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get the results you want otherwise.
Make a layer more transparent if you want to reduce the effect of any
blend mode, producing a more subtle result.
For a speckly, spray-painted look, try Dissolve mode and also make the
layer partly transparent.

Using a blend mode on a group may or may not work, depending on what
layers are in it; having a group with mixed raster and vector layers will
almost certainly reject the attempt. If you™re trying to blend a group and it™s
not “taking,” try removing layers one by one from the group until it works.

Creating and Using Adjustment Layers
An adjustment layer is sort of like a perfect facial makeup. It doesn™t cover
anything up; rather, it magically changes the appearance of underlying layers.
Changes include brightness or contrast, color, and other effects.

Many of these effects you can create in other ways ” with commands on the
Colors menu, for example. In fact, the dialog boxes for adjustment layers are
very much like those for commands on the Colors menu, both of which we
cover with one set of instructions in Chapter 7.

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So, why use an adjustment layer rather than a command on the Colors menu?
Here are a few good reasons:

Adjustment layers can affect the entire, combined, multilayer image (if
it™s placed on top of all other layers). Most commands on the Colors
menu, on the other hand, affect only the active layer.
Adjustment layers are useful when you™re using different layers to com-
bine two images. One image may have lower contrast than the other, for
example. You can put a contrast-adjustment layer above one image and
put the second image above that adjustment layer so that it remains
An adjustment layer lets you make changes that are later easily
reversible. You can simply delete the layer or change its settings if you
later find that the adjustment is wrong. Otherwise, you need to counter
your earlier adjustment ” a trickier job than undoing or changing it.
You can paint the layer to apply the effect in different strengths in differ-
ent places! This process is admittedly a bit mind-boggling, but if you can
imagine being able to paint brightness (rather than a color), for exam-
ple, you have the idea. Rather than paint, you can copy an image to the
layer, and the brightness of each pixel of the image determines the
strength of the effect.

Adjustment layers change only the appearance of the underlying colors, not
the colors of the layers. For example, when you use an adjustment layer, the
colors that the Dropper tool picks up and displays on the Materials palette
are the real colors ” the color of the paint in the layer, not the apparent
color caused by the adjustment layer.

Creating an adjustment layer
To create an adjustment layer, follow these steps:

1. Open the Layer palette (press the F8 key) if it isn™t already onscreen.
2. On the Layer palette, right-click the name of the layer above which
you want to add the adjustment layer.
3. Choose Layers➪New Adjustment Layers.
4. Choose the type of adjustment layer you want from the menu that
(See the following section for information about choosing adjustment
types.) The Layer Properties dialog box appears.

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5. Click the Adjustment tab, near the top of that dialog box.
The tab shows various sliders, and other adjustments appear, depending
on your choice of layer type.
6. Make your adjustments and click OK.
We describe how these adjustments work in Chapter 10.

You can delete or move adjustment layers just as you do other layers. See the
section “Working on Layers,” earlier in this chapter, for instructions. To
rename an adjustment layer, double-click its name on the Layer palette; when
the Layer Properties dialog box appears, click the General tab, enter a new
name in the Name field there, and click OK.

To change these adjustments after you create a layer, double-click the layer™s
name on the Layer palette. You find these adjustments on the Adjustments
tab of the Layer Properties dialog box that appears. It™s the same dialog box
that appears when you create a new adjustment layer (refer to Step 5 in the
preceding list).

Choosing the type of adjustment
layer you need
The Paint Shop Pro adjustment layers give you lots of different ways to fiddle
with the color, contrast, and brightness of the underlying layers of your
image. Here are some suggestions for what to use to achieve various results:

To adjust brightness or contrast, use the Brightness/Contrast layer.
The Brightness/Contrast layer affects all three major tonal ranges ”
shadows, highlights, and midtones ” at one time. To independently
adjust any of these three ranges ” to just get darker shadows, for
example ” try a Levels layer.
If shadows, highlights, and midtones aren™t precise enough for your
brightness and contrast adjustment ” you need better contrast only
within specific shadows, for example ” you can adjust brightness or
contrast within any range of tone by using a Curves layer.
For richer/grayer or lighter/darker colors, try a Hue/Saturation layer.
The Hue/Saturation layer also lets you colorize underlying layers (give
them a monochrome tint).
To make a negative image, choose an Invert layer, set the blend mode to
Normal (if it isn™t already), and set the opacity to 100.
To reduce the number of colors, which results in a kind of paint-by-
numbers effect, try a Posterize layer.
To get a truly black-and-white (two colors, no shades of gray) effect,
choose a Levels layer.
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Applying adjustments
to only certain areas
One cool feature of adjustment layers is that you can apply their effects selec-
tively, to certain areas of your image. Paint Shop Pro uses paint on the adjust-
ment layer to accomplish that result.

