Professional Documents
Culture Documents
User Guide
for Macintosh and Windows
Title.FM5 Page ii Thursday, November 7, 1996 3:22 PM
Contents
Chapter 1: Grid and Node Constraints . . . . . . . . 21 Adding Color . . . . . . . . . . . . . . . . . . . 41
Overview of Expression . . . . . . . . . 1 The Status Bar . . . . . . . . . . . . . . . . . . 21 Changing the Stroke and Color . . . . 42
Starting Expression . . . . . . . . . . . . . . . . . . . 2 Multiple Windows . . . . . . . . . . . . . . . 21 Saving a File . . . . . . . . . . . . . . . . . . . . 42
How an Expression Image is Made . . . . . . 2 Navigating Your Document . . . . . . . . . . . 22 Lesson 2: Adding More Detail to the
Natural-Media Strokes . . . . . . . . . . . . . 3 Zooming In and Out . . . . . . . . . . . . . . 22 Dragonfly . . . . . . . . . . . . . . . . . . . . . 43
Graphic Element Strokes . . . . . . . . . . 3 Using the Grabber Tool . . . . . . . . . . 23 Setting Attributes for Your Path . . . 43
Multi-View Strokes . . . . . . . . . . . . . . . . 3 Changing Your View . . . . . . . . . . . . . 24 Drawing Paths . . . . . . . . . . . . . . . . . . 44
Dip Right In! . . . . . . . . . . . . . . . . . . . . . . . . . 4 Creating a New View . . . . . . . . . . . . . 24 Using a Natural-Media Stroke . . . . . 45
Expression’s Interface . . . . . . . . . . . . . . . . . 4 Setting Preferences . . . . . . . . . . . . . . . . . . 25 Selecting by Stroke . . . . . . . . . . . . . . 45
The Toolbars . . . . . . . . . . . . . . . . . . . . . . . . 5 Options Tab . . . . . . . . . . . . . . . . . . . . 25 Changing the Stack Order . . . . . . . . 46
Color Match Tab . . . . . . . . . . . . . . . . 26 Adding Wing Detail . . . . . . . . . . . . . . 47
Moving and Resizing Toolbars . . . . . . 5
View and Palettes Tab . . . . . . . . . . . 27 Layering . . . . . . . . . . . . . . . . . . . . . . . 47
Displaying Toolbars . . . . . . . . . . . . . . 5
Raster/Scratch Tab . . . . . . . . . . . . . . 28 Using a Supplemental Drawing Tool 48
The Standard Toolbar . . . . . . . . . . . . . 5
Opening and Saving Documents . . . . . . . 28 Lesson 3: Completing the Poster . . . . . . . 49
The Composition Toolbar . . . . . . . . . 6
Tools Toolbar . . . . . . . . . . . . . . . . . . . . 7 Vector or Bitmap . . . . . . . . . . . . . . . . 28 The Grass . . . . . . . . . . . . . . . . . . . . . . 49
The Actions Toolbar . . . . . . . . . . . . . 12 Setting Bitmap Resolution . . . . . . . . 29 Changing the Direction of a Path . . 50
Miscellaneous Toolbar . . . . . . . . . . . 15 Opening Existing Documents . . . . . . 30 Editing the Image . . . . . . . . . . . . . . . . 50
The Palettes . . . . . . . . . . . . . . . . . . . . . . . . 16 Saving Documents . . . . . . . . . . . . . . . 31 Adding Text . . . . . . . . . . . . . . . . . . . . 52
Saving Multi-view Strokes Creating a Skeletal Stroke . . . . . . . . 52
Displaying Palettes . . . . . . . . . . . . . . 16
As Movies . . . . . . . . . . . . . . . . . . . . . . 32 Creating Repeating Stroke . . . . . . . . 53
Paint Style Palette . . . . . . . . . . . . . . . 17
Undoing Operations . . . . . . . . . . . . . 33 Multi-view Strokes . . . . . . . . . . . . . . . 54
Color Palette . . . . . . . . . . . . . . . . . . . . 18
Reverting to the Last Saved Version 34 Save the Completed Express
Custom Color Palette . . . . . . . . . . . . 18
Closing Documents and Quitting . . . . . . . 34 Yourself Poster . . . . . . . . . . . . . . . . . 56
Stroke Warehouse Palette . . . . . . . . 18
Printing Your Image . . . . . . . . . . . . . 56
Panner Palette . . . . . . . . . . . . . . . . . . 18
Chapter 2: Rasterizing . . . . . . . . . . . . . . . . . . . . . 57
Font Palette . . . . . . . . . . . . . . . . . . . . . 19
Transformation Palette . . . . . . . . . . . 19 Tutorial . . . . . . . . . . . . . . . . . . . . . . . 35
Alignment Palette . . . . . . . . . . . . . . . . 19 About This Tutorial . . . . . . . . . . . . . . . . . . 36 Chapter 3:
Layers Palette . . . . . . . . . . . . . . . . . . . 19 Overview of the Sample Project . . . . . . . 36 Creating Paths . . . . . . . . . . . . . . . . .59
Gradient Editor Palette . . . . . . . . . . . 19 The Tutorial Files . . . . . . . . . . . . . . . 36 Understanding Paths . . . . . . . . . . . . . . . . 60
Getting Acquainted with Expression’s Setting up Your Workspace . . . . . . . 36 Drawing Tools . . . . . . . . . . . . . . . . . . . . . . 61
Workspace . . . . . . . . . . . . . . . . . . . . 20 Enjoy it! . . . . . . . . . . . . . . . . . . . . . . . . 37 Creating Freehand Paths . . . . . . . . . 61
Creating a New Document . . . . . . . . 20 Lesson 1: The Dragonfly . . . . . . . . . . . . . . 38 Creating Bézier Paths . . . . . . . . . . . . 62
Workspace . . . . . . . . . . . . . . . . . . . . . 20 Selecting Objects . . . . . . . . . . . . . . . . 38 Creating Polylines . . . . . . . . . . . . . . . 63
Sizing Your Workspace . . . . . . . . . . . 20 Applying a Skeletal Stroke . . . . . . . . 39 Creating B-Splines . . . . . . . . . . . . . . . 63
Rulers . . . . . . . . . . . . . . . . . . . . . . . . . 21 Editing the Stroke Instance . . . . . . . 40 Creating Smoothed Polylines . . . . . . 64
Contents iii
Expression.bkTOC Page iv Thursday, November 7, 1996 3:22 PM
Chapter 7:
Printing . . . . . . . . . . . . . . . . . . . . . . 165
Printing from Expression . . . . . . . . . . . . 166
Printing Images with Transparency . . . 166
Quality Considerations . . . . . . . . . . . . . . 166
Performance Considerations . . . . . . . . . 167
Printing Color Separations of
Expression Artwork . . . . . . . . . . . 168
Printable Area . . . . . . . . . . . . . . . . . . . . . . 168
