© 2008 Mediachance

Real-Draw PRO

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Printed: November 2008 in (whereever you are located)

Real-Draw PRO

© 2008 Mediachance

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Mediachance

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Table of Contents

Foreword 0

Part I Overview 8

Part II Types of results 12

Part III Features 16

Part IV What's new 20

Part V Basics 22

................................................................................................................................... 221 Types of objects

................................................................................................................................... 252 Rulers, Guides, Grid

................................................................................................................................... 273 Document Size

Part VI Paths 30

................................................................................................................................... 301 Editing paths

................................................................................................................................... 312 Standard Shapes

................................................................................................................................... 323 Arrow

................................................................................................................................... 334 Drawing a Shape from scratch

................................................................................................................................... 355 Add a point to existing Shape

................................................................................................................................... 366 Combine two or more objects

................................................................................................................................... 427 Liquid Shape

................................................................................................................................... 448 Import Vector Object

Part VII Text 48

................................................................................................................................... 481 Text Object

................................................................................................................................... 512 Fit To Path

Part VIII Bitmaps 58

................................................................................................................................... 581 Bitmap Object

................................................................................................................................... 602 Bitmap as Reference

................................................................................................................................... 653 Re-Crop

................................................................................................................................... 684 Non Destructive Sharpen

................................................................................................................................... 685 Paste Bitmap Inside a Vector Object, Cropping Bitmaps

................................................................................................................................... 706 Masking Bitmap

................................................................................................................................... 717 Transparency Masking

................................................................................................................................... 728 Color Transparency

................................................................................................................................... 749 Trace Bitmap

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Part IX Properties 78

................................................................................................................................... 781 Working With Object Properties

................................................................................................................................... 782 Color & Texture

................................................................................................................................... 823 Adjusting the Texture

................................................................................................................................... 844 Color Space

................................................................................................................................... 855 GenetX Procedural Colors and Textures

................................................................................................................................... 876 Bitmap Effects

................................................................................................................................... 887 Transparency Properties

................................................................................................................................... 918 Area Gradient

................................................................................................................................... 929 Bevel Properties

................................................................................................................................... 9710 Effect Properties

................................................................................................................................... 10211 Push-Back Tool

................................................................................................................................... 10912 Outline Properties

................................................................................................................................... 11013 Surface Skin

................................................................................................................................... 11214 Color Correction

Part X Lights 116

................................................................................................................................... 1161 3D Lights & Material

................................................................................................................................... 1202 3D Lights & Material - Tips for using it

Part XI Painting 124

................................................................................................................................... 1241 Basics of Painting Mode

................................................................................................................................... 1252 Brushes Tool Bar

................................................................................................................................... 1273 Editing Bitmap Object

................................................................................................................................... 1284 Painting on a Vector Object

................................................................................................................................... 1325 Paint Object

................................................................................................................................... 1336 Cloning

................................................................................................................................... 1367 Advanced Bitmap Edit Mode Options

................................................................................................................................... 1378 Editing Brushes

................................................................................................................................... 1459 Bitmap Envelope Editing

Part XII Packages 148

................................................................................................................................... 1481 Packages

................................................................................................................................... 1492 Create and Edit Package

................................................................................................................................... 1503 Package Document

................................................................................................................................... 1524 Working with packages

................................................................................................................................... 1555 Crop Package

................................................................................................................................... 1576 Clone Package

................................................................................................................................... 1587 Perspective Transformation

................................................................................................................................... 1598 Liquid Package/Bitmap

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................................................................................................................................... 1609 Other

Part XIII Global NPR 164

................................................................................................................................... 1641 Overview

................................................................................................................................... 1662 Apply NPR Style

................................................................................................................................... 1673 NPR Quick Adjust

................................................................................................................................... 1684 NPR Style Settings

................................................................................................................................... 1745 NPR Area Gradient

................................................................................................................................... 1786 NPR and Bitmaps

................................................................................................................................... 1797 Tips for NPR

Part XIV Advanced 182

................................................................................................................................... 1821 Blueprint

................................................................................................................................... 1842 Export

................................................................................................................................... 1883 Export To Clipboard

................................................................................................................................... 1904 Mega Render

................................................................................................................................... 1945 Layers

................................................................................................................................... 1996 Styles

................................................................................................................................... 2007 Object Library

................................................................................................................................... 2018 Printing

................................................................................................................................... 2039 Web Roll-over button

................................................................................................................................... 20510 Designing Web Page

................................................................................................................................... 20611 HTML Slicer

................................................................................................................................... 21312 Slicing Page, Rollover

................................................................................................................................... 22213 Multimedia Button

................................................................................................................................... 22614 Multimedia Extension

................................................................................................................................... 22815 Script Example

................................................................................................................................... 23416 Screen Capture

Part XV Appendix 238

Part XVI Thank You 242

Index 243

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Part

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1 Overview

Real-Draw seamlessly combines vector tools with the power of pixel based image manipulation into anew type of graphics editor, using a technology we call a VectorBit. It instantaneously moves from one form to another, eliminating time-consuming conversion operationsand the need for multiple drawing packages.You can create anything from simple graphics, banners and buttons to complex interactive web page.Real-DRAW PRO is a uniquely intuitive and versatile graphics program with no limit to the quality andstyle of output. Create 3D or hand drawings using familiar 2D vector tools. Create children hand-drawnillustration, painted art, photo-realistic imagery, 3D scenes, photographic clones and web pages in onepackage.

VectorBit technologyThe basic idea of Real-Draw is to produce rich bitmap graphics using the comfort of vector-like editingcombined with 3D features and Natural paint techniques.In a standard vector application the output is usually smooth but very dry technical-like illustration and itusually takes a lot of effort to produce rich photo-like natural result. But its editing is very versatile, youcan any-time change any aspect of the object or its shape.

A bitmap painting editor with its variety of brushes and effect can create natural looking or hand-paintedresult but by directly changing the pixels on image the degree of freedom used in vector editing is lost.Changing painted object usually means erasing it and painting it again.

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A 3D application can produce photo-realistic looking surfaces by using bump mapping and lights, butmodelling in 3D is a complex affair, far from simple drawing.

Real-Draw PRO tries to take from each method its own benefits. Now you can produce a Bitmap-likegraphic but still edit it using typical vector tools and adjust the texture by using lights and texture maps.You can also seamlessly mix these techniques as you wish.On the image below created in Real-Draw in just few seconds, all objects are fully editable including thesparkle and the lens flare.

But that is just the beginning...

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2 Types of results

Real-Draw PRO is one of the most versatile graphic editor for any screen-type of graphics. You canquickly produce any type of images - from realistic 3D-like rendering to a hand-drawn sketches orwatercolor.Here are some general type of output you can produce:

Ultra realistic, texture rich images, buttons,controls, text ... - First time in 2D drawing packageare objects so real that you can create the feel ofstones, shiny metals, wood and much more. Thereare hundreds of predefined natural textures in thelibrary and you can add your own.

Rendered-like images. Unlike other 2D drawingapplications, Real-DRAW can apply unlimitednumber of various light sources and materialproperties on any vector object, text, or bitmap toadd realistic feeling. You can create 3D lookingscenes without the need to work in 3D. Actually itis even better, because it is all in Real Time.

Hand-drawn Style Illustrations - start drawing onthe opposite side of the realistic images usingvariety of fine tuned Non-Photo Realistic styles.Real-Draw PRO can automatically give yourdrawings the hand-crafted feel without any of thehard work.

Photographic-like Illustrations - You can hardlyimagine a faster way to create amazing photo-realistic illustrations. It is much easier and theresult are usually much better than creating themin 3D. The secret is in using lights and bevels. Justa few lights alone can create the feel of a 3Dshape.The whole illustration on the left was created usingonly vector objects with lights.

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Sketches - Spice up your documentation with ahand-drawn sketches. The secret is of course thatthese are not hand drawn, but easily editablevector-like objects. Unlike working with bitmapeditor or a pencil you can simply edit theseobjects.

Large Photo Collages - The new Image byReference allows you to quickly work with manylarge multi-megapixel images by simply placing asmall Draft Image on the canvas and then useMegarender or Fine Print to create very largeoutput. The Megarender will employ the bestpossible pixel quality using the actual data fromthe linked Reference images on disk. You can for example easily create a perfectlyprintable poster, but work on it very comfortably ona small 400 pixel wide canvas.

Web Page - build-in smart HTML Slicer allows youto create whole interactive web page with roll-oversand functional links directly in software. You cancreate a custom buttons for roll-overs or you cansimply choose one of predefined effect if you are inhurry.

Multimedia Interfaces - you can create lifelikeprofessional multimedia interfaces. With Web/Multimedia Button you can also assign to eachobject three different appearances - normal,highlighted and pushed. You can then export eachframe to separate bitmap files or direct export toMultimedia Builder.

Web Elements - you can do anything from Webbanners and logos - to buttons or other art. Youcan create vivid graphics with cool effects like dropshadow, glow or lights. You can even choose from'zillions' of procedural textures and color washes.

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There is much more - Real-DRAW is one of themost versatile graphics programs, you can createimages from painted art to photo-realistic renderingand everything in between or combination of all.Everything is editable all the time; you don't haveto recreate the graphics again and again.

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3 Features

Vector EditingAny object you create is editable all the time. You can change shapes, group objects, move them inlayers, resize, edit envelopes etc. Any object has its own changeable properties like color, texture,outline, lights, material, transparency, multiple 3D effects, bevels, shadows, motion blur and much more.

Bitmap EditingUnlike in a normal vector editor you can actually paint directly onto any vector object using airbrushes,3D or Artistic brushes and special Image Nozzles. You can paint on the canvas and the strokes willbecome another object to which you can apply effects, just as with vector objects. You can even converta brush stroke directly into editable vector polynome.Not many software packages gives you suchfreedom.

3D EffectsYou can apply various bevels and extrude effects to any object or bitmap to create perfect three-dimensional work. You can get even closer to rendered-like image by applying an unlimited number of3D lights to any object or by changing its material properties. For example, Real-DRAW PRO makes itvery easy to create realistic metallic textures - often a big problem in standard vector drawing packages.

Illustration PackageThe combination of Real-DRAW PRO's tools allows you to create drawings in your style - illustrations,3D render simulations, airbrush work, you name it - you have the control.

Non-Photo Realistic StylesAt any time you can switch the output to one of many Global NPR Styles for instant hand-drawn outputusing pencil, watercolor or even a paint. As any other feature in Real-DRAW PRO, this is nondestructive, you can easily switch between styles, go back to original style or tweak the current style toyour preference.

WEB/Multimedia Graphics generatorWith Real-DRAW PRO you can design a whole interactive graphics web page with roll-overs, functionallinks and directly export it using powerful HTML Slicer.

Then you can export it directly to Multimedia Builder or generate a script in any language you want - youcan create HTML, XML, Java, Java Script or even a web page using CSS (Cascading Style Sheets).

Mega RenderDesign small, render big! A special Mega Render export module allows you to render the design intomuch larger image sizes if you need them. Mega Render will not just resize the image, but it will add more texture detail as well.

Export to Adobe PhotoshopYou can export the whole design into Adobe Photoshop keeping all the layers, transparency channels,shadow layers and layer names as you created them in Real-DRAW PRO.You can also use MegaRender technology to export large - print quality work to Adobe PhotoShop.

Real-DRAW PRO offers you many new and innovative methods such as bitmap cloning, blueprint withonion skin or Packaging, and Package Clones which divide projects into logical blocks that can beworked on individually.

Real-DRAW PRO turns graphics tasks that usually take several steps (and often several programs)into simple jobs.

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In More Details:

Real-DRAW PRO combines many features you can find in different vector, 3D, and bitmap editors, andsome that you can hardly find anywhere. The list of all the features would be too long so here are atleast the most important:

· Multi document interface· Vector editing with Path Curves and Polynomes· Editing shape of the text with Path· Texture Mix with hundreds of textures, Transparency texture mix· GenetX Procedural Textures and Colors - millions of combinations· Non Photo-Realistic Styles for instant hand-drawn feel· Bitmap Effects from standard Saturation, Sharpen, Boost to some exotic effects· Paining with brushes on objects or Canvas· Arrow Line object - great for tutorials· Four levels of Antialiasing· Antialiased rotation of bitmaps - any angle· Texture rotation and perspective· Quick Style Library· Many 3D Effects, bevels, extrude, drop shadow· Unlimited number of 3D lights on each object: Point, Spot and Distant, any combination with

Material properties· You can apply effects (such as bevel, shadows etc.) to any object, it doesn't matter if it is text,

vector object, bitmap or a brush stroke· Everything is editable at any time· Non-destructive editing· Abilty to convert bitmpa object into vector shapes and vice-versa· Non-destructive sharpening of bitmap objects· Color correction for each object separately· Export with detailed preview, quality control, size image, sharpen, and color correction· Enhanced sampling quality on JPG, produces one of the best looking JPGs ever· Export and import to SVG format (vector scalable format for web)· Export to Adobe Photoshop format with all of the objects and shadows in separate layers.· Ability to create a whole interactive page for a web, using HTML Slicer or even create a script for

Cascade Style Sheets (CSS)· Transparent PNG input and output.· Ability to export separate alpha channel in any format· A special Editable E-JPG export. E-JPEG is compatible with standard JPG. You can view it with a

web browser or any graphic application that has JPG capability, and if you load it into Real-DRAWyou can again edit the objects.

· Output plug-ins allow you to export into additional formats such as GIF, TIF, TGA etc.· Import and translation of WMF files· Import CompactDRAW IDR files· Multimedia Export to Multimedia Builder or generic export to any authoring tool - thanks to the

Packages, it is now very easy· Smart nondestructive Crop· Packaging, Nested Packaging, Nested Grouping· Guidelines, Grid, full or draft wire frame view· Blueprint method for cloning with onion skin ability· Small, fast loading

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4 What's new

· Liquid Shape and Liquid Package· Non-Photo Realistic Styles· Export to Clipboard· Draft Bitmap with Reference· Area Gradient· Re-Crop tool with ability to switch between Normal image and Image by Reference· Crop tool can be now used inside packages· Various fixes and small additions: Pure Vector Export - fix on regional dependency, Limited Poly

Nodes option, preview during Megarender creation.

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5 Basics

5.1 Types of objects

There are four types of objects in Real-DRAW PRO: Path, Polynome, Text and Bitmap

1. PathThis is the basic object. You actually create a path anytime you use one of the basic shape objectssuch as Rectangle, Circle or Star

Path is created with a Bezier curves and it can be closed or open.

2. PolynomePolynome is an object similar to Path. While Path is a continuous shape, Polynome doesn't have to be.A shape created from Polynome can have for example a hole inside. You can convert any Path or Textto a Polynome.

3. Text

The text can be edited any time. You can also apply a Path envelope to the text and then twist theobject. All the effects apply to text as well as for any objects.

4. Bitmap Object

Bitmap is a non-vector object, however, you can work with it as with any other object. You canapply any effect, such as bevel, or drop shadow, or you can paint directly into the bitmap, createtransparency, and much more. You can also apply envelope to twist or distort the Bitmap.

5. Painted Object

Painted object is an Object created by painting with brushes on the canvas. Painted object behaveslike any other object; you can apply any effects to it.

Select an Object, Edit

If you want to select, move or resize an object you use the Object Selector tool.

If you want to change the shape by moving the Path points you use the Shape Tool.

If you want to paint into the object use the Paint on Object Tool.

Tip: You can switch between the Selector and Shape Tool with a double-click.

When you press the Paint on Object tool, the view changes into painting view where you can see theobject transparency and paint with various brushes. You can get back to the normal view by clicking the

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Object Selector, by un-clicking Paint on Object tool, or if you press the Esc key.

With the Object Selector tool, you can select an object by clicking on the visible part of the object.You can resize the object by pulling on one of the 8 handles. The bottom right handle (in gray color) isfor resizing in all directions, the other 7 handles always resize in their direction. (For example: themiddle left and right handle will resize only in the horizontal direction.)

Tip: Sometimes, if the object is very tiny, you may have a hard time selecting the object. You canjust hold down the Ctrl key and click on the object again. This will select the object by its boundary.

If you want to select, move, or resize an object, which is covered by other objects, just click on its namein the Layers Bar. This will make it selected and you can now click on it on the workplace, drag it, orresize it.

Select more objects at the same time

Often, you would like to select more objects at the same time and then move, resize, or apply acommand.To select two or more objects use one of these:

· Click on the empty part of the canvas - where there is no object - hold down the mouse button anddrag a rectangle around the objects. Then release the button. You have to drag around the objectsyou want to select. Only the objects, which are inside the rectangle, will be selected.

· Click on the object you want to select first: then hold down the SHIFT key and click on thesecond object. Repeat until all objects are selected.

· Click on first object name in Layer Bar, then hold SHIFT and continue selecting the objects.

To deselect all objects, click outside the selected area. To deselect only one object from the group ofselected objects, hold down the SHIFT key and click on a previously selected object.

Tip: During multiple selections, look at the bottom of the screen (the status bar). The text willidentify the number of objects you have selected.The Objects on screen will have a small number in the top left corner - this is the order on which youselected the objects. It is important for some operations such as boolean Subtract.

Move and Resize Objects with ArrowsYou can move/resize objects when you have the Object Selector tool selected. You can move the object in pixel precision in almost any mode by pressing the Arrow keys on yourkeyboard. If you hold CTRL while you press the arrow key, you will move in increments defined by a Grid

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You can resize the object in pixel precision in almost any mode by pressing the SHIFT + Arrow keys onyour keyboard. If you hold CTRL while you press the SHIFT + arrow key, you will resize in incrementsdefined by a Grid .Groups And Packages

If you have a complex project, you can make selections easier by Grouping or Packaging related objectstogether.

Package : Package is a unique ability to divide a large project into segments where you can editeach segment (Package) in a different view window. Packaging has many benefits - the system needsless memory and you don't get lost in hundreds of objects. The package shows in your main documentas a single object, which you can transform any way - resize, rotate, or add any effects to it, such a

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drop shadow or bevel. This means you have the ability to design the contents of a package in a largeview. This is an important topic, please read more in a Package Section .

Groups: Groups are logical selections in the main document. You don't get fewer objects, you just moveall objects with the group. Select two or more objects and press CTRL-G (or from the Menu: Object-Group). The group has a red border. You can move or resize grouped objects, and you can also changethe parameters of whole group. To un-group a group, press CTRL-U (or from the menu: Object -Ungroup). You can also select one or more objects from an existing group without un-grouping, byexpanding the group it in Layers. See more details in Layers .

Various Object Examples:

Tip: Each object type has a different color of bounding rectangle in the Selection mode. The Path isblue, Polynome is Green, Text is violet, and Bitmap is orange. The multi-object selection has a dark blueborder and a group is bright red.

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Paths and PolynomesReal-DRAW PRO uses a simple path for any simple objects you start drawing - circle, square or curvedline. Paths are made of Bezier curves only. Even a straight line in a square is made of Bezier curves andyou can expand its control points to round the square.

The more complex object is Polynome. Polynome shape has not only Beziers curves but also lines andoffset points which allows you to create "Islands" or "Holes" within the object. You can convert any timeany Path to Polynome or it will be created automatically by software whenever it is needed (For examplewhen using Combine command)

Combined objectThis is a polynome created with combine command. It still retains all combined objects even they maybe not visible. You can simplify such shape into normal Polynome with Create S ingle Shape Command.

You can also convert Painted object into Polynome.

Perspective transformation can be applied to Packages and Bitmaps.

5.2 Rulers, Guides, Grid

To help you to place and draw objects you can use Rulers, Grid, or Guides. You can drag a guide to theworkplace from the Rulers, and objects will snap to them. Alternatively, you can set up a grid whereobjects will snap to this grid.

Rulers

Rulers measure the distance in pixels. Rulers give you information about the size of the selected object,its position, and the position of the cursor.

The position and size of a selected object is marked by a red bar (as in the above image), and a blue barmarks the position, and size of a selected object.

When you draw a primitive object, such as rectangle or circle, you will see a blue bar on the rulers asyou draw, from the place where you started.

Guidelines

Guides (or Guidelines) are lines that you drag on the canvas from rulers. Guides help you to align orposition objects, because objects will snap to guides. An on/off switch for the guides exists on themenu: Edit - Snap To Guidelines.

To move the guide, simply click on it and drag.

To delete the guide, simply drag it outside the window. You don't have to drag it in the guide direction; itis enough for you drag it to the closest border. In other words, you can drag a vertical guide to the top orbottom, even though it normally only operates from left to right.

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Guides are saved with the document, and you can add/edit the guides by pixels with the Guide editor.

To open Guide Editor, right click on the Ruler or select: Edit Guidelines & Grid from menu Edit.

The Guide editor works like an ordinary editor, you can add, edit or delete the numbers (in pixels) bysimply typing. It doesn't matter if you put the numbers in order or not.

Grid

The grid is a net of dots to which the objects snap. You can show/hide the grid from the menu: Edit -Show Grid, or by clicking on the Grid button in the tool bar. The only property of a grid is distance, andyou can adjust it in the same Guidelines & Grid box as above. Grid distance is saved with thedocument as well.

Size and Position

To set the size and position of the object, you can use the Sizes bar. You can show the Sizes bar frommenu: View - Properties-Sizes, or simply by clicking on the Sizes Button. (On the right bar)

Above is displayed the size and position of the current selected object. You can type a new number andpress Enter to update the object.

Position Lock

On the Sizes bar you have a “lock icons” beside the left and top position. This is a Position Lock. If youclick on the lock, the object will be locked in that particular movement and you can move the object bymouse, only in that direction. If you lock the left horizontal position for example, you will only be able tomove the object horizontally with your mouse.

You can lock both directions, and then you won't be able to move the object by mouse at all. This isgood if you want to have the object selectable, but you want to protect it from accidental movements.

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What is the difference between Position lock and Lock in Layers ?

Simple, if you lock the object in layers, you won't be able to select anything it at all as it will become atransparent for the mouse. If you lock the position, however, you are still able to select an object.

5.3 Document Size

Menu Project - Size and Color

The canvas is the white rectangle on your screen where you place your object. You can place objectsanywhere else and it is perfectly fine, but canvas represents the part which will be exported, so it definesthe size of the output image. You can, however, export any other part of the document with the CropTool.

Real-DRAW doesn't ask you before you start your project for the canvas size. Instead, the default sizewill be used. This is done because many times you don't know the exact size before the project starts.Real-DRAW uses a reverse approach - to fit the canvas around the object when we are done. For that wehave commands: Trim Canvas and Trim Canvas Expanded plus a manual Crop Canvas (All inmenu: Project). Thanks to them you don't have to worry about the placement of the objects on theCanvas. The Canvas can be resized to fit the objects. See the detailed description in Export .

You can, however, still use the first standard approach when you set the Canvas size before you startworking.

For example, if you need the project to be exactly 320x200 pixels etc. you can use the Canvas Sizeand Color settings.

To change the Canvas Size and color:

From menu: Project select Size and Color

Here you can change the size and the background color. You can set the background color by typingthe web color or selecting it from the color selector. Clicking on the Color preview, the left part of thecolor selector will bring you another window, where you can set the color by specifying RGB, Hue, Sat,Lum, or pick a color from the basic windows colors.

Tip: You can also change the background color during Export .

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To change the default Canvas size, which appears on startup or anytime you press New:From Menu: Project select General SettingsNote: In this case the current document doesn't change.

Package - Special Case

If the active document is a Package then this dialog sets the size and color of the package canvas.See more .

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6 Paths

6.1 Editing paths

Each Path lying on the path point has two detached control handles. You can shape the curve betweentwo points by moving these handles. If you don't see the handles, (for example on a square), this meansthat the handles are aligned with the main Path point. To drag the handles out of the point, hold CTRLand then drag the point. To drag symmetrical handles, hold down the SHIFT when dragging the handles.

Hold Ctrl and drag a point to reveal the handles.Hold down Shift and drag the handle to make the point symmetrical.To delete a point, press Del.

Note: You can only delete "points". If you delete the handle, the handle will be aligned with the non-deleted point.

Open and Closed pathThe Path or Polynome can be open or closed. When you draw any of the basic shapes, the path isclosed. Closed path means the object is filled, whereas, open path shows only an outline. If you click onthe open path object, you will see the “Line Width slider” appear on the upper tool bar.You can apply any effects, colors, or textures on an open path, as well as on a closed one. To changethe width of the outlined path, adjust the “Line Width Slider” (On the top tool bar)To Break the path:Draw a basic shape, for example, a circle.

Click the Shape tool From Menu: Object select Break Path.

Now, with the shape tool, you can separate the shape at the zero point.Note: Click on any point and look at the status bar at the bottom of the screen. You should seesomething like: Path Point 2. The break point is always at the point 0 and the last point. Also when youselect an object with the Selection tool you will see a small square at the point 0 (or start of the path)To close the path: From menu: Object select Close Path.

You can change the width of an open path anytime with the slider at the top toolbar. This appears only if your selected object is an open path.Break ApartMenu: Object-Break ApartWe can easily separate complex Polynomes (such as text or clipart into basic shapes and then applydifferent formatting for each new shape.

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Here we separated Text into its simple shapes from which the Polynome is build.Limited Poly NodesMenu: Object-Limited poly NodesA polynome could be a complex object where displaying all nodes will result in a overcrowded canvasduring editing. You may not be even sure where to click. You can switch ON the Limited Poly Nodes that will display only the main control nodes and thenextended nodes only in the neighborhood of the selected control node, creating far less crowded view.

This apply only to Polynome Object. A simple objects like standard shapes will always display allthe nodes regardless of this setting (there are usually only few nodes anyway).

Note: This setting doesn't change the object in any way, it is only a visual helper.

6.2 Standard Shapes

You create a basic shape by using one of the six predefined shapes: Rectangle, Rounded-Rectangle,Circle, Star/Polygon, Toroid, Frame.The Tools are grpouped into 3 buttons on toolbar. To reveal the subselection click on the small arrow inthe corner of tool item or simply click and hold mouse on the tool for few seconds.

The Rectangle is a simple object with four Path points. Each point has two handles, but to achievesharp corners they are aligned with the Path points. You can always reveal the handles in the SHAPE

editing by holding down the CTRL key and dragging the point.

The Rounded Rectangle is a more complex object made from 8 Path points. Before you start drawingthe Rounded Rectangle you can set the smoothness of the corners. Click on the Rounded Rectangle

tool and change the Corners slider at the top tool bar:

Tip: You can change the roundness of the cornes even while you draw by pressing left or right arrow

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key on the keyboard.

Circle is a shape with four Path points.

Star/Polygon

Before you draw the star you can set the parameters on the top tool bar. Click the star tool to revealthese parameters:

The first parameter, Angles, is the number of arms the object will have. The second one is how far theinner points are from the center - this is the slider which changes the object from a polygon to a Star.

Tip: You can change these parameters even while you draw by pressing Left or Right and Up orDown arrow key on the keyboard.

Here is how the second slideraffects the object. If the slider ison the left side, the object will bea polygon. If it is on the right sidethe object will be a thin star.

6.3 Arrow

The arrow is a special shape tool that draws simple arrows. This is great if you make a tutorial, usingarrows, to describe elements on the picture.

The Arrow is an open Polynome. One element is the head of the arrow, and the second element is theline.

On the left is the general arrow. You start drawing it from the head. Click whereyou want to have the head of the arrow. Release and move the mouse. Thenext click is the knee of the arrow, and then the horizontal line is dragged untilyou click again.If you double click when you are about to draw a knee, the leader of the arrowwill stop at that point, making it a simple arrow.

Because an arrow is an open Polynome, you can change the width of the lines at anytime. Select anArrow object you have already drawn and look at the top tool bar for Width:

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Mouse Cursor

The second choice is a Mouse Cursor. If you are working on manual with screen captures you will knowthe importance of this tool.

Simply select the tool and click anywhere on the document. A standard Mouse Cursor object (Bitmap)will be added.

You can hold CTRL to draw Mouse Cursor with shadow (great to enhance the appearance of it) You canalways remove or adjust the shadow with the Effect properties.

Tip: Since it is a bitmap you can doubleclick on it and then paint it over with some color. Set IfDarker mode to preserve the Cursor black outline. and paint only in white area. Set If Lighter to changeonly the outline color.

6.4 Drawing a Shape from scratch

With these tools you can create new shapes - paths.

You have few optional methods for drawing a Path from scratch.The Line Tool for (drawing paths with non-curved sides) Pencil (for drawing free paths) and the CurveTool (Bezier Curve)

Curve tool

With this tool you can create lines and Path paths by drawing Path points.

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Select the Curve tool and clickwhere you want to have the startpoint. If you release the mousebutton right after the click, you willdraw straight lines. If you hold thebutton and move the mouse, youwill draw symmetrical Path points.

To stop drawing the Path, use oneof the following:

· Double click on the pointwhere you want to finish.

· Click with the Right mousebutton on the point where youwant to finish.

· Move the mouse over the startpoint and click - this willcreate the object as a closedpath.

Drawing a line with Line Tool

This tool simplify drawing a line. To draw a line, just click and release the mouse button and then dragthe mouse to another point, click and release. To finish at this point, click the right mouse button.

Drawing a line with Curve

A line is basically a path with aligned control points. To draw a line, just click and release the mousebutton and then drag the mouse to another point, click and release. To finish at this point, click the rightmouse button.

Drawing a vertical or horizontal line

As you drag the mouse, hold SHIFT key. You will draw the line only in a horizontal or vertical direction.

Pencil tool for drawing free shapesYou can reveal this tool by clicking on the small arrow in the Curve tool to pop-up subselection menu, orsimply clicking on Curve tool and holding the mouse button for few seconds.

Open/Closed Paths

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With the Pencil you can draw a free path. Select the Pencil tool and clickwhere you want the start point. Do not release the mouse button, just dragthe mouse and release the mouse button at the end of your desired path.

You can create open or closed Paths. While you are drawing, move themouse back to the Start point and you will see the mouse cursor change tothe black arrow with a square. If you release the mouse cursor at that point,the Path will be closed - creating a filled shape.

Tip: You can close a Path any time from Menu: Menu Object - ClosePath

Note: You can't add a point to an existing object with the Pencil nor Curve tools. For that we have

the Add Point to Path tool.

You can change the width of a line of an open path with the: slide.

6.5 Add a point to existing Shape

Select tool Add Point to Path

With the Add Point to Path you can add a point in an existing path orPolynome. With this tool you have to click on the edge of the object, on theexact spot where you would like to have a new point. By holding the button anddragging the mouse, you will expand the Path handles from that point.

Note: The path is a simple object created with basic tools - it has one shape. On the other handPolynome is a complex object, it can have more than one path inside -holes or islands. A typicalexample of Polynome is a text. Real-DRAW PRO will convert between these two types whenever it isnecessary.

Adding an Island to Polynome.

As you read in the basics, there are Paths and Polynomes. You always start working with Paths. Lateryou can convert a Path or Text to a Polynome.

Polynomes can have a Hole or Island - a detached closed 'path' inside or beside another one in oneintegrated object.

To add an island to the Polynome, you have to hold the SHIFT key when you click anywhere inside oroutside the selected object.