After you create the adjustment layer, you can, by using black paint, paint out
the areas on that adjustment layer where you don™t want the effect. Apply the
paint to the adjustment layer with any painting tool, such as the Paint Brush
tool. The paint doesn™t show up as black ” only as a masking-out of the
effect. Use gray paint to screen out the effect. (You can also use a texture
while you do this, to create some neat-looking effects.)

You can also paint in an area with white or gray, if that area is painted out.
Notice that black, white, and shades of gray are the only colors the Materials
palette gives you to paint with when you™re working on an adjustment layer.

Using Vector Layers
Most people discover vector layers accidentally. They use the Text, Draw, or
Preset Shapes tools to create vector objects, and Paint Shop Pro automati-
cally (and without telling them) creates a vector layer to contain the vector
objects these tools produce. (We explain the difference between vector and
raster images and layers in the section “Choosing a Layer That™s Just Your
Type,” earlier in this chapter.) See Chapter 12 for more information about
using these tools.

You can also create vector layers intentionally, as we describe in the section
“Creating a New, Blank Layer,” earlier in this chapter. After you create a
vector layer, you can use the Text, Draw, or Preset Shapes tool to add objects
to that layer. You can also copy and paste to move these objects from one
Paint Shop Pro vector layer or image to another.

You can convert a vector layer to a raster layer. The command to choose is
Layers➪Convert to Raster Layer. Converting an image to raster form allows
you to apply any of the raster paint tools to your vector shape to get cool
effects, such as graduated fills or airbrush spraying. The drawback is that
you can then no longer edit the shape by adjusting the lines and points that
make up a vector object. You can™t convert a raster layer to a vector layer.

If you copy the vector layer before converting it, however, you have a backup
copy of it. Simply hide it when it™s not needed.

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As you add vector objects to a vector layer, each object gets its own entry on
the Layer palette. The left side of Figure 11-4 shows the Layer palette with
two layers: the background layer and a vector layer, Vector1. To see each
individual object in the vector layer, click the white box with the + sign to the
left of the vector layer™s icon. That action reveals the individual vector
objects, indented under the layer. (To hide the objects, click that same white
box again, which now holds a “ symbol.)

Figure 11-4:
Clicking the
+ symbol
next to
Vector1 has
objects on
the layer.

Paint Shop Pro has three kinds of vector objects: line objects, text objects,
and groups of objects. Each kind of object has its own icon, as Figure 11-4
demonstrates. Vector1 contains a line object named Rectangle, a line object
named Star 2, and a text object named It™s Some Text. Star 2 is a single, multi-
segment line that is part of the Preset Shapes object library (see Chapter 12).

Having objects listed on the Layer palette lets you select, delete, hide, or
reposition them in the stack, just as you would a layer ” the main difference
is that each object is grouped within a vector layer, just like regular layers are
grouped in layer groups.

Clicking an object on the palette selects it and displays its name in bold type.
(Hold down the Shift key as you click to select multiple objects.) Pressing the
Delete key deletes the selected object. Dragging it moves it up or down in the
stack and enables you to place it over or under other objects. Double-clicking
it reveals one of two things: If it™s a text object, it displays the Text Entry
dialog box; if it™s a shape, it displays the Vector Property dialog box. See
Chapter 12 for more information about managing vector objects.

Merging Layers
Using multiple layers usually makes working with images easier. Sometimes,
however, you would rather have (or need to have) everything on one layer.
For example, you may want to use one of the commands on the Colors menu
on the entire image, but the command works on only a single layer. Or, if you
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try to save your image as something other than a Paint Shop Pro file, Paint
Shop Pro may offer to merge all the layers for you. (Merging can sometimes
be necessary because not many file types support multiple layers. Adobe
Photoshop is the most popular format that supports layers.)

If Paint Shop Pro merges layers when you™re saving a file, it merges layers
only in the file you™re creating on your disk drive. It doesn™t merge the layers
in the image you™re working on in Paint Shop Pro.

Paint Shop Pro gives you two ways to merge layers into one layer. To merge all
the layers (including those whose visibility is switched off), choose Layers➪
Merge➪Merge All. To merge only the visible layers (leaving the hidden ones
as layers), choose Layers➪Merge➪Merge Visible. To merge a group into one
handy layer, choose Layers➪Merge➪Merge Group. Choosing Layers➪Merge➪
Merge Down merges the selected layer with the one underneath it.