Printing Your Work . . . . . . . . . . . . . . . . . 169
Appendix A:
Technical Tips . . . . . . . . . . . . . . . . 171
Before You Call Technical Support . . . . 172
Macintosh . . . . . . . . . . . . . . . . . . . . . 172
Windows . . . . . . . . . . . . . . . . . . . . . . 173
Set Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Contacting Technical Support . . . . . . . . 175
Other Ways to Contact
Technical Support . . . . . . . . . . . . . . 175
Appendix B:
Glossary . . . . . . . . . . . . . . . . . . . . . 177
Index . . . . . . . . . . . . . . . . . . . . . . . . 183
Contents v
Expression.bkTOC Page vi Thursday, November 7, 1996 3:22 PM
Welcome to Expression and simple, natural gestures, the Expres- Built-In Artistic Expression
sion artist can vary stroke widths by press- Expression’s ability to use sophisticated
Imagine... the stylistic expressiveness of ing on the tablet. In addition, Expression is vector shapes to create a stroke gives
pencils, brush strokes and other traditional the first full-featured illustration applica- users unprecedented creative freedom. Art-
artists’ tools, combined with the incredible tion to support transparency, allowing you ists can choose from three different types
flexibility, speed, editability and resolution to “layer” your strokes, an effect previously of strokes to apply to their illustrations:
independence of an advanced, vector- available only in bitmap paint programs.
based drawing application. As the first Nat- Natural-Media Strokes
The result is Natural-Media artwork never
ural-Media® drawing program, Fractal Natural-Media strokes mimic traditional
before possible in vector based drawing
Design Expression software will change the artist tools such as paint brushes, pencils
applications such as Adobe Illustrator™,
way you think about vector-based illustra- and pens.
Macromedia FreeHand™, and CorelDRAW!™.
tion and the way you work as a computer
artist. Graphic Element Strokes
Graphic Element strokes include individual
drawings and objects, similar to vector-
based clip art, but can be applied along any
drawing path.
Multi-view Strokes
Multi-view strokes can incorporate both
natural media and graphic elements, but
contain multiple views of the stroke.
Expression will automatically interpolate in
between any of these views allowing the
artist to add a more “random” look to his
Expression’s power and agility come from illustrations or even save them in Quick-
its exclusive Skeletal Strokes™ technology. Time or AVI animations.
For the first time ever, artists can use a sin-
gle vector path to draw or edit sophisti- Expression comes with over 350 built in
cated, multi-element strokes or even strokes, but the artist can easy create their
complete illustrations. Simply select a own custom strokes using any of the draw-
drawing tool and a stroke style, and begin ing tools, or by importing graphics from
drawing. other vector based drawing applications.
vii
Welcome Page viii Wednesday, November 6, 1996 4:57 PM
The artist has complete control to modify ment strokes, and more than 35 hatching, strokes. The fourth chapter describes how
the stroke’s attributes. Strokes can include paper grain, and vector patterns. Expres- to use and choose colors for your images.
an unlimited number of separate paths and sion also includes tools for fine tuning per- The fifth chapter contains information on
control points, variable widths, anchor spective, anti-aliasing, custom color designing and using strokes and fills.The
points and repeatable areas. support, as well as basic page layout capa- sixth chapter describes how to edit and
bilities and font handling. arrange your paths and strokes. The sev-
Professional-level Illustration enth chapter contains information on print-
Expression provides a full complement of Compatibility ing.
professional-level drawing tools and a vari- Expression works with art created in other
The first appendix describes common
ety of vector-based operations such as lay- drawing programs such as Adobe Illustra-
problems encountered while using Expres-
ering, scaling, compounding, and blending tor and CorelDRAW!.
sion and possible solutions. The second
of shapes. The Expression artist can rotate,
Expression supports export to: Photoshop appendix is a glossary of new terms used
skew, mirror and even add perspective to
2.5, BMP, PCX, PICT and TIFF rasterized bit- throughout the manual and in the Expres-
the vector objects in the illustration. This
map formats, Adobe Illustrator versions 3 - sion application.
level of flexibility allows artists to create
6, CorelDRAW! versions 3, 4, and 5, CGM,
and transform objects easily. Note: We realize that you may not have
EPS, PICT and WMF vector formats, as well
time to read this entire manual, but the
A Powerful Complement to as AVI and QuickTime animation file for-
information in Chapter 2 would be very
Existing Drawing Tools mats.
valuable in getting you comfortable enough
While Expression is a full featured, stand- About this User Guide to start experimenting on your own.
alone application, it is also designed to
This user guide is a cross-platform manual, Modifier Keys
complement existing drawing programs
designed for use with the Windows and
such as Adobe Illustrator, Micromedia When a modifier key differs between the
Macintosh versions of the Expression soft-
FreeHand, and CorelDRAW!. The Expres- Macintosh and Windows platform, the Mac-
ware. Dialogs and windows displayed in
sion interface and tools work similarly to intosh modifier is listed first followed by a
this guide were taken from both versions of
these familiar applications. To streamline slash and the Windows modifier key.