Example - Add an island.

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1. With the Circle tool create a circle.

2. Select the circle and from menu: Object - select: Convertto Polynome. The bounding rectangle will change the colorfrom light blue to dark green, signaling that the object is now aPolynome.

3. Now click the Add Point to Path tool , and the selectedcircle will show the Path points

4. Hold down the SHIFT key, click inside the circle, thenrelease the mouse

5. Now with the Shape tool, move the Path handles.Note: the Polynome doesn't keep the end point with the startpoint - you can separate them, creating a line between them.

You can add more points to the outer or inner path of theobject, again, with the Add Point to path tool.

Note: The island is always in reverse. If you cross two islands, you get the combination of both.

The next chapter Combine Objects show you much easier method how to add Holes, Islands orsimply manipulate a shape.

6.6 Combine two or more objects

Menu: Object - Combine Objects

This tool combines two or more, Path, Text, Paint Object or Polynome objectstogether either as XOR, Union, Intersection or Subtraction

Using a combination of primitive objects is the easiest way how to create any complex shapes.

In the previous example, we learned how to add an Island to an object, however, there is a much easiermethod, which does exactly the same thing but much more elegant way.

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· First we draw two circles, one larger, one in the background, and on top of it,we draw a smaller star.We just select a different color of the top object to be visible on the picture.

· Now click outside the object and drag a mouse selection rectangle aroundboth objects to select them. (You can also select objects by holding theShift key and selecting additional objects.)

· Click the Combine XOR button

Note: The resulting object will get the color and properties of the first object inthe selection. If you select all objects by dragging a selection rectangle aroundthem then the first object will be the bottom one. If you use the Shift-Click method,then the first object will be the one you selected first.

You can combine text, paths, and Polynomes together. The result will be always a Polynome.

You can also combine Paint objects with Polynomes, however the result will be always Polynome. Thebitmap object will be first converted into Polynome itself (from its transparency mask) and then mergedwith the other objects. If you trying to make holes in the bitmap use Bitmap Masking instead.

Tip: Combine XOR a rectangle object and text to get a reverse (cut) text.

BOOLEAN operationsCombine can have 4 modes: XOR, Union, Intersect and Subtract.

The Subtract depends on the order of selection. It Subtract the 2,3,4... selected objects from the firstselected. On the image above we first selected the Rectangle, then the Circle (second image from right).The right-most image was created by first selecting the Circle, then Rectangle.

Tip: The result object will get the formatting (color, texture etc.) from the first selected object. (Youcan see this behavior also on the BOOLEAN operations image above) When you selecting objects to becombined you can see a number on the selected object. This will tell you which object was selectedfirst.

BOOLEAN vs. All to XOR, UNION

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The normal BOOLEAN combination can be freely mixed,. You can for example combine 3 circles asunion and then subtract a rectangle from the union. Consider the image below:

The other commands All Object XOR and All Object UNION would simply combine all objects to XORor UNION and you can freely switch between these two types any time later without re-creating it allagain. Consider the image below which was created from the previous object by using menu command Object-Combine Objects-Change Mode-All Object XOR.

And then Object-Combine Objects-Change Mode-All Object Union

We didn't have to re-create the object again, just simply switch the mode.

Whenever you add other boolean operation to such object or choose Object-Combine Objects-ChangeMode-Boolean it will return to its original state (that means 3 object Union + one subtraction).

Simplify Complex Objects - Create Single ShapeMenu: Object-Combine Objects-Create Single Shape

Combine tools will create a complex object - with the original shapes still present inside (and thanks to

this you can always Un-Combine objects). This is visible only when you do editing with SHAPEtool. Normally in Real-DRAW PRO it doesn't matter, however sometimes you may want to simplify theobject (for example when you planning to do a pure vector export). You can do it in Menu: Object-Combine Objects-Create Single Shape.

Note: For best accuracy of complicated objects you should leave the result objects in the Complexmode. Create Single Shape may sometimes create less accurate object by applying curve simplificationaround fine areas.

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After you create Single Shape then you can no longer use Un-Combine. However, because the result isnow Polynome you will be still able in some cases apply Break Apart. (Imagine our Circle and Starexample from the top of this chapter - even after you convert the XOR Combination into Single Shape itstill has the star as an Island. You can then separate this object into star and circle again using Object-Break Apart.)

Combine Paint Object

In Real-DRAW PRO you can BOOLEAN combine Paint Object (or even a Package or Bitmap, if youreally want) with other vector objects. The result is always a vector (Polynome) object.

On the image above we combined (Subtract) a vector circle with Paint object (painted simply with brush).The result is now fully editable vector object.The bitmap is vectorized based on the transparency channel. It is obvious that combining simple picture(which has a simple rectangular mask) will not give you anything extraordinary, however it is interestingto combine Paint Objects (Brushes, Nozzles) with other vector object.

General Note about Combine tool

While it isn't very useful in general it is good to know that you can also combine Packages with othervector objects to create new vector object. But here apply the same as for Paint Object - it isvectorized based on the Package transparency channel. There are of course much better way tocombine packages (yes, it is Packaging by itself..) Vectorizing packages makes in fact little sense, butyou are free to do it.

Here we combined a package (red circle+star) with blue circle using XOR. The Package was duringconversion treated as simple bitmap object with transparent channel. It is important to realize that if youhave package with object having drop shadow (or other effects) then the drop shadow will be also part of

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the vectorized result. (Because it is a part of the transparency channel)

Note: Reading the above you may wonder if you can vectorize a bitmap which has no transparency -for example a scanned image of your signature. Yes, you can do it with a single command in menu Bitmap-Trace Shape. This will do vectorizing not based on transparency but rather on actual bitmapdata.

You can combine object also other way where the formatting is not shared between objects but remainfor each object and you are still able to add another formatting on top of the new combined object. It iscalled Packaging

Un-Combine objects

Menu: Object-Combine Objects-Un-Combine

The Combined Objects carry inside their original shapes. As far as you don't convert the Combinedobject into Polynome (Create Single Shape) or Bitmap, you can anytime Un-Combine the objects.

Here we have Combination Object: Star subtracted from Circle. After Un-Combine the object will bedivided back to 2 objects Star and Circle (The Star is shown here in different color, in real life it will comeup with the same formatting as the main object)

Break Apart

Menu: Object-Break Apart

The Combined Object/Polynome will be broken into two or more independent Single Shape objects.

There is a marginal difference between Un-Combine and Break Apart.The Un-Combine will always separate Combination object into the original objects. The Break Apart willcut the Combination object into smaller Shapes depending on the Combination.

See Example

We created a Combination from Circle and Rectangle using Subtract method. That is - we subtractedthe rectangle from the circle.

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Now if we use Un-Combine we get back the Circle and Rectangle. Here on the Image below the objectsare separated for illustration.

Now on the other hand, if we use Break Apart on the Combination object we get 2 Circle halves:

Break Apart command will create a new objects from the combination, it will not use the original objectsstored in combination.This gives you many possibilities for creating totally new objects:

The steps in the example above:Create Text, then paint with brush "Paint new Object" a line through the text (Image 1.). Select bothobjects (Ctrl+A) Then use Subtract. (Image 2)Now use Break Apart - we get 10 objects (Image 3)The rest is just a play. Here it is briefly: we selected the 5 object on upper part then use Combine Union.Selected the rest bottom part - again Union so now we have two object Top and Bottom part of the text.Little rotate and Extrude effect with Texture and few lights does the candy. The shadow was created bysimply selecting both objects and use menu Bitmap-Create-Shadow from Selected Object. This gives usa shadow bitmap which we need to resize and Skew then apply some transparency to it.

Note 1: For Combined Object there are two steps involved during Break Apart command. This isdone automatically - to first create a Polynome from Combined Object. That means if you apply BreakApart on any Combined object Real-DRAW PRO will run two commands: Create Single Shape + BreakApart. But again this is just for your info, you don't have to worry about this.

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Note 2: It is obvious that some Combination will always create just one shape. For example if youhave an Union of two overlapping object the Break Apart command will have nothing to do and you willget result the same as the Union.

6.7 Liquid Shape

Liquid Shape is a feature where you work with the shape as if it was a clay or liquid. This allows you tocreate organic shapes very easily without manipulating the vector nodes and curves.To use Liquid Shape select an object and press Liquid Shape Button.

The window will switch into Liquid Shape view.

There are new tools on top of this window:

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Push/Pull - move the shapeMagnify - enlarge the shape under brushShrink - shrink the shape under the brushErase - erase to original stateRotate - rotate under the shape

The idea is to use the cursor as a brush to move or otherwise affect the shape. In the image below weused the Push/Pull mode with a medium sized brush (ex. 60) to push the shape:

We can also use very small brush (ex. 10) to pull new shape out of the original shape:

The Brush Strength sets the strength which means how far and how fast we can pull or push theshapes.

When you made mistake use the Eraser and brush over the error parts.

After you are done, press the Apply button. The object will use its altered shape.

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The Liquid Shape is a nondestructive parameter. At any time you can edit the Liquid Shape in any wayyou want.

Note: A text object will be converted to Polynome when Liquid Shape is used in order to lock down itsshape..

Another Part of the Liquid Shape is Liquid Bitmap which apply to Bitmaps and Packages. In thatcase the tool not only changes only the shape but also the texture of the object.

6.8 Import Vector Object

The Image import allows you to import vector objects in WMF (Windows metafile) or SVG - Scalablevector graphics) format.

You can also Import TTF (True Type font) which will result in the same action as command from menu Text-Import Font (Glyph)

The WMF format can be imported either as a bitmap object or a vector object, SVG format can beimported only as a vector object.The import to vector format will translate each element from the image into Real-DRAW PRO nativeobjects. It is important to understand that some metafiles may have hundreds of tiny objects whichwould prevent you from using it any other way than in Package.

After you select the image to import you will be asked for a type:

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Load as Bitmap - (WMF only) this allows you to load the WMF vector format as a bitmapCreate one Final Package - The result will be always packaged and you will get a Package instead ofsingle standing object.Create Final Group - The resulting objects will be groupedCreate just objects - This will leave the objects free standing

Initial Size Image into Width .. pixelsWMF and SVG are scalable formats - this is how big they will be imported (width only, the height will beset according to the ratio)

Package every...objectsSome WMF or SVG files may have thousands of objects (sometimes 3,000 and more). Such import is,for sure, not very useful since you can't do much with it anyway and because Real-DRAW PRO usesantialiasing and various advanced methods. The memory to open such file is also much larger.

Here, you set how many objects should be assigned to each package.

For example if you set 200 objects, then every 200 objects will be packaged, and if the WMF file has atotal 400, objects you will get 2 packages. This has priority over all previous settings.

What to do with the imported objects?The vector objects will be imported as native Real-DRAW PRO objects (Paths, Lines, Beziers) and youcan use them as any other Objects. There are many WMF files from which you can use alreadyprepared shapes to build your image. Also, many vector editors are able to export in WMF format. SinceWMF has been here from the time of Windows 3.0, there are thousands of free, or very inexpensivelibraries of vector objects in WMF. You can get CD's with ten thousands objects or more, yet theusefulness of such CD's is often questionable. The most useful objects are always the simple ones (!), various arrows, bubbles...simple shapes, where you can easily change color and add effects to yourneed.

Here we imported a WMF arrow, changed the color and Packaged it. We can later change the coloragain by editing in the package.

If you don't want to disassemble the vector object you can simply load it as a bitmap.-OR-after necessary changes, if you don't want to change the vector object anymore, you may save a lot ofmemory by simply selecting all of its objects and packages and converting them to bitmap with menuBitmap - Create- New Bitmap from Selected Objects, and then deleting the vector objects.

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SVG is a Scalable Vector Graphics build for the web. Currently all new browsers directly support SVGand you can, not only import SVG but also Export it with Real-DRAW PRO. The Import/Export supportscolors, outlines and transparencies.

Other way to get a shape into Real-DRAW PRO is a Shape Tracer . Simply load any Image with theshape on white background and run it through it (Menu Bitmap- Trace Shape) This has many advantages- you can actually draw a complex shape with a black marker on piece of paper and scan it. Then load itin Real-DRAW PRO and convert your shape to vector.

The next way to get some interesting shapes is to directly Import some dingbat True Type Font .

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7 Text

7.1 Text Object

This tool allows you to add text.

To add text, click the Artistic Text tool and click anywhere on the canvas. A dialog box, to enter the textin, will appear. You can edit the text anytime by double-clicking on the text object or using the shortcut Ctrl-T.

The text input dialog

Here you can input the text, select the font, its initial size, choose if it is italic, bold, and also selectalignment. Type some text and press OK.You can resize the text freely after you enter it, so you don't have to set the size if you are not sure whatsize text you require.

Real Size

Because you can resize the text afterwards, the Real Size indicates what the real size of the text is. Ifyou start new text, or never resize the text, the Font Size and Real size will remain the same..

If you resize the text (for example from 20), the real size will change (in our case 68.0), but the FontSize will stay the same size as that which you initially entered. Note that the Real size may not be aninteger number. You can return back to the initial size (here 20), by simply pressing the

Reset to Original Size button.

The text will return to its original size (20) and the Real Size will change to the same number.

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Note: By resizing the text, the x/y ratio may change. To make sure your text is in correct size, youmay simply reset the size and then type the number, which was originally set as the Real size.

Character map

You can find the Character map button on the Text dialog next to the font selection.

The charactermap is great ifyou select a'dingbar' or'specialty' font(for exampleWindings), itallows you tosee all thecharacters.When youselect one andpress OK, thecharacter will bewritten in thetext locationwithin the textedit box. In thecase of'dingbars', youwill see acorrespondingletter. You canuse theCharacter mapto look for aspecialcharacter, and ifyou really hatetyping, you caneven write wholesentences withit. But, if thereason is asticky keyboard- you shouldreally clean it :)

You can importfont even withoutinstalling it! Seebelow.

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With the selection tool, you can resize and move the text.

With the shape tool, you can change the Envelope of the TextYou also can use Skew or Rotate tools.

Envelope

With the envelope you can easilyshape the text. There are upper and lowerlines, each with two Path points. Bymoving the points and/or handles, you cangive the text different shapes.

If you want to reset the transformations,from menu: Text select ResetTransformations.

To Edit the Path points of the text; go to menu: Text and select Convert to Polynome.

This will convert the text to Polynome Object (Path points and handles)Note: You can't change the text context anymore because the object is now a Polynome.

You can combine the text with other objects with the Combine Tool

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Import Font (Glyph)

Menu: Text - Import Font (Glyph)

Probably you have already come across such Fonts called Dingbats (Fonts that consist of symbolcharacters such as decorations, arrows, signs, bullets etc.) In fact you can find hundreds of such fontson internet. It is a great oportunity to import some to your drawing.

Instead of installing the font and then going to character map, Real-DRAW PRO can actually Import TTFfont directly from Disk or CD. You don't have to abuse your windows directory by installing hundreds ofdingbat fonts, just Import the one which you need and when you need it.

Simply from menu Text, select Import Font (Glyph). Select any TTF from disk or CD and a modifiedCharacter Map window will appear. Here you simply select the Glyph you would like to import and PressImport.

The Import Font window gives you also a short information about the font, plus font copyright info.

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You can Import one or multiple Glyphs. Just check the Multiple Checkbox and you can press Insertbutton as many times as you want.

Tip: You can apply Break Apart command on the glyph if you need to desintegrate the glyph intobasic shapes.

Note: You can Import the font also from the menu Files-Import or by clicking on Import Image button.

Reload Font List

Menu: Text - Reaload Font List

This will actualize the list of installed fonts. You may use it for example if you install new font intoWindows during your session in Real-DRAW PRO. You don't have to close software and run it again,simply use this command to actualize the installed fonts.

7.2 Fit To Path

Menu: Text - Fit to Path and Object - Follow Path

Interactive Tool

This tool allows you to fit a Polynome object (such as text) to Path.

Note: The Fit to Path in Text menu and Follow Path in Object menu have the same functionality.Each one will first convert the object into the necesary type for processing.

You can fit any Polynome to a path of other Polynome. This is probably most useful for text.You need to select the Text object and the Path together, then apply the command.The object selected First will be the Object fitted (the Text), the object selected second will be used asthe Path.

When you do multiple selection (by using Shift+Click on object or item in Layer list) you will see theorder numbers to show you which object is selected first and which second. Make sure the Object to be

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fited is selected as first.

With the interactive tool you can choose the Place (Outside of Path, Centerline or Inside of the Path)and the Start position relative to the path lenght

If you change any data you will see preview in the main document. Position the Text withthe slider andthen click OK.Depending on the selected type you will get the result:

Note: The text can be positioned from the Path start (0%) to the Path End (100%). It can't cross thestart/end. Each object may have start of the path on different place - it doesn't have to be always on leftside.

Because the object can't cross the start/end you have to make sure the start/end of path is not on theside where you planning to add the text. For example we would have trouble to position the text on leftside of the circle because there is a start point. In this case we may just simply rotate the circle to getthe start/end of its path away.

Note: You can Fit the Object to any path - closed or not.

You don't have to Fit only text, but you can use any Polynome. However note that a simple polynomessuch as Circle or Rectangle have just very few polygon points (Rectangle has 4). If you fit such low pointPolynome to a path then it won't work well (Except for repeat command, see later) - for example the

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Rectangle will still have 4 corners placed along the path.That's why Text works best - it has hundreds of polygon points.

Tip: If you want you can increase number of Bezier curves in the simple object with IncreaseCurves command (see below).

Here is an example of high polygon object fitted around the circle:

Note: If you fit Combination of objects the best is to use Create Single Shape first to convert thecombination to Single shape object.

Other Fitting Methods

The Menu: Text - Fit to Path has more than just Interactive Tool listed. See the picture below:

You can also Stretch the object or Repeat the object along the Path.

Stretch will stretch the Object along the whole Path. The repeat will repeat the Object along the wholePath.

Complex Paths

Polynomes used for Paths can be also complex - they can have holes for example. The fitting will beapplied also on the holes. (Note that for holes the Inside and Outside is obviously reversed)

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This gives some interesting possibility for experimenting. For example fit a text around another text.

The result will be however quite complex and calculation may take quite long.

Note: If you choose a very complex font for your text (a font which has many points per character)the result may have tens of thousands new polynomes.

Tip: Use any small object such as circle or star to fit around text for interesting results.

The Repeat can be used for many interesting effects of path following with small object, here are someexamples:

Tip: Letters and characters such as I, O . : " can be used along some path to easy createinteresting objects. To be sure the character covers all of the path use few of them in row for exampleIIIIII or :::::::

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Note: If you would like to fit a text around Combined object you have to first Create Single Shapefrom the combined object otherwise the text will follow all the objects from which the combined object iscreated.

Increase number of Curves

Menu: Object - Increase Curves

You can add more Bezier points to the object, which may enable to do more with the object - forexample follow a path.

It is best to show it on example:

The shows two object rectangle and circle.We would like to fit the rectangle around circle. So we use Object-Follow path- Interactive and the result

is in .Now, obviously this isn't what we had in mind. This is because the rectangle has only 4 points and whilethey are fitted around the circle the result is still rectangular.

In step we increased the number of the curves in rectangle 8^2 = 64 times. (Object - IncreaseCurves)

Now we repeat the step two, with much better result

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8 Bitmaps

8.1 Bitmap Object

What is a "Bitmap" Object?Bitmap objects (also Bitmaps) are a non-vector objects. While vector objects are created from curves,bitmap objects can be described only by the pixels.You can import Bitmap from any supported image file: BMP, PNG, JPG, PCX etc .Please note that some people mean by Bitmap the BMP file. This isn't accurate since BMP is a"Windows Bitmap" where Bitmap is a common name for any pixel based image.

This tool allows you to import image from a file into a Bitmap Object

Click on the Insert Image from file button and then click anywhere on the Canvas. The open dialog boxwill appear and you can select image file.

If "Resize & Crop Next Step " is selected, after you press Open the image will be transferred to Resize& Crop dialog where you can crop the image or resize it before you import it into the object.

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To resize the image before you import it, use the Resize Image box (for example 50 %). To crop theimage before you import it, move the two crop handles as indicated by red arrows on the image above.Note: This will never modify the original image on the disk.

You can also Re-Crop the image later with menu Bitmap - Re-Crop.

When you have your Bitmap object, you can apply effects (bevel, shadow etc.), bitmap effects (blursharpen oil paint...), you can edit it, create transparency, scale it, rotate it, and more.

Scalability (Normal Bitmap Object)If you scale down the Bitmap object, Real-DRAW PRO will temporarily hold the bitmap internally in itsimported size. That means you can resize the bitmap back and the object will be updated from theimported image quality.

In case of Normal Bitmap Object this is rather very temporary; the bitmap will be finally resized to itsdisplay size after you do one of the following:

· You use Make Changes Permanent from menu Bitmap· You save the project· Or, you use one of the bitmap effects

Since the bitmap was from a file, you can reload the original bitmap from the same file,by usingcommand: Update From Reference from menu Bitmap.

With the selection tool, you can resize and move the bitmap.

With the shape, tool you can change the Envelope of the Bitmap

There are other ways to create bitmap objects:· Paste a bitmap from the clipboard· Use the Screen Capture Tool embedded in Real-DRAW PRO· Or, Paint a new bitmap using brushes124

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Note: This tool allows you to import also a vector drawing in either WMF or SVG format. You will findmore information about this in the Vector Import section.

8.2 Bitmap as Reference

The Bitmap can be imported in two different ways.

· Normal Editable Bitmap Object· Draft Object with External Reference

It is important to understand the difference because using it correctly gives you a big advantage andability to create large photo-montages and collages without any slow down.

During export and Fine Print of a Normal Image its own internal data are used. So if we import a nicesharp 10 megapixel image, but resize and crop it to a 300x300 pixel image, this resized data quality willbe what we get in export. This is fine for normal web graphics and other normal screen-resolution jobs aslong as we don't want to use Megarender to export or print image larger than the document size.

Draft with External Reference uses the resized data only during designing to show it on canvas foreasy manipulation, but during Export and Fine Print those data will be replaced with the original "bestquality" data from the image on the disk. This makes big difference in Fine print and Megarender ,but for normal screen-resolution graphic this gives very little benefit.

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As we see on the graph above both Normal and Draft with Reference comes originally from a file. They both remember the link to the original file, but in Normal Image this is only used so we can re-crop theimage later or during Update from Reference command. All the editing goes to the resized image in thememory.In the Draft image the link goes much deeper. The image we see on canvas is only a shadow"placeholder" for the real data on the disk. When we do export those real data will be used.

Draft with External Reference image is therefore as close to resolution independent as a bitmap goes.We don't have to think in advance how large we need our document because no matter how large weexport it - the best resolution will be always automatically used on the final output.

Note: During Export to file we still see the draft images displayed in the Export Preview but once wehit the final Export button the images will be then loaded from their Reference and the file rendered todisk.

When to use what

When you work on: You use: Why:

Screen sized images/web graphics

Normal Image If we are making screen-size graphics, for web forexample, then we can simply import bitmap as NormalImage because our output will be equal or smaller thanwhat we design on the screen. There will be no benefitin using Draft and we don't have to take care of theexternal references.

Photo Collages orposters for large exportor print

Draft with ExternalReference

If we are making a photo collage for print or for largeexport then using Draft with External Reference willgive us a huge benefit of automatically using the rightamount of resolution for any size of the output. Forsuch project we expect to use Megarender or FinePrint which multiply the size of the canvas. So wedesign small for fast manipulation and then export bigwithout loss of quality.

Copy of the Reference, REF file.

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When we try to use a bitmap-only effect on the Draft Image (such as painting over it or using somebitmap-only effects like contrast or levels) we will be prompted to create a copy of the Reference. Sincethe Draft is a placeholder for the real data on the disk, our changes have to go somewhere. Because wedon't want to modify the original Reference image, we need to create a copy of it and then modify thecopy. The new file will have extension *.ref and all the changes or any link to Reference image will fromthis time be going to this *.ref file.

Tip: When you going to paint over the new copy reference image, you will see that it will open in thebitmap editor in its full size. You can now retouch or paint in a very fine detail.

Note: Creating the Ref file will make the current image crop permanent. You can still call Re-Crop toolbut you will be able to crop only inside of the previous crop.

Here is an example of Photo CollageThis example will show you the difference in printable output and also show you how to change theImage mode after the import using Re-Crop.

We designed this little postcard using many large mega-pixel images. However to make our point clearwith this example, we designed it as a small 400x300 document. As it is, it would be great for web butdefinitely not for print. This was a breeze because small size makes it easy to handle.

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For this image we imported all the photos (photos of paintings) as Normal Object.

Then when all was set up nicely on the canvas, we used the famous Real-DRAW PRO MegarenderExport to create output 5x the size of 2000x1500

This was Output 1.

After that we selected first image right-click on it and from menu selected Re-Crop.Tip: Re-Crop not only allows us to change the image crop later (which we don't want to do now) but alsochange the Image mode.

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In the old familiar Resize & Crop Window we simply changed the Image mode to Draft Object

We did this for every image on our tiny canvas.Again, we exported it using 5x Megarender to Output 2.

We can't show you the full result images here, but as you may already know the Output 1 was simplynot much better than enlarging the 400x300 collage in a bitmap editor. It wasn't print worthy any morethan the original canvas. Just bigger and blurry.

But when we used our images in the Draft with External Reference mode for the Output 2, the result wasa large sharp Collage with all the new details taken from original images.

Here is a small crop from the small corner of our 400x300 image after the 5x Megarender . It isobvious which one was using Normal Images and which was using Reference images.

Final thoughtThe Draft with Reference is an amazing tool to work with many large photos very comfortably on thecanvas without thinking too much about the actual sizes. Then we can Megarender it into any size of

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image and it will automatically use the best resolution possible.

8.3 Re-Crop

Re-Crop tool allows you to change the Image Crop and Image type later after it has been imported ifthe original (Reference) image still exist. This apply to both Normal and Draft images as they both keeptrack of the original Reference image. However as we explained previously in Normal Image this link isnot used outside the Re-Crop or Update from Reference commands while with Draft image the link isautomatically used to get data for export.

Note: We can use Re-Crop even on objects to which no Reference such as New Paint Object orconversion from vector to bitmap. In such case the Re-Crop is limited to crop only towards smallerimage.

The most interesting usage of Re-Crop tool is when we use it on images that had been imported from afile. In this case we can simply Re-Crop image back to larger crop as illustrated by the image below.

Image Type ChangeAnother interesting feature of Re-Crop is also its ability to change the Normal image to a Draft and back

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with the ability to copy transparency from one to another.

The Data Flow. (and some nice nerdy graphs that hopefully make sense)When changing from Normal Image to Draft, only the transparency will be copied, any other bitmapediting on the Normal Image (such as painting over it) will be lost as the Draft object is created bycombination of the Reference file on the disk and the Normal Image transparency Alpha Mask.

However when Converting from Draft Image to Normal image, everything can be fully transferred directlybecause any changes had been actually done on the full size Reference REF file.

Example:In this example we will show you how easy is to paint a large transparency area on a Normal Image thentransfer it to the Draft Image.

First we import a Normal image, Use Bitmap Edit Tool and select Transparency Brush (looks likeeraser) and paint transparency around the border to create a cutout image.Next we go to Re-Cop tool and select Draft with Reference. it will prompt us to save new *.REF file andwe will get a Draft with Reference Image that inherited the painted Transparency of the Normal Imagein proper scale.

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You may still not see the significance yet because they both look exactly the same on the canvas.Here is the big difference between our Normal Image and the Draft with Reference when opening inBitmap edit :

While the Normal Image was bitmap edited as a small image of the same size as on canvas, the newDraft image opens as large as the reference image, but it has also new transparency.

So what we did was: we comfortably painted rough transparency border on a small image within fewseconds then carry that transparency over to the new Reference image (*.REF) in its proper scale. Nowif we go to Bitmap Edit we can continue to paint transparency but in much finer detail.

Because the image is a Draft with Reference we can now print it or export it in much larger size with allthe details wonderfully preserved.

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8.4 Non Destructive Sharpen

Any Bitmap object (or a Package) has a special property - interactive sharpen. You can access itby clicking on the Sharpen square on top of the bitmap/package bounding box.

Interactive Sharpen is a great way in which to sharpen any image or Package, especially after sizingdown. It is a non - destructive effect. You can increase or decrease the sharpness any time you wantand how many times you want. It is easy to use, just click on the second top handle on any bitmap orpackage and move the slider up or down.If you work with Packages or bitmaps, you may use this often.

8.5 Paste Bitmap Inside a Vector Object, Cropping Bitmaps

Paste inside

1. You can paste a bitmap inside a vector object. To do so, select a source bitmap object and use Edit- Copy, Then select a destination vector object and use Edit - Paste Inside.

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The Bitmap will be stretched to fit the object.Note: even if you resize the original bitmap, the Real-DRAW PRO holds its original size and any pasting"inside" will have exactly the same effect. If you want to keep the same ratio it is desirable that theobject and the bitmap also have similar width/height ratio. If they are different, you can simply adjust thebitmap:

· Before using Paste Inside, crop unwanted parts as described below on this page.· After using Paste Inside, simply adjust with the Texture Size and Rotation tool.

Adjusting the size of the Pasted Inside bitmap with Texture Size and Rotation:

2. As an addition to it, you can Paste Inside any other vector object or selection of objects. Exactlythe same way - select object, Copy , select destination object and Paste Inside. The objects will bePasted as a bitmap with transparency and you can edit it as any Bitmap layer . To Adjust the Size,Position, or rotation, you can again use the Texture Size and Rotation tool.

Tip: Because the objects will be pasted with their transparency, you can actually repeat thisprocess and Paste Inside another vector object or selection, layering the bitmap layer.

3. You can Paste Inside any bitmap which is on the clipboard. You can also create your own bitmap onthe clipboard from objects using Edit - Copy as Bitmap. Such Bitmaps will have no transparency.

In any case, the image will be pasted into a Bitmap layer of the object where you can then edit itor remove it. To remove the Pasted Bitmap, use menu: Object - Bitmap Layer - Remove Bitmap Layer orits button on a tool bar.

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Cropping Bitmap

Sometimes the bitmap is just too large or you only need a portion of it. Then you can use the Crop toObject tool.The trick is to place or draw a vector object over the part you want to keep. Select both the vector objectand the bitmap (by holding SHIFT while clicking or dragging a selection rectangle around them) and frommenu: Bitmap - select Crop To Object. Now the Bitmap will be cropped and you will get only theportion of the bitmap object inside of the vector object.

Tip: You can use different shapes instead of a rectangle to get interestingeffects.

This is visually similar to the Paste Inside as described above, but it is differentin nature:

The difference is that Paste Inside will paste a bitmap inside the vector objectand you will have a vector object as result. You can later change the shape, orif it is text, you can easily change it like any normal text.

With the Crop Bitmap, you can crop the Bitmap Object - and again the resultwill be a Bitmap object.

Cropping to Object can be creatively used to cut out objects from bitmap such as faces etc.

