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left or right to extend the shadow from different edges. Increase the
Opacity setting to darken the shadow, or increase Blur to blur the
shadow™s edge. You can change the color of the shadow or the underly-
ing surface by clicking the Shadow Color swatch or the Fill Interior with
Color swatch, respectively. Then, choose a color from the Color dialog
box that appears.
Drop Shadow: Drops a shadow in any direction from your selected area,
as though that area were floating over a surface. In the Drop Shadow
dialog box that appears, drag Vertical and Horizontal sliders to change the
shadow location ” or, if you want something a little more intuitive, you
can click the crosshairs in the left window and drag them around the cen-
tral circle to indicate which way (and how far away) you want the shadow
to fall. The Opacity, Blur, and Color settings work exactly the same way
as they do in the Cutout section.
Inner Bevel or Outer Bevel: Creates a framelike effect around the selected
area by raising it up as though it were a pyramid. The pyramid™s sloping
sides (the bevel) appear within your selection area for Inner Bevel or
outside the area for Outer Bevel. A rather complex-looking dialog box
appears. Click the Bevel illustration to choose a bevel profile from a
gallery. (Each profile is like the cross sections of wood moldings you see
in a hardware store.)

Art and Artistic Effects: Simulating
Traditional Art Media and Beyond
Welcome to Fun Central. The Art and Artistic effects are where you get to
turn your casual snapshots into Monet-style paintings, transform your shot of
London Bridge into a charcoal scribble, or turn your senior prom photo into
an Andy Warhol“style halftone.

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Paint Shop Pro offers far too many artistic effects for us to discuss them indi-
vidually here. Besides, we don™t want to rob you of the pleasure of squealing
“Hey, look! It did that!” So, rather than explain every item on the two menus,
we show you a couple of examples in this section and move on.

Choose Effects➪Artistic Effects or Effects➪Art Media Effects and Paint Shop
Pro reveals a large menu of possibilities. (As we said earlier, Art Media effects
tend to simulate things you can do in real life, like turning your picture into a
pencil drawing, and Artistic effects transform your picture into another media
entirely, like an old newspaper or hot chrome.) Choose one from the list.

Scripts as an alternative to effects
Not all Artistic effects are under the Artistic To run a script, select the Artistic category from
Effects and Art Media Effects menu selections! the drop-down list on the Scripts toolbar, and
Paint Shop Pro 9 also includes several scripts then choose the effect you want to see. Next,
designed to transform a picture into nice-looking click the Run Selected Script button, and watch
watercolors, charcoals, and airbrush paintings. in awe as Paint Shop Pro applies several care-
Because scripts can apply multiple commands fully tuned effects to your image.
to an image, the results are often far superior to
For more information about scripts, see the sec-
a single effect. In the following figure, compare
tion in Chapter 18 about using scripts to auto-
the simple Black Pencil effect, on the left, to the
mate repetitive tasks.
Black and White Sketch script on the right.

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Chapter 13: Adding Artsy Effects

Nearly all these effects display an adjustment dialog box. See the section
“Common Adjustments,” later in this chapter, for help regarding more spe-
cialized controls. For the most part, your best approach is to fiddle with the
controls for a while. A few effects take place immediately. If you don™t like the
result, press Ctrl+Z to undo it.

Here are a few more general tips for using artistic effects:

If the result is too fuzzy, try decreasing various values, (especially density,
if that adjustment exists). Most effects do some blurring, so if you turn it
down a bit (decrease the effect), the image becomes clearer.
If the result is too speckly or has too many lines, look for a detail adjust-
ment and if you find one, turn it down.
Some effects that do stuff with edges need a little help. Try running the
Edge Enhance effect (choose Effects➪Edge Effects➪Enhance) or boosting
contrast before applying your artistic effect. Or, in the adjustment box
for your edge-fiddling effect, look for an intensity control and increase it.

Example 1: Topography
Topography is, for no particularly good reason, one of our favorite artistic
effects. Its result is an image that looks like stacked, cut sheets of cardboard or
foamboard (like the ones architects use in models to simulate sloping ground).
Figure 13-2 shows the creation of Sir Topography.

Figure 13-2:
control the
number of
levels and
the way the
light strikes
the stack.

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248 Part III: Painting Pictures

The controls do the following:

Width: At low Width settings, contours follow the details of the picture
more closely. At high Width settings, contours are broad and without
sharp turns; detail is lost.
Density: Density controls the number of layers in the virtual stack of
layers. A higher density results in a surface that conforms more to the
original detail. A lower density gives a more abstract result.
Angle: The Angle control in the Lighting section determines the direc-
tion from which light is coming to illuminate the side of the stack. Drag
its clock-hand-like control to point in the direction you want this light to
Color: Color determines the color of light that strikes the stack from the
side. Originally, the Color control is set to white. To change it, you can
left-click the swatch to bring up the Color palette.

