detecting watermarks,
resampling, combining multi-layer bitmaps, suppressing filter dialog, applying
and extracting embedded ICC profiles, maintaining layers and pages, and
cropping the image as you open it.
To import a bitmap file

2 Choose the drive and folder of the file you want to import from the Look
In list box.
3 Click the filename.
4 Choose a bitmap filter from the Files Of Type list box.
To link a bitmap externally

1 Follow steps 1 to 4 from the “To import a bitmap file” procedure.
2 Enable the Link Bitmap Externally check box.
To link to a high-resolution file for OPI (only available for .TIF or

.CT files)

2 Choose .TIF or .CT from the Files Of Type list box.
3 Enable the Link To High Resolution File For Output Using OPI check box.
To resample an image while importing

2 Choose Resample from the list box that appears beside the Files Of Type
list box.
Type values to the size you want in the Width and Height boxes.
Type the percentage by which you want to downsample the image in
the Percentage boxes.
5 Choose a unit type from the Units list box.
6 In the Resolution section, change the values in the Horizontal and Vertical
boxes to alter the resolution of the imported image.
To crop an image while importing

2 Choose Crop from the list box that appears beside the Files Of Type list
box.
Type a value in the Top box to specify the number of pixels (or the unit
of measurement displayed in the Units box) that you want to remove
from the top of the image. Then type a value in the Left box to specify
the number of pixels you want to remove from the left edge of the
image.
Type a value in the Width box to specify the width of the area of the
image you want to keep and type a value in the Height box to specify
the height of the area you want to keep then drag the selection box in
the Preview window to move the selection area.
5 Choose a unit type from the Units list box.
To check for watermark while importing

2 Enable the Check For Watermark check box.

To suppress filter dialog while importing
2 Enable the Suppress Filter Dialog check box.
To combine a multi-layer bitmap while importing

2 Enable the Combine Multi-Layer Bitmap check box. The multi-layer
bitmap check box will remain disabled until you select a bitmap file type
that contains multiple layers (i.e., .CPT, .PSD file).
To maintain layers and pages while importing

2 Enable the Maintain Layers and Pages check box.
To apply an embedded ICC profile while importing

2 Enable the Apply Embedded ICC Profile check box.
To extract an embedded ICC profile while importing

2 Enable the Extract Embedded ICC Profile check box.
When you import 16-color bitmaps in CorelDRAW, they are automatically

converted to 256 colors.
You can only choose lower values for the width, height and resolution.
If you are importing a low resolution .TIF or .CT file created using OPI
(Open Prepress Interface), you must enable the Link To High Resolution
File For Output Using OPI check box.
Enable the Maintain Aspect Ratio check box to maintain the original ratio
of height to width or the Identical Values check box to keep the Horizontal
and Vertical resolution values the same.

Opening vector files
When you Import a vector file you are given the option of maintaining layers
and pages information contained within the image. Other options include
being able to extract and apply an Embedded ICC Profile while importing
image.
The vector file format is effective because it allows you to import and view
vector based images without any loss in original quality or format.
To maintain layers and pages when importing

2 Choose the drive and folder where the file is restored from the Look In
list box.
3 Click a filename from the list.
4 Choose a vector filter from the Files Of Type box.
5 Enable the Maintain Layers And Pages When Importing check box.
To apply an embedded ICC profile while importing

1 Follow steps 1 to 4 from the “To maintain layers and pages when
importing” procedure.
2 Enable the Apply Embedded ICC Profile check box.
To extract an embedded ICC profile while importing

1 Follow steps 1 to 4 from the “To maintain layers and pages when
importing” procedure.
2 Enable the Extract Embedded ICC Profile check box.
Adding clipart
CorelDRAW comes with a large selection of ready-to-use clipart images and
symbols that can be added to your drawing. If you want to browse through
the collection of clipart, you can either look through the Clipart manual, or
use the Scrapbook. The Scrapbook is a Property Bar window that lets you
browse the folders that store the extensive collections of clipart.
To add clipart from the CD-ROM

1 Place the CD-ROM in your CD-ROM drive.
2 Click File, Open.

3 Choose CorelDRAW (CDR) from the Files Of Type list box.
4 Choose the CD-ROM drive from the Look In list box.
5 Double-click the Clipart folder.
6 Double-click a category.
The category name appears at the top of each page in the Clipart manual.
7 Enable the Preview button to see a thumbnail version of the image before
you open it.
8 Click a filename and click the Open button.
Exporting and saving files in nonnative file formats

If you want to save a file in a nonnative format, you must use the Export or
Save As command to convert it to that file format. Both the Export and Save
As Drawing dialog boxes let you choose the drive and folder where you wish
to store your file. In CorelDRAW, use the Save As command to access the
vector filters. Use the Export command to access the bitmap filters, the RTF
format, and word-processing file formats, in addition to the vector filters. The
Export dialog box lets you choose to export files as compressed or
uncompressed for file formats that support this feature.
Save As files dialog box options

The Save As Drawing dialog box gives you options such as saving files in
previous CorelDRAW versions or with different thumbnail formats. You also
can control no white space, special characters, choose to embed fonts using
TrueDoc(tm), or embed an ICC profile.
Enabling the Embed Fonts Using TrueDoc(tm) check box ensures that the
fonts in a drawing can be viewed on a system that does not have those fonts
installed on it.
Enabling the No White Space, Special Characters check box allows you to
replace white space in filenames with an underscore. Other special
characters will be replaced by characters suitable for Web-based filenames.
Enabling the Embed ICC Profile check box allows you to save an embedded
Internal Color Consortium (.ICC) profile as part of your file. The ICC has
defined a standard format for color profiles. Corel’s color management
system uses these ICC profiles. By embedding an ICC profile to the file, it
ensures color consistency when transporting files between applications.
Corel is able to support embedded ICC profiles in CPT, CDR, TIFF, JPEG,
PICT, and EPS file formats.

Exporting files dialog box options
The Export dialog box contains options that let you suppress filter dialog and
choose to export files as compressed or uncompressed. It also lets you use
the Export command to access the bitmap filters, the RTF format, and
word-processing file formats, in addition to the vector filters. You can also
embed an ICC profile, and control no white space, special characters in your
filename.
Enabling the Suppress Filter Dialog check box allows you to bypass the
dialog box that contains import options for the selected filter. Instead, the
Filter manager uses the default settings.
Enabling the No White Space, Special Characters check box allows you to
replace white space in filenames with an underscore. Other special
characters will be replaced by characters suitable for web based file names.
Enabling the Embed ICC Profile check box allows you to save a embedded
Internal Color Consortium (.ICC) profile as part of your file. The ICC has
defined a standard format for color profiles. Corel’s color management
system uses these ICC profiles. By embedding an ICC profile to the file, it
ensures color consistency when transporting files between applications.
Corel is able to support embedded ICC profiles in CPT, CDR, TIFF, JPEG,
PICT, and EPS file formats.
Choosing Compression type lets you choose to export files as compressed or
uncompressed for file formats that support this feature.
Exporting images in nonnative file formats

When you export or convert your image to another file format, you can open
it directly in a destination application that supports that file format.
To export a file
1 Open the file you want to export.
2 Click File, Export.
3 Choose an export format from the Files Of list box.
4 Type a filename in the File Name list box.
The file extension for the format you’ve chosen is appended to your
filename automatically.
5 Click the Export button.
6 Choose the options you want if a dialog box for the export format opens.

To suppress a filter while exporting
1 Follow steps 1 to 4 from the “To export a file” procedure.
2 Enable the Suppress Filter check box.
To choose no white spaces, special characters while exporting

2 Enable the No White Spaces, Special Characters check box.
To embed an ICC profile while exporting

2 Enable the Embed ICC Profile check box.
To choose a compression type while exporting

2 Choose a Compression type for file, if file format supports this feature.
To use your CorelDRAW graphic in an application that supports object

linking and embedding, consider linking the graphic to that application
instead of exporting it. This way, if you change the graphic, CorelDRAW
automatically updates the graphic in the other application when you save
the source file in CorelDRAW. For more information on linking files see
“Linking OLE objects” on page 765.

Exporting selected objects and pages
In CorelDRAW, you can select specific objects in a document you want to
export. You can also choose to export the current page only in a
multipage-global document.
To export selected objects

1 Select the objects in your drawing that you want to export.
3 In the Export dialog box, enable the Selected Only check box.
To export the current page in a multipage-global document

2 In the Export dialog box, enable the Export This Page Only check box
(only available with certain file formats).
Working with Kodak Photo CDs

When you open or import a Photo CD image, you can specify the resolution
of the image and the image type, and you can correct color. A Photo CD
(PCD) image is read only, which means that you cannot export to a PCD
image.
Image Resolution
You can set the resolution of an image. Changing resolution to a higher
setting requires more memory to load the image and makes the loading
process longer.
Image type
Image type affects the quality of the printed image, and the amount of
memory that is used in processing it. It is important to choose an Image type
that meets your end requirements.
Choose 256 grayscale (8-bit) to create duotones and to print to a
black-and-white laser printer.
Choose 256 colors (8-bit) to create nonphotographic images and to print to
a low-end color printer (or if the system’s memory is low).
Choose 24-bit color to create high-quality photographic color images, to
print to an RGB or CMY printer, and to print color separations.

For more information about the options included in the Image Type dialog
box, use the What’s This? online Help button.
Color correction
Color correction is available to you when you open a Photo CD image. This
option will let you manually adjust the color tints, brightness, saturation and
contrast of your image.
You can change the tonal range in the image by using the brightness,
contrast, and saturation sliders. The brightness slider shifts all pixel values
up or down the tonal range. Changing the brightness lightens or darkens all
colors equally. The contrast slider sets the distance between the lightest and
darkest pixels. Increasing the saturation strengthens the purity of your
images color. You can also alter the amount of red, green, and blue tint in an
image by moving the slider for each color.
Opening Photo CD Images

The PCD dialog box lets you specify resolution, image type, and apply color
correction to a Kodak Photo CD image before you import it into CorelDRAW
or Corel PHOTO-PAINT. The PCD dialog box opens only if you disable
Suppress Filter Dialog check box in the Import An Image From Disk dialog
box.
To open a Photo CD image

Click File, Open.
Click File, Import.
2 Choose the drive and folder of the file you want to open or import from
the Look In list box.
3 Click the filename, then click the Open button.
To choose the resolution of an image

1 Follow steps 1 to 3 from the “To open a Photo CD image” procedure.
2 Choose the resolution you want for your image from the Resolution list
box.
To choose the image type

2 Choose the image type you want from the Image Type list box.

To adjust color in a Kodak Photo CD image
Choose the amount you want the Red, Green, and Blue tint adjusted in
your image, by adjusting their individual sliders.
Choose the brightness level you want in your image, by adjusting the
Brightness slider.
Choose the degree of saturation you want in your image, by adjusting
the Saturation slider.
Choose the degree of contrast you want in your image, by adjusting
the Contrast slider.
The scene balance adjustment is made by the photofinisher at the time

the original image is scanned and placed on the Photo CD disk. Enable the
Subtract Scene Balance check box to remove the adjustments.
A monitor’s gamut is the range of color it can display. Enable the Show
Colors Out Of Gamut check box, so the out-of-gamut pixels are rendered
as pure red or pure blue. By doing this, you can identify out-of-gamut
areas of the image and adjust accordingly.
Working with Encapsulated Postscript

When you export with a Encapsulated Postscript (.EPS) file format, you can
specify an image header, user name, trapping, maintain a OPI link, set
fountain steps, as well as apply color management to your .EPS image before
exporting it. You can also create an optional bitmap image (thumbnail), which
you can use to preview the image when you import or open it. You can also
specify settings for exporting text, compatibility, bounding boxes, and
compressing your bitmap image. The .EPS file format is supported by most
illustrations and page-layout applications.
Image Header
Image Header lets you choose options that you can apply to your .EPS file
before you export it.
You can include a bitmap or vector preview included in the file header. The
preview is used as the thumbnail image in the Preview window when you
open or import the image. You can choose between a vector (WMF) or a
bitmap (TIFF) preview format when you are exporting your file. You can also
set the color depth and resolution of an image. A higher resolution setting

requires more memory to load the image and makes the loading process
longer.
Color Management
Color management lets you export your file with the colors defined in the
current printer’s profile, or you can use a Composite or Separations printer
profile that you have selected for your printer.
Export text As
Export Text As lets you set the format in which you want to export the text
in your image.
You can convert the text in your image to curves, or you can send text as
editable characters. Converting text to curves lets you manipulate individual
nodes to change the shape of each character. If the text you are using will not
be available when you print the image on another computer, the text might
print incorrectly. You can also include PostScript font information with your
file.
Send bitmaps As
Send Bitmap As effects the color mode used when you print your file. It is
important to choose a color mode that meets your end requirements. You can
choose the following color modes:
CMYK — a color mode composed of cyan (c), magenta (M), yellow (Y),
and black (K). In this color mode, color values are expressed as
percentages. A value of 100 for an ink means that it is applied at full
saturation. This color mode is used in most full-color commercial printing.
RGB — Corel RGB color space is used as a standard by Corel graphics
software.
Grayscale — a color mode that displays images using 256 shades of gray.
Each color is defined as a value between 0 and 255, where 0 is darkest
(black) and 255 is lightest (white).
Maintain OPI Links

Maintain OPI Links lets you use low resolution images as placeholders for
the high resolution images that appear in your final work. The low-resolution
image is imported into your documents and used for position only (FPO).
Working with FPO images keeps your document size smaller and reduces
the time needed to redraw the screen.

Auto Increase Fountain Steps
Auto Increase Fountain Steps automatically increases the number of steps
used to create fountain fills. This option automatically sets the space required
to blend your colors most efficiently on the output device. Use this option to
reduce banding.
Fountain Steps
Fountain Steps optimizes the publishing of fountain fills by increasing or
decreasing the number of fountain steps. By default, Corel displays each
object with the same number of fountain steps, making small objects seem
more detailed than larger ones. You can increase the number of fountain
steps for fills that require more steps and decrease the number of steps for
fountain fills that are too complex. This option sets the fountain fill for the
entire file, not for individual objects in the file. A low number of steps prints
faster, but the transition between shades may be coarse. You can set a
number for Fountain Steps from 1 to 256.
Compatibility
Compatibility lets you set the PostScript levels at which to export your EPS
file. You can set the PostScript level to 1, 2, or 3. By default the PostScript
level is set at 1. Before increasing the PostScript level, verify that your
printer supports that PostScript level.
Bitmap Compression
Bitmap Compression reduces the size of a .EPS file by compressing bitmaps.
Bitmaps using JPEG compression have an adjustable quality scale, ranging
from 2 to 255. You can adjust the bitmap from a high quality of 2 to a low
quality of 255. The higher the image quality, the larger the file size.
User Name
User Name lets you add a user name to your .EPS file header.
Trapping
Trapping lets you maintain current print settings on your image. You can also
create a color trap, assign the minimum font size to which auto-spreading is
applied, or assign a auto-spread outline to your image. The higher the color,
the greater the percentage of the maximum trap value. The darker the color,
the smaller the percentage of the maximum trap value.

Bounding box
Bounding Box lets you exactly align a rectangular box to enclose the page or
all the selected items on that page.
You can also set the amount by which the bleed extends beyond the edge of
the printed area, use crop marks as alignment aids, or have a number shown
with decimals.
The Bitmap Compression check box remains disabled until you choose a
PostScript level that supports this feature.
If you output all objects as gray scale objects, no color profiles are
available. If you output objects as colors, composite color profiles are
available. If you output colors as CMYK, composite or separations color
profiles are available.
Exporting a .EPS image

This EPS Export dialog box lets you specify an image header, user name,
trapping, maintain OPI links, set fountain steps, and apply color management
to a .EPS image before you export it from your Corel application. You can
also specify settings for exporting text, bounding boxes, bitmap compression
and color mode. The .EPS dialog box automatically displays when you export
a .EPS image.
To export a .EPS image

1 Open the file you want to export.
3 Choose the .EPS format from the Save As Type list box.
4 Type a filename in the File Name list box.
The file extension for the format you’ve chosen is appended to your
filename automatically.
To specify an image header for a .EPS file

1 Follow steps 1 to 5 from the “To export a .EPS image” procedure.
2 Click the General page tab.

Include Header — lets you include a bitmap or vector preview included
in the file header
Format — lets you choose between a vector (WMF) or a bitmap (TIFF)
preview format
Type — lets you choose the color depth of the preview you are saving
with your file
Resolution — lets you set the resolution of the preview you are
saving with your file
To choose a color management option

Use Printer Color Profile — lets you export your file using the colors
defined in the current printer’s profile
Composite Printer Profile — lets you use the profile you have chosen
for your composite printer
Separations Printer Profile — lets you use the profile you have
chosen for your separations printer
To specify how to export text for a .EPS file

Curves — lets you export text as curves
Text — lets you export text as editable characters
Include Fonts — lets you include PostScript font information with
your file
To select a color mode for a .EPS file

3 Choose a Color Mode from the Send As Bitmap list box.

To maintain OPI link on a .EPS file
3 To use low resolution images as place holders for high resolution images,
enable the Maintain OPI Links check box.
To auto increase fountain steps on a .EPS file

3 To automatically increase the number of steps used to create fountain fills,
enable the Auto Increase Fountain Steps check box.
To increase or decrease fountain steps on a .EPS file

3 Use the up arrow and down arrow keys to increase or decrease the
Fountain steps.
To choose a compatibility option

2 Click the Advanced page tab.
3 Choose a PostScript level from the Compatibility list box.
To apply bitmap compression to a .EPS file

Use JPEG Compression — lets you reduce the size of a .EPS file by
compressing bitmaps
Quality Compression — lets you adjust the compression quality scale
of your bitmap image
To apply a user name to a .EPS file


3 Type a user name in the User Name box.
To apply a trapping option to a .EPS file

Preserve Document Overprint Settings — lets you maintain current
settings on objects
Always Overprint Black — lets you create a color trap by causing any
objects that contain 95 percent or more black to overprint any
underlying objects
Auto-Spreading — lets you create a color trap by assigning an outline
to an object that is the same color as its fill, and having it overprint
underlying objects
Maximum — lets you specify the amount of spread that the
Auto-Spreading option assigns to an object, along with objects color
Text Above — lets you specify the minimum font size to which
Auto-Spreading is applied to
To apply a bounding box to a .EPS file

Objects — lets you align the bounding box exactly to the objects in the
file
Page — lets you align the bounding box to page extents
Bleed Area — lets you set the amount the bleed extends beyond edge
of the area to be printed
Crop Marks — lets you use crop marks as alignment aids when you
trim the print output to its final size
Floating Point Numbers — lets you have a number with decimals

Object linking and embedding
OLE is a method of exchanging information between applications. OLE lets
you create objects (e.g., pictures, charts, and text) in one application, then
place these objects in other applications. When you double-click the objects,
the application that created them is launched letting you edit the objects. For
example, you can launch your favorite spreadsheet program from within
CorelDRAW, create a new chart, and display it. You can also use OLE to
import objects you have already made in other applications into CorelDRAW.
Objects that are placed into an application using OLE are called OLE objects.
For OLE to work, the application used to create the OLE object and the
application in which you want to place it must both support OLE
functionality. CorelDRAW supports all OLE features.
Server and client applications

Whenever you use OLE, two applications are involved: a server application
and a client application. A server application is used to create and edit an
OLE object (e.g., picture, chart, text). A client application is the application in
which you place an OLE object after you create it. For example, if you create
a chart in a spreadsheet program and use OLE to place it in CorelDRAW,
then the spreadsheet program is the server application and CorelDRAW is
the client. Many applications, including CorelDRAW, can act as either server
or client applications, but some can’t. If you are uncertain about whether an
application is capable of performing as a server or a client, see its
documentation.
Linking and embedding

OLE objects can be either linked or embedded in client applications.
A linked OLE object is a complete file, or portion of a file, which maintains a
link to the source file when it is placed in a client application. The appearance
of the linked OLE object in the client application is controlled by the
information stored in this external source file. When the source file is
changed and saved in the server application, the linked OLE object updates
to reflect these changes.
An embedded OLE object is completely contained in the client application
file; therefore, there isn’t a link to an external file. When you create a new
object by launching a server application from CorelDRAW, the object is an
embedded object.
To edit an OLE object you double-click it. A linked OLE object will launch
the server application outside the client application. An embedded OLE
object is edited “in place”, meaning the controls of the server application
appear in the client application.

The Clipboard
The Clipboard is a temporary storage area used to hold information. You can
cut or copy an object from a server application onto the Clipboard and paste it
into a client application. This object becomes an OLE object. If you simply
copy and paste an object it becomes an embedded OLE object. You must use
the client application’s Paste Special command to create a linked OLE object
using the Clipboard.
When you use the Clipboard, the object you paste will not always become an
OLE object. For example, when pasted, plain text from an ASCII text editor
becomes CorelDRAW text. If you want complete control of the objects you
paste, use the Paste Special command.
Dragging
Dragging is the easiest way to create OLE objects. You can select an object
with the mouse in a server application, drag it to a client application, and it
automatically becomes an OLE object. If you simply drag an object it
becomes an embedded OLE object. If you hold down CTRL + SHIFT while
dragging an object, it becomes a linked OLE object.
You can drag a file from the Windows 95 desktop into CorelDRAW. The
application will try to import or open the file before it tries to create an OLE
object. If you want more control, use the right mouse button to drag. When
you release the mouse button, a menu opens that lets you specify how the
object is to be placed.
Limitations of using OLE objects

In most cases, you can only edit OLE objects using the server application. If
you attempt to change an OLE object using CorelDRAW, note the following
limitations.
OLE objects cannot:
be rotated
If the OLE object is placed in a group or a PowerClip, it can be rotated, but
this may produce unexpected results.
be skewed
be cloned
have any of the effects in the Effects menu applied to them, except for
PowerClip objects
be combined, welded, intersected or trimmed with other objects

There are a limited number of ways that you can change an OLE object
without actually editing it using the server application.
OLE objects can:
be sized and moved
be copied
Copies of linked objects are linked to the same file as the original object.
be placed into PowerClip containers
Linking (OLE)
Linking is one of two ways to place OLE objects in client applications. The
other way is embedding. When you link an OLE object to a client application
file, you create a connection between the OLE object (the object that appears
in the client application) and a source file (the file you create in the server
application). When the source file is altered, the object in the client
application updates to reflect this change. The object updates automatically
when you save the source file unless you specifically choose to update the
OLE link manually. If you want to change the content or appearance of a
linked OLE object, you must make the changes in the source file.
Consequently, when you give a file containing linked OLE objects to
someone else, it is important to include the source files.
Linking is most useful when you want to use the same OLE object several
times in the same file or in many different files. To change every instance of
the OLE object, you only have to change the source file.
Editing linked objects

When you want to edit a linked OLE object, you must edit the source file in
the server application. You can launch the server application and open the
source file directly, or you can launch the server application from within the
client application by double-clicking the OLE object. The source file must be
saved for any changes to appear in the client application.
Linking OLE objects

Linking is a way of placing OLE objects in client applications. Linking is most
useful when you want to use the same OLE object several times in the same
file or in many different files. To change every instance of the OLE object,
you only have to change the source file.
To insert a linked OLE object into a file

1 Click Edit, Insert New Object.

2 Enable the Create From File button.
3 Click the Browse button, and choose the file you want to link.
4 Click the Insert button.
5 Enable the Link check box.
6 Enable the Display As Icon check box if you want the OLE object to
appear as an icon instead of as it appears in the source file.
To link an object using the Clipboard

1 In the server application select the objects you want to link (make sure
the file is saved first).
2 Click Edit, Copy.
3 In the client application, open the file that is to contain the linked objects.
4 Click Edit, Paste Special.
5 Enable the Paste Link button.
To link an object by dragging

1 In the client application, open the file that is to contain the linked objects.
Make sure the server application and client application windows are
visible at the same time.
2 In the server application, select the objects you want to link.
3 Drag the selected objects to the open file window in the client application.
4 Hold down CTRL + SHIFT, then release the mouse.
With some applications, if you drag using the right mouse button, a menu
offering several options appears before the object is placed.
You might choose to insert a new OLE object as an icon if you want to let
people open the source file from the client application without actually
displaying the source file.
Editing linked OLE objects

When you want to edit a linked OLE object, you must edit the source file in
the server application.

To edit a linked object
1 Select the OLE object with the Pick tool.
2 Click Edit, Linked Object, Edit.
The server application is automatically launched and the linked file is
opened.
3 Edit the object as required.
The exact text of the Edit menu item changes depending on the object
type. For example, if the selected OLE object is a document from a word
processor, the Edit menu item reads Document Object.
Double-clicking an OLE object also launches the server application.
Breaking an OLE link

If you don’t want to update a linked OLE object again, you can break the OLE
link. Once an OLE link is broken, it cannot be restored and you will not be
able to edit the OLE object.
To break an OLE link

2 Click Edit, Links.
3 Click the Break Link button.
Changing the source for a linked file

One way to change the content of a linked OLE object is to change its source
file. If the new source file is the same file type as the original source file,
then changing the source might be a simple way to change the content of the
OLE object without changing its position. For example, you can substitute
one image for another. However, if the selected OLE object is only a portion
of a file, or if the new source file is a different type of file, changing the
source file may have unexpected results.
To change the source for a linked file


3 Click Change Source.
4 Browse to the folder where the file is located.
6 Click the Close button.
Manually updating OLE links

If you do not want a linked OLE object to update when the source file is
updated, you can set it to update manually. Once an object is set for manual
updating, it will not update automatically unless you set it to do so.
To update linked files manually

2 Select the OLE objects from the Links list box that you want to manually
update.
If you only want to update one object, select it before clicking Edit, Links
and it will automatically be highlighted.
3 Enable the Manual button if the selected objects are set to update
automatically.
4 Click the Update Now button.
5 Click the Close button.
To update linked files automatically

Follow steps 1 and 2 from the previous procedure, and click the Automatic
button.
Embedding (OLE)
Embedding is one of two ways to place OLE objects in client applications The
other way is linked When you embed an OLE object in a client application
file, that file contains all the information required to edit and display the OLE
object. No source file is required.
Editing embedded objects

When you edit an embedded OLE object, you use “in-place” editing. In-place
editing means that you edit an embedded OLE object without switching to
the server application. Instead, all of the controls of the server application
appear in the client application. You must have the server application
installed on your computer to use in-place editing and the application must
support this OLE feature.

Embedding OLE objects
Embedding is a way of placing OLE objects in client applications.
You can create new OLE objects by launching applications from within
CorelDRAW or you can insert already existing files into your documents.
New objects are always embedded objects and cannot be linked.
To create a new OLE object

2 Choose the type of object you want to create from the Object Type list.
3 Enable the Display As Icon check box if you want to see just an icon for
your file instead of the file contents.
4 Create your object once the server application is launched.
To embed an existing file

2 Enable the Create From File button.
3 Click the Browse button, and select the file you want to embed.
4 Click the Insert button.
5 Disable the Link check box.
To embed an object using the Clipboard

1 In the server application select the object you want to embed.
2 Click Edit, Copy.
3 In the client application, open the file in which you want to embed the
object.
4 Click Edit, Paste.
To embed an object by dragging

1 In the client application, open the file that is to contain the embedded
objects.
Make sure the server and client application windows are visible at the
same time.
2 In the server application, select the objects you want to embed.
3 Drag the selected objects into the client application file.

Simply dragging deletes the object from the server application and moves
it to the client application. If you want to copy the object, hold down CTRL
then drag the object.
To return to CorelDRAW after editing an OLE object, click in the Drawing
window of your CorelDRAW document.
If you enable the Display As Icon check box, the server application is
launched outside of CorelDRAW instead of within CorelDRAW.
Editing embedded OLE objects

To edit an embedded OLE object, you must use in-place editing (i.e., the
controls of the server application become available in the client application)
To edit an embedded object

1 Select the OLE object.
2 Click Edit, Object, Edit.
Note that the exact text of the Edit menu item changes depending on the
object type. For example, if the selected OLE object is a document from a
word processor, the Edit menu item reads Document Object.
3 Edit the objects as required.
Double-clicking an OLE object also displays the server application’s

editing controls.

PUBLISHING TO PDF 15
PDF is a file format designed to preserve fonts, images, graphics, and
formatting of an original application file. Using Acrobat Reader and Acrobat
Exchange, a PDF file can be viewed, shared, and printed by PC, Unix, and
Macintosh users. It can also be placed on an Intranet or the World Wide Web.
You can use preset PDF Styles to create or publish documents for general
document delivery, prepress, and the World Wide Web. You can also create,
delete, and edit custom PDF styles.
The Publish To PDF feature lets you adjust a PDF file by using bitmap
compression, embedding fonts, and compressing text. For more information,
see “Publishing PDF objects” on page 777. For information about preserving
object information and setting color profiles in a PDF file, see “Setting image
options” on page 782.
You can generate a job ticket using the Portable Job Ticket Format
specification. A job ticket lets you view, share, or print a PDF file on any
platform. For information about generating a job ticket, see “Job ticketing” on
page 776.
CorelDRAW PDF capabilities work seamlessly with Adobe Acrobat.
Publishing a PDF file

You can create a PDF file by specifying a filename and location. When you
create a PDF file, it is useful to use a PDF style. The Publish To PDF feature
contains three preset PDF styles, or you can create a PDF style. The three
preset styles are: PDF For Document Distribution, PDF For Prepress, and
PDF For The WEB. PDF For Document Distribution is used for general
publishing needs. PDF For Prepress uses settings recommended for
high-end printing. PDF For The WEB uses low-resolution settings best
designed for Internet viewing.
Choosing a file name, location, and export range

You can create a PDF file by specifying a filename, and a location. You can
also export a selection or all of the PDF file.
To save a document as a PDF file

1 Click File, Publish To PDF.
Publishing to PDF 773

4 Choose the drive where you want to save the file from the Save In list
box.
6 Type a filename in the File Name box, and click Save.
To choose an export range

3 From the Export Range box, enable one of the following buttons:
All
Current Page
Pages
Selection
Choosing a PDF style

You can choose from three preset PDF styles or create your own PDF style.
The three preset styles are: PDF For Document Distribution, PDF For
Prepress, and PDF For The WEB. The PDF For Document Distribution style
is best used for general document delivery and can be printed on a laser or
desktop printer. The PDF For Prepress style contains LZW bitmap
compression, embeds fonts, and preserves spot color options best designed
for high-end quality printing. If you choose the PDF For Prepress style,
consult the service bureau for their preferred settings. The PDF For The
WEB style contains JPEG bitmap compression, embeds fonts in a document,
and compresses text. These are low-resolution settings best designed for the
World Wide Web. The preset styles are general guidelines and can be edited
or deleted. You can also create, edit, or delete custom PDF styles.
To choose a PDF style

3 From the PDF Style list box, choose one of the following:
PDF For Document Distribution
PDF For Prepress
PDF For The WEB

To edit a PDF style
2 Set options from the following tabs:
General
Objects
Advanced
Document
3 Click the General tab, and click the Plus button.
4 Choose the style you edited from the Save PDF Style As list box.
Once you overwrite a PDF style, all previous information is deleted. It is

recommended to rename a PDF style and not overwrite it.
To create a PDF style

2 Set options from the following tabs:
General
Objects
Advanced
Document
3 Click the General tab, and click the Plus button.
4 Type a name for the style in the Save PDF Style As list box.
To delete a PDF style

1 Follow steps 1 to 3 from the “To choose a PDF style ” procedure.
2 Click the Minus button.
The PDF For Document Distribution style is designed for medium sized
files with high-resolution. This style is not suitable for Internet viewing.

Job ticketing
A job ticket lets you view, share, or print a .PDF file on any platform. A job
ticket is useful when you want to send a PDF file to the service bureau. You
can include all necessary specifications for publishing .PDF files.
Generating a job ticket lets you save an external job ticket file or embed a job
ticket file. When you choose the External option, two separate files are
created: a .PDF file and a .JTF file. When you choose the Embedded option, a
.PDF file that contains a Job Ticket File (JTF) object is created.
Generating a job ticket lets you specify job ticket settings to include job,
customer, delivery, and finishing information.
A .JTF file can be opened by a Job Ticket Editor. Consult a service bureau
or print shop before you send a .JTF file.
Generating a job ticket

Generating a job ticket lets you save an external file or embed a job ticket
file. When you choose the External File option you create two separate files;
a .PDF file and a .JTF file. Every job ticket saved as an external file has an
.JTF extension. When you choose the Embedded option you create a .PDF
file that contains a Portable Job Ticket object.
To save an external job ticket file

3 Enable the Include Job Ticket check box in the Generate Job Ticket
section.
4 Enable the External File button.
6 Choose the drive where you want to save the file from the Save In list
box.
8 Type a file name in the File Name box, and click Save.
To embed a job ticket file


2 Enable the Include Job Ticket check box in the Generate Job Ticket
section.
3 Enable the Embedded button.
A .JTF file can be opened by a Job Ticket Editor. Consult the service
bureau or print shop before sending a .JTF file.
Setting up job ticket information

You can set up a job ticket to include information about the customer,
delivery, and finishing of a job. The information you input helps to produce
the customer’s desired results.
To set up a job ticket

3 Enable the Include Job Ticket check box.
External — lets you create two separate files, a .PDF file and a .JTF
file
Embedded — lets you create a .PDF file that contains a Portable Job
Ticket object.
5 Click the Settings button.
6 Type job specifications in any of the following tabs:
Customer Info
Delivery
Finishing
Publishing PDF objects

File size plays an important role in the publishing of a PDF file. Adjusting file
size can speed up the management and printing of a file. The Publish To PDF
feature lets you change attributes for bitmaps, text, and fonts in a document.
You can reduce file size by compressing bitmaps using JPEG or LZW
compression and downsampling color, grayscale, or monochrome bitmaps.
You can export text as curves or compress text. Exporting text as curves
generally increases file size, while compressing text decreases file size.

