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Just as the Texture effect gives you more leverage over the Material box™s
textures, the Sculpture effect lets you leverage the Color palette™s patterns.
The effect™s main job is to turn your image into a sort of etching or emboss-
ing, but it also applies patterns. Patterns are sort of like textures, but come
with their own colors. The Sculpture effect applies a Paint Shop Pro pattern,
which allows you to set a number of variables that are unavailable on the
Properties box palette. In the Sculpture effect, for example, you can give a
pattern a (uniform) color or change its size (scale).



Using Texture effect controls
Texture adjustments have, in general, two main types of controls:

Those for the virtual substance that puts ridges and valleys in the image
Those for the light that strikes at some oblique angle and reveals that
unevenness

In addition, the virtual substances that make up some textures have optical
qualities you can adjust, like transparency and blurring.

If a texture or pattern is unclear at some settings, try zooming out in the
adjustment dialog box. (Click the magnifier-with-a-minus-sign button.)

The best way to understand most texture controls is to fiddle with them while
watching the right preview window in the adjustment dialog box. (Only the
Emboss effect goes to work immediately, without displaying a dialog box.)
Some of the more common controls you find in the adjustment dialog boxes
are shown in this list:

Length (and occasionally Width) or Size: The dimensions of the ridges
and valleys that make up the texture.
Blur: The overall fuzziness imparted to the original image.
Detail: How much detail the lines of texture inherit from the edges of the
original image.
Density: The degree to which ridges and valleys are packed closely
together.
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Chapter 13: Adding Artsy Effects

Transparency: The ability to let the original image show clearly through
the virtual substance that overlays the image.
Angle: The direction from which incident light strikes the surface.
Elevation: The height of the light source above the image. Low elevations
show the ridges and valleys more strongly. High elevations make a brighter
image. Some textures allow you to set the intensity or luminance and
color of the incident light as well.
Ambience: The overall brightness (ambient light) of the image.



Example 1: The Fur texture effect
A simple texture effect is Fur, excessively applied to Alex in Figure 13-6. The
Fur effect causes fibers to radiate from clusters throughout your image,
giving a result not unlike the fur of a cat engaged in discussion with a
member of the canine profession.




Figure 13-6:
From the
Department
of Redun-
dancy
Depart-
ment ”
giving Alex
more fur.



You can go “fur” with this effect if you interpret your controls in the follow-
ing ways:

Blur: A kind of fluffiness control. Increasing the blur minimizes the visi-
bility of individual hairs and also makes the original image less clear.
Density: Determines the number of hairs; very low settings give a cac-
tuslike, whiskered appearance.
Length: Sets the length of individual hairs. High length values tend to
give more of a frosted-glass appearance than a furry one.
Transparency: Determines the extent to which the original image shows
through the hair, undisturbed. High transparency values give an effect
like hair sprinkled on a photograph.
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256 Part III: Painting Pictures


Example 2: The Texture texture effect
The Texture effect you see when you choose Effects➪Texture Effects➪Texture
gives you access to the same textures you may use for painting with the Paint
Shop Pro Color palette. Here, rather than paint with them, you apply them to
an existing image. Figure 13-7 shows faithful Alex, this time receiving a cob-
blestone texture.




Figure 13-7:
Sentences
you rarely
use outside
of graphics
programs:
“I™m adding
a cobble-
stone
texture
to a dog.”



The controls of this dialog box provide enough fiddles to outfit a symphony
orchestra. Here™s how to make them play in tune:

Texture: Click here and choose a texture from the Paint Shop Pro gallery
of textures that appears.
Size (%): Make the texture pattern larger by increasing this value above
zero. Decrease the value (to make the value negative) for a smaller pattern.
Smoothness: To blunt the sharp edges of your texture, increase this
value.
Depth: To have deeper valleys and higher hills in your pattern, increase
this value. This action usually makes the pattern more visible, so you
can also think of it as a kind of strength control.
Ambience: Adjust this control for a brighter or darker image.



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Chapter 13: Adding Artsy Effects

Shininess: A higher value of shininess puts a bright glint on the edges
and corners of your texture pattern.
Color: Click this swatch to choose a different color of incident light from
the Colors dialog box.
Angle: Drag the clock-hand-like control to point toward the imaginary
light source that illuminates the texture.
Intensity: Higher intensity increases the incident light that reveals the
contrast.
Elevation: Lower values emphasize the hills and valleys; higher values
brighten the flat hilltops and valley bottoms. (Reduce the Ambience
value to avoid washout at high elevations.)