Expression. In some cases, where there
the integration with other desktop tools, Option/Alt means Macintosh users press
were significant differences between plat-
Expression supports import and export to the Option key and Windows users press
forms, both versions are shown.
a wide variety of formats, including the the Alt. Key.
standard vector formats, bitmap formats The Guide
and animation formats. References
The first chapter is an introduction. The
When a referral appears, directing you to
Other Goodies second chapter provides a comprehensive
another chapter in the book, it is high-
tutorial to get you familiar with Expres-
Expression ships with an array of content lighted in turquoise.
sion’s features. The third chapter explains
that includes more than 150 Natural-Media
how to create paths on which you can
and Multi-view Strokes, 200 Graphic Ele-
apply Expression’s powerful vector
Ultimate Symbol
email: mac_support@fractal.com
The 200 strokes includes in the Ult Symb
win_support@fractal.com Stroke directory were chosen specifically
for use in Expression from the Design
Elements– A Digital Reference™, a collection
Mail: Technical Support of more than 3280 images by Ultimate
c/o Fractal Design Corporation Symbol Inc. All images are copyright © 1994
P.O. Box 66959 Ultimate Symbol, Inc.
Scotts Valley, CA 95067-6959
For more information or a free brochure
about the Ultimate Symbol Collection,
contact:
Ultimate Symbol Inc.
31 Wilderness Drive
Stony Point, NY 10980
phone: 914-942-0003
fax: 914-942-0004
ix
Welcome Page x Wednesday, November 6, 1996 4:57 PM
1
Overview of
Expression
Starting Expression 2 Choose the New File button from the How an Expression Image
Standard toolbar to open a new
document. You can also choose File
is Made
menu> New.
The first time you start Expression, you are
asked for your serial number. Like most drawing software programs,
The serial number is located on the “Read Expression’s objects are comprised of
This First” card and the Registration card. paths. A path is a sequence of points
(nodes) connected together as lines or
Choose the New File button. curves. Expression allows an arbitrary mix-
ture of straight-lines, Bézier curves and
To start Expression on a Macintosh: B-Spline curves linked together to form a
1 Double-click the Expression icon. The path.
Expression tools and palettes appear.
Each path is assigned a stroke and a fill.
Stroke refers to the outline or edge of an
2 Choose the New File button from the object. Picking a stroke in Expression is
Standard toolbar to open a new
similar to picking up an artist’s brush.
document. You can also choose File
menu> New. Fill refers to the inside color or pattern.
Expression combines the stylistic expres-
siveness of paint, brush strokes and other
traditional artists’ tools with the flexibility,
speed, edibility and resolution indepen-
dence of an advanced, vector based draw-
Choose the New File button. ing application.
Since we know you are anxious to get Expression’s interface consists of several
started, we’ll introduce you to Expression types of toolbars and palettes. Some of the
at its most basic— creating a path and toolbars and palettes open automatically
assigning a stroke. when you launch Expression. You can hide,
display or move any or all of the toolbars
Stroke Warehouse palette and palettes on your workspace to meet
your particular working style. Each of the
toolbars is explained later in this chapter.
First we will show you how to select and
Select a stroke from the Stroke Warehouse
palette. arrange toolbars in the Expression work-
space.
4 Choose the Freehand tool from the Tools
toolbar.
To Bottom
Copy
Deselect All Moves the currently selected object to the
Copies selected object(s) to the Clipboard bottom level of the stack on the current
and saves the selection until another selec- Deselects all objects in the current docu-
layer.
tion is cut or copied. ment.
; Note: Objects on the top draw last and
therefore are not obscured by any other
objects. Objects on top appear to be in
Paste Delete Selection front of any other objects on the same
Deletes all selected objects. The objects layer.
Inserts information previously stored in the
Clipboard into the document. are not stored in the Clipboard. However,
you can use Expression’s Undo function to
return the deleted selection.
Magnifier Tool
Reverse path, before and after. Allows you to magnify areas of an image Freehand path.
when you are performing detailed work, or
reduce your workspace to get an overall
view of an image. Click to zoom in, or hold
Change Start Point Tool Pen Tool
the Option/Alt key and click to zoom out.
Relocates the starting point for the path, You can also drag a marquee to zoom into a Creates shape paths using standard Bézier
moving the starting point of any Skeletal specific area. points.
Stroke to the new location.
Pen path.
Line object.
Polyline Tool
Shape Object Tools
Draws straight line and circular arc line
segments.
B-Spline path.
Transformation Tools
Rectangle Tool
Creates rectangles and squares. Hold down
the Shift key to constrain the object to a The Transformation tools.
square.
These tools are used to transform selected
objects by rotating, scaling, mirroring,
shearing, or applying perspective. For
Ellipse Tool more information regarding the Transfor-
mation Tools, see ➤“Transforming
Creates ellipses or circles. Hold down the Objects containing gradients. Objects” in Chapter 6, “Arranging and Edit-
Shift key to constrain the object to a circle.
Dropper Tools ing Objects.”
below is defined with the head and tail The Actions Toolbar
parts anchored to the beginning and end- The Actions toolbar includes controls for
ing points of the stroke. The section the behavior of node tangent handles as
between the two anchored areas can well as the Ellipse Closure controls, Anchor
stretch on any long path but the tail and and Repeat controls and the Pressure Sen-
head remain the same. sitivity buttons. Choose Window menu>
Toolbars: Actions to toggle the Actions
Repeating parts of a stroke. toolbar on or off. The Actions toolbar con-
tains the following buttons:
Symmetrical Pie
Positions the tangent handles so they are Allows you to create an ellipse line segment
The Ellipse Closure controls.
opposite each other and equidistant from closed by a pair of straight lines. These
the node. These buttons allow you to control how an lines connect with each other in the center
open ellipse is closed. Expression’s ellipse of the ellipse.
is a special case object. After creating an
ellipse you can drag its single point with
Smooth the Select Node tool to open it up, then use
Positions the tangent handles so they are one of the following buttons to complete
opposite each other. In this case, changing the shape. For additional information
the distance from the node of one handle regarding the Ellipse Closure Controls, see
does not change the distance of the other. ➤“Editing Ellipses” in Chapter 6, “Arrang-
ing and Editing Objects.” Ellipse with pie line segments.
