Jeff Harrison's Daily Diversion

A tough case

2009-06-29T17:53:00.001-06:00

I may have posted this before... oh well.

The image on the left is a challenge to fix... I turned it into the right one – after lots of steps. :-)

click on it to see the real size:

Photo-PAINT hair tutorial

2009-06-29T17:46:00.003-06:00

I used the first part of this tutorial from Alfred to create the extra hair on the image below.

I didn't draw any single hairs as shown in the tutorial. I used the Brightness/Contrast Effect Tool afterwards.

click on pic for larger version of my 5 -min test:

One of my Favorite Corel Artists

2009-06-26T22:47:00.002-06:00

Stefan Tetreault's work is some of the best I've seen.

Many years ago he saw some of my work at the first serious world-wide gallery for Corel Artists. He said he was really impressed with some of the things I was doing.

Then... he emailed me a few things he had worked on and designed – and I was amazed with what I was seeing! So, I urged him to have a gallery there also.

Anyway... since those old days, Corel has created their own galleries. Here is his.

Reliable Output - what works for me

2009-06-21T22:51:00.005-06:00

Either you control your files, or they control you.

A fan wrote:

Hi Jeff,

I've been reading many of your great posts and thank-you for your teachings.

I'm using CorelDRAW X4 and VersaWorks for my Roland SP540-V. I've been using PDF's for 2 years now with great success, however we just started wraps and PDF's are not my friend anymore.

Would you mind telling me the settings you use for exporting to an EPS. I cannot see to get the CutContour to work when exporting as an EPS.

What follows is like a public service announcement, for those that prefer saving time and money in the sign industry. OK.. any industry that outputs to PostScript devices, which is nearly all of them.

The last time I had a problem with large format output? Never.

The reason: I'd come from the print industry where I'd used manually flattening techniques for many years with equally great success.

So much heartache, uncertainty, and wasted materials can be prevented with my approach. It's not a new idea, but it seems it's only held by the top 20% of users who really understand digital imagery from start to finish.

I learned the basic idea from Ron Richey in 1998. A good guy, and also a Multi-Winner of the Corel World Design Contests back in the day.

The concept allows you to run wild with all of the crazy things you can create with CorelDRAW and Photo-PAINT. Transparencies... effects... whatever.

We need to ensure that what you design will output as you expect. Doesn't it by default? Sometimes.

Sometimes is not good enough for me. Should Corel be blamed? Not really, since Adobe also recommends this workflow! I saw it in the Illustrator 10 help file!

So why do we need to jump through hoops to enjoy reliable output? Point your finger directly at Adobe for a fragmented, patched-together page description language called PostScript. It often struggles to handle the artwork that many digital artists create.

Until something better comes along, it's all we've got. Both Adobe and Corel engineers have both had to spend enormous time trying to shoe-horn artwork into the limitations of PostScript. They can only do so much.

Make a choice:

Live in denial and demand everything outputs perfectly every time without intervention.
Learn sensible workarounds and apply them manually to erase job failures and anomalies on your ouput substrates/press sheets.

If you've chosen #2, then that means you will have to take the time to understand the elements in your files. Drop Shadows, Transparencies, Lenses, the X4 Bevel Effect always render as bitmaps upon output to PostScript. It's going to happen whether you like it or not.

My approach is to render them myself, so that I can see surprises on my screen, instead of on the final substrate.

I also create single bitmaps from many whenever possible, leaving vectors on top.

Instead of a complicated file with numerous transparent bitmaps all over the place, the RIP will prefer to see a single bitmap instead with your vector shapes on top.

Ensure your files are simplified when possible so the RIP (or any printing device) can digest the data easier. Convert everything to a single bitmap (except for pure vector shapes or fonts/curves which already sit on top).

There is no reason to have numerous bitmaps and drop shadows etc and then to send as a very complicated multi-bitmap file. Shadows, transparencies etc. are always rendered as bitmaps when sending out of CorelDRAW.

In a new file (or a new page of working file), Select interactive transparencies, drop shadows, lenses, etc. and bitmaps. Convert all to single bitmap.