Example 2: Brush Strokes
The Brush Strokes effect has lots of things to fiddle with, and you probably
have to spend some time fiddling to get a result you like. It gives the appear-
ance of applying thin or thick paint with a brush. In real life, the edges of
paint strokes catch any incidental light, and in this effect you can simulate
that appearance in varying degrees. Figure 13-3 shows a photograph of faith-
ful Alex, who stays there forever as long as you keep stroking his fur.

The Brush Strokes controls work as follows:

Length: Short lengths (low values of Length) create a stippled effect, like
someone poking the end of a brush into the canvas. Longer lengths pro-
duce visible stroke directions.
Density: Density determines the number of strokes. The greatest sensi-
tivity of this control is at the very low end. A very low density (1 or 2)
gives the appearance of a few strokes made over a photograph. Higher
density makes a more abstract effect of many overlaid strokes.
Bristles: A higher value of Bristles gives the distinct patch of paint that a
nice, new, neatly trimmed brush, packed densely with bristles, lays down.
A lower value simulates the scratchy result of a brush where the bristles
are few or frazzled.
Width: The Width control determines the width of the brush stroke. A
higher value makes a wider brush.
Opacity: The Opacity control sets the density of the paint. A low value
gives a blurred effect that is more like looking through frosted glass than
anything else. A high value makes paint look like it was applied thickly,
as though with a palette knife.
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Chapter 13: Adding Artsy Effects

Softness: The Softness control gives a smoother look to the paint sur-
face, with less speckling.
Angle: The Angle control determines the direction of the incident light
that glints off the edges of thick paint strokes. Drag the clock-hand-like
control to point toward the source of the light.
Color: To change the color of incident light striking the paint edges, click
the Color swatch and choose from the Color dialog box. (Or, right-click
to choose from the Recent Colors dialog box.) Black gives no incident
light, a dark color (low lightness value) gives a little, and so on. High
lightness values strongly emphasize the stroke edges.

As with many effects, if you return to this adjustment dialog box later, it nor-
mally resumes whatever settings you last used. This intelligent behavior saves
you from lots of time spent returning to settings you like.

If you use this effect often, you may want to save any given combination of
settings as a preset for later use. See the section in Chapter 18 about presets.

Figure 13-3:
Strokes, one
of the more

Geometric, Distortion, and Image Effects:
Curls, Squeezes, Wraps, and Waves
Paint Shop Pro has enough curls, squeezes, and waves to outfit an entire army
of cute toddlers. If you want anything bent, distorted, or wrapped, Paint Shop
Pro can tie it up in a knot.

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Choose Effects➪Geometric Effects, Effects➪Distortion Effects, or Effects➪
Image Effects and then choose from the large list that appears. As with the
Artistic effects, Paint Shop Pro has too many effects for us to try to cover
completely. Fortunately, most controls are either self evident or do some-
thing that you can easily figure out by playing with them. We give you a
couple of examples, though.

Here are a few tips for using Geometric effects:

Some effects are centered on a particular location. To move the center,
adjust the Horizontal and Vertical controls. A setting of zero centers the
effect horizontally or vertically. Negative horizontal values are to the left
of center; negative vertical values are above center.
Remember that you can apply any effect to a particular area by selecting
that area first. Using a feathered edge on the selection feathers the modi-
fied image into the original image.

Need a thinner face? If you have a portrait on a plain background, Paint Shop
Pro can help. First, carefully select the face. Then, equally carefully, remove
areas around the eyes, nose, and mouth from the selection. (See Chapter 3
for help with removing areas from a selection.) Apply the Pinch effect from
the Distortion Effects menu.

The Page Curl effect is, for some reason, one of the most enduringly popular
image effects. It seems that we never tire of remarking, “Why, Martha, that
photo looks like it™s a-peelin™ right off the page!” We guess that the Page Curl
effect (easily accessible by choosing Effects➪Image Effects➪Page Curl) is just
plain a-peelin™. Figure 13-4 shows this remarkable effect.

Here™s how to control your curl, with the most important stuff listed first:

Corner: Which corner do you want to curl? Click the button depicting
your chosen corner.
Curl Bounding Rectangle Width and Height: To set the position of the
curl, drag the tiny gear-shaped widgets at either end of the black line
that diagonally crosses the left preview window. As Figure 13-4 shows
you, your cursor becomes a four-headed arrow when it™s over the line™s
end. Alternatively, you can adjust the Width or Height values to move
those points; watch the line as you do so, and see how the Width and
Height values affect it.
Radius: How broad do you want the curl to be? The smaller the Radius
value, the tighter the corner is rolled up. The smaller the corner you™re
curling (that is, the lower the X and Y values), the smaller the Radius
value usually needs to be.