Fonts can also be changed in a PDF file. You can convert True Type fonts to
Type 1 and subset Type 1 fonts. Converting True Type to Type 1 fonts
increases file size, while subsetting Type 1 fonts can decrease file size. You
can also choose to include the base 14 fonts. Base 14 fonts are guaranteed to
be available with Acrobat Exchange and Acrobat Reader.
You can also choose to export a PDF file as an ASCII 85 file or a binary file.
Compressing bitmaps
You can reduce the size of a PDF file by compressing bitmaps. Bitmap
compression is available for JPEG and LZW bitmaps. Bitmaps using JPEG
compression have a changeable quality scale ranging from 2 (high) to 255
(low). The higher the image quality, the larger the file size.
To compress bitmaps with LZW

2 Click the Objects tab.
3 Choose LZW from the Compression Type list box.
To compress bitmaps with JPEG

2 Choose JPEG from the Compression Type list box.
3 Type a number between 2 and 255 in the Quality Factor box.
You can also specify the JPEG compression quality by moving the Quality
Factor slider.
Downsampling bitmaps in a PDF file

You can reduce file size by downsampling bitmaps. Bitmaps are made up of
pixels. When you downsample a bitmap, the number of pixels per line
decreases. The decrease in pixels per line results in a decrease in file size.
The Publish To PDF feature lets you downsample color, grayscale, or
monochrome bitmaps individually.
To downsample color bitmaps


3 Enable the Color check box.
4 Type a number in the Color box.
To downsample grayscale bitmaps

2 Enable the Grayscale check box.
3 Type a number in the Grayscale box.
To downsample monochrome bitmaps

1 Follow steps 1 and 2 from the “To downsample color bitmaps” procedure.
2 Enable the Monochrome check box.
3 Type a number in the Monochrome box.
Downsampling color, grayscale, or monochrome bitmaps is effective only

when the resolution of the bitmaps is higher than the resolution specified
in the Bitmap Downsampling section.
Using fonts
The Publish To PDF feature lets you control how fonts are output to PDF
documents. You can embed fonts or base 14 fonts, and convert True Type to
Type 1 fonts. Embedding fonts causes the file size to increase but makes a
PDF file more portable since the fonts do not have to reside on other
systems. If you embed base 14 fonts CorelDRAW, adds the fonts to your
system; this eliminates font variances on different systems. The base 14
PostScript fonts are resident on all PostScript devices. Converting True Type
to Type 1 fonts can increase file size if there are many fonts in a file.
To embed fonts in a document

3 Enable the Embed Fonts In Document check box.
To embed base 14 fonts


3 Enable the Embed Base 14 Fonts check box.
To convert True Type fonts to Type 1 fonts

3 Enable the Convert True Type To Type 1 check box.
When you publish to the Web, you should not choose to include the base
14 fonts as this increases file size.
Subsetting Type 1 fonts

You can reduce file size by subsetting Type 1 fonts. A font is made up of many
characters. If you use only a smaller number of characters (for example
English characters A to E), you can create a subset of Type 1 fonts, reducing
the size of a file. You can also include a percentage of fonts used. For
example, you can create a subset of 50 percent of fonts. If the number of
characters used in the document exceeds 50 percent, the whole set of
characters is embedded. If the number of characters used in the document is
less than 50 percent, only the percentage of characters used is embedded.
To create a subset of Type 1 fonts

3 Enable the Subset Type 1 Fonts check box.
To include a percentage of fonts used

3 Enable the Subset Type 1 Fonts check box.
4 Type a percentage in the Under % Of Charset box.

If you create a subset of Type 1 fonts, you should not edit or correct the
PDF file at the service bureau using Acrobat Exchange, since the
characters you add when editing may not be present in the file.
Using text curves and compression

The Publish To PDF feature lets you control how text is treated to PDF
documents. If you are using unusual text characters, you can export the text
as curves. This method does not use fonts, so this eliminates problems with
font variances on different systems. However, for general document
publication, you should include the fonts in a document rather than convert
text to curves. Converting text into curves increases the complexity of the
file and can increase file size. Compressing text is useful for reducing file
size.
To export text as curves

3 Enable the Export Text As Curves check box in the Text And Fonts
section.
To compress text streams

3 Enable the Compress Text check box in the Text And Fonts section.
Exporting ASCII 85 and binary files

The Publish To PDF feature lets you choose between exporting ASCII 85 or
binary files. ASCII 85 and binary are encoding formats. ASCII 85 creates files
that are fully portable to all systems. Binary creates smaller files but is less
portable, since some systems cannot handle the file format.
To export bitmaps as ASCII

3 Enable the ASCII 85 button in the Encoding section.

To export bitmaps as binary
2 Enable the Binary button in the Encoding section.
Setting image options

The Publish To PDF feature lets you preserve object information, maintain
Open Prepress Interface (OPI) links, and set color profiles.
The object information lets you can preserve includes document overprints,
halftone screens, and spot colors. You can also change bitmap complexity and
set the number of fountain steps.
Maintaining OPI links lets you use low-resolution images as placeholders for
high-resolution images that appear in a final document. You can also set color
profiles to ensure accurate color production.
Preserving object information

You can render complex fills as bitmaps and preserve document overprints,
halftone screens, and spot colors. Rendering complex fills as bitmaps helps
reduce the complexity of a file. Reducing the complexity of a file, and thus
speeds up the management and printing of a file. Preserving document
overprints is useful for color trapping. Overprint settings made in the
document to manually trap objects are maintained in the PDF file. Preserving
halftone screens maintains halftone settings for specific objects in the
original document. Preserving spot colors is useful for maintaining color
consistency. If spot colors are not preserved in a document, they convert to
CMYK when exported to a PDF file.
To render complex fills as bitmaps

2 Click the Advanced tab.
3 Enable the Render Complex Fills As Bitmaps check box.
To preserve document overprints

3 Enable the Preserve Document Overprints check box.

To preserve halftone screens
3 Enable the Preserve Halftone Screen Information check box.
To preserve spot colors

3 Enable the Preserve Spot Colors check box.
Setting the number of fountain steps

You can increase the number of fountain fills for fills that require more steps,
and decrease the number of steps for fountain fills that are too complex. A
low number of steps prints faster, but the transition between shades may be
rather coarse. The number of fountain steps can be set between 1 to 256.
To increase or decrease the number of fountain steps

1 Choose File, Publish To PDF.
3 Type a number in the Fountain Steps box.
Choosing PostScript or preview

an Encapsulated PostScript file contains two parts; the PostScript portion and
the preview portion. The PostScript portion can contain high-resolution
images and a large file size best suited when you publish to prepress. The
Preview portion is a low-resolution image and a small file size best suited for
the World Wide Web.
To choose an EPS file format

3 From the EPS Files list box, choose one of the following:
PostScript
Preview

You cannot publish PostScript and Preview EPS portions at the same
time. You can only publish them separately.
The PostScript file option cannot be viewed in Acrobat Exchange or
Acrobat Reader.
The Preview option is not useful for printing PDF files.
Maintaining Open Prepress Interface links

Open Prepress Interface (OPI) lets you use low-resolution images as
placeholders for the high-resolution images that appear in your final work.
When your service bureau receives your file, the OPI server substitutes the
low-resolution images for the high-resolution images.
To maintain OPI links

3 Enable the Maintain OPI Links check box.
If you are not sure whether your PDF file is destined for an OPI server,
avoid using OPI.
Setting color profiles for PDF files

Using color management helps to ensure accurate color reproduction. If you
decide to output all objects as RGB or grayscale, no color profiles are
available. If you decide to output colors as CMYK, composite or separations
color profiles are available. Use the Composite printer profile if you are using
a full color desktop printer. Use the Separations printer profile if you are
using an imagesetter.
To output all objects as RGB

3 Choose RGB from the Output All Objects As list box.
To output all objects as CMYK


2 Choose CMYK from the Output All Objects As list box.
3 Enable the Use Color Profile check box.
4 Enable one of the following color profiles:
Composite Printer Profile
Separations Printer Profile
To output all objects as grayscale

1 Follow steps 1 and 2 from the “To output all objects as RGB” procedure.
2 Choose Grayscale from the Output All Objects As list box.
To set a printer color profile

1 Follow steps 1 and 2 from the “To output all objects as RGB” procedure.
2 Click the Set Profiles button.
3 Choose a color profile from any of the following list boxes:
Composite Printer — if you are not printing color separations
Separations Printer — if you are printing color separations
Publishing PDF documents

You can include hyperlinks, generate bookmarks, and thumbnails in a PDF
document. Hyperlinks are useful for adding jumps to other web pages or to
Internet URLs. Generating bookmarks and thumbnails can be useful in large
documents. When you open a document in Acrobat Reader or Acrobat
Exchange, you can choose to display a page, a full screen, all the bookmarks,
or all the thumbnails.

This image illustrates
how bookmarks are
displayed in Adobe
Reader
Using hyperlinks
You can include hyperlinks in a PDF file. Hyperlinks are jumps to Internet
URLs or other pages.
To set hyperlinks
1 Click View, Dockers, Object Properties.
2 Click the Internet tab.
3 Type an URL in the Location (URL) box.
To include hyperlinks in a PDF file

2 Click the Document tab.
3 Enable the Include Hyperlinks check box.

Using bookmarks and thumbnails
You can generate and display bookmarks and thumbnails in a PDF file.
Bookmarks are links represented by text. In a Corel application, you can use
an electronic bookmark as a placeholder, just as you use a paper bookmark.
Thumbnails are low-resolution miniatures of a page.
You can also specify how documents appear when first opened in Acrobat
Reader or Acrobat Exchange.
To set bookmarks
1 Click View, Dockers, Object Properties.
2 Click the Internet tab.
3 Type the bookmark name in the Bookmark box.
To generate bookmarks
2 Click the Document tab.
3 Enable the Generate Bookmarks check box.
To generate a thumbnail
2 Enable the Generate Thumbnails check box.
To display a bookmark on startup

1 Follow steps 1 and 2 from the “To generate bookmarks” procedure.
2 Enable the Generate Bookmarks check box.
3 Enable the Bookmarks button.
To display a thumbnail on start

1 Follow steps 1 and 2 from the “To generate bookmarks” procedure.
2 Enable the Generate Thumbnails check box.
3 Enable the Thumbnails button.

CUSTOMIZING COREL
APPLICATIONS 16
Corel applications have several customization features that let you create
your own workspace. You can define shortcut keys, arrange menus, and set
viewing options for Color Palettes. You can customize toolbars, the Property
Bar, and the Status Bar, by changing their appearance, contents, and
placement. You can also customize your import/export filters, file
associations, and set system sounds. These settings are adjusted using the
Options dialog box.
In addition, you can save your customization as part of your workspace
settings. You can access your custom settings by loading your saved
workspace.
Corel online Help is based on the application’s default settings. When you
customize the toolbars, the Property Bar, and the Status Bar, the Help topics
associated with them do not reflect your changes.
Customizing workspace settings

Corel applications let you customize your workspace settings. You can set up
your screen the way you want, choose options in the Options dialog box, and
then create a custom workspace to save your settings. You can customize the
tools and operations that you use most, such as menus and shortcut keys.
You can access your custom settings by loading your saved workspace. You
can create different workspace environments for different users or projects.
For information about creating and deleting custom workspaces, see “Using
multiple Workspaces” on page 13.
Choosing CorelDRAW startup options

You can choose what startup option is executed when CorelDRAW opens.
You can choose to open a new graphic, open the last edited document, start
CorelTUTOR, or another option. By default, the Welcome to CorelDRAW
screen is displayed on startup.
To choose CorelDRAW startup options

Customizing Corel applications 791

3 From the On CorelDRAW! Start-up list box, choose one of the following
options:
Welcome Screen — opens the Welcome to CorelDRAW screen, which
lets you start a new graphic, open the last drawing you edited, open a
graphic, start a new graphic with the template of your choice, launch
CorelTUTOR, launch nothing upon opening CorelDRAW, or preview
new features
Start A New Document — opens a new document
Open An Existing Document — opens the Open Drawing dialog box
Open the Last Edited Document — opens the most recent document
edited in CorelDRAW
Select A Template — opens the Template wizard
Start CorelTUTOR — launches the CorelTUTOR
Nothing — launches CorelDRAW with no Welcome screen and no
document
If you disable the Show This Welcome Screen At Startup check box on the
Welcome to CorelDRAW screen, CorelDRAW remembers the option you
chose, and it becomes the new startup option.
Changing the position of a dialog box

You can change a dialog box’s position on screen. The default setting places
dialog boxes in the center of the screen; however, you can move a dialog box
to another position when it is open. You can customize this setting so that the
next time you access the dialog box, it appears in its previous location.
To change the position of a dialog box

3 Disable the Center Dialog Boxes When Displayed check box.
Customizing keyboard shortcuts

Assigning keyboard shortcuts to the commands or tools that you use most
often lets you work quickly and efficiently. For example, pressing CTRL + S
saves your work, just as clicking File, Save does. Although Corel applications

already have preset keyboard shortcuts, you can change these or add your
own shortcuts to customize any Corel application to suit your working style.
In addition to assigning your own shortcuts, you can print, save, and load
keyboard shortcut configurations to use with particular projects. You can also
edit and remove keyboard shortcuts or restore the shortcuts to the default
configuration.
Assigning and deleting keyboard shortcuts

You can assign and delete keyboard shortcuts, overwrite existing ones, as
well as reset them to the default setting. You can also view existing
shortcuts.
When you change keyboard shortcuts, the changes are saved in a file called
an accelerator table. Corel applications come with two accelerator tables
which can be customized to suit your work habits:
Main table — contains all non-text related shortcut keys
Text Editing table — contains all text-related shortcut keys
To assign a keyboard shortcut to a command

2 In the list of categories, double-click Customize, and click Shortcut Keys.
3 From the Table list box, choose the accelerator table where you want to
make your changes.
4 In the Commands list, double-click a folder to view the available
commands.
5 From the Commands list, choose the command to which you want to
assign a keyboard shortcut.
6 In the Press New Shortcut Key box, type the key combination that you
want to assign to the command.
7 Enable the Delete Conflicts check box.
The Current Shortcut Keys list contains all the shortcut keys assigned to
the selected command.
To avoid assigning the same keyboard shortcut to a command


2 Enable the Navigate To Conflict check box.
To overwrite an existing keyboard shortcut

1 Follow steps 1 to 7 from the “To assign a keyboard shortcut to a
command” procedure.
2 Disable the Navigate To Conflict check box.
To delete a keyboard shortcut

1 Follow steps 1 to 4 from the “To assign a keyboard shortcut to a
command” procedure.
2 From the Commands list, choose the command from which you want to
remove a keyboard shortcut.
3 Choose the keyboard shortcut that you want to remove from the Current
Shortcut Keys list box.
You cannot change the following keyboard shortcuts: F1, ALT + F6, ALT
+ TAB, ALT + ESC, CTRL + ESC, and CTRL + /.
To reset keyboard shortcuts

Click the Reset button.
To view existing keyboard shortcuts

Click the View All button.
Assigning keyboard shortcuts to text styles

You can assign keyboard shortcuts to text styles, such as a bulleted list or
indented paragraph. This allows you to work more quickly and efficiently
when formatting your document. You can delete these keyboard shortcuts,
overwrite existing ones, or reset them to the default setting. You can also
view all existing shortcuts.
To assign a keyboard shortcut to a text style


3 From the Table list box, choose the accelerator table where you want to
make your changes.
4 In the Commands list, double-click the Apply Styles folder.
5 Choose a text style from the list.
6 In the Press New Shortcut key box, type the key combination that you
want to assign to the text style.
7 Enable the Delete Conflicts check box.
Corel applications include two accelerator tables: Main (active when

you’re in regular drawing mode) and Text Editing (active when you’re in
text mode).
The Current Shortcut Keys list box contains all the shortcut keys
assigned to the selected command.
To avoid assigning the same keyboard shortcut

2 Enable the Navigate to Conflict check box.
To overwrite an existing keyboard shortcut

1 Follow steps 1 to 7 from the “To assign a keyboard shortcut to a text
style” procedure.
2 Disable the Navigate to Conflicts check box.
To delete a keyboard shortcut

1 Follow steps 1 to 4 from the “To assign a keyboard shortcut to a text
style” procedure.
2 From the Commands list, choose the command from which you want to
remove a keyboard shortcut.

3 Choose the keyboard shortcut that you want to remove from the Current
Shortcut Keys list box.
You cannot change the following keyboard shortcuts: F1, ALT + F6, ALT
+ TAB, ALT + ESC, CTRL + ESC, and CTRL + /.
To reset keyboard shortcuts

To view existing keyboard shortcuts

Click the View All button.
Printing keyboard shortcuts

You can print a list of keyboard shortcuts using the Shortcut Keys page in the
Options dialog box.
To print keyboard shortcuts

3 Click the View All button.
Saving keyboard shortcuts in a format readable by other programs

You can save a list of the keyboard shortcuts in a file format that applications
such as word processors or spreadsheets can open.
To save shortcut keys in a format readable by other programs

3 Click the View All button.
4 Click the Export To CSV button.
5 From the Save In list box, choose the drive in which you want to save the
file.

7 Type a filename in the File Name box.
Customizing menus
Corel customization features let you modify the Menu Bar and the menus it
contains. You can add commands to existing menus or add new menus to the
Menu Bar. You can also remove menu commands or entire menus. To give
you easy access to the functions you use most often, you can change the
order of menus and menu commands. For further customization, you can
rename and restore menus and menu commands, as well as change their
shortcuts. This applies to the Menu Bar menus as well as pop-up menus that
you access by right-clicking.
Corel online Help is based on the application’s default settings. When you
customize menus and menu commands, the Help topics associated with them
do not change to reflect your changes.
Changing the order of menus

You can use the Menus page in the Options dialog box to change the order of
menus on the Menu Bar, as well as restore default settings.
To change the order of menus

3 Choose Main Menu from the Menu list box.
4 Choose a menu from the Menu list.
Up — moves the menu up in the list
Down — moves the menu down in the list
Moving a menu down in the list moves it to the right on the Menu Bar.
Moving a menu up in the list moves it to the left on the Menu Bar.
You can also drag the menu to change its order.

To restore the order of menus
Changing the order of menu commands

You can use the Menus page in the Options dialog box to change the order of
menu commands, as well as restore default settings.
To change the order of menu commands

3 In the Menu list, double-click the menu that contains the menu command.
4 Click the name of the menu command.
Up — moves the menu command up in the list
Down — moves the menu command down in the list
You can also drag the menu command to change its order.
To restore the order of menu commands

Adding, removing, and renaming menus

You can customize your work environment by choosing which menus appear
on the Menu Bar. You can do this by adding, removing, and renaming menus.
To add a menu to the Menu Bar

3 Choose Main Menu from the Menu list box.
4 From the Menu list, choose the menu beside which you want to add a new
menu on the Menu Bar.
5 Click the Add Menu button.
6 Type a name for the new menu.

The new menu appears below the chosen menu in the dialog box, but
appears to the right of the chosen menu in the Menu Bar.
To remove a menu from the Menu Bar

2 From the Menu list, choose the menu you want to remove.
To rename a menu on the Menu Bar

1 Follow steps 1 to 3 from the “To add a menu to the Menu Bar” procedure.
2 From the Menu list, choose the menu you want to rename.
3 Click the menu again.
4 Type the new name.
You can click the Reset button to reset the menus on the Menu Bar to the
default settings.
Adding, removing, and renaming menu commands

You can customize your work environment by choosing which commands
appear in the menus. You can do this by adding, removing, and renaming
commands. You can also determine a command’s placement in a menu.
To add a menu command to a menu

3 In the Menu list, click the name of the menu to which you want to add a
command.
4 In the Commands list, double-click the folder that contains the menu
command you want to add.
5 In the Commands list, click the menu command that you want to add.

To remove a menu command from a menu
2 In the Menu list, double-click the name of the menu from which you want
to remove a menu command.
3 Click the menu command that you want to remove.
To rename a menu command

1 Follow steps 1 and 2 from the “To add a menu command to a menu”
procedure.
2 In the Menu list, double-click the menu containing the menu command
you want to rename.
3 Click the menu command again.
4 Type the new menu command name.
You can click the Reset button at any time to reset the menu commands to
the default settings.
You can drag a menu command from one box to another to add or remove
it.
Adding and removing menu command separators

You can add or remove a menu command separator — the horizontal line in a
menu that distinguishes one group of menu commands from another.
To add a menu command separator

3 In the Menu list, double-click the name of the menu to which you want to
add a separator.
4 Click the menu command below which you want the separator to appear.
5 Click the Separator button.
To remove a menu command separator


2 In the Menu list, double-click the name of the menu from which you want
to remove a separator.
3 Click the separator you want to remove.
You can click the Reset button to reset the Main Menu to the default
settings.
Changing menu and menu command shortcuts

You can change the shortcuts used to access application menus and menu
commands.
To change a menu shortcut

3 In the Menu list, click the menu to which you want to change the
shortcut.
4 Click the name of the menu again.
5 Insert an ampersand (&) before the letter you want to use as the shortcut.
6 Remove all other ampersands from the menu name.
To change a menu command shortcut

3 In the Menu list, double-click the menu containing the menu command to
which you want to change the shortcut.
4 Click the name of the menu command.
5 Click the menu command again.
6 Insert an ampersand (&) before the letter you want to use as the shortcut.
7 Remove all other ampersands from the menu command name.

Be sure the shortcut letter you choose is not already being used in the
same menu.
Clicking the Reset button restores the original menu settings.
Customizing a Color Palette

As with many Corel application components, manipulating Color Palettes
couldn’t be easier. For example, by clicking and dragging, you can display,
hide, and move a Color Palette. You can also dock a Color Palette at the top,
bottom, or side of the Application Window, or drag it onto the work area to
create a floating Color Palette.
For quick access to menu commands, you can set the right mouse button
menu of a Color Palette, to view either a pop-up menu, or set the outline
color.
You customize Color Palettes by choosing the contents, color, and
arrangement. You also can resize color swatches, view a Color Palette in
multiple (up to seven) rows, and adjust the width of a Color Palette’s border.
For information about customizing a Color Palette, such as opening, creating,
editing, saving, and deleting a custom Color Palette, see “Customizing Color
Palettes” on page 320.
Setting the right mouse button menu of a Color Palette

Setting the right mouse button options lets you choose whether to view a
pop-up menu, or set the outline color, when you right-click a Color Palette.
To set the Pop-Up Menu option

2 In the list of categories, double-click Customize, and click Color Palette.
3 Enable the Pop-Up Menu button.
To set the Outline Color option

2 Enable the Set Outline Color button.

If you enable the Set Outline Color button, you can still view the pop-up
menu by right-clicking a color swatch for one second and then releasing,
or by right-clicking anywhere on the border of a Color Palette.
Changing the border width of a Color Palette

You can choose to enlarge or reduce the space between the color swatches
on a Color Palette, by adjusting its border width.
To enlarge the border width of a Color Palette

3 Enable the Wide Borders check box.
To reduce the border width of a Color Palette

2 Disable the Wide Borders check box.
Resizing color swatches

You can change the appearance of a Color Palette by increasing or decreasing
the size of the color swatches.
To view large color swatches

2 In this list of categories, double-click Customize, and click Color Palette.
3 Enable the Large Swatches check box.
To view small color swatches

2 Disable the Large Swatches check box.
Hiding or viewing the No Color Well

You can choose to view or hide the No Color Well.
To view the No Color Well


3 Enable the Show “No Color” Well check box.
To hide the No Color Well

2 Disable the Show “No Color” Well check box.
On the Color Palette, the No Color Well is represented by an “X”.
Changing the number of Color Palette rows when docked

You can choose how many rows are displayed when a Color Palette is docked.
To change the number of Color Palette rows

3 Enter the number of rows in the Maximum Palette Rows When Docked
box.
Customizing toolbars
You have complete control over the position and content of toolbars. Using
the mouse, you can resize or move toolbars anywhere inside the work area,
and choose which toolbars you want displayed in the Application Window. You
can add, remove, and rearrange toolbar commands (except in the Toolbox).
You can also create your own custom toolbars containing the commands you
use most often.
In addition, you can change the appearance of toolbar buttons. You can choose
to view text on the toolbar button in place of an image, edit the text that
appears on the toolbar button, as well as edit the actual images.
Moving and resizing a toolbar

You can move a toolbar anywhere on screen. Placing it inside the Application
Window creates a floating toolbar with a Title Bar. Placing it on any of the
four sides of the Application Window docks the toolbar, making it part of the
window border.
You can also resize a floating toolbar, but not a docked toolbar.

To move a toolbar
Click the toolbar’s border, and drag it to a new position.
When you drag the toolbar onto the work area, it becomes a floating
toolbar.
To dock a toolbar
Click the toolbar’s border, and drag it toward the edge of the Application
Window until it changes shape.
To resize a floating toolbar

1 Place the cursor on the edge of the toolbar.
2 Using the two-directional arrow, drag the edge of the toolbar to resize it.
Double-clicking the toolbar when it is floating docks it in its last docked

position.
Viewing a toolbar
The toolbars that come with your Corel application give you access to a
variety of frequently used commands and functions. You can choose which
toolbars you want displayed in the Application Window. This includes any of
the custom toolbars you have made.
To view a toolbar
2 In the list of categories, click Customize.
3 In the Toolbars list, enable the check box next to the toolbar that you want
to display.
Viewing or hiding titles on floating toolbars

You can choose whether or not to view titles on floating toolbars. It is useful
to view them so you always know which toolbar you are viewing, especially if
you are making any changes to that toolbar.
To view titles on floating toolbars


3 Enable the Show Titles On Floating Toolbars check box.
To hide titles on floating toolbars

2 Disable the Show Titles On Floating Toolbars check box.
Resizing toolbar buttons and button borders

You can change the size of toolbar buttons and the borders surrounding the
buttons on toolbars.
To resize toolbar buttons

3 In the Size section, move the Button slider to adjust the size of the
buttons.
To resize toolbar button borders

2 In the Size section, move the Border slider to adjust the size of the
borders.
Restoring built-in toolbars

If you alter the configuration of a built-in toolbar, you can restore it to its
original setting.
To restore the original configuration of a built-in toolbar

3 In the Toolbars list, click the name of the toolbar you want to reset.
Creating and deleting a custom toolbar

You can create custom toolbars that contain the commands you use most
often. These toolbars can be used for several different projects within the

same application. You can delete custom toolbars at any time, unlike the
predefined toolbars provided with the application.
To create a custom toolbar

4 Type a name for the new toolbar.
To delete a custom toolbar

2 From the Toolbars list, click the toolbar that you want to delete.
Renaming a custom toolbar

You can change the name of custom toolbars at any time, but you cannot
change the names of the predefined toolbars provided with the application.
To rename a custom toolbar

3 In the Toolbars list, click the name of the toolbar you want to rename.
4 Click the toolbar name again.
5 Type a new name for the toolbar.
Adding toolbar items to a custom toolbar

You can add toolbar items to customize toolbars. You cannot add toolbar items
to the Toolbox or to any of its flyouts.
To add a toolbar item to a custom toolbar

3 In the Toolbars list, enable the toolbar to which you want to add a toolbar
item.
4 In the list of categories, double-click Customize, and click Toolbars.

5 In the Commands list, double-click the folder that contains the toolbar
item you want to add.
6 Click the toolbar item you want to add to the toolbar.
7 Drag the toolbar item icon to the desired toolbar in the Application
Window.
You must be on the Toolbars page to add toolbar items to a toolbar.
Removing toolbar items from a custom toolbar

You can remove toolbar items from custom toolbars, but you cannot remove
toolbar items from the Toolbox or from any of its flyouts.
To remove a toolbar item from a custom toolbar

3 In the Toolbars list, enable the toolbar from which you want to remove a
toolbar item.
5 Drag the toolbar item icon you want to remove from the toolbar to the
Application Window.
You must be on the Toolbars page to remove toolbar items from a toolbar.
Rearranging toolbar items on a custom toolbar

You can rearrange the order of toolbar items on a custom toolbar to best suit
your needs.
To rearrange toolbar items

3 In the Toolbars list, enable the toolbar on which you want to rearrange
toolbar items.

5 Drag the toolbar item icon to a new position.
You must be on the Toolbars page to rearrange toolbar items on a toolbar.
Moving and copying toolbar items from a custom toolbar

You can move and copy toolbar items from a custom toolbar.
To move a toolbar item to another toolbar

3 In the Toolbars list, enable the toolbar from which you want to move a
toolbar item.
4 In the Toolbars list, enable the toolbar to which you want to move a
toolbar item.
6 Drag the toolbar item icon from one toolbar to the other.
To copy a toolbar item to another toolbar

2 In the Toolbars list, enable the toolbar from which you are copying a
toolbar item.
3 In the Toolbars list, enable the toolbar to which you are copying a toolbar
item.
5 Hold down CTRL and drag the toolbar item icon from one toolbar to
another.
You create a new toolbar when you drag a toolbar icon from the Toolbars
page in the Options dialog box, to the Application Window.
You must be on the Toolbars page to move and copy toolbar items.

Changing the appearance of all toolbar buttons
You can change the appearance of toolbar buttons so that text is displayed
instead of images. You can choose to have both the image and text on the
toolbar button. You can also restore default toolbar button settings. Changing
any of the default settings on the Customize page of the Options dialog box,
alters the appearance of all the toolbars in the application.
To view text instead of images on toolbars

3 In the Default Button Appearance section, enable the Text Only button.
To view images instead of text on toolbars

2 In the Default Button Appearance section, enable the Image Only button.
To view text below the image on toolbars

1 Follow steps 1 and 2 from the “To view text instead of images on toolbars”
procedure.
2 In the Default Button Appearance section, enable the Text Below Image
button.
Changing the appearance of individual toolbar buttons

You can customize the appearance of individual toolbar buttons on specific
toolbars, instead of changing the appearance of all toolbar buttons.
To view text instead of images on a toolbar button

3 On the toolbar outside of the Options dialog box, right-click the toolbar
button you want to change, and click Text Button.
To view images instead of text on a toolbar button

button you want to change, and click Image Button.

You can only change the appearance of individual toolbar buttons through
the Toolbars page of the Options dialog box.
Editing and restoring toolbar buttons

You can further customize toolbar buttons by editing the images of individual
toolbar buttons. You can also restore the images to the default setting.
To edit toolbar button images

button you want to edit, and click Properties.
4 Use the controls to change the appearance of the bitmap.
To restore toolbar button images

button you want to restore, and click Properties.
3 Click the Restore Defaults button.
You can only change the appearance of individual toolbar buttons through
the Toolbars page of the Options dialog box.
Customizing the Property Bar

You have complete control over the placement and content of the Property
Bar. Using the mouse, you can resize a Property Bar, move it anywhere
inside the Application Window, or dock it to the Application Window. You can
also customize a Property Bar by adding or removing toolbar items, or by
rearranging the toolbar items.
Moving and resizing the Property Bar

You can move the Property Bar anywhere on screen. Placing it inside the
Application Window creates a floating Property Bar with a Title Bar. Placing
it on any of the four sides of the Application Window docks it, making it part

of the window border. You can also change the size of the Property Bar when
it is floating, but not when it is docked.
To move the Property Bar

Click the Property Bar’s border, and drag it to a new position.
Dragging the Property Bar onto the work area creates a floating toolbar.
To dock the Property Bar

Click the Property Bar’s border, and drag it toward the edge of the
Application Window until it changes shape.
To resize a floating Property Bar

1 Place the cursor on the edge of the Property Bar.
2 Using the two-directional arrow, drag the edge of the Property Bar to
resize it.
Double-clicking the Property Bar when it is floating docks it to its last

docked position.
Setting up a custom Property Bar

You can customize what appears on the Property Bar when you have
different items selected. For example, when you select the Rectangle tool,
the Property Bar displays the default settings and controls related to the
Rectangle tool. You can add, move, and remove toolbar items from a Property
Bar as needed.
To add a toolbar item to a Property Bar

3 Choose the Property Bar you want to customize from the Property Bars
list box.
4 In the Commands list, double-click the folder containing the toolbar item
you want to add to the Property Bar.