Angle Locked
Positions the tangent handles so they are Open Arc Add Chord
locked in relation to each other. Moving Allows you to create an open ellipse line
Allows you to create an ellipse line segment
one handle causes the other handle to segment.
with a flat side. The ellipse is closed by a
move the same angular distance and direc- straight line segment from beginning point
tion. to ending point.
Unconstrained
Allows tangent handles to move indepen-
dently of each other.
Ellipse as an arc.
Anchor Controls
Miscellaneous Toolbar
The Miscellaneous Toolbar controls Blend-
ing and Boolean operations (also known as
pathfinder operations to Adobe Illustrator
users).
Close Box
Intersection
Creates a new path that contains areas
where the selected source paths overlap. Tabs
Areas and paths that do not overlap are Check marks appear next to open palettes.
ignored.
Rather than describe each palette in depth
here, we will refer you the chapter that
explains each palette in detail.
Current Color
Alignment Palette
Use this palette to align, distribute or stack
objects. For more information on Align-
ment, see ➤“Aligning Objects” in
The Font palette. Chapter 6, “Arranging and Editing Objects.”
Transformation Palette
Use this palette to translate (move), rotate, The Layers palette.
shear, mirror or scale objects. Use the
small arrows to the right or left of the tabs Gradient Editor Palette
to display additional tabs as you need This palette can be used to add, delete and
them. Click Apply to apply your changes to edit gradients. For more information on
any selected object. Use the Duplicate but- gradients, see ➤“Using Gradients” in
ton instead of the Apply button to create a Chapter 4, “Using Color.”
duplicate of the selected object as you
transform it, leaving your original object
untouched. For more information on trans-
formation, see ➤“Arranging Objects” in
Chapter 6, “Arranging and Editing Objects.”
The Alignment palette.
at the upper left corner. You can toggle the Expression also provides a snap to node
rulers by choosing View menu> Show constraint by using View menu> Snap to
Rulers. Nodes. When you click or drag near an
existing node (point), the cursor snaps to
You can also scroll the view by placing the
the node.
cursor on the vertical or horizontal ruler.
When the cursor changes to a hand, drag to The Status Bar
scroll the view.
At the lower left corner of the Expression
window is the Status Bar. The Status Bar
displays information regarding the Snap To
Grid or Snap to Node functions and the size
of the Grid as set in the Preferences dialog
View tab.
Choose Window menu> Cascade to Navigating Your Center View Centers the printable page in
arrange open windows starting in the the document window.
upper left corner with each additional win-
Document
You can also zoom in and out with the
dow positioned slightly to the right and
Magnifier tool.
lower so you can see the title bar of each
window. You can navigate through a document or
Choose Window menu> Tile to arrange image by changing the level of magnifica-
tion (zooming in or out), scrolling to a dif- To zoom in:
open windows as tiles.
ferent part of the image, or rotating the 1 Choose the Magnifier tool from the Tools
Choose Window menu> Arrange Icons page. By navigation, we mean moving toolbar. The cursor changes to a
to arrange open minimized windows along around a document, changing views, or magnifier. The plus sign (+) on the
the bottom of the screen. moving the page. magnifier indicates that you are
increasing magnification—zooming in.
Zooming In and Out
By default Expression opens a document at
100% view, but you can change the view to
suit your needs. The Zoom Ratio box in the
lower left corner of the document displays
the current zoom ratio. Click-hold to
choose another zoom ratio.
3 While holding down the Option/Alt key, 2 Drag in the document window to pan or
click the image. The magnification ratio move your image.
appears in the Status Bar at the bottom
of the window.
Changing Your View Preview Shows the path plus the stroke
In addition to controlling the Grid, Rulers, and/or fill as applied to the path.
Snap To and Zoom Ratio the View menu
controls the display quality for your paths.
Transform patterns Controls the way a information regarding Boolean operations, Nudge increment Sets the increment
pattern is handled when an object contain- see ➤“Using Boolean Operations” in applied when you use the keyboard arrow
ing a pattern is transformed (rotated, Chapter 3, “Creating Paths.” keys to move an object.
skewed, scaled). When this option is
Show resize handles Toggles on/off the Stack: Gap Size Sets the size of the gap (in
enabled, the pattern is applied to the
on-screen resize handles that appear points) between objects when using the
object before the transformation and there-
around selected objects. When on Stack function.
fore transforms with the object. When this
(default), resize handles are displayed at
option is disabled the object is transformed Miscellaneous
the corners of the bounding box and the
and then the pattern is reapplied and not
transform handles appear on the top, bot- No fill with Skeletal strokes When this
affected by the transformation.
tom and sides. option is enabled, choosing a Skeletal
Stroke automatically removes any fill which
has been applied. If you want to fill an
object which has a Skeletal Stroke applied,
you can choose the stroke first, then apply
a fill.
Scratch Disk
Use Select a disk that has plenty of free
space. The scratch disk is used only when
rasterizing. It should only be necessary
when you do not have enough RAM to keep
the entire rasterized image in memory.
Anti-Aliasing yellow beachball on a blue background, 8 Click Save. Converting vector artwork
Anti-aliasing is a process used to make individual pixels along the edge of the ball into raster artwork will take some time.
color images appear smoother when the are changed to shades of orange and green, Expression displays a progression bar to
image includes curved and diagonal areas fooling the human eye into “seeing” a let you know how much of the
with high contrast. Without anti-aliasing smoother curve. conversion has been completed.
the curves and diagonal lines may appear Unless you are working on a project which
to be stairstepped. High-resolution bitmap images require
specifically requires that images not be large amounts of disk space. If you have
anti-aliased, such as multimedia cast mem- trouble saving a large bitmap, make sure
bers, there is no reason to disable the Anti- you have sufficient free space on your
aliasing option. Anti-aliasing does not sig- hard disk.
nificantly increase the time required to ras-
terize an image. Saving Multi-view Strokes As
Movies
A Multi-view stroke can be rasterized, then
To save as bitmap: saved as an animation or as a series of bit-
1 Choose File menu> Save Bitmap. mapped still images. The animation can
then be used in another application as a
2 Select or deselect Keep Proportions. movie. For more information on Multi-view
strokes, see ➤Chapter 5, “Applying Strokes
3 Set Width and Height in inches, and Fills.”
centimeters or points.