Note: Cropping To Object is similar to other methods such as Masking, but cropping changes thesize of the result (that's the main point of it), while Masking just adjusts a transparency channel.

8.6 Masking Bitmap

Masking Bitmap is a very similar process to cropping, except the bitmap object doesn't change size;only the bitmap transparency will be created. Again the result is a Bitmap Object.

There are two types:· Mask From Object· Mask From Object - Inverted

The masking bitmap is a great way to make an unwanted part of the bitmap transparent.

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You can make the masking object semi-transparent so you can see through it.

1. Draw any object (we will call it amask) on the bitmap and make themask semi-transparent by adjustingthe Transparency slider so you cansee the bitmap behind it.2. You can reshape the mask with ashape tool to match your desiredshape.If you want to keep the mask forlater, you can now copy it toclipboard and later paste it back todocument.3. Select both objects and use Mask-From Object

The Masking function, unlike theCrop function, doesn't alter thebitmap, but just changes itstransparency. You can later edit thetransparency with Bitmap Editing

.

You can reset the Masking byusing Reset All from the menu

Bitmap or clicking the button.

Inverse masking

The same as masking, except theunwanted area is behind the mask object,not around it.

Use: Mask-From Object Inverted

Note: Masking Bitmap, as well as Cropping to Object, will ignore the transparency of the mask asset in the Transparency properties. However, if the mask has a transparency created in the Color &Texture, with the option, Transparent, selected then this will be applied to the result bitmap as well.

8.7 Transparency Masking

Transparency Masking is again very similar to Masking Bitmap. In Transparency Masking the bitmap willalso get the transparency as set in the Transparency settings from the Mask Object.

To use the Transparency Masking, use one of the following options from the menu: Bitmap· Transparency - From Object· Transparency - From Object Inverted

The difference between Mask and Transparency from Object is as follows ...

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If you are looking for other ways to make a part of the image transparent see next page; Making,Transparent Colors...

8.8 Color Transparency

As an advanced designer, you might like to use a clip art photo object in your project. The photo objectsare usually photographed on a solid (white) background. If you make the background color of the phototransparent, you can compose the photo within your project and/or use drop shadow or other effects tospice up the image.

There are several great tools in Real-DRAW PRO to turn the background of an image transparent. If thebackground of the image is not a solid color, you can use the technique described in the MaskingBitmap .You can also use the Bitmap editing part of Real-DRAW PRO to Add/Remove transparency usingbrushes.Another method is to use the Color/Intensity transparency to simply create transparency from any coloror intensity.

The tools for Color/Intensity transparency are:

· Color Transparency· Auto Transparency from Intensity· Reset Transparency and Transformation

Manual Transparency Editing

· Paint transparency in Bitmap Editing mode

· Paint-on Transparency (on vector objects only)

Color Transparency

It is a an easy process to make one color transparent. After you click this tool, you can select thetolerance in the upper tool bar.

Higher tolerance - more similar colors to the one initially selected will become transparent. The tool letsyou select the color on the Bitmap object with the Color Picker tool.

There are 2 kinds of Color transparency:

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· Only the surrounding pixels within tolerance will be turned transparent - transparency fill.· The pixels within tolerance anywhere on image will be turned transparent (applied when you hold

CTRL)

1. The first image is the original photo of a domino on a white background.

2. Select the Color Transparency tool and click outside the domino on the white surrounding area. Thisproduces the second image - the black border of the domino stopped the transparency fill.

3. For third image we used the same Color Transparency Tool, but we held CTRL when we were clickingon the domino surrounding. All colors similar to the one we clicked were turned transparent. Thistransparency also antialiases the edges a bit.

Here is an example of a butterfly on white background photography. We usedthe Color Transparency tool, low tolerance, and selected the backgroundwhite color while holding CTRL .The result is good enough that we can add a drop shadow and it looksperfectly real.

Intensity TransparencyThe Transparency is calculated from the intensity. The more intensity the more transparency. Thismeans this will work with images on a white background (unless you want a special effect). The IntensityTransparency uses a different algorithm than the Color Transparency and it is usually good if the imagehas glass, which will become semitransparent.

You can always use a combination of all the tools to get great effects.Here is an example:

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· We used a photograph of a car on awhite background from the clip artcollection.

· Using Intensity Transparency, wecreated the image in the middle,however, because there were otherwhite areas, like headlights, plate orinner wheels, they becometransparent as well.

· Now we use Real-DRAW PROBitmap Editing to Paint Opaquethe error areas - we painted onwheels, license plate, andheadlights.

The result is an object with very goodtransparency.

Tips:· Always use the Color or Intensity tools on the maximum size of the image (before resizing). Make

it transparent and then resize it to smaller size. This way you will get smoother results· If the background is not a solid color you will have to use other techniques described in Masking

Bitmaps .· If the image has a lot of tiny details (like a spider's web), you have to use very low tolerance.· If you don't want to use Drop Shadow, then the Matting doesn't have to be too precise, if your

project background is not too dark.· You can apply the tools again and again. Even if you don't see the colors, (because they are

transparent), the color picker will get the proper color from the original image anyway.

8.9 Trace Bitmap

Menu: Bitmap-Trace Shape

You can trace a shape from bitmap into a vector object. One example of usage would be a scannedimage which you would then convert into a vector shape for further processing.

On the left side is a bitmap, right side is a vectorized object. Now you can apply any of the Real-DRAWPRO vector formatting.

The bitmap for tracing shape should be very contrast on white background.

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If you have scanner then it is easy to create even most complex objects by simply drawing them with ablack marker on a piece of paper, scanning and then vectorizing.

It is important to realize that it is a shape tracer. It doesn't recognize colors of the input image.

Note: If you would like to trace a Paint Object, then use Object-Convert to Polynome (Vectorize)instead. This will trace the alpha (transparency) channel where the Paint Object is defined.

Import Vector Format

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9 Properties

9.1 Working With Object Properties

Each object (Text, Path, Bitmap, Package) can have many parameters. These are in various groupsrepresented by a dialog bars floating on the desktop.

There are grouped into basic, and more advanced settings. If you don't want to see or use all thesettings, you can hide/show them with the right tool bar.

AutoHide Buttons

You can hide the tool bar with the buttons on the tool bar caption. You can also set Auto-Hide optionwith the Pin button. The Toolbar will then hide to the side when not used - showing only its Tab.

Entering by numbers

Clicking with the right mouse button on any slider or rotation control will show an edit space whereyou can directly change the value by typing in it. The edit will allow you to enter only valid numbers, andyou can apply it by pressing Enter or Right clicking on it again. Esc will cancel the typed number.

Rotation controls offer a range of 0-360 degrees. The zero is on the right of the control, 90 is on the topetc.

9.2 Color & Texture

This most important property group defines the color and texture of an object. This dialog is responsiblefor the fill of the object and the material texture.

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Color: You can select the basecolor of the object in the upper partof the dialog bar. Click with the leftmouse button on the Color Paletteto select a primary (foreground orF) color. With the right mousebutton you can select a secondary(background or B) color, which isused for linear or radial fill, or forscreening the texture.Tip: By clicking on the well withthe F or B color, you can edit theRGB values of the color or selectan exact color from the expandedPalette.By clicking on the F or B color withthe right mouse button, the twocolors F and B will be switched.

Texture: Select a texture.The default textures are all seamless.

How to add textures.The textures you see in the list are all placed in the software folder in textures sub-folder. You can also load your own textures with the load button.The loaded textures will be placed near the topbelow the gradients. Loaded textures will be external to the project. If you load the project later, it willlook for the texture in the specified external folder.

If you use some of your own textures often, the best is to copy them to the Textures folder of theapplication director For example C:\Program Files\RealDraw\Textures . Better yet, create a sub-folderwithin the Textures folder and place your custom textures there to keep it organized. You will need torestart the software.

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The sub-folders will then appear near the top of the list below the gradients:

Color/Texture Mix: A very important control. It adjusts the ratio between the color and the texture. Ifthe control is to the left, 100% of the color will go to the object, if the slider is to the right, 100% oftexture will go to the object. The position in between will mix the color with the texture. See the imageabove: we have selected the primary F color red and the texture is green. With the slider at about 60 %,the object will be brown but it will still have visible texture.

Advanced Settings and Options

Screen: There will be no mixing of color. Instead the texture will be screened on the color. In this casethe color of the object will always be F in color (in our case red) and the slider will regulate the amount oftexture.

F-B: Works only with the Screen option. The Screen option mixes the color with the selected texture,which results in an image from F to white (depending on texture selection). The F-B option will mix the Fcolor with the B color

In the the picture on the left youcan see how different settingschanged the image. We used Fcolor Red and B color Blue. TheTexture was Fabric-Patch2, asyou can see on the top rightimage. The first object wascreated by just mixing the F colorwith the texture. On the secondimage we used the optionScreen. In that case, the F coloris used for the whole image, andby using the Mix slider you canadjust only the texture intensity.The last image was created via

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the option Screen, and F-B. Nowthe whole image uses F and Bcolor only, depending on thetexture selection.

Here is another texture using a100% texture setting. This timethere is no mixing with the solidcolor. With the Screen option youcan completely change the colorof the texture and with theGenetX option (see below), youcan create a completely newimage.

Transparent: This makes the white color of the object transparent and the black opaque. All colors inbetween will get the appropriate transparency value. Since you can mix between solid color and Textureyou can control the transparency by using the Color-Texture Mix as well.

The leftmost image is a rectanglewith 100% texture of the fabric.The image to its right has theTransparent color option set.Note: The transparency will beused with other effects also - forexample; Bevel is sensitive totransparency.

3D -Use the texture as a bump map.

Using 3D bumps is a great way to make a texture non-flat. The slider on the 3D controlchanges the bumps from inwards to outwards. In the middle- there are no texture bumpsvisible. 3D bumps also works great with 3D lights

Tip: You can also make the texture of a Bitmap Object appear 3D. It is very simple, select a BitmapObject, select any texture and move the Texture/Color Mix to the left so no or very little texture will beapplied to the bitmap. Did you know you could apply a texture to the bitmap? Now select the 3D optionand you are done. Even more fun starts when you apply lights or play with transparency.

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3D option will use the texture for the effect called bump mapping. This could be grat for various effects.However in some cases you need to create bump map which differ from the texture. In that case lookinto 3D Lights Bump Mapping option.

Color Wash

There are 3 types of Color Wash. They are the first 3 textures in the Texture selector.

Linear wash, Radial Wash and Burst. For color wash you have to use foreground and background color.Remember that to choose background color from the palette you have to use right mouse button.

The Burst, unlike linear or radial, will actually follow the shape of the object.

GradientsReal-DRAW PRO uses a special area gradient to create very complex flat gradients.

9.3 Adjusting the Texture

Setting the properties is not the only function available for textures. After you apply a texture to an objectyou can change the textures' size and position.

For that function there is a button for Texture Size and Rotation. For example: draw a square andapply some texture... then select the object and press the Texture size and position button. You will seethe 3- point handle with one point in the middle.

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Moving the middle point will movethe texture offset so you can find apattern you like. The other handlesare for changing size, rotation andperspective of the texture. Thehandle which is pointing down, isthe master handle - moving orrotating this handle will keep thecurrent aspect ratio of the texture. Ifyou move the other handle originallypointing to the right, the aspectratio, size, and angle will change.This allows the texture to besqueezed or expanded in adirection, as well as in an angle.

The handle originally pointing to thetop is for perspective. Moving it upand down will change theperspective and turning it willchange the perspective angle.

You can really twist the textures with these controls and create new textures.

Here is another example of creating a cloud like structure from a fractal texture.

Another example of using Texture Size, Rotation, and Perspective.

The textures are interpolated with the highest quality however you twist them, they still look smooth.

Bitmap Layer and PackagesTexture Size and Rotation has multiple functions when it goes into Bitmap Layers and Packages.Bitmap Layers - If the object has a bitmap layer and no texture, then the settings apply directly to thebitmap layer. For example you can paste a bitmap inside an object with Paste Inside function andthen you can adjust the size and rotation of the bitmap layer with Texture Size and Rotation. If theObject has texture and also a bitmap layer, then simply adjusting the settings will apply to the Texturealone. If you want to apply the settings on both the texture and the bitmap layer you have to hold ALT

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key while adjusting.

Packages - Packages can be also adjusted the same way. Here the settings always apply to thePackage, no matter if you have texture selected or not . You wouldn't normally apply texture on apackage.How to reset the settings

To reset the Rotation/Perspective/Size, while in Texture Size & Rotation mode ( ) , click the rightmouse button. From the pop-up menu you can select Reset All or reset each particular effect: ResetOffset, Size, Angle or Perspective

9.4 Color Space

More about colors: GenetX, Color Space, Memory, Color shift.

Behind the small button under F and B color are hidden millions of complex procedural textures. Thereason for the name GenetX is because each procedure is defined by DNA code and by changing thenumbers in the DNA, we can create mutations of the textures. The next page will explore the GenetXwindow.

When an object uses GenetX color procedures, the button will change its color to : This will tell youthat the F color is used as the GenetX procedural color, which doesn't have to be solid. With the otheroptions (Texture Mix, Screen or 3D) we can create new completely original textures.

Here are a few examples of an object createdusing the GenetX texture with a combination ofvarious settings and lights.

There is a virtually unlimited number ofcombinations and mutations, and you couldspend whole days just exploring this vast area.

Read more in the GenetX section.

If the object is a bitmap, then this button will change to: . This means that instead of F color, thecolors (the image) from the bitmap will be used. Clicking on this button will reveal the bitmap effectswindow with many standard and exotic bitmap effects available. (Sharpen, Boost, Alias, Boss...) All theother options will have the same effects.

See next page for instruction on working with the GenetX.

Color Space and Color Memory

To select a foreground color with better accuracy, and to be able to get many shades, you can use theColor Space bar. To be able to preserve any color, foreground or Background, you can use ColorMemory.

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Working with the color memory is easy - to recall a color, you just click on any color square with the leftmouse button for foreground or the right mouse button for background color. To store a color you need tohold CTRL while clicking on a square. Basically you can find an empty square, by scrolling down thecolor memory, or replacing an already assigned one. Holding CTRL and left clicking will store the currentforeground color and right clickinf will store the current background color.

Color Shift.

This is one of the very powerful tools provided for illustrators.

If you are making an original illustration, you can design the objects of the illustration in such a way thatthey will always mix F color with the texture in some ratio. (More F than texture)

Later, if you want to change the color tone of the whole picture, you just select all the desired objects,and from menu: Object select Shift Color. This will shift the F color of all selected objects toward thedesired new color. The illustration will change its color tone depending on the ratio of color/texture mix.See the example image, where we designed a phone with a blue housing. The illustration itself has morethan 80 objects. We grouped the 19 blue housing objects into one group (CTRL-G). Now we can changethe color of the housing by selecting the group and using the Shift Color command, where we selectthe color from blue towards red.

Of course there are also many other ways to do the same. For example you can Package the objectsand use Color Correction .

9.5 GenetX Procedural Colors and Textures

You can edit the GenetX color by clicking on the button on the Color Bar or from menu: Objectselect GenetX.

The GenetX procedural color and texture function is a powerful engine for generating and mutatingartificial colors and textures. There are millions of combinations, and they can be sorted into about tengeneral categories: color washes, spirals, patterns, etc. We will call the procedural texture Gene and thekey to it, DNA. It is a combination of 3 integer numbers and by varying these numbers, we increase ordecrease the effects of the mutation procedure.

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Theselected(current)Gene is inthe middleof the 12randomlygeneratedGenes. Byclicking onany of the12 genes, itwill beselectedandsubsequently appear inthe middlerectangle.

By pressingthe Randomizebutton allthe 12genesDNA's willbe randomlychanged.TheselectedGene willremain.

If you like any of the 12 random Genes, just click on it and it will be transferred into the large middlerectangle. Now by clicking on this middle rectangle this DNA will be mutated back into the 12surrounding DNA's (by selecting similar patterns) and will produce mutated versions of the selectedGene. By repeating the mutation and selection process you can follow the mutation of the gene and findone which you really like. This is a really a fun process, but don't spend too much time on this option, asthere's are a lot more in Real-DRAW PRO.

On the left side is a window with libraries. A library is just a storage for the DNA key to the gene. Youcan create your own library by clicking the Create new Library button. The libraries are just very small *.dna files in the same directory as the program.

Clicking on any of the predefined libraries will open, and show the stored DNA. Remember the storedDNA codes are just bookmarks or keys to the gene. When a DNA is selected from the library, the exactGene will be selected in the middle and it will be mutated into 12 similar genes around it, so you canpick or follow any pattern you like.

If you generate a gene you like, by pressing the Randomize button, or following any gene from library,and you want to store it into the library, just press the Add to Library button. You will see the DNAnumber and you can name this gene as you want. The Gene DNA then will be stored in the current

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opened library permanently.

If you want to add the current Gene in the middle to the active object just press OK.Remember, some Genes take time to calculate and this is done every time the object changes size orany other property is updated !

If an object is using the GenetX, then the button on the Color Bar will change from to . If youdon't want to use the GenetX texture on the object anymore, simply go back to the GenetX dialog andpress Remove.

Note: You can't use GenetX colors on a Bitmap object, since they have already defined colors in the

original image. In the Bitmap case, you don't have the button displayed, instead you see the button. This opens the Bitmap Effects .

9.6 Bitmap Effects

The Bitmap Effect can only be used on a Bitmap Object; a Package; a Painted Object, or on the bitmaplayer of a Vector object.

You can also convert any object to a bitmap - but you must have a good reason for that as it is not areversible function.

You can go to the Bitmap effects by pressing the button on the Color Bar (if you don't see it, justselect any bitmap object) or from Menu: Bitmap select Tweak....

You might want to use the bitmapeffect, for example, to change orboost colors etc. There are manyeffects and some of them producevery interesting results anddrawings.

Just be aware that this functionactually alters the bitmap objectand is not reversible. Undo: ofcourse helps, or if the image wasloaded from the disk you can usethe 'Update from original'command from the Bitmap menu.

In the case of applying effects toPackages, this process isreversible so remember that if youedit the package, it will alwaysreturn to its original unalteredstate.

Once you paint inside a vector object, you can apply the bitmap effects to it as well. This applies theeffect only on the part you draw, and is what we call the bitmap layer, of a vector object. In this case,you can access the effects by menu Bitmap: - Tweak

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Here we created a circle, painted on it with a brush and then applied a mosaic effect to the object. Itaffects only the part we painted - the bitmap layer.In the menu Bitmap: there are more adjusting tools:

Adjust:

Brightness & Contrast - changes the brightness and contrast of the image

Hue & Saturation - changes the color, saturation and intensity of the image

Auto Levels - stretches the color to fill the whole dynamic range - and usually enhances contrast.

Enhance Digital Photo - applies various auto effects on a digital image to create better balanced image.An automatic process.

Invert Alpha - inverts the alpha transparency of an image

Effects

Sharpen, More, Gaussian Sharpen - applies a sharpen effect, but note that every image or package alsohas an interactive sharpen, accessible from the button on the bounding box of object. It is preferable thatyou use interactive sharpen, unless you need more control of the process.

Blur, Gaussian Blur - applies a blur to the image

Oil Painting and Pop Art - two interesting artistic effects.

Note that the Pop Art filter does quite sophisticated color segmentation on an image. Such an imagemay be a good candidate for the blueprint methods.

9.7 Transparency Properties

Transparency is an additional and very important option you can apply to an object. Any object can havetransparency - vector, bitmap, text or painted object.

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You can apply transparency by movingthe Mix slider to the right.

In the list box you have 3 defaulttransparencies (Flat, Linear and Radial)and many transparency textures as well.

The white on the texture is transparent, black is opaque and the shades in between have the propertransparency.

Transparency MIX

This slider will add the transparency to the object. Slider on the left the object is fully opaque and on theright the object transparency is on its maximum. That means if you use texture for example - the whitepart of texture will be fully transparent if you slide the slider to the right.

Obviously, except Flat Transparency you can't make the object completly transparent by just moving theTransparency MIX.

If you need to change the opacity of the object as a global, you will use the Opacity on the Layersbar. Please make sure you recognize the difference.

The Layer Opacity changes the transparency of the object as a global. The Transparency MIX adjust thetransparency of the Texture or Type and works closely with Bevel.

Linear, Bilinear and Radial type

The most common type of transparency, very usefull for various blending techniques.You have a good control over the transparency by adjusting the three transparency handles on object.when you select one of these types a small Edit Transparency button will appear.

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When you select one of the Linear, Bilinear or Radial type a small EditTransparency button will appear on the Transparency Bar.

Anytime you wish to edit the handles of transparency - press thisbutton and the handles will appear on the object.

By moving the start and end handles you not only change the angle (linear and bilinear) but you alsodetermine where the transparency starts and where it ends. You can even move the handle outside theobject.The middle handle is for linearity - by moving it close to the start or end handle will change the linearityof the transparency.

Burst

Like the Burst in Color & Texture, this type will follow the shape of the vector object. By moving TheTransparency Mix you will change the size of the burst border. Burst transparency has feather likeeffect.

Transparent option: You can actually switch the transparency off with this option (un-check it) and thetransparency texture will be combined by adding it to the object. You can, for example, use it foradditional effects like rasters etc.. Where you don't need the transparency.

Negative option: This will make the transparent mask negative - what was transparent become opaqueand vice versa. Works with linear, bilinear, radial and burst as well.

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The transparency works close with the Bevel option. By using Transparency with Bevel, you can createmany interesting images. Note: Vector object can have also Paint-On Transparency.

9.8 Area Gradient

Area Gradient allows you to create flexible gradient by placing GRAD point on the surface of the object,where each GRAD point can have its own color.

Area Gradient will replace the basic color of the object with a gradient. There are various mixing modesthat allows for smooth gradients up to very defined color changes.

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To work with GRAD points on the object, click on the blue button (Edit Area Gradient) on the AreaGradient Palette.

This will switch to the Area Gradient mode and you will see two initial GRAD points placed on theobject. You can click outside the object to exit the Area Gradient mode.

To Add GRAD point - double-click on the area.To Remove GRAD point - select it and press DEL key.To Change color - use Color Wheel

To learn more about the Area Gradient Usage, please read the NPR Area Gradient topic in the NPRsection.

9.9 Bevel Properties

Bevel is the magic hat that will add a third dimension to your objects. Making Buttons or surfaces is justas easy as a click of the mouse button, but that's just the most basic thing you can do with bevels -they are great for AirBrush illustration and much more.

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Select one of the desired Bevel types,and move the sliders to get variouseffects.

With the radial Light Direction you canselect the position of the sun shining onthe object. The most common buttonselection is the upper left side.

Note: In order to apply a bevel, the target object must be at least a certain size. If you need to apply abevel to tiny objects, use the Flat bevel, rather than the Smooth bevel which has a more radical slope.

Tip: To make a button, set the source of the Light Direction to illuminate it from the upper left. To givethe appearance of an inset or pressed button, move the source to illuminate from bottom right.

Bevel Types

There are many cool types of bevel and additional bevel-category effects in Real-DRAW PRO.

Each bevel produces a specific effect, asyou can see in the picture on the left.Between them, there are quite a fewdifferent bevel effects.Outline : Creates an outline around theobject edges. The outline doesn't keepthe size of the object in the samedimensions - if you need to maintain thesame size, use Break Path instead.Bump Out: A bevel that doesn't actuallydisplay the fill, only the smooth bevel.This is cool if you want to create smallbump buttons on a large bitmap image.Feather: Feathers the edgesWarp: Makes a bevel and warps thetexture around the edges - nice on largeobjects.3D ball: Always creates a 3D ball fromany object3D Extrude: Extrudes the object into 3DdimensionsLinear Wash: Applies a black/whitelinear wash with an angle

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Motion, Backlight and Blurrr!You have a few other effects in acategory Bevel - a blur type effects.Motion Linear and Motion Zoom - adda sense of motion (any direction) to theobject or package, where the main objectremains fairly recognizable.Backlight - is similar to Motion Zoom,but it generates an outline projection.Blurrr! - Blur the object in any direction

Special Types

3D BallA very special effect - no matter what the originating object is, produces a perfect Rendered Ball. Withthe SHAPE tool you can adjust the direction of the light and create nice light reflections.

In the picture on the left we can see afew examples of 3D Ball using differentsettings of light, reflection and texturesetc..

This effect overcomes the frustration ofcreating real 3D looking balls in 2Dgraphic software.

Some results might be quite stunning.

Tip: Try using the Sky Texture as abackground and below the ball in size,place a white circle as a sun. You willget a nice sunset. Oh yes, you can dothe same with using just lights, but...

3D Extrude, Barrel, Transparency

Using these effects to create 3D like objects from any vector, bitmap Package, or text object is a lot offun. They work nicely with text objects and lights. You can change the angle from which you are looking

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at the object. The light always shines from top-left but you can switch it off (by moving intensity to 0) anduse 3D lights from any direction. Also try to using texture.

Motion Linear, Zoom

This is a nice effect if you want to add a sense of motion to an object. You can adjust the length of themotion, the intensity and the direction. In a Zoom, type the motion is in perspective where the center isalways at the border of object in a direction determined by the Direction control.

Tip: By adding a different Outline color to the object you can adjust the blur color - the outline of theobject more significantly affects the motion trail.

Backlight

This is a close brother of the Motion Zoom. The motion trail shows only the outline of object.

Tip: With this effect, the color of the trail is obviously affected by the outline color of the object. Youcan create a dark object with a bright outline and the trail will become bright (as in the image above).This effect probably works best this way - on a dark background with bright outline.

Blurrr:

By adjusting the Blur angle (direction of motion), width and the intensity, you can create various effects.

You can also get interesting effects if you combine Blurrr with Lights !

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Note: For Blur, Extrude and Motion Effects - the object will appear in a projection (smaller size) toaccommodate the effect in the object boundaries. The curves of the object will remain in the originalposition. If you attempt to edit such an object with the SHAPE tool, the points of the curves will go backto their original (before effect) position, obviously not aligned with the object projection. That's not anerror.

Bevel On Transparency

The bevel also depends on the transparency settings. If you don't have any transparency set then thebevel will be applied to the object edge.

The object on the left has theTransparency switched off. The bevelapplies only to the object border.

The object on the right has theTransparency On and the bevelapplies also to the transparencymask. With the bevel ontransparency you can create the feelof a more complex object than therereally is.

The Bevel works on both the Transparency Properties and the Transparency option from The ColorProperties .

Bevel and Lights

To show a simple bevel, you don't needlights (top image), the bevel itself willcreate a simple light source and you canadjust the direction with the Light Directionsetting.

For more advanced settings, you mayapply one or more 3D lights (bottomimage) to the object. It is usually better ifyou switch the light from bevel, off (so thelights don't mix up) - by simply moving theBevel Intensity slider to the left. It is doneby default when you add lights.

Combine Effects

You can combine the bevel effects if you ever need to. Most of the time you won't need to, but you maywant to create a bevel and then blur it for example. As explained in detail in the Packages section,you have the ability to add and combine various effects by using Packages. Simply said, apply the beveleffect on the object, package it, and then apply another bevel effect to the whole package.

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9.10 Effect Properties

If Bevel is the bread of the 3D effects, then Drop Shadow is the butter.

The Effect bars allows you to add external effects (going out of the objects) like Drop Shadow, Glow,Inset, Cutout and many Lens effects.

Select one of the desired Effect types andmove the sliders to get the desired effect.

With the radial Direction, you can selectthe position of the effects offset. In the caseof Drop shadow, then that would be thedirection of light.

Choose an effect color to spice up theeffect... also useful for Glows and Halos.

Effect Types

Shadows: Works best on a lightbackground. Makes the object appearin space. The Drop Shadow iscommonly used on all buttons andobjects in Multimedia interfaces andWeb Art graphics.Glow and Halo: Works best on darkeror textured backgrounds. Commonlyused on highlighted buttons inmultimedia; however, it is a nice effectto distinguish an important dark text orobject from a dark background. Youcan also get interesting effects by usinga dark color as an effect color against alight background.Inset and Cutout: Works best on darkor textured backgrounds, gives theimpression of an object partially insetinto the background. The Cutout willgive an impression of a hole inside thebackground. Don't use bevels if you areusing Cutout - the bevel will overlap theCutout.Sparkle: A favorite for adding a touchto reflective surfaces. Can be used onobjects of any shape and will alwaysproduce a sparkle.

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Lenses: Lenses simulates various lenstypes but of course they need someobjects behind them.

With the Effect Width you can adjustthe overall lens effect and with EffectIntensity, you mix between the lenscolor and the lens image. With Offsetyou can set the magnifying factor.

Neither Direction control, or Color,affect these types of lens effects.

Filter LensesFilter Lenses are similar to normalLenses, but instead of simulating glasslens, they simulate various filter effects.Defocus Filter Lens - Simulatesnormal and color defocus.

Special Effects

Lens Flare: Turns any object into alight source with lens flare. The flare isautomatically calculated in the frame toreflect the real life scenario.

Push-Back: A special "lens" whichreorders the Layers behind it.

Shadows

Using shadows is obvious - it creates the feel of a real object. There are several shadow types; Drop,Sun Knock Out and Drop Gradient.The Knock Out doesn't show the object itself, but only the shadow. Where the object was, there is noshadow, just a transparent hole.Drop Gradient is similar to the Drop Shadow but the shadow is gradient - it is thin (light) on the beginningof the shadow and thick (dark) on the end.

SparkleA cool after touch effect, works best on dark backgrounds.

Sparkle is one of the effects which doesn't care about the object shape. It only uses an object todetermine the position and size of the sparkle - you can use a circle for example. The sparkle can bemodified in various ways, and offers 3 basic choices.

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· An inner halo which is always white· Rays with variable width, intensity and number· An outer halo which can have various colors

The Effect Width will change the width of the rays. The Intensity will change the intensity of the rays -from 0 to full intensity. The Offset will change the number of rays - starting from 4. The direction willchange the angle on which the first ray is drawn.You can change the color of the outer halo. If it is black (default), the outer halo isn't visible, only theinner white halo is shown.

Lens Flare

Lens Flare is a special version of the sparkle effect. It works in generally the same (with the samesettings) way, but it also casts a flare on the whole document from the light center, as would happen inreal life using a normal photographic lens.

As in the images above we just added a simple object - a circle, and set the Effect properties to LensFlare. The object becomes a light source (much like a Sparkle) and the lens flare will be calculated to fillthe document. As with the normal Sparkle, you can simply change the size of the object or it's positionand the flare will be recalculated.

If you would like to change the opacity of the effect you can use the Layers Opacity slider (notTransparency properties).

The slider on the Effect bars has the same properties as those of Sparkle - it changes the intensity,shape and number of sparkle rays.

The lens flare is used usually as a top layer, but you can of course move it within the layers as you like.

You may temporarily switch off displaying this effect with the Rendering Quality buttons.

Note: This effect obviously works on a dark background. Many subtle colors are calculated with thiseffect so the best is if you have your video display set on 24 bit (True Color) or 32 bit colors.

Tip: While this looks very good, remember not to abuse this effect. It usually looks good on a"space"- like images, special letters etc. Don't try to put it on every image you create (unless you wantto be known as a cheese artist).