5 Click the toolbar item you want to add to the Property Bar.
6 Drag the toolbar item icon to the Property Bar.
To rearrange toolbar items on a Property Bar

2 From the Property Bars list box, choose the Property Bar on which you
want to move a toolbar item.
3 Drag the toolbar item icon to a new position.
To remove a toolbar item from a Property Bar

1 Follow steps 1 and 2 from the “To add a toolbar item to a Property Bar”
procedure.
2 From the Property Bars list box, choose the Property Bar from which you
want to remove a toolbar item.
3 Drag the toolbar item icon off the Property Bar.
Customizing the Status Bar

The Status Bar gives you up-to-date information about your working
environment, such as the colors used for fills and outlines, and the position of
your cursor. You can customize the Status Bar to suit your needs. For
instance, you can change its position, size, and contents. You can also choose
whether to display or hide it, or add and remove its contents.
Moving, resizing, and restoring the Status Bar

You can move the Status Bar to the top or bottom of the Application Window.
You can resize a Status Bar or a Status Bar item, and reset it to its previous
settings.
To move the Status Bar

1 Right-click the Status Bar, and click Position.
2 Choose one of the following options:
Top — places the Status Bar at the top of the Application Window
Bottom — places the Status Bar at the bottom of the Application
Window
To resize the Status Bar

1 Right-click the Status Bar, and click Size.

2 Choose one of the following options:
One Line — changes the Status Bar to one line
Two Lines — changes the Status Bar to two lines
To resize a Status Bar item

3 On the Status Bar, click the Status Bar item you want to resize.
4 Position the cursor on the edge of the highlighted box.
5 Drag to resize the item.
To reset the Status Bar

Right-click the Status Bar, and click Reset Status Bar.
You can also access the Toolbars page of the Options dialog box by
right-clicking the Status Bar and clicking Customize.
Hiding or displaying the Status Bar

When displayed, the Status Bar provides useful information, however, if you
want to see more of the Application Window, you can hide the Status Bar.
To display the Status Bar

2 In the Toolbars list, enable the Status Bar check box.
To hide the Status Bar

2 In the Toolbars list, disable the Status Bar check box.
You can also right-click the Status Bar, and click Hide Status Bar.

Changing the contents of the Status Bar
You can customize the Status Bar to display the information you want, by
adding and removing toolbar items.
To add toolbar items to the Status Bar

3 In the Commands list, double-click the Status Bar folder.
4 Click the toolbar item you want to add to the Status Bar.
5 Drag the toolbar item icon to the Status Bar.
To remove toolbar items from the Status Bar

2 Drag the toolbar item icon off the Status Bar.
You can also access the Toolbars page by right-clicking the Status Bar and
clicking Customize.
Customizing filters
Import/export filters are used to convert files from one format to another.
You can customize filter settings by adding or removing filters so that only
the filters you need are loaded.
Adding and removing filters

You can customize filters using the Filters page in the Options dialog box.
Filters are organized in three categories: Raster, Vector, and Text.
To add a filter
2 In the list of categories, double-click Global, and click Filters.
3 From the Available File Types list, double-click the type of filter you want
to add.
4 Click the name of the filter you want to add.

To remove a filter
2 In the List Of Active Filters list, click the filter you want to remove.
Changing the order of the list of filters

You can change the order of the filters listed in the List Of Active Filters list.
To change the order of the list of filters

3 In the List Of Active Filters list, click the filter you want to move.
Move Up — moves the filter up the list
Move Down — moves the filter down the list
Resetting filters to default settings

If you change your mind about some filters you added or removed, you can
reset the filters to their previous settings.
To reset the filters

Customizing file associations

You can associate many file types with Corel applications. When you
double-click a file of a type you have associated with a Corel application, the
application launches and opens the file.
Associating a file type with CorelDRAW

When you double-click a file you have associated with CorelDRAW,
CorelDRAW launches and the file opens.

To associate a file type with CorelDRAW
2 In the list of categories, double-click Global, Filters, and Associate.
3 In the Associated File Extensions With CorelDRAW 9 list, enable the
check box of the file type you want to associate.
To break a file type association with CorelDRAW

2 In the Associate File Extensions With CorelDRAW 9 list, disable the
check box of the file type for which you want to break the association.
Resetting file associations to default settings

You can reset the file associations to their previous settings.
To reset file associations

2 In the list of categories, double-click Global, Filters, and click Associate.
Customizing feedback sounds

CorelDRAW supports sounds through the Operating System. These sounds
are associated with certain user interface events. These events can be
enabled or disabled through the Tools, Options, Workspace, General setting.
Though CorelDRAW registers events available for sound cues, it does not
supply any sounds. You can assign sounds to specific events through your
Operating System’s Control Panel, from the CorelDRAW sound events
category.
Assigning feedback sounds

You can assign feedback sounds to specific events through your Operating
System’s Control Panel.
To assign feedback sounds

1 Click the Windows Start button, Settings, and Control Panel.
2 Double-click Sounds.
3 In the Events list, scroll to CorelDRAW 9.

4 Click the event you want.
5 In the Name list box, enter the sound you want.
For more information about feedback sounds, consult your Operating

System’s Help File.
Enabling and disabling feedback sounds

You can choose to enable or disable feedback sounds for specific events.
To enable feedback sounds

2 In the list of categories, double-click General.
3 Enable the Enable Sounds check box.
The Enable Sounds check box is enabled by default.
To disable feedback sounds

2 Disable the Enable Sounds check box.
When you enable or disable sounds, you must restart CorelDRAW for this
feature to take effect.

AUTOMATING APPLICATION
TASKS 17
With CorelDRAW you can create, save, and run a script using the Corel
SCRIPT™ language. This means that when working in CorelDRAW you can
automate operations you use frequently by creating and saving a script. For
more advanced script writing and editing, you can use the tools provided with
the Corel SCRIPT Editor™.
With CorelDRAW you can also create projects using Microsoft® Visual Basic
for Applications® (VBA). The VBA Editor provides you with the tools you
need to automate CorelDRAW operations.
Creating and running scripts

With CorelDRAW, you can record a series of operations and save them as a
script. After you create a script, you can run it any time to reproduce your
actions automatically. For example, you can create a script that draws a
rectangle and fills it with a two-color fountain fill.
Recording and saving a script

You can create a scripts by recording the commands that you want to
automate. Whenever, you want to repeat the operations you would run the
script.
To record and save a script

2 Click the Record button.
3 Perform the procedures you want to record.
4 Click the Stop button.
5 Type a name for your script in the Name box.
Running a script
After you create a script you can run it in the Drawing Window. You can run
scripts from the Script and Preset Manager or from the Run Script command.
When you run a script, the operations that you recorded are performed
automatically.
Automating application tasks 821

To run a script from the Script Manager
2 Choose a script from the Script Manager.
3 Click the Play button.
To run a preset script from the Script Manager

2 Open the Scripts, Presets folder, then choose a script.
3 Click the Play button.
To run a script
1 Click Tools, Corel SCRIPT, Run.
2 Select the folder and filename of the script you want to run.
3 Click Open.
If you often run the same script, you can assign it to a shortcut key, a
toolbar button, or a menu.
You can also run scripts by opening Corel Script Editor. You can open
Corel SCRIPT Editor from the Windows desktop or by clicking Tools,
Corel SCRIPT, Corel Script Editor.
Using Corel SCRIPT Editor

The Corel SCRIPT Editor, included the CorelDRAW, is a tool that you can
use to modify your saved recordings or scripts. For example, if you have a
script that you want to make a change to, you can use the Corel SCRIPT
Editor to edit the commands in the script. It’s often easier just to modify a
few commands rather than to rerecord the entire script. As well as editing
commands, you can use Corel SCRIPT Editor to add commands that can’t be
recorded or to write scripts from scratch.
Since scripts are standard text files, they can be edited with any Windows
text editor or word processor. However, Corel SCRIPT Editor also includes
features to test, debug, and run script files. Corel SCRIPT scripts can be
saved as text only or as standalone executables. Text files do not contain a
compiled binary component and are compiled each time the script is

executed. Standalone executables contain binary code that you cannot edit in
a text editor. Corel SCRIPT files are saved with the extension .CSC.
Corel SCRIPT Editor also includes tools to quickly create and edit custom
dialog boxes that let users return input to a running script. For more
information see, “Using custom dialog boxes in scripts” on page 824.
Corel SCRIPT Editor programming language

Any scripts you save contain CorelDRAW commands. These commands are
part of the Corel SCRIPT programming language. The Corel SCRIPT
programming language consists of application commands and functions as
well as programming statements and functions. When using the Corel
SCRIPT programming language there are commands you use frequently that
use parameters such as measurements and coordinates. You can also use
OLE automation to access other application components. CorelDRAW also
provides a utility that will convert your version 7 and 8 script to version 9.
Computer programming experience isn’t a prerequisite for using Corel
SCRIPT to modify and write scripts. However, the more knowledge,
experience, and desire you have to learn the mechanics of CorelDRAW, the
more you’ll be able to take advantage of the power of Corel SCRIPT. The
amount of information you need to know about scripting depends on the
complexity of your scripts. The Corel SCRIPT online Help file contains
instructions for novice script writers as well as reference material for
experienced script writers and programmers.
Starting Corel SCRIPT Editor

If you want to create or edit a scripts, you can launch Corel Script Editor
directly from the Tools menu. For more information about scripts and script
syntax, see Corel SCRIPT online Help.
To start Corel SCRIPT Editor

Click Tools, Corel SCRIPT, Corel SCRIPT Editor.
Corel SCRIPT application commands and functions

Any script you create by saving a recording of your CorelDRAW operations is
comprised of Corel SCRIPT application commands. Corel SCRIPT
application commands instruct CorelDRAW to perform specific actions. For
example, a command might instruct CorelDRAW to open or to close a
document. The application commands are easy to understand, since most are
one-word equivalents of the corresponding Corel application user interface.
For example, the .FileNew command creates a new document.

Although most CorelDRAW application commands are one-word equivalents
of their corresponding menu commands, you might need more than the
command itself to execute an action in these applications. If a command
needs more information than is provided by the command name alone,
parameters are required. Parameters represent aspects of the feature that
you can change or selections you can make.
Application functions ask questions about the status of Corel applications,
selected items in Corel applications, or image properties. For example, a
function may ask CorelDRAW about an object’s dimensions. Application
functions are not recordable; they must be written into a script.
Each Corel application that supports scripts has a unique set of application
commands and functions. However, some Corel applications use the same
name for a command or a function. For example, the .FileNew command
is available in both CorelDRAW and Corel PHOTO-PAINT.
Corel SCRIPT programming statements and functions

Corel SCRIPT programming statements and functions are a common set of
instructions that can be used with any Corel application that supports
scripting. Programming statements and functions are derived from traditional
BASIC programming language dialects. If you’re already familiar with a
version of BASIC, you’ll find the Corel SCRIPT programming language easy
to read and understand. If you’ve never programmed using BASIC, you’ll be
happy to know that BASIC is one of the easiest languages to read,
understand, and learn.
Corel SCRIPT programming statements and functions send instructions or
perform actions that aren’t part of another Corel application. For example,
Corel SCRIPT programming statements can be used to display a custom
dialog box, include flow control statements and constructs such as loops,
create and manipulate variables, and retrieve information about your
computer setup. On their own, Corel SCRIPT programming statements form
a powerful programming language. A script containing only Corel SCRIPT
programming statements can be executed even if another Corel application is
not running.
Using custom dialog boxes in scripts

You can use a custom dialog box to get user input returned to a running
script. Dialog boxes are created using Corel SCRIPT programming
statements that support Windows options and controls such as push buttons,
drop-down list boxes, option buttons, and progress indicators.

You can create Corel SCRIPT statements used to produce a dialog box using
two methods. The first method is to use Corel SCRIPT Editor and type in
the dialog box definition statements. This can prove to be a time-consuming
option, because each statement’s parameters are specific and it is difficult to
visualize the dialog box based on coordinate positions.
The second method is to use dialog windows in Corel SCRIPT Editor. In
dialog windows, you draw what you want your dialog box to look like. The
dialog box and the dialog box controls within it are graphical representations
of Corel SCRIPT statements. Working with the dialog boxes in Corel
SCRIPT Editor is similar to using a drawing or a painting application. In
dialog windows, dialog box controls are graphic objects that can be inserted,
moved, resized, and aligned in a dialog box. You can create or edit a dialog
box in a few steps using Corel SCRIPT Editor.
Measurement units in CorelDRAW recordings and scripts

Most CorelDRAW scripting commands that use measurement parameters
use tenths of a micron as the base unit of measurement. There are 10,000
such units in one millimeter, and one inch is made up of 254,000 tenths of a
micron. For example, the two parameters of the .SetSize command specify
new dimensions for the selected object in tenths of a micron.
Coordinates in CorelDRAW recordings and scripts

CorelDRAW scripting commands that specify locations on a page use
coordinates as parameters. Coordinates use tenths of a micron as the base
unit of measurement and are expressed as being relative to the center of the
current page, which has the coordinates (0,0). For instance, the point
(100000, 200000) would be located one centimeter left and two centimeters
above the center of the page.
Most CorelDRAW commands that use coordinates, such as the .SetPosition
command (sets the position of the selected object), are affected by the
application’s current reference point. This is the point on the selected
object’s bounding box that the coordinates operate on. For example, if the
current reference point is set to 1 (meaning “top-left corner”), the
.SetPosition 0, 0 command positions the selected object so that its top-left
corner is at the center of the page. If the current reference point is set to 9
(meaning “center”), the .SetPosition 0,0 command has a different effect,
positioning the current object so that its center is at the center of the page.
You can set the current reference point with the .SetReferencePoint
command. Since you cannot be sure what the current reference point is at
the time your script starts, it is important that you call the
.SetReferencePoint command before using any commands that take
coordinate parameters. Otherwise, your script may not always behave
predictably.

CorelDRAW script example
The following example creates a star shaped polygon with eight points and
applies a custom conical fountain fill with three intermediate colors.
WITHOBJECT “CorelDraw.Automation.9"
.CreateSymPolygon 1032658, -862906, -693154, 877052, 8, 1, 1, TRUE,
50, 100
.StoreColor 5002, 0, 0, 0, 100, 0, 0, 0, 0
.StoreColor 5002, 0, 0, 0, 0, 0, 0, 0, 100
.ApplyFountainFill 0, 0, 0, -3, 256, 0, 0, 50
.Undo
.StoreColor 5002, 0, 0, 0, 100, 0, 0, 0, 0
.StoreColor 5002, 0, 0, 0, 0, 0, 0, 0, 100
.StoreColor 5002, 0, 0, 0, 100, 0, 0, 0, 0
.StoreColor 5002, 0, 0, 0, 0, 0, 0, 0, 100
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 0
.StoreColor 5002, 0, 0, 0, 0, 0, 0, 0, 100
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 0
.StoreColor 5002, 0, 60, 100, 0, 0, 0, 0, 26
.StoreColor 5002, 0, 0, 0, 0, 0, 0, 0, 100
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 0
.StoreColor 5002, 0, 60, 100, 0, 0, 0, 0, 26
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 50
.StoreColor 5002, 0, 0, 0, 0, 0, 0, 0, 100
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 0
.StoreColor 5002, 0, 60, 100, 0, 0, 0, 0, 26
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 50
.StoreColor 5002, 0, 60, 100, 0, 0, 0, 0, 75
.StoreColor 5002, 0, 0, 0, 0, 0, 0, 0, 100
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 0
.StoreColor 5002, 0, 60, 100, 0, 0, 0, 0, 26
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 50
.StoreColor 5002, 0, 60, 100, 0, 0, 0, 0, 75
.StoreColor 5002, 0, 0, 100, 0, 0, 0, 0, 100
.ApplyOutline 0, 0, 0, 0, 0, 0, 0, 0, 0, FALSE, 0, 33810, FALSE
END WITHOBJECT

Every script that contains CorelDRAW application commands must
include a WITHOBJECT and END WITHOBJECT command.
OLE automation
OLE Automation is a flexible and powerful CorelDRAW feature that you can
use to build applications that use CorelDRAW components.
OLE Automation is an integration standard that allows applications to expose
their programmable objects so that other applications can control them.
Exposing an object means that an application makes the script, or macro
commands that control it, available to other programming applications. The
exposed commands become an extension of the controlling programming
language.
Any Corel application that supports Corel SCRIPT provides one
programmable OLE automation object. The object is used by OLE
automation controllers such as Corel SCRIPT to control Corel applications.
You can also use OLE automation controllers such as Microsoft Visual Basic
and Visual C++ to send commands to CorelDRAW and to develop
applications using Corel application components.
OLE Automation can be used for long and complicated manual processes that
transfer data between two or more applications. For example, you may have a
manual process that puts data into a spreadsheet for creating a presentation
graphic. The graphic is then used in a bitmap application such as Corel
PHOTO-PAINT. If you use OLE Automation, you can create a program that
automatically performs these steps for you. OLE Automation gives you
almost total control over a variety of different applications, allowing you to
build the applications you need through its seamless integration capabilities.
AutoScripts for CorelDRAW

AutoScripts are *.CSC or *.CSB files with special names that run in response
to events within CorelDRAW. For example, if you want to insert your name
or copyright information in the lower right corner of every document you
print, you can write a script that inserts this information and save it as
OnPrint.CSC. Every time the user sends a print job in CorelDRAW, this
script will run before the print job is generated.
AutoScript Description
OnStart Runs after CorelDRAW is loaded, instead of any other startup features
you may have selected. For instance, you can write a script to replace the
Welcome to CorelDRAW dialog box that CorelDRAW displays by default.

OnOpen Runs after you open a new document.
OnClose Runs before you close a document. The script is responsible for calling
.FileClose (otherwise your document will stay open).
OnNew Runs every time you create a new document.
OnPrint Runs when you start a print job but before the print job is actually sent
to the printer.
OnExit Runs when you exit CorelDRAW. After the script terminates, CorelDRAW
closes.
AutoScripts must be placed in the Draw folder, not the Draw\Scripts

folder.
If you do not want an AutoScript to run, you can hold down SHIFT when
the CorelDRAW event occurs. For instance, if you hold down SHIFT
while CorelDRAW is starting, OnStart will not run.
You may only run one script at a time. If a script is running and you
attempt to trigger an AutoScript, the AutoScript will not run.
Using CorelDRAW 6 presets in CorelDRAW 9

You can run presets that you created in CorelDRAW 6 using the Script And
Preset Manager in CorelDRAW 9.
To use CorelDRAW 6 presets in CorelDRAW 9

1 Copy the CorelDRAW 6 presets file (.PST extension in the Draw folder of
CorelDRAW 6) to the COREL\GRAPHICS9\DRAW\SCRIPTS folder.
2 Click Tools, Scripts, Script And Preset Manager.
The .PST file is represented by a folder in the Script And Preset Manager.
3 Double-click the PST folder.
4 Click the preset you want to run.
5 Click the Play button at the bottom of the Script And Preset Manager.
Converting CorelDRAW 7 and 8 scripts in CorelDRAW 9

You can convert scripts created or recorded in CorelDRAW 7 or 8 to
CorelDRAW 9 scripts using the Script Conversion Utility. Use the
Conversion Utility if you want to use scripts that you have recorded or
written in CorelDRAW 9. This utility will convert the script command to
CorelDRAW 9 format. The existing CorelDRAW 7or 8 script will be saved in

the same folder and have a .BAK extension. The conversion utility will save
the converted file with the same name but has a .CSC extension.
To convert a CorelDRAW 7 or 8 script to a CorelDRAW 9 script

1 Start the Script Conversion Utility from the CorelDRAW 9 productivity
tools.
2 Click the Convert File(s) button.
3 Choose a folder from the Look In file list.
4 Choose a file name from the list.
You can choose multiple scripts to convert by holding down SHIFT or
CTRL.
6 In the Script Conversion Utility window, you will see a message indicating
that the scripts have been converted and are located in the same folder.
You can move your scripts to another folder after they have been
converted.
You can also run CSCConv.exe from the Programs folder.
Using Visual Basic for Applications

VIsual Basic for Applications (VBA) allows you to automate your tasks in
CorelDRAW using Visual Basic language. The integration of the VBA Editor
lets you create projects that you can run in CorelDRAW. By incorporating
VBA, Corel provides an international programming language to users.
Creating an automation project with VBA

You can automate your tasks using the Visual Basic Editor which is available
within CorelDRAW.
To create an automation project

