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Changing Colors and Other Properties
Don™t like the color or some other look of your vector text, shape, or line? No
problem. Put on colored glasses ” or use the Vector Properties dialog box.
Sound like fun? No? Well, it is fun. Follow these steps:

1. Click the Object Selection tool at the bottom of the Tools toolbar.
2. Select the object or objects you want to modify.
The selection frame appears around your chosen object or group of
objects. See the following section for different ways to select objects.
3. Right-click the object and then choose Properties from the context
menu that drops down.

The Vector Property dialog box, as shown in Figure 12-7, makes the scene.
With this puppy onscreen, you can change all kinds of features.



Figure 12-7:
Change
color, or
darned near
anything
else, in the
Vector
Property
dialog box.




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Chapter 12: Adding Layers of Text or Shapes

Here™s a list of what you can change:

Object name: If you have lots of different objects in your image, you may
find naming them useful. Enter a name in the Name text box, if you like.
(In)visibility: Clear the Visible check box to make your object invisible.
What good is an invisible object? It™s useful mainly as a hidden curve
for text to follow. Refer to the section “Bending text to follow a line or
shape,” earlier in this chapter, to find out how to make text follow a
curve.
Aliasing (staircasing): Place a check mark in the Anti-alias check box
to avoid the jaggies (jagged edges) that afflict the edges of computer-
generated shapes.
Color/gradient/pattern/texture: The Styles and Textures swatches work
just like the ones on the Material palette, except that you can™t make
them transparent from here.
Thickness of line or outline: For a thicker line, adjust the Stroke Width
value upward.
Dashed line or outline: Click the Line Style drop-down list and choose
something appropriately cool.

The rest of the controls have to do with joins. The term join refers to the
point that forms where line segments meet. Paint Shop Pro offers three basic
types of join, which you select by clicking the arrow next to the Join drop-
down list box and then choosing one of these options:

Miter: A miter join (what Paint Shop Pro normally creates) is one that
ends in a point. It tries to end in a point, anyway. If the lines meet at
an acute angle, Paint Shop Pro gives up in disgust and creates a flat
(beveled) end. The point at which it gives up is controlled by the value
in the Miter Limit value box. Fiddle with it this way:
• If you want a point, increase the Miter Limit value.
• If you want a flat end, decrease the Miter Limit value.
Round: A round join is one that is, well, round at the point. Enough said.
Bevel: A bevel join is one that is flat at the point, like a miter join that
has reached its miter limit (or a computer user who has reached her
limit and has been banging her head against the wall).

These join settings are available when you first create a line or shape, on the
Tool Options palette.




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Controlling Your Objects
Creating objects is one thing; getting them to do what you want is another ”
sort of like having kids. If the time has come to discipline your vector objects,
Paint Shop Pro can make them straighten up and fly right.

Lots of illustrations need objects that are precisely centered, balanced, or
distributed evenly. You can certainly arrange objects by dragging them and
rotating them. For drill-team precision, however, you should also check out
the Paint Shop Pro vector object positioning talents.



Selecting and grouping vector objects
To do anything to an existing object, you need to select it first. Vector objects
(the usual Paint Shop Pro form of text, lines, and shapes) have their own
selection tool ” the Object Selection tool. The Other Paint Shop Pro selec-
tion tools (the Magic Wand, Freehand, and Selection tools) don™t work on
vector objects.

Click the Object Selection tool that appears on the Tools toolbar and then do
one of the following:

Click your vector object to select it. If the object has gaps in it (spaces
between letters, for example), don™t click the gaps. Even if the object
isn™t on your active layer, the tool selects the object. Your layer selection
doesn™t change.
Drag around one or more objects. Whatever vector objects you drag
around become selected. Selecting multiple objects lets you treat them
as a group for many purposes: You can change their color, change other
properties, or use the Paint Shop Pro automatic arrangement features.
Hold down the Shift key and click multiple objects to select a group.
To remove objects from that selection, hold down the Ctrl key and click
them.

You don™t need to use the Object Selection tool. With the Layer palette open,
you can click the object™s name on the list of layers.

A selection frame appears around your object or group of objects, with
squares (handles) you can drag to move, resize, or rotate the object or group.

To create a single object out of multiple objects, select them all and choose
Objects➪Group. To ungroup them again, select the group and choose Objects➪
UnGroup.

To deselect, press Ctrl+D or choose Selections➪Select None from the menu
bar. To select all objects, press Ctrl+A or choose Selections➪Select All.
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Paint Shop Pro selects an object automatically after you create it so that you
can move, resize, or rotate the object. You can tell that the object is selected
by the rectangular frame that appears around it. Even though the object is
selected, however, you can™t access the same context menu (the thing that
pops up when you right-click) that you could access if you had selected
the object with the Object Selection tool! For example, you can™t change the
object™s color unless you first select the object with the Object Selection tool.