Push-Back

This is a special lens which pushes the object behind it back into specified bottom layers. This is a verysmart tool. Please see next chapter which is all about this unique tool.

Lenses and Lens Filters

A great way to create the feel of glass or other glass effects. Object, with the lens effect, will showeverything which is behind it (below in the layer list) with the particular effect. Lenses take more time tocompute and if you use many lenses, you may see the redrawing slowing down. This is becauseanytime you change something behind a lens, all the objects must be redrawn in order for lens to reflect

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the reality. It is then best if you switch the rendering lenses off during designing - see below.

Sometimes the lens may show a canvas border, or in case of zoom, sometimes the lens doesn't haveenough information to show the full image. This isn't a big problem since the final exported image will bewithout these artifacts.

Note: If you use the Crop tool to export, the lens will show only objects in the export range.

Lenses tends to be very realistic. If one of the objects behind the lens is also a lens you will get multiplelens reflections. Lens, can display only objects which are behind them, and not above them.

Thick Border and Thick Center lens are two special cases.

Where the other lenses can reflect only what is behind, the Thick border and Thick Center lens have theability to reflect also the texture of the object itself. You can switch between these two modes with thetwo buttons, which appear if you select this kind of lens. This way, if the object has a texture/bitmaplayer, you can create various interesting effects - similar to environmental mapping where the texturefollows the object shape. You can also create an interesting effect by pasting a bitmap image inside thevector object (with Paste Inside in menu Edit).

While the other lenses don't allow you to have a drop shadow and lens at the same time, the 2 border/center lenses can have a simple shadow by selecting the "S" button letter.

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Defocus LensThis is another very interesting lens for creating blured or defocused image. With Effect width you controlthe amount of defocus (or blur) and with the Offset together with the angle you can set a separation ofrgb channels. On the image below the first is original. We then draw a square on top which covers thewhole object and set its Effect property to Defocus Filter. Everything what is behind the lens will beblured (second and third image)

Tip: You can apply a linear or circular transparency to the lens to get various defocus effects. Youcan simulate various depth of field or create some interesting effects:

You can also try to change the transparency of the lens only on some places with Paint-OnTransparency tool. This way you can defocus just some part of the image.

Lenses takes more CPU

To be able to render all the scenes, lenses needs more CPU. This is especially true if you havemore lenses on the scene. You can easily switch off displaying the lenses with the middle button in

the Render Quality settings (or in menu: View - Rendering - Lenses Off) This will simplyswitch off the lenses for displaying, but all the other things will display properly. The lenses will justbecome "blind". This has no effect on Export.

Tip: Creating a complex shadow

Sometimes you need a shadow for a complex object. Here, instead of using a drop shadow on eachcomponent, you can create a new object which will represent the shadow. It is done very easily - justselect all the objects that you need, and apply from menu: Bitmap - Create - Bitmap Shadow FromSelected Objects.

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This will create a new bitmap object behind the selected object - Shadow. Now you can scale it, rotateit, apply effects to it (such as Feather) or paint on it.

Effect Tools

A few effects such as Sparkle, Lens Flare and Push-Back from the Effect properties can be createddirectly from the toolbar.

You can either draw any object and then select the particular effect from effect properties or you candirectly use them from this toolbar. These will essentialy create an circle and apply the particular effectto it in one step.

9.11 Push-Back Tool

The Push-Back can be accessible either from the Toolbar or by drawing an object and choosing Push-Back in Effect Properties.

What is it?

The Push-Back is in fact a very interesting and unique tool/effect. With good understanding this tool canhelp you achieve nontraditional results in just a seconds.To understand the importance of this tool please look at the next image:

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This may look pretty normal to many people, however in fact this is something no other software haveserious tool for. In all traditional software the objects are in layers. It isn't possible for objects to crosslayers, where part of the object is in one layer and other part in a different.

To do such image in a traditional software requires large amount of work. It involves a lot of clipping,cutting etc. and still the result may not be as smooth and natural as the image above. But with Real-DRAW PRO it took just few seconds.

The answer to this is the Real-DRAW PRO unique Push-Back tool.The Push-Back tool can push the object behind it further into another layer. This simply allows to movepart of the object into other layers, behind other objects.

Please follow this simple example:

With the toroid tool we draw two rings - green and blue.

Now from the Toolbar select the Push-Back Tool.

Normally it is as subselection with the sparkle tool:

Just click on the bottom arrow on Sparkle to open subselection toolbar and select the Push-Back Tool:

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Now with it selected simply draw a circle on the cross-section as on image below:

As you finish drawing the Push-Back object will be created:

Now as you can see, the image behind the Object already changed. The Green ring is now over the blueone under the Push-Back object.

The selector on the right side of the Push-Back is a Layer selector. The second button from top ishighlighted in red - that means an object behind the Push-Back will be "pushed" one layer below. Youcan simply click on it and select other button. If you select the top most box, the Push-back effect willbe erased.

That is - your first Push-Back Object.

The Selector

When you select Push-Back object a selector will automatically appear near it. The selector shows howmany objects down we pushed the Top Object (That is a object right below Push-Back Object)

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On the image above we have selected third button which means we push the top object (the grey button)below2 other objects behind it.

Tip: For very small Push Objects you may not have enough layers visible in the selector - just zoomin the picture - the selector will show additional layers.

How it works:

Note: The layers for Push-Back are not the same as layers in Layer list. Push-Back use a localobject list - created from objects in near proximity of Push-Back. It will simply skip not related layers orany other Push-Back object. This gives you more universal approach - for example Push-Back of onelayer down will work on most cases, even if the objects are in real life much further apart in layer list.

Push-Back Pushes an object which is right behind it (top object) a number of object below.

The image above is sort of a "side view" of layers for better illustration.

The step are just three objects one on each other. The Green is the Top object.

Now in step we add a Push-Back on top of it, but set the Push layers in the selector to the topone. Nothing change.

In step we set the layer selector to the second button. That is - the Top Object (green) will bepushed one layer/object down, behind the blue object.

In step we set it on third button, this will push the top object (green) 2 objects below - behind redand blue.

Note: Only objects behind the Push-Back are affected.

Now you see for the 3-ring example all we need to do is to use 3 Push-Back objects placed on eachcross-section. And all of them are set just for one layer - this shows how the "local object list" works.

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Layers List

Now lets go back to our simple example:

Check the Layers list . The Layer List will not change by applying Push-Back - it always shows thereal object position.

Our situation is in the . No matter what we set in the selector, this will always appear this way inLayer List. The object below The Push-Back (Toroid Blue) marked as gray button in selector will bepushed one object below.

If we move the Push-Back object a layer down in Layer List this will have no effect, because theobject below Push-Back cannot be pushed below any other object since they are none.

The situation shows an additional Rectangle object on the very bottom and pushing the BlueToroid two objects below.

Because we don't have any other objects between the layers which are outside the Push-Back range theLayers list shows the same situation as Push-Back see its local object list. If, for example we drawanother red circle completelly out of Push-Back range and move it behind Blue Toroid - it will appear in

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Layers, however it is not counted in the Push-Back local object list.

An object which is out of Push-Back range (doesn't lay below Push-Back boundaries) will be skipped byPush-Back selector.That is: a push-back one object below will work on our toroids even there is a Circle between them inLayers (but it is positioned outside range so the Push-Back doesn't see it and so it will skip it). This hasnumber of advantages.

Switching off Push-Backs

When you add few push-backs it may be hard to remember which object is really on top of others andwhich is just "pushed". The Push-Back does really good job in hiding this so it won't give you a visualclue. (only The Layers List shows the real situation).

It is easy to switch the Push-Backs off: Switch display from Full-Render to Lenses Off.

This will disable all Push-Backs and you will see the real object order. OK, the top ring is in fact the topmost, that wasn't obvious from the left image!

Note: Push-back works on any objects - it can be Polynome, Package, Text or even a Bitmap.

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Here we Packaged our 3-ring sample and then used another Push-Back on the package with other ring.This is the beauty of Real-DRAW PRO Packages!

Push-Backs is an object as any other.

Yes, that's true. The basic Push-Back Object is nothing less than just a circle with Push-Back effect.But you can apply any other effects to it or change shape as you want (with the shape tool). Also youcan create any shape and simply apply Push-Back to it in the Effect Properties.

You can for example make it semi- transparent or with some transparent texture. That means Push-Back can be used also for many different purposes. See some experiments with transparency below.We have just two solid objects and an elliptical Push-Back.

We used Linear Transparency, texture Transparency and Radial Transparency.

Other interesting effects can be achieved by - adding solid Outline, adding Bevel, or even adding Lights.

Notes:

While you are experimenting with this tool always remember what the Push-Back really does - itpushes the top object to bottom layers. If you for example have no other object behind the Top Object (inthe boundary covered by Push-Back) there will be no effect. This may happen when you move the Push-Back object around - on one part it has effect, on other not - simply because a number of objects rightbehind it change.

Sometimes when you move or resize Push-Back it suddenly become with no effect. Just rememberit works on a local layer list. That is, it counts only objects which boundaries are behind the Push-Backobject. When you move the Push-Back the number of objects right behind it may change - this mayaffect the Push layer settings in selector.

Some objects have also quite large "empty" boundary - for example a text. While your Push-Backobject doesn't touch the text it may still count the text object as one because the boundary of text lay

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under it. So you have to accommodate this when you setting the number of "push" in the selector.If something doesn't work as it should, check also the Layers List . Because the Push-Back

object is invisible, it may happen that you try to apply it on object which is above, not below it. TheLayers List will show you the real position. Then you can move the Push-Back up or down layers to getto the desired object.

9.12 Outline Properties

Any object can have an outline (including Bitmaps and Packages).

There are a few types of outlines: Solid, Thick,Soft, and Blurred.

Outline can be a solid color or a color wash of 3colors, where you can define the break point.

TypesSolid - from very thin to a medium outlineThick - a thick outlineSoft - a combination of Solid and BlurredBlurred - blurred very soft outline

Color WashBesides a single color, outline can have a color wash from 3 colors. To set the Color Wash you have tocheck the checkbox near the color wash selector.The Direction tool allows you to set the direction of the color wash.

How to set the color:

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The Color Wash control has 3 buttons, each representing a color. The middle button is a special buttonallowing you to set the break point by moving it left or right between the two border colors. You can movethe break point completely left or right, creating a color wash from just 2 colors.

There are various places where you can use outline. Blurred outline for example may be used to add anadditional 3D look to the object.

Tip: Outline also works with transparency textures (or normal textures with the Transparent setting)where it actually outlines the texture, rather than just the object.

9.13 Surface Skin

To add even more natural feel to some objects you can use Surface Skin properties.

The Surface Skin adds very subtle uniform texture to the object which needs to look natural. You canadd various skin types, textures, rust, various noise and more. With the Intensity slider you can adjustthe intensity of the texture applied over the object. With the Size slider you can set the overallmagnification of the Surface texture.

Unlike other settings in Real-DRAW PRO this will not dramatically change the look of the object. It willonly add more details to the previously flat-looking surface.

Warp to Bevel option can be used only if the object has a 3D Bevel. The Skin texture will somehowbend around the bevel.

The right object has a Warp to Bevel option on the Mosaic Surface Skin.

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Tip: You can use Surface Skin on airbrushed objects to create realistic human skin. Thecombination of skin colored tones and gentle Surface Skin can create photographic quality objects.

Image created in Real-Draw PRO

A detail of the hand objectbefore Surface Skin. (Airbrush painted onobject)

The same detail with SurfaceSkin applied (Human SkinHand)

Another example below shows the Surface Skin applied on an object where we already used a texture.This allows us to mix the Texture and Surface Skin to create a different new feel of the object material.

We already used a Chesstexture on the background

object.

We can create a new feelby simply adding a MarbleSurface Skin to the object.

Tip: Another trick is to add some very little noise with the Surface Skin Noise to objects which aretoo smooth or un-natural. This adds more photography-like quality to it.

Note: There is no need to use Surface Skin on EVERY object. This effect is a gentle after-touch toenhance details of some previously boring objects. The Surface Skin will be not very visible on objectswhich have already many texture details.

New Surface SkinTo create the desired effect, Surface Skin uses a special texture. Unlike normal texture, the surface skintexture is an uniform texture. The texture should not have strong repeating pattern and the color must beuniformly adjusted around the middle of intensity, sometimes with very subtle colorization. You shouldremember that when creating your own Surface Skin texture.The texture files are in jpg format in the Surface directory and when viewed outside Real-DRAW PRO

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they will look pale or washed out.

Another MediaChance software Photo-Brush can be perfectly used for creating such textures. (Thedefault textures were created this way) Here is small how-to.

We loaded an interesting texture of painting to Photo-Brush.

We used Texture Pick (menu Tool or from menu on Color & Texture Bar) to simply createseamless texture. Clicking ok will add this texture to the Color & texture bar

From the menu on Color & Texture bar chose Export Custom and save it.

Now load it again in PhotoBrush

Run Menu: Image-Adjust-White Balance and slide the each RGB slider so all the RGB peaks arearound the middle line on the graph - initially the peaks would be probably each in different place. Ifyoucan't move sliders far enough, you simply apply as far as you can and do White Balance again.

Now you have Uniform Texture. For stronger effect you can use Image-Adjust-Levels and move theLeft (0) and Right (255) sliders on the Input closer to the middle. Then do the WHite Balnce again.

all you have to do is to export such texture into Real-DRAW PRO SURFACE folder (not skin!)Next time you run Real-DRAW PRO the skin texture will be there.

This texture adds a subtle - rustic looking feel to the object (left without, right with):

9.14 Color Correction

Non-Destructive Color Correction, RGB, HSL and Clorize

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Any object color can be adjusted in a non-destructive way, with the Color Correction (menu: Object,or button).Similar to the Interactive Sharpen, this is non-destructive, and you can adjust it or remove it any timeyou want.

Note: You can also color correct the whole image on Export . (Only RGB option)

RGB, HSL and Colorize options

You can switch Color Correction into 2 types: RGB and HSL.

When you are working with RGB, you are adjusting gamma of the particular primary color. This is goodto tone up photos.

In HSL mode you are working simillar way as with the Hue, Saturatiion and Lightness option in Bitmapmenu. You can change colors of the Object, change saturation, desaturate, make it lighter, darker orcolorize it in one tone. This is very powerful tool becaus it takes from you the need to adjust texturesand colors if you need to see different color variation of the object.

Above are some examples of HSL color correction applied on a Package.

Colorize

The colorize option is active only in HSL mode. This will make the image in one color tone determinedby the Hue Slider. Very interesting and popular effect to spice up your graphics.

Note: Color Correction is Non-Destructive tool. That means you can not only apply it but alsoremove it or change it any time later, even after you save and load the project.

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10 Lights

10.1 3D Lights & Material

One of the most innovative features of Real-DRAW PRO is the ability to use an unlimited number oflights on any object. (Including Bitmaps) and to adjust the object reflectivity properties.

The 3D lights simulate the lights found in real life very closely. You can create amazing lifelike texturesand object by using one, or a few lights.

Note: Normally each object uses its own 2D light source for bevels.

As soon as you enable light on the object the object will start to behave more like a 3D object in real lifeand less like a 2D drawing. You can adjust the material properties of the object (the reflectivity), andambient intensity, and adjust any light source. Using lights is especially effective if you use any bevel onthe object.

The 3D lights property bar isdivided into 2 sections: Lightsand Object MaterialProperties.

The lights are properties of theobject and they stay with theobject. That means as youmove the object, the lightsmove with it, so the effect youbuild doesn't change. Also ifyou copy the object properties,you copy the lights with it.

Lights are an amazing additionto Real-DRAW PRO's ability togenerate life-like textures andobjects.

The object can have an unlimited number of lights. You add light by clicking on the small sphere on theright of the list. Each sphere represents a different type of light. The lights will be added to the list andthe selected light will visually appear on the object, ready to adjust its position and parameters. You canselect any other light for editing by selecting it from the list box.

Light Types

Point Light

Point light is the most dynamic light whilst being very simple to adjust; it has position and direction fromthe object. You may imagine this light as a light bulb or a reflector pointed straight at the object.

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You can move the center of the light (by clicking and dragging) relative to the object and the Size/Distance point. The Size/Distance can be understood as the distance of the light source from the object- smaller radius, the light source is smaller (or more distant in the 3D world)

Spot Light

Spot Light is the most complex light - it has position, direction, cone angle and focus. You may imaginethis light as a reflector which can light a cone on the object. You can also adjust the cone angle andthen the shape of the light will change.

You move this light by the Focus Center. The Light Source is used to adjust the direction of the lightcone around the focus center. The elevation and the Size/Distance can be used for adjusting thediffusion and intensity properties.

The Elevation can be used to shape the light cone (the closer it is to the focus center causes the lowerelevation and the light to become more circular, depending also on the cone angle). The Size/Distancecan be used to proportionally enlarge the light cone.

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The Cone angle shapes the light most significantly. You can adjust the Cone angle by moving the handleon the black ring around the Focus Center. You may create light which is very wide by moving the coneangle handle closer to the Light Source, or create an almost circular light where the cone is rotatedcloser to the object by moving the cone handle towards the Focus Center.

With the Focus you can adjust the focus of the light - how diffused or focused it is. The focus is the redring around the Focus Center.

With this kind of light you can create various effects by adjusting all the parameters. Because there areso many parameters, it takes some time to master this light. It could also be used for creating a feel ofshapes as explained on the next page.

Distant light

The simplest light - it has only direction, no distance. This simulates light sources which are very distant(the Sun for example). The light rays from a very distant source will uniformly light a flat surface. Thatmeans if we don't have bevel on the object it doesn't matter from which side the light shines, it willalways uniformly brighten the object by the same amount. If we add bevel then the light will brightencloser edge and darken the other.

The only adjustment with the mouse is the direction of the light (for example, top, left, right etc.)This light is used to add a shine effect to beveled edges.

Tip: You can select the next light for editing, by right-clicking the mouse on the object.

Material

Once you enable lights to the object you can also adjust the properties of the object material. This ishow the object reflects the lights. For example, metal surfaces reflect more Specular Light and less

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Diffuse Light. Plastic materials are quite the opposite.

Ambient Intensity

This controls the intensity of ambient light around the object. Ambient light has no direction and noposition, it sets the dark point.

Diffuse Reflectivity

This controls how an object reflects diffuse light. Plastic materials reflect more diffuse light than metal.

Note that reflected light is the main carrier of color information. We see the color of an object because ofthe kind of light that the material reflects.

Specular Reflectivity

This controls how the material reflects the light peaks. Plastic materials reflect less specular light thanmetal. Specular reflection doesn't carry very much color information.

Here is an example of 2 materials. Both are exactly the same objects, with one Point light at top left.The left object simulates a plastic material and the right object looks more like a metallic one.

Note that we can add a light to the object not only to make it lighter but also to make it darker - it alldepends on the material properties.

Bump Map

Pressing a button Bump Map located just below the Material Properties will open advanced option forBump Mapping.

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Bump Map allows you to add 3D depth to the surface texture, such as various scratches, metal artifactsetc. You have maybe already discovered the 3D option in Texture properties. This uses the textureitself for creating the bump map effect.

However with this "real" Bump Map you can apply different surface maps onto different textures forgreater flexibility. You can for example apply scratchy Bump Map into object with smooth texture.

On example here, we apply "Dots" Bump Map into an object with "Fabric-Strape" texture.

There are just a few controls in Bump Map. First is the Map library - just select the bump map ofchoice.The second is a Inward/Outward slider. The zero is in the middle where there is no effect. Sliding itleft will make the bump map go into the surface - inward. Sliding right will appear as outward. In the "golf-ball" example above we used the slider left of the center.

Stretch to Object - this option will stretch the bump map into whole object so that means the pattern willnot repeat and as you resize the object the map will resize with it. This could be good for some specialeffects or for small objects (so the large bump map will shrink to fit the small object)

You can actually combine the 3D from textures and Bump Map to create a newcomplex surface. However since the mapping is applied at different stages the result can be sometimeshard to predict. Moving one slider will also affect the other option, and sometimes it will even cancelbump mapping all together. So it is recommended that you use either Bump map or 3D texture, notboth. But experimentation is free :)

These are the basic properties of lights. Using 3D lights is an amazing way to create realistic effects andare probably the most interesting properties to explore.

10.2 3D Lights & Material - Tips for using it

The 3D Lights can be applied to any object - path, text, bitmap or Package.

Use lights with Bevels

You can use a 3D light instead of the default bevel light. The 3D light can be adjusted with moreaccuracy, and it also simulates, more precisely, the real life situation. And you are of course able to putmore than one light in any direction, and in any color.

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Above is simple Flat bevel with 2 lights, yellow from left top and red from bottom right. The object colorwas originally blue.

Use Light with Textures and 3D option

Lights works especially well with textures, and 3D options, to create a bump mask (see Color Properties).

It is quite easy to create a realistic metallic or plastic surface with just one or two lights, some textureand a bevel.

Below is a combination of all the methods used together, with which you can simply create a fantastic,rendered-like world, full of textures, metals and materials.

No wonder we call it a Real-DRAW PRO!

Use lights to create feel of curvature

The 3D Lights could be often used as a way to express the curvature of the surface without actuallyusing any bevels or any special objects.

Such methods were used in the above camera example.

Use lights to create light reflections on glass

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Using the Lens Effects, and lights creates realistic glass effects.

What other options I have?

You can also simulate interesting spotlight effects by using the Transparency Blend Modes. Create asimple object, add a feather effect and set the Transparency Blend Mode to Soft Light. Now the objectwill behave as a soft light source. The light will depend on the color of the object.

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11 Painting

11.1 Basics of Painting Mode

Besides the vector editing Real-DRAW PRO allows you to use various brushes and paint on objects orcanvas with a color or texture.There few basic types of objects you edit or create in a bitmap editing mode:

· Editing existing Bitmap Object· Painting on the Bitmap layer of any vector objects.· Painting a new Paint Object on the Canvas

Bitmap Editing Mode

You can get to Paint Mode by simply selecting an object (Vector or Bitmap) and pressing the Paint onObject button. If the object is a bitmap you can open Paint editing by simply double-clicking on theobject. When you are in Paint editing mode your view changes to a view where you can see the objectstransparency by showing the objects on a check board. The ruler border changes to green to remind youthat you are editing a bitmap.

The check board allow you to see where your object has transparency. With bitmaps you can paintcolors as well as add or remove transparency by simply using brushes.

Any time you want to go back to normal vector editing you just press ESC or select Arrow tool fromyour tools.

Painting With Color, Texture

You can freely paint with various colors and also the texture. You simply select the texture in the Color& Texture bar and adjust the Color Mix to your desired Color/Texture ratio.

Aligned and Non-Aligned Texture

There is an option on the bottom of Brush Bar - Aligned Texture.If you decide to paint with textures you have choice to use the texture

· Aligned (default)With the Aligned option checked, the texture will always be applied in the same position - if youpaint over the stroke again, the texture will remain as before

· Non-AlignedIf you un-check the aligned option, the texture origin will be applied in random order - if you paintover the same stroke, the texture will change, since the origin has changed. This brings a veryinteresting random effect to the texture. If you feel that the texture is too much repeating a pattern,you can break it with non aligned strokes.

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Other options for texture painting are Screen and Screen with F-B, similarly as described in the Color &Texture .

11.2 Brushes Tool Bar

During editing in Paint mode you use only color properties, and a new Brush Tool Bar which will appearon your workplace.

You can select color from Color & Texture , Color Space or Color Memory.

The color Space is especially useful for picking out different tones.

Another way is to Pick a color from anywhere in the image with the Color Pick tool.

The Color Pick on the Brush Tool Bar does the same thing as the one on the main Tool bar.

Brushes

You have many different predefined brushes in the Brush library. There are various Airbrushes, ArtisticBrushes, 3D Brushes and Nozzles and you can create your own brushes and also new libraries.

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Brush Mode

The Brush Mode determines how the Paint color affects the color in the Image.

NormalThe most commonly used brush mode, Paint color will simply paint over the image

MultiplyMultiplies the Image color and the Brush color. The result is darker. Painting with Black will produceblack, painting with white will leave the Image colors unchanged. All colors in between will darken theimage.

DifferenceSubtracts the Image Color from the Brush color or Brush color from the Image color, whichever isbrighter.

ScreenWorks just the opposite to Multiply. The result is lighter. Painting with black will leave the Imageunchanged, painting with white will produce white. All the colors in between will lighten the image.

OverlayOverlay will colorize (mix) the Image with the Brush color. It uses either Multiply or Screen which dependon the brightness of the Image color in the area that you are modifying. This is a fun way to colorize animage. If you are looking for a more optically realistic colorizing method, use the Colorize brush from theRetouch Collection.

DarkenThe resulting color is Brush Color or Image Color - whichever is darker. Painting with white will have noeffect since the pixels from the Image will be always darker. In other words, the image color will dictatethe resulting color if the brush color is lighter than the image color.

LightenSimilar to darken, but the resulting color will be the lighter of the two (brush or image). Painting withblack will have no effect and Image pixels will always be lighter, so the resulting color will be the onewithin the Image.

Hard LightThis works similarly to Overlay, it Multiplies or Screens the color, but the decision between modes isdependent on the the Brush color; while in Overlay it is dependent on the Image color. If the Brush coloris lighter than 50% gray, the image will be Screened. If the Brush color is darker than 50% gray , theimage will be multiplied.

Soft LightThis darkens or lightens colors, depending on the the Brush color. If the Brush color is lighter than 50%gray, the image will be lightened. If the Brush color is darker than 50% gray , the image will bedarkened. While Hard Light can be pure black or white, Soft Light can't produce pure black or white, itwill just darken or lighten.

If LighterThe Brush Color will be applied only to areas where the Brush Color is lighter than the Image Color.Therefore this will paint only in areas darker than the Brush color.

If Darker

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The Brush color will be applied only to areas where the Brush Color is darker than the Image Color. Inother words, this will paint over areas lighter than the Brush color.

Note: The mode settings will also work for Image Nozzles and Artistic brushes.

Brush Intensity (Opacity)

The Intensity (Opacity) slider controls the Brush Opacity. An Opacity setting of 0% is completelytransparent, and an Opacity setting of 100% is opaque. With a combination of Opacity and modes, youcan control various aspects of the mode, allowing almost infinite effects.

11.3 Editing Bitmap Object

This is the basic editing - anytime you double click on the Bitmap Object or click the paint on Object

button you get to the Paint Editing window where you can paint over the object, add or removetransparency, clone and more.

Editing Bitmap Object - just double click on Bitmap Object

Convert to Paint ObjectThere is a subtle difference between Bitmap Object and Paint object. · A Bitmap object came from a file and when editing in Paint Mode you are constrained to the object

boundaries. Bitmap object keeps link to the original file and has couple of functionality related to thislink.

· Paint Object is normally created by painting and when edited in Paint Mode you are constrained tothe size of the canvas.

To convert a Bitmap object to the Paint Object use menu: Bitmap-Convert to Paint Object

Transparency of Bitmap Object

To turn any image transparent, select the brush, click on the Erase/Transparent button and paint overthe image. You will immediately see the result.

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Opacity

The reverse of Transparency, you paint opacity, thereby removing the transparency.

Whenever you apply a bevel, shadow or other effects in Real-DRAW on bitmaps, they work on thebitmap transparency. That means that the transparency, is the key where the bevel or shadow will becreated.

11.4 Painting on a Vector Object

This is another unique specialty of Real-DRAW PRO: You can paint on top of any Vector object wherethe strokes will be masked by the object shape.

To start painting on any object, select it first, and then press the Paint on Object button.

If your object was a bitmap, then you go to bitmap editing as described before.

What you paint will become a Bitmap layer of a vector object. The bitmap layer follows the size andshape of object. That means that if you change the shape of the object or resize it, the bitmap layer willadjust accordingly.

Note: If you rotate the object, you don't rotate the bitmap layer (Same as with the Object texture).

If for any reason you need to rotate the bitmap layer, you can use the Texture Size and Rotation tool.

Erase

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To erase a stroke, click on Erase/Transparent button and paint over the strokes. This will paint atransparency over the strokes in Bitmap layer, thus making the original color and texture of the objectvisible.

Remove Bitmap LayerIf you ever need to remove the Bitmap Layer from the object, you don't have to paint over it with aneraser, as it's enough to click the "Remove Bitmap Layer button". This button, when used outside thebitmap edit mode, will remove the Bitmap Layer and also any additional Paint-On Transparency (seebelow).

But if you use this button, while IN the bitmap editing mode, it will remove only the bitmap layer, whilethe Paint-On Transparency (if any) will stay unchanged.

How to use it?

The simplest way is to paint various shadows or lines over the object, which may become an interestingaddition to bevel. You can create brand new effects simply:

Above, we painted green, blue and yellow lines across the text with the airbrush and then added aflowers with the Image Nozzle.

But there is much more you can do

The feature, Paint on Object, is actually one of the most important features for airbrush drawing, and youmay not be able find any similar software that makes it so easy.

If you use a normal (real life) airbrush, you know that the basic way to draw is to paint with an air gunthrough masks. In real airbrush painting you cut a mask (for example a circle) out of a transparentadhesive sheet and stick it on a paper. Then with the airbrush gun you paint over it. When you removethe adhesive mask you have a perfect circle with sharp edges, yet it is painted. Then you can cutanother mask, put it over and try some other colors and shapes ...

This is also the idea for Airbrush editing in Real-DRAW PRO, where your mask is the vector object.Real-DRAW PRO goes much further though. Unlike in real life, you can reshape the object (mask)afterwards, and then you can move the object up or down the layers.

You can also erase what you painted, and paint something under the object as well. There is also a veryeasy cloning method you can use to "blend" two objects together. It is quite simple but very powerful. Ifyou are artistically inclined, you can easily create a painted like art form, which is both realistic, yetpainted.

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The image above was painted using this method. While the pen is a pure vector object without any paint,the hand is made up of vector objects with painted layers. Each finger is basically a separate vectorobject.

Another even more detailed image created using a combination of an airbrush plus a Surface Skin ona simple vector object.

Show layer Above

This feature while applicable to all bitmap editing, is especially useful if you draw painted art. When youhave opened an object for bitmap editing or painting, you can make all the upper layers, that intersectthe object visible. This allows you for example to paint shadows exactly on the right spot - under raisedobjects.

In this, surrealistic example of, let's say an orange on grass, we have 2 objects; a circle and a square.We have already painted some shadows and highlights on the circle (so it looks like a painted sphere),and also a few strokes on the green rectangle. Now we would like to paint a shadow on the rectangle

from the sphere. We select the rectangle and click the Paint on Object button. In the Bitmap editingmode we check the Show layers Above, check box. The sphere appears in the places where it

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intersects the rectangle we are editing. Now we can paint with a dark airbrush on the rectangle, exactlyin the places where we need the shadow. Don't forget that you can change the intensity of a brush bysliding the Intensity/Opacity slider for a softer effect or by using a pressure sensitive stylus.