What happens when you merge? Nothing visible happens to your image when
you merge. The merged layers, however, become one normal (raster) layer,
named Merged, that you see listed on the Layer palette. Any vector layers
(typically text, lines, or preset shapes) are converted into raster images, so
you can™t edit them any more with the text, drawing, or shape tools. When
adjustment layers are merged, they no longer simply affect the image appear-
ance; rather, they modify the underlying colors.

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Chapter 12
Adding Layers of Text or Shapes
In This Chapter
Not getting lost when you use objects and layers
Vectorizing versus rasterizing
Playing with text
Modifying lines and shapes
Changing colors, fills, and whatnot
Positioning and arranging objects

G iven a paintbrush, most of us would have trouble making nice, neat
text, regular shapes like circles, or even straight lines. We would clamor
for a typewriter, template, ruler, or some other special tool that gives nice
straight edges and shapes.

Clamor not. Paint Shop Pro offers multiple tools for creating such stuff and
one to help you manage the stuff you create. Figure 12-1 shows those tools
as they appear at the bottom of the Tools toolbar.

Figure 12-1:
Six tools to
create text
and shapes,
and one to
move them.

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Unless you tell Paint Shop Pro otherwise, these tools create text, lines, and
shapes in a special vector form that makes them easier to change. Images in
this form are known as vector objects. Unlike the other things you can paint or
otherwise create in Paint Shop Pro, vector objects aren™t a collection of pixels
(colored dots). Instead, they™re shapes that have color, line width, and other
properties. These easily modified shapes can exist only on special vector

So, you ask in businesslike, Donald Trump fashion, “What™s the upshot?”
Here™s the bottom line:

Creating stuff as vector objects: If you use the Paint Shop Pro text, line,
or shape tools in the normal, vector way, your creations are easier to
modify ” but you have to know how to deal with layers and the special
features of vector objects. Refer to Chapter 11 for help with layers, and
we explain vector features in this chapter.
Not creating stuff as vector objects: If you don™t want to bother with
vector layers and special vector object features, you can create text, lines,
and shapes as though they were painted with a brush. This form is called
raster form. If you™re such a dedicated, um, rasterfarian, you must do this:
After you select your tool but before you create the object, go to the Tool
Options palette (press F4 if it™s not visible). For any object other than text
(shapes or lines), click to clear the check mark in the Create As Vector
check box. For text as a raster selection, choose Selection or Floating from
the drop-down Create As menu on the Tool Options palette. Eh, but we
talk about it in the next section. Your choice of raster remains unless you
change it. No problem, mon.

If you need to work on vector objects with raster tools (like the Paint Brush
or Eraser tools), you can convert a vector layer to a raster layer. Choose
Layers➪Convert To Raster Layer. You can™t convert back, however (though
you can use the Undo function if you have done the conversion recently).

Keeping Track of Objects and Layers
Here™s the most important thing to remember about adding text, lines, or
shapes: If you try to add these types of vector objects to a normal, raster
image (such as a digital photograph), Paint Shop Pro automatically, and
quietly, creates a vector layer to hold the new object.

If you want to return to the rest of the image, you have to switch to the
layer on which the image lives. For example, if you add text to a photograph
(which usually appears on the background layer), in order to work on the
image, you need to press F8 to see the Layer palette (if it™s not visible
already) and then select the background layer.

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Antialiasing for smoother edges
Shapes with nice, sharp edges tend to look a bit those steps with a little bit of color, which gives
ragged when those edges run in any direction the illusion of a straighter, if slightly fuzzier,
other than perfectly horizontal or vertical. They edge. To antialias objects, place a check mark in
develop an objectionable staircase look called the Antialias check box on the Tool Options
aliasing. Antialiasing is a process of filling in palette.

To add text, lines, or shapes in a nice, controlled fashion, where you know
exactly what layer every object is on, create or select a vector layer before
you create or paste a vector object. Refer to Chapter 11 for help with creating
and choosing layers. As you put vector objects on a vector layer, each object
is listed separately, indented under the vector layer™s name on the Layer
palette. Click the + sign to the left of the layer™s name to display these objects
individually. From within the Layer palette, you can select, reorder, rename,
or delete objects; refer to the discussion of using vector layers in Chapter 11.

Adding and Editing Text
Text in Paint Shop Pro isn™t just your grandfather™s plain old letters and num-
bers. Oh, my gracious, no. Although you can certainly have plain text in a
straight line, you can also have it filled or outlined with colors and patterns,
bend it around curves, or rotate it into a jaunty angle. It™s truly the cat™s

Creating, placing, and editing text
Text has two parts: an outline, set by the Materials palette™s foreground con-
trols, and a fill, set by the background controls. You can have both or either.