I choose the CMYK color model so that I have most control for what inks are being used.

This is artwork dependent... you'll need to think about what's in your files and how the RIP sees it later.

Below, I have numerous shadows and transparencies. All should be made into a new bitmap at for best and reliable results.

The resolution you choose should be reasonable for the circumstances. 200 DPI is plenty for most signs over 4 Sq ft.

Click for large version, compare Object Manager for both.

My fan asked about my EPS settings;

Adobe Reader Quirks

2009-06-03T01:11:00.003-06:00

Sometime Corel users have tough moments and wonder about other brands of software.

Those who use various brands besides Corel know that it's not a perfect world over there either.

Here's an example of a PDF that was sent in to a print shop today. Things run at a fast pace, but thankfully I caught something rather important on the printout from Acro Reader 5. Can you see the problem? I took a quick photo of the output sheets from 2 vers of Reader.

click on image for a clear view.

Typing text at 270 degrees

2009-05-27T13:04:00.002-06:00

Note: I don't mean temperature!!! LOL...

Type some text on your CorelDRAW page.

Then, try Ronny Axelsson's tip:
Ctrl + period will rotate text 270 degrees.
Ctrl + comma reverts back to normal.

Cool macro from new author

2009-05-14T01:16:00.004-06:00

Alexander Penkin's Highlights is available. Check out this cool macro from our newest macro author.

RasterControl details updated

2009-05-13T14:56:00.002-06:00

RasterControl is a commercial product that allows one to chose an alternate bitmap editor for CorelDRAW.

Outside of enhanced linking, a round-trip workflow from Draw to PS and back is my fav part (even though I use PP most of the time).

Something that users have wanted for a long time: the ability to send numerous bitmaps from Draw into another editor at once. If that's desirable for some users, RasterControl does it. PP can be chosen as an editor also for this purpose too!

Here's an English help file which should answer any questions.

Getting CorelDRAW into schools

2009-05-08T15:21:00.002-06:00

Foster had another good post on this. My comment:

I love your school idea, and truly believe some kids would be there on weekends and evenings instead of getting into trouble or just wasting time.

I wonder if their could even be special gov. assistance for this kind of thing "outside" the school system, through a community outreach program to get kids or the unemployed doing something rather than moping around in depression.

There are some other benefits. These days I've been getting somewhat political. More than ever, I think kids should embrace:

The process of capitalism. Design, create, sell: The kids can meet a real need in the community, with a real product.
The evaporating concept of freedom of expression. If kids want to put flaming skulls on a shirt, bunnies and flowers, controversial ideologies and slogans (regardless of far right or far left position)... it's all fair game. First Amendment Rights!!!

Another idea: Corel should have a full-time rep that only deals with product manufacturers. Not a sales rep to give them bulk deals, more a technical dude that shows WHY Draw should be #1 choice to drive their equipment, whether preparing files for CNC, garmet output, vinyl cutting, plasma cutting, xerox, canon etc.

Corel's position in the industry

2009-05-08T15:16:00.002-06:00

Foster had a very interesting post on this, and here was my comment:

I think many designers consider CorelDRAW a guilty pleasure.

Corel - and often their users also - have a self-esteem problem. We're victims of a very successful marketing strategy from the competition.

There is a basic truth that keeps us hanging on. CorelDRAW is a fantastic product, regardless of price. When price IS brought into the equation, the value is undeniable.

So how can Draw users turn the tables? In 1998, no one was shy to say they liked CorelDRAW. Now we are mocked and demonized, because of fashion, not because of the capabilities of our preferred product.

IMO, it's easier to deal with a fashion issue through a reverse campaign than to compete based on features/benefits of the software itself (esp for the price). Draw has already won that war.

2 ways to go:

One way is to ensure people understand that CorelDRAW is a viable alternative in 2009.

I'm brazen and would go for the gold, since life is short. That means being ultra-aggressive and declaring war.

After my campaign Adobe users would be shaken and hopefully feel like Adobe has offered them poor software, at enormous cost, for a very long time. And, for their users? It's time for a change.