With this knowledge, you can start making your own painted art, and if you are a novice, you willprobably learn a great deal about colors, mixing, as well as light, and shadows as you progress. Justone piece of advice - everything in this type of art, is a game of shadows and lights.

There are various other very powerful tools to help you - Clone from bottom layer and Blueprintmethod as described later.

Paint-On Transparency

As an addition to the normal transparency and Painting on a vector object, you can use the Paint-OnTransparency option.To Select this option you have to click on the small arrow on Paint on Object tool to reveal sub-selectiontoolbar.

This works similarly to the Painting on Object, however it will paint a transparency to the vector objectinstead of painting on the object bitmap layer.

The Paint-On transparencyis also in the menu: Object - Paint Transparency, and it is enabled for vectorobjects.

Imagine a complex object, where you want just a specific part transparent and none of the linear or radialtransparency does the job - here is a perfect time to use Paint-On Transparency. Select the object,

Click on the Paint-On Transparency button and you will get to the familiar bitmap editing. However,this time it doesn't matter what color you choose - it will always paint transparency.

Eraser can be used to remove the painted-on transparency (paint opaque).

To remove the whole Transparency Layer from the object, while in Paint-On Transparency mode, press

the Remove Bitmap Layer button .

Using the Remove Bitmap Layer button, while NOT in Paint-On Transparency mode, will clear theTransparency and Bitmap Layer.

Tip: Paint-On Transparency works with the Bevel option in the same way as normal transparency, andof course you can use Nozzles, or any of the brushes.

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Don't get confused by the Paint-On transparency feature - you will understand its potential when youuse, and experiment with it.

11.5 Paint Object

The third type of object you can edit and create with brushes is a Paint Object and unlike the previoustwo types, this type doesn't need any object to start.

To start painting a New object press the Paint Object button. The view will switch to bitmap editing, however, this time, you will see the whole canvas to help youposition the brush strokes.

During the painting, we can freely change colors, textures, or brush types. If you make mistake, just usethe Erase brush tool, as in the previous examples. When you finish with the painting, you just need topress Esc or click the Arrow Tool button to return back to the vector editing.The part you painted will become a new Object. You can do everything that you can do to other Objects;you can apply bevels, shadows, resize it, move it in layers, etc. Above, we applied a bevel, lights and ashadow.

Edit Paint Object

If you wish to edit a created paint object (for example to erase some strokes or add new ones), you use

the Paint On Object Tool.You can also simply double-click on it, which will have the same effect.

Preserve Transparency Edit (Bitmap edit)

+ CTRL

Normally, anytime you click a Paint on Object tool, on the object created as a New Paint Object, youwill be editing on a full canvas size with the canvas visible behind. Any strokes you draw will be visible ifyou stay within the canvas space.If you need to edit the transparency of the strokes, as you would edit a normal bitmap, you can holdCTRL, while clicking on a Paint on Object tool, or hold CTRL while double clicking on the object.

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The Preserve Transparency Edit mode is very similar to the Bitmap editing. If you are in a PreserveTransparency Edit mode, the strokes you paint will be visible only in the places where there are alreadysome strokes - where the object is opaque.

In other words, the stroke will not make the object under it opaque, if it is currently transparent, but willpreserve the transparency, as during normal bitmap editing. Also in a Preserve Transparency mode youhave both the Erase/Transparent tool and the Opaque brush tool, the same as in normal Bitmap Editing.

See the difference in the pictures above: In the first example, we painted on the Paint Object in normalpaint mode. In the second example, we painted on the Paint Object in a Preserve Transparency mode(also called Bitmap) Edit mode.

While the Paint Object is excellent for adding various shadows, highlights, or color strokes to theairbrush image, it could be used in many other ways. As with any object you can apply various effects toit such as bevel, drop shadow, Extrude and more.

Convert the paint Object to Polynome

Menu: Object-Convert to-Polynome (Vectorize)

Yes, you can convert this object to fully editable Polynome object.

Here we paint with Puzzle Nozzle (1), then convert it into Polynome(2) on which we can now apply allvector editing tricks such as Envelope (3)

11.6 Cloning

Cloning means that you take a part of some image and paint it into the object you edit.

There are two types of cloning, each having a few different options

Rubber Stamp

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Rubber Stamp is a great tool for removing unwanted parts of an image, or adding something that wasn'tthere. It can clone from one part of the image (the source) to another part (the destination). It can evenclone from one image to another.

First, after you select the Rubber Stamp tool, you have to select the Source. This is the origin fromwhere you want to start cloning. You can always select the origin with a Right mouse click on theparticular section of the image that you want to clone, or with a left-click and holding ALT key.

The origin (Source) will be marked by a small cross. The next step is to click with the left mouse buttonsomewhere else on the image - this location becomes the Destination. Next, as you hold the mousebutton down and move, the cross will move along with it as well. You will clone the part under the Source(the cross) to the Destination location.

In this manner, you can cover one area of the image with another part of the image.

Rubber Stamp from a different source.

You can use the Rubber Stamp feature to clone from one image or document into a different ordocument. What you need to do is to open the other object in the bitmap editing mode, and arrange theviews so that they are both visible, and then use the Rubber Stamp as before.

Important! The source must be in the Bitmap Editing mode. You can't put a source cross on a viewwhich is in the normal editing mode.

Tip: If you need to open two windows from the same document, you can do it in menu: Window -New Window:1. Start in a normal edit Mode2. Use Window - New Window, now you should have opened two copies of the same document.3. Open one Bitmap Object for Bitmap editing in one copy of the document4. Open a different Bitmap Object in the other copy of the document.5. Use the Rubber stamp6. After you finish, simply close one of the windows.

Note: The Rubber Stamp respects the transparency of the source, where the source is transparent,

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Rubber Stamp doesn't paint anything.

Clone from bottom Layer

This is a special technique in Real-DRAW PRO with which you can paint onto an object, whatever isbehind the it. This is a perfect way to blend an object into the background, or into other objects.

Above are 2 spheres The second is just a copy of the first one. We opened the second sphere in Bitmapediting mode and selected the Clone from bottom Layer brush, and then carefully painted with it inplaces where we expected to blend it with the first sphere. On the resulting image, there are still 2spheres, but the second one now appears to blend into the bottom one. Of course if you now move thetop sphere, you would have to repaint the blend part again.

Clone from Blueprint

This is another special Real-DRAW PRO technique and it is very similar to the previous method, but thistime, it clones from Blueprint , not from the layers below. If the layers below are transparent, only theBlueprint will be visible.

If you have the Blueprint feature loaded (See the section about Blueprint) in your project, then wheneveryou are in a Bitmap editing you will see a small sphere near the Clone from Bottom Layer tool.

This sphere is clickable and clicking on it will change its color from white to blue. If the sphere is white,then the tool works as described before - cloning from bottom layer. If the sphere is set to blue, then thetool is cloning from the Blueprint mode.

Above we have a photograph, set as a blueprint, and a vector object of a pair of lips, created by simplyoutlining the Blueprint. We opened the lips object in the, Bitmap Edit, selected the Clone from BottomLayer tool, and set the clone sphere to blue. Now we can lightly paint over the object and it will clone theBlueprint photograph

You can use Clone from Blueprint (as well as any clone) during any type of bitmap editing - BitmapObject, Painted Object or Bitmap Layer on Vector object.

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11.7 Advanced Bitmap Edit Mode Options

There are plenty of options dealing with bitmap size that may be confusing at first, but the good thing isyou are not normally require to change them. The basic idea is that Real-DRAW PRO tries to hold on the original bitmap data as long as it can inorder to use the best quality. This may not always be what you want and so there are few options how tomodify the default behaviour.

Resized Edit

+SHIFT

It may happen, that you need to paint something very fine onto an object, but the brushes are too wide.A Resized edit is the cure. What you need to do is to hold SHIFT key while clicking on the Paint onObject Tool.

What will happen is that the object will temporarily resize to fit the edit view. This isn't a zoom. Theobject is physically resized, and then, when you exit the view mode it will return to its original size, witheverything you painted on it. In this way you can paint more than pixel precise strokes, even hairlineswhich are still smooth.

On the menu: Object-Bitmap Layer, there are a few additional advanced options which apply to Bitmapediting.

Auto Resize Bitmap Layer (Doesn't apply to Draft by Reference)

If you resize the bitmap and then try to edit it, Real-DRAW PRO will automatically "apply changes".Normally Real-DRAW PRO holds the original size of the bitmap until you "Apply Changes" or save theproject.

You can change this behavior, by un-checking the Auto resize Bitmap Layer from the menu: Object -Bitmap Layer. If auto resize isn't used and you resize the bitmap, then when you go to the edit modeyou will work on the original size bitmap. The size before, last "Apply Changes".

If you rotate the bitmap and then try to edit it, you will edit on its before rotation state.

Resize Bitmap Layer to Object

With rotation, changing shape and other changes on the object, the size of the Object changes. TheBitmap Layer will be always be dynamically resized to the size of object. If you don't use the aboveoption, then in many cases you will edit the object in a different size than it appears to be.

This may be desired or not, so you have the tool to force the bitmap layer to become the same size asobject.

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Snapshot From the Object

Snapshot From the Object will copy the image, showing how the object looks (with bevel, and all theeffects) into its bitmap layer. This may for example be used, if for any reason you need to know how thebeveled object looks during the bitmap editing.

Paint on Edge

If you switch the Paint on Edge, to on, you will only be able to paint on the edges of objects, withspecified Widths (the width slider will appear on the top tool bar). This is useful if you need to matte theedge of an object for example, when painting a very thin joint, shadow/highlights, between two objects.

Tip: If you look at a fine painting or photograph, you will see that the edges often don't go simply

from the shadow to the object color. Some times they go in a very thin layer, fromshadow first, an then to a highlight, and then after that to the object color. Other times it is quite theopposite. The gradient is however always hairline thin. You can paint a similar edge, by using the Painton Edge technique. You first select a color; set a larger Width, and then paint lightly on the edge. Youthen set a smaller width and select another color. Paint over the edge again, and if you did it right, youwill have created a hairline edge. Of course you can put more layers, or paint several more times tocreate the desired effect.

11.8 Editing Brushes

You can easily create your own brushes, or you can create many interesting variations from the existingones.

In case you want to adjust brushes or add a new brush, you can do it from the Brush Properties dialogbox. To get to the Brush properties, select any brush from the Brush bar, and click with the right mousebutton on it, or click the small arrow near the bottom of the Brush Library. Then from the Brush Librarymenu, select Edit.

If you want to create a new brush, click Add.

NameThe name of the brush - could be anything.

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SizeIn the case of Circular or Rectangular brushes, this is the size of the Brush.

BlurIn the case of Circular or Rectangular brushes, this is the Blur of the brush. The blur creates a smoothblending edge. Air Brushes for example, generally have a large Blur Value.

SpacingThe Spacing is the distance between the brush marks in the stroke. The value is a percentage of thebrush Size. The different spacing is most visible on Non-circular brushes:

Enable or Disable Spacing. In order for most of the Brushes to work properly, they should have theSpacing Enabled by putting a check mark next to the Spacing slider. Otherwise, the steps will dependon the speed of the mouse as it travels across the image. In many Brushes this will result in theseparation of the complete stroke into dots as you move faster. However, in some exotic brushes thiscould be a desired effect.

The first Brush uses Spacing, but the Second does not have the spacing enabled. Notice there is nocheck mark next to the Spacing slider.

The spacing will depend on the speed of the stroke. When you move slowly, the brush is denser, butmore quickly, and it becomes sparser.

Type of BrushesThere are essentially 2 types of brush. A generated brush, such as Circular or Rectangular, and a brushcreated using different bitmaps and masks.

Circular or RectangularThese are basic brushes, and you can set size, blur and spacing.

BitmapThe Bitmap brush uses a bitmap for the brush mask. The bitmap brush doesn't take the colorinformation from the bitmap but uses instead the intensity of the image to make the brush mask.Generally for Bitmap brushes, you would use black and white images. The black is transparent, andthe white will be opaque, and the Bitmap Brush will paint the selected color.

An example of a Bitmap Brush is shown below.

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Here is an example of a type ofBitmap Mask, used for the BitmapBrush.You can load the Bitmap with thebutton "Load Mask".Check "Negative" if you want to loadthe mask as a negative image.

Above is what we painted with the BitmapBrush. The effect was dependent on thespacing set.

Now this is probably not a very usefulbrush unless you're drawing a "Slinky".Most brushes shouldn't be donut shaped.

How to create a Bitmap Brush in Real-DRAW PRO.

· In the document, draw a star, set the color black, select a Transparent Texture, and move thetransparency to the fullest setting.

· In the menu: Project, we select Trim Canvas, to make the size of the canvas, the same as thesize of the star.

· Go to Menu: File-Export· First we need to have the brush smaller, so we'll resize it to 40 %. You don't have to use sharpen· Select Alpha Mask Only.

The preview should look something like this:

Export it in JPG, PNG or BMP format.· Open a new document and press a New Paint Object tool, to get to the bitmap editing mode.· Right click on the Brush Library and select Add· On the Brush Properties, select Type Bitmap, and click the Load Mask button.· Select the previously saved file. You can leave all other parameters as they are and click OK· Now paint something with this brush.

The result should be something like this

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Note: If you use a PNG Transparent image to load the Mask - the alpha channel from the image willbe loaded.

Image Brush

This is an extension of the Bitmap Brush. While the Bitmap brush takes only the mask for the brush, theImage Brush takes the mask as well as texture - or image information. Basically we need to create 2files, one is a mask and the other one is the image itself. Another way, is to load the Transparent PNGas a brush. The transparent PNG carries the information for the image and the mask. If you use 2 files,you first need to load the image with Load and then the mask with the Load Mask button. If you usethe Transparent PNG, it is sufficient to just load it with the Load Button.

How to Create an Image Brush.

· In the document, we draw a circle and apply any of the styles from the Style Library. In the abovepicture you can see that that is has a metallic look, and a drop shadow.

· In the menu: Project, we select the Trim Canvas Expanded to make the size of the canvas thesame as the size of our object and drop shadow

· Go to the menu: File-Export.· If you prefer you can resize it to a smaller size and use some sharpening to bring the details out.· Select the PNG Transparent format and the preview should look something like this.

· Export it.· Open a new document and press a New Paint Object tool, to get to the bitmap editing mode.· Right click on the Brush Library and select Add.· On the Brush Properties, select Type Image Brush, and click the Load button.· Select the previously saved file.· You can leave all other parameters as they are and click OK.· Now paint something with this brush.

The result should look like this ...

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Interesting brush!

Notice that it doesn't matter which color you select, it always paints the brush with an image.This is a great way to add interesting brushes. But what if you want to change color? For that function,Image Brush has a Color overlay option.

Color overlay

Color Overlay allows you to select any color for the Image Brush.Open the previously created brush - Select the brush in the Library and click on it with a right mousebutton to open the menu.

Select Edit.

In the Brush properties, Set the Color Overlay.

Click OK, select any color, and then paint.

Our Image Brush can now paint with any color.If you want to get more from this feature, you need tocreate the brush image with lighter colors.

You can see that the Image Brush is an incredibly strong type of brush. With some experimentationyou can create very interesting, artistic and unique brushes. Try to experiment with the varioustransparencies.

For example.

Image Hose

The image brush is very powerful, but how about adding a few different images in a row, into one brush?Here is an image Hose type of brush!With the Image Hose, you have to click Settings on the Brush Properties to go to the more advanced

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options.This is basically the same idea as with the Image Brush, but here we have a list of images. You canload the image with Add Image if you are using a PNG transparency as your source, or if not you canload the mask for each brush with the Load Alpha Mask.

Let's modify the previous example. We'll apply different styles to our circle and save each one under adifferent name, as a PNG Transparency.Now create a new brush, select Image Nozzle, open Settings and load images, one by one with the AddImage Button. Adjust the spacing a bit more, 30% for example.

Click OK and paint.

Distribution of the images

Sequentially - the images will be "sprayed" in the same order as they are listed in the list box.

Randomly - the images will be randomly chosen

Directional - the image will be chosen from the angle you paint. For example, if we have 5 images, 360degrees divided by 5 is 72. That means that as we paint, that a different image will appear for every 72degrees of change in the mouse travel angle.

Note: 0 degrees (and image 1) is horizontally oriented to the right side. The angle used for imageselection will continue in a clockwise direction at 72 degree increments in the above example.

Example of different distributions

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The Directional distribution is great for Brushes, which should follow your path as you draw. Forexample, arrows. Below we we created 8 images of an arrow, each rotated 45 degrees from the previousangle. Don't touch that calculator :-) 45 x 8 is 360 degrees, so we needed 8 images.

The Image Hose type of Brush has the Color overlay option as well.

Pressure Sensitivity.

This works if you have a Pressure Sensitive Tablet. There are a few options as to how the brush willbehave regarding the pressure information i.e. how hard you press with your stylus.

None. No Pressure will be applied. This would be useful for Image Nozzles for example.

Pressure. This will change according to how hard you press on the brush. This is a good choice forNatural and Artistic brushes, because it simulates the real situation.

Opacity. This will change the opacity of the resulting brush, according to the pressure on the stylus. Agood choice for "Airbrush" like brushes.

Press. & Opacity. A combination of Pressure and opacity

Speed. This one actually works without a Pressure sensitive Tablet. It isn't related to the pressure on thestylus, but it takes into account the speed of your drawing stroke. If you draw slowly, the stroke will bedenser than if you draw fast. The minimum density is set by the Spacing parameter, and in order forSpeed to work, the Spacing must be enabled.

The rest are various combinations of the above.

Brush preview

You can let the software generate the preview for you automatically, or if you want a specific image, for

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example, for Nozzles, you might want to show the path. You can paint anything and save it as a file. Inthe Brush properties window, turn the Auto generate switch off, and Load the saved image. This imagewill now be the preview image seen in the library list box. A Secret: Instead of loading the image, youcan even paste an image from the clipboard into the preview by pressing Alt-P

Note: Real-DRAW PRO has the same format of brushes as does the Photo-Brush software from www.photobrush.com.

Working with the Brush library

If you select any brush and then click on the library with right mouse button, a menu will appear. Youcan also use a small arrow near the left bottom of the library.

AddAdd a new brush. For more info about creating a new brush see Brush Properties.

DeleteDelete the currently selected brush from the Brush Library.

EditEdit the Brush Properties.

Import / ExportImport or Export one brush from/to current Library. The brush has the extension *.br1You can use Export and Import if you (for example) want to move or copy a brush from one Library intoanother.

Load / Save Library

This loads or saves the *.brs library. The Brush Library is a set of Brushes grouped into one library.

To make a library available for Real-DRAW PRO it has to be in the directory of Brushes. Then next timeReal-DRAW PRO starts, it will show the new library in the Library combo-box on the Brushes Tool bar.

SortSort the brushes in the library. For example, if you would like to have the brushes that you use the moston the top. You can also change a name of a brush here.

Creating your own library

You can use User1 library for your new creation.

Or, if you want to add a totally new library you can ...· Save any Library under a different name in the directory Brushes, then exit and start Real-DRAW

PRO again.· Copy an empty .brs file from the Brushes\Empty folder into the Brushes folder, then rename it and

start Real-DRAW PRO.

Note: Brush libraries will be sorted alphabetically in the Library Selection Combo Box.

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11.9 Bitmap Envelope Editing

You may have realized from the previous chapters, that a Bitmap can be distorted with the envelope thesame way as text.Before you use the envelope for the first time, you have to convert the Bitmap to Envelope. To do that, go

to menu: Bitmap and select Convert to Envelope or press the button on bottom toolbar.

Note: In order to make smooth effects, you have to move the envelope inwards - making the resultingobject smaller.

You can make very interestingeffects with the Bitmap onEnvelope, however, this takessome time to calculate and theresults are not always smooth.

Perspective Transformation (High Quality)

The Envelope is an interesting tool for bitmaps but Real-DRAW PRO has another tool for re-shapingbitmaps (this time with advanced quality).

Select a bitmap object and press the Perspective Transformation tool. (This Tool is on the bottombar, not on the left tool bar)Main Perspective Transformation application is for Packages , however it works for Bitmap Objects aswell.

Simply select any bitmap and press the Perspective Transformation tool. Now you can drageach of the Bitmap corner to move the 2D image in the3D Perspective space.

When finished simply click on Arrow tool or doubleclickon the image.

Note: The perspective will remain even if you rotate theobject.

Make a Texture

Real-DRAW PRO uses textures on the disk. There are enough quality textures with Real-DRAW PRO toallow you to design almost anything, however, you can make your own texture and copy it to thedirectory Textures. (PhotoSEAM makes wonderful textures for this purpose)If you want to use a texture just for a project, you can load a Bitmap, and from menu: Bitmap selectMake a Texture.This will create a temporary project-specific texture. From now on in this project you will see a new

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texture in the texture list box.Real-DRAW PRO doesn't save textures to the *.rdw Project file by default, however, once you add aproject-specific texture to a project, this project will also always save all used textures to an *.idr projectfile as well. The project file will be much bigger in this case. There is also an option in general settings toallow/disallow saving of the textures.

Note: You can't add the objects, with user textures, to the Object library. The object will only workfor the project for which the texture was defined.

Real-Draw PRO

Part

XII

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12 Packages

12.1 Packages

Package is in fact one of the most important features of Real-DRAW PRO. Understanding it will notonly multiply your productivity, but will allow you to create more detailed illustrations, new effects, andmuch more. Packages are a revolutionary, Real-DRAW PRO own feature.

Generally speaking, Package is the ability to divide a large project into segments, where you can editeach segment (called Package) and its objects separately, in a different view.

· The Package itself shows in your main document as a single object which you can transform anyway you like - resize, rotate, perspective transform, or add various effects to it such as dropshadow, bevel or lights. These transformations will never change the objects inside, and theobjects keep their own transformations and effects.

· Because you can resize the package, it also means that you have the ability to design thecontents of a package in a larger view than it appears in your document and create many moredetails.

· Packaging has many obvious benefits - the system needs less memory and you don't get lost inhundreds of objects, but it has also many hidden benefits.

· The ability to apply additional effects to a package, plus easy transformation, with non-destructivesharpening and the ability to Clone Package, and to create more details.

· It can be used for much more than saving some space, and making editing easier !

Packages are a higher form of Groups, and provide you with the ability to create large projects, divideproject into logical segments and then apply effects globally to a whole group of objects.

Working with Packages is very transparent to the user.

You can easily create a Package from any group of objects, and even from a single one, with editPackage, update, and Unpack the Package, whenever you need.

Because the Packages open in a separate document you can easily add, copy, or remove objects in-or-out of the package.

Differences between Package and Groups

Both areu sed for grouping objects. However the major difference is when you apply effects or propertiesto each.

We have two objects, we can either Group them or Package them

Here we first Group the objects and then apply some effects such as drop shadow , bevel andlights on the whole Group

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This time we Package the objects and apply the same effects to Package

If we apply effects to a Group, each object in the group will get the new properties.If we apply effects to a Package, the effect will be applied on top of all other effects and properties.That is, each object inside will keep its settings, yet another set of effects will be applied to themglobally. It means for example that if the objects inside Package have each a different bevel we can stillapply another bevel to the whole Package.

Here is an example of the idea. We created our object by simply applying 3D Ball bevel effect from the 3D Bevel properties. Now if we Package the object we can apply yet another Bevel on top of it from thesame 3D Bevel properties. This time we used Saucer bevel. This gives you unlimited possibilities inapplying effects.

Other difference is when you want to edit the objects inside Groups or Packages.

Package Document Color

In most cases you don't have to worry about the background color of the package document either.However in some cases a very little fringe may appear due to the antialiasing. For example if you createa Package of black objects on a white Package background and then place this package on a blackbackground in the main document, you'll probably see a very thin light fringe around the packageobjects.

It's easy to fix. When you're editing the Package, just set the background color (In the Project-Size andColor) to approximate the background on which the package will be placed, in the main document.

Note: It doesn't have to be a perfect match.

12.2 Create and Edit Package

It is very easy to create a Package, just select all the objects that you want to be packaged and pressthe,

Create package button or from the menu: Object - Package - Create Package

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You also have the ability to freely transform a package, and can also add any of the effects to it.

Adding bevel, shadow or lights, will apply to the whole package, but the objects inside will be never betouched, and they'll keep their own effects!

Above, we added some lights and a drop shadow to the whole Package.

Edit a Package

Another great feature in Real-DRAW PRO is the ability to edit objects inside a Package without theneed to unpack it.

This is simply done. Just double-click on a package, or click the Edit Package Button.

The package will open in a separate view where you can edit all the packaged objects.

When you finish you just need to close the Package window. You can either click on close button whichwill ask you to save to package (Answer Yes) or simply hit the green OK button on the top left corner ofyour package canvas (where Rulers meet)

Hitting the red X will close the package without accepting changes.

Tip: If you want to keep the Package window open and just update the Package in a main view.Simply hit the Save button and the package in the main document will be updated.

12.3 Package Document

Package Document size

You don't have to worry about the document size of the package. When you edit the package it willalways appear in a document large enough to encapsulate all of the objects.

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You can freely add (or move) any object outside the Package document, and when you close thePackage, all will be smartly updated the right way. You don't have to worry about moving, or resizing theresult, or the package document.

This behavior is indicated in the Size and Color settings of the Package Canvas by the checkedoption: Dynamic Update of Package Canvas Size.

Note: In special cases you can disallow this option and the Package will be cropped to the Canvassize.

Size and color of the package canvas (Size and Color Dialog)

The Package canvas is transparent when shown in the original document.

Normally the Package size is updated dynamically. That means that if you add another object out of thePackage canvas, it will be resized as soon as you save the package. This way all the objects willalways be visible in the package.

On the Size and Color dialog, this is indicated by checked Dynamical Update of Package CanvasSize.

In special cases when you don't want this behavior you can uncheck this option. In that case thepackage will be cropped by the Package canvas size. This will also be indicated by the title of thePackage window : "Package (Canvas Crop)".

A typical example of this is the e-book cover sample.

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The Blue circle and letter B are"bleeding" from the canvas. Theyare just partially inside the canvas.

Because we didn't useDynamical Update of CanvasSize, the package will becropped at the Canvas. This iswhat we want.

This is if we do use DynamicalUpdate - obviously this isn'twhat we wanted.

12.4 Working with packages

The multi-documented interface gives you a lot of freedom and you can open, and edit any number ofpackages you want at the same time. You can edit a package and the main document at the sametime. You may even open the same package more than once, make different changes and then,whichever package you save, will be updated in a main document.

It's also easy to copy objects between packages, or between the main document and packages.

In our example, we added lights to each small element in the package, and then closed the PackageView, after answering "yes" to the Real-DRAW PRO question about saving changes to the maindocument.

The lights applied to the whole package will be mixed with the lights applied to each element.

Working with packages has other benefits. You can actually design the Package in a larger view than itwill be used in in the main document.

This enables you to create a lot of small details.

Tip: You can eventually treat the package as a bitmap that you can apply normal bitmap effects to,or paint on it.

You should remember that these effects will be removed every time you update the Package from itsdata.

While it's fine to paint on a Package, in the long run it would be better, if you opened the package,created a new paint object and painted whatever you needed there, and then closed the package.

Same effect, but more flexibility!

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Copy a Package

When you copy and paste a package, you also copy and paste the embedded objects. If you createthree copies of the Package object, then you can edit each Package separately, and change the objectsin each copy of the package differently.

Above, we re-sized the package and created 3 copies of it, simply by using Copy and Paste.

We then opened each package and changed the colors of few objects.

Sometimes you won't need to keep all of the objects embedded in the copy. You may for exampledecide to copy an image 20 times, and it would be just a waste of space and memory, if each imageincluded all of the objects embedded inside.

Create a Bitmap Object from package

We can do it in two ways:· Copy the Package, and then, instead of the normal Paste, use Paste as Bitmap from the menu:

Edit· Select the package, and then from the menu: Bitmap - Create use New Bitmap from Selected

Object(s)

The new Bitmap Object will look exactly the same as the package, and you can add effects to it as well,but you obviously can't edit the objects inside.

Note: The Bitmap will be created in exactly the same way as the object looks on screen. If you havea drop shadow, bevel or lights applied on the object, then the bitmap will have it as well, and it will benon-removable. If you're planning to adjust these parameters, then it would be better to create a bitmapfrom the object, without any effects applied and then apply the effects to the newly created bitmap.

Reload a Package

Nothing that you do to the Package from the outside (except deleting it), such as resizing, applyingeffects, rotating etc. will change the original data inside.

Some times it may happen that you want to reload a package from these original data. It is usually inthese cases:

· You applied permanent bitmap effects to a package, such as Oil painting, and you don't wantthem any more, so instead of opening and closing the package you can just reload it.

· You resized the Package, and now you would like to have it the same size as the objects inside.

The first case is obvious - you can apply bitmap effects to the package, such as "Aged Photo", or youcan paint on the package.

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Reloading Package will remove these effects. See tip, in the "Edit a Package" section.

The second case. If you resize a package, then the data inside will remain at the original size. You maywant to make the Package the same size as the original without unpacking.

To reload a Package: Select it in menu: View - and press the Reload Package button. A windowwith options will appear:

It just depends on how the Packaged object should change its size

Reload and set the Package aspect ratio (default)The aspect ratio of the Package in the main document will become the same as the aspect ratio of theobjects inside the Package. This means that the Package will look the same as when editing, exceptthat it may be a different size, depending on how you resized it.

This, in most cases is the best choice.

Reload, keeping the current aspect ratioThe size and aspect ratio of the Package will remain the same as before using Reload. Because thePackage inside has changed its size, in most cases the result will look shrunken or expanded in onedirection, but the total size of the image will remain the same.

Reload and Resize to the originalThe size and aspect ratio of the Package will be set to the same size as the data inside. If the Packagewas rotated, this will be reset as well.

In the example above we resized the package and shrank it in a horizontal direction, and then applied abitmap effect (colorize from Tweak set).

Note: Keep the Current ratio. It has the same effect as simply opening and saving the package.

Texture TransformationThis will reset any texture transformation done with Texture Size and Rotation to the package.82

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Unpack Package

You can Unpack a package, anytime.

The package object will be deleted and all the objects from inside will be returned to the main documentat their original size.

Non-Destructive Sharpen

Package, as well as Bitmaps, has a special property - Interactive Sharpen, and you can access itfrom the bounding box.

Interactive Sharpen is a great way to sharpen a Package especially after downsizing it. It is a non-destructive effect and you can increase or decrease the sharpness, any time you want, and as manytimes you want.

It is easy to use, just click on the second top handle of any bitmap or package, and move the slider upor down.

12.5 Crop Package

You can use the Interactive Export Crop inside a Package.

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This will make the package on the main document visible only inside its crop

Example:By duplicating the Package (Copy and Paste) and cropping each different way you can for exampleeasily "split" complex object into two or more parts which would be much harder to do otherwise.

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12.6 Clone Package

Menu Object - Package - Create Clone

Another interesting feature of package is that it can be cloned. Create Clone will create a new objectwhich will be a clone of the Source Package. Anytime you update the Source Package (by opening andclosing) all the clones will be updated as well.Clones and Sources are clearly marked when you select them.If you double click on Clone, you will automatically go inside the Source package.

