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Inside, find helpful advice on how to
- Why a Book ...For Dummies?
- How to Use This Book
- How This Book Is Organized
- Part I: The Stuff Everyone Pretends They Already Know
- Part II: Let the Graphics Begin
- Part III: Getting the Message Out There Wherever "There" Is
- Part IV: Corel's Other Amazing Programs
- Part V: The Part of Tens
- Icons Used in This Book
- Where to Go from Here
- How to Bug Me
Part I: The Stuff Everyone Pretends They Already Know
Chapter 1: What's with All These Programs?
- Corel Photo-Paint
- Finding photos to edit
- Painting from scratch
- CorelDraw and Photo-Paint Duke It Out
- Corel OCR-Trace
- Corel Capture
- CorelDream 3D
- CorelDepth and CorelTexture
- Multimedia Manager
- And the Rest . . .
- But Wait, There's More
- Feeling Overwhelmed?
Chapter 2: See CorelDraw Run
- Draw on the March
- Interface in Your Face
- Title bar
- Menu bar
- Property Bar
- Drawing area
- Scroll stuff
- Page controls
- Color stuff
- Status bar
- The Mouse Is Your Willing Slave And Other Children's Stories
- How to Deal with Complete Tools
- A quick experiment
- How to find buried tools
- More tool tricks
- Les Menus sans Soup du Jour
- Les equivalents du keyboard
- Alt, ma chère amie, oui?
- The Incessant Chatter of Dialog Boxes
- Roll-Ups, Now in Dozens of Fruity Flavors
- Roll 'em up and tack 'em down
- Breakaway roll-ups
Chapter 3: Ladies and Gentlemen, Insert Your Pocket Protectors!
- Spank the Baby
- How do I start a new document?
- The enlightening Chihuahua scenario
- How do I open a piece of clip art?
- Adding a drawing to an existing drawing
- Opening and importing from the Scrapbook
- Tools for Getting Around the Drawing Area
- Miracles of magnification
- Zoom up to the Property Bar
- Your very own zoombox
- The secret magnification menu
- Pull Your Image into View
- The Screen Is What You Make It
- Show me a rough draft
- String art revival
- Die, you gravy-sucking interface
- Preview bits and pieces
- Save or Die Trying!
- Saving for the very first time
- Updating the drawing
- Creating a backup copy
- Put Your Drawing to Bed
Part II: Let the Graphics Begin
Chapter 4: The Secret Society of Simple Shapes
- Shapes from Your Childhood
- Rectangles and squares
- Ovals and circles
- Shapes with many sides
- Ways to Change Shapes
- Sanding off the corners
- Turning an oval into a tempting dessert
- Giving the pie a wedgie
- Making a wacky shape wackier
- Arrow Tool Techniques Or Tricks of the Pick
- Kiss It Good-bye
- Aaaugh, It's Gone!
Chapter 5: Drawn It, Shaped It, Ready to Go Free-Form
- Do Some Doodling with the Pencil
- Understanding paths, lines, and shapes
- Coming to grips with nodes and segments
- Mastering the pencil
- Experimenting with the natural pen tool
- Nodes as You Never Knew Them
- Bringing nodes into view
- Using nodes to reshape your drawing
- Meet the Node Edit Thingies
- Your first tentative node edits
- How to open, split, close, and join paths
- More ways to make a break
- Options you need once in a blue moon
- Bouncy paths made of rubber
- How to Upgrade Simple Shapes
Chapter 6: Celebrating Your Inner Draftsman
- You Need to Be Disciplined
- Rulers with no power
- Go downtown
- Let the lines be your guide
- The status bar tells all
- Tell Your Objects Where They Can Go
- Nudging with the arrow keys
- Moving by the numbers
- Aligning and distributing objects
- Gang Behavior
- Your Drawing Is a Plate of Flapjacks
Chapter 7: Making Your Shapes Look Like Something
- Fills, Spills, and Chills
- Fill 'er up with color
- Hasta la fillsta
- Make the color palette your own
- Make New Colors in Your Spare Time
- Choosing a color model
- Mixing up a batch of color
- The Thick and Thin of Outlines
- Outlining a path
- Removing the outline
- Avoiding embarrassing line widths
- Setting better line widths
- Lifting an outline from an existing shape
- Creating custom line widths
- Changing line corners and caps
- I Don't Like the Default Setting!
