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|Pt. I||The Tour: For Brand New Users||2|
|1||A Tour of the Tools||7|
|2||What's New in CorelDRAW||29|
|3||The Miracle of the Click||65|
|Pt. II||Life in an Object-Oriented World||86|
|4||As the Curve Turns||91|
|6||Fill 'Er Up||141|
|Pt. III||Step by Step||184|
|8||The Sunset: Creating an Illustration||219|
|Pt. IV||Working with Text||250|
|9||Working with Text||255|
|10||Understanding Paragraph Text||271|
|11||Advanced Text Handling||291|
|12||Avoiding Text Disasters||329|
|Pt. V||Designing Your Environment||350|
|13||We Be Stylin' Now||355|
|15||Finding and Managing Objects||395|
|17||Your Very Own Interface||431|
|Pt. VI||Effects and Affects||462|
|19||A Matter of Perspective||489|
|20||The Envelope, Please||501|
|21||Blend It All Together||515|
|22||Energizing with Extrude||541|
|23||Contours: The Lay of the Land||571|
|24||Lenses: Through the Looking Glass||585|
|25||Cropping with PowerClip||603|
|26||The Bitmap Era Is Here||617|
|Pt. VII||The CorelDRAW Freeway||632|
|27||Print, Darn You!||637|
|28||Importing and Exporting||713|
|29||Color for the Color Blind||751|
|30||Turning Gray with Dignity||777|
|Pt. VIII||Drawing for Cyberspace||794|
|31||The Cyber Phenomenon||799|
|32||The Basics of Creating Web Graphics||805|
|33||Going Further with Web Graphics||825|
|34||General Musings of a Web Nature||851|
|Pt. IX||Doing It!||872|
|35||Is It Live or Is It CorelDRAW?||877|
|36||Patience Pays Off||887|
|37||Using Photos in DRAW||897|
|App. B||The Companion CD||920|
He called me meshuga for undertaking such a project. "No, dad -- I think this one's going to be a bit smaller." "Why -- what's the matter? Aren't you feeling well?"
Not that further proof was ever needed that some things you just can't win, but this was one time when everybody did win. Corel streamlined its flagship graphics product, CorelDRAW, into a wonderfully successful version 7, and we have similarly streamlined this book into a more focused product.
What is CorelDRAW?
CorelDRAW remains the clear and obvious leader in Windows-based drawing and illustration software, but what is not so clear and obvious these days is what it means to be a drawing program. Is it a program that allows you to work with refined curves and objects to produce precise artistic effects? Is it a powerful typographic engine for the creation of logos and other text-based work? Is it the hub of a World Wide Web tool? Or does CorelDRAW continue to be, primarily, a tool for driving book authors crazy?
The fact that CorelDRAW is actually all of these things underscores the impression this program has made in its community. One way or the other, the applications in the box of software known as CorelDRAW assist you in the creation of modern-day graphics. They are the tools with which you can create:
CorelDRAW is for Graphics
Be it for traditional media or for the Web, CorelDRAW is a graphics clearinghouse of tools. With it you can create illustrations from scratch, enhance clip art, use and embellish scanned photos, and send your finished work out one of many ways. This is the domain of the Big Two -- DRAW and PHOTO-PAINT -- and these are what users buy the software for. Many users do occasionally turn to the services of DREAM 3D and the other applets and utilities, but day in and day out, the colorful and now-famous balloon icon is what receives the majority of double-clicks. This lopsided popularity is not lost on us, and the lion's share of this book is devoted to DRAW, the flagship product. One of these days, a book proclaiming itself "the definitive reference for Corel's other modules" might reach the shelves, but this isn't it.
Is Draw easy to use? You're holding a very thick book in your hands and that ought to tell you something, but a majority of users are of the opinion that, yes, DRAW is very easy to pick up and begin using. In fact, Corel owes its phenomenal success in large part to that intangible and mystifying quality we call intuitiveness or user- friendliness. DRAW is one of those rare programs that makes itself look easy. The menus make sense, the screen icons seem at home, and most of the functions and dialogs invite you to try them before forcing you to retreat to the User's Manual or online Help.