If you already have a vector layer (one that has text, lines, or shapes on it),
you can put your text on that same layer; just choose the layer now on the
Layer palette. Or, you can create a new vector layer on which to put your
text. If your active layer is a raster layer (background, for example), Paint
Shop Pro creates a new vector layer for you in the following steps. If you™re
not familiar with layers, don™t worry about all this layer stuff for now.

Begin with the Materials palette open. Press F6 if you don™t see it, and refer to
Chapter 10 for details about what™s what on that palette.

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Here™s how to create basic text:

1. Click the Text tool (as shown in the margin) on the toolbar.
2. If you want outlined text, do the following:
a. Choose the inside color by right-clicking any color on the Materials
palette. This action sets the background color. (For a more sophisticated
fill material, left-click the Background and Fill Properties box to open a
Material Properties dialog box. For guidance, refer to the section in
Chapter 10 about choosing a color for the very picky.
If you want to have just an outline, leaving the middle of the letters com-
pletely see-through, click the Transparency button under the Background
and Fill Properties box. (It™s the rightmost button, and should have the
international circle-with-a-slash No sign in it.) The box turns gray and con-
tains an international No sign of its own, indicating that the background
color is now set to no color. (If this confuses you, refer to Chapter 10 to
understand these kooky Material boxes.)
b. Choose a foreground color (the outline) by left-clicking the Foreground
and Stroke Properties box. On the Tool Options palette, set the value in
the Stroke Width dialog box to the width of the outline you want, in
pixels. For example, for an outline 4 pixels wide, set it to 4.
3. If you want solid (filled) text (no outline):
a. On the Materials palette, click the transparency button under the
Foreground and Stroke Properties box. (It™s the rightmost of the three
tiny buttons there.) The box turns gray and contains an international No
sign of its own.
b. Choose a background color by left-clicking the Background and Fill
Material box and selecting one from the Materials palette.
In Paint Shop Pro, a material is a combination of a color, pattern, and tex-
ture. It™s just as easy to use gradients and patterns as the foregrounds and
backgrounds of text as it is to use colors, as we show you in Figure 12-2 ”
and it makes things look so much snazzier! Again, refer to Chapter 10 to
unveil mysteries of the Material boxes.
4. Click your image where you want the center of your text.
The text entry dialog box appears, as shown in Figure 12-2. Note that a
preview of your text, as it appears when you click OK, appears on your
image. You can change your choices here by changing what™s in the
Foreground and Background Property boxes.
Figure 12-2 shows how the Tool Options palette controls the width
(and style) of the text outline. If you don™t see the Tool Options palette,
press F4.
5. Choose a font from the Font drop-down menu on the Tool Options

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Figure 12-2:
Have it your
way: text,
with outline
and gradient
fill. Hold the

6. Choose a font size from the Size selection box or manually enter any
other size you want, in points, on the Tool Options palette.
7. Enter your text in the big box labeled Enter Text Here.
The text appears in your chosen font and size. For long, multiline text,
you can press the Enter key to start a new line. If you have multiple lines
of text, decide how you want them aligned (left-justified, centered, or
right-justified) by clicking the appropriate button in the upper-right
corner of the Tool Options palette.
If you know that you will use the same text the next time you use the
Text tool, you can check the Remember Text check box, next to the OK
8. To selectively apply any font style (bold, italic, underlined, or
strikethrough), drag across the text you want styled to highlight it.
Then click the B, I, U, or A (strikethrough) buttons on the Tool Options
palette, just as you would in most word processors.
You can also selectively change the font or size of any text by highlight-
ing the text and then choosing a new font or size.
9. For vector text, remember to choose Vector from the Create As menu
on the Tool Options palette.
If you prefer raster text, choose Selection to create a nonfloating selec-
tion (or Floating to create a floating selection). If you don™t care, use
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10. Click the OK button when you™re done.
While you™re using the text entry dialog box, it displays a continuously
updated preview of your work in the image window.

Your text appears attractively displayed in a rectangular frame that has
squares (handles) around it. This selection frame means that your text object
is selected. You can do several things to the text object now, including move,
resize, rotate, or delete it. See the section “Controlling Your Objects,” later in
this chapter.

You can also edit your text. With the Text tool chosen, double-click directly
on the body (outline or fill) of the text. The cursor turns into a 4-headed
arrow when your cursor is properly positioned; clicking and dragging allows
you to reposition it, whereas double-clicking brings up that darned text entry
dialog box all over again, where you can change the text or its appearance.