- Fill and Outline Join Forces
- The World of Wacky Fills
- Using the Special Fill roll-up
- Dragging special fills from the Scrapbook
- Filling on the fly
- Save Time with Find and Replace
Chapter 8: The Fine Art of Cloning
- Clipboard Mania: Cut, Copy, and Paste
- Snap, crackle, paste
- A few little Clipboard facts
- Why I hate the Clipboard
- The Gleaming Clipboard Bypass
- Group before you duplicate
- Duplication distance
- Duplicate in place
- They Look Alike, They Act Alike, You Could Lose Your Mind
- Links on the brink
- The care and feeding of your clones
- Do the Drag and Drop
Chapter 9: The Twisty, Stretchy, Bulgy World of Transformations
- Scaling, Flipping, Rotating, and Skewing
- Grouping comes before transforming
- Scaling and flipping
- Using the provocative S&M roll-up
- Rotating and skewing
- Transforming by degrees
- Using the not-so-provocative R&S roll-ups
- Distortions on Parade
- A Lesson in Perspective
- Viewing your 2-D drawing in 3-D space sorta
- Putting perspective in perspective
- Envelope of Wonders
- The ultimate distortion
- The envelope editing modes
- Push the envelope
- Well, Extru-u-ude Me!
- Extruding in the real world
- Extruding in the workplace
- Extruding by the buttons
- Ripping apart your new 3-D object
Part III: Getting the Message Out There Wherever "There" Is
Chapter 10: The Care and Planting of Text
- A Furst Luk at Tekst
- Pick Up Your Text Tool
- Creating artistic text
- Creating paragraph text
- Navigating among the letters
- How to Flow Text between Blocks
- Before You Can Format, You Must Select
- Selecting with the text tool
- Converting from artistic to paragraph and vice versa
- Okay, Now You Can Format
- Selecting a typeface
- Changing the type style
- Enlarging or reducing the type size
- Mucking about with the justification
- Formatting options for rare occasions
- Dropping your caps
- Please Check Your Spelling
- Shortcut to Typographic Happiness
- A Different Kind of Alphabet
Chapter 11: Mr. Typographer's Wild Ride
- Learning the Rules of the Park
- Playing Bumper Cars
- Selecting and dragging text nodes
- Kern, kern, the baffling term
- Changing overall spacing
- Riding the Roller Coaster
- Orienting text on a path
- Changing the vertical alignment
- Changing the horizontal alignment
- Shifting text around a geometric object
- Shifting text in specific increments
- Creating text on a circle
- Editing text on a path
- Editing the path
- Breaking it up
- Meddling with Type
Chapter 12: The Corner of Page and Publish
- Pages upon Pages
- Adding new pages
- Adding pages bit by bit
- Thumbing through your pages
- Removing the excess
- Flowing text between pages
- Your Logo on Every Page
- Establishing a master layer
- Hiding master layer objects on page 1
- I Need a Bigger Page!
Chapter 13: Those Poor, Helpless Trees
- Reviewing the Basic Steps
- Making Sure That Everything's Ready to Go
- Selecting a printer
- Changing paper size and orientation
- Printing the entire document
- Printing Those Pages
- Printing multiple copies
- Printing a few pages here and there
- Still More Printing Options
- Using the page preview area
- Printing full-color artwork
Chapter 14: Programs in the Night, Exchanging Data
- OLE Must Be Pretty Bad to Deserve That Windup
- Take OLE by the Horns
- More Ways for CorelDraw to Receive Gifts
- Linking, the semi-smart technique
- Importing, the last-ditch effort
Chapter 15: Everyone Say Hello to Corel Photo-Paint
- Blasting Off with Photo-Paint
- Here's paint in yer eye!
- Turn off the toolbar!