1 Click Tools, Visual Basic, Visual Basic Editor.
2 Using the Visual Basic Editor create your automation project.

Index
Index
! resetting when scaling . . . . . . . . . . . . . 281
.CPL . . . . . . . . . . . . . . . . . 314, 320 resetting when skewing . . . . . . . . . . . . 290
.EPS . . . . . . . . . . . . . . . . . 756-762 setting when scaling . . . . . . . . . . . . . 281
256 colors. . . . . . . . . . . . . . . . . 576 angle
converting images to . . . . . . . . . . . . . 576 changing for fountain fills . . . . . . . . . . . . 224
3D effects . . . . . . . . . . . . . . . . . 585 angular dimension lines . . . . . . . . . . . . . 127
3D Rotate . . . . . . . . . . . . . . . . 586 anti-aliasing text . . . . . . . . . . . . . . . 424
Cylinder . . . . . . . . . . . . . . . . 587 application commands . . . . . . . . . . . . . 823
Emboss . . . . . . . . . . . . . . . . 587 applying
Page Curl . . . . . . . . . . . . . . . . 589 halftone screens to bitmaps . . . . . . . . . . . 544
Perspective. . . . . . . . . . . . . . . . 590 styles . . . . . . . . . . . . . . . . . 148
Pinch Punch . . . . . . . . . . . . . . . 591 archived files . . . . . . . . . . . . . . . . 30
Sphere . . . . . . . . . . . . . . . . . 592 opening . . . . . . . . . . . . . . . . . 32
3D Rotate effect . . . . . . . . . . . . . . . 586 retrieving . . . . . . . . . . . . . . . . 32
archiving . . . . . . . . . . . . . . . . . 30
current versions . . . . . . . . . . . . . . . 31
A files. . . . . . . . . . . . . . . . . 30 - 31
active layers arcs
changing . . . . . . . . . . . . . . . . 195 creating . . . . . . . . . . . . . . . . 100
Adaptive Unsharp effect . . . . . . . . . . . . . 653 arranging objects . . . . . . . . . . . . 168, 176 - 177
add colors arrowheads
color palettes . . . . . . . . . . . . . . . 322 applying . . . . . . . . . . . . . . . . 254
Add Noise effect . . . . . . . . . . . . . . . 646 connector lines . . . . . . . . . . . . . . . 133
adding creating . . . . . . . . . . . . . . . . 255
multiple colors . . . . . . . . . . . . . . . 311 deleting . . . . . . . . . . . . . . . . 257
nodes . . . . . . . . . . . . . . . . . 119 editing . . . . . . . . . . . . . . . . . 256
pages . . . . . . . . . . . . . . . . . 35 switching . . . . . . . . . . . . . . . . 255
plug-ins . . . . . . . . . . . . . . . . 657 Art Stroke bitmap effects . . . . . . . . . . . . . 592
adjusting Art Stroke effects
color . . . . . . . . . . . . . . . . . 548 Charcoal . . . . . . . . . . . . . . . . 593
margin size . . . . . . . . . . . . . . . 695 Conte Crayon . . . . . . . . . . . . . . . 594
aligning . . . . . . . . . . . . . . . . . 367 Crayon . . . . . . . . . . . . . . . . . 595
Artistic text horizontally . . . . . . . . . . . . 361 Cubist . . . . . . . . . . . . . . . . . 595
columns vertically . . . . . . . . . . . . . . 367 Impressionist . . . . . . . . . . . . . . . 596
nodes and control points . . . . . . . . . . . . 122 Palette Knife . . . . . . . . . . . . . . . 597
objects . . . . . . . . . . . . . . 165, 178 - 179 Pastels . . . . . . . . . . . . . . . . . 598
Paragraph text horizontally . . . . . . . . . . . 367 Pen and Ink . . . . . . . . . . . . . . . 599
Paragraph text vertically . . . . . . . . . . . . 367 Pointillist . . . . . . . . . . . . . . . . 600
Ambient light . . . . . . . . . . . . . . . . 485 Scaperboard . . . . . . . . . . . . . . . 601
adding to bitmap extrusions . . . . . . . . . . . 486 Sketch Pad . . . . . . . . . . . . . . . . 602
anchor point . . . . . . . . . . . . . . . . 271 Water Marker . . . . . . . . . . . . . . . 603
moving objects using . . . . . . . . . . . . . 274 Watercolor. . . . . . . . . . . . . . . . 603
positioning objects using . . . . . . . . . . . . 271 Wave Paper . . . . . . . . . . . . . . . 604
resetting to center . . . . . . . . . . . . . . 274 Artistic text . . . . . . . . . . . . . . . . 337
Index i
Index
adding . . . . . . . . . . . . . . . . . 340 backup files
adding special characters . . . . . . . . . . . . 344 creating . . . . . . . . . . . . . . . . . 33
adding symbols . . . . . . . . . . . . . . 344 batch conversion
aligning horizontally . . . . . . . . . . . . . 361 Paletted color mode . . . . . . . . . . . . . 583
converting to curves . . . . . . . . . . . . . 341 Behind Fill
converting to Paragraph text . . . . . . . . . . . 340 setting . . . . . . . . . . . . . . . . . 252
editing . . . . . . . . . . . . . . . . . 347 beveled corners
embedding graphics . . . . . . . . . . . . . 345 setting . . . . . . . . . . . . . . . . . 249
formatting . . . . . . . . . . . . . . . . 351 bevels
shaping . . . . . . . . . . . . . . . . 341 applying gradient fills . . . . . . . . . . . . . 478
wrapping around text . . . . . . . . . . . . . 386 applying solid fills . . . . . . . . . . . . . . 477
ASCII file applying to bitmap extrusions . . . . . . . . . . . 482
PDF . . . . . . . . . . . . . . . . . 781 applying to objects. . . . . . . . . . . . . . 467
aspect ratio . . . . . . . . . . . . . . . . 274 applying to vector extrusions . . . . . . . . . . . 467
maintaining while sizing or stretching . . . . . . . . . 274 Bezier tool . . . . . . . . . . . . . . . 103, 106
assigning behaviour . . . . . . . . . . . . . . . . 137
bookmarks. . . . . . . . . . . . . . . . 668 tracing bitmaps with . . . . . . . . . . . . . 543
feedback sounds . . . . . . . . . . . . . . 817 binary file
new templates . . . . . . . . . . . . . . . 161 PDF . . . . . . . . . . . . . . . . . 781
object data . . . . . . . . . . . . . . 204 - 205 binding . . . . . . . . . . . . . . . . . 691
URLs . . . . . . . . . . . . . . . . . 669 binding, collating and cutting . . . . . . . . . . . 691
attributes creating styles . . . . . . . . . . . . . . . 692
copy from . . . . . . . . . . . . . . . . 168 custom. . . . . . . . . . . . . . . . . 692
augmenting the current fill . . . . . . . . . . . . 308 perfect binding. . . . . . . . . . . . . . . 691
auto saddle stitching . . . . . . . . . . . . . . 691
increase fountain steps. . . . . . . . . . . . . 756 styles . . . . . . . . . . . . . . . . . 691
Auto Dimension tool . . . . . . . . . . . . . . 128 Bit Planes effect . . . . . . . . . . . . . . . 613
auto inflate bitmap
bitmaps . . . . . . . . . . . . . . . . 566 compression . . . . . . . . . . . . . . 756, 758
Auto-fill open curves import . . . . . . . . . . . . . . . 745, 747
setting . . . . . . . . . . . . . . . . . 214 link . . . . . . . . . . . . . . . . . 745
Auto-join . . . . . . . . . . . . . . . . . 137 multi-layer. . . . . . . . . . . . . . . . 745
automatic backup . . . . . . . . . . . . . . 32 - 33 Bitmap Color Mask . . . . . . . . . . . . . . 547
automatic checking spelling . . . . . . . . . . . . 399 bitmap colors
adding corrections to Type Assist . . . . . . . . . . 400 displaying . . . . . . . . . . . . . . . . 544
ignoring errors. . . . . . . . . . . . . . . 400 hiding . . . . . . . . . . . . . . . . . 544
maximum number of words displayed . . . . . . . . . 400 bitmap effects
automatic gutter spacing . . . . . . . . . . . . . 693 3D . . . . . . . . . . . . . . . . . . 585
auto-spreading . . . . . . . . . . . . . . 735, 737 Art Stroke . . . . . . . . . . . . . . . . 592
Autotrace . . . . . . . . . . . . . . . . . 543 Blur . . . . . . . . . . . . . . . . . 605
Autotrace tracking. . . . . . . . . . . . . . . 137 Color Transform . . . . . . . . . . . . . . 612
Contour . . . . . . . . . . . . . . . . 616
Creative . . . . . . . . . . . . . . . . 619
B Distort . . . . . . . . . . . . . . . . . 634
backgrounds . . . . . . . . . . . . . . . . 43 Noise . . . . . . . . . . . . . . . . . 645
adding to page . . . . . . . . . . . . . . . 43 setting options . . . . . . . . . . . . . . . 585
removing from page. . . . . . . . . . . . . . 43 Sharpen . . . . . . . . . . . . . . . . 653
backing up files. . . . . . . . . . . . . . . . 32 bitmap extrusions. . . . . . . . . . . . . . . 465
ii Index
Index
applying . . . . . . . . . . . . . . . . 481 plug-in filters . . . . . . . . . . . . . . . 657
applying Ambient light. . . . . . . . . . . . . 486 processing quality . . . . . . . . . . . . . . 564
applying beveled . . . . . . . . . . . . . . 482 remove graininess . . . . . . . . . . . . . . 652
applying Point light . . . . . . . . . . . . . 487 resampling. . . . . . . . . . . . . . . . 564
applying texture fills . . . . . . . . . . . . . 485 resizing . . . . . . . . . . . . . . . . 564
bounding box . . . . . . . . . . . . . . . 483 special effects . . . . . . . . . . . . . . . 584
changing the resolution . . . . . . . . . . . . 481 tracing . . . . . . . . . . . . . . . . . 541
creating . . . . . . . . . . . . . . . . 481 tracing automatically . . . . . . . . . . . . . 543
deleting . . . . . . . . . . . . . . . . 481 tracing using Bezier tool . . . . . . . . . . . . 543
editing . . . . . . . . . . . . . . . . . 483 tracing using Freehand tool . . . . . . . . . . . 543
filling . . . . . . . . . . . . . . . . . 485 tracing with CorelTRACE . . . . . . . . . . . . 542
positioning. . . . . . . . . . . . . . . . 483 Black and White
rendering . . . . . . . . . . . . . . . . 481 converting bitmaps to . . . . . . . . . . . . . 569
rotating . . . . . . . . . . . . . . . . 484 bleed . . . . . . . . . . . . . . . . 45, 717, 722
selecting rendered . . . . . . . . . . . . . . 483 area . . . . . . . . . . . . . . . . . 759
setting the depth . . . . . . . . . . . . . . 484 displaying . . . . . . . . . . . . . . . . 45
sizing . . . . . . . . . . . . . . . . . 483 hiding . . . . . . . . . . . . . . . . . 45
stretching . . . . . . . . . . . . . . . . 483 limit . . . . . . . . . . . . . . . . . 722
bitmap blending colors . . . . . . . . . . . . . . 306, 311
fonts . . . . . . . . . . . . . . . . . 707 blends . . . . . . . . . . . . . . . . . . 431
images . . . . . . . . . . . . . . . . . 7 accelerating fill colors . . . . . . . . . . . . . 439
patterns . . . . . . . . . . . . . . . . 229 accelerating outline colors . . . . . . . . . . . . 439
bitmaps . . . . . . . . . . . . . . . . . 535 accelerating the intermediate objects . . . . . . . . . 439
applying a PostScript halftone screen . . . . . . . . . 545 along a path . . . . . . . . . . . . . . . 433
as page backgrounds . . . . . . . . . . . . . 43 changing the path . . . . . . . . . . . . . . 444
changing processing quality . . . . . . . . . . . 564 cloning. . . . . . . . . . . . . . . . . 435
changing resolution . . . . . . . . . . . . . 564 copying . . . . . . . . . . . . . . . . 435
color modes . . . . . . . . . . . . . . 566 - 567 creating . . . . . . . . . . . . . . . . 432
coloring . . . . . . . . . . . . . . . . 544 creating compound . . . . . . . . . . . . . 434
coloring monochrome . . . . . . . . . . . 544 - 545 creating straight-line . . . . . . . . . . . . . 432
converting between color modes . . . . . . . . . . 566 editing. . . . . . . . . . . . . . . . . 440
converting to vectors . . . . . . . . . . . . . 566 fusing . . . . . . . . . . . . . . . . . 443
correcting distortion . . . . . . . . . . . . . 564 looping. . . . . . . . . . . . . . . . . 437
cropping . . . . . . . . . . . . . . . . 535 mapping nodes . . . . . . . . . . . . . . 440
cropping after importing . . . . . . . . . . . . 536 modifying intermediate objects . . . . . . . . . . 436
cropping before importing . . . . . . . . . . . . 535 removing . . . . . . . . . . . . . . . . 445
displaying colors in . . . . . . . . . . . . . 546 removing from a path . . . . . . . . . . . . . 444
editing . . . . . . . . . . . . . . . 564 - 565 reversing . . . . . . . . . . . . . . . . 441
editing in PHOTO-PAINT . . . . . . . . . . . . 565 rotating intermediate objects . . . . . . . . . . . 437
hiding colors in . . . . . . . . . . . . . . 546 selecting the end object . . . . . . . . . . . . 441
inflating . . . . . . . . . . . . . . . . 566 selecting the path of . . . . . . . . . . . . . 444
linking . . . . . . . . . . . . . . . . . 538 selecting the start object . . . . . . . . . . . . 441
multi-layers . . . . . . . . . . . . . . . 747 separating . . . . . . . . . . . . . . . . 445
opening a color mask . . . . . . . . . . . . . 547 setting the color progression for intermediate objects . . . . . 438
outputting . . . . . . . . . . . . . . . . 710 setting the distance between intermediate objects . . . . . . 437
outputting as CMYK . . . . . . . . . . . . . 710 setting the number of intermediate objects . . . . . . . 436
outputting as grayscale . . . . . . . . . . . . 710 splitting . . . . . . . . . . . . . . . . 442
outputting as RGB . . . . . . . . . . . . . . 710 Blocks effect . . . . . . . . . . . . . . . . 634
Index iii
Index
Blur effects . . . . . . . . . . . . . . . . 605 center point
Directional Smooth . . . . . . . . . . . . . 606 changing fountain fills . . . . . . . . . . . . . 222
Gaussian Blur . . . . . . . . . . . . . . . 606 centering the printed image . . . . . . . . . . . . 699
Jaggy Despeckle . . . . . . . . . . . . . . 607 CGI script address
Low Pass . . . . . . . . . . . . . . . . 608 adding . . . . . . . . . . . . . . . . . 664
Motion Blur . . . . . . . . . . . . . . . 609 changes . . . . . . . . . . . . . . . . . 165
Radial Blur . . . . . . . . . . . . . . . 609 redoing a series . . . . . . . . . . . . . . 167
Smooth. . . . . . . . . . . . . . . . . 610 undoing and redoing . . . . . . . . . . . . . 165
Soften . . . . . . . . . . . . . . . . . 611 undoing a series . . . . . . . . . . . . . . 166
Zoom . . . . . . . . . . . . . . . . . 611 character properties
bold formatting bold . . . . . . . . . . . . . . . . . 352
applying to text . . . . . . . . . . . . . . 352 changing characters spacing . . . . . . . . . . . 358
bookmarks . . . . . . . . . . . . . . . . 665 changing spacing between lines . . . . . . . . . . 360
assigning . . . . . . . . . . . . . . . . 668 changing text case . . . . . . . . . . . . . . 356
creating hyperlinks to . . . . . . . . . . . . . 668 changing word spacing. . . . . . . . . . . . . 358
editing . . . . . . . . . . . . . . . . . 668 italics . . . . . . . . . . . . . . . . . 352
bounding box . . . . . . . . . . . . . . . . 756 kerning . . . . . . . . . . . . . . . . 359
breaking a path . . . . . . . . . . . . . . . 125 modifying overscore line properties . . . . . . . . . 354
breaking apart modifying stikethrough properties . . . . . . . . . . 354
objects . . . . . . . . . . . . . . . 183 - 184 modifying underline line properties . . . . . . . . . 354
Paragraph text . . . . . . . . . . . . . . . 382 overscore . . . . . . . . . . . . . . . . 353
Brighten lens . . . . . . . . . . . . . . . . 513 removing rotations. . . . . . . . . . . . . . 364
brightness removing shifts . . . . . . . . . . . . . . 364
adjusting . . . . . . . . . . . . . . . . 550 rotating . . . . . . . . . . . . . . . 362 - 363
Brightness-Contrast-Intensity effect . . . . . . . . . . 550 shifting . . . . . . . . . . . . . . . . 362
Browse page spacing . . . . . . . . . . . . . . . . 357
in Scrapbook, . . . . . . . . . . . . . . . 49 strikethrough . . . . . . . . . . . . . . . 353
bullets. . . . . . . . . . . . . . . . . . 374 subscript . . . . . . . . . . . . . . . . 355
adding . . . . . . . . . . . . . . . . . 374 superscript. . . . . . . . . . . . . . . . 355
customizing . . . . . . . . . . . . . . . 375 underline . . . . . . . . . . . . . . . . 353
removing . . . . . . . . . . . . . . . . 374 characters. . . . . . . . . . . . . . . . . 337
displaying outlines when spacing . . . . . . . . . . 361
formatting properties . . . . . . . . . . . . . 351
C kerning . . . . . . . . . . . . . . . . 359
calibrating rulers . . . . . . . . . . . . . . . 74 Charcoal effect . . . . . . . . . . . . . . . 593
calibration bars . . . . . . . . . . . . . . . 723 child colors
calligraphic creating . . . . . . . . . . . . . . . . 153
pasting text as . . . . . . . . . . . . . . . 428 creating automatically . . . . . . . . . . . . . 154
Calligraphic choosing a profile . . . . . . . . . . . . . . . 719
Natural Media tool mode . . . . . . . . . . . . 114 choosing an EPS file
calligraphic outlines PDF . . . . . . . . . . . . . . . . . 783
creating . . . . . . . . . . . . . . . . 251 choosing cut or fold marks . . . . . . . . . . . . 694
callouts . . . . . . . . . . . . . . . . . 126 CIE Lab . . . . . . . . . . . . . . . . . 303
creating . . . . . . . . . . . . . . . . 129 circles
one-segment . . . . . . . . . . . . . . . 129 drawing . . . . . . . . . . . . . . . . . 86
two-segment . . . . . . . . . . . . . . . 129 shaping . . . . . . . . . . . . . . . . 100
center of rotation clearing . . . . . . . . . . . . . . . . . 265
resetting . . . . . . . . . . . . . . . . 286 transformations . . . . . . . . . . . . . . 265
iv Index
Index
clipart . . . . . . . . . . . . . . . . . . 49 mixing . . . . . . . . . . . . . . . . . 306
adding . . . . . . . . . . . . . . . . . 750 naming . . . . . . . . . . . . . . . . 325
images . . . . . . . . . . . . . . . . . 750 out-of-gamut . . . . . . . . . . . . . . . 331
importing using Scrapbook . . . . . . . . . . . . 49 previewing separations. . . . . . . . . . . . . 695
in Scrapbook . . . . . . . . . . . . . . . 49 process. . . . . . . . . . . . . . . . . 729
opening using Scrapbook . . . . . . . . . . . . 49 spot . . . . . . . . . . . . 308, 313, 704, 729, 732
printing using Scrapbook . . . . . . . . . . . . 49 Color Add lens . . . . . . . . . . . . . . . . 515
Clipboard . . . . . . . . . . . . . . 169, 763, 766 color adjustments . . . . . . . . . . . . . . . 548
copying objects. . . . . . . . . . . . . . . 169 common controls . . . . . . . . . . . . . . 584
cutting objects . . . . . . . . . . . . . . . 169 Color Adjustment effects . . . . . . . . . . . . . 548
in Object Data Manager . . . . . . . . . . . . 202 Brightness-Contrast-Intensity . . . . . . . . . . . 550
pasting from . . . . . . . . . . . . . . . 170 Color Balance . . . . . . . . . . . . . . . 551
pasting text as calligraphic text . . . . . . . . . . 428 Deinterlace. . . . . . . . . . . . . . . . 552
pasting text as curves . . . . . . . . . . . . . 428 Desaturate . . . . . . . . . . . . . . . . 553
pasting text as text . . . . . . . . . . . . . 428 Gamma . . . . . . . . . . . . . . . . 553
clipping holes . . . . . . . . . . . . . . 183 - 184 Hue-Saturation-Lightness . . . . . . . . . . . . 554
cloned auto-ordering . . . . . . . . . . . . . . 692 Invert . . . . . . . . . . . . . . . . . 555
clones . . . . . . . . . . . . . . . . . . 171 Level Equalization . . . . . . . . . . . . . . 556
changing the offset of . . . . . . . . . . . . . 172 Local Equalization effect . . . . . . . . . . . . 557
creating . . . . . . . . . . . . . . . . 171 Posterize . . . . . . . . . . . . . . . . 558
finding masters of . . . . . . . . . . . . . . 171 Replace Colors . . . . . . . . . . . . . . . 559
cloning Sample/Target Balance. . . . . . . . . . . . . 560
blends . . . . . . . . . . . . . . . . . 435 Selective Color . . . . . . . . . . . . . . . 561
contours . . . . . . . . . . . . . . . . 507 Tone Curve . . . . . . . . . . . . . . . . 562
drop shadows . . . . . . . . . . . . . . . 490 color balance
objects . . . . . . . . . . . . . . . 168, 171 adjusting . . . . . . . . . . . . . . . . 551
vector extrusions . . . . . . . . . . . . . . 468 Color Balance effect . . . . . . . . . . . . . . 551
closing files. . . . . . . . . . . . . . . . 24, 29 color correction . . . . . . . . . . 325, 330 - 331, 562, 733
closing windows . . . . . . . . . . . . . . . 29 simulating printer output . . . . . . . . . . 330 - 331
CMS . . . . . . . . . . . . . . . . . . 325 Color Docker window . . . . . . . . . . . . . 308, 317
CMYK color model . . . . . . . . . . . . . 303, 309 color gamut . . . . . . . . . . . . . . . 325, 331
converting bitmaps to . . . . . . . . . . . . . 576 viewing. . . . . . . . . . . . . . . . . 331
printing . . . . . . . . . . . . . . . . 729 color
collating . . . . . . . . . . . . . . . . . 679 grid . . . . . . . . . . . . . . . . . 311
color . . . . . . . . . . . . . . . . . 303, 710 halftones . . . . . . . . . . . . . . . . 733
accurately reproducing . . . . . . . . . . 325, 330 - 331 harmonies. . . . . . . . . . . . . . . 306, 311
adding to monochrome bitmaps, . . . . . . . . . . 545 matching mode . . . . . . . . . . . . . . 330
adjusting . . . . . . . . . . . . . . . . 548 Color Limit lens . . . . . . . . . . . . . . . 515
all colors as black . . . . . . . . . . . . . . 710 color management . . . . . . . . . . . . 330 - 331, 733
all colors as grayscale . . . . . . . . . . . . . 710 system . . . . . . . . . . . . . . . . . 325
assigning to hotspots . . . . . . . . . . . . . 667 color masks
changing the drop shadow . . . . . . . . . . . . 492 changing color of . . . . . . . . . . . . . . 547
choosing . . . . . . . . . . 306, 308, 309, 311, 313 - 316 displaying colors in bitmaps . . . . . . . . . . . 546
correction . . . . . . . . . . . . . . . . 754 editing colors in . . . . . . . . . . . . . . 547
creating. . . . . . . . . . . . . 306, 309, 311, 315 hiding colors in bitmaps . . . . . . . . . . . . 545
default . . . . . . . . . . . . . . . . . 316 opening . . . . . . . . . . . . . . . . 547
editing a color mask . . . . . . . . . . . . . 547 saving . . . . . . . . . . . . . . . . . 547
management . . . . . . . . . . . . . . 756, 759 color mixer . . . . . . . . . . . . . . . . 306
Index v
Index
color model . . . . . . . . . . . . . . . 303, 315 setting for blends . . . . . . . . . . . . . . 438
CMYK . . . . . . . . . . . . . . . . 303, 315 setting for contours . . . . . . . . . . . . . 508
HSB . . . . . . . . . . . . . . . 303, 309, 315 color reproduction. . . . . . . . . . . . . . . 681
Lab. . . . . . . . . . . . . . . . . . 315 color separations . . . . . . . . . . . . . 729 - 732
RGB . . . . . . . . . . . . . . . . 303, 315 advanced settings . . . . . . . . . . . . . . 734
color modes . . . . . . . . . . . . . . . 567, 576 converting spot colors to CMYK. . . . . . . . . . . 732
Black and White . . . . . . . . . . . . . . 569 halftone screen . . . . . . . . . . . . 727, 733 - 734
CMYK color . . . . . . . . . . . . . . . . 576 printing . . . . . . . . . . . . . . . . 731
common controls . . . . . . . . . . . . . . 584 simulating output . . . . . . . . . . . . . . 733
converting between . . . . . . . . . . . . . 567 trapping . . . . . . . . . . . . . . . 735 - 739
converting to Paletted . . . . . . . . . . . . . 576 color space
Duotone . . . . . . . . . . . . . . . . 572 controlling CMYK . . . . . . . . . . . . . . 332
Grayscale . . . . . . . . . . . . . . . . 571 conversion . . . . . . . . . . . . . . . . 332
Lab color . . . . . . . . . . . . . . . . 575 converting . . . . . . . . . . . . . . . . 332
Paletted . . . . . . . . . . . . . . . 576, 578 color styles . . . . . . . . . . . . . . 143 - 145, 152
Paletted options . . . . . . . . . . . . . . 580 applying . . . . . . . . . . . . . . . . 156
RGB color . . . . . . . . . . . . . . . . 575 creating child colors . . . . . . . . . . . . 153 - 154
specifying range sensitivity . . . . . . . . . . . 580 creating parent colors . . . . . . . . . . . . . 152
color override . . . . . . . . . . . . . . . . 200 deleting . . . . . . . . . . . . . . . . 157
Color Palette . . . . . . . . . . . . . . . . 308 editing . . . . . . . . . . . . . . . . . 155
changing the border width . . . . . . . . . . . . 803 moving a color style under another parent . . . . . . . . 157
changing the number of Color Palette rows . . . . . . . 804 renaming . . . . . . . . . . . . . . . . 156
choosing colors . . . . . . . . . . . . . 308-309 sorting colors . . . . . . . . . . . . . . . 157
editing . . . . . . . . . . . . . . . . . 581 color swatches
on-screen . . . . . . . . . 308, 313, 314, 318 - 320, 322 view large . . . . . . . . . . . . . . . . 803
right mouse button menu options . . . . . . . . . . 802 view small . . . . . . . . . . . . . . . . 803
setting right mouse menu button . . . . . . . . . . 802 Color Transform effects . . . . . . . . . . . . . 612
color palettes . . . . . . . . . . . . 306, 314, 318, 320 Bit Planes . . . . . . . . . . . . . . . . 613
accessing . . . . . . . . . . . . . . . . 318 Halftone . . . . . . . . . . . . . . . . 614
adding colors . . . . . . . . . . . . . . . 322 Psychedelic. . . . . . . . . . . . . . . . 615
adding multiple colors . . . . . . . . . . . . . 324 Solarize . . . . . . . . . . . . . . . . 615
created from document. . . . . . . . . . . . . 321 color trapping . . . . . . . . . . . . . . 735 - 737
created from Visible . . . . . . . . . . . . . 321 color viewer . . . . . . . . . . . . . . . 306, 309
custom . . . . . . . . . . . . . . 314, 320 - 325 Color Wheel . . . . . . . . . . . . . . . . 311
customizing . . . . . . . . . . . . . . . 320 coloring
deleting colors . . . . . . . . . . . . . . . 322 guidelines . . . . . . . . . . . . . . . . 68
editing . . . . . . . . . . . . . . . . . 322 colors
fixed . . . . . . . . . . . . . . . . 306, 313 applying to outlines . . . . . . . . . . . . . 247
naming colors . . . . . . . . . . . . . . . 325 balancing . . . . . . . . . . . . . . . . 560
opening . . . . . . . . . . . . . . . . 318 inverting . . . . . . . . . . . . . . . . 555
removing multiple colors . . . . . . . . . . . . 324 replacing . . . . . . . . . . . . . . . . 559
resetting . . . . . . . . . . . . . . . . 322 columns . . . . . . . . . . . . . . . . . 364
resetting range sensitivity . . . . . . . . . . . . 582 aligning vertically . . . . . . . . . . . . . . 367
saving . . . . . . . . . . . . . . . . . 323 creating equal widths . . . . . . . . . . . . . 365
sorting colors . . . . . . . . . . . . . . . 322 creating unequal widths . . . . . . . . . . . . 366
color profile . . . . . . . . . 325, 330 - 331, 680 - 681, 733 editing . . . . . . . . . . . . . . . . . 365
setting . . . . . . . . . . . . . . . . . 331 offsetting fills . . . . . . . . . . . . . . . 240
color progression combining. . . . . . . . . . . . . . . . . 184
vi Index
Index
blends . . . . . . . . . . . . . . . . . 434 separating . . . . . . . . . . . . . . . . 509
breaking apart combined objects . . . . . . . . . . 184 setting the color progression . . . . . . . . . . . 508
objects . . . . . . . . . . . . . . . 165, 183 contrast
Paragraph text . . . . . . . . . . . . . . . 382 adjusting . . . . . . . . . . . . . . . . 550
commands control points . . . . . . . . . . . . . . . . 106
repeating . . . . . . . . . . . . . . . . 167 aligning . . . . . . . . . . . . . . . . 122
common controls moving . . . . . . . . . . . . . . . . . 121
bitmap effects . . . . . . . . . . . . . . . 584 shaping objects using . . . . . . . . . . . . . 121
Color Adjustment effects . . . . . . . . . . . . 584 controlling printer bands . . . . . . . . . . . . . 712
color modes . . . . . . . . . . . . . . . 584 controls . . . . . . . . . . . . . . . . . . 4
special effects . . . . . . . . . . . . . . . 584 accessing Help for . . . . . . . . . . . . . . 5
complex fills converting
PDF . . . . . . . . . . . . . . . . . 782 Artistic text to curves . . . . . . . . . . . . . 341
composite printer profile . . . . . . . . . . . . . 681 bitmap color modes . . . . . . . . . . . . . 567
compound blends . . . . . . . . . . . . . . . 431 bitmaps . . . . . . . . . . . . . . . . 566
creating . . . . . . . . . . . . . . . . 434 bitmaps to Black and White . . . . . . . . . . . 569
compressing bitmaps bitmaps to CMYK . . . . . . . . . . . . . . 576
PDF . . . . . . . . . . . . . . . . . 778 bitmaps to Duotone . . . . . . . . . . . . . 572
compression bitmaps to Grayscale . . . . . . . . . . . . . 571
type . . . . . . . . . . . . . . . . 751 - 752 bitmaps to Lab color . . . . . . . . . . . . . 575
CompuServe bitmaps to paletted image . . . . . . . . . . . . 578
technical support . . . . . . . . . . . . . . 17 bitmaps to RGB color . . . . . . . . . . . . . 575
conflicts . . . . . . . . . . . . . . . . . 671 bitmaps to vectors . . . . . . . . . . . . . . 541
between Internet objects . . . . . . . . . . . . 671 saving and loading options. . . . . . . . . . . . 579
repairing in documents . . . . . . . . . . . . 672 spot colors to CMYK at print time . . . . . . . . . . 732
scanning documents for . . . . . . . . . . . . 671 text types . . . . . . . . . . . . . . . . 340
verifying between Internet objects . . . . . . . . . . 671 vectors to bitmaps . . . . . . . . . . . . . . 567
connecting coordinates
curves . . . . . . . . . . . . . . . . . 105 in scripts . . . . . . . . . . . . . . . . 825
nodes . . . . . . . . . . . . . . . . . 120 copies . . . . . . . . . . . . . . . . . . 682
connector lines . . . . . . . . . . . . . . . 126 collating . . . . . . . . . . . . . . . . 682
drawing . . . . . . . . . . . . . . . . 133 printing . . . . . . . . . . . . . . . . 682
constrain angle . . . . . . . . . . . . . . . 264 copying . . . . . . . . . . . . . . . . . 170
changing . . . . . . . . . . . . . . . . 264 an object’s perspective . . . . . . . . . . . . . 525
setting . . . . . . . . . . . . . . . . . 138 blends . . . . . . . . . . . . . . . . . 435
Conte Crayon effect . . . . . . . . . . . . . . 594 contours . . . . . . . . . . . . . . . . 507
Contour effects . . . . . . . . . . . . . . . 616 drop shadows . . . . . . . . . . . . . . . 490
Edge Detect . . . . . . . . . . . . . . . 616 envelopes . . . . . . . . . . . . . . . . 459
Find Edges . . . . . . . . . . . . . . . . 617 files in Scrapbook . . . . . . . . . . . . . . 50
Trace Contours . . . . . . . . . . . . . . . 618 fills. . . . . . . . . . . . . . . . . . 213
contours . . . . . . . . . . . . . . . . . 503 lenses . . . . . . . . . . . . . . . . . 520
applying to the center . . . . . . . . . . . . . 504 object data. . . . . . . . . . . . . . . . 205
cloning. . . . . . . . . . . . . . . . . 507 object properties . . . . . . . . . . . . . . 168
copying . . . . . . . . . . . . . . . . 507 objects . . . . . . . . . . . . . . . 168 - 169
creating . . . . . . . . . . . . . . . . 504 objects between layers . . . . . . . . . . . . . 190
editing . . . . . . . . . . . . . . . . . 507 Pull distortions . . . . . . . . . . . . . . 448
inside an object . . . . . . . . . . . . . . 505 Push distortions . . . . . . . . . . . . . . 448
outside an object . . . . . . . . . . . . . . 506 the contents of PowerClip objects . . . . . . . . . . 528
Index vii
Index
transparencies . . . . . . . . . . . . . . . 500 to draw a circle . . . . . . . . . . . . . . . 86
Twister distortions . . . . . . . . . . . . . . 455 to draw a square . . . . . . . . . . . . . . 86
vector extrusions . . . . . . . . . . . . . . 468 Cubist effect . . . . . . . . . . . . . . . . 595
Zipper distortions . . . . . . . . . . . . . . 451 curve complexity . . . . . . . . . . . . . . . 702
Corel Corporation curve objects . . . . . . . . . . . . . . . . 117
about. . . . . . . . . . . . . . . . . . 3 adding nodes . . . . . . . . . . . . . . . 119
Corel SCRIPT . . . . . . . . . . . . . . . . 822 aligning nodes and control points . . . . . . . . . . 122
application commands . . . . . . . . . . . . . 823 breaking . . . . . . . . . . . . . . . . 125
launching . . . . . . . . . . . . . . . . 823 changing a segment to a line or curve . . . . . . . . . 124
OLE Automation . . . . . . . . . . . . . . 827 deleting nodes . . . . . . . . . . . . . . . 120
programming statements . . . . . . . . . . . . 824 selecting nodes . . . . . . . . . . . . . 118 - 119
running a script . . . . . . . . . . . . . . 821 shaping. . . . . . . . . . . . . . . . . 121
CorelDRAW . . . . . . . . . . . . . . . . 3, 317 curves . . . . . . . . . . . . . 85, 103, 104, 107, 117
concepts . . . . . . . . . . . . . . . . . 6 connecting using the Freehand tool. . . . . . . . . . 104
suite . . . . . . . . . . . . . . . . . . 6 converting Artistic text . . . . . . . . . . . . . 341
corner threshold . . . . . . . . . . . . . . . 137 drawing . . . . . . . . . . . . . . . . 104
corners drawing with the Bezier tool . . . . . . . . . . . 106
rounding . . . . . . . . . . . . . . . . 99 erasing as you draw . . . . . . . . . . . . . 104
setting . . . . . . . . . . . . . . . . . 249 pasting text as . . . . . . . . . . . . . . . 428
Crafts effect . . . . . . . . . . . . . . . . 620 rotating and skewing . . . . . . . . . . . . . 122
Crayon effect . . . . . . . . . . . . . . . . 595 stretching and scaling . . . . . . . . . . . . . 122
creating cusp node . . . . . . . . . . . . . . . . . 123
arcs or pie-shapes . . . . . . . . . . . . . . 100 Custom Color Map lens . . . . . . . . . . . . . 518
colors . . . . . . . . . . . . . 306, 309, 311, 315 custom dialog boxes . . . . . . . . . . . . . . 824
imposition layout . . . . . . . . . . . . . . 689 custom fountain fills . . . . . . . . . . . . . . 219
Creative effects . . . . . . . . . . . . . . . 619 applying . . . . . . . . . . . . . . . . 217
Crafts . . . . . . . . . . . . . . . . . 620 custom page size . . . . . . . . . . . . . . . 37
Crystallize . . . . . . . . . . . . . . . . 621 defining . . . . . . . . . . . . . . . . . 37
Fabric . . . . . . . . . . . . . . . . . 622 deleting . . . . . . . . . . . . . . . . . 37
Frame . . . . . . . . . . . . . . . . . 623 saving . . . . . . . . . . . . . . . . . 37
Glass Block . . . . . . . . . . . . . . . 624 custom texture fills
Kid’s Play . . . . . . . . . . . . . . . . 625 creating . . . . . . . . . . . . . . . . 234
Mosaic . . . . . . . . . . . . . . . . . 626 saving . . . . . . . . . . . . . . . . . 234
Particles . . . . . . . . . . . . . . . . 627 custom toolbars
Scatter . . . . . . . . . . . . . . . . . 628 adding toolbar items to . . . . . . . . . . . . 804
Smoked Glass . . . . . . . . . . . . . . . 628 creating . . . . . . . . . . . . . . . . 806
Stained Glass . . . . . . . . . . . . . . . 629 deleting . . . . . . . . . . . . . . . . 806
Vignette . . . . . . . . . . . . . . . . 630 rearranging toolbar items on . . . . . . . . . . . 804
Vortex . . . . . . . . . . . . . . . . . 632 removing toolbar items from . . . . . . . . . . . 804
Weather . . . . . . . . . . . . . . . . 633 renaming . . . . . . . . . . . . . . . . 807
crop . . . . . . . . . . . . . . . . . 745, 747 customer service . . . . . . . . . . . . . . . 17
marks. . . . . . . . . . . . . . . . 722, 759 customizing
cropping bitmaps . . . . . . . . . . . . . . . 535 Color Palette . . . . . . . . . . . . . . . 802
after importing . . . . . . . . . . . . . . 536 feedback sounds . . . . . . . . . . . . . . 817
before importing . . . . . . . . . . . . . . 535 file associations . . . . . . . . . . . . . . 816
Crystallize effect . . . . . . . . . . . . . . . 621 filters . . . . . . . . . . . . . . . . . 815
CSP files . . . . . . . . . . . . . . . . . 717 Graphic And Text Docker . . . . . . . . . . . . 151
CTRL key Internet objects . . . . . . . . . . . . . . 664
viii Index
Index
keyboard shortcuts. . . . . . . . . . . . . 792 . preset guidelines . . . . . . . . . . . . . . 69
Link Manager Docker . . . . . . . . . . . . 541 . standard guidelines . . . . . . . . . . . . . . 68
menus . . . . . . . . . . . . . . . . 797 . styles . . . . . . . . . . . . . . . . . 147
range sensitivity . . . . . . . . . . . . . 580 . views . . . . . . . . . . . . . . . . . 75
screen resolution . . . . . . . . . . . . . . 74 deleting imposition layout . . . . . . . . . . . . 689
Start-Up options . . . . . . . . . . . . . . 791 densitometer scales . . . . . . . . . . . . . . 723
the Property Bar . . . . . . . . . . . . . . 811 depth
the Status Bar . . . . . . . . . . . . . . . 813 changing for bitmap extrusions . . . . . . . . . . 484
toolbars . . . . . . . . . . . . . . . . 804 changing for vector extrusions . . . . . . . . . . . 471