You can turn text into shapes, if you like. For example, you may want to alter
the shape, rotation, or other attributes of a text character in a creative way.
Select the text you want to convert and then choose Objects➪Convert Text
to Curves. Then, to make each character an individually selectable, movable,
rotatable object, choose As Character Shapes. If you want the characters to
remain part of a single object, choose As Single Shape.

Bending text to follow a line or shape
Is your theatre company performing The Wizard of Oz? Before you can click
your heels together three times and say “There™s no place like home,” you
can make the text on your advertising posters follow the yellow brick road ”
or any other (vector) shape or line in Paint Shop Pro. Figure 12-3 shows a
before (top) and after (bottom) picture of fitting text to a line.

Here™s how to do your own:

1. Create your (vector) text.
See the preceding two sections for help with text.
2. Create your shape or line.
See the rest of this chapter for help with lines or shapes. Bear in mind
that if a line is created from left to right, text ends up on top of that line.
If a closed shape is created clockwise, text ends up on the inside. In both
instances, the opposite direction gives opposite results.
3. Click the Object Selection tool.

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If you just want to shape the text ” you don™t really want the line (or
shape) itself to appear ” take one additional step before proceeding
to Step 4. The selection frame is still around your shape or line from its
creation, and you have chosen the Object Selection tool. Now, click the
Properties button on the Tool Options palette. In the Properties dialog
box that now appears, click to clear the Visible check box and click OK.
Your chosen shape becomes invisible, and the selection frame remains.
4. Hold down the Shift key and click the text, which places both the line
and text within the selection frame.
The top illustration in Figure 12-3 shows this stage of the game.
5. Choose Objects➪Fit Text to Path.
Zap! Wanda the Good Witch puts your text safely on the yellow brick
road to Oz. The bottom part of Figure 12-3 shows the result of fitting text
to the path.

Don™t use solid-color-filled shapes if you intend for your text to be on the
inside of the shape ” the fill hides your text! A gradient, textured, or pat-
terned fill, however, usually allows your text to be seen.

Figure 12-3:
Bending text
around a
shape ”

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Drawing Lines and Shapes
Paint Shop Pro is a quirky little devil. It makes drawing lines and shapes so
darned easy that it™s not even funny, which allows you to draw point-to-point,
like connect-the-dots, to draw freehand like a crayon, or even a combination
of the two. And, if you want shapes, hoo-boy! You can select stars, diamonds,
and lucky clovers (not really) from a drop-down menu. Simple!

What about adjusting those lines and shapes when you have drawn them?
That™s a bit trickier and involves adjusting things called nodes ” but we walk
you through that process in the next section ” never fear. After all, we™re
professionals: professional dummies.

Setting line and fill color
for lines and shapes
To determine how lines and outlines look, choose a foreground color, style,
or texture (or all of them) on the Color palette before creating the line or
shape. To determine how fills look (unless you™re making a single straight-line
segment, where fill doesn™t apply), choose a background material from the
Background Material box before creating the line or shape. (Remember that a
material is a combination of a color, pattern, or gradient and any textures you
choose to add to it.)

Note that for open shapes (a curvy line, for example), if you use fill, it fills the
area between the starting and ending points of the shape. In many such
cases, you may want to turn off background (fill) material altogether: Click
the Transparent button on the right side, just underneath the Background
Material box.

If you have already created a line or shape and want to change its appearance,
see the section “Changing Colors and Other Properties,” later in this chapter.

Drawing single lines and
connected line segments
To draw a straight (vector) line or a series of connected straight lines, click
the Pen tool on the Tools toolbar and then follow these steps:

1. Choose a foreground color, style, or texture (or all three).
Left-click the Foreground Material box on the Color palette. Refer to
Chapter 3 for more help.

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2. Set the mode to Drawing, as shown in Figure 12-4.
Press F4 to bring up the Tool Options palette if you don™t see it.

Figure 12-4:
The Tool
Knife point-to-point
Options mode using Bezier curves
palette for
the Pen tool;
if it doesn™t
look like
this, drag
the window
Edit Draw Draw
down until
mode lines freehand
you see

3. Click the Draw Lines button from the Tool Options palette, as shown
in Figure 12-4.
4. Also on the Tool Options palette, set the Width value to the width (in
pixels) of the line you want.
All the Paint Shop Pro value boxes offer a nifty way to adjust them: Click
and hold the big down arrow on the right side of the value box and drag
left or right in the slider that appears.
You can also choose a line style (like dashes or barbed wire) for your
line at this time by choosing a style from the Line Style drop-down menu,
also on the Tool Options palette.
5. Enable the Connect Segments check box if you want to play connect-
the-dots: make multiple, connected straight lines.
Clear that check box to make separate lines.
6. Drag or click line end points.
If you want lines drawn at perfect 90-degree or 45-degree angles (perfect
horizontal, vertical, or diagonal lines), hold down the Shift key before
you drag or click, and Paint Shop Pro snaps your lines to the nine com-
pass points.

