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the way the
light strikes
the stack.




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The controls do the following:

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



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

The Brush Strokes controls work as follows:

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

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

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

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




Figure 13-3:
Brush
Strokes, one
of the more
complex
effects.




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

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

Here are a few tips for using Geometric effects:

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

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

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

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

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




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Chapter 13: Adding Artsy Effects

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

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




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




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




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



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

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




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

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

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




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

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



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

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

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

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



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

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

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

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

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

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

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



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




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



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

Blur: A kind of fluffiness control. Increasing the blur minimizes the visi-
bility of individual hairs and also makes the original image less clear.
Density: Determines the number of hairs; very low settings give a cac-
tuslike, whiskered appearance.
Length: Sets the length of individual hairs. High length values tend to
give more of a frosted-glass appearance than a furry one.
Transparency: Determines the extent to which the original image shows
through the hair, undisturbed. High transparency values give an effect
like hair sprinkled on a photograph.
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Example 2: The Texture texture effect
The Texture effect you see when you choose Effects➪Texture Effects➪Texture
gives you access to the same textures you may use for painting with the Paint
Shop Pro Color palette. Here, rather than paint with them, you apply them to
an existing image. Figure 13-7 shows faithful Alex, this time receiving a cob-
blestone texture.




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



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

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



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Chapter 13: Adding Artsy Effects

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




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

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




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




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

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


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Chapter 13: Adding Artsy Effects




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



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

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

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




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




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




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Chapter 14
Printing
In This Chapter
Sizing and positioning the print on the paper
Printing a single image
Printing thumbnail images from the browser
Ink-saving methods of printing
Creating multi-image pages
Adjusting print speed and quality




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

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




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

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

You can find all the controls for sizing and positioning your print on paper
by choosing File➪Print to bring up the Print dialog box and then clicking
the Placement tab if it™s not already shown. You can see the handy-dandy
Placement tab, as shown in Figure 14-1, and then consult the following bul-
leted list for help.
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Figure 14-1:
The
Placement
tab fits your
print to the
paper. A
preview
window
shows the
current
setup.



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

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

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

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




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

If you™re going to print lots of images, you may want the filename of the image
on the print. If so, enable the Image Name check box. (If you have entered a
title on the Creator Information tab in the Current Image Information dialog
box, that title appears in place of the filename.)

In some instances, you may want to trim the margins off the print when
you™re done. If your image has a white background, however, finding those
margins may be hard. To solve that problem, enable the Print Corner Crop
Marks and Print Center Crop Marks check boxes.




Printing an Image
After you have set everything to your liking, it™s time to get printin™!

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266 Part IV: Taking It to the Street

1. If you haven™t done so already, choose File➪Print, press Ctrl+P, or
click the Print button on the toolbar.
The Print dialog box appears.
2. If necessary, choose your printing options.
By clicking the Properties button, you can adjust the usual controls that
come with any Windows program: the printer you™re using, the number
of copies you want, and a Properties button that takes you to the
printer™s driver software. (That™s where you can set the print quality,
speed, paper type, and other variables. Refer to the section “Printing at
Different Speeds or Qualities,” later in this chapter.)
3. Click Print after you have set all the options you want.

Shortly, you™ll have a hard copy of your hard work.




Printing Collections or Album Pages
One of the most popular Paint Shop Pro features is its ability to print multiple
images. It™s a great way to create album pages or make collages of photos to
celebrate an event.

You can use one of two ways to choose the pictures you want to add to a col-
lection, which allows you to print several images on a single page:

Use the image browser to select the pictures you want to add. Hold
down the Ctrl key as you click each picture.
Open all the images that you want to add to your collection. Paint Shop
Pro automatically adds any open images to the Print Layout screen.

Next, choose File➪Print Layout. Your entire Paint Shop Pro window changes
to the multi-image printing tool shown in Figure 14-2.

The multi-image printing tool occupies the entire Paint Shop Pro window. To
close it and return to the normal window, choose File➪Close Print Layout.
Unless you have saved your layout (see the section “Saving and reusing your
template,” later in this chapter), closing the tool discards your layout.