If Adobe is outraged, the forums are buzzing about this campaign, the campaign invokes great emotion and yet backs up the claims with facts? Now we are selling, not just existing.

Patti Anderson's Gradient Map Tones

2009-05-04T12:27:00.002-06:00

This macro is now available for Photo-PAINT X4.

SwatchTower update

2009-04-23T23:32:00.005-06:00

I've changed the name: There are now 3 new ways to output the file onto 11x17 press sheets.

Jeff's Swatchtower 2 - for Letter Sized & 11x17 Output

NEW!
As of today, in addition to single 8.5" x 11" sheets, this product also comes imposed onto 11x17 pages in 3 different ways:
Way #1 If you set to print duplex "top-top" it should come out great,
but you'll need to manually collate after cutting the resulting press sheets
in half.
Way #2 It's also set it up for 2-up (Page 1 twice on one side, page 2 twice on the reverse. Set to print duplex "top-top")
Way #3 It's set up as a 44 page booklet for saddle-stitching. Set to print duplex
"top-top". Add your own 11 x 17 cover (optional), then fold, staple,
and face trim.

PRINT YOUR OWN CMYK SWATCHES TODAY...

Chopping pieces out of a circle

2009-04-21T01:42:00.001-06:00

Try to follow these steps... Someone in the Coreldraw.com newsgroups asked about how to do it.

Click on the image for a larger one.

Rebuilding artwork for production

2009-04-20T02:17:00.001-06:00

Watch as Jeff rebuilds a logo in a 28 MB training movie. This is a real-world example that was laser cut into some pens.

Jeff's SuperFill has been Updated

2009-04-19T02:50:00.002-06:00

NEW! Jeff's SuperFill has been Updated with the option to use clones in the filled shape for enormous creative flexibility. Watch the movie!

Note: this is a free update for past SuperFill customers.

More media insight

2009-04-03T18:22:00.004-06:00

My brother saw this blog post, and had more insight to share:

Hey Jeff, it's your "Big Brother" Brad here, I'm glad this stuck with you as well. You know, in my experience it's a fairly rare thing to find an "artistic" and a "sales-oriented" mindset in the same person. When we find those persons, who have talent 'n flair for both, two things are guaranteed:

They'll be extremely successful in their career.
They'll have huge bargaining power with their employer, until they decide "Hell, I can do this all myself!"

There is always that push/pull factor between Sales and Production in every environment you can name. There is usually much resentment between both sides.
The sales staff will invariably be found semi-joking, "all you creatives do is smoke up wierd ideas, and delay me getting paid!"

The Creatives on the other hand, especially if they know what kind of bucks are involved, invariably feel resentful about how undervalued they are, and how they never get all the creative reign they would like.

My company gave me what they called "Sales Sensitivity Training" when I was a scrappy/artsy young Commercial producer/writer director. In effect they gave me a few clients, and the power to prospect for more. It was eye-opening, gave me a motivating opportunity for few extra bucks, and truly opened my eyes. The only rule: I could not produce for my sales clients.

Then, it seemed I was doing a bit too well at the sales end, and the main reps wanted the clients I was developing. So, a year later they stripped me of my clients and made me Creative Director, so I guess it worked - from an upper mgmt standpoint. I was a bit cheezed, but they did make it somewhat worth my while.

Long and short, both sides have their own sets of challenges. Those who can understand and show empathy for both, will always be a better team player in any corporate environment.

How many times has a salesperson congratulated a Creative on a job well done/happy client? Many.

How many times has a Creative person congratulate a Salesperson on a big sale. Not nearly as many.

Consider the difference.

Cheers!

Brad

How to create a vector maze

2009-04-03T18:18:00.001-06:00

1. generate a maze for free

2. save GIF file from site

3 paste into CorelDRAW

4. Powertrace in lineart mode

5. optimize results from Powertrace

see attached result I made for you!!

x3mazetest.cdr

Copy sizes from one shape to many others

2009-03-28T01:42:00.001-06:00

This FREE macro allows you to do it!