To move individual line segments, or move the points where line segments
connect, enable the Show Modes check box. Your line appears with square
dots (handles) around the perimeter. Drag the dots to move them. For more
flexibility in changing lines, see “Picking at Your Nodes,” later in this chapter.

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With all vector shapes, click the Apply button on the Tools toolbar after each
shape if you want that shape to be an independent object. Otherwise, objects
are all linked together even if they appear separate.

Drawing freehand lines or shapes
Freehand lines are basically any old scribble you want to make (or almost
so). Here™s how to scribble in high-technology land. Click the Pen tool on
the Tool toolbar, choose your color (together with any textures, patterns,
or gradients) from the material boxes, and then follow these steps:

1. On the Materials palette (press F6 if it™s not already visible), click the
Transparent button in the Background and Fill Properties box.
This step ensures that whatever shape you draw doesn™t get filled in like
a closed blob. If you want a filled shape, choose a material instead.
2. On the Tool Options palette (if the palette isn™t onscreen, press F4),
click the Draw Freehand button.
3. Also on the Tool Options palette, set the Width value to the width (in
pixels) of the line you want; also, set the line style and other options.
4. Drag any old way on your image.
5. If you want to turn your line into a shape (with a closed line), click the
Close Selected Open Contours button on the Tool Options palette
when you™re done.
6. If you want to start a new, unrelated line elsewhere on the canvas,
click Apply on the Tool Options palette. Otherwise, your lines are
visually separate but linked together.

Paint Shop Pro has this adorable habit of keeping everything you draw with
the Pen tool joined. Even if you draw a squiggle in one corner, start a new
contour, and then draw a loop on the other side of the screen, Paint Shop Pro
thinks of them as one big shape ” even if they™re not connected. If you want
to draw two entirely separate shapes so that you can apply separate fills and
strokes to them, make sure that you click the Apply button between shapes.

If you enable the Show Modes check box,, your line appears with square dots
(handles) around the perimeter. Drag any handle around the outside of the
rectangle to resize or reorient your line.

The line is a clever, automatically constructed, connect-the-dots line. If you
want to drag a line that follows your tight turns more smoothly, you need
dots that are closer together. For a line more obviously made up of line

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segments that connect dots, the dots need to be farther apart. On the Tool
Options palette, you can set that closeness by adjusting the Curve Tracking
value: smaller for closer dots and larger for more widely spaced dots.

Making curved lines
To make curved lines, you lay down a series of points where Paint Shop Pro
makes the line bend. Click the Pen tool on the Tools toolbar and ensure that
the Tool Options palette is visible (if it™s not, press F4).

On the Tool Options palette, click the Draw Point-to-Point Bezier Curve
button (which looks like a lumpy S on its side). To make just a single curve,
make sure that the Connect Segments check box is clear; to make curve after
curve, enable that check box.

You click to lay down the points, but don™t just click when you place your
dots ” click where you want the dot, and then keep your mouse button
down and drag a little. As you drag, you pull out an arrow by its tip. Your line
no longer bends sharply at the dot. Here™s how that arrow works for you:

As you drag the arrow longer, the curve gets broader at the dot. If you
make the arrow shorter again, the curve gets sharper at the dot.
When the arrow appears, you can release the mouse button and make
your adjustments by dragging either end of the arrow.
If you drag either end of the arrow around the dot, your line rotates to
stay parallel to the arrow where the line and arrow pass through the dot.

Figure 12-5 shows the effect of dragging the tip of the arrow. On the left, a
curved line is created and the arrow appears for the latest dot. On the right,
the arrow™s tip is being extended and dragged upward a bit. You can see how
the curve broadens and changes angle to follow the arrow™s direction.

Figure 12-5:
Making a
curved line.
On the right,
dragging the
arrow™s tip
to adjust
the curve.

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Adding shapes
Need a square? Need a star? The Paint Shop Pro shapes tool group lets you
choose from a wide range of predetermined shapes, including circles, rectan-
gles, stars, triangles, and cool icons.

In the margin appears the one tool, Preset Shapes, that can deliver any shape
known to Paint Shop Pro. The Preset Shapes tool lives with three of its more
specialized cousins in the tool group that is third from the bottom on the
Tools toolbar (refer to Figure 12-1). These other cousins (Rectangle, Ellipse,
and Symmetrical Shape) are really just convenient shortcuts to access com-
monly used shapes. Use them if you like ” they work similarly. We discuss
only Preset Shapes here.