cut marks . . . . . . . . . . . . . . . . . 694 Desaturate effect . . . . . . . . . . . . . . . 553
cut or fold marks . . . . . . . . . . . . . . . 694 desaturation . . . . . . . . . . . . . . . . 553
cutting . . . . . . . . . . . . . . . . 261, 267 Description box . . . . . . . . . . . . . . . 321
files in Scrapbook . . . . . . . . . . . . . . 50 deselecting
objects . . . . . . . . . . . . . . 168 - 169, 172 all objects . . . . . . . . . . . . . . . . 94
objects in two . . . . . . . . . . . . . . . 267 nodes . . . . . . . . . . . . . . . . . 119
objects into subpaths . . . . . . . . . . . . . 267 specific objects . . . . . . . . . . . . . . . 94
Cylinder effect. . . . . . . . . . . . . . . . 587 Desktop Color Separation (DCS) . . . . . . . . . . . 728
dialog boxes . . . . . . . . . . . . . . . . 791
accessing Help for . . . . . . . . . . . . . . 5
D changing the position of . . . . . . . . . . . . 792
database Corel SCRIPT . . . . . . . . . . . . . . . 824
creating . . . . . . . . . . . . . . . . 202 DIC . . . . . . . . . . . . . . . . . . 332
DCS (Desktop Color Separation) . . . . . . . . . . . 728 DIC color . . . . . . . . . . . . . . . . 313, 732
decimals Diffuse effect . . . . . . . . . . . . . . . . 647
setting number shown for measurements . . . . . . . . 138 dimension lines . . . . . . . . . . . . . . 125 - 126
default color . . . . . . . . . . . . . . . . 316 angular . . . . . . . . . . . . . . . 126 - 127
default graphic styles . . . . . . . . . . . . . . 149 dynamic . . . . . . . . . . . . . . . . 130
default on-screen Color Palette . . . . . . . . . . 311, 319 horizontal . . . . . . . . . . . . . . 126 - 127
default options linking to objects . . . . . . . . . . . . . . 129
beginning new documents with . . . . . . . . . . . 46 one-segment callout lines . . . . . . . . . . . 126, 129
default settings for zooming and panning . . . . . . . . . 73 placement of dimension text . . . . . . . . . . . 127
default text scale . . . . . . . . . . . . . . . . . 138
changing units . . . . . . . . . . . . . . . 425 slanted . . . . . . . . . . . . . . . 126 - 127
defining hotspots . . . . . . . . . . . . . . . 666 text display . . . . . . . . . . . . . . . 130
Deinterlace effect . . . . . . . . . . . . . . . 552 text point size and font . . . . . . . . . . . . . 131
deleting . . . . . . . . . . . . . . . . . . two-segment callouts . . . . . . . . . . . . . 129
color palettes . . . . . . . . . . . . . . . 322 units . . . . . . . . . . . . . . . . . 130
color styles . . . . . . . . . . . . . . . . 157 vertical. . . . . . . . . . . . . . . . . 127
custom toolbars . . . . . . . . . . . . . . 806 dimension text. . . . . . . . . . . . . . . . 127
files in Scrapbook . . . . . . . . . . . . . . 50 formatting . . . . . . . . . . . . . . . . 131
fills and outlines using Scrapbook . . . . . . . . . . 51 placement . . . . . . . . . . . . . . . 127, 130
layers . . . . . . . . . . . . . . . . . 195 positioning . . . . . . . . . . . . . . . . 132
line-ending shapes . . . . . . . . . . . . . . 257 Directional Sharpen effect. . . . . . . . . . . . . 654
nodes . . . . . . . . . . . . . . . . . 120 Directional Smooth effect . . . . . . . . . . . . . 606
objects . . . . . . . . . . . . . . . 168, 172 Displace effect. . . . . . . . . . . . . . . . 635
outlines . . . . . . . . . . . . . . . . 254 display bitmap colors . . . . . . . . . . . . . . 546
pages . . . . . . . . . . . . . . . . . 35 display bookmarks
pattern fills . . . . . . . . . . . . . . . 232 PDF . . . . . . . . . . . . . . . . . 787
Index ix
Index
display quality Link Manager . . . . . . . . . . . . . . . 539
adjusting in fountain fills . . . . . . . . . . . . 219 opening . . . . . . . . . . . . . . . . . 13
display thumbnails separating . . . . . . . . . . . . . . . . 13
PDF . . . . . . . . . . . . . . . . . 787 undocking . . . . . . . . . . . . . . . . 13
displaying docking
layers . . . . . . . . . . . . . . . . . 196 toolbars . . . . . . . . . . . . . . . . 804
Status Bar . . . . . . . . . . . . . . . . 814 on-screen Color Palette. . . . . . . . . . . . . 319
the Object Manager . . . . . . . . . . . . . 188 document information
Distort effects . . . . . . . . . . . . . . . . 634 printing . . . . . . . . . . . . . . . . . 80
Blocks . . . . . . . . . . . . . . . . . 634 saving . . . . . . . . . . . . . . . . . 80
Displace . . . . . . . . . . . . . . . . 635 viewing. . . . . . . . . . . . . . . . 79 - 80
Offset . . . . . . . . . . . . . . . . . 637 document overprints
Pixelate . . . . . . . . . . . . . . . . 638 PDF . . . . . . . . . . . . . . . . . 782
Ripple . . . . . . . . . . . . . . . . . 639 document page . . . . . . . . . . . . . . . 689
Swirl . . . . . . . . . . . . . . . . . 640 document settings . . . . . . . . . . . . . . . 48
Tile. . . . . . . . . . . . . . . . . . 641 saving . . . . . . . . . . . . . . . . . 48
Wet Paint . . . . . . . . . . . . . . . . 642 using consistent . . . . . . . . . . . . . . . 47
Whirlpool . . . . . . . . . . . . . . . . 643 documents. . . . . . . . . . . . . . . . . 661
Wind . . . . . . . . . . . . . . . . . 644 creating for the World Wide Web . . . . . . . . . . 661
distorting objects . . . . . . . . . . . . . . . 445 navigating . . . . . . . . . . . . . . . . 40
applying new . . . . . . . . . . . . . . . 456 PDF . . . . . . . . . . . . . . . . . 785
applying Pull . . . . . . . . . . . . . . . 447 publishing to the Internet . . . . . . . . . . . . 672
applying Push . . . . . . . . . . . . . . . 446 testing the readability . . . . . . . . . . . . . 414
applying random Zipper . . . . . . . . . . . . 450 dot gain . . . . . . . . . . . . . . . . . 726
applying Twister . . . . . . . . . . . . . . 453 dot leader tabs . . . . . . . . . . . . . . . 371
applying Zipper . . . . . . . . . . . . . . 449 downsampling . . . . . . . . . . . . . . . . 711
changing the center of . . . . . . . . . . . . . 456 bitmaps . . . . . . . . . . . . . . . . 711
changing the number of Zipper points . . . . . . . . . 452 color bitmaps . . . . . . . . . . . . . . . 711
changing the Twister rotation . . . . . . . . . . . 454 grayscale bitmaps . . . . . . . . . . . . . . 711
copying Pull . . . . . . . . . . . . . . . 448 monochrome bitmaps . . . . . . . . . . . . . 711
copying Push . . . . . . . . . . . . . . . 448 Draft
copying Twister . . . . . . . . . . . . . . 455 setting the view quality to . . . . . . . . . . . . 78
copying Zipper . . . . . . . . . . . . . . . 451 dragging . . . . . . . . . . . . . . . . 766, 769
editing Zipper . . . . . . . . . . . . . . . 451 Paragraph text from frames . . . . . . . . . . . 383
emphasizing Zippers in specific areas . . . . . . . . . 452 drawing . . . . . . . . . . . . . . . . . 85
modifying . . . . . . . . . . . . . . . . 455 callout lines . . . . . . . . . . . . . . . 129
Pull . . . . . . . . . . . . . . . . . 446 circles . . . . . . . . . . . . . . . . . 86
Push . . . . . . . . . . . . . . . . . 446 connected curves . . . . . . . . . . . . . . 104
removing Pull . . . . . . . . . . . . . . . 447 connector lines . . . . . . . . . . . . . 125, 133
removing Push . . . . . . . . . . . . . . . 446 curves. . . . . . . . . . . . . 103 - 104, 106 - 107
removing Twister . . . . . . . . . . . . . . 453 dimension lines. . . . . . . . . . . . . . . 125
removing Zipper . . . . . . . . . . . . . . 449 ellipses . . . . . . . . . . . . . . . . . 86
Twister . . . . . . . . . . . . . . . . . 453 graph paper. . . . . . . . . . . . . . . . 88
Zipper . . . . . . . . . . . . . . . . . 448 grid shapes . . . . . . . . . . . . . . . . 88
distributing objects . . . . . . . . . . . . 165, 178, 180 horizontal dimension lines . . . . . . . . . . . . 127
Docker windows. . . . . . . . . . . . . . . 9, 317 one-segment callouts . . . . . . . . . . . . . 129
closing . . . . . . . . . . . . . . . . . 13 polygons . . . . . . . . . . . . . . . . 86
collapsing . . . . . . . . . . . . . . . . 13 rectangles . . . . . . . . . . . . . . . . 85
x Index
Index
slanted dimension lines. . . . . . . . . . . . . 127 DSC (Document Structuring Convention) . . . . . . . . . 720
spirals . . . . . . . . . . . . . . . . . 87 Duotone
squares . . . . . . . . . . . . . . . . . 85 converting bitmaps to . . . . . . . . . . . . . 572
stars . . . . . . . . . . . . . . . . . 86 duplicate objects
straight lines . . . . . . . . . . . . . . . 104 changing the offset of . . . . . . . . . . . . . 172
two-segment callouts . . . . . . . . . . . . . 129 creating when transforming . . . . . . . . . . . 266
vertical dimension lines . . . . . . . . . . . . 127 duplicating objects . . . . . . . . . . . . . 168, 170
Drawing Page . . . . . . . . . . . . . . . 8, 34 setting the offset . . . . . . . . . . . . . . 172
setting up . . . . . . . . . . . . . . . . 34 while transforming. . . . . . . . . . . . . . 266
drawing precision Dust and Scratch effect . . . . . . . . . . . . . 648
setting . . . . . . . . . . . . . . . . . 138 dynamic dimension lines . . . . . . . . . . . . . 130
drawing scale . . . . . . . . . . . . . . . . 55
customizing . . . . . . . . . . . . . . . . 59
setting . . . . . . . . . . . . . . . . . 59 E
drawing settings . . . . . . . . . . . . . . . 137 Edge Detect effect . . . . . . . . . . . . . . . 616
drawing tools edge pad value
changing default settings . . . . . . . . . . . . 136 adjusting for fountain fills . . . . . . . . . . . . 225
setting preferences . . . . . . . . . . . . . . 136 edge style
drawings . . . . . . . . . . . . . . . . 22, 25 changing for drop shadows . . . . . . . . . . . 493
beginning . . . . . . . . . . . . . . . . 21 Edit Text dialog box
closing . . . . . . . . . . . . . . . . . 24 automatically displaying the . . . . . . . . . . . 350
compressing. . . . . . . . . . . . . . . . 27 scrolling with the Intellimouse . . . . . . . . . . . 350
creating new . . . . . . . . . . . . . . . 22 editing
making portable. . . . . . . . . . . . . . . 27 across layers . . . . . . . . . . . . . . . 199
opening. . . . . . . . . . . . . . . . 22 - 23 bitmaps . . . . . . . . . . . . . . . 564 - 565
opening faster . . . . . . . . . . . . . . . 27 embedded OLE objects . . . . . . . . . . . . . 768
previewing . . . . . . . . . . . . . . . . 78 linked objects . . . . . . . . . . . . . . . 765
saving . . . . . . . . . . . . . . . . 24 - 25 object data. . . . . . . . . . . . . . . . 204
saving all open . . . . . . . . . . . . . . . 25 object data summaries. . . . . . . . . . . . . 206
driver compatibility . . . . . . . . . . . . . . 708 objects in the Object Manager . . . . . . . . . . . 189
drop caps . . . . . . . . . . . . . . . . . 368 processed Color Palette. . . . . . . . . . . . . 581
adding . . . . . . . . . . . . . . . . . 368 editing styles . . . . . . . . . . . . . . . . 146
changing settings . . . . . . . . . . . . . . 369 editing text
drop shadows . . . . . . . . . . . . . . . . 488 spell checking automatically . . . . . . . .
398 . . .
adding . . . . . . . . . . . . . . . . . 489 using Grammatik . . . . . . . . . . .
405 . . .
adjusting the opacity . . . . . . . . . . . . . 492 using the Spell Checker. . . . . . . . . .
398 . . .
changing the angle. . . . . . . . . . . . . . 491 using the Thesaurus . . . . . . . . . .
419 . . .
changing the color . . . . . . . . . . . . . . 492 using Type Assist . . . . . . . . . . .
418 . . .
changing the feathering properties. . . . . . . . . . 493 effects . . . . . . . . . . . . . . .
431 . . .
changing the offset. . . . . . . . . . . . . . 491 applying to Artistic text . . . . . . . . .
431 . . .
changing the perspective . . . . . . . . . . . . 494 applying to objects . . . . . . . . . . .
431 . . .
changing the resolution . . . . . . . . . . . . 495 applying to Paragraph text. . . . . . . . .
431 . . .
cloning. . . . . . . . . . . . . . . . . 490 Color Adjustment . . . . . . . . . . .
548 . . .
copying . . . . . . . . . . . . . . . . 490 color modes . . . . . . . . . . . .
567 . . .
creating . . . . . . . . . . . . . . . . 488 setting preview screen . . . . . . . . . .
585 . . .
editing . . . . . . . . . . . . . . . . . 491 special . . . . . . . . . . . . . .
584 . . .
fading . . . . . . . . . . . . . . . . . 495 Ellipse tool . . . . . . . . . . . . . . . . . 86
removing . . . . . . . . . . . . . . . . 489 ellipses . . . . . . . . . . . . . . . . . . 85
Index xi
Index
changing to arc or pie-shape . . . . . . . . . . . 100 copying vector . . . . . . . . . . . . . . . 468
drawing . . . . . . . . . . . . . . . . . 86 creating bitmap . . . . . . . . . . . . . . 481
shaping . . . . . . . . . . . . . . . 98, 100 creating vector. . . . . . . . . . . . . . . 465
embedded editing bitmap . . . . . . . . . . . . . . . 483
color profile . . . . . . . . . . . . . . . 325 editing vector . . . . . . . . . . . . . . . 469
embedding . . . . . . . . . . . . . . . 768, 769 filling bitmap . . . . . . . . . . . . . . . 485
objects in text . . . . . . . . . . . . . . . 345 filling vector . . . . . . . . . . . . . . . 476
embedding fonts lighting vector . . . . . . . . . . . . . . . 479
PDF . . . . . . . . . . . . . . . . . 779 selecting rendered bitmap . . . . . . . . . . . . 483
Emboss effect . . . . . . . . . . . . . . . . 587 selecting vector . . . . . . . . . . . . . . 470
emulsion . . . . . . . . . . . . . . . . . 721
Encapsulated Postscript . . . . . . . . . . . . . 756
encoding format . . . . . . . . . . . . . . . 781 F
Enhanced Fabric effect . . . . . . . . . . . . . . . . 622
setting the view quality to . . . . . . . . . . . . 77 facing pages . . . . . . . . . . . . . . . . 41
envelopes . . . . . . . . . . . . . . . . . 457 setting starting side . . . . . . . . . . . . . . 41
adding . . . . . . . . . . . . . . . . . 458 viewing . . . . . . . . . . . . . . . . . 42
adding nodes . . . . . . . . . . . . . . . 463 fading . . . . . . . . . . . . . . . . . . 491
applying preset . . . . . . . . . . . . . . 459 drop shadows . . . . . . . . . . . . . . . 495
changing segments. . . . . . . . . . . . . . 462 Favorite Fills And Outlines . . . . . . . . . . . . 50 - 51
changing the editing mode . . . . . . . . . . . . 461 managing fills and outlines using . . . . . . . . . . 51
changing the mapping mode . . . . . . . . . . . 461 storing in Scrapbook . . . . . . . . . . . . . 50
changing the node type . . . . . . . . . . . . 464 feedback sounds . . . . . . . . . . . . . . . 817
copying . . . . . . . . . . . . . . . . 459 assigning . . . . . . . . . . . . . . . . 817
creating . . . . . . . . . . . . . . . . 457 disabling . . . . . . . . . . . . . . . . 818
editing . . . . . . . . . . . . . . . . . 460 enabling . . . . . . . . . . . . . . . . 818
moving nodes . . . . . . . . . . . . . . . 463 file associations . . . . . . . . . . . . . . . 816
removing . . . . . . . . . . . . . . . . 458 customizing . . . . . . . . . . . . . . . 816
removing nodes . . . . . . . . . . . . . . 463 resetting . . . . . . . . . . . . . . . . 817
EPS . . . . . . . . . . . . . . . . . . 759 file information . . . . . . . . . . . . . . . 724
files . . . . . . . . . . . . . . . . 717, 783 file properties
erasing . . . . . . . . . . . . . . . 261, 267, 270 viewing in Scrapbook . . . . . . . . . . . . . 50
creating holes in objects . . . . . . . . . . . . 270 file size
in straight lines . . . . . . . . . . . . . . 270 reducing. . . . . . . . . . . . . . . . . 27
portions of an object . . . . . . . . . . . . . 270 files . . . . . . . . . . . . . 22, 24 - 25, 27, 50, 53
undoing an erase . . . . . . . . . . . . . . 271 archiving . . . . . . . . . . . . . . . 30 - 31
using different nib shapes . . . . . . . . . . . . 270 automatic backup . . . . . . . . . . . . . . 33
exportable backgrounds . . . . . . . . . . . . . 43 backing up . . . . . . . . . . . . . . . . 32
adding . . . . . . . . . . . . . . . . . 43 closing . . . . . . . . . . . . . . . . 24, 29
removing . . . . . . . . . . . . . . . . 43 compressing. . . . . . . . . . . . . . . . 27
exporting. . . . . . . . . . . . . . . . 751, 759 copying in Scrapbook . . . . . . . . . . . . . 50
objects . . . . . . . . . . . . . . . . . 754 cutting in Scrapbook . . . . . . . . . . . . . 50
extended square line caps deleting in Scrapbook . . . . . . . . . . . . . 50
setting . . . . . . . . . . . . . . . . . 250 displaying properties for . . . . . . . . . . . . 50
extrusions. . . . . . . . . . . . . . . . . 465 dragging from FTP sites . . . . . . . . . . . . . 53
applying beveled bitmap . . . . . . . . . . . . 482 export . . . . . . . . . . . . . . . . . 752
applying beveled vector . . . . . . . . . . . . 467 formats . . . . . . . . . . . . . . . . 743
cloning vector . . . . . . . . . . . . . . . 468 header . . . . . . . . . . . . . . . . . 756
xii Index
Index
importing from FTP sites . . . . . . . . . . . . 53 adding . . . . . . . . . . . . . . . . . 815
in Scrapbook . . . . . . . . . . . . . . . 49 adding plug-ins . . . . . . . . . . . . . . 657
making portable. . . . . . . . . . . . . . . 27 changing position in List Of Active Filters . . . . . . . . 816
new . . . . . . . . . . . . . . . . . . 22 customizing . . . . . . . . . . . . . . . 815
opening. . . . . . . . . . . . . . . . 22 - 23 disabling . . . . . . . . . . . . . . . . 657
opening faster . . . . . . . . . . . . . . . 27 enabling . . . . . . . . . . . . . . . . 657
renaming in Scrapbook . . . . . . . . . . . . . 50 plug-ins . . . . . . . . . . . . . . . . 657
saving . . . . . . . . . . . . . . . . 24 - 25 removing . . . . . . . . . . . . . . . 658, 815
saving all open . . . . . . . . . . . . . . . 25 resetting . . . . . . . . . . . . . . . . 816
saving from FTP sites . . . . . . . . . . . . . 53 Find Edges effect . . . . . . . . . . . . . . . 617
shortcuts in Scrapbook . . . . . . . . . . . . . 50 finding . . . . . . . . . . . . . . . . . 173
temporary storage . . . . . . . . . . . . . . 28 characters . . . . . . . . . . . . . . . . 349
fill clipping . . . . . . . . . . . . . . . . 713 graphical and text objects . . . . . . . . . . . . 173
controlling . . . . . . . . . . . . . . . . 713 styles . . . . . . . . . . . . . . . . . 150
fill color . . . . . . . . . . . . 308 - 309, 311, 313 - 315 text objects. . . . . . . . . . . . . . . . 175
default . . . . . . . . . . . . . . . . . 316 finding and replacing . . . . . . . . . . . . . . 173
filling text objects. . . . . . . . . . . . . . . . 175
bevels . . . . . . . . . . . . . . . 477 - 478 fine-tuning your print job . . . . . . . . . . . . . 708
bitmap extrusions . . . . . . . . . . . . . . 485 Fish Eye lens . . . . . . . . . . . . . . . . 520
vector extrusions . . . . . . . . . . . . . . 476 fit text to path
fills . . . . . . . . . . . . . . . . . 51, 211 aligning horizontally. . . . . . . . . . . . 395 - 396
applying bitmap patterns . . . . . . . . . . . . 229 applying . . . . . . . . . . . . . . . . 393
applying fountain fills . . . . . . . . . . . . . 215 customizing the orientation . . . . . . . . . . . 394
applying full-color . . . . . . . . . . . . . . 229 positioning text on the other side . . . . . . . . . . 397
applying in Scrapbook . . . . . . . . . . . . . 51 removing text . . . . . . . . . . . . . . . 397
applying texture . . . . . . . . . . . . . . 234 spacing text . . . . . . . . . . . . . . . 395
applying uniform . . . . . . . . . . . . . . 212 straightening text . . . . . . . . . . . . . . 397
copying a mesh . . . . . . . . . . . . . . 242 fitting artwork to the page . . . . . . . . . . . . 698
copying in Scrapbook . . . . . . . . . . . . . 51 flatness . . . . . . . . . . . . . . . . . 702
creating a mesh object . . . . . . . . . . . . . 241 flyouts . . . . . . . . . . . . . . . . . . 8
customizing pattern . . . . . . . . . . . . . 235 accessing from the Toolbox . . . . . . . . . . . . 11
customizing texture . . . . . . . . . . . . . 235 FOCOLTONE color . . . . . . . . . . . . 313, 332, 732
deleting patterns . . . . . . . . . . . . . . 232 fold marks . . . . . . . . . . . . . . . 694, 722
deleting using Scrapbook . . . . . . . . . . . . 51 folders
display when dragging . . . . . . . . . . . . . 95 opening in FTP sites . . . . . . . . . . . . . . 53
editing a mesh object . . . . . . . . . . . . . 241 font variances . . . . . . . . . . . . . . . . 781
favorite in Scrapbook . . . . . . . . . . . . 50 - 51 fonts . . . . . . . . . . . . . . . 704, 706 - 707
mesh object . . . . . . . . . . . . . . . 241 assigning matches for missing fonts . . . . . . . . . 423
PostScript texture . . . . . . . . . . . . . . 226 bitmap. . . . . . . . . . . . . . . . . 707
preset in Scrapbook . . . . . . . . . . . . . . 50 changing substitutions . . . . . . . . . . . . . 422
removing . . . . . . . . . . . . . . . . 214 changing the size of . . . . . . . . . . . . . 351
shortcuts using Scrapbook . . . . . . . . . . . . 51 changing the type . . . . . . . . . . . . . . 351
storing in Scrapbook . . . . . . . . . . . . . 50 embedding . . . . . . . . . . . . . . . . 751
texture . . . . . . . . . . . . . . . . . 233 embedding while saving . . . . . . . . . . . . . 25
two-color pattern . . . . . . . . . . . . . . 227 matching Windows font to Macintosh font . . . . . . . . 423
uniform . . . . . . . . . . . . . . . . 212 PANOSE . . . . . . . . . . . . . . . . 422
using the Color Palette . . . . . . . . . . . . . 212 printing . . . . . . . . . . . . . . . . 706
filters specifying increments for sizing . . . . . . . . . . 425
Index xiii
Index
specifying options . . . . . . . . . . . . . . 425 saving files from. . . . . . . . . . . . . . . 53
substituting for missing fonts . . . . . . . . . . . 423 FTP Sites page . . . . . . . . . . . . . . . . 52
substituting for uninstalled . . . . . . . . . . . 422 opening to . . . . . . . . . . . . . . . . 53
substituting unavailable . . . . . . . . . . . . 422 full-color pattern fills
formatting applying . . . . . . . . . . . . . . . . 229
object data summaries. . . . . . . . . . . . . 206 full-screen previews . . . . . . . . . . . . . . 78
formatting Paragraph text . . . . . . . . . . . . 364 fusing blends . . . . . . . . . . . . . . . . 443
adding bullets . . . . . . . . . . . . . . . 374
adding columns . . . . . . . . . . . . . . 364
adding drop caps . . . . . . . . . . . . . . 368 G
aligning . . . . . . . . . . . . . . . . 367 gamma
applying tabs . . . . . . . . . . . . . . . 370 adjusting . . . . . . . . . . . . . . . . 553
hyphenating . . . . . . . . . . . . . . . 376 Gamma effect . . . . . . . . . . . . . . . . 553
indenting . . . . . . . . . . . . . . . . 372 gathering files . . . . . . . . . . . . . . . . 719
formatting HTML text . . . . . . . . . . . . . . 662 Gaussian Blur effect . . . . . . . . . . . . . . 606
fountain fills . . . . . . . . . . . . . . . 215, 705 generate bookmarks . . . . . . . . . . . . . . 787
adjusting quality . . . . . . . . . . . . . . 219 generate thumbnails . . . . . . . . . . . . . . 787
applying custom fountain fills . . . . . . . . . . . 217 Glass Block effect . . . . . . . . . . . . . . . 624
applying two-color . . . . . . . . . . . . . . 215 gradient fills . . . . . . . . . . . . . . . . 215
banding . . . . . . . . . . . . . . . 705, 709 applying to vector extrusions . . . . . . . . . . . 478
changing colors . . . . . . . . . . . . . . 220 Grammatik . . . . . . . . . . . . . . . . 398
changing the angle. . . . . . . . . . . . . . 224 adding word to user word lists. . . . . . . . . . . 408
changing the center point . . . . . . . . . . . . 222 analyzing parts of a sentence . . . . . . . . . . . 413
changing the edge pad value . . . . . . . . . . . 225 analyzing parts of speech . . . . . . . . . . . . 413
changing the mid-point . . . . . . . . . . . . 223 changing checking styles . . . . . . . . . . . . 408
changing the number of steps . . . . . . . . . . . 219 changing languages . . . . . . . . . . . . . 408
customizing . . . . . . . . . . . . . . . 219 changing options . . . . . . . . . . . . . . 406
in Draft view . . . . . . . . . . . . . . . 77 checking writing styles . . . . . . . . . . . . . 412
fountain steps . . . . . . . . . . . . . 705, 709, 759 creating checking styles . . . . . . . . . . . . 410
PDF . . . . . . . . . . . . . . . . . 783 deleting checking styles . . . . . . . . . . . . 412
Frame effect . . . . . . . . . . . . . . . . 623 displaying grammar counts . . . . . . . . . . . 413
Free Transform tools editing checking styles . . . . . . . . . . . . . 410
using . . . . . . . . . . . . . . . . . 262 editing errors manually . . . . . . . . . . . . 406
Freehand tool . . . . . . . . . . . . . 103 - 104, 107 replacing passive sentences . . . . . . . . . . . 407
behaviour . . . . . . . . . . . . . . . . 137 restoring checking styles . . . . . . . . . . . . 411
tracing bitmaps with . . . . . . . . . . . . . 543 testing readability . . . . . . . . . . . . . . 414
Freehand tracking . . . . . . . . . . . . . . . 137 using . . . . . . . . . . . . . . . . . 405
freezing graph paper
the contents of a lens . . . . . . . . . . . . . 522 drawing . . . . . . . . . . . . . . . . . 88
transparencies . . . . . . . . . . . . . . . 501 shaping . . . . . . . . . . . . . . . . . 98
FTP sites . . . . . . . . . . . . . . . . 52 - 53 Graph Paper tool . . . . . . . . . . . . . . . 88
connecting anonymously . . . . . . . . . . . . 52 graphic and text styles . . . . . . . . . . . . 143, 145
connecting to favorites . . . . . . . . . . . . . 52 graphic styles . . . . . . . . . . . . . . . . 144
connecting using passwords . . . . . . . . . . . . 52 applying . . . . . . . . . . . . . . . . 148
connecting using shortcuts . . . . . . . . . . . . 52 assigning shortcut keys. . . . . . . . . . . . . 151
dragging files from . . . . . . . . . . . . . . 53 changing default . . . . . . . . . . . . . . 149
importing files from . . . . . . . . . . . . . . 53 creating . . . . . . . . . . . . . . . . 145
opening folders in . . . . . . . . . . . . . . 53 deleting . . . . . . . . . . . . . . . . 147
xiv Index
Index
editing . . . . . . . . . . . . . . . . . 146 unlocking . . . . . . . . . . . . . . . . 68
finding in a drawing . . . . . . . . . . . . . 150 gutter . . . . . . . . . . . . . . . . 689, 693
restoring . . . . . . . . . . . . . . . . 148 size . . . . . . . . . . . . . . . . . 693
grayscale
converting bitmaps to . . . . . . . . . . . . . 571
printing color in . . . . . . . . . . . . . . 710 H
grayscale masks Halftone effect. . . . . . . . . . . . . . . . 614
transparencies . . . . . . . . . . . . . . . 496 halftone screen . . . . . . . . . . 544, 726 - 727, 733 - 734
greeking text . . . . . . . . . . . . . . . . 424 angle . . . . . . . . . . . . . . 726, 733 - 734
grid . . . . . . . . . . . . . . . . . 54 - 55 screen frequency . . . . . . . . . . . 726 - 727, 734
changing color . . . . . . . . . . . . . . . 199 types . . . . . . . . . . . . . . 726, 733 - 734
displaying . . . . . . . . . . . . . . . . 61 PDF information . . . . . . . . . . . . . . 782
displaying as dots . . . . . . . . . . . . . . 60 Heat Map lens . . . . . . . . . . . . . . . . 517
displaying as grid paper. . . . . . . . . . . . . 60 Help . . . . . . . . . . . . . . . . . . . 4
distance between lines . . . . . . . . . . . . . 60 accessing context-sensitive . . . . . . . . . . . . 5
hiding . . . . . . . . . . . . . . . . . 61 accessing hints . . . . . . . . . . . . . . . 6
master page settings . . . . . . . . . . . . . 200 accessing online . . . . . . . . . . . . . . . 4
setting frequency of . . . . . . . . . . . . . . 60 accessing ToolTips . . . . . . . . . . . . . . 5
shaping . . . . . . . . . . . . . . . 98, 102 accessing tutors . . . . . . . . . . . . . . . 6
snapping objects to . . . . . . . . . . . . . . 61 printing online . . . . . . . . . . . . . . . 4
grid shapes using PerfectExpert . . . . . . . . . . . . . . 5
drawing . . . . . . . . . . . . . . . . . 88 hexachrome process color . . . . . . . . . . . 729, 731
grouped objects hidden objects . . . . . . . . . . . . . . . . 89
viewing data . . . . . . . . . . . . . . . 206 selecting. . . . . . . . . . . . . . . . . 92
grouping objects . . . . . . . . . . . . 165, 181 - 182 hide bitmap colors . . . . . . . . . . . . . . 545
using Object Manager . . . . . . . . . . . . . 192 hiding the Status Bar . . . . . . . . . . . . . . 814
groups High Pass effect . . . . . . . . . . . . . . . 654
selecting . . . . . . . . . . . . . . . . 90 high-fidelity colors . . . . . . . . . . . . . 729, 731
selecting hidden objects . . . . . . . . . . . . . 92 highlights
selecting objects in . . . . . . . . . . . . . . 92 adjusting . . . . . . . . . . . . . . . . 556
guidelines . . . . . . . . . . . . . . . . 54, 62 hints. . . . . . . . . . . . . . . . . . . 4
adding . . . . . . . . . . . . . . . . . 62 accessing . . . . . . . . . . . . . . . . . 6
beginning new documents with . . . . . . . . . . . 62 holes
coloring . . . . . . . . . . . . . . . 67, 199 creating in objects . . . . . . . . . . . . . . 270
deleting preset . . . . . . . . . . . . . . . 69 horizontal dimension lines . . . . . . . . . . . 126 - 127
deleting standard . . . . . . . . . . . . . . 68 horizontal gutter size . . . . . . . . . . . . . . 693
deselecting . . . . . . . . . . . . . . . . 94 hot key
displaying . . . . . . . . . . . . . . . . 67 assigning to a style . . . . . . . . . . . . . . 151
hiding . . . . . . . . . . . . . . . . . 67 hotspots . . . . . . . . . . . . . . . . . 666
locking . . . . . . . . . . . . . . . . . 68 assigning colors for . . . . . . . . . . . . . 667
master page settings . . . . . . . . . . . . . 201 defining for Internet objects . . . . . . . . . . . 666
moving . . . . . . . . . . . . . . . . . 65 HSB color mode . . . . . . . . . . . . . 303, 309, 317
positioning . . . . . . . . . . . . . . . . 65 HTML . . . . . . . . . . . . . . . . . . 671
preset . . . . . . . . . . . . . . . . . 64 checking for object conflicts in documents . . . . . . . . 671
selecting all . . . . . . . . . . . . . . . . 91 export options . . . . . . . . . . . . . 674 - 676
slanted . . . . . . . . . . . . . . . . 62, 65 publishing to . . . . . . . . . . . . . . . 673
snapping objects to . . . . . . . . . . . . . . 66 repairing object conflicts . . . . . . . . . . . . 672
standard . . . . . . . . . . . . . . . . 62 scanning documents for object conflicts . . . . . . . . 671
Index xv
Index
setting object conflict verification options . . . . . . . . 671 system . . . . . . . . . . . . . . . . . 79
HTML text . . . . . . . . . . . . . . . . . 661 inserting
converting from Paragraph text . . . . . . . . . . 662 Internet objects . . . . . . . . . . . . . . 664
formatting . . . . . . . . . . . . . . . . 662 pages . . . . . . . . . . . . . . . . . 35
hue Paragraph text frames inside objects . . . . . . . . . 383
adjusting . . . . . . . . . . . . . . . . 554 Intellimouse
Hue-Saturation-Lightness effect . . . . . . . . . . . 554 scrolling through text . . . . . . . . . . . . . 350
hyperlinks. . . . . . . . . . . . . . . . . 665 intensity
PDF . . . . . . . . . . . . . . . . . 786 adjusting . . . . . . . . . . . . . . . . 550
to bookmarked objects. . . . . . . . . . . . . 668 Internet . . . . . . . . . . . . . . . . 313, 672
hyphenating . . . . . . . . . . . . . . . . 376 publishing documents to . . . . . . . . . . . . 672
changing settings . . . . . . . . . . . . . . 377 publishing options . . . . . . . . . . . . . . 675
Paragraph text automatically . . . . . . . . . . . 376 Internet Bookmark Manager . . . . . . . . . . . . 668
Internet graphics
setting ruler resolution . . . . . . . . . . . . . 58
I setting ruler units . . . . . . . . . . . . . . 58
ICC internet links
color profile . . . . . . . . . . . . . . . 325 PDF . . . . . . . . . . . . . . . . . 786
profile . . . . . . . . . . . . 745 - 747, 750 - 752 Internet objects . . . . . . . . . . . . . . . 663
image customizing . . . . . . . . . . . . . . . 664
header . . . . . . . . . . . . . . . 756, 759 identifying in documents . . . . . . . . . . . . 667
resolution . . . . . . . . . . . . . . 754 - 755 inserting . . . . . . . . . . . . . . . . 664
storing . . . . . . . . . . . . . . . . . 29 intersecting . . . . . . . . . . . . . . 261, 294, 298
type . . . . . . . . . . . . . . . . 754 - 755 multiple objects . . . . . . . . . . . . . . 298
imagesetter . . . . . . . . . . . . . . . . 717 Invert effect . . . . . . . . . . . . . . . . 555
import . . . . . . . . . . . . . . . . . 745 Invert lens. . . . . . . . . . . . . . . . . 514
vector . . . . . . . . . . . . . . . . . 750 inverting colors . . . . . . . . . . . . . . . 555
importing . . . . . . . . . . . . . . . . 49, 747 italic formatting
clipart using Scrapbook . . . . . . . . . . . . . 49 applying . . . . . . . . . . . . . . . . 352
from FTP sites . . . . . . . . . . . . . . . 53 applying to text . . . . . . . . . . . . . . 352
imposition layout . . . . . . . . . . . . . 687-688
arranging pages . . . . . . . . . . . . . . 692
creating . . . . . . . . . . . . . . . . 689 J
page per group. . . . . . . . . . . . . . . 692 Jaggy Despeckle effect. . . . . . . . . . . . . . 607
Impressionist effect . . . . . . . . . . . . . . 596 job information sheet . . . . . . . . . . . . . . 725
include hyperlinks job ticket . . . . . . . . . . . . . . . . . 776
PDF . . . . . . . . . . . . . . . . . 786 customer information . . . . . . . . . . . . . 777
increments . . . . . . . . . . . . . . . . . 94 delivery . . . . . . . . . . . . . . . . 777
moving objects in . . . . . . . . . . . . . . 97 embedding a job ticket file . . . . . . . . . . . . 776
indents . . . . . . . . . . . . . . . . . 372 finishing . . . . . . . . . . . . . . . . 777
adding . . . . . . . . . . . . . . . . . 373 generating . . . . . . . . . . . . . . . . 776
removing . . . . . . . . . . . . . . . . 373 saving an external file . . . . . . . . . . . . . 776
inflating bitmaps . . . . . . . . . . . . . . . 566 setting up information . . . . . . . . . . . . . 777
automatically . . . . . . . . . . . . . . . 566 joining nodes . . . . . . . . . . . . . . . . 120
manually . . . . . . . . . . . . . . . . 566 JPEG
information compression when printing. . . . . . . . . . . . 720
document . . . . . . . . . . . . . . . . 79
program. . . . . . . . . . . . . . . . . 79
xvi Index
Index
hiding . . . . . . . . . . . . . . . . . 196
K locking . . . . . . . . . . . . . . . . . 197
kerning . . . . . . . . . . . . . . . . . 357 master . . . . . . . . . . . . . . . . . 193
applying range. . . . . . . . . . . . . . . 359 moving objects between . . . . . . . . . . . . 190
hiding spacing arrows . . . . . . . . . . . . . 381 objects on . . . . . . . . . . . . . . . . 176
showing spacing arrows . . . . . . . . . . . . 381 organizing your drawing . . . . . . . . . . . . 193
keyboard overriding full-color view . . . . . . . . . . . . 199
moving objects using . . . . . . . . . . . . . 97 preventing changes. . . . . . . . . . . . . . 197
keyboard shortcuts . . . . . . . . . . . . . . 793 printing . . . . . . . . . . . . . . . . 196
assigning . . . . . . . . . . . . . . . . 793 renaming . . . . . . . . . . . . . . . . 194
assigning to text styles . . . . . . . . . . . . . 794 reordering . . . . . . . . . . . . . . . . 195
changing . . . . . . . . . . . . . . . . 794 showing . . . . . . . . . . . . . . . . 196
deleting . . . . . . . . . . . . . . . . 793 switching between . . . . . . . . . . . . . . 195
printing . . . . . . . . . . . . . . . . 796 unlocking . . . . . . . . . . . . . . . . 197
Kid’s Play effect . . . . . . . . . . . . . . . 625 layout styles . . . . . . . . . . . . . . . . 34
Kodak . . . . . . . . . . . . . . . . . . 755 choosing. . . . . . . . . . . . . . . . . 41
Photo CDs . . . . . . . . . . . . . . . . 754 printer spreads . . . . . . . . . . . . . . . 41
leading . . . . . . . . . . . . . . . . . 357
L changing interline spacing . . . . .