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Curl Settings Color: This setting controls the color that appears on the
highlight of the curl (the underside of the curled picture). Paint Shop
Pro makes the rest of the curl, the shaded part, the same hue, but
Edge Mode: This setting controls the shade that appears on the flat
page revealed by the lifted corner. Click the box to choose a different
color from the Color dialog box, or right-click to choose from the
Recent Colors dialog box, or select Transparent to do away with any
nasty colors.

Bear in mind that besides curling the edge of the entire image, you can select
a rectangle ” a stamp on an envelope, for example ” and curl that. (Other
selection shapes don™t usually work as well.)

Figure 13-4:
a corner,
move the
curl line
in the left
and set the
radius to get
a quick curl.

Illumination Effects: Sunbursts
and Flares
If you need a sparkle of sunlight, unwrap the Paint Shop Pro Sunburst effect.
It places a bright spot on your image, with rays of light and circles of lens
flare. The adjustment dialog box appears, as shown in Figure 13-5, on top of
the image that it™s modifying, to better show the effects.

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252 Part III: Painting Pictures

Figure 13-5:
A sunburst
placed over
Alex™s dog
tags catches
him in mid-
tion into his

Each of the controls for the three different components has its own area:
Light Spot, Rays, and Circle Brightness. All share the same color setting.
Here™s how to use these adjustments:

Color: Click the Color sample to choose some color other than white
from the Color dialog box.
Light Spot Brightness: Increase to brighten the light spot.
Light Spot Horizontal/Vertical: Adjust to position the spot. Or, if you
can see a tiny set of crosshairs in the left preview window, drag that
instead. When your cursor is over the crosshairs, the cursor becomes
a four-headed arrow.
Rays Brightness: Set this option higher to bring out the rays of light you
can see in Figure 13-5.
Rays Density: Adjust this setting lower to see fewer rays or higher to see
more rays.
Circle Brightness: Set this option higher to make the lens flare circles
brighter. On light photos, these circles are barely visible, even at full

Reflection Effects: Mirrors and Patterns
The Reflection effects are a funhouse phenomenon. You can choose a single
mirror, or multiple mirrors in various configurations, turning your image into
a pattern. Choose Effects➪Reflection Effects and then one of the four menu
items that appear:
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Chapter 13: Adding Artsy Effects

Feedback: The mirror-reflecting-into-mirror effect you get in barbershops
with mirrors on opposite walls. See “Common Adjustments,” later in this
chapter, for help with this effect™s controls.
Kaleidoscope: A humdinger of an effect, like looking at your image
through a kaleidoscope.
Pattern: Another way, besides Kaleidoscope, to turn your image into a
pattern. See the following two sections.
Rotating Mirror: Similar to putting a mirror edge-down on your image.
You can rotate a reflection to any angle and position the mirror horizon-
tally and vertically on the image.

You can limit any of these effects to a particular area by making a selection first.

Texture Effects: Bumpy Surfaces
from Asphalt to Weaves
Texture is the neglected third dimension of an image. Texture, the surface on
which the image is constructed, is a quality that most of us don™t think about
when we think about images, but it™s very much a part of the visual experience.
An image made up of mosaic tiles, for example, feels very different from the
same image painted on canvas.

To choose a Texture effect, choose Effects➪Texture Effects and then choose
from the extensive menu that appears. Paint Shop Pro has too many textures
to cover in detail, but the next few sections should help you sort things out.
All effects except one (the Emboss effect) open an adjustment dialog box, in
which you should feel free to fiddle while watching the effect.

Relating texture effects to the
Materials palette™s textures
You may be a bit confused because Paint Shop Pro gives you two ways to use
texture in your images. If you™re painting an image, you can apply texture by
using the Properties dialog box (as we show you in Chapter 9). If you already
have an image, the Texture effects are the way to go.

Texture effects offer more variety and more powerful effects than the Properties
box does. For example, you can™t paint fur texture or leather crinkling over
an image by using the Material box, but you can apply it as an effect. Also,
unlike Texture effects, which offer scads of ways to change each effect, with
Properties box textures you™re stuck with three options: the texture, the angle,
and the size. That™s it; take it or leave it.
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If you find that this isn™t nearly enough meddling, you can select a sort of
superpowered Properties box texture from the Texture Effects menu by
choosing ” surprise ” Texture. In that effect™s dialog box, you can achieve
all kinds of variations using the texture effects that you can™t achieve within
the Properties box itself.

(Why didn™t Jasc just provide a separate tab for textures in the Properties box
that had all this stuff in one place, the way it does for gradients and colors?
Heck if we know.)

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