With the multi-image printing tool onscreen, here™s the basic procedure:

1. Choose the page orientation.
Paint Shop Pro initially gives you a portrait-oriented page (with the long
dimension vertically). If you want a landscape- (sideways-) oriented
page, choose File➪Print Setup and then click Landscape in the Print
Setup dialog box that appears. Click OK.

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Chapter 14: Printing

Zoom in or out
Rotate Counterclockwise 90º

Rotate Clockwise 90º Positioning buttons




Figure 14-2:
Composing
a multi-
image page.



2. If you want to use a template for your images, choose File➪
Open Template.
A template is a prefab layout you can use to arrange your photos to save
time. As a bonus, templates look nicer than dragging pictures helter-
skelter onto the page (well, better than the way we drag them, anyway).
Paint Shop Pro gives you a dialog box with three categories of templates
you can choose from: Avery, Combinations, and Standard Sizes. Click a
category to bring up the following gallery of templates, as shown in
Figure 14-3:
• Avery and Avery International templates: Intended for the indus-
try standard Avery labels ” sheets of precut stickers you can use
in your printer. Yes, you can print stickers with your baby™s picture
on them! Each Avery template has a number underneath it, like
Avery 8386; this number refers to the product number of a specific
Avery label sheet, which you can buy at your local office supply
store. Use the right sheet with the right template, and you have
perfect stickers.
• Standard sizes: Templates in which all the images are one size:
5x7, wallet-size photos, miniwallets, and the like.
• Combination sizes: Templates with mixtures of sizes, generally
one or two larger photos at the top and a bunch of smaller ones
at the bottom.



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Figure 14-3:
A dazzling
array of
printing
templates.



Each template has a small thumbnail that shows you what its layout is
like; click a template and click OK to apply it or click Cancel to escape.
3. Drag images, one at a time, from the left column to the page.
If you have a template applied, drag the photo into each of the boxes;
Paint Shop Pro automatically resizes the photo so that it fits as best it
can into the box.
If you don™t have a template applied, you have to resize the photos manu-
ally. If the images are too large for the page, Paint Shop Pro asks whether
you want to scale it. If you click Yes, your image appears with handles
(square dots) at the corners that you can drag to resize the image. Choose
No if you want to use the Paint Shop Pro autoarrange feature (see Step 4)
to place and size the image for you.
If an image is rotated 90 degrees the wrong way, drag it to the page and
click the Rotate Clockwise 90° or Rotate Counterclockwise 90° button on
the toolbar to rotate the image.
4. If you haven™t applied a template and want to position the images
yourself, drag them into position.
If you don™t want to use a template and still want everything lined up
neatly, you can choose View➪Auto Arrange, which lines up your images
for you sans template.
5. To print your page, click the Print icon on the toolbar or choose File➪
Print.
Neither choice gives you a Print dialog box, but immediately sends the
page to your printer. If you need to change any printer settings, do so
before sending the page to the printer. Choose File➪Print Setup and click
the Printer button in the Print Setup dialog box that appears.
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Chapter 14: Printing

If you™re done, return to the normal Paint Shop Pro window by choosing File➪
Close Print or click the Close button on the toolbar (the door-with-arrow icon).

If you™re using a pregenerated template and Paint Shop Pro asks “The current
template has changed, do you wish to change it?” when you exit, do not
accept the default name if you choose to save it. (Avery templates in particular
don™t like being fiddled with ” and, by just clicking OK, you™re overwriting
the template and potentially changing vital placement information.)

Instead, if you want to save both pictures and layout, flip ahead to the section
“Saving and reusing your template.”



Fooling with the pictures and layout
You can fiddle with the pictures and their arrangement all you want, after
they™re on the page. Most controls for fiddling are duplicated on the menu
bar (the toolbar across the top of the window) or, if you right-click an image,
on the context menu that appears. Nearly everything can be done fastest by
using the right-clicking approach, so that™s mainly what™s in the following list.
Here are some basic fiddlings you may want to do:

To select a picture so that you can do something with it, click it.
(Handles appear at its corners.)
To move a picture, drag it.
To position a picture in the center or at any of the four corners of the
page, click any of the five positioning buttons in the center of the tool-
bar. The icon indicates the position the button delivers. Pause your
cursor over the button for a text indication of its positioning (such as
Place Lower Right).
To resize a picture, drag any of its handles.
To remove a picture from the layout, either click it and press the Delete
button on your keyboard or right-click it and choose Remove from the
context menu.
To rotate a picture, right-click it and choose Rotate Clockwise 90
Degrees or Rotate Counterclockwise 90 Degrees from the context menu
that appears.
To see an alignment grid, right-click the white page background and
choose Show Grid from the context menu. (Repeat to turn the grid off;
this action doesn™t work if you have a template loaded.)
To make photos snap to the grid when you move them, right-click the
white page background and choose Snap to Grid from the context menu.
(The grid must be on first, or else this command is grayed out.)


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Saving and reusing your template
To save this attractive arrangement of photos, choose File➪Save Template. In
the Save dialog box that appears, enter a name for your layout in the filename
text box. Unless you tell Paint Shop Pro otherwise, it saves the layout as a set
of empty boxes, forgetting which photos were there; you can tell it to remem-
ber the photos by checking the Save with Images check box.

To reuse this layout, reopen the Print Layout screen and then choose File➪
Open Template. Select your template in the Open dialog box that appears.

When you open a template, it brings up the image in its current condition,
whatever that may be. For that reason, be sure not to move any images to
other folders or rename them because the multi-image print tool won™t be
able to find them.




Printing at Different Speeds or Qualities
Paint Shop Pro itself doesn™t have much to do with choosing the quality or
speed of printing your printer delivers. That falls in the province of the soft-
ware that runs your printer, known as its driver. To access that piece of
software, click the Properties button in the Print dialog box. Because what
happens next depends on your printer, we can™t tell you exactly what you
will see from then on.



Speed, size, and ink
Quality comes at the cost of speed and of ink. Most printers have draft and
quality settings. If you want just a general idea of how your image will look
and want to save time and ink, choose Draft. Your image is printed lighter
and fuzzier than if you choose the quality (or nondraft) setting, but is printed
more quickly.

The size of your printed image also costs you time and ink. Doubling the size
increases by four the amount of ink you need.

Many inkjet printers do a much better job on special photograph-quality
paper. In that case, the printer driver generally has a setting where you can
tell it that you™re going to use special paper.




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Chapter 14: Printing


Printer and image resolution
One aspect of print quality is resolution, or dots per inch. A higher resolution
generally gives a better-quality image. That resolution number is often con-
fusing because your image has resolution too, in pixels per inch. The two
don™t match, either. The printer resolution is always a higher number than
image resolution.

What™s going on? Your printer creates its range of colors by putting out tiny
dots in four colors: cyan, magenta, yellow, and black. It needs many tiny dots
to make a pixel of a particular color, so your printer needs many more dots
per inch (dpi) than your image has pixels per inch. Dave™s printer, for exam-
ple, can print 1440 dpi. So, each pixel of a 72-pixel-per-inch image covers an
area of 20 x 20 dots of ink. For an image twice that resolution, Dave gets an
area of only 10 x 10 dots, giving him one-forth the number of possible colors.

The bottom line? Although using a higher image resolution when you create
your image gives you more detail in your prints, don™t push it too high and
don™t try to match your printer™s resolution. If you use a higher image resolu-
tion (pixels per inch), each pixel uses fewer printer dots, so color accuracy
may suffer. Although your printer driver does a few tricks to keep things
accurate, the laws of physics eventually win.




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TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 15
Creating Web-Friendly Images
In This Chapter
Improving download times
Choosing the best file type
Creating GIF and JPEG images




T he Web makes special demands on graphics. Images have to be stored as
particular file types, and they can™t take too long to download or else
people get bored. In this chapter, we show you how to make your Web images
look their best while downloading as fast as possible.

If you™re a professional (or even semiprofessional) Web designer, Paint Shop
Pro has automated Webtools that can quickly generate Web pages and
rollover icons. Because that topic is a little advanced if you™re just interested
in creating snazzy Web graphics, we show you how to do that in Chapter 18.

Paint Shop Pro offers a special Web toolbar for the Web features we discuss
here. With the Web toolbar enabled, you simply click a button for an effect
rather than use the menu commands. To enable the toolbar, choose View➪
Toolbars➪Web.