Preset shapes are normally vector objects (as are text, lines, and arbitrary
shapes). If you prefer them as raster (normal, bitmap) objects, make sure
that the Vector option box is cleared on the Tool Options palette. If you
create any vector object, it must be on a vector layer. If your active layer isn™t
a vector layer, Paint Shop Pro adds a vector layer for you and places the
shape there.

If you like, you can edit the shapes of preset shapes after you have placed
them in your image. Follow the instructions in the section “Picking at Your
Nodes,” later in this chapter.

When you™re done adding preset shapes and you want to work on other parts
of the image, you may need to change to another layer ” probably the back-
ground layer. Otherwise, refer to Chapter 11 for the skinny.

Dragging a shape
The Preset Shapes tool can deliver a shape from its library of shapes in any
size, proportion, color, gradient, pattern, or texture you like! Like text and
drawn shapes in Paint Shop Pro, preset shapes have two parts: the outline
and the fill. Follow these steps:

1. Click the Preset Shapes tool on the Tools toolbar.
2. If you want your shape to have an outline, do the following:
On the Materials palette (press F6), click the Foreground and Stroke
Properties box and choose a color from the dialog box that pops up. For
a gradient or patterned outline, switch to the appropriate tab; refer to
Chapter 10 for help on how to set gradients, patterns, or textures.

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On the Tool Options palette, set the value in the Width dialog box to the
width of the outline you want, in pixels. For example, for an outline 4
pixels wide, set it to 4.
If you want to use a styled outline (like arrows or dashes) to surround
your shape rather than a solid line, choose a custom line from the drop-
down Line Style menu, also on the Tool Options palette.
If you want no outline, click the Transparent button on the right side
underneath the Background Material box.
3. Select a fill for your shape.
Click the Background and Fill Properties box and choose a color from
the dialog box that pops up. For a gradient or patterned outline, switch
to the appropriate tab; refer to Chapter 3 for help on how to set gradi-
ents, patterns, or textures.
If you don™t want your shape filled (that is, you want just the outline of a
shape), click the Transparent button on the right side underneath the
Foreground and Stroke Properties box.
4. On the Tool Options palette, click the down arrow next to the Shapes
preview box and choose a shape in the gallery of preset shapes that
The Tool Options palette and its gallery of shapes appear.
5. If you want to use the colors, styles, and textures you chose in Steps 1
and 2, make sure that the Retain Style check box is unchecked on the
Tool Options palette.
Otherwise, if that box is checked, Paint Shop Pro uses the colors, line
width, and other properties of the original shape that is stored in the
shape library.
6. Drag diagonally on your image.
As you drag, your chosen shape appears and expands. (The colors and
other style attributes don™t appear until you release the mouse button.)
If you drag more horizontally than vertically, the shape is flattened.
Likewise, dragging more vertically gives you a skinny shape. Hold down
the Shift key as you click and drag to create a shape with the original
proportions that™s not skinny or fat.
When you release the mouse button, your shape appears fully colored and
filled according to your choices. The shape appears within the usual Paint
Shop Pro object selection frame, which means that you can redimension
the shape by dragging any of the handles (squares) around the edge of
that frame. To rotate your shape, drag the handle at the end of the arm
that sticks out from the center of the frame. A star is born: Figure 12-6
shows the various elements we have discussed in the preceding steps.

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Figure 12-6:
A star is
born, using
the Preset
Shapes tool.
the Retain
Style check
box is
cleared on
the Tool
palette, the
outline and
fill chosen
on the
Handles Click here to rotate.

Picking at Your Nodes
Paint Shop Pro users have an old saying: “You can pick your friends and you
can pick your nodes, but you can™t pick your friend™s nodes.” It™s not true, of
course, but that doesn™t keep users from saying it. You can freely pick, or pick
at, all your nodes ” including your friend™s nodes, if that person gives you a
Paint Shop Pro file with vector lines or shapes in it.

If you want to alter a shape or a line after you have drawn it, you need to get
down and dirty and start changing the nodes. Nodes are the dots that Paint
Shop Pro plays connect-the-dots with to create lines and shapes; you can
move nodes, remove them, or change how the line passes through them.

To start fiddling with nodes, you need to select the Pen tool and click the Edit
Mode button on the Tool Options palette (right under the word Mode).