Clones have however some independency on the Source Package:· They can be created in different sizes, rotated, or transformed· They can have their own effects: Non-Destructive Sharpen level and Color Correction.

The Restrictions:· Related Clones and Sources must be in the same logical document.· Related Clones and Sources must all be in the same Package or outside the Package, they can't

be across different packages or package, and main document.· Clone Relations can't be copied with Copy/Paste, except when you copy a Clone to a document

where the Source also exists.

If you break the restrictions, you will break the relationship between the source and the clone, but bothobjects will remain intact - the Source as a Package and the Clone as a normal Bitmap Object.

In the above example we created a package with 3 objects. Next we created a Clone object from themenu: Object-package-Create Clone.

Then we resized the new object, copied it to the clipboard and pasted it 3 times back into document.

Now we can transform each Clone, as we want - Vertical/Horizontal Flip, Rotation, or even add morecomplex effects to them. You can change the source by double clicking on either the source, or any ofthe clones, adding a new object or changing the color of another.All 4 clones will update accordingly,preserving their own effects.

Note: You can actually have nested clones (Similar to nested Packages), and you can select all theobjects, the source and the clones, and package them creating one clone from that package.

Cloning is a very powerful tool in the right hands.

To explore more, please load the example packclone.rdw

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In the example above we have one source and a few clones. Each of the clones has a differentproperties set, and sometimes a drop shadow, a bevel or a healthy glow. Also, each clone has setdifferent Color Correction so each clone has a slightly different color shade. All of the clones are alsohorizontally flipped. Then we opened the Source, by double-clicking on it, (actually double clicking onany clone will open the source anyway) and changed the color of the original sheet. We then closed theopen package, and all the clones were updated accordingly, preserving their own settings.

12.7 Perspective Transformation

Menu Object - Package - Perspective transformation

This command works like a tool where you can drag each corner of the package to stretch the packageimage in perspective space. Thanks to this feature you can simply design your package in regular viewand then adjust its perspective. Of course this is fully dynamical so anytime you can double-click on thePackage to edit it in regular 2D view.

We designed this Package assimple 2D view of a book cover.

With PerspectiveTransformation you can stretchthe 2D package in the 3Dspace.

One example would be tobuild a whole image of a bookwhere the Cover and Spineare Packages, each alwayseditable in the regular simple2D view.

Another example could be a facade of a building - design it from the front and then simply stretch it tothe desired perspective.You should keep the edges as close to the object boundaries as possible. It is best to resize the objectto the final size and then move the perspective.

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Note: This tool also works for simple Bitmap Objects . For any other vector objects you shoulduse Envelope Tool .

12.8 Liquid Package/Bitmap

Liquid Brushes allows you to use organic manipulation of objects.Packages and Bitmaps works differently with Liquid Shape tools than regular objects. While withregular objects the Liquid Brush changes only its shape, with Packages and Bitmaps the Brushchanges (smears) also the texture. Knowing the editing flexibility of Packages, this allows us to do newspecial effects.

Consider This Image

Now we will select both objects and press Create Package Button.

The objects will be wrapped in a Package. If we go to Liquid Shape tool the window will switch tothe Liquid Bitmap where we can smear the graphics with the Brushes similarly to the Liquid Shape .

Note how we smear the texture, not only the shape. Since we apply this to the package, after pressingApply in the Liquid Bitmap window we can still edit each of the objects! Now double click on thePackage to enter Package Edit Mode, change color of one of the object and press OK to close

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Package. The whole Package will be updated using the previously created Liquid Bitmap.

We can add objects and also at any time redraw the Liquid Bitmap. Also we can use Liquid Shapeinside the Package and the Liquid Bitmap on the Package... the possibilities are endless.

12.9 Other

Compact Packages

Menu Object - Package - Compact package

This command was added for easier Internet distribution. It basically removes any pre-build Packagedata and sets a Package or Clone to a preview mode showing a light transparent cyan image. Then youcan save the file. Compacting packages may reduce the size of the saved *.rdw file by more than a 50%per package.

The next time the compacted file is loaded, Real-DRAW PRO will automatically rebuild the missingpackages from the data and also any of the missing Clones from Packages.

It reduces the file size, but the drawback is that it takes longer during loading, due to the rebuildingtime.

This is however only a one time process for any end user because once the file has done its rebuilding,it will be automatically updated.

Other things to know

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There are few tips and rules for packages· Packages are great if you use Multimedia Extension and then you can design a complex

button, package it, and then add a Highlighted and Pushed frame. In each frame you can changethe data inside the Package and the whole package will be exported as one button.

· You can have as many nested Packages as you want and can for example, select 2 Packagesand create a new package from them. It will have the same logic - if you edit the master package,it will open a Package Window with your 2 nested packages, and double clicking on each willopen another Package Window etc. You are not limited to how deep the recursion can be, andyou can have packages inside packages inside packages.

· You can pack just a single object. For example you can apply one effect on the object, Package itand then apply another effect.

Above, we created simple text with a bevel and applied a Bevel feature Halo to it. Then we Packaged itand applied a 3D Extrude and a Drop Shadow to the Package.

· You can't Package a single Package.· You can't use the Lens effect across documents. That means, it is fine if the Lens effect works

inside a package, but you won't get the Lens effect from an Object inside a package, on objectswhich are outside the package. Of course, you can apply a lens effect to the whole package andthat's fine.

· You can use the Texture Size and Rotation tool on the Package and the clones as well. Whilethe best way to rotate a Package is to use the normal Rotation tool, and to resize the Packageto a normal object by, resizing, you can also use the Texture Size and Rotation tool to adjustthe Package appearance in more advanced way. You can change the perspective for example,perform a crop, or stretch it in various directions. And as with other effects, Clones can each havedifferent Texture Size & Rotation settings.

· To reset the rotation settings use either Reload Package or Texture Size & Rotation - Reset.

When resizing a package, remember that to obtain the best quality you need to resize down, and not upfrom the original package size. The same goes if you change perspective.

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13 Global NPR

13.1 Overview

Until now we tried to explain how to use Real-Draw to draw realistic looking images. If you read thismanual from beginning you probably think that we are finally nearing the end of the many Real-Drawfeatures.Wrong! This chapter will put all the previously learned knowledge on its head.

NPR stands for Non-Photo Realistic styles or Natural Paint Rendering if you want.

Each NPR style change Real-Draw into a different tool: a chalk, paintbrush, pencil, watercolor, engravingtool and much more.This is not just a simple output effect. The NPR styles go into the deep core of the Real-Draw objectsand use their VectorBit information to change the whole character of it. When you set the NPR it doesn'tjust change the look of the objects, in fact you start drawing in that particular style.

Why to use NPR styleAs any good illustrator knows a pleasing and consistent style makes the image look far more completeand polished even without any actual details. Consider creating the same illustration in realistic styleand in a hand-painted style. Even smallest imperfection in the realistic style will stand out like a sorethumb while an hand-drawn illustration uses the imperfections to its advantage For example our brain willfigure out the expression of the characters in the great Ernest Shepard illustrations even what weactually see are just very basic suggestions of the detail. With the help of NPR Style you can craft a good looking illustration much faster than normally becausethe NPR will supply the consistent style across the whole image and make the image look morefinished.

The following is a simple illustration created within two minutes, the left uses no style and the right usesone of the many NPR styles.

NPR's are normally applied Globally (However you can as easily apply them on per-object or Packagebasis)

This is usually used to make the drawing more unconventional by applying various techniques thatmimic a hand-drawn process, like this sketch:

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This doesn't of course end with sketches, the NPR Styles are extremely flexible to follow various typesof Non-Photo Realistic techniques from Illustration styles to painting or engraving.

The Global NPR Style apply on top of all Object Styles, it doesn't replace them, in fact it uses them tofurther refine the style. It is completely Non-Destructive so you can at any time switch into different NPRStyle or switch them off.

When you apply NPR Style to your document it applies to all current objects in the document and alsoto all the objects you will draw next (until you switch to another Style). So you can start drawing by simply switching into the favorite style first and then start drawing theobjects.

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Styles have various options how to work with the effects and settings of an object. For Example Blackand White style such as Ink Sketch will simply make all the objects in various styles of gray regarding ofthe set color. Some other Style may ignore the Texture applied to object etc.. Don't be surprised by this!

13.2 Apply NPR Style

You can set the Style at any time, the simples way is to use the Global NPR tab in the Styles palette.

All you need to do is to click on any of the style and it will be applied globally to the whole document.

Apply Style on a Per-Object BasisYou can apply NPR style only to a certain objects. This could be done by using the NPR Settings thatcan be accessed by clicking on the Global NPR Style button on toolbar or using menu Project - GlobalNPR Style.

The settings will be examined in another topic, but to apply any preset or custom settings to an objector selection of objects use the Apply to Selected button on the Global NPR Styles.

Apply Style to PackagesEach package can have its own Global NPR Style, but if you want to apply a single Style to all objects

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inside packages use the Process Packages (Recursive) option on the Global NPR Styles.

Otherwise you can switch it off, then open a package and set a completely different NPR Style as aGlobal Style Inside Package, then close the package. This way you can easily mix various styles onone document and keep it all clean using packages.

13.3 NPR Quick Adjust

You can quickly adjust the NPR look of each object (or selection of the objects) separately with theNPR Quick Adjust slider that is available on the Color & Texture palette.

Note: This slider has the same effect as changing the Rel. Intensity on the NPR Settings andapplying it to the selection.

It will adjust the shading type of Multisample strokes and change the relative strength of the fill brushthat is applied to the object.Here is a typical effect of the slider on an object:

Note: Applying a NPR Style globally will reset the per-object settings, therefore the slider in Color &Texture should be used to fine-tune a style after it has been applied and set-up globally.

Example of fine-tuning the image. The image on the left has only the stock NPR style "Real Illustration" applied. Using the NPR QuickAdjust slider we can fine-tune each object to better fit into the composition.

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13.4 NPR Style Settings

To adjust NPR Style, create New one or apply it on Per-Object basis we use the Global NPR Stylesettings.

The Settings could be intimidating at first because of the various options. Here are the main groups:

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1 - Presets, the same as Shown in the Style palette under Global NPR, here you can delete or add newpreset with the buttons under the preset window.2 - The Main Switch - it switches the NPR ON or OFF, all styles have this obviously ON, while the firstStyle called NONE, have this OFF.3 - Outline Brush - settings for the outline4 - Fill Brush - settings how the fill of the object will be adjusted5 - Color Load - the characteristics of the Fill Brush Style, this largely modify the painting style6 - Shadow settings - how the Shadow will be processed7 - Large Preview window with some default objects to see the changes8 - Various settings9 - Global Settings per whole document

Preset WindowThe Preset window shows all the available preset (default or newly created). You can delete the selectedpreset with the button Delete or add new preset with "Add Preset". Presets with yellow M square are multi-sample (more complex) presets.Note: you can scroll the preset window by clicking anywhere and dragging it.

Apply the Style

There are three ways to apply the style:

Apply Globally - The style will be applied to all object, existing and new (this is the same as clicking ona style in the NPR Style bar on main screen)Apply to Selected - The style will be applied only to selected objectsApply to New - The style will be applied only to new object you going to create

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The Basic idea of Stye

A Style consist of an outline brush set in the section (3) and the Fill set in sections (4) (5) and (6).

Outline Brush

Here you select the Brush from the various Brush presets and set its: Hardness (how strong will be the drawing) Thickness (how thick will be the outline). Color - the color of the outline Brush/Pen

Here are different values of Hardness:

Obj. Color - the Color will be used from the Fill of the object instead of a particular color. This is good forthe various Paint styles where we don't use outline any particular pen but still want a certain outline,such as oil colors. It works best with a fat brush.Dark - works with Obj. Color. This will make the outline to be darker instead of it being lighter in color.

Here is difference between normal color and Obj. Color on rather thick brush:

Overlap Strokes - overlap some strokes, this works closely with the brush and its size. Depending onthe brush this could have opposite effect (the strokes may overlap more when switched off)Use Layer Transp. - Use the Layer transparency for outline. If not used then the outline will be always

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on even if you put Layer transparency to zero.Change with Size - the brush thickness will be changed depending on the object size. Some stylesthat are usually paint with brushes use this, where we can "use" smaller brush for smaller objects, otherstyles such as various pen drawings do not use this option as we normally don't "use" thinner pen whendrawing smaller objects.

Fill Brush

This will set the way the Fill of object is processed. It is the set of techniques that creates particularstyle.

First you select a Stroke preset. This is an image of the way the technique is used on a paper. On theimage above we have use MultiMarker1

Multisample Stroke - some of the stroke presets are called multisample where the stroke candynamically change its character during drawing. The multisample strokes are build to produce very finedetailed output. MultiSample strokes have "Multi" as their prefix and this setting is automatically setwhen Multisample stroke is used. You may switch the Multisample Stroke option off to get different typeof output.

Rel. Intensity - changes the relative draw intensity of the Fill Brush stroke. Left it darkens - right itlightens the color or pattern . It also work closely with the pattern coverage of Multisample Stroke:

Here are different values of Rel.Intensity on Multisample Stroke

This setting is probably one of the most used when drawing in a NPR style, especially with Multisample

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strokes as it can be used to fine-tune each object look -for example you would prefer more or lesspattern shown on some object. Therefore this slider is also available on the Color & Texture palettewhere it changes each object separately.

Please note that applying a NPR Style globally will reset the per-object settings, therefore the slider inColor & Texture should be used to fine-tune a style after it has been applied and set-up globally.

Color LoadThese settings further define the way colors are mixed and how they react on a paper.

Paint type - this is set of basic paint proto-types. This is the way how the paint is applied and it worksclosely with the Stroke type. The name suggest the common usage, but it is a guidance becausedifferent stroke types with different paint type will produce yet different results

Thinning Solution - this represents a thinning solution in the color and how it reacts. Like adding waterinto the Watercolor Type will make it lighter, removing water will make its color bolder as on the imagebelow:

Here are different values of Thinning Solution:

Smear - how much the color is smeared outside the object boundaries.Random Wave - this works with the settings of Wave Strength. It will make straight edges of the objectappear more hand drawn.

ShadowFew settings how the shadow is processed.Wave Shadow - like the Random Wave previously, this will make the shadow look more hand drawn.Clamp Shadow Blur - normal shadow has rather nice smooth blur. This may not be desirable for sometechniques where it is not easy to create such smooth blur - like pen or crayon drawings. This will makethe shadows appear more sharp.Texturize shadow - if to use the Fill Stroke to a shadow or not. In most cases this is yes, if you don'tuse it then the object may appear as cut out by using the original smooth shadow.

Misc Settings

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Wave Strength - the Strength of the hand-painted look where straight edges will appear curved. Strongnumber above 100 create unrealistic wave.Apply to Editable Text - if the Editable text will use the NPR Style or not. This can be also switch on/off easily on the Text edit dialog (as "Apply Global NPR") in per object basisMake Small Text more readable - a small text will be processed with finer details than other objectsto be more readable. Apply Liquid Shape to Outline Brush - allows to apply existing Liquid shape to the outline brushand fill or only to the the fill.

This Shows the effect of Liquid Shape on outline Brush. The irregular paint streak was created fromcircle in Liquid shape by first pulling streaks then erasing them in the middle to create disassociatedblobs. The left image has not applied the Liquid Shape on the Outline which looks like the color run outof our pre-drawn shape during painting, while the right image has it applied to the outline which looks asif we planned to have this streak.

Disable Objects Own Texture - many styles do not look right if the object has applied some texture onother Styles this may create interesting effect.Apply To Bitmaps - the coloring will be applied to bitmaps and painted bitmap objects as well. Thismay not work very well with most of the simple styles for regular images or produce any realistic/usableoutput. Some Styles are on the other hand suitable for Bitmap processing.

Here are two images - one when the Apply to Bitmap doesn't work very well (Watercolor) and anotherwhere it produces rather interesting output (Charaocal)

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Process Packages - the style will be applied inside the packages (recursively)Warn when Selection - if you press Apply Globally and you have selection it will pop a warningmessage making sure you want to apply the style globally and not to the selection only.

13.5 NPR Area Gradient

One thing that sets real painting apart from a computer generated one is the amount of complex colorsand shades that easily appears on real-life canvas but are hard to emulate using software. If you enjoypainting or watch somebody who paints you see how the colors are constantly being mixed (intentionallyor not) on both palette and canvas. Some approximation for this in a software could be usage of gradients. It helps of course, but typicalgradient geometry (radial, linear etc...) tends to look too perfect unlike real art where it is far moredifficult to produce smooth gradient.

For this purpose we created Area Gradient tool and you can see it at work here:

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Area Gradient is not bound to any geometry - in fact you are creating the gradient geometry by placing Grad points over the whole area as you would when using brushes.

Show Area Gradient ControlsIf the Area Gradient is not visible, click the Area Gradient tool button:

Area Gradient colors will replace the basic object color as set in Color & Texture . You can still mixTextures and all other effects. Area Gradient works with or without NPR style but it is especiallybeneficial for the NPRs.

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How to UseTo Start using Area Gradient, select any vector-based object and press the blue Edit Area GradientButton:

This will immediately add first two Grad points to the object:

Adding more Grad points.To add more Grad points, simply double-click anywhere inside the object.

Change Color of Grad point.Select any Grad point and then use the Color Wheel to change its color:

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Sample Color of previous Grad point.Before you add new Grad Point (by double-clicking), click briefly on any previous existing Grad point tohave its color sampled. This color will be then used for the new Grad point.

Remove Grad point.Select any Grad point and press DEL on keyboard.

Remove All Grad point.Press the Remove all Grad points button:

Opacity of Area GradientThe mix slider can be used to mix between the basic color/basic gradient/GenetX (slider left) and theArea Gradient (slider right).

ModeThe combo-box will set the gradient mode (how steep the colors mix between Grad points). Default isQuadratic.

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Grab Color from BgIf set, whenever you move existing Grad point or create new one its color will be grabbed from all theobjects behind it. This is good for fast blends between objects.

13.6 NPR and Bitmaps

As we explained in previous chapter, the simple, single-stroke NPR's are not very suitable for bitmapimages and produce usually unusable results. In fact on most of the simple Presets the bitmaps haveNPR switched off.

However, there are few advanced NPR preset styles (using multisample strokes) that are designed towork well on bitmaps.

Here is an example of Real Engraving preset that works well on both vector objects as well as bitmaps.

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The Presets that are suitable for bitmaps have them already switched on (Apply to Bitmaps)

Tip: Fine Tune the image with the NPR Quick Adjust in Color & Texture Palette.

13.7 Tips for NPR

Drawing in hand-painted style require small changes in the way you normally draw graphics. You have tolook around a bit for what works in each style. If you would use real brushes and pens you would be probably guided by the same principles since theNPR styles tries to mimic the real methods.

Small TextIf you need to use small text then you probably want to draw image bit larger than you would use andthen shrink it and sharpen it later.Small text may look unreadable or out of place while large text looks nicely shaded. There is alsosetting to make small text more readable by over-sampling the effect. In most presets this is turned on.

Use color transitionsWhat works really great for natural styles is simple Linear, Circular or Burst Color transition not onlyusing different colors, but also different intensities. A perfect solid color across the object is more of adomain of the recent digital era, not a hand painted style.

Avoid Empty BackgroundPainting styles such as watercolor or paint are almost always best used on some solid or even bettergradient object background as they mimic closely the actual technique. (object are hardly ever paintedon a white background except few water color illustration techniques)

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PackageIf some objects don't have enough details after applying the NPR style, put them in the Package, thenopen the package and resize the object to about twice its size. Close the Package then resize thepackage back to desired size and sharpen it with the interactive sharpen tool.

No OutlineUsing Feather Effect will disable creating object outline even if you cancel the feather effect by movingthe sliders to far left.

Lastly, have fun and don't be afraid to experiment.

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14 Advanced

14.1 Blueprint

Blueprint is an image, positioned on the background of your project behind all the other objects.Blueprint has a few unique properties. It is visible all of the time (Onion Skin), and it could be used as asource for cloning. You can also use the Blueprint image as an original, from which you can draw animage.

You access the Blueprint from menu: Project - Blueprint.

Load BlueprintFirst you need to load an image as a blueprint. Remember that the Blueprint isn't an object, so while youcan change its position, you can't resize it. It is however very easy to convert the bitmap object to ablueprint, and then convert the blueprint back to a bitmap object again

You can load a Blueprint image from File, or from Object.

Load from file - similar to the bitmap import, and you will have the option to resize and crop the imagebefore you load it. The Blueprint image will be centered on the canvas.

Load from Object - another easy way to load Blueprint from any bitmap object already existing on thecanvas. In this case, the blueprint will stay on exactly the same spot as the Object is.

Let's load an image with the Image import button.

Above is an image we took with a digital camera, because we wanted to draw something similar. Weresized the object to the desired size, left it selected, and then from the menu: Project-Blueprint weselected Load From Object. This caused two new buttons to be enabled:

The first is Show on Back and the second is Onion Skin on Top.

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Now, we can delete the image object as we don't need it anymore. Even if you delete the object itsimage will be still in the very same position - that's the Blueprint.

Now we can use the blueprint to guide us while we create a shape with the Path Tool.

Now this isn't anything special, since we could have done it before, with the bitmap. But now we wouldlike to draw some more elements but we can't see them because the new object is covering ourBlueprint. We could play with the transparency, but this would become annoying if we added moreobjects. Fortunately this is easy to fix. Jjust press the second Blueprint button - Onion Skin on Top .

While in Onion Skin mode, the Blueprint can always be visible, by overlaying on top of all the objects.

We can easily create other paths with the guidance of the blueprint, and after that is done, it'll be time toremove the Blueprint, since we won't need it anymore. We use the Remove function from menu: Project-Blueprint-Remove.

We now have a pretty decent drawing which was done very easily.

Note: If you want to keep the the Blueprint and continue later, you can. The Blueprint will be savedwith the project and if you currently don't need it, just switch off both buttons Show on Back and OnionSkin on Top.Now you can repeat this process with other images, and add another objects if you want.

Clone from Blueprint

Another great feature of Real-DRAW PRO is that you can use the Blueprint feature as a Clone sourceduring bitmap editing. More info is available in Cloning .133

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Other Options

In the Blueprint menu we have a few other options:Position - allows you to change the position of the Blueprint by moving in any direction.Center - centers the blueprint on the canvas.Resize Canvas - Resizes the canvas to the size of the Blueprint.Convert to Object - At anytime, you can go back and create a Bitmap Object from Blueprint, and can,for example, Convert the Blueprint to an Object, resize it, or change its position, and then use Load fromObject to update the Blueprint.

14.2 Export

After you've created your artwork you'll want to show it to the whole world! This is done via the Exportdialog.

From menu: File select Export

The Export window has many options for output.

First, you select the type of the image you want to save.There are several different built in image formats:

JPG, BMP, PNG, Transparent PNG, Mega Render JPG, E-JPG and SVGThere is also the capability to import plug-ins, thereby providing additional formats.

You can always see the total size of the file at the bottom of the export window. If you are saving a JPGfile or E-JPG file then you can change the quality to achieve a smaller size output file.

JPG File

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JPG is probably the most popular image file format in use today, and Real-DRAW PRO produces oneof the best looking JPGs. This is achieved by sub-sampling color components and you can setProgressive, or Grayscale JPG.

Note: Whilst all web browsers can read Progressive JPGs, there are many other programs whichmay have a problem reading them.

So use the Progressive option with caution !

Set DPIFor JPG files you can also set a DPI flag to the desired number. It is important to undrstand that it isjust a flag some other software may read and find interesting. It doesn't affect the image at all. You cantype anything you want there. Because you are creating the image from scratch there is no priorknowledge of the size of your artwork measured in inch. That's why the DPI isn't important but somesoftware really wants this number just to confuse users.

What is E-JPG file

Real-DRAW PRO saves a project as an *.rdw file. However you can also export it in the Real-DRAWPRO exclusive E-JPG format as well.

E-JPG is a JPG compatible image format and you can use it on your web pages, or open it in anygraphics editor. However if you open an E-JPG in Real-DRAW PRO you will again be able to edit itsobjects, text or whatever else you like. The quality or size of the JPG image you see doesn't affect thequality of the editable objects. In other words you can just show it as a small thumbnail on your webpage, but then if somebody downloads it and opens it in Real-DRAW PRO, they will be able to edit it infull quality, and save it in the size or quality preferred.

The advantages:· You don't have to make two files; a thumbnail and a file to download. The thumbnail is already the

project file· You can show the image in small size and let the user recreate the image, in a quality, size and

file format he likes. Because of the small size of the project data, the file will be much smaller thana JPG of the original size and best quality.

· Versatility and no quality loss. You can preview the file as a JPG with low quality, but with Real-DRAW PRO, you can recreate the file again to any format and to any quality desired.

PNG and Transparent PNG

Unlike JPG, PNG is a lossless format (the quality doesn'tchange) while still producing small file sizes. It isrecommended that you use PNG as much as you can. Allgraphics software should be able to load it...

Transparent PNG also saves the alpha channel (as if youhave no canvas), andit is indicated by showing the image onthe check board.

Real-DRAW PRO can also load transparent PNGs back asimages with their alpha transparency.

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Transparent PNG is also a great way to create new brushesor Nozzles.

PSD - Adobe Photoshop

Real-DRAW PRO can save a whole project as an Adobe Photoshop PSD project, and each object andits shadow, will be in separate layers so you can continue to work on them in Photoshop if you need to.

Real-DRAW PRO will export each object and it's shadows as aseparate layer. Real-DRAW PRO can handle a large number oflayers easier than Photoshop. It is recommended that you packlogical groups of objects into the Packages so you don't exporteach small line as a separate object. This will reduce thenumber of layers and you will then be able to work better ineither Real-DRAW PRO or Adobe Photoshop.

Image on left: A Real-DRAW PRO project exported entirely intoAdobe Photoshop with all objects in separate layers.

The layers in Photoshop will be named as the Labels of objects and each shadow layer will have thename Shadow, before its label.

Note: Some Real-DRAW PRO specific effects such as lenses will obviously not be present inPhotoshop.

You can also use MegaRender feature to export the project into PSD format in enhanced resolution.

SVG - scalable vector format for web

Real-DRAW PRO can save a vector drawing as an SVG format.

SVG is a vector image format for the web, and all new browsers supporting XML are able to display it.Note though. that SVG is a pure vector format, and supports color fills, outlines and transparency, butother effects such as texture and bitmaps will not show.

The advantage of SVG is that the files are very small, and are XML commands, which is something likeHTML language.

Mega Render

This is an advanced export option, allowing you to export a design in a much larger size than the one itwas designed in. You can find a more thorough description on the next page.

Plugins

You can also use additional formats to the built in ones, and only need to download the plug-ins forthem. On the www.Real-DRAW PRO.com home page there are some plug-ins, and links to other sites.There is also simple SDK available to allow you to develop your own export plug-in.

Background Color

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You can temporarily change the background color of your imageduring export, and this is most useful if you want to try the image on various background colors for theweb. You can also directly change the color of a web style.

Color Correction

Another filter you may want to use is a Color Correction. Here, if enabled you can set the color feel ofthe image - you can make it warmer or colder, etc. This will not change the project image, only theimage you export. The Color Correction settings are saved with the project file.

Resize on Export

You can resize the output image to the required size. If you want to create a small web graphic, it isalways a good idea to design it larger, with many details, and then resize it during export. Note: Sharpenit also, as resizing makes an image softer

There are four algorithms used to resize an image.

The most used are Cubic and Bilinear. The Cubic resizes a sharp image with good quality. The Bilinearuses more antialiasing and the result has smoother details, but is less sharp. You can use the Cubicresizing for line graphics and screen captures and the Bilinear for photography and smoother effects.

Sharpen Image

It is a good idea to sharpen an image if you are down-sizing it so you can produce a small graphic with alot of detail. For JPGs, the sharpening doesn't change the file size too much, but it gives you betteroverall quality, even if you save with a low JPG quality.

You can use low sharpening even if you don't resize the image and in most cases a sharper image looksbetter on the web.

Export Alpha Mask Only

If you want to export only the alpha mask, you can do it by selecting this option. It may be useful forsome authoring packages if you need alpha transparency, or have a program which doesn't supportPNG, with transparency. The Alpha channel, is the information for the overall image transparency.

Using Crop Tool

Note: Normally, if you don't use Crop, Real-DRAW PRO exports the Canvas area, but if you haveobjects outside the canvas then you'll have to resize the canvas.

The easiest way is to use the command Trim Canvas (Ctrl-Q) or Trim Canvas Expanded.

These commands will resize and move the canvas so all the objects are inside the canvas.

Trim Canvas Expanded leaves a small border around the objects and adjusts the size to include thedrop shadows. Trim Canvas trims the canvas as close as possible to the union of all objects.

Often, you might like to export only a part of the screen. It would be painful to always have to resize the

canvas, so Real-DRAW PRO has non-destructive Export Crop feature .

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Click on the Crop Tool icon and click on the canvas, holding the mouse button down while moving. Thesame way you would draw a rectangle.

The Crop tool will create a border and everything inside it will export, and you can always move the cropborders using the two red squares.

If you would like to remove the crop, just drag one side of the crop rectangle, over to the opposite sidecreating a zero crop space and this will remove the crop.

You can also leave the Crop rectangle in place and switch it off with the Crop Tool button. The advantageof this is that the position of the crop rectangle will be saved with the document and you can recall thecrop rectangle at anytime by clicking on the Crop Tool.

And you can also trim canvas by drawing a Crop rectangle and then selecting Crop Canvas from menuObject

Pure Vector Export

You can export the project in Pure Vector format (That means Shapes and Colors only). You havechoice of few common formats:

Pure Vector export is for a special cases when you want to use Real-DRAW PRO tools to create somespecific shape, or combination of objects to be used in other vector software or CAD. None of the Real-DRAW PRO specific effect will be exported - only the shapes and fill color.You have to think about this when you draw your project. Also Combination objects must be convertedto Polynome (Create Single Shape) before export.

Note: The SVG is presented both in normal Export and in Pure Export but it is not the same. InExport as described above will the SVG export also transparencies and outline to match more closelythe project. In Pure Vector Export it will be much more lean - just the fill color and shapes.

14.3 Export To Clipboard

Besides normal Clipboard Functions and the Copy as Bitmap option, the Export to Clipboard is asimilar process to the Export, but the file ends up in Clipboard instead of disk. Before the document issend to windows clipboard you have the option to resize it and sharpen. This is great way for webauthoring or writing manuals where you can work very fast from Real-DRAW PRO to your applicationwithout creating any intermediate files.

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The resize options allows you to select the way you want the image to be resized

Locked aspect ratio:Resize by Percentage - image will be resized by the specified percentageMaximum Width - the image will be resized so its width will be set by specified number and its heightwill be calculatedMaximum Height - the image will be resized so its height will be set by specified number and its widthwill be calculatedMust fit into box - the image will be resized so it never exceeds the specified width and height

Force resize to - it will resize the image without regard of the aspect

Interactive Export CropSimilarly to the Crop for Export you can select only some part of the document that will be sent toClipboard.