Multi-view Strokes
4 Set the Resolution of the bitmap. For When rasterizing Multi-view strokes the
more information on setting resolution, goal is to produce a sequence of bitmaps to
see ➤“Setting Bitmap Resolution,” earlier make up an animation. To achieve this,
in this chapter. more parameters are required. Based on
the number of frames per second (fps) and
5 Select or deselect Anti-Alias as needed. the duration of the movie, Expression can
For information on anti-aliasing, see the rasterize the appropriate number of bit-
introduction to this section. maps.
With and without anti-aliasing You must be in the Stroke Definition win-
6 Click OK.
With the Anti-Alias option enabled, Expres- dow and have open a Skeletal Stroke with
sion modifies areas with stairstepping, 7 Select a directory in which to save the two or more views.
changing some pixels to intermediate col- bitmap file. Set the file format and name
ors. For example, if your image is a red and the bitmap file.
Movie files can take up several megabytes For web animation: Lower resolution, a ºClick the Options button to set
of hard drive space, since they are essen- small, fixed number of frames, save as compression settings, if desired.
tially sequences of many images (poten- sequenced JPEG images with compression.
tially hundreds). The following factors If you require GIF images, you will need to ¡Click Save. The status area indicates
contribute to the size of a movie: frame size convert to GIF in another application. progress as the movie is rasterized.
(height x width), frame rate (frames per
second), duration (in seconds), and com- A movie player is required to view your
pression settings. movie. Macintosh documents are saved as
To save an animation: QuickTime movies. Windows documents
Not only do large movies take up a lot of 1 Open a Multi-view stroke by double- are saved as AVI movies.
space on your hard disk; they also tend to clicking it in the Stroke Warehouse
play very sluggishly on all but the fastest palette. The Stroke Definition window Undoing Operations
computers. You should experiment with appears. Multiple Undo allows you to undo and redo
the variables listed above to determine actions within Expression. This gives you
which settings produce movies that play 2 Choose File menu> Save Stroke as the freedom to experiment freely without
smoothly on your computer and take up Movie. fear of making mistakes.
reasonable amounts of storage space.
Below are some general guidelines which 3 Select or deselect Keep Proportions. The number of undos is set in the Prefer-
may help you. For more detailed informa- ences found under File menu> Prefer-
tion, consult the documentation that came 4 Set Width and Height in inches, ences> Options. The default setting is ten
with your multimedia authoring or video centimeters or points. levels. For more information on setting
production software or hardware. your preferences, see ➤“Options Tab” ear-
5 Set the Resolution of the bitmap. For lier in this chapter.
For video to be exported to tape and
information on setting resolution, see the
played back on television: 640 x 480 pixels,
guidelines in the introduction to this
30 fps, save as sequenced images, Quick-
section.
Time, or AVI with no compression (most To Undo an action:
video production software and hardware 6 Select or deselect Anti-Alias. For 1 Choose Edit
menu> Undo or
solutions provide their own compression). information on anti-aliasing, see ➤“Anti- Command/Ctrl+Z.
For multimedia productions to be played Aliasing” earlier in this chapter.
on a typical desktop computer: 320x240
pixels, 15 fps, save as QuickTime or AVI 7 Set the Movie Length and Frames per
with moderate compression. Second.
8 Click OK.
9 Select file destination and name the file.
2
Tutorial
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• Color palette
• Layers palette
To control toolbars:
• Standard toolbar If any of these toolbars are missing, or if
• Actions toolbar you wish to close some you do not need,
you may toggle them on/off by choosing
• Tools toolbar Window> Toolbars then select or dese-
lect those you want.
• Composition toolbar
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To open the Adobe Illustrator document: Expression provides several selection tools
plus the Composition toolbar for selecting
1 Choose File menu> Open.
objects in your document. To select all:
2 Select the file tutorial.ai from the The Selection tools include: 1 Choose the Select All button from the
Tutorial directory. If you do not see the Composition toolbar. The selected paths
file, make sure that the Illustrator format Object Selection are now displayed in color with
or All Files is chosen from the File Type Selects objects or groups of objects. individual nodes (or vector points)
menu in the Open dialog. visible. The selection is enclosed in a
Group Selection
3 Click OK.
Selects individual object within a
This file includes an outline of a dragon- group.
fly. The first thing to do is enhance the Node Selection
dragonfly by applying a Skeletal Stroke to
it. Before you can apply a stroke, you Selects points of a path.
must select the paths or objects you
want to edit.
38 Fractal Design Expression User Guide
Ch02.FM5 Page 39 Wednesday, November 6, 1996 10:40 AM
bounding box and the corners of the Applying a Skeletal Stroke list at the top of the Stroke Warehouse pal-
bounding box, the Resize Handles, are Now that you have the dragonfly paths ette to select the main stroke directory or
represented by triangles. selected, you can apply a Skeletal Stroke. navigate up through nested folders.
Expression includes a variety of Skeletal When you select a new Skeletal Stroke, sev-
Strokes stored in the Stroke Warehouse eral things happen: the stroke is applied to
palette. the selection and the Paint Style palette
changes to display the currently active
stroke.
Directory list
To apply a stroke:
Scroll bar 1 Double-click the Tutorial folder in the
Stroke Warehouse palette to display the
s strokes you need for this exercise.
3 Click Apply.
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Adding Color
Next, you begin to enhance the dragonfly
To control width and shear using the wings.
Paint Style palette sliders:
Use Expression’s Color palette to add color
1 Using the Object Selection tool, select
to your artwork. The Color palette includes
the head.
the Color Wheel, for selecting a color range
2 Apply the Circle Skeletal Stroke to the and the Value Picker, for selecting a partic-
head also. You need to enlarge the head. ular color within the selected range. A key
at the upper right corner of the palette
3 This time, use the Width setting in the opens and closes the Color Table display.
Paint Style palette to change the size of For now, leave the Color Table display
the head. Type in a higher number or closed.
drag the up arrow by the Width box until The first step to coloring your dragonfly
Pull the handle straight in or out to change
the width of the stroke. the head is the size you want. wings is to color them yellow.