When you have the Pen tool selected, even if you™re not in Node Edit mode,
enable the Show Nodes check box and you still have node-editing options
available. This redundancy is nice, but makes a fine distinction between Edit
mode and Draw mode generally a little fuzzy to the casual user ” or even to
the writers of Dummies books, for that matter. You can tell that you can edit
nodes if you can see the nodes (tiny squares) along the line. Also, your
cursor turns solid black, and the nodes turn black when you click them.

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To enter Node Edit mode, follow these steps:

1. Select the Pen tool.
2. On the Tool Options palette, click the Edit mode button.

After you™re in Edit mode, you can manipulate your nodes all you want. Here
are some changes you can make:

To select a node for any action (like deleting, dragging, or changing its
type), click it. You know that you can select it when a 4-headed arrow
appears under the cursor; you know that a node is selected when it™s
solid black.
To move a node, drag it. You can move multiple nodes at one time as
long as they™re all selected.
To delete a node, press Delete.
To select several nodes, hold down the Shift key while clicking them.
To select several nodes at one time, make sure that you™re in Node Edit
mode (this action doesn™t work if you™re in Drawing or Knife mode) and
draw a square around the nodes you want to select.
To select all nodes, right-click a node and choose Edit➪Select All from
the context menu that pops up.
To join two line segments that are part of the same object (for example,
if they were created by cutting a line in half with the Pen tool in Knife
mode), select the two ends you want to join by Shift+clicking both of
them and then right-click your image and choose Edit➪Join.

If your vector shape is the only vector layer in your image, you may be able
to select nodes in it, regardless of which layer you™re in ” which is a direct
reversal of everything we have told you in all the other layer sections. (Paint
Shop Pro loves to make us look foolish.) However, if you have more than one
vector layer in an image, you can select nodes from only the vector object
you have selected. For more information on what these layers are, look to
Chapter 11.

Note that a line has direction, based on the order in which you create the
line. The control arrow that appears on a node in Node Edit mode points
in the line™s direction. The word Start or End that appears when you pause
your mouse cursor over end nodes of a line also tells you the direction. A
few things you do may be dependent on direction, such as aligning text to
the line or shape.

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Slicing Alongside Your Nodes
The Pen tool is mightier than the Sword tool ” or would be, if a Sword tool
existed. Ironically, though, Knife mode is a part of the Pen tool, and it™s might-
ier than the rest of the Pen tool, by slicing in half the lines and shapes you
have drawn.

Select Knife mode from the Tool Options palette and drag a line through your
vector object. This action separates your object into two separate sets of
nodes, cut cleanly where you drew through them with the knife. Be warned
that even if you separate an image in two with the knife, both still count as
one vector object.

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

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

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

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

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Here™s a list of what you can change:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Chapter 13: Adding Artsy Effects

Buttonize: Creates a raised appearance (inside your selection if you have
made a selection). Because it™s a Web thing, we discuss buttonization in
Chapter 15, in the section about creating buttons.
Chisel: Creates a raised appearance by making an edge outside your
selection. In the Chisel dialog box that appears, increase the edge width
by increasing the Size value. Choose Transparent Edge to see through
the edge, or Solid Color otherwise. Choose a color for your chiseled
edge by clicking the Color box.
Cutout: Creates the illusion of cutting out your selected area and extend-
ing a shadow in two directions. Drag the Vertical and Horizontal sliders
left or right to extend the shadow from different edges. Increase the
Opacity setting to darken the shadow, or increase Blur to blur the
shadow™s edge. You can change the color of the shadow or the underly-
ing surface by clicking the Shadow Color swatch or the Fill Interior with
Color swatch, respectively. Then, choose a color from the Color dialog
box that appears.
Drop Shadow: Drops a shadow in any direction from your selected area,
as though that area were floating over a surface. In the Drop Shadow
dialog box that appears, drag Vertical and Horizontal sliders to change the
shadow location ” or, if you want something a little more intuitive, you
can click the crosshairs in the left window and drag them around the cen-
tral circle to indicate which way (and how far away) you want the shadow
to fall. The Opacity, Blur, and Color settings work exactly the same way
as they do in the Cutout section.
Inner Bevel or Outer Bevel: Creates a framelike effect around the selected
area by raising it up as though it were a pyramid. The pyramid™s sloping
sides (the bevel) appear within your selection area for Inner Bevel or
outside the area for Outer Bevel. A rather complex-looking dialog box
appears. Click the Bevel illustration to choose a bevel profile from a
gallery. (Each profile is like the cross sections of wood moldings you see
in a hardware store.)

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

TEAM LinG - Live, Informative, Non-cost and Genuine !
246 Part III: Painting Pictures

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

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

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

TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 13: Adding Artsy Effects

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

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

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

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

Figure 13-2:
control the
number of
levels and


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