For Whom Does This Book Toll?
As lead author, I like to think that any CorelDRAW user on the planet will enjoy the pages of this book. The fact that I won't try to convince you of that is a sure sign that I have no future as a marketing consultant. From my ongoing series of CorelDRAW seminars and conferences -- at which I meet several hundred users every year -- I have defined a clear profile of you, the mainstream user: You produce lots of one-page fliers, logos, small brochures, and increasingly, Web pages. You do not necessarily have a professional background in the arts. You want to develop a better understanding of CorelDRAW's tools and functions and learn the hidden treasures that allow for faster and more efficient operation.
This book is written with the following users in mind:
Your Road Map
I include both tutorial and reference material, and when necessary, I specify right away any chapter that is either for beginning or more advanced users.
Part I, "The Tour: For Brand New Users" is an introduction to the software in general, and Chapter 2 is about version 7 in particular. If you've never before produced a drawing on your own, you many not care as much about what is new in DRAW 7, but will definitely want to make stops at the other two chapters.
Part II, "Life in an Object-Oriented World," explores the lifeblood of DRAW: curves, nodes, outlines, and fills.
Part III, "Step by Step," is your chance to watch and follow along as we create several simple illustrations from start to finish.
Part IV, "Working with Text," covers -- you guessed it -- your work with text in DRAW: paragraph and artistic, fancy and conservative, fast and slow, good and bad.
Part V, "Designing Your Environment," explores the improved functions of styles and templates, object management, recordable scripts, and the power behind a customizable interface.
Part VI, "Effects and Affects,quot; features the stellar performers found under the Effects menu, which are responsible for the more artistic (and sometimes not-so artistic) effects possible with DRAW.
Part VII, "The CorelDRAW Freeway," exposes DRAW as the expressway it is, with emphasis on its exits and entrances -- namely printing, color and prepress theory, importing, and exporting.
Part VIII, "Drawing for Cyberspace," is our brand new section about creating graphics for the World Wide Web. It covers in detail the different graphic formats, creating animations, image maps, effective backgrounds, and much more. It offers dozens of strategies for creating successful Web pages, including warnings about danger zones.
Part IX, "Doing it,!" showcases some of the finest work ever achieved with DRAW, including prominent winners in Corel's Annual Design Contest.
The Foundation of CorelDRAW
I remember it as if it were yesterday -- the day that CorelDRAW 1 was first released. Up until then, the closest things to illustration software were unremarkable paint programs and nongraphical applications that required you to describe the effect you wanted, instead of drawing it ("Circle, 2-inch radius, create."). CorelDRAW was one of the first Windows-based drawing pgrams to take hold.
Today, over ten years later, CorelDRAW is one of the giants of the industry, in terms of its customer base, its stature, and the depth and breadth of the programs that are included in this one product.
It is no mystery why this is so. From its inception, CorelDRAW was the most approachable, the most inviting of the drawing and illustration programs. Its army of users covers virtually all corners of the graphics community: from fine artists to illustrators to technical artists; from freelance designers to desktop publishers; book publishers and newsletter editors; sign-makers. T-shirt designers, and logo creators; secretaries turned designers; well-meaning but unartistic managers ... and even your lead author's four-year-old daughter. Granted -- becoming proficient with CorelDRAW might be a challenge; but more than two million users will attest to the fact that playing around with, developing a feel for, and even getting the hang of this program is not difficult at all.
Drawing vs. Painting
When I first started hosting the International CorelDRAW User Conference -- three days of seminars and workshops, dedicated to DRAW users -- I was surprised to discover how many users did not understand the essential qualities of the two broad categories of illustration programs. Today, three years later, I still encounter hundreds of users who are unclear on the concept, because many electronic artists simply take for granted what these programs do in the background. When you get past all of the jargon about Beliers, pixels, halftones, clipping paths, and interlaced .gif files, graphics programs produce art in one of two ways: They produce curves, lines, and other distinct shapes that are based on mathematics; or they produce dots. At the core of it all, everything that comes from graphics software is curves or dots.