Making Images Download Faster
The key trick with images on the Internet is to make sure that they don™t take
any longer to download than they have to. Web users are fickle: Why should
they stick around and watch a blank screen when more amusement is simply
a mouse click away? If you make your audience wait, they don™t stay around.
Images are downloaded faster when their files are smaller, which is especially
handy when you™re sending pictures via e-mail. The following list describes a
few general tips for making sure that your images are downloaded as fast as




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possible ” some you do when you™re creating the Web page and others you
do in Paint Shop Pro:

Reduce image size: The main mistake beginners make is to use exces-
sively large images on their Web pages. Web page authoring tools some-
times give the illusion of having made an image smaller, but in fact they
just squeeze a large image into a small space. Size or resize your image
in Paint Shop Pro to exactly the size you need on the Web page; refer to
Chapter 2 for details.
Repeat images: In your Web page authoring software, if your page uses
the same image over and over again (for a bullet icon, for example),
insert exactly the same image file each time. Don™t use multiple files that
are identical copies of the same image.
Use solid colors: Gradient fills, dithered or airbrushed areas (hues made
up of multicolored pixels), and scanned printed images (made up of visi-
ble dots) require larger files. Paint with solid colors wherever possible if
you want to keep file sizes down. Noise effects, such as Edge Preserving
Smooth on the Paint Shop Pro Effects menu, can help reduce dots to uni-
form colors.



Exporting Images for the Web
The images that appear on Web pages are almost always stored as one of two
main types of file: GIF or JPEG. (Sometimes, they™re stored as PNG files, a new
and improved type of file, but that type is still rarely used.) To make your
image viewable on a Web browser, all you have to do is make sure to save a
copy of the image as one of these file types.

To create a Web file from your image, you can go either of two ways:

Save the image as a particular type of file (choose File➪Save As or File➪
Save Copy As).
Export the image to a particular type of file.

Exporting takes you immediately into an optimizer dialog box for that type of
file, where you choose features and trade-offs.

Always store your image as a Paint Shop Pro file before you create Web image
files from it. Paint Shop Pro files retain lots of features that are lost when you
store an image as a Web image.




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Chapter 15: Creating Web-Friendly Images


Choosing features and file types
Each file type has its own advantages and features. Table 15-1 lists attributes
you may want and the file type or types that are generally best to use. Best
considers both image quality and speed of downloading (file size).


Table 15-1 Images, Image Features, and Which File Types to Use
Image Attributes File Type to Use Notes
Is (or is like) JPEG Color photographs are much
a photograph smaller in JPEG than in GIF.
Uses patterns JPEG or GIF More complex patterns or tex-
or textures tures are better as JPEG.
Uses mainly GIF or PNG Solid-color images, like cartoons
solid colors or text, often have thin or sharp
edges, all pixels of which are
entirely preserved in GIF or PNG.
Has transparent GIF or PNG Transparency lets the page
areas background show through (see
Figure 15-1).
Fades in during GIF, JPEG, or PNG Fade-in (progression)
loading is an optional feature.




Figure 15-1:
Trans-
parency, a
popular
Web
feature,
allows this
slanted-text
image to
float over a
Web page™s
background
image.




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Creating GIF files
GIF files are the most widely used graphics files on the Web. They offer cer-
tain popular features, such as transparency (as shown in Figure 15-1), but are
also limited to 256 colors. If you™re displaying simple text or cartoony images,
though, they™re also much smaller than JPEG files; used properly, they save
lots of downloading time. To export a GIF file from your image, follow these
steps:

1. Choose File➪Export➪GIF Optimizer.
The GIF Optimizer dialog box (the optimizer) appears and contains five
tabs of settings that we cover throughout the next few sections. The
optimizer has before and after preview windows (left and right, respec-
tively) that show what effect your choices have. Click the magnifier with
the + to zoom in or the one with the “ to zoom out.
2. Click the OK button.
The familiar Save As dialog box appears.
3. Choose a filename and folder for the file and click OK.

You can (and should) make image files smaller so that they™re downloaded
faster; see the section “Reducing download time,” later in this chapter.