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This is done on the document before you use the actual Export. Select the Crop tool and drawrectangle around the area you want to export. Both Export to Bitmap and Export to Clipboard will usethis rectangle as the area to export.You can resize the crop area by the red handles. The Export Cropwill never modify the document itself, it is just a mark to show the area.

You can keep it displayed on the document or switch it off by pressing the crop tool again.

14.4 Mega Render

Real-DRAW allows you to render an image in a larger size than the one that it was designed in. This isuseful if you need to create an image for a large or special print.

MegaRender can save files in JPG or PNG format or in Adobe PhotoShop PSD format. In case of PSDformat, each object and its shadow, will be in separate layers so you can continue to work on them inPhotoshop if you need to.See more about exporting in PSD in Export .

Mega Render will internally resize each vector object, and recursively, all the objects inside packages.Apply all the effects and lights, and then mix everything together to create the output image (in case ofJPG or PNG as output). This may take some time but you will be provided with progress details.

First you must specify the size magnification factor 2x, 3x...of the original size.

Resize Texture Fills, Transparency Textures and NPR.

You have the option of deciding if you also want to resize the Texture fills applied in Color & Texture, theTransparency Textures applied in Transparency settings, or if you want to use the original.

The Texture Fills and the Transparent Textures use the same idea.

Use Original

This will resize the object, and all the effects and bitmap layers, but will leave the Texture Fills at their

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original size. This is great if you want to keep the number of details on objects, since textures are oftenused to add a natural feel to an object. For example, for posters or large printouts. The image will besimilar to the original, but much larger, and with more small details.

Resize for all objects.

This will resize the texture along with the object. The texture will then appear as it did on the originalimage, but of course it will be in scale.This setting will produce an image which is very similar to the original in scale and this should be used ifyou need an image with better resolution, but don't necessarily want to print or use it in larger size.

Note: By resizing the texture fills, you obviously don't bring more texture detail to the object becausetextures are just bitmaps. A solution may be to you use the texture in the original image, but scaleddown. See more in the Adjusting Textures .

Resize for objects (Label):Here is a compromise - only the Objects listed below will have the Texture fill (or transparency) resized.

This is great if you generally want to have much smaller details, but some of the textures create animportant part of the message so you want to resize them.

Example:

1. We used this simple, but quite nice and colorful 3D lights example.

This design in its original size is 400 x300 pixels; almost twice as large asshown here. This of course looks great onthe web or a screen but isn't very good forprinting on a poster

This is a small part from the image, resized3 times.

We will use this part for comparison later.

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2. For the second image we opened the Mega Render and set the Magnification Factor to 3 x, which willgave us a 1200 x 900 output image.

And for the first Image we left the default setting on Use original in the resizing Texture Fills. As wedidn't use any transparent textures we didn't need to concern ourselves with the Transparent Texturessetting.

.

Above is how our image looked after aminute or so of rendering. It is 3 timesbigger than the original, with 1200 x 900pixels.

You can already see that the image is abit different, so let's look at it moreclosely.

Above is a closer look atthe image (actually it is a

1:1)

3. For the third image we used the Resize for all objects setting in Mega Render.

Above is the result.If you look at the original image and thisone, they are pretty much alike exceptthat the new one has 3 times morepixels in it, although we can't see muchdifference in this small thumbnail.

And above is the detail.

If you compare theoriginal detail, and thisone you should see thedifference.

4. Let's compare the images we produced.

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The original No resized textures And resized textures

While the third image produces the same overall impression as the original, we felt that our printoutwould benefit from the small details found on the letters of the second image. However we also liked thelarge chessboard in the original. The third image.

So here it comes. The time to use the third option Resize for objects (Label).

4. If you would like to resize textures only on the background object, open the Layer list to see whatLabel this object has. It has a Round-Rect label. Now you can change it while in layer list or leave it. Asthere is no other object with this name it's OK to leave it.(In the sample 3dlights.rdw the Round-Rect is renamed to Chess rect)

Simply type the label of the object on the list below our third option. One object per line, if you needmore objects. Note that this is case sensitive and must be the same as on the Layer list.

Note: If the object has a Surface Skin then the Skin will be resized together with the texture.However in some cases if you need to resize only the texture and leave the Surface Skin in its originalsize simply specify -s after the object label.

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The large chess board is the background,and the text has a nice fine texture,although it's not very visible in this smallthumbnail.

Detail, Mega Render 3x

Detail, Mega Render 10x (4000 x 3000)This took around 6 minutes.

Detail, Mega Render 3x, formore natural feel we addeda Marble Surface Skin to

the Round-Rect and renderit in original size. (-s option)

Note: Resizing the design will not only multiply the size of the objects, but will also make any smallerrors and misalignments more visible. For example, two small objects that looked aligned on an originalimage may show themselves to be quite misaligned, when rendered to a larger size.

The rendering may take several minutes depending on the complexity, lights used, packages and theMagnification Factor. And remember that all packages will be recursively rendered as well. Bevels,Lights and Shadows slow down the rendering most.

Generally you will be able to produce very large smooth images with lots of details, but remember that alarge amount of memory is needed to create and maintain buffers while rendering.

Because these images are computer generated, they are usually smooth. That means there is no needto go to the extreme sizes. The image would look good in print even in smaller sizes.

14.5 Layers

The layers are an essential part of object oriented graphics programs. Even if you don't use them theyare there! Each object you put on the canvas is on its own layer and you can see it because top objectscover the bottom ones.

You can move the objects between layers, bringing the object back or forward, moving the object to thebottom or to the very top.

You can access these options from menu Object-Arrange or more conveniently with the tool bar at thebottom of Real-DRAW PRO.

Or with the buttons on the Layer dialog itself

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The first two arrows select the previous or next object. Great if you can't select an object from behindanother one.

The other 4 buttons that move the object in layers are· On the top of all· On the bottom· Move one layer up· Move one layer down

However, you can do much more with the layers. To display the Layers window Menu: View-Layers

Below is a view of the Layers window.

The Layers window is resizable so you can adjust its size tothe screen.

Each object on a layer is represented by two icons and a Labelwith an optional type icon.

The Object on the top is also the top most object on thecanvas.

HideThe first Eye icon shows or hides the object. This is great if you want to make a few changes, and youwant to export the image with or without these changes.

LockThe second Lock icon locks or unlocks an object on the screen. Locked objects can't be selected andmoved by a mouse. The mouse see no object and it will select any object that is behind it. This is greatif you don't want to accidentally select any objects that you are not going to edit.

However, you can still select a locked object in the Layers window and move it by arrow keys pixel bypixel, or change its properties.

Tip: You can lock a particular direction of movement, or lock the movement and still allow the objectto be selectable - see the Sizes bar for more information.

GroupIf you group a number of objects with the Group command, (Ctrl-G) all of the objects in the group will belocked but, grouped objects can still be selected with the mouse, and moved or resized. A group willappear in the Layers as a single item called Group with the plus sign.

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You can expand the Group by clicking on the Plus sign. Then you will see listed all items in the groupand you can select any item inside the group to change its parameters or move it without Un-Grouping.

You can also delete object from group this way or even Un-Group just the item from group. To Un-Groupjust the item from group you need to doubleclick on the item and from the Label Object remove thecheckbox on Lock.

You can move the Group (if it is collapsed) or multiple Selections, only on the top or bottom of all otherobjects, although you can still move a single object in between objects of the group or any other objects.

If you apply parameters to the collapsed group then (simillar to selection) each object will inherit the newparameters. That is if you apply for example drop shadow to the group or selection, each object will haveits own drop shadow. If you need to add a parameter globally to the group of some objects but not toeach object separately then Packaging is the way.

LabelIf you double-click on the item in the Layers window, you will be able to change the Label. This way youcan keep track of the objects in large documents.

The optional type bitmap (on the very right) will be assigned depending on the label.

Please note the difference between Transparency and Layer Opacity. Layer opacity is a global opacitysetting on the whole object and unlike the Transparency it doesn't change the bevel.

Layer Opacity

Layer Opacity works like a global opacity on the object layer. Moving the slider to the left will make thelayer more transparent.

Blend Modes

The Blend Mode is how an object is combined with the objects, (background) underneath it. You choosethe Blend Modes from the combo box on top of the transparency bar, and then adjust the transparencywith the Transparency Mix.

Blending modes are useful tools in experienced hands for image/object composing.

Normal

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A default and most used blend mode. It simply blends the objects with atransparency set by the Transparency Mix.

Multiply

Multiplies the background and the object color. The resulting color is always darker.Multiplying any color with black produces black. Multiplying any color with whiteleaves the color unchanged. The effect is similar to looking at two overlapping slides.

Difference

Subtracts either the Object color from the background or the background color fromthe Object color, depending on which is brighter.

Screen

Multiplies the inverse of the objects and background. The resulting color is alwayslighter than the background or object. Screening with black leaves the colorunchanged. Screening with white produces white. The effect is similar to projectingtwo slides on the same screen.

Overlay

Combines Multiply and Screen modes - depending on the background color. Thebackground color is not replaced, but is mixed with the Object color.

Darken

The resulting color is background or Object - whichever is darker.

Lighten

The resulting color is background or Object - whichever is lighter.

Hard Light

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Multiplies or screens the colors, depending on the Object color. That's the differencefrom Overlay.If the Object color is lighter than 50% gray, the image is lightened (screened). If theObject color is darker than 50% gray, the image is darkened (multiplied).

Soft Light

Darkens or lightens the colors, depending on the Object color. The effect is similar toshining a diffused light on the image.If the Object color is lighter than 50% gray, the image is lightened and if the Objectcolor is darker than 50% gray, the image is darkened.

If Lighter

The Object Color will appear on the areas where the Object is lighter than theBackground.

If Darker

The Object will appear on the areas where the Object is darker than the background .

Negative

Creates a negative of the background.

Tint

The object is more visible on a dark background than on bright background. It willdisappear on white!

Colorize

It will take the color from the object but will use the intensity from the background.

You may use the Blend Modes for composing bitmaps or objects, and when creating new interestingartistic effects.

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Don't worry if you don't understand the blending modes. You can skip the science and simply try variousoptions.

Tip: Try to use bevels with various modes!

14.6 Styles

Styles, is the description of an object; it's color, texture, and the effects it uses. Style doesn't store theinformation about the shape of an object.

The idea behind Styles is to load only the attributes to an already defined shape. The usage is simple.

Select an object, and then click on the Style you want to apply.

All Styles are grouped in the Quick Style floating bar under the Tabs. You can switch the bar on/off onmenu: View - Quick Style.

There are basically 2 type of Styles, depending on which parameters they change.· Styles replacing only one logical attributes like color, bevel, shadow etc.· Styles replacing all attributes

The first Style type is in the groups called, Color & Texture, Transparency, Bevel, Shadows & Effect and3D Lights.

If you apply a Style from the Tab called Color & Texture, then only texture and color related attributeswill be applied. If the object has other attributes, such as bevel, then these will not be changed.Similarly, if you apply a Style from the Tab called Bevel, the object will change only the bevel attributes.

The second type of Styles are in the Libraries A, B, and User group. If you apply Styles from these libraries, all the attributes will be changed, and the object will keep onlyits shape.

All these three libraries behave the same way.

You can store your own Styles in any of the libraries. Logically, if you store a Style in the bevel Library,only the bevel attribute will be stored.

To store the whole style, use Library A, B or User.

Add Style to Library

To add an object to the Styles list, you first have to have the Styles list visible, and then select the Tabthat you want to store the style under. Then select the object whose style you want to save, and click on the Styles list with the RIGHT mousebutton, and select Add to Styles, and the style will be added to the end of the list.or

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Drag the object from the canvas to the Style list.

You can also use Replace, or Remove a particular Style.

Note: The Styles are separate *.sty files in the directory Styles. Do not delete any style manuallyby deleting the file, unless you want to remove all the styles, but instead, remove the style by clickingon the Styles list with the Right mouse button, and select Remove Style.

How to copy Style from one object to another

If you don't want to create a permanent Style, then use the simple Paste Attribute command.

Copy an object with the Style that you like, to the clipboard and select Edit-Copy (Ctrl+C), and thenselect another object, and use Edit-Paste Attributes (Ctrl+Shift+V).

The last Tab in the Quick Styles is the Object library .

14.7 Object Library

While Styles stores only the attributes of one object, the Object Library can store the whole object orselection of objects. Think of the object library as your Clip Art. You can have any type of object in thelibrary, text, path, bitmap, Package, Brush drawing, or any selection of objects.

To view Object list go to menu: View and select Quick Style. Now select the Object Tab from theQuick Style Bar. You will see a list of groups in the combo box (Arrows, Balloons etc.). Each groupcould have hundreds of clip art images.

Get Object(s) from Library

To get an object from the library, just drag and drop a desired clip from the Object Library to the Canvas.You can also get the object by double-clicking on it.

Add Object(s) to Library

To store an object or selection of objects from canvas to the Object Library, first select the object(s),and then click on the Object library with the right mouse button, and select Add to Library. Similarly,you can replace an existing object in the library with the one on canvas

or

Drag Object or selection from your canvas to the Object Library - the new item will be added at the end.

Note: If you add a Group of objects to the Object Library then the objects will automatically begrouped. To Ungroup, a group, press Ctrl-U

To create a new Object library

If you want to ever create a new object library you have to first exit Real-DRAW PRO.Find the Real-DRAW PRO home directory and go to subdirectory Objects. Create a new folder with thename you want to call the library. The next time you load Real-DRAW PRO you will see it in the librarycombo box and it will be empty.

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Feel free to store any of the objects you think may be useful in the future.

14.8 Printing

Real-DRAW PRO isn't exactly a tool where the printout is the major output format. However we preparedfew types of printing:

Draft printing

This will print in the same resolution as you design it. Unless your document is larger size the printouton full page will be rather blocky. You will notice it especially in text objects. However the printing will befast.

Set Draft SizeIn this dialog you can specify the actual size of the document to be printed - for example full page or fitinto predefined size.

You can use one of 3 options:· Stretch to fit - will stretch the image to fit on the sheet of paper. If you need to change paper

orientation then you need to go to Print Setup (File menu)· Set DPI of image - Here you can set what resolution the image should be printed at. Note that in

draft printing the DPI would be fairly low. If you enter higher DPI, the result image will shrink in size- in draft printing the only way to create higher DPI is to lower the printed size.

· Fit to Format - here you specify into what size it should fit. If you specify for example 6x4 thenthe image will be resized so it all proportionally fits into that specified size.

Fine printing

This option uses the MegaRender feature to prepare a higher resolution print. You can specify yourdesired DPI and the MegaRender will prepare corresponding image. This will clearly improve the qualityof output, however it will take much longer.

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Desired DPI - here you can specify the desired DPI of your image. A value of around 300 isrecommended for most printers. While many inkjet printers report much higher DPI, please note that DPIof image and DPI of printer are two different things. A printer creates image dithering, using dots. Eachdot in Inkjets can have just a few colors created from 3-4 inks while each dot of digital image can havemillions of color shades. That's why true color image resolution around 300 is enough for most of theinkjet printers.

MegaRender - The size and DPI of an image will change the needed MegaRender magnification. Thetwo values, DPI and MegaRender magnification work together - changing one of them will adjust theother one.

Exact DPI - because MegaRender will resize integer steps, the actual (exact) DPI printed may not beexactly as requested, but will be a be bit higher or lower. You don't have to worry about that since thedeviation is small.

Stretch to fit and Fit into Size - here you set the size of the image on paper. Changing the size willadjust the MegaRender magnification. For example, for larger print size the magnification must be alsobe higher if the DPI should stay constant.

Textures - Use Original DPI or Resample to desired DPIThe image will look exactly as on screen if you choose Resample to desired DPI. In that case eachtexture will be re-sampled to meet the desired DPI. This is the default setting.

If the textures have just a secondary role in your image (for example a grain) you might try Use OriginalDPI. The textures will be not re-sampled, but will stay at their original resolution, and the desired DPI willbe met by repeating the texture. That means you will get many small textural details in your printedimage. In the case of grain this would look good as you'll get very fine grain texture on your printout.

Repeat Last - this button will appear next to the Print button if you previously printed in the session. Iffor example you need another copy of the same image or just to print a smaller size, adjust theproperties, and use this button. The software will not go into the time consuming MegaRender but willprint what was rendered last time.

With Fine print you can produce high quality output, but again this takes a considerable rendering time.

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14.9 Web Roll-over button

Overview

The Web/Multimedia Button (previously called Multimedia Extension) is a means for creating multi-facedbuttons for web pages, multimedia authoring programs, or other purposes.

By multi-faced buttons, we mean a button that has two or three states:

Normal , Over and DownThese buttons are positioned one on top of another.

A. The Web pages typically use the Normal and Over Frame as Roll-Over element. Real-Draw allowsyou not only design these elements but also export as fully functional web page.

B. Multimedia authoring tools, such as Multimedia Builder, use all these images to show interactivity onthe multimedia presentation.

In this chapter we will explore the possibilities to create Web Page with roll-over buttons. Next chapterwill be more about Multimedia applications.

Real-DRAW can not only create the web graphics and elements but it allows you to export the projectsas a whole functional web page using HTML Slicer and roll-overs.

Basics

Working with WEB/Multimedia Button is very easy. Basically you just tell Real-DRAW which object youwould like to have as buttons and Real-DRAW will add Over and/or Down Frame to them, which will beinitially copy of the object. Now you can switch between these frames and edit the object for particularframe.

Enable Buttons

To work with the WEB/Multimedia Button you have to open its window first. Menu: View-Multimedia

Extension or the button

Each object on the canvas can have the extensions enabled, and if you click on any object, you will seethat it only has the Normal state selected.

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To enable the WEB/Multimedia Button for aselected object you have to select one of thefollowing options:

The Over Frame or the Down frame check-box. For WEB pages the Over frame is enoughfor creating roll-over. For Multimedia in mostcases you would like to select both - creating a3-state button.

The selected item tells you in which state youare currently editing. Looking at the image onthe left you can see that we are editing with theOver Frame selected.

How to change state for editing

To change which state (frame) you are editing just click on the particular item.

Frame Positions

The frames can have different positions - you may want to move the pushed frame of the button a fewpixels down and to the left to simulate the pushing action. However normally if you move the object inany Frame all frames are moved together. If you want to offset the Over or Down Frame from theother frames move it with holding CTRL key.*

* This is a change from 2.x version

How to Keep two and more Objects Together in one Button?

Many times you need more than one object to create each button on your design. Imagine, that just asimple Square with text already has 2 objects.

How do you tell Real-Draw that these objects belong to one button?

This is actually very easy - using Packages

Because Packages behave virtually the same way as single objects, you can also create a Over andDown frame for them.

Each frame will also have its own independent set of data!

How to Switch All Objects

These are helper buttons and switch all multi-frame objects to the appropriate state.

Simply click on appropriate eye button to switch all objects in document to this state.

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In the next Chapter we will design a web page in Real-DRAW

14.10 Designing Web Page

In previous Chapter we learned how to use WEB/Multimedia Button, now we will use this knowledge tocreate fully working web page.

By multi-faced buttons, we mean a button that has two or three states: Normal , Over and DownThese buttons are positioned one on top of another.

Lets Design some Web Page

Button Look

We will start with creating one button, we decided to go with a Pill-shaped modern buttons.

We create simple Rounded Rectangle shape, Add Linear Color Fill (from Light green on Topto dark green on bottom), apply some Smooth Bevel and Add one Point Light shining from theTop.

To make it nicer (and also to show how to have buttons with more objects) we create anothersmaller Rounded Rectangle, this time white. Now we used a Feather from the Bevel properties andlinear transparency from top to bottom. This create a nice shine on the top of our button and make itmuch more Pill-like. Now add drop shadow to the main Green shape and we have decent button.

Select both objects and press Create Package

This will create a Package of our button.

Add Over Frame

We have the basic look, but still only Normal frame.

Open WEB/Multimedia Button properties, select the Button package.

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Now click on the check box in the Over Frame row. This will create the Over frame and select it ready for

editing Now, double click on the package to open it. Change the Color Fill from light green-dark green to lightred-dark red.

Close Package to get back to document.

Now switch to the Normal Frame, this should show the button in green. Switching to Over Frame willshow it in red.

That is, we have our first button!

Note: We don't have to take care of Down frame because roll-over will use only Over Frame.

Next chapter will teach you how to export it using HTML Slicer.

14.11 HTML Slicer

Menu: Files-HTML Slicer

HTML Slicer is the most important tool to create Web Pages.

If you look on most professional web pages you will notice that they consist of a large number ofelements rather than one large image. Each element on the page is stored in a separate file. The HTMLlanguage doesn't allow for precision positioning of elements. However designers use a HTML table wherethey are able position elements in table cells positioned where they require. Therefore we call the job ofcreating such table HTML slicing - we slice the big image into a slices of various sizes which will beplaced into HTML table and will be reconstructed by browser to appear as a whole image.

Why do image slicing at all?· We can make some graphic elements an individual links. "Slicing" approach is much better and

more preferred than using image maps. (Better compatibility, accessibility, editability)· We can create rollover effect for some navigational elements. For example a button on a bar will

highlight when user moves cursor over it.· We can leave some parts of the big image and add a HTML Text instead. Important for frequent

page changes.· We can leave some parts of the image out, where the background of the page will show through.

This saves downloading time.

Image slicing is one of the major tool of professional web designers. Without good slicer it is very hard tocreate such HTML table by hand.

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Real-Draw has advanced HTML slicer - it will let you to slice the graphics exactly the way you requireand it will optimize all other slices the way a professional web designer will do. In fact you will besurprised that you can draw cells of any size and exactly where you desire without any big limitations.

To open HTML Slicer click on the Slicer button, or choose HTML Slicer from menu Files.

HTML Slicer will open resizable window where you can draw slices (Cells) and adjust the cell propertiessuch as HTML link or Rollover effect. You can also specify and enter a text or HTML commands to aslice.

Note:We will call each slice a Cell because ultimately the slices will be placed in a HTML tablecells. Each cell is a rectangular in shape and can have any dimensions. Cells obviously can't overlapand they will form a HTML table when exporting.

You don't have to draw all cells, only the cells in which you are interested in. The rest will beautomatically added. There are therefore two types of Cells:

· Active Cell. This is a cell we are interested in and this is also the cell we draw on top of ourimage. Active cell are shaded in green and they can have other properties such as HTML link,alternative text, rollover, HTML Text or HTML language. The Active cell will stay the way we drawit, HTML Slicer is not allowed to touch them. Active cell can be either Navigational, Empty or aHTML Text.o Navigational Link - this is a cell which has Link set to internet page such as http://www.

mediachance.com or a local page such as index.html. User can click on such cell to navigate toother pages or sites

o Empty Link - this is a cell which has empty Link. This cell will be exported as non-active and it

will behave the same way as a Passive Cell (see below), except the HTML slicer will preserve itssize.

o HTML Text - this is a cell which has HTML text or HTML commands instead of the image. The

image can be alternatively exported as a background of the cell.· Passive Cell. This is a cell we are not primary interested in. It is a part of the image but it has no

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link and it can't be navigational. We, therefore don't really care about its size. Passive cells arecreated automatically as you draw Active Cells to comply with HTML standard in creating tables -and they are optimized for size encapsulating as big area as they can. Passive Cells are showntransparent and HTML Slicer is allowed to change them when it needs to as you drawing orresizing Active Cells.

To draw an Active Cell select the Slice Tool (second button from left) in the Tools.

Note: This tool will be selected by default when you open the HTML Slicer.

Here we started to draw a cell around our object. As soon as we finish drawing our Active Cell all otherPassive cells will be calculated and fitted. On the right image you can see our Active Cell (green) and 4other automatically generated passive Cells.

Note: Images for both Active and passive Cells are exported. Only cell having HTML Text will notexport image by default - but we can ask HTML slicer to do it.

As you will be progressing with drawing other cells the Passive Cells change accordingly but all Activecells wild hold their size and position. In our example we can just finish right here because we wereinterested only to create one cell around our object.However if we need different configuration of cells, not the one which was done automatically, we canjust draw another Active Cell - even if we don't plan to add any link to it.

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We created a bigger area on the right of our object by drawing another Active Cell. However we don't planto add any link to it - we can use the created place to add text or other HTML components.

Enter text and HTML language

The Active Cell can be either a Link (Navigational or Empty) or a HTML Text. To switch the cell toHTML Text, simply select a cell and click HTML Text Option.

After we switch the cell to HTML Text we can directly type text in the cell.

We can also type any HTML Tags (including Java script) or simply copy whole web page source. Here isthe result in Browser:

Use Slice Image as the Cell Background

When we set the cell to be HTML Text the image behind will be not exported. Instead a web pagebackground will show through. This is preferred method, it is always best to read the text on a cleansolid color page. However we can let HTML Slicer to export also the

For this example we added a textured rectangle on the full background.(We simply used GenetX texture

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and apply Interactive HSL Color Correction.)On the Image 1 we didn't let HTML Slicer to export the Image for the cell background. The Image 2 hasexported the slice image behind the text.

Note: The Cell background option in HTML table is supported in all recent browsers. It has beensupported from version 3.0 of Internet Explorer and from 4.01 of Netscape Navigator.Anyway, remember there are still some number of people who use old browsers - in such cases thebackground of the cell will not appear (as in Image 1 above)Also not many people like to read text over textured background, especially if you use heavy texture.

All HTML Slicer data such as Slice positions, links or HTML Text will be also stored in with project file.

Embedded Images in the HTML Text (Advanced)

This optional feature require some knowledge of HTML syntax language.Since the HTML Text allows you to insert also any HTML Tags you may want to insert an images inyour text. While the normal way would be to open the document in your web editor such as AdobeGoLive or Macromedia Dreamweaver and do the additional formatting there, you can still insert theimages from the Real-Draw document directly into the HTML text by yourself. Such additional image isnot part of the sliced table, but completely different image which supplements the text. This very pageyou are reading could be such example, there is a text and images to accompany the text.

Normally if you write HTML commands by hand (not many people do) for image you enter something likethis:

<img src="images/myimage.jpg">

This of course require that such image myimage.jpg already exists. However you can let Real-Drawgenerate such images. It is very simple. Draw any object or Package in document and name it %IMGSRCxxxx (Double click on the Object in Layers to enter new name)

Note: The % is indeed a part of the new name!

The xxxx means you can additional suffix such as number to distinguish between various supplementaryimages.Then (assuming you named your image or Package %IMGSRC1) in your HTML Text you simply write:

<img src="%IMGSRC1">

This will export the supplementary image and replace the text during export for the real link.

Here is the modified example. We created a simple Package of two objects. We created it quite large,then Package it and result resized to desired size.

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We created a simple Packageof two objects.

Now open Layers anddouble click on thePackage

This will open the Object labelDialog. Enter the %IMGSRC1 there

Now we can move the object anywhere where it is not visible in normal table. We moved it to the rightpart of the image as on the picture above because there is going to be the HTML Text cell which willcover it. However you can move it completely outside of the canvas if you want. The idea is to have itsomewhere in the document so the export can reach it, but the position is not important.

Now in the HTML Slicer write in the HTML Text cell your text and where you need the image type <imgsrc="%IMGSRC1">

Note: If you want the next text after image to be on next line not following the image simply add<br> after the image command. This is how we did it in our example.

Here is the result in the browser:

That means you canhave all graphics in oneReal-DRAW documentwhich may help you incases when you oftenchange the graphics.

Because editing HTML by hand isn't most enjoyable experience, you may actually format the whole textcell in your web editor and then copy the source to the cell. This will give you a compact version of yourpage without need to all the time go to your web editor if you change just the graphics.

Tools

There are just three tools from left to right:

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Selection Tool - for selecting Active cells in order to add a HTML link or change other parameters.Slicer Tool - the tool for drawing cells, it can be also used to select existing cell.Resize Tool - resize the cell

Show Details in image

This option button ( abc) will let you to show details for each cell right on the image.The details are:Cell dimension on the top side (205x77)Cell Span on the bottom edge (2,1). The cell span is a setting for HTML tables.

Show Slices in document.

Back in document we can show the slices as guides. This will show only the Active cells.

Advanced Settings

Default JPG Quality -any new cell will havethis quality set asdefault.

Enhance SamplingQuality - makes theimages more sharp -especially Red colorswhich often looks jaggedin JPG files. Images a rebit bigger, but it is worth.

Use Sub-Folder forImages - you can letcreate image in anysubfolder - or directly inthe root of the web pagedocument.

Set Cell AlignmentTop-Left - default HTMLtable has verticallycentered alignment ofcells. This may not begood if you plan to addtext or images and youwould need to changethat - this setting willtake care of that.

Export also OnClickstate (Down Frame).

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This will export thatframe from buttons evenif it is not used inrollovers. You may wantto use the graphic forother purposes (forexample as a defaultimage in some pages)

14.12 Slicing Page, Rollover

Continue with our Example

Since we learned how to use slicer lets continue with our Web page tutorial. We will create two types ofrollovers - one by creating a Web Button object, the other one directly in HTML Slicer.

Last time we successfully created pill-shaped button

Now let's create whole page. We will add few elements and copy 3 times our button.

You may notice that we didn't add any text to our button. We did this so we can reuse the button.We can of course add the text inside the package for each frame, which will take longer to change it oras here we will just put text on the top of the Package, not inside it. This way we don't have to worryabout replacing the text in packages for each frame and the effect is still good.

Trick: The text adding on top of Package will obviously not change, just the image of button behind -this may be OK for now.If you, however would like to change also the text, here is a trick: You don't have to put the text into thePackage - you can just simply add Over frame to the text while it is still sitting on the top of the button,then change it accordingly!The text and the button package will run in sync, just try switching All frames (the Eye buttons):

Here it is: We didn't add the text inside Package, instead we add it on top of it and make it also a buttonby adding Over frame.

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Now if we know all this, lets design the page, this is what we come up with - very simple Experimentalpage.

Only the 3 buttons are WEB Button objects, all the rest is just graphics.

Start Slicing

Open the HTML Slicer and with the Slicer Tool draw rectangle around our first button.

Continue with remaining buttons the same way.

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Now we have created Active Cell over each of the three buttons.

On the graphics we added another text in the right corner for contact. While it isn't a button we can stillof course add link to it. First draw Active Cell around the text:

Now this will add too much unnecessary slicing on top. To keep design simple and to create spacewhere we can type text in our HTML editor we added also another Active Cell (but we don't plan to adany link to it) on top of the buttons. Let's do the same on the bottom of buttons and look on the slicing -a large area got opened on the right of the buttons - a great space to later add text of the page.

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We can achieve similar results by drawing a large Active Cell on the area where we plan to have the webpage text.

Anyway, lets; see the whole slicing design, for better illustration see also the line drawing on right.

This is how our page will be sliced-up. Pretty good.

Add Links, Rollover using Buttons

When you select any Active Cell, look at the top where are the cell properties:

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Please note that for cells created over buttons the Rollover is already automatically set to Use ButtonObject.

Now add the HTML link, it could be the whole http://www.somethig.com/somepage.html or simplymypage.htm if it is page on the site.