2 Pull the handle straight out or in 4 You can also use the Shear slider in the
(perpendicular to the path) to control Paint Style palette to shear or skew the
the width of the stroke. Drag the Shear/ head. Color Wheel
Width handle for the body to make it a
pleasing width as shown above.
Value
Picker
3 Pull the handle at an angle to shear or
slant the stroke, making the circles Shear slider
appear slightly slanted.
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4 Click Apply in the Paint Style palette to 4 Edit the color to a shade of purple.
apply that color to your selection.
To select a color:
1 Using the Object Selection tool from the Changing the Stroke and Color
Tools toolbar, drag a marquee to select Use the skills you learned above to change
the four paths that make up the wings. the stroke on the topmost wing path as
follows:
2 Choose File type: Expression Lesson 2: Adding More Setting Attributes for Your Path
Detail to the Dragonfly Settings in the Paint Style palette determine
the attributes for the next path you draw.
Before you draw a path, be sure the Paint
Style palette is set to the stroke and fill you
In this lesson you will learn about: want to use.
• Selecting stroke and fill attributes
• Drawing with the Classic drawing tools
To set stroke and fill attributes:
• Using Natural-Media strokes 1 Click the Deselect All button from the
• Selecting by stroke Composition toolbar.
Saving the file. • Changing the stack order 2 Click the Stroke tab in the Paint Style
palette.
3 Name the file dfly. • Layering
• Using Supplemental drawing tools 3 Click the None icon to set the stroke to
4 Select the Tutorial directory as the None.
location to save the file. Open the file you created in Lesson 1 (dfly)
or open the file named lesson2.xpr.
5 Click Save. One of the advantages of using Expression
is that you can quickly change the look of
At this point you can continue with the
your artwork by applying a different stroke
next lesson or end your Expression work
and fill to any path.
session.
To add more interest to the dragonfly
wings you now fill them with color. You are
going to use the Pen tool to draw shapes. Set the stroke type to None.
The shapes have no stroke, because you
don’t want a hard edge on the wings. The 4 Click the Fill tab.
fill is a somewhat transparent light blue
color. 5 Click the Color icon to set the fill to a
solid color.
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6 Use the skills you developed in Lesson 1 by tangent handles. For more information 3 Use the Node Selection tool from the
to select a light blue color. If you need a on the drawing tools, see ➤Chapter 3, “Cre- Tools toolbar to move nodes or tangent
refresher on choosing colors, see ating Paths.” handles as needed.
➤“Adding Color,” earlier in this chapter.
7 Expression allows you to control 4 Use the same technique to fill the other
transparency or opacity with the Opacity wing segment. Be sure to stay inside the
slider in the Paint Style palette. Make the wing outlines, because you will need to
dragonfly wings transparent by setting select the outline later in this tutorial.
the Opacity slider to 50%.
Notice that the overlapped area shows a
Drawing Paths different shade of blue, created from the
transparent layers. Expression makes it
Expression includes a variety of drawing
very easy for you to add this kind of Nat-
tools. The Classic (two most common)
ural-Media look.
drawing tools, Freehand and Pen, are
together on the toolbar. The Freehand tool
creates a path as you move the cursor with
the button held down. The Pen creates a
Bézier path by placing points (nodes). The
lines connecting the points are controlled Fill the inside top of the wing.
To draw with Natural-Media stroke: 2 The Color palette displays two Paint over the wings.
1 Choose the Deselect All button from the rectangles representing the foreground
Composition toolbar. (left rectangle) and background (right Selecting by Stroke
rectangle) colors. Click the foreground
Expression makes it easy for you to change
2 Select the stroke named Fine Brush. This (left) color and select a bright blue. This
parts of an image that share attributes.
Natural-Media stroke mimics a paint is the predominant color for your stroke.
This can be a real help when editing a com-
brush. It is composed of two colors
3 Click the background (right) rectangle, plex image. For this exercise we are going
which you can control by using the Color
then select a deeper blue color. This is to select paths that have the same stroke
palette.
the secondary color for your stroke. applied to them. In another situation you
could select paths that have the same
color, the same fill or a combination of
these attributes, such as all blue paths with
a specific stroke.
Chapter 2 • Tutorial 45
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Adding Wing Detail Layering 3 Choose New. A new layer is created and
Before the dragonfly is complete, you need Another useful feature of Expression is Lay- named Layer 2.
to add one more detail. ers. You can put elements of your image on
different layers which you can then lock or
1 Using the Freehand tool from the Tools hide. A locked layer cannot be edited. This
toolbar, draw a simple spiral shape on
can be helpful when you want to ensure ele-
the topmost wing. Since the Silk stroke is
ments are not inadvertently changed. Hid-
still the active stroke in the Paint Style
den layers do not print. This can be useful
menu, your new path displays the same
when you want to trace over an image, then
Silk stroke.
hide it.
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Smoothed
To send layer to back: Polyline tool Polyline tool
1 Click to select the background layer
from the Layers palette.
The Layer Info dialog. Polyline Draws straight line and circle
arc line segments.
4 Enter the name “background” and select
the color you wish to assign to the layer. B-Spline Draws smooth curved line seg-
You can also set the display quality, ments based on straight line control
hide, and/or lock the layer in this dialog. polygon.
5 Click OK. Background layer selected and ready to send Smoothed Polyline Draws curved line
to back. segments.
Creating B-Spline Spirals 4 Use this same technique to create a Lesson 3: Completing the
1 With the Silk stroke still selected, click group of spirals to frame your dragonfly.
Poster
the Supplemental Drawing Tools icon in
the Tools toolbar and choose the
B-Spline tool.
In this lesson you will learn about:
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4 In the Color palette, select a green color image than you get when you use the same
for your grass. stroke to draw from bottom to top. When
applying a Skeletal Stoke you need to be To edit the image:
5 Draw a series of long, free flowing paths aware of the direction of your path. How- 1 Click an empty space or the Deselect All
to represent the grass. Don’t worry if ever, it is easy to change the direction if button.
your image is not exactly the same. Have you need to.
fun expressing yourself! 2 Using the Object Selection tool from the
Tools toolbar, select one of the blue
To change direction of a path: spirals.