Creating transparent areas
To prepare an image to have transparent portions on the Web, first save your
image as a Paint Shop Pro file. Then choose any one of the following alterna-
tive approaches to mark a transparent area ” whichever approach seems
easiest:

Color: If all the pixels in the area you want to become transparent are
roughly the same color (a white background, for example), you don™t
need to do much more in preparation. Just make sure that your chosen
color does not appear in any pixels where you don™t want transparency,
such as the whites of people™s eyes. If the color does appear elsewhere,
try one of the two following approaches instead.
Selection: Select either the object that you want to be visible (opaque)
or the background that you want to be transparent. You have to make
the selection before you begin to export.
Transparency: If the object (your logo, for example) that you want to be
visible (opaque) isn™t already on its own layer or layers, select it and pro-
mote it to a layer. On the Layer palette, turn off the visibility of the back-
ground layer and any other unwanted layers, and the transparent portions
of the logo layer are apparent (display a checkerboard pattern).



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Chapter 15: Creating Web-Friendly Images

To have the edges of a selected area blend gradually into the Web page™s
background, contract the selection by a certain number of pixels (4, for
example). Then, feather the selection by that same number of pixels. (Refer
to Chapter 3 for help with contracting and feathering a selection.)

A tab in the GIF Optimizer dialog box lets you translate your chosen area into a
transparency. In the GIF Optimizer dialog box, click the first tab, Transparency.
This tab asks “What areas of the image would you like to be transparent?” Your
choices are shown in this list:

None: Choose this option if you want no transparent areas whatsoever.
Existing image or layer transparency: Choose this option if your image
already has transparent areas (appearing as a gray checkerboard pat-
tern) that you want to remain transparent on the Web page. This is the
Transparency approach, as described in the preceding bulleted list.
Inside the current selection: Use this option if, using the Paint Shop Pro
selection tools, you have selected the area (the background, for exam-
ple) that you want to become transparent (the Selection approach in the
preceding bulleted list). If you have selected instead the area that is to
remain opaque, choose Outside the Current Selection.
Areas that match this color: Choose this option (the Color approach in
the preceding bulleted list) if the areas you want transparent are all the
same color. If the color that is already displayed in the adjoining color
swatch is not the one you want to make transparent, move the cursor
outside the dialog box, over the image, and click any area of your
chosen color. The result appears in the right preview window. Increase
the Tolerance value to make a wider range of similar colors transparent
or decrease it to narrow the range of colors made transparent.

Choosing image fade-in
As GIF images are downloaded, they build gradually onscreen. You can
choose whether they build from top to bottom or fade in from fuzzy to
increasingly detailed. For small images that are downloaded quickly, the
choice doesn™t matter much. To choose a method, click the Format tab.

On the Format tab, choose Non-Interlaced if you want the image to build from
top to bottom. Choose Interlaced if you want the image to fade in. Leave the
option labeled What version do you want the file to be? set to Version 89a
unless someone specifically requests a file of Version 87a.

Reducing download time
For GIF files, you can reduce download time in two ways: Reduce the physical
size of the image, and reduce the number of colors in it. (We tell you how
to resize in Chapter 2.) Removing unused colors saves time, which makes
sense ” why send 256 colors across the Internet when you can send only 40?


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Opening and using transparent GIF files
If you open a transparent GIF file in Paint Shop click the option Set the Transparency Value to
Pro, you may be surprised at what you see: Palette Entry and then click your chosen color
Areas that appear transparent in a Web in the image window. To turn off transparency,
browser are filled in with a color. That result choose the No Transparency option. Click OK
occurs because GIF transparency is a special when you™re done.
trick used mainly in Web browsers. Paint Shop
Be careful when you™re choosing a color. It may
Pro shows the reality behind the trick.
be used in places where you™re not expecting
GIF files achieve transparency by designating it ” white, for example, may appear in some-
as transparent a particular color on the palette. one™s eyes, giving a spooky result when the
Web browsers pay attention to that designation whites of that person™s eyes become transpar-
and show the underlying Web page background ent! Likewise, you may find that the area you
where that color occurs. Paint Shop Pro, how- want transparent is composed of more than one
ever, shows the color itself ” unless you tell it color, which leaves an unseemly halo of not-
otherwise. quite-your-selected color around everything
else in the image. To fix it, you have to select the
To tell Paint Shop Pro to show the transparency,
area and tell Paint Shop Pro to make it trans-
choose Image➪Palette➪View Palette Trans-
parent; refer to Chapter 3 for an example of this
parency. Repeat this command to return to
halo problem and how to select it properly.
viewing the color.
Remember that GIF files are palette-type files,
If you want another color on the file™s palette to
so many Paint Shop Pro features don™t work
be displayed as transparent, choose Image➪
unless you convert the file to 16.7 million colors
Palette➪Set Palette Transparency. In the Set
first. (Press Ctrl+Shift+0.)
Palette Transparency dialog box that appears,