Swapping colors inside Fountain Fills

2009-03-27T01:27:00.003-06:00

This FREE Macro allows you to swap the locations of the color swatches on Fountain Fill "swatch lines". For linear fills, you can simply drag the line in the opposite direction. For other types, this macro makes it easy.

Television, newspapers, and the media in general are not "public services"

2009-03-23T16:58:00.002-06:00

This surprises too many people IMO....

My bro worked at a TV station as creative director, had 8 artists under him. Schools would occasionally bring kids on "field trips" to the TV station.

He asked the kids: "Who's our customers?"

Kids: "WE'RE your customers."

My bro would would pinch them back into reality and state: "NO. YOU are the product. Our customers are... The Advertisers."

The kids become puzzled and queasy, realizing that their attention span up until now, and for the rest of their lives has been and will be sold to others.

Moral: Television shows only are a necessary evil for TV stations, used only as bait to lure humans of all ages into staring at a TV screen - for as long as possible. That's why television ratings are so important to manufacturers/retailers/Networks. They determine advertising rates.

Newspapers & magazines have readership.

Web sites have unique impressions & hits.

The radio has listeners.

The point of this post: media is paid for by the developers of goods and services. Their goal is for you to exchange your money for something you perceive to be of equal or greater value.

As a CorelDRAW user, a large part of your purpose for using the software might be to build persuasive media that entices people to do just that.

Some artists feel nauseous in assisting others into inequitable level of wealth & comfort... others feel liberated realizing that this environment of trade is possible for anyone who has the initiative to pursue their dreams.

As a designer, how do you feel about the purpose of media, and are you comfortable in your role for participating in it?

Attachments Grayed-out in Outlook Express?

2009-03-22T23:06:00.004-06:00

Here's a GIF movie that shows the option you need to un-check in order to to access attachments.

Note: CDR's and PDF's are both considered "suspicious".

In order for us to get work done, you'll need to email these types of files from time to time. Your recipients need to be able to access them too!

Click on the image to see the animation.

Here's a GIF movie that shows what you need to do to access attachments.

Shelby's SuperStitch is here!

2009-03-21T17:26:00.002-06:00

Superstitch by Shelby may be the macro solution you've been missing! It prevents overlapping lines on geometric shapes.

Excellent solution for filling shapes with semi-transparent tiles

2009-03-18T00:05:00.002-06:00

This macro allows quick use of any shapes (including complex vector elements and/or bitmaps) as fills for other shapes.

For the first time in CorelDRAW, complete transparency is supported within a tiling mechanism for fantastic results (including merge modes.)

You can also easily layer different tiles or shapes within the same shape you're filling.

This 4 minute video shows a few possibilities...

Palette Link Professional

2009-03-17T00:01:00.002-06:00

About 4 months ago, I wondered if it was possible to have any specific palette open and close with a document. I checked with MacroMonster Shelby, and he made it happen!

This macro allows you to have existing palettes linked to specific CorelDRAW files, so they open & close with them!

Watch the short movie at the site to see palettes automatically open and close with a document.

You can use any palettes you like; the built-in ones or your own custom ones.

Live Fillet macro.. many updates!

2009-03-16T02:34:00.002-06:00

This macro made by Shelby allows for live results of Fillets, Scallops, & Chamfers - all new updated features!!!

Basically it's a new product... if your one of the many customers who bought the earlier version, you get the updated version for free!

Go to the site to see the short video...

NEW!	As of today, in addition to single 8.5" x 11" sheets, this product also comes imposed onto 11x17 pages in 3 different ways:
Way #1	If you set to print duplex "top-top" it should come out great, but you'll need to manually collate after cutting the resulting press sheets in half.
Way #2	It's also set it up for 2-up (Page 1 twice on one side, page 2 twice on the reverse. Set to print duplex "top-top")
Way #3	It's set up as a 44 page booklet for saddle-stitching. Set to print duplex "top-top". Add your own 11 x 17 cover (optional), then fold, staple, and face trim.