1 Click the Path tools icon in the Tools 3 Holding down the Shift key, click on each
toolbar and choose the Reverse Path remaining blue spiral until all of them are
tool. selected.
Changing the Direction of a Path Changing the direction of the cattail path.
Deselect All then use the same technique to Editing the Image
add some cattails to your design by select-
To soften the effect of the blue spirals,
ing the Skeletal Stroke named catstail.
change their stroke to the stroke named
When you draw the cattails, notice that the Fluid stroke.
direction of the path is important. If you
draw from top to bottom you get a different The image after adding cattails and changing
the stroke of the B-Spline spirals.
6 Click the Reset Color button in the Paint To add the irises:
Style palette, so the color scheme
returns to the default settings. 1 Click an empty space or the Deselect All
button.
The Pond
2 Select the Skeletal Stroke named Iris
from the Stroke Warehouse palette.
To add a pond: 3 Set the stroke width as you like for each
1 Select the stroke named Airbrush from instance of the iris. Remember, you can
the Stroke Warehouse palette. use the Shear/Width handle or the Width
setting in the Paint Style palette.
2 Edit the color to a light blue. This stroke
includes transparency so the color 4 Click the Reset Color button in the Paint
builds up as the stroke crosses itself, Style palette to return to the default
much like watercolor paint. color scheme.
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2 Choose the Text tool from the Tools Creating a Skeletal Stroke
toolbar. The Font palette appears. You can create a Skeletal Stroke from any
picture you can draw or import. Now use
the text to create a new stroke.
The Text tool.
3 If needed, edit your artwork. 5 Scroll to select the Tutorial folder. 2 Click the Anchor/Repeat Tools icon from
the Tools toolbar and choose the Repeat
6 Name your stroke Text1. tool.
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Applying the Repeating Stroke Multi-view Strokes dow there is a timeline across the top. A
In the Paint Style palette, be certain that It would be unusual for all the flowers in a marker indicates each position or key-
your stroke, repeatx, is selected, with its garden to look exactly the same. Nature frame.
color set to a medium blue. Now use the doesn’t behave that way and there is no
Freehand or B-Spline tool to draw a spiral reason your artwork has to either. Expres- 3 Click the left keyframe to see the iris fully
in the pond. sion’s Multi-view strokes provide you a way opened.
to quickly create a group of flowers that are
related but different.
4 Click the next keyframe to the right to
see the iris starting to close.
1 Select the stroke named Multiiris from
the Stroke Warehouse palette. Notice 5 Click the right most keyframe to see the
that its animation in the Stroke bud completely closed.
Warehouse palette shows an iris opening
and closing again.
Draw a spiral in the pond. The Multiiris stroke set to view the last
keyframe or 100%.
The Paint Style palette. 4 Click the Multiiris stroke to apply it to all
the selected paths. Each flower appears
You can choose Random or you can use the slightly different.
Shape slider to specify which view. With
the Shape slider set to 0%, the first key
frame appears. With the Shape slider set to
100%, the last keyframe appears. Any set- Select the 0.5% zoom.
ting between the two extremes determines
which in-between view actually appears.
Expression automatically creates between
views, based on the keyframe pictures you
define.
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3 Select the Tutorial directory. 3 Set the number of copies you want
printed.
4 Leave other settings at the default and
click Save. 4 Since this image includes a transparency,
enable the Rasterize Before Printing
option.
5 Set the dpi that your printer supports. 5 Select a directory in which to save your
file, name the file and select the file
6 Click OK. Expression converts the image format you prefer.
to a bitmap image and sends the
bitmapped image to the printer. The 6 Click Save. Converting a file to bitmap
process of rasterizing takes some time to takes some time as each pixel in the
complete. Expression displays a image needs to be defined. A progress
progress bar at the bottom of the screen bar at the bottom of the window displays
and the cursor changes into an hour the percent completed.
glass.
4 Click OK.
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3
Creating Paths
Understanding Paths
Open path.
Drawing Tools
To create a freehand path:
1 Click the Classic Drawing Tools icon in
Expression provides nine basic drawing the Tools toolbar and choose the
tools: Freehand tool. The cursor changes to a
• Freehand tool paintbrush.
• Pen tool
• Polyline tool
• B-Spline tool The cursor changes as it nears the endpoint.
Choose the Freehand tool.
• Smoothed Polyline tool Creating Freehand Paths
• Line tool The Freehand tool allows you to create
2 Drag the mouse or stylus across the
workspace.
paths by drawing freely. Expression auto-
• Rectangle tool matically creates points based on the path
3 When your path is finished, release the
• Ellipse tool you draw.
mouse. A vector path is created.
• Text tool If you are using a stylus, the pressure sensi-
tivity can be enabled to take advantage of
These tools allow you to create new paths pressure strokes. For more information on
or to add points to an existing path. By using a stylus, see ➤“Using a Stylus,” later
default, all of the drawing tools (except the in this chapter.
Freehand tool) automatically add points to
an existing path when you position the cur-
sor over an existing endpoint and continue
drawing. You can disable the behavior by Creating a freehand path.
setting a user preference. For more infor-
mation on setting user preferences, see
➤“Setting Preferences” in Chapter 1, “Over-
view of Expression.”
Creating Bézier Paths releasing the mouse button, the Clicking creates a point with tangent han-
The Pen tool is used to create a Bézier path preceding tangent handle snaps back into dles retracted (corner point).
point by point. The tangent handles of each the position symmetrically opposite the
point control the shape of the path. following tangent handle. Corner Point
Segment
You place a Bézier point by clicking or
dragging, creating corner or curve points. Handle
The points of a Bézier path can be con-
verted from corner to curve or curve to
corner.
Click to create a corner point.
You can also use the following keys to cre-
ate other effects. Dragging creates a point with preceding
and following tangent handles (curve
• Hold down the Shift key while dragging to point). Click then drag the tangent han-
constrain the angular relationship dles as needed to adjust the shape of the
between the following tangent handle and path. This allows you to edit the Bézier
the Bézier point. path segments as the path is created.