To reduce colors, select the Colors tab of the GIF Optimizer. You have several
options:

How many colors do you want? The lower the number of colors, the
quicker the file is downloaded. Take out too many colors and the image
may start to look grainy or choppy. Experiment with this value, by set-
ting it as low as you can until you find something acceptable in the pre-
view window.
How much dithering do you want? It sounds like if you set this option
high, Paint Shop Pro would just waste your time, saying “Oh, I don™t
know ” what do you want?” In reality, though, if you have removed a
bunch of colors, this setting controls how much Paint Shop Pro attempts
to simulate those removed colors by filling them in with the colors it
does have. That helps to make a low-color image look smoother, but at
high values it may add weird moir© patterns or make it look spotty.
Again, experiment to find the right value for you.



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Chapter 15: Creating Web-Friendly Images

What method of color selection do you want to use? You need to be
concerned with only two options:
• Existing Palette: Uses the colors in the original image, although
they may not look right on other computers.
• Standard/Web-safe: Ensures that the image looks the same on all
computers, although it may not look quite like what you originally
created.

When you™re done selecting all these options, you can select the Download
Times tab to see a chart of how quickly your image is loaded at various
speeds. People with modems are generally running at 56 Kbps; unless you
know for a fact that the people who will view these images have something
other than a modem, assume that they use a modem. (High-speed connections
are increasingly common these days, but at least 40 percent of all Internet
users are still stuck with dial-up.)

Using the GIF Wizard
Alternatively, you can choose to click the Use Wizard button at the bottom of
the GIF Optimizer dialog box. The GIF wizard asks you five questions dealing
with palettes, backgrounds, and quality, all of which we detail in the preced-
ing section.



Creating JPEG files
JPEG files tend to be smaller than GIF files for many kinds of images, so
they™re downloaded faster. The main trade-off is that JPEG files are lossy.
They lose some detail in your original image, and the clean lines of text can
look fuzzy. You can choose how much detail to trade off for a reduction in
file size, however.

The second trade-off is that JPEG files can introduce artifacts: blurs, spots,
and rectangular blocks that weren™t present in the original image. Again, how-
ever, you can choose how many artifacts you™re willing to live with to get a
smaller file.

To export to JPEG, follow these steps:

1. Choose File➪Export➪JPEG Optimizer.
The JPEG Optimizer dialog box appears. It has three tabs. It also has
before-and-after preview windows (left and right, respectively) that
show the effect of your choices. To zoom in or out, click the magnifier
icons. Click the magnifier with the + to zoom in or the one with the “ to
zoom out. To view different parts of your image, drag in a window.



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280 Part IV: Taking It to the Street

2. Click the Quality tab to trade off file size for quality.
Adjust the Set Compression Value To value box to a value from 1 to 99.
Higher values make the file smaller, but give it lower quality. You can see
changes in the file size under the right preview window, in the line that
says Compressed bytes. As you can see in Figure 15-2, you can save lots
of time with comparatively little loss in image quality.
A menu offers Chroma Subsampling options. This deep juju tells Paint
Shop Pro when to average the color information for any given block of
pixels, and the best subsampling approach is a subject of debate among
graphics professionals. To make things simple, we just say that you
should go with the default value (unless you feel like experimenting).
A check box on the quality tag also asks you whether you want to save
EXIF data into the JPEG. Whether you even have EXIF data depends on
what camera the image was taken with, as we explain in Chapter 5. If you
leave this box unchecked and save the image, the camera settings and
artist information aren™t saved with the new image.
To see estimates of how fast your file is downloaded, depending on the
viewer™s Internet connection speed, click the Download Times tab. A
table there gives estimated download times for various connection
speeds. Unless you have specific knowledge that the people who will
view this image have anything faster than a modem, always assume that
they™re running at 56 Kbps.