- Opening Existing Images
- Viewing Your Image
- Using the Navigator
- Dividing Up Your Screen
- Creating a Brand Spanking New Image
- Dots per inch
- Select your crayons
- Changing the Resolution and Color of Photographs
- Saving, Printing, and Closing
Chapter 16: Spare the Tool, Spoil the Pixel
- Pawing Through Your Toolbox
- Loading Your Tools with Color
- Lifting Colors Right Off the Canvas
- Erasing and Undoing Your Way Back to the Good Old Days
- Scrubbing away those stubborn stains
- Reviewing the history of your image
- Going back to square one
- Drawing Lines
- Drawing Geometric Shapes
- Filling Your Entire Image
- Plunking Down the Paint
- Creating Custom Gradients
- Painting with a Tackle Box Full of Brushes
- Smudging, Lightening, Colorizing, and Blurring
- Painting One Portion of an Image onto Another
- Spray Painting with Images
Chapter 17: Twisting Reality around Your Little Finger
- Specifying Which Part of the Image You Want to Edit
- Carving out a little bit of imagery with the wondrous mask tools
- Fine-tuning your selection outline
- Making manual adjustments
- Things to Do with a Selected Image
- Combining Images
- Correcting Focus and Contrast
- Bringing an image into sharper focus
- Reapplying an Effects command
- Making an image less dark and murky
- Setting Your Selections Free
- Making an object
- Manipulating an object
- Moving, cloning, and deleting objects
- Scaling, rotating, and other effects
- Stamping Some Text into Your Image
- Adding and modifying text
- Painting inside text
Chapter 18: Do Dogs Dream in Three Dimensions?
- The Dream That Starts Like a Nightmare
- A Beginner's Guide to 3-D Objects
- Importing and magnifying an object
- Changing how the object looks on-screen
- Moving an object in 3-D space
- Scaling and spinning the object
- Every Object Needs a Look
- Adding a Prefab Backdrop
- The End of the 3-D Highway
Part V: The Part of Tens
Chapter 19: Ten Way-Cool Special Effects
Chapter 20: Ten Time-Saving Shortcuts
Chapter 21: Ten Little-Known, Less-Used Features
Chapter 22: Ten File Formats and Their Functions
Appendix: Installing CorelDraw 7
- If You Build the Computer, CorelDraw Will Come
- Checking your memory
- Inspecting the hard drive
- Insert the CD and Watch the Sparks Fly
IDG Books Worldwide Registration Card
In This Chapter
Imagine that you're a character of text. An H, for example. Or a P. It's not important. So far, your CorelDraw existence has been about as exciting as a traffic jam. Sometimes you wrap to the next line of type, and other times you get poured into a different text block. There are characters above and below you; you even have a few riding your rear end. It's no fun being a character in a standard text block.
But one day, you rub shoulders with a street-wise character, like an E or an S -- you know, some character that really gets around -- and it tells you about a world of possibilities that you haven't yet explored. You can play bumper cars, ride loop-de-loop roller coasters, even stretch yourself into completely different shapes. It's one big amusement park for text!
This chapter is your golden admission ticket. Have a blast.
Before I stamp your hand and let you into the park, a word of caution is in order. Just as too many rides on the Tilt-A-Whirl can make you hurl, too many wild effects can leave a block of text looking a little bent out of shape. The trick is to apply text effects conservatively and creatively.
If you're not sure how an effect will go over, show it to a few friends. Ask them to read your text. If they read it easily and hand the page back to you, you know that you hit the mark. If they say, "How did you make this?" the effect may be a little overly dramatic, but it's probably still acceptable. If they have trouble reading the text, or if they say "How did you make this?" -- in the same way that they might say "What did I just step in?" -- your effect very likely overwhelms the page and is therefore unacceptable.
Then again, I don't want to dampen your spirit of enthusiasm and exploration. Use moderation in all things, including moderation, right? So you make yourself sick on the Tilt-A-Whirl. It's part of growing up. So your first few pages look like run-amok advertisements for furniture warehouses. It's part of learning the craft.
And if some blue-blooded designer looks at your work and exclaims, "Gad, this page! Oh, how it frightens me!" you can retort, "Well, at least my text has more fun than yours." That's one way to get fired, anyway.
As explained in earlier chapters, you can drag an object's nodes and handles with the shape tool. Well, this basic functionality of the shape tool permeates all facets of CorelDraw, including text. If you select the shape tool press F10 and click on a text block, you see three new varieties of nodes and handles, as shown in Figure 11-1. These nodes and handles appear whether you click on a block of artistic text or paragraph text. They enable you to change the location of individual characters and increase or decrease the amount of space between characters and lines of text.