lenses . . . . . . . . . . .
. . . .
. . . .
. . .
. . .
360
509
Lab color
Brighten . . . . . . . . . . . . . . . . 513
converting bitmaps to . . . . . . . . . . . . . 575
Color Add . . . . . . . . . . . . . . . . 515
labeling objects . . . . . . . . . . . . . . . 126
Color Limit . . . . . . . . . . . . . . . . 515
labels . . . . . . . . . . . . . . . . . . 34
copying . . . . . . . . . . . . . . . . 520
creating . . . . . . . . . . . . . . . . 34, 46
creating . . . . . . . . . . . . . . . . 510
custom . . . . . . . . . . . . . . . . 34, 46
Custom Color Map . . . . . . . . . . . . . . 518
using preset styles . . . . . . . . . . . . . . 46
displaying only over covered objects . . . . . . . . . 522
language . . . . . . . . . . . . . . . . . 398
editing . . . . . . . . . . . . . . . . . 521
changing for Grammatik . . . . . . . . . . . . 408
Fish Eye . . . . . . . . . . . . . . . . 520
changing for the Spell Checker . . . . . . . . . . . 404
freezing the contents . . . . . . . . . . . . . 522
changing the Thesaurus . . . . . . . . . . . . 420
Heat Map . . . . . . . . . . . . . . . . 517
large color swatches . . . . . . . . . . . . . . 320
Invert . . . . . . . . . . . . . . . . . 514
Layer Manager view . . . . . . . . . . . . 186, 188, 190
invisible . . . . . . . . . . . . . . . . 522
reordering layers . . . . . . . . . . . . . . 195
Magnify . . . . . . . . . . . . . . . . 513
layers . . . . . . . . . . . . . . 165, 176, 193, 196
moving viewpoints . . . . . . . . . . . . . . 521
activating . . . . . . . . . . . . . . . . 195
Tinted Grayscale . . . . . . . . . . . . . . 516
adding . . . . . . . . . . . . . . . . . 194
Transparency . . . . . . . . . . . . . . . 512
allowing changes . . . . . . . . . . . . . . 197
Wireframe . . . . . . . . . . . . . . . . 519
changing properties . . . . . . . . . . . . . 196
Level Equalization effect . . . . . . . . . . . . . 556
copying objects between . . . . . . . . . . . . 190
light . . . . . . . . . . . . . . . . . . 479
creating master layers . . . . . . . . . . . . . 198
adjusting the intensity for vector extrusions . . . . . . . 480
deleting . . . . . . . . . . . . . . . . 195
applying to bitmap extrusions . . . . . . . . . . . 485
disabling printing . . . . . . . . . . . . . . 197
applying to vector extrusions . . . . . . . . . . . 479
displaying wireframe . . . . . . . . . . . . . 199
removing from vector extrusions . . . . . . . . . . 479
editing across . . . . . . . . . . . . . . . 199
lightness
editing active . . . . . . . . . . . . . . . 199
adjusting . . . . . . . . . . . . . . . . 554
editing multiple . . . . . . . . . . . . . . 199
line caps
enabling printing . . . . . . . . . . . . . . 197
setting . . . . . . . . . . . . . . . . . 250
Index xvii
Index
line styles objects . . . . . . . . . . . . . . . . . 185
connector lines . . . . . . . . . . . . . . . 133 PowerClip objects . . . . . . . . . . . . . . 530
setting . . . . . . . . . . . . . . . . . 250 vector extrusion’s vanishing point . . . . . . . . . . 473
line-ending shapes . . . . . . . . . . . . . . 254 logarithmic spirals . . . . . . . . . . . . . . . 87
applying . . . . . . . . . . . . . . . . 254 looping blends. . . . . . . . . . . . . . . . 437
creating . . . . . . . . . . . . . . . . 255 Low Pass effect . . . . . . . . . . . . . . . 608
deleting . . . . . . . . . . . . . . . . 257
editing . . . . . . . . . . . . . . . . . 256
switching . . . . . . . . . . . . . . . . 255 M
lines . . . . . . . . . . . . . . . 85, 103, 107, 117 Macintosh font
converting from segments . . . . . . . . . . . . 124 substituting Windows equivalent . . . . . . . . . . 423
drawing straight . . . . . . . . . . . . . . 104 macros
linking to Paragraph text . . . . . . . . . . . . 389 editing . . . . . . . . . . . . . . . . . 821
setting properties . . . . . . . . . . . . . . 137 Magnify lens . . . . . . . . . . . . . . . . 513
Link Manager Docker . . . . . . . . . . . 538 - 539, 670 maintaining layers . . . . . . . . . . . . . . 750
customizing . . . . . . . . . . . . . . . 541 maintain OPI links
functions . . . . . . . . . . . . . . . . 539 PDF . . . . . . . . . . . . . . . . . 784
options. . . . . . . . . . . . . . . . . 541 manually inflate bitmaps . . . . . . . . . . . . . 566
linked bitmaps . . . . . . . . . . . . . . . 538 mapping mode
creating . . . . . . . . . . . . . . . . 538 changing for envelopes. . . . . . . . . . . . . 461
editing . . . . . . . . . . . . . . . . . 539 margin . . . . . . . . . . . . . . . . 689, 695
refreshing . . . . . . . . . . . . . . . . 539 size . . . . . . . . . . . . . . . . . 695
resolving . . . . . . . . . . . . . . . . 539 marquee selecting . . . . . . . . . . . . . . . 89
updating . . . . . . . . . . . . . . . . 539 masking bitmaps . . . . . . . . . . . . . . . 547
linking master layers . . . . . . . . . . . . . . . . 193
bitmaps . . . . . . . . . . . . . . . . 538 creating . . . . . . . . . . . . . . . . 198
embedding . . . . . . . . . . . . . . . . 763 hiding objects on . . . . . . . . . . . . . . 198
OLE objects . . . . . . . . . . . . . . 765, 766 options and settings . . . . . . . . . . . . . 200
two objects with a connector line . . . . . . . . . . 133 master objects . . . . . . . . . . . . . . . . 171
links . . . . . . . . . . . . . . . . . . 387 finding clones of . . . . . . . . . . . . . . 171
appling to Paragraph text frames . . . . . . . . . . 388 matching
creating between Paragraph text and objects . . . . . . . 389 Windows font to Macintosh font . . . . . . . . . . 423
creating on different pages. . . . . . . . . . . . 390 Maximum effect . . . . . . . . . . . . . . . 649
hiding Paragraph text flow indicators . . . . . . . . . 391 measurement precision
redirecting the text flow of Paragraph text . . . . . . . . 391 setting . . . . . . . . . . . . . . . . . 138
removing from Paragraph text frames . . . . . . . . . 392 measurement units
showing Paragraph text flow indicators . . . . . . . . 391 scripts . . . . . . . . . . . . . . . . . 825
specifying Paragrah text frame options. . . . . . . . . 391 measuring objects . . . . . . . . . . . . . . . 126
verifying . . . . . . . . . . . . . . . . 670 Median effect . . . . . . . . . . . . . . . . 649
loading memory . . . . . . . . . . . . . . . . . 29
paletted conversion options . . . . . . . . . . . 579 reserving for images. . . . . . . . . . . . . . 29
paletted image conversion options . . . . . . . . . . 579 menu command separators
Local Equalization effect . . . . . . . . . . . . . 557 adding . . . . . . . . . . . . . . . . . 800
locked objects removing . . . . . . . . . . . . . . . . 800
selecting. . . . . . . . . . . . . . . . . 93 menu commands . . . . . . . . . . . . . . . 798
locking accessing Help for . . . . . . . . . . . . . . 5
guidelines . . . . . . . . . . . . . . . . 68 changing menu command shortcuts . . . . . . . . . 801
layers . . . . . . . . . . . . . . . . . 197 changing the order of . . . . . . . . . . . . . 798
xviii Index
Index
removing . . . . . . . . . . . . . . . . 799 color styles under another parent . . . . . . . . . . 157
renaming . . . . . . . . . . . . . . . . 799 control points . . . . . . . . . . . . . . . 121
menus. . . . . . . . . . . . . . . . . . 797 incrementally . . . . . . . . . . . . . . . 97
adding . . . . . . . . . . . . . . . . . 798 objects between layers . . . . . . . . . . . . . 190
changing menu shortcuts . . . . . . . . . . . . 801 Status Bar . . . . . . . . . . . . . . . . 813
changing the order of . . . . . . . . . . . . . 797 toolbars . . . . . . . . . . . . . . . . 804
removing . . . . . . . . . . . . . . . . 798 using the mouse. . . . . . . . . . . . . . . 95
renaming . . . . . . . . . . . . . . . . 798 moving objects . . . . . . . . . . . . . . . 271
mesh fill objects . . . . . . . . . . . . . . . 241 a specified distance . . . . . . . . . . . . . 272
adding color . . . . . . . . . . . . . . . 242 changing the anchor point . . . . . . . . . . . . 272
changing node type . . . . . . . . . . . . . 245 MRU . . . . . . . . . . . . . . . . . . 743
changing segment type. . . . . . . . . . . . . 245 multipage documents
copying . . . . . . . . . . . . . . . . 242 navigating . . . . . . . . . . . . . . . . 40
creating . . . . . . . . . . . . . . . . 241 multiple changes
shaping . . . . . . . . . . . . . . . . 244 undoing . . . . . . . . . . . . . . . . 166
mesh fills multiple colors. . . . . . . . . . . . . . . . 311
adding nodes . . . . . . . . . . . . . . . 241 adding . . . . . . . . . . . . . . . . . 311
removing . . . . . . . . . . . . . . . . 246 multiple images
removing nodes . . . . . . . . . . . . . . 241 converting to Paletted . . . . . . . . . . . . . 583
messages multiple objects
enabling and disabling . . . . . . . . . . . . . 81 intersecting . . . . . . . . . . . . . . . 298
warning . . . . . . . . . . . . . . . . . 80 selecting . . . . . . . . . . . . . . . 90 - 91
Microsoft Internet Explorer . . . . . . . . . . . . 313 trimming . . . . . . . . . . . . . . . . 296
mid-point multiple on-screen Color Palettes. . . . . . . . . . 306, 318
changing in fountain fills . . . . . . . . . . . . 223 multiple page sizes . . . . . . . . . . . . . . . 36
midtones
adjusting . . . . . . . . . . .
. . 556 . . .
mini preview . . . . . . . . . . .
. . 697 . . . N
moving from page to page . . . . . . .
. . 697 . . . naming colors . . . . . . . . . . . . . . . . 325
previewing your print job . . . . . . .
. . 697 . . . Natural Media tool . . . . . . . . . . . . . 103, 107
Minimum effect . . . . . . . . . .
. . 650 . . . applying . . . . . . . . . . . . . . . . 116
mirroring objects . . . . . . . . . . . . 261, 290 - 291 drawing with . . . . . . . . . . . 108 - 110, 114 - 115
miter limit navigating multipage documents . . . . . . . . . . . 40
setting . . . . . . . . . . . . . . . . . 253 Navigator
mitered corners using . . . . . . . . . . . . . . . . . 40
setting . . . . . . . . . . . .
. 249 . . . . negatives
mixing colors . . . . . . . . . . .
. 306 . . . . printing . . . . . . . . . . . . . . . . 721
models . . . . . . . . . . . .
. 306 . . . . neighborhood color picker. . . . . . . . . . . . . 313
modifying nodes . . . . . . . . . .
. 123 . . . . nested groups . . . . . . . . . . . . . . . . 181
moire . . . . . . . . . . . . . . . . 733 - 734 creating . . . . . . . . . . . . . . . . 182
monitor nesting
calibrating . . . . . . . . . . . . . . . . 325 PowerClip objects . . . . . . . . . . . . . . 527
profile . . . . . . . . . . . . . . . . . 325 Netscape . . . . . . . . . . . . . . . . . 313
monochrome bitmaps Netscape Navigator . . . . . . . . . . . . . . 313
coloring . . . . . . . . . . . . . . . . 545 new drawings . . . . . . . . . . . . . . . . 22
Mosaic effect . . . . . . . . . . . . . . . . 626 beginning with default options . . . . . . . . . . . 46
Motion Blur effect . . . . . . . . . . . . . . . 609 beginning with guidelines . . . . . . . . . . . . 62
moving . . . . . . . . . . . . . . . . 94, 271 creating . . . . . . . . . . . . . . . . . 22
Index xix
Index
creating from template . . . . . . . . . . . . . 22
No Color Well . . . . . . . . . . . . . . . . 803 O
hiding . . . . . . . . . . . . . . . . . 803 object data . . . . . . . . . . . . . . . 165, 201
viewing . . . . . . . . . . . . . . . . 803 assigning . . . . . . . . . . . . . 202, 204 - 205
no white space . . . . . . . . . . . . . . 751 - 752 copying . . . . . . . . . . . . . . . . 205
nodes . . . . . . . . . . . . . . . . 85, 106, 117 editing . . . . . . . . . . . . . . . . . 204
adding . . . . . . . . . . . . . . . . . 119 enabling automatic summing . . . . . . . . . . . 207
adding to envelopes . . . . . . . . . . . . . 463 enabling Show Totals . . . . . . . . . . . . . 207
aligning . . . . . . . . . . . . . . . . 122 object data fields . . . . . . . . . . . . . 203 - 204
changing the type for envelopes . . . . . . . . . . 464 adding new . . . . . . . . . . . . . . . 202
changing to other types . . . . . . . . . . . . 123 deleting . . . . . . . . . . . . . . . . 204
connecting . . . . . . . . . . . . . . . . 120 editing . . . . . . . . . . . . . . . . . 203
deleting . . . . . . . . . . . . . . . . 120 renaming . . . . . . . . . . . . . . . . 204
deselecting . . . . . . . . . . . . . . 118 - 119 reordering . . . . . . . . . . . . . . . . 204
editing . . . . . . . . . . . . . . . . 536 Object Data Manager. . . . . . . . . . . . . 201, 206
joining . . . . . . . . . . . . . . . . . 120 adding new data fields . . . . . . . . . . . . . 202
mapping in blends . . . . . . . . . . . . . . 440 assigning and editing data . . . . . . . . . . . . 204
modifying . . . . . . . . . . . . . . . . 123 assigning data . . . . . . . . . . . . . . . 205
moving envelope . . . . . . . . . . . . . . 463 changing a data field’s format . . . . . . . . . . . 203
moving to adjust perspective . . . . . . . . . . . 526 copying data between fields . . . . . . . . . . . 205
removing . . . . . . . . . . . . . . . . 120 custom formats . . . . . . . . . . . . . . 202
removing from envelopes . . . . . . . . . . . . 463 deleting a data field . . . . . . . . . . . . . 204
rotating . . . . . . . . . . . . . . . . 122 displaying data for grouped objects . . . . . . . . . 206
selecting . . . . . . . . . . . . . . . 118 - 119 editing data fields . . . . . . . . . . . . . . 203
selecting in a curve object . . . . . . . . . . 118 - 119 hiding the sum of values in a column . . . . . . . . . 207
shaping a curve object . . . . . . . . . . . . . 121 object data summaries. . . . . . . . . . . . . 206
Noise effects . . . . . . . . . . . . . . . . 645 preset formats . . . . . . . . . . . . . . . 202
Add Noise . . . . . . . . . . . . . . . . 646 printing object data summaries . . . . . . . . . . 207
Diffuse . . . . . . . . . . . . . . . . . 647 renaming a data field . . . . . . . . . . . . . 204
Dust and Scratch . . . . . . . . . . . . . . 648 reordering a data field . . . . . . . . . . . . . 204
Maximum . . . . . . . . . . . . . . . . 649 setting up . . . . . . . . . . . . . . . . 202
Median. . . . . . . . . . . . . . . . . 649 showing the sum of values in a column. . . . . . . . . 207
Minimum . . . . . . . . . . . . . . . . 650 viewing object data summaries . . . . . . . . . . 206
Remove Moire . . . . . . . . . . . . . . . 651 object data summaries . . . . . . . . . . . . . 206
Remove Noise . . . . . . . . . . . . . . . 652 editing . . . . . . . . . . . . . . . . . 206
nonnative formatting . . . . . . . . . . . . . . . . 206
exporting . . . . . . . . . . . . . . . . 751 printing . . . . . . . . . . . . . . . . 207
saving . . . . . . . . . . . . . . . . . 751 viewing . . . . . . . . . . . . . . . . 206
non-PostScript printing problems . . . . . . . . . . . 712 object database
nonprinting characters creating . . . . . . . . . . . . . . . . 201
specifying display options . . . . . . . . . . . . 427 Object Manager . . . . . . . . . . . . . . 165, 186
Normal adding layers . . . . . . . . . . . . . . . 194
setting the view quality to . . . . . . . . . . . . 77 adding pages . . . . . . . . . . . . . . . 187
nudge . . . . . . . . . . . . . . . . . 94, 271 changing layer properties . . . . . . . . . . . . 196
moving objects . . . . . . . . . . . . . . . 97 changing the active layer . . . . . . . . . . . . 195
N-up formats . . . . . . . . . . . . . . . . 687 copying properties . . . . . . . . . . . . . . 191
creating master layers . . . . . . . . . . . . . 198
creating PowerClip objects . . . . . . . . . . . . 191
xx Index
Index
deleting layers . . . . . . . . . . . . . . . 195 distributing . . . . . . . . . . . . . . 178, 180
deleting pages . . . . . . . . . . . . . . . 187 dragging . . . . . . . . . . . . . . . . 765
display options. . . . . . . . . . . . . . . 188 duplicating . . . . . . . . . . . . . . 168, 170
editing objects . . . . . . . . . . . . . . . 189 editing in Object Manager . . . . . . . . . . . . 189
grouping objects . . . . . . . . . . . . . . 192 embedding in text . . . . . . . . . . . . . . 345
layer view . . . . . . . . . . . . . . . . 188 erasing . . . . . . . . . . . . . . . . . 261
locking and unlocking layers . . . . . . . . . . . 197 erasing portions . . . . . . . . . . . . . . 270
master layers . . . . . . . . . . . . . . . 193 extruding . . . . . . . . . . . . . . . . 465
moving and copying between layers . . . . . . . . . 190 fills. . . . . . . . . . . . . . . . . . 211
opening . . . . . . . . . . . . . . . . 187 finding graphic and text . . . . . . . . . . . . 173
ordering objects . . . . . . . . . . . . . . 191 grouping . . . . . . . . . . . . . 181 - 182, 192
printing layers . . . . . . . . . . . . . . . 197 inserting Paragraph text frames inside . . . . . . . . . 383
renaming layers . . . . . . . . . . . . . . 194 intersecting . . . . . . . . . . . . . 261, 294, 298
renaming pages . . . . . . . . . . . . . . 187 linking to dimension lines . . . . . . . . . . . . 129
reordering layers . . . . . . . . . . . . . . 195 linking to Paragraph text . . . . . . . . . . . . 389
selecting objects in . . . . . . . . . . . . . . 189 locking and unlocking . . . . . . . . . . . . . 185
showing and hiding layers . . . . . . . . . . . . 196 mirroring . . . . . . . . . . . . . 261, 290 - 291
working with layers . . . . . . . . . . . . . 193 moving . . . . . . . . . . . . 94, 95, 97, 271, 272
object properties . . . . . . . . . . . . . . . 168 nudging . . . . . . . . . . . . . . . . 271
copying . . . . . . . . . . . . . . . . 168 ordering . . . . . . . . . . . . . . . 176, 191
copying using Object Manager . . . . . . . . . . . 191 organizing . . . . . . . . . . . . . . . . 165
replacing . . . . . . . . . . . . . . . . 174 outlines . . . . . . . . . . . . . . . . 246
objects . . . . . . . . . . . . . . . . . 165 pasting . . . . . . . . . . . . . . . 168 - 169
adding data to . . . . . . . . . . . . . . . 204 positioning . . . . . . . . . . . . . . 261, 271
adding perspective . . . . . . . . . . . . . . 523 repairing HTML conflicts for . . . . . . . . . . . 672
aligning . . . . . . . . . . . . . . . 178 - 179 reverting to clone’s master . . . . . . . . . . . . 171
applying distortions . . . . . . . . . . . . . 445 rotating . . . . . . . . . . . . . . 261, 282-284
applying drop shadows . . . . . . . . . . . . 488 scaling . . . . . . . . . . . . . . 261, 278-280
applying envelopes. . . . . . . . . . . . . . 457 scanning for HTML conflicts between . . . . . . . . . 671
applying lenses . . . . . . . . . . . . . . 509 selecting . . . . . . . . . . . . . . . 90, 189
applying Natural Media Strokes . . . . . . . . . . 116 selecting all . . . . . . . . . . . . . . . . 91
applying transparencies . . . . . . . . . . . . 495 selecting hidden . . . . . . . . . . . . . . . 92
arranging . . . . . . . . . . . . . 168, 176 - 177 selecting locked . . . . . . . . . . . . . . . 93
blending . . . . . . . . . . . . . . . . 431 selecting multiple . . . . . . . . . . . . . . 90
breaking apart . . . . . . . . . . . . . 183 - 184 separating Paragraph text frames from . . . . . . . . 384
changing the anchor point . . . . . . . . . . 271 - 272 setting HTML conflict verification options for . . . . . . . 671
changing the order of . . . . . . . . . . . . . 177 shaping . . . . . . . . . . . . . . . . 85, 98
checking for HTML conflicts between . . . . . . . . . 671 sizing. . . . . . . . . . . . . . . 261, 274-277
cloning . . . . . . . . . . . . . . . 168, 171 skewing . . . . . . . . . . . . . . 261, 287-289
combining . . . . . . . . . . . . . . . . 184 snapping to guidelines . . . . . . . . . . . . . 66
contouring . . . . . . . . . . . . . . . . 503 snapping using aligning . . . . . . . . . . . . 178
copying . . . . . . . . . . . . . . . 168 - 169 splitting . . . . . . . . . . . . . . . . 261
cutting . . . . . . . . . . . . . 168 - 169, 172, 261 stacking . . . . . . . . . . . . . . . . 176
deleting . . . . . . . . . . . . . . . 168, 172 stretching . . . . . . . . . . . . . 261, 274-277
deselecting . . . . . . . . . . . . . . . . 94 transforming . . . . . . . . . . . . . . . 262
deselecting nodes . . . . . . . . . . . . . 118 - 119 trimming . . . . . . . . . . . . . 261, 294, 296
displaying as colored outlines . . . . . . . . . . . 199 ungrouping . . . . . . . . . . . . . . 181, 183
displaying the fill when dragging . . . . . . . . . . 95 unlocking . . . . . . . . . . . . . . . . 186
Index xxi
Index
vertical structure . . . . . . . . . . . . . . 186 setting the ruler . . . . . . . . . . . . . . . 56
welding . . . . . . . . . . . . . . 261, 294 - 295 outline color. . . . . . . . . . . 308 - 309, 311, 313 - 315
wrapping text around . . . . . . . . . . . . . 384 default . . . . . . . . . . . . . . . . . 316
offset distance outlines . . . . . . . . . . . . . . . 51, 211, 246
changing for duplicates and clones . . . . . . . . . . 172 adding line-ending shapes . . . . . . . . . . . . 254
Offset effect . . . . . . . . . . . . . . . . 637 adjusting the width . . . . . . . . . . . . . 248
offsetting tiles applying . . . . . . . . . . . . . . . . 247
rows and columns . . . . . . . . . . . . . . 240 applying color . . . . . . . . . . . . . . . 247
OLE . . . . . . . . . . . . . . 763 - 764, 767 - 768 applying in Scrapbook . . . . . . . . . . . . . 51
automation . . . . . . . . . . . . . . . 827 behind fill . . . . . . . . . . . . . . . . 252
breaking links . . . . . . . . . . . . . . . 767 calligraphic . . . . . . . . . . . . . . . 251
editing embedded . . . . . . . . . . . . . . 770 converting to objects . . . . . . . . . . . . . 248
embedding objects . . . . . . . . . . . . . . 769 copying in Scrapbook . . . . . . . . . . . . . 51
limitations of objects . . . . . . . . . . . . . 764 corners. . . . . . . . . . . . . . . . . 249
updating . . . . . . . . . . . . . . . . 768 favorite in Scrapbook . . . . . . . . . . . . . 51
one-segment callout . . . . . . . . . . . . . 126, 129 line caps . . . . . . . . . . . . . . . . 250
on-screen Color Palette . . . . . . . . . . . 308, 318, 322 line-ending shapes . . . . . . . . . . . . . . 254
changing colors . . . . . . . . . . . . . . 318 miter limit . . . . . . . . . . . . . . . . 253
docking . . . . . . . . . . . . . . . . 319 preset in Scrapbook . . . . . . . . . . . . . . 50
modifying . . . . . . . . . . . . . . 319 - 320 removing . . . . . . . . . . . . . . . . 254
multiple, . . . . . . . . . . . . . . . . 318 renaming in Scrapbook . . . . . . . . . . . . . 51
no-color swatch . . . . . . . . . . . . . . 320 scale with image . . . . . . . . . . . . . . 252
opening palettes . . . . . . . . . . . . . . 318 setting line styles . . . . . . . . . . . . . . 250
opacity shortcuts using Scrapbook . . . . . . . . . . . . 51
adjusting for drop shadows . . . . . . . . . . . 492 storing in Scrapbook . . . . . . . . . . . . . 50
adjusting for transparencies . . . . . . . . . . . 501 switching line-ending shapes . . . . . . . . . . . 255
Open Prepress Interface (OPI) . . . . . . . . . . 727 - 728 thickness . . . . . . . . . . . . . . . . 248
links . . . . . . . . . . . . . . . . . 745 out-of-gamut colors . . . . . . . . . . . . . . 331
PDF links . . . . . . . . . . . . . . . . 784 outputting bitmaps . . . . . . . . . . . . . . 710
opening. . . . . . . . . . . . . . . . . . 23 overprinting . . . . . . . . . . . . . . . . 735
archived files . . . . . . . . . . . . . . . 32 black . . . . . . . . . . . . . . . . 735, 737
clipart using Scrapbook . . . . . . . . . . . . . 49 fills . . . . . . . . . . . . . . . . 735 - 736
documents with consistent settings . . . . . . . . . . 47 outlines . . . . . . . . . . . . . . . 735 - 736
drawings . . . . . . . . . . . . . . . 22 - 23 plates . . . . . . . . . . . . . . . . . 735
files . . . . . . . . . . . . . . . . . . 23 separations . . . . . . . . . . . . . . . 737
ordering objects . . . . . . . . . . . . . . 176 - 177 overscore formatting
back one . . . . . . . . . . . . . . . . 177 applying to text . . . . . . . . . . . . . . 353
behind . . . . . . . . . . . . . . . . . 177 modifying line properties . . . . . . . . . . . . 354
forward one . . . . . . . . . . . . . . . 177
in front of . . . . . . . . . . . . . . . . 177
reverse order . . . . . . . . . . . . . . . 177 P
to back . . . . . . . . . . . . . . . . . 177 page border . . . . . . . . . . . . . . . . 45
to front. . . . . . . . . . . . . . . . . 177 displaying . . . . . . . . . . . . . . . . 45
orientation . . . . . . . . . . . . . . . . . 38 hiding . . . . . . . . . . . . . . . . . 45
portrait and landscape . . . . . . . . . . . . . 38 Page Curl effect . . . . . . . . . . . . . . . 589
setting for individual pages . . . . . . . . . . . . 38 page layout options
setting the default for all pages . . . . . . . . . . . 38 beginning new documents with . . . . . . . . . . . 46
origin page numbers . . . . . . . . . . . . . . . . 724
xxii Index
Index
page orientation . . . . . . . . . . . . . . . 38 specifying range sensitivity . . . . . . . . . . . 580
matching with printer settings . . . . . . . . . . . 39 palettes . . . . . . . . . . . . . . . . . 729
portrait and landscape . . . . . . . . . . . . . 38 panning . . . . . . . . . . . . . . . . . 69
setting for individual pages . . . . . . . . . . . . 38 choosing default settings . . . . . . . . . . . . 73
setting the default for all pages . . . . . . . . . . . 38 moving drawings . . . . . . . . . . . . . . 71
page setup . . . . . . . . . . . . . . . . . 34 using IntelliMouse . . . . . . . . . . . . . . 70
adding a background . . . . . . . . . . . . . 43 using the Property Bar . . . . . . . . . . . . . 72
choosing a page size. . . . . . . . . . . . . . 36 using the Zoom flyout . . . . . . . . . . . . . 70
customizing the page size . . . . . . . . . . . . 37 PANOSE
displaying the bleed . . . . . . . . . . . . . . 45 changing font substitutions . . . . . . . . . . . 422
displaying the page border . . . . . . . . . . . . 45 Font Matching . . . . . . . . . . . . . . . 422
hiding the bleed . . . . . . . . . . . . . . . 45 matching Windows font to Macintosh font . . . . . . . . 423
hiding the page border . . . . . . . . . . . . . 45 substituting for missing fonts . . . . . . . . . . . 423
layout styles. . . . . . . . . . . . . . . . 41 PANTONE MATCHING SYSTEM . . . . . . . . . . . . 313
page orientation . . . . . . . . . . . . . . 38 paper . . . . . . . . . . . . . . . . . . 36
removing a background . . . . . . . . . . . . . 43 choosing a size . . . . . . . . . . . . . . . 36
using preset label styles . . . . . . . . . . . . . 46 choosing a style . . . . . . . . . . . . . . . 36
viewing facing pages . . . . . . . . . . . . . 41 size . . . . . . . . . . . . . . . . . 680
page size . . . . . . . . . . . . . . . . 36 - 37 Paragraph text . . . . . . . . . . . . . . . 337
defining custom . . . . . . . . . . . . . . . 37 adding . . . . . . . . . . . . . . . . . 339
deleting custom . . . . . . . . . . . . . . . 37 adding bullets . . . . . . . . . . . . . . . 374
matching with printer settings . . . . . . . . . . . 39 adding drop caps . . . . . . . . . . . . . . 368
saving custom . . . . . . . . . . . . . . . 37 adding special characters . . . . . . . . . . . . 344
setting for a single page. . . . . . . . . . . . . 36 adding symbols . . . . . . . . . . . . . . 344
setting the default for all pages . . . . . . . . . . . 36 adding tabs . . . . . . . . . . . . . . . 370
pages . . . . . . . . . . . . . . . . . 35, 40 adding trailing leader tabs . . . . . . . . . . . . 371
adding . . . . . . . . . . . . . . . . 35, 40 aligning horizontally . . . . . . . . . . . . . 367
adding printable backgrounds . . . . . . . . . . . 43 aligning vertically . . . . . . . . . . . . . . 367
deleting . . . . . . . . . . . . . . . . 35, 40 breaking apart. . . . . . . . . . . . . . . 382
layout styles for . . . . . . . . . . . . . . . 41 changing drop caps settings . . . . . . . . . . . 369
rasterizing . . . . . . . . . . . . . . . . 712 changing hyphenation settings . . . . . . . . . . . 377
removing printable backgrounds . . . . . . . . . . 43 changing tab settings . . . . . . . . . . . . . 371
renaming . . . . . . . . . . . . . . . 35, 40 combining . . . . . . . . . . . . . . . . 382
viewing facing . . . . . . . . . . . . . . . 41 converting to Artistic text . . . . . . . . . . . . 340
palette converting to HTML text . . . . . . . . . . . . 662
saving the processed palette . . . . . . . . . . . 582 creating columns of equal widths . . . . . . . . . . 365
Palette Knife effect . . . . . . . . . . . . . . 597 creating columns of varying widths . . . . . . . . . 366
Paletted color mode customizing bullets . . . . . . . . . . . . . 375
batch conversion . . . . . . . . . . . . . . 583 deleting tabs . . . . . . . . . . . . . . . 370
converting multiple images to . . . . . . . . . . . 576 dragging text from frames . . . . . . . . . . . . 383
converting multiple files . . . . . . . . . . . . 583 editing . . . . . . . . . . . . . . . . . 347
editing colors . . . . . . . . . . . . . . . 581 embedding graphics . . . . . . . . . . . . . 345
saving the processed palette . . . . . . . . . . . 582 fitting to frames . . . . . . . . . . . . . . 380
paletted images formatting . . . . . . . . . . . . . . 351, 364
converting to . . . . . . . . . . . . . . . 578 hyphenating . . . . . . . . . . . . . . . 376
resetting the color palette . . . . . . . . . . . . 582 indenting . . . . . . . . . . . . . . . . 373
saving and loading conversion options . . . . . . . . . 579 removing bullets . . . . . . . . . . . . . . 374
saving the processed palette . . . . . . . . . . . 582 removing indents . . . . . . . . . . . . . . 373
Index xxiii
Index
removing tabs . . . . . . . . . . . . . . . 370 fitting Artistic text to . . . . . . . . . . . . . 393
sizing to the frame. . . . . . . . . . . . . . 380 positioning text on the other side of . . . . . . . . . 397
spacing . . . . . . . . . . . . . . . . 357 removing blends from . . . . . . . . . . . . . 444
wrapping around graphics . . . . . . . . . . . . 384 removing text from . . . . . . . . . . . . . 397
wrapping around objects . . . . . . . . . . . . 384 selecting blend. . . . . . . . . . . . . . . 444
wrapping around text . . . . . . . . . . . . . 386 straightening separated text . . . . . . . . . . . 397
Paragraph text frames. . . . . . . . . . . . . . 337 pattern fills . . . . . . . . . . . . . . . . 227
adding . . . . . . . . . . . . . . . . . 339 applying bitmap fills . . . . . . . . . . . . . 229
breaking apart. . . . . . . . . . . . . . . 382 creating . . . . . . . . . . . . . . . . 231
combining . . . . . . . . . . . . . . . . 382 customizing . . . . . . . . . . . . . . . 235
fitting text to . . . . . . . . . . . . . . . 380 deleting . . . . . . . . . . . . . . . . 232
fixed . . . . . . . . . . . . . . . . . 339 full-color . . . . . . . . . . . . . . . . 229
hiding outlines . . . . . . . . . . . . . . . 381 importing images . . . . . . . . . . . . . . 232
hiding spacing arrows . . . . . . . . . . . . . 381 offsetting tiles . . . . . . . . . . . . . . . 240
inserting in objects. . . . . . . . . . . . . . 383 rotating . . . . . . . . . . . . . . . . 238
linking . . . . . . . . . . . . . . . . . 388 setting the origin . . . . . . . . . . . . . . 237
linking to different pages . . . . . . . . . . . . 390 sizing tiles . . . . . . . . . . . . . . . . 235
linking to lines . . . . . . . . . . . . . . . 389 skewing . . . . . . . . . . . . . . . . 238
linking to objects . . . . . . . . . . . . . . 389 transform with object . . . . . . . . . . . . . 239
managing . . . . . . . . . . . . . . . . 378 two-color . . . . . . . . . . . . . . . . 227
moving. . . . . . . . . . . . . . . . . 380 PCD . . . . . . . . . . . . . . . . . . 755
redirecting text flow of linked . . . . . . . . . . . 391 PDF . . . . . . . . . . . . . . . . . . 773
removing links . . . . . . . . . . . . . . . 392 add style . . . . . . . . . . . . . . . . 774
separating from objects . . . . . . . . . . . . 384 character fonts. . . . . . . . . . . . . . . 780
showing outlines . . . . . . . . . . . . . . 381 choose export range . . . . . . . . . . . . . 773
showing spacing arrows . . . . . . . . . . . . 381 choosing an EPS file . . . . . . . . . . . . . 783
sizing . . . . . . . . . . . . . . 339, 379 - 380 compress text . . . . . . . . . . . . . . . 781
sizing text to fit . . . . . . . . . . . . . . 380 compressing bitmaps . . . . . . . . . . . . . 778
specifying link options . . . . . . . . . . . . . 391 compressing JPEG . . . . . . . . . . . . . . 778
specifying number of characters per line . . . . . . . . 381 compressing LZW . . . . . . . . . . . . . . 778
parameters converting fonts . . . . . . . . . . . . . . 779
setting for grid . . . . . . . . . . . . . . . 60 delete style. . . . . . . . . . . . . . . . 775
setting for ruler . . . . . . . . . . . . . . . 56 documents . . . . . . . . . . . . . . . . 785
parent colors downsampling color bitmaps . . . . . . . . . . . 778
creating . . . . . . . . . . . . . . . . 152 downsampling grayscale bitmaps . . . . . . . . . . 778
Particles effect. . . . . . . . . . . . . . . . 627 downsampling monochrome bitmaps . . . . . . . . . 778
Pastels effects . . . . . . . . . . . . . . . . 598 edit style . . . . . . . . . . . . . . . . 774
pasting export text . . . . . . . . . . . . . . . . 781
fills. . . . . . . . . . . . . . . . . . 213 generate bookmarks . . . . . . . . . . . . . 787
objects . . . . . . . . . . . . . . . 168 - 169 generate thumbnails . . . . . . . . . . . . . 787
paths . . . . . . . . . . . . . . . . . . 117 PostScript portion . . . . . . . . . . . . . . 783
adjusting the spacing between text fitted to . . . . . . . 395 Preview portion . . . . . . . . . . . . . . 783
aligning text horizontally . . . . . . . . . . . . 395 publishing a file . . . . . . . . . . . . . . 773
blending along . . . . . . . . . . . . . . . 433 publishing documents . . . . . . . . . . . . . 785
breaking . . . . . . . . . . . . . . . . 125 reduce file size . . . . . . . . . . . . . . . 778
changing blend . . . . . . . . . . . . . . 444 save a file . . . . . . . . . . . . . . . . 773
changing the horizontal position of text fitted to . . . . . . 396 style for document distribution . . . . . . . . . . 774
customizing the orientation of text fit to . . . . . . . . 394 style for Prepress . . . . . . . . . . . . . . 774
xxiv Index
Index
style for the WEB . . . . . . . . . . . . . . 774 changing the anchor point . . . . . . . . . . . . 271
using fonts . . . . . . . . . . . . . . . . 779 dimension text . . . . . . . . . . . . . . . 132
PDF marks . . . . . . . . . . . . . . . . 704 objects . . . . . . . . . . . . . . . . 95, 271
displaying . . . . . . . . . . . . . . . . 704 objects at an exact location . . . . . . . . . . . 271
including bookmarks . . . . . . . . . . . . . 704 positioning
including hyperlinks . . . . . . . . . . . . . 704 pages when printing . . . . . . . . . . . . . 687
PDF objects . . . . . . . . . . . . . . . . 777 the printed image. . . . . . . . . . . . . 695, 699
output as CMYK . . . . . . . . . . . . . . 784 Posterize effect . . . . . . . . . . . . . . . 558
output as grayscale . . . . . . . . . . . . . 784 posterizing . . . . . . . . . . . . . . . . 558
output as RGB . . . . . . . . . . . . . . . 784 PostScript . . . . . . . . . . 700 - 701, 704, 706 - 708, 727
Pen and Ink effect . . . . . . . . . . . . . . . 599 complex objects . . . . . . . . . . . . . . 702
Perceptual. . . . . . . . . . . . . . . . . 325 complex print jobs . . . . . . . . . . . . . . 704
PerfectExpert . . . . . . . . . . . . . . . . 4 fountain steps . . . . . . . . . . . . . . . 705
accessing . . . . . . . . . . . . . . . . . 5 Level 1 . . . . . . . . . . . . . . . . . 700
perspective . . . . . . . . . . . . . . . . 523 Level 2 . . . . . . . . . . . . . . . 700 - 701
adding one-point . . . . . . . . . . . . . . 524 Level 3 . . . . . . . . . . . . . . . 700 - 701
adding two-point . . . . . . . . . . . . . . 524 OPI . . . . . . . . . . . . . . . . . 728
copying an object’s. . . . . . . . . . . . . . 525 PostScript 1 . . . . . . . . . . . . . . . . 700
creating . . . . . . . . . . . . . . . . 523 PostScript 2 . . . . . . . . . . . . . . . 700 - 701
editing . . . . . . . . . . . . . . . . . 525 PostScript 3 . . . . . . . . . . . . . . . 700 - 701
moving nodes to adjust . . . . . . . . . . . . 526 PostScript halftone screen
moving the vanishing point to change . . . . . . . . . 526 applying to a bitmap . . . . . . . . . . . . . 545
removing . . . . . . . . . . . . . . . . 525 PostScript portion
Perspective effect . . . . . . . . . . . . . . . 590 PDF . . . . . . . . . . . . . . . . . 783
Photo CD . . . . . . . . . . . . . . . . . 755 PostScript printer description file . . . . . . . . . . . 681
PHOTO-PAINT PostScript texture fills . . . . . . . . . . . . . . 226
for editing bitmaps . . . . . . . . . . . . . 565 applying . . . . . . . . . . . . . . . . 226
photos PowerClip objects
in Scrapbook . . . . . . . . . . . . . . . 49 copying the contents of . . . . . . . . . . . . 528
Pinch Punch effect. . . . . . . . . . . . . . . 591 creating . . . . . . . . . . . . . . . . 527
Pixelate effect . . . . . . . . . . . . . . . . 638 creating using the Object Manager . . . . . . . . . . 191
plug-in applications . . . . . . . . . . . . . . 657 editing . . . . . . . . . . . . . . . . . 528
plug-in filters . . . . . . . . . . . . . . . . 657 editing the contents of . . . . . . . . . . . . . 529
disabling . . . . . . . . . . . . . . . . 657 extracting the contents of . . . . . . . . . . . . 530
enabling . . . . . . . . . . . . . . . . 657 locking. . . . . . . . . . . . . . . . . 530
removing . . . . . . . . . . . . . . . . 658 nesting. . . . . . . . . . . . . . . . . 527
Point light. . . . . . . . . . . . . . . . . 485 repositioning . . . . . . . . . . . . . . . 529
adding to bitmap extrusions . . . . . . . . . . . 487 unlocking . . . . . . . . . . . . . . . . 530
Pointillist effect . . . . . . . . . . . . . . . 600 PPD . . . . . . . . . . . . . . . . . . 681
Polygon tool . . . . . . . . . . . . . . . 86, 101 selecting . . . . . . . . . . . . . . . . 681
polygons precision drawing . . . . . . . . . . . . . . . 137
changing to stars . . . . . . . . . . . . . . 101 precision marks
creating from stars . . . . . . . . . . . . . . 101 setting ruler. . . . . . . . . . . . . . . . 59
drawing . . . . . . . . . . . . . . . . . 86 preferences
shaping . . . . . . . . . . . . . . . . . 98 drawing tools . . . . . . . . . . . . . . . 136
polygons as stars setting text. . . . . . . . . . . . . . . . 424
changing to polygons or stars . . . . . . . . . . . 101 Preflight . . . . . . . . . . . . . . . . . 686
positioning . . . . . . . . . . . . . . 94, 261, 271 disable issues . . . . . . . . . . . . . . . 686
Index xxv
Index
generate report . . . . . . . . . . . . . . 686 clipart using Scrapbook . . . . . . . . . . . . . 49
icons . . . . . . . . . . . . . . . . . 686 color . . . . . . . . . . . . . . . . . 729
issues . . . . . . . . . . . . . . . . . 686 color print jobs in black . . . . . . . . . . . . 710
settings . . . . . . . . . . . . . . . . 686 color print jobs in grayscale . . . . . . . . . . . 710
Prepare For Service Bureau wizard . . . . . . . . . 717, 719 color separations . . . . . . . . . . . . . . 731
preserving object information . . . . . . . . . . . . 782 complex objects . . . . . . . . . . . . . . 702
Preset copies . . . . . . . . . . . . . . . . . 682
Natural Media tool mode . . . . . . . . . . . . 108 current page . . . . . . . . . . . . . . . 682
presets . . . . . . . . . . . . . . . . . 828 device properties . . . . . . . . . . . . . . 679
CorelDRAW 6 . . . . . . . . . . . . . . . 828 document information . . . . . . . . . . . . . 80
Pressure emulsion down . . . . . . . . . . . . . . . 721
Natural Media tool mode . . . . . . . . . . . . 115 even pages . . . . . . . . . . . . . . . . 682
Preview portion increasing the speed for extrusions. . . . . . . . . . 474
PDF . . . . . . . . . . . . . . . . . 783 increasing the speed for vector extrusions . . . . . . . . 474
previewing job information sheet . . . . . . . . . . . . . 725
drawings . . . . . . . . . . . . . . . . 78 large artwork . . . . . . . . . . . . . . . 684
selected objects only. . . . . . . . . . . . . . 78 layers . . . . . . . . . . . . . . . . 197, 683
print jobs . . . . . . . . . . . . . . . 695, 698 methods . . . . . . . . . . . . . . . . 679
previews multiple copies. . . . . . . . . . . . . . . 683
full-screen . . . . . . . . . . . . . . . . 78 negatives . . . . . . . . . . . . . . . . 721
previous versions non-sequential pages . . . . . . . . . . . . . 682
saving in . . . . . . . . . . . . . . . . 25 object data summaries . . . . . . . . . . . . . 207
print merge . . . . . . . . . . . . . . . 714 - 716 odd pages . . . . . . . . . . . . . . . . 682
merging text with drawing . . . . . . . . . . . . 716 online Help . . . . . . . . . . . . . . . . 4
preparing a drawing . . . . . . . . . . . . . 714 pages to separate files . . . . . . . . . . . . . 720
preparing text . . . . . . . . . . . . . . . 715 pages to separate plates . . . . . . . . . . . . 720
print preview . . . . . . . . . . . . . . 695, 698 problems . . . . . . . . . . . . . . . 700, 708
customizing . . . . . . . . . . . . . . . 698 selected objects . . . . . . . . . . . . . . 683
print shop . . . . . . . . . . . . . . . . . 717 sequential pages . . . . . . . . . . . . . . 682
print styles . . . . . . . . . . . . . . . . 685 several pages on a single sheet of paper . . . . . . . . 687
printable backgrounds single file . . . . . . . . . . . . . . . . 720
adding . . . . . . . . . . . . . . . . . 43 spot and process inks . . . . . . . . . . . . . 729
removing . . . . . . . . . . . . . . . . 43 text . . . . . . . . . . . . . . . . 683, 713
printer to file . . . . . . . . . . . . . . 680, 717, 720
calibrating . . . . . . . . . . . . . . . . 325 to Macintosh . . . . . . . . . . . . . . . 720
capabilities . . . . . . . . . . . . . . . 708 vectors. . . . . . . . . . . . . . . . . 683
driver. . . . . . . . . . . . . . . . 680, 708 PRN files . . . . . . . . . . . . . . . . 717, 720
profile . . . . . . . . . . . . . . . . . 325 process colors . . . . . . . . . . . . . . 729, 731
spreads . . . . . . . . . . . . . . . . . 41 hexachrome . . . . . . . . . . . . . . . 731
printer settings processing quality
matching with page size and orientation . . . . . . . . 39 bitmaps . . . . . . . . . . . . . . . . 564
printers’ marks. . . . . . . . . . . . . 717, 722 - 725 profile
positioning. . . . . . . . . . . . . . . . 725 color . . . . . . . . . . . . . . . . . 759
printing . . . . . . . . . . . . . . . 679, 717, 729 composite . . . . . . . . . . . . . . . . 759
a document . . . . . . . . . . . . . . . 680 separations . . . . . . . . . . . . . . . 759
all pages . . . . . . . . . . . . . . . . 682 program information
all text in black . . . . . . . . . . . . . . 683 viewing . . . . . . . . . . . . . . . . . 79