Figure 15-2:
The original
image of
William™s
lovely wife,
Gini, took
2 1/2 min-
utes to
download
at modem
speed; after
some
compres-
sion, it can
be seen in
3 seconds,
and she
remains
as cute
as ever!



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Chapter 15: Creating Web-Friendly Images

If you can™t get your image to download fast enough, don™t forget that
resizing, as shown in Chapter 2, saves lots of time. Do people really need
to see a poster-size picture of your baby?
3. Click the Format tab to control how the image fades in.
JPEG files normally assemble themselves from top to bottom as they™re
downloaded to a Web browser. If you would rather have your image fade
in from blurry to detailed, choose Progressive on this tab. Otherwise,
leave the choice set to Standard.
4. Click the OK button.
The familiar Save As dialog box appears.
5. Choose a filename and folder for the file and click OK.



Using the JPEG Wizard
Interestingly enough, the JPEG Wizard is available at the bottom of the
JPEG Optimizer, but it involves clicking more times than the regular JPEG
Optimizer. Our advice is to skip the wizard and just use the optimizer, which
allows you to see your download time in one click, as opposed to three.




Doing Common Webbish Tricks
Unless you™re Spider-Man, creating Web pages is a complex business. But
Paint Shop Pro can make some aspects of Web design much easier! This sec-
tion describes two tricks that Paint Shop Pro can help you with.



Creating buttons
Paint Shop Pro offers an effect that™s great for creating graphical buttons for
Web pages. The buttonize effect makes any image (or selected part of an
image) look like a raised button by shading around the edges.

Choose Effects➪3D Effects➪Buttonize. The Buttonize adjustment dialog box
that appears offers two styles of button. Click the Solid radio button for a
button that has flat sides (and then choose your color in the palette box),
or choose Transparent Edge for a button with rounded sides. The Buttonize
dialog box also offers three adjustments:

Height and Width: These controls adjust the vertical and horizontal
dimensions, respectively, of the top surface of the button.


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282 Part IV: Taking It to the Street

Opacity: Increasing opacity makes the edges of the button darker and
obscures the underlying image more.

The right preview window in the Buttonize dialog box shows the result of
your choices.



Matching image colors to HTML colors
You may want to match colors used in your image to colors used in the text
of your Web page ” or vice versa. Text colors are often given in cryptic,
geekish codes called hexadecimal in the HTML code used to write Web pages.
They™re written like this: #FFC0FA. These codes always begin with a # symbol,
followed by six characters ” digits or the letters A through F.

If you™re creating a Web page and want to match the text color to a color
in your image, the Materials box can help. (Press F6 to display it if it™s not
already visible.) Click the Dropper tool on the Tools toolbar and then click
your chosen color on the image. The Foreground and Stroke Properties box
inside the Materials box changes to match that color; click that box. Select
the Color tab in the Material Properties dialog box that appears. Use the
HTML code shown at the bottom of the dialog box in your Web page author-
ing software to set the color of your text.

If you™re creating an image and want to match a color in your image to a text
color, the solution is similar: Click the Material box to bring up the Materials
palette. In the HTML code value box on the Color tab, enter the HTML code
you obtained from your Web page authoring tool. Click OK and your chosen
color swatch now matches the HTML document™s text color.




TEAM LinG - Live, Informative, Non-cost and Genuine !
Part V
The Part of Tens




TEAM LinG - Live, Informative, Non-cost and Genuine !
In this part . . .
P erplexed? Annoyed? Both? Hey, join the club. But
we Dummies authors have long been channeling the
spirit of David Letterman, and in that spirit we offer The
Part of Tens: the ten top things that perplex and annoy us,
and some solutions. Among them are ten things that we
are annoyed about because they™re too advanced to
include in a Dummies book.




TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 16
Ten Perplexing Problems
In This Chapter
Fixing a tool that doesn™t seem to work
Stopping those annoying Paint Shop Pro questions

<<

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