Now add Alternative text which will be shown as tooltip in IE.

You can also set different JPG Quality for each cell, or simply leave it default.

Rollover using Effects

Let's do the same for the Contact cell, which has not been created as a button just a simple text

We can simply add link and that's enough for the cell to be navigational but we can add Rollover effecteven if the objects behind the cells are not buttons.We simply choose one of the Effect as Rollover. Here we used Negative effect.

Real-Draw will create automatically the rollover with the negative effect for us. Many of them works verynicely on the page. This saves a lot of time for not-so-important elements.

Export our first Web page

It is simple Click Export and choose location. The result will pop-up in your default browser:

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Let's examine it - all three buttons works, also the Contact Cell works - on mouse Over it will do negativeeffect:

Add Text

Now we can continue by adding text to the large area. One way would be simply stop here and open thecreated page in a html editor of your choice (Dreamweaver, Adobe GoLive etc.) and continue there byremoving the large image occupying the cell and type text.

But we can also add a text directly in HTML Slicer!

For that we have to first draw rectangle with Slicer Tool over the empty area where the text should be

This will create new Active Cell. Now we will switch the cell to the HTML Text option:

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This will enable us to write (or copy and paste as I did from some page of this manual) the text directlyinto that cell

Here you go, now export it!

You don't have to enter just plain text but whole HTML page. Imagine you already designed and approveda text with images and links in your favorite HTML editor. You can just copy the source and paste it allto the cell. The page would be then embedded in the result without need to switch between Real-Drawand your web editor.

Here we enter a whole part of another HTML page source code.

Broken HTML Tables

This above is all fine - if we type text which fits into the cell. If we add more text than the cell can holdour graphics table will be broken. If you ever designed web page you may already have seen thisproblem with your HTML tables. The bigger cell will stretch all the other cells:

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This would not be problem if you have graphics only on top. But for such cases with surroundinggraphics, this is a serious problem.

Not very pleasant but still easy to fix.

Extending Height of the page

The problem above is not hard to fix. Open the design in Real-Draw. Now before you go to HTML Slicerextend little bit the height of the canvas. (Menu Project- Size and Color)

Just little so we have some white space on the bottom without any graphics.

Now, go back to HTML Slicer and draw another cells in a new row which has no graphics behind it. It isrecommended that none of the cells in the new row have any graphics - so we created two new Cells -one 40x36 to close the graphics above and the 134x36. (Even if we don't do the 40x36 it will work, but itis nicer this way)

So we created a new Cells on the bottom of page which has no graphics. Now look at the Extend LastRow check box, enable it and type long height - 1000 pixels or so.

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This will extend the last row into that height (the underlaying graphics will not be resized - just the cellsin HTML table) This will create enough room in the last row so the above graphics will be not moved.

Now you are able to type much longer text without breaking the design.

Note: Even if we don't add the white Cells on the bottom of our design, it will still work as far as wehave Set Cell Alignment Top-Left in Advanced properties. This will extend the last row but align thegraphics on that row to the top of the long cells. It works, but adding white cells is a safer and moreclean approach.

Show Slices in design.

We can show the slices in design by checking this button on the main toolbar. This will put rectangleson places of Active Cells:

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14.13 Multimedia Button

Application for Multimedia Builder

Multimedia authoring tools, such as Multimedia Builder, use the Multi-Faces images (Buttons) to showinteractivity on the multimedia presentation. The Normal button is displayed during inactivity. If a userhovers over the button with the mouse, then the second Over image will be displayed telling the userthat he is over an Active button. If the user presses the button then the third Down image will than bedisplayed. Such kinds of objects are very common for all authoring systems.

Real-DRAW can export the projects as a MBD or MEF project for Multimedia Builder or as a number ofseparate graphic images plus a Script . Script is a very simple but powerful language allowing you tocreate a file in XML, HTML, Java Script or any other text based language.

Some of the basic principles are same as described in previous chapter for WEB buttons.

To Export use menu Files: MM & Script Export

Example - Create interactive page with cool button

1. This is that we designed for a multimedia interface. Note the handle on the right which we created asa button, so that when user clicks on the handle it will move down.

2. Now lets carefully select all the objects we need in the handle and don't forget the shadow. When it'sselected, click the Create package button. We can now double click on the new package to open it, tosee if all objects we want are inside, and they're if not, you can easily pick one from the document, andsimply copy it to the opened package view.

3. Let's close the Package for now. Next, when in the main document, select the Package, and in theWeb/Multimedia Button window Check, the Over and Down Frame options.

4. We already have Down Frame selected, so let's work on it. Double-click on it to open the Package onthis frame. Then re-arrange the objects so the handle is in the down position. Rotate the shadow to get

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to the right position as well and close the package.

5. We still have Over frame which you may or may not edit. Let's say we just want the red handle toglow little if the user moves their mouse over it. Select the Over frame and the handle should change toits previous position, displaying a Over frame, which is a copy of the Normal frame by default.

6. Open the Package on this frame by double clicking. Change the color of the red sphere to orange ordo whatever else you think may be good.

For example move it to the middle.

7. We're done. Check all of the Normal, Over, and Down buttons to see if the transition is OK and go tomenu: File - Web/Multimedia Export.Leave the Multimedia Builder as the source and export it. Now open the Multimedia Builder and load thefile to test it. You should have a great working handle.

Note The Handle is created in a Bitmap Button in MMB, and that the button is set to, Locked indesigner, so that you can't accidentally move it with the mouse.

Create Bitmap Object - Solo mode

Sometimes you don't really want to have a button but you want to have a separate object in yourmultimedia anyway. Maybe you just want to create a special image that will pop-up in your Multimediaapplications because of some script or other action. Like a warning or window. But you don't want tohave these images active and you don't need any other states. The Solo Mode Lock is just for that. Itdisables the Over and Down frame, and you are working with the object, just as with any other normalobject. However, the Solo Mode Lock is recognized during the Multimedia Export and creates a separateobject.

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To activate Solo Mode Lock you must not have Over nor Down Frame checked. Then a small padlockappear next to Normal Frame. Click on it and the Solo Mode is Locked. (You will not be able to add Overor Down Frame on Locked Objects)

For Multimedia Builder (MMB) users

This creates a separate Bitmap object with an alpha transparency, that could be freely hidden or movedwithin your MMB application.

Let's continue with our example.

8. We decided that as a user moves the handle, the strange device should show some life. We wantedthe middle sphere to glow like a bulb.

9. Select the Sphere and Copy it to clipboard (CTRL+C) then Paste it back (CTRL+V). This will create anew copy on the top of the first sphere. We don't want to create a bitmap button this time but only tocreate a simple Bitmap object in MMB and still keep the original as a background which is why we needa copy.

The original will stay dull, and because it will have no Multimedia Extension properties set, it will beexported to the background. The new copy should be exported as a single object, so select the sphereand click Create Bitmap Object on the Multimedia Extension window. Now add a new Point light to thesphere, which will create an interesting glow. We also need to set the Inset intensity lower, to give amore raised look.

10. Now export to Multimedia Builder again. In Multimedia Builder load, the new project and you'll seethat we have an additional object - Bitmap.

Hide it, because we want to show it if the user clicks on the handle. Open the handle properties bydouble clicking on the Button 0 in the Object list. Click the second button in Actions - Interaction withother objects- and then in the "Mouse click on the object trigger", select Show as Action1 and selectBitmap1 as Object.

That's it, now test it.

If a user clicks on the handle, the large sphere will glow and look like a light bulb.

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The Multimedia function is not that hard to master, but you must be careful and always know whichframe you are editing.

It can definitely be a great helper, because you can design an entire graphics interface for a multimediaprogram, and in the case of our Multimedia Builder, you will get a working project directly.

Export an MMB file

This is very easy. The export will create a single Multimedia Builder file (*mbd) and you can simply loadit into our Multimedia Builder program.

The 3-state object will be exported as a Bitmap button. Because its surroundings depend on the positionagainst the background, the position of the button will be locked in MMB and this is so you can't selectit and drag it with a mouse by accident. The rest of the non-interactive objects will be exported as abackground. If the Solo Mode was used on any object (Create Bitmap Object), it will create a movableBitmap object with an alpha transparency.

Meta Export in MEF file

When you've worked with export to MMB long enough, you will realize one weakness. When you loadyour design to MMB, and then make changes, add script or do additional inter-activity, you maysuddenly need to change a few things on the original design. While you can make the changes in Real-DRAW, you won't be able to update the project in MMB without loosing what you did there, or without alarge amount of copy and paste, there and back, to save your scripts.

Here comes MEF to save you.

The MEF has simple requirements.· That all interactive objects you made in Real-DRAW have a unique Label - it will even make them

unique for you.· That you load these objects into MMB with the same Labels.· That you do not change any of these labels in Real-DRAW, nor MMB. Unless you change them to

be both the same.

Basically if you keep the Labels of the same interactive object in Real-Draw and MMB the same, you arefine.The MEF update will also create a new object if you add a new object in Real-Draw and update theones that remain.MEF utilize also the new Alpha Button in Multimedia Builder - which creates truly transparent buttonwithout boundary problems.

What are the usual steps?· Create a design in Real-DRAW, the same was as described above.

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· Export it into the WEB/MM Export as a Meta Export MEF file.· Create a new project in MMB and make it the same size as the design in Real-DRAW or continue

in an already existing project. Note that the MEF Import in MMB is much like an object Import in apage, so it doesn't change the project size, nor the objects that you already have there.

· Load MEF using File-MEF Import-Load MEF.· Work on the MMB project as you want· Create changes in the design in Real-DRAW, and export it again to MEF.· In the MMB use File-MEF Import-Update from MEF.· The old objects will be updated, and if you created a new one, it will be added.· Repeat as many times as you need to.

Note 1: Even if you first exported your project in Real-DRAW as an . mbd file, you can later use theMEF update option. Simply create MEF from the Real-DRAW file remembering that the first time it willchange Labels in Real-DRAW. Then make the labels in MMB the same as labels of the interactiveobjects you now see in the Real-DRAW project. You are ready to Update from MEF.

Note 2: The first time you use the MEF Export it will cause all the Labels of interactive objects to beunique - by adding numbers. It will add a number to every interactive object; even if you just have one.

Export to other authoring systemsSimply use: Web/Multimedia Script using JPG files in the MM & Script Export and follow next pages.

14.14 Multimedia Extension

Menu: Files - MM & Script Export

Script, is a very powerful feature of WEB/Multimedia Export, allowing you to create text baseddocuments, such as: HTML, XML, Java Script, CSS, and more.

It is up to you to decide what you want to do with the images. You can load them into your multimediaauthoring tool, create a web page or Java script buttons etc. Or anything else that you might want.

Instead of doing these operations manually you can use the Script Generator to create the files for you.

The Script window appears after you select a MM & Script Export export type other than MultimediaBuilder. For example, Web/Multimedia using JPG files. First you will be prompted to save the Main file -the background.

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All other file names will be derived from this name by adding a number, and one of the letters a,b,ccharacterizing the frame, Normal, Over or Down.

The Web/Multimedia Script Generator window has 3 major areas:· A Script list. Here all the scripts stored in the directory, Script will appear. Script is a readable text

format with the extension *.mms· An edit box, where you specify the name of an output file. This file will be saved in the same

directory as you saved the main background image. You also have a Test button, and by pressingit, the output file will be run in a similar way as if you had double clicked on it in Explorer. Forexample an html file will launch a web browser, a text file or notepad etc.

· A Script/Output windows. In this Script you have the source of the script as loaded from the ScriptList. In the Output window, you will see the generated output file - the file you want to create withthe script.

The Script is based on a few tags, each with some connection to the exported image, such as filename,size, position etc. These tags will be replaced on the output image with the data behind the tag.

Script Tags

All script tags are uppercase. The tag must be exactly in the format as described.

<#EXTENSION>This tag is followed by an extension that will be used to create the filename of an output file. This tagshould be in the comment area of the script, before <#SCRIPTSTART> tag.

Example: <#EXTENSION>html

<#SCRIPTSTART>This tag divides the script into the comment area and the main script. You have to use this tag even ifyou don't put anything in the comment area.

<#BGWIDTH> and <#BGHEIGHT>The dimension tags of the background (main) image. This is the same as a document size.

<#BGFILE>The filename of the background image - that's the file you specify before entering the Script Generator.

<#LOOP> <#END>You can have more than one object to be exported, so it is necessary to specify the part of the scriptwhich will be used for all objects. You do it with the loop/end pair. Everything inside this pair will begenerated for each object.You can use the loop/end pair more than once in the script, however they can'tbe nested one inside the other.

<#OBJECTNUM>A number of the object and the counts start from 1.

<#OBJECT>A name of the object - it is the same as a filename but without the extension.

<#LABEL>A label of the object - this is what you enter if you double click on the object in the Layer Bar.

<#FILE0> Filename of a Normal Frame Image of the Object.

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<#FILE1>Filename of a Over Frame Image of the Object.

<#FILE2>Filename of a Down Frame Image of the Object.

<#LEFT>A left position of the object relative to the background left/top corner.

<#TOP>A top position of the object relative to the background left/top corner.

<#RIGHT>A right position of the object relative to the background left/top corner.

<#BOTTOM>A bottom position of the object relative to the background left/top corner.

<#WIDTH>The width of the object, obviously width = right-left.

<#HEIGHT>The Height of the object. Height = bottom - top. (Because the 0,0 is in left to corner)

Everything in between script, is the language you use for your file, for example for Java Script it is a JavaScript...

Managing Scripts

You can easily create a new script by simply selecting any of the existing scripts and Pressing the Newbutton. You will have to type a new name into the box, near the New button, and then press Create.

This will create a new copy of an existing script.

If you adjust the script, you can save it back to the file, but make sure that you're editing the Script, andnot the Output!.

Just press the Save button.

Delete, will delete the script from the list.

When you modify the Script window, the Output window will be updated. You can also modify the outputwindow directly, but this won't be translated back into the Script window. It could be used however if youwanted to make something quick, in to special case.

All scripts are located in the Script directory.

See next chapter for some real-life examples.

14.15 Script Example

Nothing shows the idea of a script better than a few samples. "A picture speaks a thousand words!".

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and the second button is the sphere in the middle.

Because our goal was to show this image on a web page, we set the Over frame to be different, and leftthe Down frame the same as it was - Normal. A bit different from the other example for MultimediaBuilder.

Note: You have all these scripts already typed, and listed in the Script List.

A Simple Generic Text file listing images and sizes

Now this is actually a normal txt file so it is a kind of dummy file, but it lists most of the script tags andsizes, so you can use it as a reference.

A simple generic text info

Shows images, sizes and the position

<#EXTENSION>txt

<#SCRIPTSTART>

Project dimensions:

<#BGWIDTH> x <#BGHEIGHT>

Background Image:

<#BGFILE>

<#LOOP>

<#OBJECTNUM>. <#OBJECT>

Label: <#LABEL>

Normal Image = <#FILE0>

Over Image = <#FILE1>

Down Image = <#FILE2>

-----------------------------------------------------------

----

Position = <#LEFT>,<#TOP>

Size = <#WIDTH>x<#HEIGHT>

************************************************

<#END>

Created by Real-DRAW

First it lists the project dimensions, which is the same as size as the background image and then liststhe name of the background image.

Now notice the part between <#LOOP> and <#END>:

First, it shows the number of the object, and the object's name. Then the next line shows the Label, anda list of the button's 3 frames, which are the filenames.

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And lastly it lists the position, and the size of the particular button.

This is in between the LOOP/END tags and would be repeated for any other buttons you have.

We have 2

When you press the Test button the following will appear in the notepad:

A list of all files with the preview on html document

We now want to display the files one after another (the files belonging to one object in a row) in a webpage used as a simple reference. We will use HTML language with tables, but for this you'll need abasic knowledge of html.

A simple script lists all objects on the web page in a table.

<#EXTENSION>htm

<#SCRIPTSTART>

<html>

<head>

<meta http-equiv="content-type" content="text/html;charset=iso-8859-1">

<meta name="generator" content="Real-DRAW">

<title>Image List</title>

</head>

<body bgcolor="#ffffff">

<table border="1" cellpadding="0" cellspacing="2">

<tr>

<td bgcolor="#ffe782">Background (<#BGWIDTH> x <#BGHEIGHT>)</td>

</tr>

<tr>

<td valign="top" align="center"><img src="<#BGFILE>" border="0"></td>

</tr>

<tr>

<td valign="top" align="center"><a href="<#BGFILE>"><#BGFILE></a></td>

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</tr>

</table>

<p></p>

<#LOOP>

<table border="1" cellpadding="2" cellspacing="2">

<tr>

<td colspan="3" bgcolor="#b2edfd">Object <#OBJECTNUM> <#WIDTH>x<#HEIGHT>)

</td>

</tr>

<tr>

<td valign="top" align="center"><img src="<#FILE0>" border="0"></td>

<td valign="top" align="center"><img src="<#FILE1>" border="0"></td>

<td valign="top" align="center"><img src="<#FILE2>" border="0"></td>

</tr>

<tr>

<td valign="top" align="center"><a href="<#FILE0>"><#FILE0></a></td>

<td valign="top" align="center"><a href="<#FILE1>"><#FILE1></a></td>

<td valign="top" align="center"><a href="<#FILE2>"><#FILE2></a></td>

</tr>

</table>

<p></p>

<#END>

</body>

</html>

This may look complicated, but that's because of the HTML tags. Basically it uses the same idea asin the previous example.

Press the test button, and you should seesomething like the image on the left.

Simple! But it already shows some images!

Web Page Rollover with JAVA Script

Now it gets a bit more complicated by using a Java Script. What we have below is a normal way ofcreating rollovers in Java Script.But what is more interesting is that we actually used the LOOP/END pair twice (in blue). One is

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when we list the images for the Java variables and the second time is when we actually put theimages in place.

Note: This example simply ignores the background.

Simple Rollover script

<#EXTENSION>htm

<#SCRIPTSTART>

<SCRIPT LANGUAGE="JavaScript">

<!-- Hide Script

//-------------------------------------------------------------------

-

if (document.images)

{

<#LOOP>

<#OBJECT>_normal = new Image();

<#OBJECT>_normal.src = "<#FILE0>";

<#OBJECT>_over = new Image();

<#OBJECT>_over.src = "<#FILE1>";

<#OBJECT>_click = new Image();

<#OBJECT>_click.src = "<#FILE2>";

<#END>

}

function switchimages(sName,nEvent) {

if (document.images)

{

if (nEvent == 0) sVal = 'normal';

else if (nEvent == 1) sVal = 'over';

else if (nEvent == 2) sVal = 'click';

else return;

sObj = eval(sName + '_' + sVal + ".src");

if (document.images[sName])

document.images[sName].src = sObj;

}

}

// End of JavaScript -->

</SCRIPT>

<#LOOP>

<A HREF="" onMouseOver=" switchimages('<#OBJECT>',1); return true"

onMouseOut=" switchimages('<#OBJECT>',0); return true" onClick="

switchimages('<#OBJECT>',2); return true"><IMG SRC="<#FILE0>"

WIDTH="<#WIDTH>" HEIGHT="<#HEIGHT>" NAME="<#OBJECT>" ALT=""

BORDER="0"></A>

<#END>

What is the result of this?

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The script generated a page that shows both (2) buttonsand when we move cursor above them they change theframe.

For this reason we also adjusted the Over frame.

With such a script, the highlighted frame is the one thatgets most usage..

Note that we didn't add a URL, in the HREF html tag.That means that by clicking on the buttons we'd gonowhere. You can simply put the name here of anotherpage, or a full URL.

The complete interactive page using CSS

By modifying the script above and using Cascade Style Sheet (CSS) we will be able to display the wholedocument.

This is a script using CSS which exports the whole design

You can set a URL link for each button by adding it to the label in a layer list.

<#EXTENSION>html

<#SCRIPTSTART>

<html>

<head>

<meta name="generator" content="Real-DRAW">

<title>CSS Export</title>

<style media="screen" type="text/css"><!--

#layer0 { position: absolute; top: 0px; left: 0px; width: <#BGWIDTH>px; height:

<#BGFILE>px; visibility: visible }

<#LOOP>

#layer<#OBJECTNUM> { position: absolute; top: <#TOP>px; left: <#LEFT>px; width:

<#WIDTH>px; height: <#HEIGHT>px; visibility: visible }

<#END>

--></style>

</head>

<SCRIPT LANGUAGE="JavaScript">

<!-- Hide Script

if (document.images)

{

<#LOOP>

<#OBJECT>_normal = new Image();

<#OBJECT>_normal.src = "<#FILE0>";

<#OBJECT>_over = new Image();

<#OBJECT>_over.src = "<#FILE1>";

<#OBJECT>_click = new Image();

<#OBJECT>_click.src = "<#FILE2>";

<#END>

}

function switchimages(sName,nEvent) {

if (document.images)

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{

if (nEvent == 0) sVal = 'normal';

else if (nEvent == 1) sVal = 'over';

else if (nEvent == 2) sVal = 'click';

else return;

sObj = eval(sName + '_' + sVal + ".src");

if (document.images[sName])

document.images[sName].src = sObj;

}

}

// End of JavaScript -->

</SCRIPT>

<body>

<span id="layer0"><img src="<#BGFILE>" border="0">

<#LOOP>

<span id="layer<#OBJECTNUM>">

<a href="<#LABEL>" onMouseOver=" switchimages('<#OBJECT>',1); return true"

onMouseOut=" switchimages('<#OBJECT>',0); return true" onClick=" switchimages

('<#OBJECT>',2); return true"><IMG SRC="<#FILE0>" WIDTH="<#WIDTH>"

HEIGHT="<#HEIGHT>" NAME="<#OBJECT>" ALT="" BORDER="0"></a>

</span>

<#END>

</span>

</body>

</html>

Note: We used LOOP/END three times here, once for creating the styles, then for listing the files,and the last time for adding the styles to web layers.

Now, this is cool, we actually made a fully interactive webpage with Real-DRAW.Any professional web page designer would be very proud!Note: The <#LABEL> command that we use as a html link onthe button.You can enter a link, for example http://www.real-draw.com inthe label field of the package, by double-clicking on it in theLayer Bar, which will allow us to go to that web page just byclicking on the handle.

This of course is not the end of it. You can use Script Generator for many other things.What about a script that will create a skin for some mp3 player?

14.16 Screen Capture

One of the little-Big helpers in Real-DRAW PRO is the ability to capture a screen region or window.

There are three buttons on the bottom tool bar for screen capture.

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The first is the switch to hide the Real-DRAW PRO window before capturing.

The second is Region Capture. A second after you press this button, a red cross hair will appear onthe screen allowing you to select a region that you would like to capture. After you select that regionthe image will be directly transferred to Real-DRAW PRO.

The third is a Window capture. This option allows you to capture the window or windows controlwithout having to select a region manually with the cross-hair. As you move around your screen you willsee that a window under the cursor will be highlighted. In Windows terminology the window, is anydefined object, for example a button or a list box. Even a simple window, many times consists of themain window with the header text, and a client window which lies on top of it.

With the Window capture you can precisely capture windows and objects. Great for making a tutorial.

Note: For Multi-Monitor users: The Screen Capture works in Monitor 1. If you need Multi-Monitorenabled screen capture use for example our UltraSnap.

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15 Appendix

Copy/Paste CommandsYou have various copy and paste commands on the Edit menu.

Most often you would useCopy (CTRL + C) - copy any object or selection of object to the clipboardPaste (CTRL + V) - paste object, or selection of object and any normal bitmap that is on the clipboard

You also have a few other special case copy/paste commands:

Copy as Bitmap - copy object or selection of objects and render it as a bitmap on the clipboard. Withthis command you can simply copy objects and paste them inside any other application. The Bitmapwill be on the solid background color (if visible).

Paste as Bitmap - when you copy any Real-DRAW PRO object onto the clipboard you can paste it asa Bitmap Object back into Real-DRAW PRO. The Bitmap Object will have a transparent background (itwill behave as a normal object) . You can use a similar method to do the same - select objects, andfrom menu Bitmap-Create select New Bitmap from selected Objects

The difference between Copy as Bitmap/Paste and Copy/Paste as Bitmap is that in the first case itwill copy-paste a bitmap with a solid background and in the second case you will get a Bitmap Objectwith a transparent background.

Paste Inside - this allows you to paste a bitmap or objects inside another object bitmap layer.

Paste Attributes - Paste only attributes of the object on the clipboard to the selected object. Copy anobject with the Style you like onto the clipboard Copy (Ctrl+C), then select another object and usePaste Attributes (Ctrl+Shift+V).

Bitmap - Create

New Bitmap from selected ObjectsCreate a new Bitmap Object from Selected Objects - the objects will stay as they are, a new BitmapObject will be created. Similar to Copy - Paste as Bitmap.

Bitmap Shadow from Selected ObjectsCreate a new Bitmap Object Shadow from selected object and place it behind the object. In case youneed shadow from many objects - this will help you to to do it the simplest way.

New Document SnapshotThis will create a Bitmap snapshot of a whole document and place it in a new document view. That is,you will see a new document created with just one Bitmap Object.

Project - Production Notes

You can enter a few production notes about the project such as Name, Copyright, version number, dateand free text.

However you have also the possibility of protecting the project with few hidden commands typed into the(c) field.

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PWD:pass

After you load the project with the PWD: keyword in (c) field it will ask you to enter a password - whichis the rest of the text in the (c) field after the double-colon.

For example if you enter PWD:mmbthen the password is mmb and you will be asked for it if such project is loaded.Note: This isn't done as any strong protection, it is there in case you want to keep original project safeagainst changes made by mistake.

LOCK:If this keyword is present in the (c) field, then anytime you click Save or Save as you will be remindedthat this file is Locked and you must confirm the overwriting.

You can combine both:

LOCK:PWD:oscar

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16 Thank You

I would like to thank you, for trying, and for using this software (and also for reading this documentation).

I must also thank you for sharing with me the vision of a "new type of illustration software" and I hopeyou will have a lot of fun using it, at least as much fun as I had making it.

The software combines both - simplicity and power. I worked many hours just on the user interface - tomake it easy to use with a set of specially designed controls.

But it doesn't stop here, there is much more in Real-DRAW PRO than could be described in thismanual.

Because of its flexibility you could create something new everyday, almost as if a Real-DRAW PRO hada life of its own.

In fact it has, check the About box :-)

Many thanks to these people who helped me with this help file in their spare time:

Lyn MonreanMichael Redbourn

Thanks for your support.

Roman VoskaReal-DRAW PRO author

March-July 2001, Canada

http://www.mediachance.com

(c) Mediachance 2001-2008

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Index- 3 -3D Ball 92

3D Extrude 92

3D Lights 116

- A -Add Object 200

Add Point to Path 35

Adding an Island 35

Aligned Texture 124

Ambient Intensity 116

Apply Style 166

Apply Style to Packages 166

Apply the Style 168

Arrow 32

- B -Backlight 92

Barrel 92

Bevel 92

Bevel On Transparency 92

Bitmap 22

Bitmap Editing 124

Bitmap Effects 87

Bitmap objects 58

Blend Modes 194

Blueprint 182

Blurrr 92

BOOLEAN 36

Break Apart 30, 36

Break Path 30

Brush Mode 125

Brush Strength 42

Brushes 125

Bump Map 116

Burst 88

- C -Character map 48

Clone from Blueprint 133, 182

Clone from bottom layer 133

Clone Packages 157

Cloning 133

Clorize 112

Close Path 30

Color & Texture 78

Color Correction 112

Color Memory 84

Color shift 84

Color Space 84

Color Transparency 72

Color Wash 78

Color/Texture Mix 78

Combine Objects 36

Combine Paint Object 36

Combined object 22

Compact Packages 160

Convert to-Polynome 132

Copy a Package 152

Create a Bitmap Object from package 152

Create Final Group 44

Create one Final Package 44

Create package 149

Create Single Shape 36

Crop 155

Cropping Bitmaps 68

Curve tool 33

- D -Defocus Lens 97

Diffuse Reflectivity 116

Distant light 116

Document Size 27

DPI 201

Draft printing 201

Draft with External Reference 60

- E -Edit a Package 149

Edit Transparency 88

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Editing Bitmap 127

Editing Brushes 137

Editing paths 30

Edit-Paste Attributes 199

Effect 97

Elevation 116

Entering by numbers 78

Envelope 48

EXPORT 184

Export to Clipboard 188

- F -F-B 78

Fine printing 201

fine-tuning 167

Fit To Path 51

- G -Gaussian Blur 87

Gaussian Sharpen 87

GenetX 84, 85

Global NPR Style 164

Glyph 48

Grid 25

Group 194

Guidelines 25

- H -HSL 112

HTML Slicer 206

- I -Image Hose 137

Import Font 48

Import Vector 44

Increase Curves 51

Intensity Transparency 72

Inverse masking 70

- L -Layer Opacity 194

Layers 194

Lens Flare 97

Lenses 97

Lights 116

Limited Poly Nodes 30

Line Tool 33

Liquid Bitmap 159

Liquid Package 159

Liquid Shape 42

Load Blueprint 182

Lock 194

- M -Make a Texture 145

Mask From Object 70

Masking 70

Mega Render 190

MM Extension 226

Motion Linear 92

Multimedia Button 222

- N -New Paint Object 132

NPR Quick Adjust 167

NPR style 164

NPR Style Settings 168

- O -Object Library 200

Object Properties 78

Object Selector 22

Onion Skin 182

Open and Closed path 30

Outline 109

- P -Package Document Color 148

Package Document size 150

Packages 148

Paint on Edge 136

Painting on a Vector Object 128

Paint-On Transparency 128

Paste as Bitmap 238

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Paste Inside 68, 238

Path 22

Perspective Transformation 145, 158

Point Light 116

Polynome 22

Position Lock 25

Preserve Transparency Edit 132

Printing 201

Production Notes 238

Push-Back 102

- R -Real Size 48

Re-Crop 60, 65

Rectangle 31

REF file 60

Reload a Package 152

Reload Font List 48

Remove Bitmap Layer 128

Reset All 70

Reset to Original Size 48

Resize & Crop 58

Resize Bitmap Layer to Object 136

Resize for all objects 190

Resize Texture Fills 190

Resized Edit 136

Roll-over 203

Rotation 82

Rounded Rectangle 31

Rubber Stamp 133

Rulers 25

- S -Screen Capture 234

SCRIPT 226

Shadows 97

Shape 33

sharpen 68

Simplify Complex Objects 36

Size and Color 27

Size and Position 25

Slicing Page 213

Snapshot From the Object 136

Spacing 137

Sparkle 97

Specular Reflectivity 116

Spot Light 116

Standard Shapes 31

Star/Polygon 31

Styles 199

Surface Skin 110

- T -Text 22

Text Object 48

Texture 78

Texture Size 82

Trace Shape 74

Transparency 88

Transparency Masking 71

Transparency of Bitmap 127

Tweak 87

- U -Un-Combine 36

UNION 36

Unpack Package 152

- V -VectorBit 8

- W -Warp to Bevel 110

web page 205

Window capture 234

- X -XOR 36

Notes

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