bitmaps . . . . . . . . . . 683, 708 - 709, 720, 726, 728 programming statements . . . . . . . . . . . . . 824
xxvi Index
Index
properties . . . . . . . . . . . . . . . . . 137 scripts . . . . . . . . . . . . . . . . . 821
copying . . . . . . . . . . . . . . . . 168 Rectangle tool . . . . . . . . . . . . . . . . 85
printer . . . . . . . . . . . . . . . . . 680 rectangles . . . . . . . . . . . . . . . . . 85
setting line . . . . . . . . . . . . . . . . 137 drawing . . . . . . . . . . . . . . . . . 85
Property Bar. . . . . . . . . . . . . . . . . 8 rounding corners . . . . . . . . . . . . . . 99
adding toolbar items to . . . . . . . . . . . . 812 shaping . . . . . . . . . . . . . . . . . 98
customizing . . . . . . . . . . . . . . . 811 redoing . . . . . . . . . . . . . . . . . 165
displaying . . . . . . . . . . . . . . . . 12 changes . . . . . . . . . . . . . . . . 165
docking . . . . . . . . . . . . . . . . . 12 series of changes . . . . . . . . . . . . . . 167
hiding . . . . . . . . . . . . . . . . . 12 transformations . . . . . . . . . . . . . . 265
moving . . . . . . . . . . . . . . . . . 811 undone commands . . . . . . . . . . . . . . 165
rearranging toolbar items on . . . . . . . . . . . 812 redraw speed
removing toolbar items from . . . . . . . . . . . 812 increasing . . . . . . . . . . . . . . . . 545
resizing. . . . . . . . . . . . . . . . . 811 redrawing objects with the Knife tool . . . . . . . . . . 268
Psychedelic effect . . . . . . . . . . . . . . . 615 reducing file sizes . . . . . . . . . . . . . . . 27
publishing. . . . . . . . . . . . . . . . . 672 registration marks . . . . . . . . . . . . . . 722
documents to the Internet . . . . . . . . . . . . 672 removing
in HTML . . . . . . . . . . . . . . . . 673 Bookmarks. . . . . . . . . . . . . . . . 668
PDF documents . . . . . . . . . . . . . . 785 fills. . . . . . . . . . . . . . . . . . 214
PDF objects . . . . . . . . . . . . . . . 777 Moire effect . . . . . . . . . . . . . . . 651
to PDF . . . . . . . . . . . . . . . . . 773 nodes . . . . . . . . . . . . . . . . . 120
Pull distortions . . . . . . . . . . . . . . . 446 Noise effect . . . . . . . . . . . . . . . 652
applying . . . . . . . . . . . . . . . . 447 outlines . . . . . . . . . . . . . . . . 254
applying new . . . . . . . . . . . . . . . 456 renaming
changing the center of . . . . . . . . . . . . . 456 bookmarks. . . . . . . . . . . . . . . . 668
copying . . . . . . . . . . . . . . . . 448 color styles . . . . . . . . . . . . . . . . 157
removing . . . . . . . . . . . . . . . . 447 files in Scrapbook . . . . . . . . . . . . . . 50
Push distortions . . . . . . . . . . . . . . . 446 fills and outlines in Scrapbook . . . . . . . . . . . 51
applying . . . . . . . . . . . . . . . . 446 layers . . . . . . . . . . . . . . . . . 194
applying new . . . . . . . . . . . . . . . 456 pages . . . . . . . . . . . . . . . . . 35
changing the center of . . . . . . . . . . . . . 456 toolbars . . . . . . . . . . . . . . . . 807
copying . . . . . . . . . . . . . . . . 448 rendering
removing . . . . . . . . . . . . . . . . 446 bitmap resolutions . . . . . . . . . . . . . . 481
Rendering Intent . . . . . . . . . . . . . . . 325
repeating commands . . . . . . . . . . . . . . 167
R Replace Colors effect . . . . . . . . . . . . . . 559
Radial Blur effect . . . . . . . . . . . . . . . 609 replacing . . . . . . . . . . . . . . . 173 - 174
RAM . . . . . . . . . . . . . . . . . . 29 characters . . . . . . . . . . . . . . . . 349
reserving for images. . . . . . . . . . . . . . 29 colors in bitmaps . . . . . . . . . . . . . . 559
range sensitivity . . . . . . . . . . . . . . . 580 object properties . . . . . . . . . . . . . . 174
rasterizing. . . . . . . . . . . . . . . . . 712 text objects. . . . . . . . . . . . . . . . 175
bitmaps . . . . . . . . . . . . . . . . 712 using Replace Wizard . . . . . . . . . . . . . 174
page . . . . . . . . . . . . . . . . . 712 resampling . . . . . . . . . . . . . . . . 745
real world distance bitmaps . . . . . . . . . . . . . . . . 564
matching to screen distance . . . . . . . . . . . . 74 resetting
recording color palette options . . . . . . . . . . . . . 582
coordinates in . . . . . . . . . . . . . . . 825 filters . . . . . . . . . . . . . . . . . 816
measurement units. . . . . . . . . . . . . . 825 range sensitivity . . . . . . . . . . . . . . 582
Index xxvii
Index
resizing rows
bitmaps . . . . . . . . . . . . . . . . 564 offsetting fills . . . . . . . . . . . . . . . 240
items on toolbars . . . . . . . . . . . . . . 806 ruler resolution
Status Bar . . . . . . . . . . . . . . . . 813 adjusting to document . . . . . . . . . . . . . 42
toolbar button borders. . . . . . . . . . . . . 806 setting . . . . . . . . . . . . . . . . . 42
toolbar buttons . . . . . . . . . . . . . . 806 ruler units . . . . . . . . . . . . . . . . . 57
toolbars . . . . . . . . . . . . . . . . 804 for Internet graphics . . . . . . . . . . . . . 58
resolution setting . . . . . . . . . . . . . . . . . 57
changing for bitmap extrusions . . . . . . . . . . 481 rulers . . . . . . . . . . . . . . . . . 54 - 55
changing for transparencies . . . . . . . . . . . 500 calibrating . . . . . . . . . . . . . . . . 74
changing the for drop shadows . . . . . . . . . . 495 changing units . . . . . . . . . . . . . . . 57
printing . . . . . . . . . . . . . . . . 734 customizing the drawing scale . . . . . . . . . . . 59
retrieving displaying . . . . . . . . . . . . . . . . 61
archived files . . . . . . . . . . . . . . . 32 hiding . . . . . . . . . . . . . . . . . 61
reversing moving . . . . . . . . . . . . . . . . . 56
the direction of blends . . . . . . . . . . . . . 441 setting origin of . . . . . . . . . . . . . . . 56
reverting setting parameters . . . . . . . . . . . . . . 56
to last saved version . . . . . . . . . . . . . 167 setting tick divisions . . . . . . . . . . . . . 59
to styles . . . . . . . . . . . . . . . . 148
RGB color model . . . . . . . . . . . . . . . 303
printing bitmaps in . . . . . . . . . . . . . 708 S
converting bitmaps to . . . . . . . . . . . . . 575 Sample/Target Balance effect . . . . . . . . . . . . 560
right mouse button Saturation. . . . . . . . . . . . . . . . . 325
modifying . . . . . . . . . . . . . . . . 320 adjusting . . . . . . . . . . . . . . . . 554
setting menu options . . . . . . . . . . . . . 802 saving . . . . . . . . . . . . . . 24 - 25, 27, 796
Ripple effect . . . . . . . . . . . . . . . . 639 all open drawings . . . . . . . . . . . . . . 25
rotating . . . . . . . . . . . . . . . . . 282 color masks . . . . . . . . . . . . . . . 547
around a different anchor point . . . . . . . . . . 283 compressing files . . . . . . . . . . . . . . 27
bitmaps extrusions. . . . . . . . . . . . . . 484 custom texture fills . . . . . . . . . . . . . 234
bitmaps in three dimensions . . . . . . . . . . . 586 document information . . . . . . . . . . . . . 80
blends . . . . . . . . . . . . . . . . . 437 keyboard shortcuts. . . . . . . . . . . . . . 796
interactively . . . . . . . . . . . . . . . 283 Paletted conversion options . . . . . . . . . . . 579
lines and curves . . . . . . . . . . . . . . 283 previous versions of files . . . . . . . . . . . . 30
nodes . . . . . . . . . . . . . . . . . 122 processed palettes . . . . . . . . . . . . . . 582
objects around specific ruler coordinates . . . . . . . . 285 selected objects only. . . . . . . . . . . . . . 25
objects relative to current position. . . . . . . . . . 285 settings for new documents . . . . . . . . . . . . 48
objects with precision . . . . . . . . . . . . . 284 system information . . . . . . . . . . . . . . 79
pattern fills . . . . . . . . . . . . . . . 238 views . . . . . . . . . . . . . . . . . 75
resetting the center of rotation. . . . . . . . . . . 286 saving files . . . . . . . . . . . . . . . 24 - 25
setting the center of rotation with precision . . . . . . . 285 as earlier versions . . . . . . . . . . . . . . 25
text . . . . . . . . . . . . . . . . 362 - 363 automatically . . . . . . . . . . . . . . . 33
texture fills . . . . . . . . . . . . . . . 238 in other vector formats . . . . . . . . . . . . . 25
objects using the mouse . . . . . . . . . . . . 283 using Advanced Settings. . . . . . . . . . . . . 27
vector extrusions . . . . . . . . . . . . . . 472 with fonts embedded . . . . . . . . . . . . . 25
rounded corners . . . . . . . . . . . . . . . 99 with notes and keywords . . . . . . . . . . . . 25
setting . . . . . . . . . . . . . . . . . 249 with thumbnails. . . . . . . . . . . . . . . 25
rounded line caps saving imposition layout . . . . . . . . . . . . . 689
setting . . . . . . . . . . . . . . . . . 250 scale . . . . . . . . . . . . . . . . . 126, 138
xxviii Index
Index
Scale With Image coordinates in . . . . . . . . . . . . . . . 825
setting . . . . . . . . . . . . . . . . . 252 Corel SCRIPT Editor . . . . . . . . . . . . . 822
scaling . . . . . . . . . . . . . . . . 261, 278 dialog boxes . . . . . . . . . . . . . . . 824
curves . . . . . . . . . . . . . . . . . 122 editing . . . . . . . . . . . . . . . . . 821
from the center . . . . . . . . . . . . . . 279 example . . . . . . . . . . . . . . . . 826
interactively . . . . . . . . . . . . . . . 279 measurement units. . . . . . . . . . . . . . 825
maintaining the aspect ratio . . . . . . . . . . 278, 280 programming statements . . . . . . . . . . . . 824
resetting the anchor point . . . . . . . . . . . . 281 recording . . . . . . . . . . . . . . . . 821
setting the anchor point . . . . . . . . . . . 278, 281 running in Corel SCRIPT . . . . . . . . . . . . 821
using the mouse . . . . . . . . . . . . . . 279 searching
with precision . . . . . . . . . . . . . . . 280 and replacing text characters . . . . . . . . . . . 175
scanner and replacing text objects . . . . . . . . . . . . 175
calibrating . . . . . . . . . . . . . . . . 325 for text objects . . . . . . . . . . . . . . . 175
profile . . . . . . . . . . . . . . . . . 325 segments . . . . . . . . . . . . . . . . 85, 117
scanning . . . . . . . . . . . . . . . . . 727 changing envelope . . . . . . . . . . . . . . 462
Scatter effect . . . . . . . . . . . . . . . . 628 changing to a curve or line . . . . . . . . . . . . 124
Scrapbook . . . . . . . . . . . . . . . . 48 - 51 shaping a curve object . . . . . . . . . . . . . 121
applying fills and outlines . . . . . . . . . . . . 51 selecting . . . . . . . . . . . . . . . . . 89
Browse page . . . . . . . . . . . . . . . 49 a single object in a group . . . . . . . . . . . . 90
clipart . . . . . . . . . . . . . . . . . 49 all guidelines . . . . . . . . . . . . . . . 91
connecting to FTP sites . . . . . . . . . . . . . 52 all objects . . . . . . . . . . . . . . . . 91
copying files. . . . . . . . . . . . . . . . 50 all text objects . . . . . . . . . . . . . . . 91
creating shortcuts to files . . . . . . . . . . . . 50 blend components . . . . . . . . . . . . . . 444
deleting files . . . . . . . . . . . . . . . 50 bookmarks. . . . . . . . . . . . . . . . 668
displaying file properties . . . . . . . . . . . . 50 groups . . . . . . . . . . . . . . . . . 90
Favorite Fills And Outlines . . . . . . . . . . . . 50 hidden locked objects . . . . . . . . . . . . . 93
files . . . . . . . . . . . . . . . . . . 49 hidden objects . . . . . . . . . . . . . . . 92
FTP Sites page . . . . . . . . . . . . . . . 52 hidden objects in a group . . . . . . . . . . . . 92
importing files or graphics . . . . . . . . . . . . 49 locked objects . . . . . . . . . . . . . . . 93
managing files using . . . . . . . . . . . . . 50 multiple objects . . . . . . . . . . . . . 90 - 91
managing fills and outlines . . . . . . . . . . . . 51 nodes . . . . . . . . . . . . . . . . 118 - 119
opening clipart . . . . . . . . . . . . . . . 49 objects . . . . . . . . . . . . . . . . . 90
opening files or graphics . . . . . . . . . . . . 49 objects in groups . . . . . . . . . . . . . . 92
photos . . . . . . . . . . . . . . . . . 49 objects in Object Manager . . . . . . . . . . . . 189
preset fills and outlines . . . . . . . . . . . . . 50 signatures . . . . . . . . . . . . . . . . 692
printing clipart . . . . . . . . . . . . . . . 49 text . . . . . . . . . . . . . . . . . 342
printing files or graphics . . . . . . . . . . . . 49 using a marquee box . . . . . . . . . . . . . 91
storing fills and outlines . . . . . . . . . . . . 50 Selective Color effect . . . . . . . . . . . . . . 561
scraperboard effect . . . . . . . . . . . . . . 601 sending out your print job . . . . . . . . . . . . . 717
screen . . . . . . . . . . . . . . . . 726, 734 separating
applying a PostScript halftone screen to bitmaps . . . . . . 545 blends . . . . . . . . . . . . . . . . . 445
angles . . . . . . . . . . . . . . 726, 733 - 734 contours . . . . . . . . . . . . . . . . 509
customizing the resolution of . . . . . . . . . . . 74 vector extrusions . . . . . . . . . . . . . . 475
frequency . . . . . . . . . . . . . 726 - 727, 734 separations printer profile. . . . . . . . . . . . . 681
scripts. . . . . . . . . . . . . . . . . . 821 sequential auto-ordering . . . . . . . . . . . . . 692
application commands . . . . . . . . . . . . . 823 service bureau . . . . . . . . . . . . . . 717, 727
AutoScripts. . . . . . . . . . . . . . . . 827 set bookmarks
converting . . . . . . . . . . . . . . . . 828 PDF . . . . . . . . . . . . . . . . . 787
Index xxix
Index
set color profile show bitmap colors . . . . . . . . . . . . . . 546
PDF . . . . . . . . . . . . . . . . . 784 showing
setting layers . . . . . . . . . . . . . . . . . 196
effects preview screen . . . . . . . . . . . . . 585 signature . . . . . . . . . . . . . . . . . 689
image capabilities . . . . . . . . . . . . . . 782 layouts. . . . . . . . . . . . . . . . . 687
page per group. . . . . . . . . . . . . . . 692 Simple Wireframe
ruler resolution . . . . . . . . . . . . . . . 42 setting the view quality to . . . . . . . . . . . . 77
signatures . . . . . . . . . . . . . . . . 692 sizing. . . . . . . . . . . . . . . . . 261, 274
undo levels. . . . . . . . . . . . . . . . 585 artwork when printing . . . . . . . . . . . . . 698
setting the origin objects . . . . . . . . . . . . . . . . . 274
pattern fills . . . . . . . . . . . . . . . 237 objects from center. . . . . . . . . . . . . . 275
texture fills. . . . . . . . . . . . . . . . 237 objects nonproportionally . . . . . . . . . . . . 274
setting up print jobs . . . . . . . . . . . . . . 679 objects proportionally . . . . . . . . . . . . . 274
settings objects using the mouse . . . . . . . . . . . . 275
changing defaults for a drawing tool . . . . . . . . . 136 objects with precision . . . . . . . . . . . . . 277
drawing tools . . . . . . . . . . . . . . . 136 the printed image . . . . . . . . . . . . . . 695
saving for new documents . . . . . . . . . . . . 48 sizing tiles
shadows pattern fills . . . . . . . . . . . . . . . 235
adjusting . . . . . . . . . . . . . . . . 556 texture fills. . . . . . . . . . . . . . . . 235
Shape tool Sketch Pad effect . . . . . . . . . . . . . . . 602
using to crop bitmaps . . . . . . . . . . . . . 536 skewing . . . . . . . . . . . . . . . . 261, 287
shapes . . . . . . . . . . . . . . . . . . 85 interactively . . . . . . . . . . . . . . . 288
irregular . . . . . . . . . . . . . . . 103, 107 lines and curves . . . . . . . . . . . . . . 288
shaping . . . . . . . . . . . . . . . . 98, 121 nodes . . . . . . . . . . . . . . . . . 122
creating arcs or pie-shapes. . . . . . . . . . . . 100 objects with precision . . . . . . . . . . . . . 289
curve objects . . . . . . . . . . . . . . 117, 121 pattern fills . . . . . . . . . . . . . . . 238
grids . . . . . . . . . . . . . . . . . 102 resetting the anchor point . . . . . . . . . . . . 290
lines . . . . . . . . . . . . . . . . . 117 texture fills . . . . . . . . . . . . . . . 238
objects using envelopes . . . . . . . . . . . . 457 using the mouse . . . . . . . . . . . . . . 288
rounding corners . . . . . . . . . . . . . . 99 slanted dimension lines . . . . . . . . . . . . . 127
Shaping Docker window . . . . . . . . . . . . . 294 slanting . . . . . . . . . . . . . . . . . 287
shaping objects. . . . . . . . . . . . . . . . 85 objects using the mouse . . . . . . . . . . . . 288
sharing objects with precision . . . . . . . . . . . . . 289
vanishing points of a vector extrusion . . . . . . . . . 473 smart duplication . . . . . . . . . . . . . . . 170
Sharpen effect. . . . . . . . . . . . . . . . 655 Smoked Glass effect . . . . . . . . . . . . . . 628
Sharpen effects . . . . . . . . . . . . . . . 653 Smooth effect . . . . . . . . . . . . . . . . 610
Adaptive Unsharp . . . . . . . . . . . . . . 653 smooth node . . . . . . . . . . . . . . . . 123
Directional Sharpen . . . . . . . . . . . . . 654 snap points . . . . . . . . . . . . . . . . 126
High Pass . . . . . . . . . . . . . . . . 654 snapping
Sharpen . . . . . . . . . . . . . . . . 655 objects to grid . . . . . . . . . . . . . . . 61
Unsharp Mask . . . . . . . . . . . . . . . 656 objects to guidelines. . . . . . . . . . . . . . 66
shifting Soften effect . . . . . . . . . . . . . . . . 611
text . . . . . . . . . . . . . . . . . 362 solid fills . . . . . . . . . . . . . . . . . 212
shortcut key Solzarize effect . . . . . . . . . . . . . . . 615
assigning to a style . . . . . . . . . . . . . . 151 sort colors
shortcuts color palettes . . . . . . . . . . . . . . . 322
creating for FTP sites . . . . . . . . . . . . . 52 sort type . . . . . . . . . . . . . . . . . 743
creating in Scrapbook . . . . . . . . . . . . . 50 sorting
xxx Index
Index
colors in color styles . . . . . . . . . . . . . 157 redrawing paths . . . . . . . . . . . . . . 268
spacing spot colors. . . . . . . . . 308, 313 - 314, 320, 704, 729, 732
characters . . . . . . . . . . .358 . . . . . converting to CMYK at print time . . . . . . . . . . 732
hiding spacing arrows . . . . . . . .
381 . . . . . PDF . . . . . . . . . . . . . . . . . 782
showing spacing arrows . . . . . . .
381 . . . . . spot inks . . . . . . . . . . . . . . . . . 332
words . . . . . . . . . . . .358 . . . . . square line caps
special characters . . . . . . . . . .343 . . . . . setting . . . . . . . . . . . . . . . . . 250
adding to a symbol set . . . . . . . .347 . . . . . squares
adding to drawings . . . . . . . .344 . . . . . drawing . . . . . . . . . . . . . . . . . 85
adding to text . . . . . . . . . .344 . . . . . shaping . . . . . . . . . . . . . . . . . 98
special effects . . . . . . . . . . .584 . . . . . stacking order . . . . . . . . . . . . . . . . 176
3D . . . . . . . . . . . . .585 . . . . . changing . . . . . . . . . . . . . . . . 177
Art Stroke . . . . . . . . . . .592 . . . . . Stained Glass effect . . . . . . . . . . . . . . 629
Blur . . . . . . . . . . . .605 . . . . . stars . . . . . . . . . . . . . . . . . . 85
Color Transform . . . . . . . . .
612 . . . . . changing the number points . . . . . . . . . . . 101
common controls . . . . . . . . .584 . . . . . changing to polygons . . . . . . . . . . . . . 101
Contour . . . . . . . . . . .616 . . . . . creating from polygons. . . . . . . . . . . . . 101
Creative . . . . . . . . . . .619 . . . . . drawing . . . . . . . . . . . . . . . . . 86
Distort . . . . . . . . . . . .634 . . . . . shaping . . . . . . . . . . . . . . . . . 98
Noise . . . . . . . . . . . .645 . . . . . starting
Sharpen . . . . . . . . . . .653 . . . . . getting started . . . . . . . . . . . . . . . 21
Spell Checker . . . . . . . . . . .398 . . . . . Start-Up options
changing languages . . . . . . . .404 . . . . . customizing . . . . . . . . . . . . . . . 791
correcting errors manually. . . . . . .402 . . . . . statistics . . . . . . . . . . . . . . . . . 421
specifying options . . . . . . . . .403 . . . . . checking text . . . . . . . . . . . . . . . 421
user word lists . . . . . . . . . .403 . . . . . Status Bar . . . . . . . . . . . . . . . . . 813
using . . . . . . . . . . . .401 . . . . . adding toolbar items to . . . . . . . . . . . . 815
spelling . . . . . . . . . . . .401 . . . . . changing appearance of . . . . . . . . . . . . 815
adding corrections to Type Assist . . . . .400 . . . . . displaying . . . . . . . . . . . . . . . . 814
checking automatically . . . . . . .399 . . . . . hiding . . . . . . . . . . . . . . . . . 814
correcting automatically . . . . . . .398 . . . . . moving. . . . . . . . . . . . . . . . . 813
correcting manually . . . . . . . .402 . . . . . removing toolbar items from . . . . . . . . . . . 815
ignoring errors. . . . . . . . . .400 . . . . . resizing . . . . . . . . . . . . . . . . 813
maximum number of words displayed . . . .400 . . . . . Straight line threshold. . . . . . . . . . . . . . 137
Sphere effect . . . . . . . . . . .592 . . . . . straight lines . . . . . . . . . . . . . . . . 104
Spiral tool . . . . . . . . . . . . . . . . . 87 straightening
spirals text rotations . . . . . . . . . . . . . . . 364
drawing . . . . . . . . . . . . . . . . . 87 text shifts . . . . . . . . . . . . . . . . 364
logarithmic . . . . . . . . . . . . . . . . 87 straight-line blends . . . . . . . . . . . . . . 431
symmetrical . . . . . . . . . . . . . . . . 87 creating . . . . . . . . . . . . . . . . 432
splitting . . . . . . . . . . . . . . 261, 267 - 268 stretching . . . . . . . . . . . . . . . 261, 274
an object . . . . . . . . . . . . . . . . 268 arrowheads . . . . . . . . . . . . . . . 256
blends . . . . . . . . . . . . . . . . . 442 curves . . . . . . . . . . . . . . . . . 122
in Bezier curve mode . . . . . . . . . . . . . 269 from center . . . . . . . . . . . . . . . 276
objects along straight lines. . . . . . . . . . . . 268 objects . . . . . . . . . . . . . . . . . 274
objects in two . . . . . . . . . . . . . 267 - 268 objects using the mouse . . . . . . . . . . . . 276
objects into subpaths . . . . . . . . . . . 267 - 268 objects with precision . . . . . . . . . . . . . 277
print jobs into bands . . . . . . . . . . . . . 712 strikethrough formatting
Index xxxi
Index
applying to text . . . . . . . . . . . . . . 353 viewing . . . . . . . . . . . . . . . . . 79
modifying line properties . . . . . . . . . . . . 354 system information . . . . . . . . . . . . . . . 79
styles . . . . . . . . . . . . . . . 143 - 145, 685 saving . . . . . . . . . . . . . . . . . 79
applying . . . . . . . . . . . . . . . . 148 viewing . . . . . . . . . . . . . . . . . 79
assigning shortcut keys. . . . . . . . . . . . . 151
color . . . . . . . . . . . . . . . . . 152
connector lines . . . . . . . . . . . . . . . 133 T
creating . . . . . . . . . . . . . . . . 145 TAB key. . . . . . . . . . . . . . . . . . 89
creating templates . . . . . . . . . . . . 159 - 160 tabs . . . . . . . . . . . . . . . . . . 370
default graphic. . . . . . . . . . . . . . . 149 adding . . . . . . . . . . . . . . . . . 370
deleting . . . . . . . . . . . . . . . . 147 aligning . . . . . . . . . . . . . . . . 371
editing . . . . . . . . . . . . . . . . . 146 changing settings . . . . . . . . . . . . . . 371
finding . . . . . . . . . . . . . . . . . 150 removing . . . . . . . . . . . . . . . . 370
PDF . . . . . . . . . . . . . . . . 773 - 774 setting trailing leader . . . . . . . . . . . . . 371
print styles. . . . . . . . . . . . . . . . 685 technical support . . . . . . . . . . . . . . . 14
reverting to styles . . . . . . . . . . . . . . 148 automated fax on demand . . . . . . . . . . . . 16
subpaths . . . . . . . . . . . . . . . . . 117 before you call . . . . . . . . . . . . . . . 15
creating . . . . . . . . . . . . . . . . 268 bulletin board system . . . . . . . . . . . . . 16
subscript text . . . . . . . . . . . . . . . . 355 CompuServe . . . . . . . . . . . . . . . . 17
subsetting fonts . . . . . . . . . . . . . . . 780 interactive voice answering network. . . . . . . . . . 16
substituting telephone . . . . . . . . . . . . . . . . 15
uninstalled fonts . . . . . . . . . . . . . . 422 WWW . . . . . . . . . . . . . . . . . 17
Windows font for Macintosh font . . . . . . . . . . 423 Template wizard . . . . . . . . . . . . . . . 158
super nudge adding templates to . . . . . . . . . . . . . 162
moving objects . . . . . . . . . . . . . . . 97 loading templates with. . . . . . . . . . . . . 160
superscript text . . . . . . . . . . . . . . . 355 templates . . . . . . . . . . . . . . 143, 145, 158
support . . . . . . . . . . . . . . . . . . 14 applying . . . . . . . . . . . . . . . . 160
automated fax on demand . . . . . . . . . . . . 16 changing . . . . . . . . . . . . . . . . 161
bulletin board system . . . . . . . . . . . . . 16 creating . . . . . . . . . . . . . . . 159 - 160
CompuServe . . . . . . . . . . . . . . . . 17 creating new drawings from. . . . . . . . . . . . 22
customer service. . . . . . . . . . . . . . . 17 loading. . . . . . . . . . . . . . . . . 160
interactive voice answering network. . . . . . . . . . 16 temporary file storage . . . . . . . . . . . . . . 28
services . . . . . . . . . . . . . . . . . 14 text . . . . . . . . . . . . . . . . . . 337
telephone . . . . . . . . . . . . . . . . 15 adding Artistic . . . . . . . . . . . . . . . 340
WWW . . . . . . . . . . . . . . . . . 17 adding Paragraph . . . . . . . . . . . . . . 339
suppress filter . . . . . . . . . . . . . . 745, 752 appearing on toolbar buttons . . . . . . . . . . . 810
swap disks . . . . . . . . . . . . . . . . . 28 breaking apart . . . . . . . . . . . . . . . 184
creating . . . . . . . . . . . . . . . . . 28 changing case . . . . . . . . . . . . . . . 356
Swirl effect . . . . . . . . . . . . . . . . 640 changing character properties . . . . . . . . . . . 351
symbols . . . . . . . . . . . . . . . . . 343 changing default units . . . . . . . . . . . . . 425
adding to a symbol set . . . . . . . . . . . . . 347 changing fonts . . . . . . . . . . . . . . . 351
adding to drawings . . . . . . . . . . . . . 344 checking statistics . . . . . . . . . . . . . . 421
adding to text . . . . . . . . . . . . . . . 344 combining . . . . . . . . . . . . . . . . 183
creating a pattern with . . . . . . . . . . . . 346 converting from Paragraph to HTML . . . . . . . . . 662
specifying options . . . . . . . . . . . . . . 425 converting to curves . . . . . . . . . . . . . 117
symmetrical node . . . . . . . . . . . . . . . 123 converting types . . . . . . . . . . . . . . 340
symmetrical spirals. . . . . . . . . . . . . . . 87 correcting automatically . . . . . . . . . . . . 418
system DLLs creating HTML . . . . . . . . . . . . . . . 661
xxxii Index
Index
deselecting . . . . . . . . . . . . . . . . 94 customizing lookup options . . . . . . . . . . . 420
displaying nonprinting characters . . . . . . . . . . 427 customizing settings . . . . . . . . . . . . . 420
displaying outlines when spacing . . . . . . . . . . 361 using . . . . . . . . . . . . . . . . . 419
editing . . . . . . . . . . . . . . . . . 347 thickness
editing in Drawing Window . . . . . . . . . . . 348 adjusting for outlines . . . . . . . . . . . . . 248
editing in Text Edit dialog box . . . . . . . . . . . 348 three-dimensional effects . . . . . . . . . . . . . 585
fitting to a path . . . . . . . . . . . . . . 393 Tile effect . . . . . . . . . . . . . . . . . 641
formatting . . . . . . . . . . . . . . . . 351 tiles
formatting HTML text . . . . . . . . . . . . . 662 offsetting fills . . . . . . . . . . . . . . . 240
formatting Paragraph . . . . . . . . . . . . . 364 sizing fills . . . . . . . . . . . . . . . . 235
greeking . . . . . . . . . . . . . . . . 424 tiling
increasing redraw speed . . . . . . . . . . . . 424 symbols . . . . . . . . . . . . . . . . 346
kerning . . . . . . . . . . . . . . . . 359 your artwork when printing . . . . . . . . . . . 684
replacing characters . . . . . . . . . . . . . 349 Tinted Grayscale lens . . . . . . . . . . . . . . 516
searching for characters . . . . . . . . . . . . 349 Tone Curve effect . . . . . . . . . . . . . . . 562
selecting . . . . . . . . . . . . . . . . 342 toolbar buttons
selecting all . . . . . . . . . . . . . . . . 91 changing appearance of . . . . . . . . . . . . 810
sizing . . . . . . . . . . . . . . . . . 351 changing appearance of individual . . . . . . . . . . 810
smoothing jagged edges . . . . . . . . . . . . 424 editing . . . . . . . . . . . . . . . . . 811
spacing . . . . . . . . . . . . . . . . 357 resizing . . . . . . . . . . . . . . . . 806
specifying increments for sizing . . . . . . . . . . 425 resizing borders . . . . . . . . . . . . . . 806
testing readability of documents . . . . . . . . . . 414 restoring . . . . . . . . . . . . . . . . 811
wrapping around text . . . . . . . . . . . . . 386 viewing images on . . . . . . . . . . . . . . 810
text case viewing text on. . . . . . . . . . . . . . . 810
changing . . . . . . . . . . . . . . . . 356 toolbar items
text streams . . . . . . . . . . . . . . . . 781 adding . . . . . . . . . . . . . . . . . 807
text styles . . . . . . . . . . . . . . . . . 144 copying . . . . . . . . . . . . . . . . 809
applying . . . . . . . . . . . . . . . . 148 moving . . . . . . . . . . . . . . . . 809
assigning shortcut keys. . . . . . . . . . . . . 151 rearranging . . . . . . . . . . . . . . . 808
creating . . . . . . . . . . . . . . . . 145 removing . . . . . . . . . . . . . . . . 808
deleting . . . . . . . . . . . . . . . . 147 toolbars . . . . . . . . . . . . . . . . . . 8
editing . . . . . . . . . . . . . . . . . 146 creating custom . . . . . . . . . . . . . . 806
finding in a drawing . . . . . . . . . . . . . 150 customizing . . . . . . . . . . . . . . . 804
reverting to . . . . . . . . . . . . . . . 148 deleting custom . . . . . . . . . . . . . . 806
texture fills . . . . . . . . . . . . . . . . 233 displaying . . . . . . . . . . . . . . . . 12
applying . . . . . . . . . . . . . . . . 234 docking . . . . . . . . . . . . . . . 12, 804
applying PostScript . . . . . . . . . . . . . 226 hiding . . . . . . . . . . . . . . . . . 12
custom. . . . . . . . . . . . . . . . . 234 hiding titles on floating . . . . . . . . . . . . 805
customizing . . . . . . . . . . . . . . . 235 moving . . . . . . . . . . . . . . . . 804
offsetting tiles . . . . . . . . . . . . . . . 240 renaming . . . . . . . . . . . . . . . . 807
rotating . . . . . . . . . . . . . . . . 238 resizing . . . . . . . . . . . . . . . . 804
saving custom . . . . . . . . . . . . . . . 234 restoring . . . . . . . . . . . . . . . . 806
setting the origin . . . . . . . . . . . . . . 237 sizing . . . . . . . . . . . . . . . . . 12
sizing tiles . . . . . . . . . . . . . . . . 235 viewing . . . . . . . . . . . . . . . . 805
skewing . . . . . . . . . . . . . . . . 238 viewing titles on floating . . . . . . . . . . . . 805
transform with object . . . . . . . . . . . . . 239 Toolbox . . . . . . . . . . . . . . . . . . 8
Thesaurus . . . . . . . . . . . . . . . . . 398 description of buttons . . . . . . . . . . . . . 9
changing the language. . . . . . . . . . . . . 420 tools
Index xxxiii
Index
accessing Help for . . . . . . . . . . . . . . 5 editing . . . . . . . . . . . . . . . . . 500
setting preferences . . . . . . . . . . . . . . 136 freezing . . . . . . . . . . . . . . . . 501
ToolTips . . . . . . . . . . . . . . . . . . 4 grayscale masks . . . . . . . . . . . . . . 496
accessing . . . . . . . . . . . . . . . . . 5 Transparency lens . . . . . . . . . . . . . . . 512
TOYO color . . . . . . . . . . . . . . 313, 332, 732 trapping . . . . . . . . . . . . . 735 - 737, 756, 759
Trace Contours effect . . . . . . . . . . . . . . 618 spread . . . . . . . . . . . . . . . . . 737
tracing bitmaps . . . . . . . . . . . . . . . 541 trimming . . . . . . . . . . . . . . 261, 294, 296
automatically . . . . . . . . . . . . . . . 543 multiple objects . . . . . . . . . . . . . . 296
using the Bezier tool . . . . . . . . . . . . . 543 truncated line caps
using the Freehand tool . . . . . . . . . . . . 543 setting . . . . . . . . . . . . . . . . . 250
with CorelTRACE . . . . . . . . . . . . . . 542 tutors . . . . . . . . . . . . . . . . . . 4
tracking . . . . . . . . . . . . . . . . . 357 accessing . . . . . . . . . . . . . . . . . 6
Transform Twister distortions. . . . . . . . . . . . . . . 453
toolbar. . . . . . . . . . . . . . . . . 262 adjusting the rotation of . . . . . . . . . . . . 454
Docker window. . . . . . . . . . . . . . . 262 applying . . . . . . . . . . . . . . . . 453
transformations applying new . . . . . . . . . . . . . . . 456
applying to duplicates . . . . . . . . . . . . . 266 changing the center of . . . . . . . . . . . . . 456
redoing . . . . . . . . . . . . . . . . 265 copying . . . . . . . . . . . . . . . . 455
undoing . . . . . . . . . . . . . . . . 265 removing . . . . . . . . . . . . . . . . 453
transforming duplicates . . . . . . . . . . . . . 266 two-color fountain fills
transforming objects . . . . . . . . . . . . . . 261 applying . . . . . . . . . . . . . . . . 215
choosing the right method . . . . . . . . . . . . 262 two-color patterns
clearing transformations . . . . . . . . . . . . 265 applying . . . . . . . . . . . . . . . . 227
finding the tools . . . . . . . . . . . . . . 262 creating . . . . . . . . . . . . . . . . 230
interactively . . . . . . . . . . . . . . . 262 two-segment callout . . . . . . . . . . . . . 126, 129
mirroring . . . . . . . . . . . . . . . . 290 Type 1 fonts . . . . . . . . . . . . . . . . 706
positioning . . . . . . . . . . . . . . . . 271 Type Assist . . . . . . . . . . . . . . . 398, 418
redoing transformations . . . . . . . . . . . . 265 adding spelling corrections . . . . . . . . . . . 400
rotating . . . . . . . . . . . . . . . . 282 customizing . . . . . . . . . . . . . . . 418
scaling . . . . . . . . . . . . . . . . . 278
scaling interactively . . . . . . . . . . . . . 279
sizing . . . . . . . . . . . . . . . . . 274 U
skewing . . . . . . . . . . . . . . . . 287 underline formatting
stretching . . . . . . . . . . . . . . . . 274 applying to text . . . . . . . . . . . . . . 353
switching to Windows standards . . . . . . . . . 262, 264 modifying line properties . . . . . . . . . . . . 354
undoing transformations . . . . . . . . . . . . 261 undo levels
using CorelDRAW settings . . . . . . . . . . . . 262 changing number of . . . . . . . . . . . . . 166
with precision . . . . . . . . . . . . . . . 262 setting number of . . . . . . . . . . . . . . 585
transparencies . . . . . . . . . . . . . . . 495 undoing . . . . . . . . . . . . . . . . 165 - 166
adjusting the opacity of . . . . . . . . . . . . 501 changes . . . . . . . . . . . . . . . . 165
applying fountain . . . . . . . . . . . . . . 497 commands . . . . . . . . . . . . . . . . 166
applying merge modes . . . . . . . . . . . . . 502 series of changes . . . . . . . . . . . . . . 166
applying pattern . . . . . . . . . . . . . . 499 the last change. . . . . . . . . . . . . . . 166
applying textured . . . . . . . . . . . . . . 498 transformations . . . . . . . . . . . . . . 265
applying uniform . . . . . . . . . . . . . . 496 ungrouping objects . . . . . . . . . . . . 165, 181, 183
changing the resolution . . . . . . . . . . . . 500 uniform color . . . . . . . . . . . . . . . . 212
copying . . . . . . . . . . . . . . . . 500 applying fills . . . . . . . . . . . . . . . 212
creating . . . . . . . . . . . . . . . . 496 Uniform Resource Locator . . . . . . . . . . . 665, 669
xxxiv Index
Index
assigning . . . . . . . . . . . . . . . . 669 lighting . . . . . . . . . . . . . . . . 479
units locking the vanishing point . . . . . . . . . . . 473
in dimension lines . . . . . . . . . . . . . . 130 moving the vanishing point . . . . . . . . . . . 473
Unlocking removing . . . . . . . . . . . . . . . . 475
guidelines . . . . . . . . . . . . . . . . 68 removing light sources . . . . . . . . . . . . . 479
layers . . . . . . . . . . . . . . . . . 197 rotating . . . . . . . . . . . . . . . . 472
objects . . . . . . . . . . . . . . . 185 - 186 selecting . . . . . . . . . . . . . . . . 470
PowerClip objects . . . . . . . . . . . . . . 530 separating . . . . . . . . . . . . . . . . 475
Unsharp Mask effect . . . . . . . . . . . . . . 656 setting the depth . . . . . . . . . . . . . . 471
URLs . . . . . . . . . . . . . . . . . . 669 sharing vanishing points . . . . . . . . . . . . 473
user name . . . . . . . . . . . . . . . 756, 759 vector formats
User Defined Inks . . . . . . . . . . . . . . . 314 saving files in other . . . . . . . . . . . . . . 25
user word lists . . . . . . . . . . . . . . 398, 415 vectors . . . . . . . . . . . . . . . . . 535
activating . . . . . . . . . . . . . . . . 415 converting to bitmaps . . . . . . . . . . . 566 - 567
adding words using Grammatik . . . . . . . . . . 408 images . . . . . . . . . . . . . . . . . 6
adding words using the Spell Checker . . . . . . . . . 403 vertical dimension lines . . . . . . . . . . . . 126 - 127
creating . . . . . . . . . . . . . . . . 415 vertical gutter size . . . . . . . . . . . . . . 693
customizing . . . . . . . . . . . . . . . 416 View Manager . . . . . . . . . . . . . . . 69, 74
disabling . . . . . . . . . . . . . . . . 417 deleting views . . . . . . . . . . . . . . . 75
removing . . . . . . . . . . . . . . . . 417 saving views. . . . . . . . . . . . . . . . 75
using fonts using zoom controls . . . . . . . . . . . . . . 75
PDF . . . . . . . . . . . . . . . . . 780 view quality . . . . . . . . . . . . . . . . 69
choosing. . . . . . . . . . . . . . . . . 77
Draft . . . . . . . . . . . . . . . . 76 - 77
V Enhanced . . . . . . . . . . . . . . . 76 - 77
vanishing points . . . . . . . . . . . . . . . 469 full-screen preview . . . . . . . . . . . . . . 78
changing a vector extrusion’s . . . . . . . . . . . 473 Normal . . . . . . . . . . . . . . . . 76 - 77
copying a vector extrusion’s . . . . . . . . . . . 473 setting . . . . . . . . . . . . . . . . . 76
locking a vector extrusion’s . . . . . . . . . . . 473 Simple Wireframe . . . . . . . . . . . . . 76 - 77
sharing a vector extrusion’s . . . . . . . . . . . 473 Wireframe . . . . . . . . . . . . . . . 76 - 77
VBA . . . . . . . . . . . . . . . . . . 829 viewing . . . . . . . . . . . . . . . . . . 79
vector extrusions . . . . . . . . . . . . . . . 465 document information . . . . . . . . . . . . . 80
adjusting lighting . . . . . . . . . . . . . . 480 object data summaries. . . . . . . . . . . . . 206
applying basic . . . . . . . . . . . . . . . 466 specific layers . . . . . . . . . . . . . . . 196
applying beveled . . . . . . . . . . . . . . 467 system information . . . . . . . . . . . . . . 79
applying fills . . . . . . . . . . . . . . . 476 toolbars . . . . . . . . . . . . . . . . 805
applying gradient fills . . . . . . . . . . . . . 478 viewpoints
applying light sources . . . . . . . . . . . . . 479 moving a lens’ . . . . . . . . . . . . . . . 521
applying solid fills . . . . . . . . . . . . . . 477 views
changing the shape of . . . . . . . . . . . . . 470 deleting . . . . . . . . . . . . . . . . . 75
changing the type . . . . . . . . . . . . . . 472 saving . . . . . . . . . . . . . . . . . 75
cloning. . . . . . . . . . . . . . . . . 468 Vignette effect. . . . . . . . . . . . . . . . 630
copying . . . . . . . . . . . . . . . . 468 Visual Basic for Applications . . . . . . . . . . . . 829
copying vanishing points . . . . . . . . . . . . 473 Vortex effect . . . . . . . . . . . . . . . . 632
creating . . . . . . . . . . . . . . . . 465
editing . . . . . . . . . . . . . . . . . 469
filling . . . . . . . . . . . . . . . . . 476 W
increasing the printing speed . . . . . . . . . . . 474 warnings . . . . . . . . . . . . . . . . 80 - 81
Index xxxv
Index
displaying . . . . . . . . . . . . . . . . 80
enabling and disabling . . . . . . . . . . . . . 81 Z
Water Marker effect . . . . . . . . . . . . . . 603 Zipper distortions . . . . . . . . .
448 . . . . . .
Watercolor effect . . . . . . . . . . . . . . . 603 applying . . . . . . . . . .
449 . . . . . .
watermarks . . . . . . . . . . . . . . . 745, 747 applying new . . . . . . . . .
456 . . . . . .
Wave Paper effect . . . . . . . . . . . . . . . 604 applying random . . . . . . . .
450 . . . . . .
Weather effect. . . . . . . . . . . . . . . . 633 changing the center of . . . . . . .
456 . . . . . .
Web . . . . . . . . . . . . . . . . . . 661 changing the number of points. . . . .
452 . . . . . .
CGI script . . . . . . . . . . . . . . . . 664 copying . . . . . . . . . .
451 . . . . . .
creating documents for. . . . . . . . . . . . . 661 editing . . . . . . . . . . .
451 . . . . . .
welding . . . . . . . . . . . . . . 261, 294 - 295 emphasizing in specific areas . . . . .
452 . . . . . .
Wet Paint effect . . . . . . . . . . . . . . . 642 removing . . . . . . . . . .
449 . . . . . .
Whirlpool effect . . . . . . . . . . . . . . . 643 rounding the points . . . . . . .
451 . . . . . .
width Zoom effect . . . . . . . . . 611. . . . . . .
adjusting for outlines . . . . . . . . . . . . . 248 Zoom flyout . . . . . . . . . . . . . . . . 70
connector lines . . . . . . . . . . . . . . . 133 zoom levels
Wind effect . . . . . . . . . . . . . . . . 644 defining . . . . . . . . . . . . . . . . . 73
windows saving customized . . . . . . . . . . . . . . 73
closing . . . . . . . . . . . . . . . . . 29 Zoom tool . . . . . . . . . . . . . . . . . 69
Windows standards Zoom toolbar . . . . . . . . . . . . . . . . 72
using to transform objects . . . . . . . . . . 262, 264 zooming . . . . . . . . . . . . . . . . . 69
Wireframe default settings . . . . . . . . . . . . . . . 73
setting the view quality to . . . . . . . . . . . . 77 in . . . . . . . . . . . . . . . . . . 69
lens . . . . . . . . . . . . . . . . . 519 out . . . . . . . . . . . . . . . . . . 69
working with bitmaps . . . . . . . . . . . . . . 535 to a specific magnification level . . . . . . . . . . . 72
workspaces . . . . . . . . . . . . . . . . . 9 using IntelliMouse . . . . . . . . . . . . . . 70
creating . . . . . . . . . . . . . . . . . 13 using the Property Bar . . . . . . . . . . . . . 72
customizing . . . . . . . . . . . . . . . 791 using the View Manager . . . . . . . . . . . . . 75
multiple . . . . . . . . . . . . . . . . . 13 using toolbar controls . . . . . . . . . . . . . 72
removing . . . . . . . . . . . . . . . . 13
selecting. . . . . . . . . . . . . . . . . 13
World Wide Web . . . . . . . . . . . . . . . 661
technical support . . . . . . . . . . . . . . 18
wrapping
Artistic text around graphics . . . . . . . . . . . 392
text around objects . . . . . . . . . . . . . 384
text around text . . . . . . . . . . . . . . 386
writing tools . . . . . . . . . . . . . . . . 398
automatic spell checker . . . . . . . . . . . 398 - 399
Grammatik . . . . . . . . . . . . . . . 404
Spell Checker . . . . . . . . . . . . . . . 401
statistics . . . . . . . . . . . . . . . . 421
Thesaurus . . . . . . . . . . . . . . . . 419
Type Assist . . . . . . . . . . . . . . . . 418
user word lists . . . . . . . . . . . . . . . 415
xxxvi Index