The one characteristic that distinguishes vector-based drawing programs like DRAW, Xara, Adobe Illustrator, Macromedia Freehand, Micrografx Designer, and others is their particular degree of intelligence. When you draw a circle in one of these programs, the circle has a set of properties -- an identity, if you will. It has a radius from the center, a circumference, a set of x- and y- coordinates, an outline, and an interior color. If you change the appearance or size of the circle, DRAW still knows that the circle is a circle.
Painting programs, on the other hand -- such as PHOTO-PAINT (included in the CorelDRAW box), Adobe Photoshops, and Fractal Design Painter -- create graphics that are not nearly as smart. In fact, they're pretty dumb, but don't think of that as an insult. Their primary job is to lay down pixels on a screen, no questions asked, just as a painter would apply paint to a canvas. The circle you create in a paint program is simply a collection of pixels, perhaps millions of them, lined up in rows. Taken together, the dots might happen to look like a circle, but there are no properties identifying it as a circle.
When You Have to Choose...
When buying graphics software, it's unlikely that you would choose either a vector-based or a paint program. Most businesses need the services of both, because whether dumb or smart, both types of software play important roles. That is precisely why every copy of CorelDRAW includes DRAW (the drawing program) and PAINT (the painting program).
If You Need Clip Art... Turn to DRAW and the gaggle of prefab clip art images on the CorelDRAW CD. Because vector drawings can be edited so easily, DRAW is the perfect tool to produce simple art from scratch or to modify existing art.
If You Need to Scan Photos... That's a job for PAINT or your favorite paint program. The undying virtue of bitmap images is the extraordinary level of control they offer you. You decide how small each dot is to be (that is, how high the resolution is), and you can change the color of every dot that makes up the image.
If You're Creating Artwork for the Internet... Take your pick, or use them both. The revolution and the miracle that is the World Wide Web is fertile ground for both vector and bitmap software. Ultimately, graphics make their way to the Internet in bitmap form -- as .gif or .jpg files -- yet both DRAW and PAINT are perfectly capable of creating them. Within the bounds of good taste, all of DRAW's formatting prowess and special effects arsenal can be brought to bear on a Web site in search of a personality. Part VIII looks at the exciting and sometimes scary world of Internet graphics.
If You Need to Capture and Refine Computer Screen Images...Here, as well, give the nod to your paint program, coupled with a screen capture program (such as CAPTURE, included in the CorelDRAW box). When you take a picture of your screen, it is stored as a bitmap. Although this bitmap is not as detailed as most photographs, you can still edit all the way down to the dot level.
If You Need to Set Lots of Type... Hightail it back to DRAW, where all the fidelity of your typeface format is honored, including letter spacing, tracking, kerning, and hinting.
If You're Producing Technical Drawings... Once again you're in DRAW's domain, where you can achieve utter precision, razor-sharp lines, and can scale, reshape, group, and duplicate individual objects.
If You're Creating Logos, Fliers, Brochures, or Ad Layouts... Chances are good in this case that you're going to want both DRAW and PAINT, because today's electronic art often contains text and other vector-based objects integrated wtih scanned images. DRAW can be your Grand Central Station for such projects, because it allows you to import bitmap images into a drawing and, as of version 7, apply special effects to them.
The Magic of the Curve
I may be guilty of a bit of oversimplification, but the cornerstone to DRAW can be summed up in one plural noun: curves. The essence of DRAW is its ability to create curves, and this stands in stark contrast to what a paint program does. This bears repeating: Paint programs work with hundred of thousands or even millions of tiny dots, which together form an image that registers with your brain. But the paint program doesn't know that those dots are supposed to look lke something -- that happens practically by accident. On the other hand, DRAW is more intelligent about the basic elements it uses. DRAW understands the dynamics responsible for an object's shape; it is not just a collection of pixels or dots.