Text nodes enable you to change the locations of individual characters in a text block. You can slightly nudge the characters to adjust the amount of horizontal spacing, or you can drag a character several inches away from its text block just to show it who's boss. Here's how text nodes work:
You can drag entire lines to offset lines of type, drag whole words, or just create crazy text blocks by dragging individual characters six ways to Sunday, whatever that means. But the most practical reason for dragging nodes is to adjust the amount of horizontal space between individual characters, a process known as kerning.
In Webster's Second Edition -- the sacred volume that editors swear by or should it be "by which editors swear"? -- kern is defined as the portion of a letter, such as f, that sticks out from the stem. Those nutty lexicographers say that the term is based on the French word carne, which means a projecting angle.
Now, I don't know about you, but where I come from: A we don't go around assigning words to projecting angles, and B kern means to smush two letters closer together so that they look as snug as kernels of corn on the cob. Of course, I don't have any Ivy League degree and I don't wear any fancy hat with a tassel hanging off it, but I'm pretty sure them Webster fellers are full of beans.
Not like you care. You're still trying to figure out what I'm talking about. So here goes: Consider the character combination AV. The right side of the letter A and the left side of the character V both slope in the same direction. So, when the two letters appear next to each other, a perceptible gap may form, as shown in Figure 11-3. Though the A and the V in AVERY aren't any farther away from each other than the V and the E, the E and the R, and so on, they appear more spread out because of their similar slopes.
To tighten the spacing, I first chose Tools-->Options and reduced the Nudge value to 0.01 inch -- a value that's significantly better to the art of fine-tuning text than the default .10 inch. After pressing Enter to return to the drawing area, I used the shape tool to select the Vs as well as all the letters to the right of the Vs. Then I pressed the left-arrow key a couple of times. Selecting the letters to the right of the Vs ensured that I didn't widen the spacing between any V and the letter that follows it. Figure 11-4 shows the result of kerning the As and Vs. I also kerned a few other letters for good measure. The nodes of these letters are selected in the figure.
As it turns out, CorelDraw is pretty darn good at kerning certain letter combinations automatically. It handles the classic AV combination with as little thought as you and I typically devote to blinking. Even so, I find myself kerning letters just about every time I create them, particularly in headlines and other prominent text blocks. You can trust CorelDraw to do a good job, but only you can make text picture perfect.
Dragging text nodes changes the space between selected characters only. If you want to evenly adjust the spacing between all characters in a text block, you need to drag one of the two spacing handles, labeled back in Figure 11-1.
Turn off the Snap to Grid function before dragging the spacing handles. Choose Layout-->Snap to Grid, and if you see a check mark next to the command, click on the command to turn off the function. With the grid off, you can drag the spacing handles anywhere you like.
Notice that dragging a spacing handle has no effect on the size of a block of paragraph text. The block itself remains the same size, and the newly spaced characters reflow to fit inside it.
Also, changes that you make to a text block affect the characters in that text block only. If the text block is linked to another text block, some reformatted characters may flow into the linked text block, but the characters that originally occupied the linked text block remain unchanged.
CorelDraw calls the feature I'm about to discuss fitting text to a path. But I call it giving your text a ride on the roller coaster. After all, when your text is fit to a path, it has the time of its life, as Figure 11-7 clearly illustrates.
As shown in the top example of Figure 11-7, text normally sits on an imaginary flat line. This line is called the baseline. You can substitute an oval or free-form path for the baseline in two ways in Version 7. Both methods apply to artistic text only; paragraph text is not mature enough to ride the roller coaster.
In Version 7, you can fit text to a path quickly, like so:
Circles, ovals, and gradually curving paths work best, by the way, but any path is acceptable.
You should see a little A with a wavy line next to the insertion marker.
CorelDraw automatically fits your text to the path, placing the text on top of the object. You can change the position of the text after you create it, as explained later in this chapter. Select the arrow tool, and your text becomes selected. Click again to set the text firmly in place.
If you want to want to fit existing text to a path, follow these steps instead:
CorelDraw adds the path to the selection.
The Fit Text To Path roll-up appears. If the selected path is a free-form path, the roll-up looks like the left example in Figure 11-8. If the selected path is a rectangle, oval, or polygon, the roll-up appears as shown on the right side of the figure.
Note that the old shortcut for displaying the roll-up, Ctrl+F, now displays the Special Fill roll-up.
I describe them all momentarily. For now, you don't need to select anything. You can just accept the default settings and go on.