Deleting, copying, pasting, and editing
As with nearly any Windows program, you can delete, cut, copy, or paste
selected objects in Paint Shop Pro by using the Windows Clipboard. First,
select the object with the Object Selection tool. Next, do any of the following:

Copy, cut, or delete: Use the conventional Windows keystrokes (Ctrl+X
to cut, Ctrl+C to copy, and the Delete key to delete) or the familiar tool-
bar buttons Cut (scissors icon) or Copy (2-documents icon).
Paste: You can use the conventional Paste command (Ctrl+V) and Paste
button (Clipboard-with-document icon). These conventional methods,
however, create an entire, new image from the Clipboard contents. More
likely, you want to paste the object as a new object on the current layer.
For that, choose Edit➪Paste➪As New Vector Selection or press Ctrl+G
on your keyboard. Your copied object appears and is selected so that
you can position it; click to anchor it. Another alternative is to paste
your object as a new layer: Choose Edit➪Paste➪As New Layer or press
Ctrl+L.



Positioning, arranging, and sizing by hand
To move an object (or group of objects), select it with the Object Selection
tool. You can then position it in the following ways:

Move it: Click anywhere on an object (on the outline or fill, but not in
gaps like the spaces between letters), and then you can drag it any-
where. Or, you can drag the object by the square handle in the center
of the selection frame. You can tell when your cursor is properly posi-
tioned over the square handle because the cursor displays a 4-headed
arrow.
Resize or reproportion it: Drag any corner of the frame, or any side of
the frame, by one of the square handles to resize the object or group. By
default, Paint Shop Pro keeps the proportions constant; if you want to
drag one corner away to skew your shape, hold down the Shift key as you
drag, and if you want to change the perspective, hold down Ctrl. These
work pretty much like the Deformation tool, described in Chapter 4.

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Place it on top of or underneath another object: Vector objects can
overlay one another, so sometimes you need to control which object is
on top of which. Envision them in a stack and the following menu
choices on the Objects➪Arrange menu make sense:
• Bring to Top (puts your selected object on top of all)
• Move Up (raises your object in the stack)
• Move Down (lowers your object in the stack)
• Send to Bottom (puts your object on the bottom of the stack)
Alternatively, you can see the stack of objects on the Layer palette and
adjust an object™s positioning by dragging it up or down. Refer to
Chapter 11, where we discuss managing vector and other layers.
Rotate it: Sticking out from the center square is an arm that ends in a
square handle. Pause your mouse cursor over that handle so that the
mouse cursor displays a pair of circling arrows. Drag the handle around
the center square to rotate your object.
Delete it: Press the Delete key on your keyboard.




TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 13
Adding Artsy Effects
In This Chapter
Browsing through effects
Creating 3-D objects
Simulating physical art media
Performing geometric distortions
Adding glints, lens flare, and spotlights
Reflecting images into patterns
Creating textures, weaves, and mosaics
Adding frames to your image




T his chapter is, without a doubt, the most entertaining one in this book.
Oh, we™re not saying that the other chapters aren™t useful ” you need to
know how to do the everyday tasks, like scanning photos, and we can make
it painless. But we can™t do much to make those everyday tasks riveting.
Nobody™s reading through Chapter 5 and giggling as they scan photo after
photo and titter, “Look! The light on the platen is moving! How cool is that?”

Rest assured, you will giggle at some of the stuff you can do in this chapter. With
a few mouse clicks, you can turn a photo of your back yard into a watercolor
painting! You can make your image all wavy, like a Scooby Doo flashback! You
can even twist your photo into a compact, reflective sphere! Now, that™s cool.

Paint Shop Pro has enough wild and crazy effects to satisfy the most avant
garde artistes (also known as psycho art geeks). The Effects menu in Paint
Shop Pro 9 hides more than 70 different effects that you can apply to your
images ” and they can make some dramatic differences, by surrounding
your image with a wooden picture frame, showering your picture with col-
ored lights, or adding leather and fur textures. These gadgets are great fun,
and incredible timesavers when you need a striking effect in a hurry.

Many of these effects use adjustment dialog boxes, which all have a set of
common controls for zooming, previewing, proofing, and other functions.
Refer to Chapter 7 for help in using these controls ” specifically, the section
about understanding the Paint Shop Pro dialog boxes. We don™t repeat those
instructions here.
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Paint Shop Pro categorizes its creative effects into these ten major
categories:

3D effects: For turning selected areas into raised buttons or cutouts,
dropping shadows, or doing anything else that looks like it™s raised
above or dropped below the page.
Art Media effects: For simulating physical art media, like pencil, colored
chalk, and paint brushing.
Artistic effects: For changing your picture into another media entirely,
like a big neon glow, a topographical map, or a tinfoil stamp.
Distortion effects: For warping the surface of your image, by sending
gentle ripples across the top of it, making it look like you™re looking at it
through a big lens, or pixelating parts of it just like they do whenever
someone is exposing too much flesh on Cops.
Edge effects: For finding the edges within a picture and bringing them
into focus or softening those edges into a fine Silly Putty-ish blur.
Geometric effects: For wrapping or distorting the image as a whole. In
Distortion Effects, you change the surface, but the picture still stays the
same size and shape; in Geometric Effects, you can wrap your picture
around a can, or stre-e-e-e-tch it like it was a big rubber band.
Illumination effects: For introducing a sunburst or placing one or more
spotlights on parts of the image.
Image effects: A catchall category for creating tiles, moving images
slightly, or creating a page-curl effect.
Reflection effects: For holding a mirror ” or several mirrors ” up to
your fabulous image, creating a simple reverse image or a funhouse
array of reflections.
Texture effects: For giving your image the effect of being laid on different
surfaces, like crinkled paper or leather, or seen through mosaic glass.