As a result, vector art is quite lean. Bitmap images, in contrast, can get big in a hurry. With all of those dots to cart around -- as opposed to the nice, neat set of mathematical instructions that describes an object -- bitmap images can quickly commandeer your hard dirve, especially with four-color images. Figure 1 is a drawing of President Clinton's family, produced in DRAW. The curves and fill patterns that make up this image will require barely 100K of disk space, but if it were converted to a bitmap image, you'd be looking at a minimum of 500K for a low-resolution rendition, and as much as 5MB for one in full color.
No question about, if you choose your paint program to produce work that is better suited for your drawing program, you'll hear about it from your hard drive. And if you decide to go all out and use a professionally scanned photograph of the Clintons and the First Feline standing in the Oval Office, you're talking about really high rent: 10MB to 40MB.
You'll read a lot about curves through this text, especially the so-called Bezier curve(see Figure 2). It's named after the man who discovered the dynamic relationship that exists between a starting point, an ending point, and the two control points that determine the path taken by the curve from start to finish. You don't need to understand the intricacies -- just know Bezier curves get the credit for just about everything that CorelDRAW does right.
CorelDRAW is Greater Than the Sum of Its Parts
Like most sophisticated graphics programs, CorelDRAW hits its stride when you apply a few of its special effects to otherwise simple objects. Creating a few ellipses like the ones shown at the left of Figure 3 may not be cause for celebration, but you will really begin to turn heads when you unleash the higher-octaine features. There's Blend, which transforms one object into another, and Trim, the tool responsible for creating the sprocket in the center of Figure 3 from the four simple ellipses. There's Extrude, which produced the depth-defying effect for the finished sprocket. There's Radial Fill, which gently changes the fill color from one to another, and Rotate, Envelope, Weld, Distribute, Trim, PowerClip -- the list goes on. As Figure 3 shows, the relationship between simple objects and powerful effects might be the marriage made in electronic heaven.
Typefaces: The Final Frontier
To many, the most impressive part of CorelDRAW is the control it gives you in handling text. A mind-boggling number of typefaces ships with the product. Its typographic engine allows for the setting of a typeface in point increments as small as .001 points and for rotations in equally fine steps. In short, CorelDRAW allows you to manipulate text on your electronic drafting table just as you would other objects, using all the same special effects.
Historically, DRAW's text prowess has been responsible for two things: pure joy on the part of eager users accustomed to having substantial constraints on their ability to manipulate type; and horror at some of the less-than-stellar efforts foisted upon the user community by those same eager but artistically challenged users. Many users start out blissfully unaware of the skills required to effectively pilot the software, and indeed, CorelDRAW users' contributions to the Desktop Publishing Hall of Shame are substantial. Perhaps this is the inevitable price to be paid for software so inviting that practically anyone can use it.
On this last point of irony, I will close this introduction. CorelDRAW has made a name for itself as an artist's tool despite the fact -- maybe because of the fact -- that a majority of its users are not artists. This demographic distinction is not lost on me, and my inent in this book is to speak to the practical, pragmatic demands of mainstream CorelDRAW users. I do not hope to convert you into brilliant artists, and I believe one of the virtues of this book is that I will not try. Rather, I hope to broaden your understanding of the software and help you become more efficient and productive.
In my user conferences and ongoing series of seminars, I have met thousands of skilled CorelDRAW users who turn to the product for technical work, simple logs, sketches, headlines, and other projects that don't require formal training in the arts. These power-users enjoy the continuing search for better and faster ways to pilot the software. I have also encountered accomplished artists (those who really do the program justice) who wouldn't know a keyboard shortcut it it landed on their foreheads. Users in both categories will benefit from a more complete understanding of the inner workings of CorelDRAW, and that is what I intend to deliver.