Watch the baseline adhere to that path. Those little characters are probably losing their lunches in a good way, of course.
The text switches to the opposite side of the path and flows in the opposite direction.
The Fit Text To Path roll-up offers either three pop-up menus or two pop-up menus and a group of buttons, depending on the kind of path you're using. The options determine the orientation of characters on a path, the vertical alignment of the text, and the horizontal alignment. The following sections explain how these options work.
You can also use the roll-up to change the orientation and alignment of existing text fit to a path. Just click on the text with the arrow tool. Or, if you have more than one text block fit to the same path, Ctrl+click on the text block that you want to change. The text and path become selected. You can then use the options in the Fit Text to Path roll-up to manipulate the text.
When you select text that's fit to a path, the Property Bar displays many of the same controls found in the Fit Text to Path roll-up, including the orientation and alignment pop-up menus and the Place Text on Other Side option. Happily, all the controls are accessible no matter what monitor display setting you use, as shown in Figure 11-9. Okay, so the Place Text on Other Side button is partially cut off, but you can still click on it without any trouble.
The top pop-up menu in the Fit Text to Path roll-up offers you the choice of rotating characters along the path, skewing them horizontally or vertically, or none of the above. Figure 11-10 shows the effects of each of the options on the text from Figure 11-7, in the same order that the options appear in the pop-up menu in both the roll-up and the Property Bar.
Want my real opinion? All right, here goes:
To change the orientation of text using the roll-up, select the option and then click on Apply. If you select the option from the Property Bar pop-up menu, CorelDraw automatically reorients the text.
The vertical alignment pop-up menu lets you change the vertical positioning of characters with respect to the path. The options work as described in the following list. I listed them in the order that they appear in the menu.:
Generally, you should stick with the default setting, which adheres text by its baseline. The one time to change this option is when you're creating text on a circle, as I describe in the section after next.
When you're attaching text to a free-form path, you can use the third pop-up menu in the Fit Text To Path roll-up or the Property Bar to change the horizontal alignment of text.
When you attach text to a geometric object -- rectangle, oval, or polygon -- CorelDraw replaces the third pop-up menu in the roll-up with a square that contains four inset triangular buttons see Figure 11-8. The buttons work like radio buttons; that is, you can select only one button at a time. You can either center the text along the top of the object, along the left or right side, or along the bottom. The third pop-up menu in the Property Bar offers you the same options.
The Version 7 Property Bar offers two controls that give you an easy way to fine-tune the placement of text on a path. Using the first option box on the Property Bar labeled Distance from path back in Figure 11-9, you can shift the text closer to or farther away from the path. Using the horizontal offset control also labeled back in Figure 11-9, you can move the text horizontally along the path a specific distance.
To use the controls, just click on the up- or down-pointing arrows next to the option boxes. Or, double-click on an option box, enter a new value from the keyboard, and press Enter.
Want to see the vertical and horizontal alignment options put into use? Well, too bad, because I'm going to show you anyway.
I don't know why, but when folks want to fit text to a path, the path they usually have in mind is a circle. Ironically, however, text on a circle is the least intuitive kind of roller-coaster text that you can create. If you simply attach a single text block around the entire circle, half of the text will be upside down. So, you have to attach two text blocks to a single circle, one along the top of the circle and another along the bottom, as explained in the following steps.
Note that the steps instruct you to create your text first and then use the Fit Text to Path roll-up to fit the text to the path. Here's how it works:
If you need help, see Chapter 4.
Click with the text tool and enter text for the top of the circle. Then click at another spot and enter some more text for the bottom. Oh, and keep your text short.
Using the arrow tool, click on the circle and Shift+click on the text that you want to appear along the top of the circle. Or drag around both text and circle to enclose them in a selection marquee. From here on, everything is done with the arrow tool.
If the roll-up is already displayed, skip this step.
The default settings are fine for now. The text adheres to the top of the circle, as in Figure 11-11. If the text doesn't appear on the top of the circle, click the top triangle in the position square in the Fit Text to Path roll-up and click Apply.
This step deselects everything. You have to do this so that you can select the circle independently in the next step.
Click somewhere along the bottom of the circle to make sure that you select the circle only. If you click along the top of the circle, you might select the text as well. Then Shift+click on the second block of text.
See the location of the arrow cursor in Figure 11-12.