Effects, like most other features of Paint Shop Pro, are applied only to the
active layer you™re working on ” and, if you have an area selected, only
within that selection. This restriction is designed to let you modify just the
portion of the image you want, but it can also be confusing if you forget that
you have a selection or have changed layers: Your effect may not appear to
work. If your image has multiple layers, make sure that you™re on the layer
you want the effect applied to.

If you™re working with a photograph or scanned picture, your image probably
has just a single layer. (Every image contains at least one layer, known as the
background layer.) For more information on layers ” which are fantastically
handy things to know about ” check out Chapter 11.



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Chapter 13: Adding Artsy Effects

Also, effects don™t work on Vector or Adjustment layers. If you use an Adjust-
ment layer, you must merge it with your image if you want your effect to act
on that adjustment.

Effects don™t work on 256-color images. If your image has 256 or fewer colors,
Paint Shop Pro asks whether it™s okay to automatically increase the color depth
to 16.7 million. Click OK, and then see Chapter 16 if you want it to stop asking
these silly questions.

If you use a certain adjustment often, you can save its settings as presets; see
Chapter 18 for more details on this timesaver.




Try ™Em On: Browsing the Effects
An easy way to try an effect on your image is to use the Effect Browser. Choose
Effects➪Effect Browser. The Effect Browser dialog box appears, as shown in
Figure 13-1.




Figure 13-1:
Browsing
gives you a
rough idea
of an effect™s
influence on
your image.



Choose an effect on the left side; as you can see in Figure 13-1, each of
the effects is grouped into ten subfolders stored in the Effects folder ”
conveniently enough, there™s one subfolder for each of the ten categories
we list in the preceding section.

You can expand a folder by clicking the plus box to the left of it, or you can
collapse the folder by clicking the minus sign. Click in any of the folders to
get samples of all the effects within each folder; the preview window on the
right side gives you a tiny preview of what the effect does to your image. If
you have a selected area (or if the active layer contains only one filled-in
area), that area fills the preview window.


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Note: A folder named Adjustments has a bunch of filters and corrections that
you can apply in order to improve photo quality. We go over most of the rele-
vant adjustments in Part II, but feel free to click the Adjustments folder if you
want to see a constellation of color shifts, blurs, and focusings.

If your computer is taking a long time to render the effects, click the Quick
Render check box on the right side, which creates a quick-and-dirty thumb-
nail version of the effects. If you want the full Monty in finely rendered glory,
feel free to uncheck the box.

A given subfolder often holds several variations on a single effect. For example,
an Artistic effect named Chrome makes your image look shiny and reflective.
But, when you look in the Artistic Effects folder, you can see many different
Chrome effects ” Dark and Rough Chrome, Underwater Chrome, Toxic Chrome,
and Smooth and Bright Chrome.

All those effects were created by entering different settings in the dialog box
that appears when you choose Effects➪Artistic Effects➪Chrome. (The Effect
Browser is where Jasc, the creator of Paint Shop Pro, likes to show off, so some
truly spectacular effects are hidden in the browser.) If you want to tweak those
settings, you can click the Modify button, which brings up the dialog box of
whatever effect you™re viewing. You can alter those settings and click OK to
apply them to your image. If you want to rename an effect, click Rename and
enter a new and snazzier moniker for your effect.

Technically speaking, these different effects are called presets, and you can
create your own ” which then show up in the Effect Browser. For details, see
the section in Chapter 18 about saving tool and effect settings as presets.

Then again, if you like what you see, simply click the effect you want and
click Apply. That effect is then applied to your image. If you don™t like the
results, press Ctrl+Z or click the Undo button on the toolbar.




3-D: Holes, Buttons, and Chisels
Except for the Buttonize effect, you must select an area before you apply any of
the 3-D effects. The area you select is what is turned into a button, chiseled, cut
out, or beveled inside or outside the selection marquee. Also, if you intend to
use background color for the Buttonize, Chisel, or Inner Bevel effect, choose
it now.

Choose Effects➪3D Effects. Then, choose one of these options from the menu
that appears:




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Chapter 13: Adding Artsy Effects

Buttonize: Creates a raised appearance (inside your selection if you have
made a selection). Because it™s a Web thing, we discuss buttonization in
Chapter 15, in the section about creating buttons.
Chisel: Creates a raised appearance by making an edge outside your
selection. In the Chisel dialog box that appears, increase the edge width
by increasing the Size value. Choose Transparent Edge to see through
the edge, or Solid Color otherwise. Choose a color for your chiseled
edge by clicking the Color box.
Cutout: Creates the illusion of cutting out your selected area and extend-
ing a shadow in two directions. Drag the Vertical and Horizontal sliders

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