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Table of contents

Chapter 1 Welcome to CorelDRAW® . . . . . . . . . . . . . 3

About Corel Corporation

We want your feedback

Accessing online Help

To access online Help

To access an online Help topic using a word search

Printing online Help

To print an entire section

To access the PerfectExpert

Accessing context-sensitive Help

To get help on ... Do this ...

Accessing Online Tutors

Accessing Online Hints

What is a vector image?

What is a bitmap image?

Exploring the work area

Using the Toolbox

The Pick tool lets you select and transform objects.

The Shape tool lets you edit the shape of objects.

The Knife tool lets you cut through objects.

The Eraser tool lets you remove areas of your drawing.

The Freehand tool lets you draw lines and curves.

The Natural Media tool provides access to the Brush, Sprayer,

The Rectangle tool lets you draw rectangles and squares.

The Ellipse tool lets you draw ellipses and circles.

The Polygon tool lets you draw polygons and stars.

The Interactive Transparency tool lets you apply transparencies to objects

The Interactive Contour tool lets you apply a contour to an object.

To display a flyout as a separate toolbar

Using the Property Bar

To display the Property Bar

To hide the Property Bar

To dock the Property Bar

To size floating toolbars

Using Docker windows

Using multiple Workspaces

Corel services and support

 For more information on getting Technical Support, to go the Technical

Telephone technical support options

Other CorelDRAW support options

Interactive Voice Answering Network (IVAN )

Automated FAX on Demand

Bulletin Board System (BBS)

Technical Support on the World Wide Web

File Transfer Protocol (FTP)

 The terms of Corel technical support offerings are subject to change

World Wide Web

Mail, fax, email

Creating and opening drawings

Creating a new drawing

Creating a new drawing based on a template

To create a drawing based on a template

 To preview the contents of a template, enable the Open With Contents

 You can also open files by clicking the Open button.

Saving and closing drawings

To save a new drawing

To save selected objects only

 You can also save a file by clicking the Save button.

Saving files using other options

To save a drawing in CorelDRAW 5, 6, 7, or 8 format

 If you want to open your drawing in CorelDRAW version 5, 6, 7, or 8, but

To save a drawing in vector formats other than .CDR

For more information on getting Technical Support, to go the Technical

The terms of Corel technical support offerings are subject to change

To preview the contents of a template, enable the Open With Contents

You can also open files by clicking the Open button.

You can also save a file by clicking the Save button.

If you want to open your drawing in CorelDRAW version 5, 6, 7, or 8, but

Keywords can contain a maximum of 37 characters.

Files created by the Auto-backup feature are named

Backup files are named BACKUP_OF_FILENAME.