The second block of text wraps around the bottom of the circle, as shown in Figure 11-12. Unfortunately, the text is upside down. To remedy this . . .
Or just click on the Place Text On Other Side button on the Property Bar.
The text now appears as shown in Figure 11-13 -- right-side up, but scrunched. To loosen the text up a bit, do Step 11.
Figure 11-14 shows me in the process of selecting this option, which, as you may remember, aligns the ascenders of the characters to the circle so that the text hangs down.
You can also choose this option from the Property Bar. Either way, the resulting text looks something along the lines of Figure 11-14.
Notice that the top row of type doesn't look like it's quite aligned with the bottom row. To fix this, you need to select the top text block independently of the other text. But first, you must deselect everything.
It's unlucky. If today is Friday, shut the book and don't open it again until you've had it inspected by a psychic.
By Ctrl+clicking, you select the top text block along with the circle but independently of the bottom text block.
In Figure 11-15, you can see me selecting this option, which aligns the descenders of the characters to the circle, causing the text to walk the tightrope.
As with other alignment options, this one is available from the Property Bar menu as well as in the roll-up.
The top text block now aligns correctly with the bottom text block. Figure 11-15 shows text on a circle as it was meant to be.
If you want to create text on a circle on the fly -- that is, by typing directly on the path instead of creating the text, selecting text and circle, and then clicking the Apply button in the roll-up -- you need to approach these steps in a different order. Create the text for the bottom of the circle first. Place the text on the bottom of the circle using the Property Bar or roll-up, and then create the text for the top of the circle.
Remember that to change the position of a text block when you have more than one text block fit to the same path, you need to Ctrl+click on the text block to select it.
After you fit a block of artistic text to a path, you may find it difficult to edit the text with the text tools. You can do it by moving the text tool cursor around the letters until the cursor changes to an I-beam and then dragging across the text. But this technique requires dexterity and patience. The easier method is to select the text independently of the path. I touched on this technique in Step 15 of the previous section, but it bears probing in a little more depth.
You can change the fill and outline of the path to which the text is attached by selecting the object and using the Fill and Pen options described back in Chapter 7. It's very straightforward -- no special tricks involved. In many cases, you'll want to hide the path by selecting the object and right-clicking on the X icon at the top of the Color Palette.
If you prefer, you can delete the path entirely, leaving just your text behind. To do so, click the path with the arrow tool and press Delete. Be careful not to select the text instead -- if you delete the text, both path and text disappear.
You can also edit the shape of the path using the shape tool. Again, just be sure that you click on the path and not the text. For laughs, try dragging the top node of the circle back in Figure 11-15 to cut out a pie wedge. Without missing a beat, CorelDraw fits the text along the contours of the wedge.
To detach text from a path and return it to the straight and narrow, do the following:
Just click on the text or marquee around text and path with the arrow tool.
This step separates the text from the path. However, the text remains all twisty-curly.
The text returns to its plain old self.
If you're interested in creating logos or other very special text, you should know about one more command that's applicable to artistic text. After selecting a block of artistic text with the arrow tool, the shape tool, or one of the text tools, choose Arrange-->Convert To Curves or press Ctrl+Q. CorelDraw converts the outlines of every single character in the text block to free-form paths. An A, for example, ceases to be a letter of text and becomes a triangular path with a bar across it.
After you convert the characters to paths, you can edit the paths using the arrow and shape tools described in Chapter 5 exactly as if you drew the characters with the pencil tool. The top example in Figure 11-16 shows a block of everyday, mild-mannered text. The second example is the same block of text after I converted it to paths and edited the heck out of it.
Try this technique out a few times and you'll soon find that converted characters are as easy to integrate and edit as symbols and other pieces of clip art. Converted text serves as a great jumping-off point for creating custom logos and other exciting effects.
Back up your text before you make it a mess
Before converting a block of text to editable paths, you may want to first make a duplicate of the text by pressing Ctrl+D Edit-->Duplicate. Doing so will:
Posted May 17, 2000
I landed a graphic design job (at DOUBLE my old salary!), but needed to learn CorelDRAW fast. Really fast. Like over the week-end! Thank you, thank you Deke McClelland and your 'for Dummies' help! I have the job and am still happily drawing Shimbops for big money. P.S. #1 book is the Bible.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.