Common Adjustments
Effects use a wide range of adjustments to set their various variables. In most
cases, the function of a control becomes apparent as soon as you fiddle with
it, but in complex dialog boxes, you may need to understand what does what.
This list helps you distinguish one variable from another:

Ambience: General illumination. Determines the image brightness with
the incident light source™s intensity and elevation.
Amplitude: The degree to which the effect is applied.
Angle: The direction of incident light in the plane of the image. Drag the
clock-hand-like control to point toward the source.
Blur: A fuzziness that affects mostly the original image showing through
the texture. It makes the texture fuzzier in some textures.
Color: A swatch showing the color of light that glints off the texture™s
hills and valleys. Click the swatch to choose a new color from the Color
dialog box. (To find out how to adjust color, refer to Chapter 9.) Right-click
the swatch to choose from the Recent Colors dialog box.
Density: The closeness and number of hills and valleys in the texture.
Detail: The degree to which the texture picks out the detail in the original
image.
% Effect: The degree to which the effect is applied.
Elevation: The height of the incident light above the plane of the image.
Low elevations show the ridges and valleys more strongly. High elevations
make a brighter image.




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258 Part III: Painting Pictures

Height: The height of the hills in the texture.
Horizontal/Vertical Center: The position of the center of the effect.
Horizontal/Vertical Offset: The position of the overall resulting pattern.
Intensity: The strength of the incident light that reveals the texture.
Length: The length of the ridges and valleys that make up the texture.
Opacity: The degree to which the blobs of virtual substance pick up
color from the underlying image, as opposed to letting the image™s
original pixels show through.
Presets: A drop-down list that lets you choose from among any named
collection of settings you have saved or your Last Used settings. After
you change any setting, the Presets selection says Custom.
Radius: The broadness of any curve or curl; smaller radius values make
curves or curls tighter.
Save As: A button leading to the Preset Save dialog box, in which you
enter a name to label your current collection of settings. Choose the
name from the Presets list box to recall the setting.
Shininess: The glare off the sloping sides of the hills and valleys of the
texture.
Size: The overall size of the elements of the texture.
Smoothness: How rounded the bumps are that make up the texture.
Symmetric: A check box that makes an effect work the same way in all
directions.
Transparent/Background color: Options that either make an edge reveal
the underlying image color (Transparent) or color the edge with the cur-
rent Paint Shop Pro background color.




Framing Your Art
So, you may have transformed a picture of Fido into an oil painting, complete
with sweeping strokes and a little bit of texture to flesh it out. But, you still
feel unsatisfied. That™s only natural ” after all, what masterpiece is complete
without an elegant frame?

Choose Image➪Picture Frame to display the Picture Frame dialog box, as
shown in Figure 13-8. Clicking the arrow next to the Picture Frame drop-down
list displays a gallery of frames to choose from, including modern art frames,
edge brushings, filmstrip frames, or the ever-popular masking-tape-on-the-
corners look. Select a frame to see a preview of your framed image on the
right side.


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Chapter 13: Adding Artsy Effects




Figure 13-8:
I was
framed,
I tell you!



Two radio buttons give you the option to have your frame placed on the out-
side of your image or to have the frame jutting into the inside (and potentially
obscuring something on the edges of your picture, just like a real frame). Two
other radio buttons give you the option to frame just the current layer, or
your image as a whole. (We can™t see a reason that you would want to frame
just a single layer, but somebody must have asked for it.)

Only a few frames have transparent edges. You can opt to keep them trans-
parent by clicking the Keep Transparent check box, or you can click the
check box to choose a color to fill in the gaps.

Three check boxes allow you to flip, mirror, and rotate the frame, exactly
the same as you would flip, rotate, or mirror an image (we show you how in
Chapter 2). When you™re ready to frame, click OK.




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260 Part III: Painting Pictures




TEAM LinG - Live, Informative, Non-cost and Genuine !
Part IV
Taking It to the
Street




TEAM LinG - Live, Informative, Non-cost and Genuine !
In this part . . .
H aving an image in a Paint Shop Pro window on a PC
monitor is very nice, but not particularly useful in
the big, bad world. Unless that image can make its way
successfully to paper or the Web, only you and your
fellow Paint Shop Pro aficionados will get much of a thrill
from it. In this part we take you through the process of let-
ting go of your baby, giving it wings, and watching it soar
without you! How beautiful! Sob!




TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 14
Printing
In This Chapter
Sizing and positioning the print on the paper
Printing a single image
Printing thumbnail images from the browser
Ink-saving methods of printing
Creating multi-image pages
Adjusting print speed and quality




A ll this electronic image stuff is just fine, but in the end, many of us want
our images printed on dead, flattened, bleached trees ” paper. As a
good friend once said, “The paperless office of the future is just down the hall
from the paperless bathroom of the future.” Paper will be around for a little
while yet.

Paint Shop Pro has some great features for making the printing job easier: It
automatically fits the image to the page, prints a collection or album page of
images, prints browser thumbnails, and more. Read on for ways to make
paper printing work better and faster for you.




Fitting Your Print to the Paper
“Let the punishment fit the crime,” said Gilbert and Sullivan™s Mikado, who
prescribed the death penalty for flirting. With the help of the few hints in this
section, your image should fit your page with far less pain.

If you have multiple images open in Paint Shop Pro, click the title bar on the
window of the image you want to print. That makes it the active window.

You can find all the controls for sizing and positioning your print on paper
by choosing File➪Print to bring up the Print dialog box and then clicking
the Placement tab if it™s not already shown. You can see the handy-dandy
Placement tab, as shown in Figure 14-1, and then consult the following bul-
leted list for help.
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264 Part IV: Taking It to the Street




Figure 14-1:
The
Placement
tab fits your
print to the
paper. A
preview
window
shows the
current
setup.



Keep in mind that when Paint Shop Pro changes the size of your print, it™s not
changing your image. It™s only resizing the printed output; the image itself
isn™t changed in any way. If your image is 500 pixels across, it remains 500
pixels across. Stretching a small image to fill a page may result in quite a
grainy printed copy!

Use these options in the Placement dialog box to fit your print to your paper:

Number of copies: This option is self-explanatory. You can print as
many as a hundred copies at a time, but we wouldn™t advise it unless
you have lots of ink hanging around.
Printing sideways (orientation): Paint Shop Pro initially sets you up to
print in portrait orientation on the paper, in which the paper™s long
dimension runs vertically. For prints that are wider than they are high,
however, you may want to print sideways, or in landscape orientation.
Click either Portrait or Landscape to choose orientation.
Centering: Often, you want your print centered on the page. Click the
Center on Page radio button to do just that.
Filling the page: To fill the page with your image (to the maximum
extent possible), click the Fit To Page radio button, and your print is
enlarged until it fills either the width or height of the paper, within the
allowable margins of your printer.
Upper left of page: What else can we say? It™s in the upper-left corner.
Offset: If having your image in the middle or the upper-left corner isn™t
good enough for you, selecting the Custom Offset value allows you to
position your image on the paper wherever you want it. The Left and
Top Offset values ” which are grayed out unless you specifically choose
Custom Offset ” control how far your image is placed from the left or top
margin. Enter however many inches you want your image to be shoved
away from either side, and the result is shown in the preview window.
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Chapter 14: Printing

Making the image larger or smaller: You can print your image as small
as .025 percent of its original size or scale it up to a Godzilla-sized 1,000
percent (ten times larger). Adjust the Scale value in the Size and position
area to whatever percentage you want. A setting of 100 percent means
that the image™s resolution, assigned at its creation, is observed. An
image that™s 144 pixels wide, for example, at a typical resolution of 72
pixels per inch, is printed 2 inches wide. (This option is grayed out in
the Fit to Page feature, which scales your image automatically.)
Another method of scaling your printed image is to specify a specific
size, in inches, at which the image is printed. Enter a value for either the
width or the height; the image scales proportionately, so if you double
the width, the height is also doubled. (If for some reason you want to
print a squashed image, we refer you to the Distortion tool ” described
in Chapter 4, in the section about doing the deformation ” where you
can presquash it.)
When you print an image at a scale much greater than 100 percent, your
pixels may begin to show. Scandalous! Rather than scale your print, try
closing the Print dialog box (click Close), scaling your image by that
same percentage, and resampling it via Smart Size. Refer to Chapter 2 for
help with resizing. Your image may be a bit blurred, but it doesn™t look
as pixelated.




Printing in Greyscale and Other Options
If you™re looking to save some colored ink, you can choose File➪Print to bring
up the Print dialog box and then click the Options tab. It gives you a choice of
three colors in which to print: Color, Greyscale (black and white), and CMYK
separations. (Don™t worry about printing CMYK separations unless you™re a
professional artist ” if you are, you™ll know what to do when you see it.)

If you™re going to print lots of images, you may want the filename of the image

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