Locking tangent handles while drawing, with By default, the preceding handle is sym-
and without the Option/Alt key. metrically opposed to the following tan-
gent handle, an equal distance from the
point you are creating.
To create a Bézier path:
1 Click the Classic Drawing Tools icon in
the Tools toolbar and choose the Pen Curve Point
tool. The cursor changes to a pen.
3 Create other points as needed. 4 Drag to create an arc segment. The initial Creating B-Splines
mouse click determines the tangent of The B-Spline tool is used to draw smooth
4 Double-click or press the Return/Enter the arc. The arc’s endpoint is determined curves. It works like a standard polyline
key to end the path. by the position of the point when the tool—you simply click to place points, or
mouse is released. nodes, on the page. Instead of connecting
Creating Polylines the nodes with straight line segments, the
The Polyline tool is used to create straight B-Spline tool creates a smooth curve which
lines and arc segments. passes near each node.
Start and
Simply click to automatically create a curve. end points Corner point
are on the
3 Double-click to define the end point or line
click on the beginning point to create a
closed shape.
2 Click to create the first point and all Creating Lines Creating Rectangles or Squares
other points as needed. The Line tool creates straight path seg- The Rectangle tool creates a rectangle or
ments. The beginning point is defined by square. One corner of the rectangle is set
the first click and the end point, by the to the location at which you start the drag
location at which the mouse button is while the opposite corner is set to the posi-
released. tion at which you release the mouse but-
ton.
To create a line:
1 Choose the Line tool from the Tools To create a rectangle or square:
Create all points as needed. toolbar. The cursor changes to a 1 Click the Shape Object Tools icon in the
crosshair cursor. Tools toolbar and choose the Rectangle
3 Double-click to define the end point or tool. The cursor changes to a crosshair.
click on the beginning point to create a
closed shape.
Hold down the Shift key to constrain the Hold down the Shift key to constrain the
angle of the line between the beginning rectangle to a square.
Double-click to finish the shape. and ending points. The angle of con-
straint can be set by choosing File
menu> Preferences: Options> Angu-
lar constraint steps.
4 Drag again on the end point to continue 3 Release the mouse button to complete
your path with another straight line the shape.
segment.
Creating Ellipses and Circles 3 Release the mouse button to complete Creating Text
The Ellipse tool creates a ellipse (oval) or the shape. The Text tool creates text objects based on
circle. Each ellipse has a bounding box True Type or Type 1 fonts. (Bitmapped
which is the smallest rectangle that can ; Note: The Ellipse is a special class of fonts are not supported since Expression
contain the ellipse. One corner of the path; unlike the rectangle and line segment. needs the vector based outlines.) You can
bounding box of the ellipse is set to the A complete ellipse is created by default, set characteristics for text objects, such as
location at which you start the drag while but you may move the ellipse’s special font, style and size.
the opposite corner is set to the position at point to specify beginning and ending
points, thus creating a partial elliptical line Each of the characters of a text object can
which you release the mouse.
segment. have its own individual stroke and fill
attributes.
You then use the Ellipse Closure controls in
To create an ellipse or circle: the Action toolbar to specify whether the
open ends of a partial ellipse are uncon-
1 Click the Shape Object Tools icon in the nected, connected to the center point of To create a text object:
Tools toolbar and choose the Ellipse
the ellipse with two straight line segments 1 Choose the Text tool from the Tools
tool. The cursor changes to a crosshair
or connected by a single straight line seg- toolbar. The cursor changes to an I-beam
cursor.
ment. and the Font palette appears.
5 Set the size by using the up/down arrows 2 Choose the Text tool from the Tools
or highlight the Size entry box and type toolbar.
To set characteristics for a text object: the size you prefer.
1 Using the Object Selection tool from the 3 Click on the path at the point you want
Tools toolbar, select a text object.
6 Set the text alignment. You can choose the text to start. The cursor changes as it
from right, center, and left justify. is positioned over the path.
7 Set the leading. The Leading entry box is 4 Type characters as needed.
only available when Auto Leading is
deselected.
Select the text object.
Using Text on a Path
2 If the Font palette is not displayed, Expression gives you the ability to assign
choose Window menu> Font to text to flow along a path.
display the Font palette. The text is added to the path.
Some Text on a Path constraints:
• Multiple lines of text are not supported.
Only the first line of text is applied to a
path. To apply existing text to an existing
path:
• Text that extends beyond the end of the
path proceeds in a straight line following
1 Using the Object Selection tool from the
Tools toolbar, select the path, hold down
the direction of the tangent at the end of
the Shift key and select the text.
the path.
4 From the Style list pull down choose the To apply text to a path:
style you prefer. The selections available 1 Create a path or select a path using the
in this menu vary depending on the font Object Selection tool from the Tools Select the existing text and path, using the
selected. toolbar. Shift key to select multiple objects.
2 Choose Objects menu> Text on 2 Drag the text insertion beam along the Creating Compound
Path> Attach. path.
Shapes
2 Choose Objects menu> Compound These two choices are based on standard Non-Zero Winding Rule
Object> Make. Postscript rules but you may find it sim-
plest to just experiment to get the desired
effect. The traditional example used to
All areas within the object, including over-
illustrate the two methods is a star drawn
lapping areas, are filled.
with five lines, creating a pentagon in the
center. With the Non-zero Winding Number ; Note: The direction in which the path is
rule the pentagon is filled. With Even-Odd drawn makes a difference when filling a
rule the pentagon is empty. compound path with the Non-zero Winding
rule. Expression automatically reverses
; Note: For more technical explanation of
one path when you create a compound
Non-Zero Winding Number rule and Even-
A compound shape is created from the shape. But some shapes may still need to
Odd rule, see ➤Appendix B, “Glossary.”
selected objects. have a path reversed. If you find yourself
with a shape that is not being filled as you
Filling Complex Shapes thought it would try reversing one of its
paths.
On simple shapes, rectangle, ellipse, or
closed path, it is easy to tell what is inside Even-Odd Rule
and should therefore be filled. On an open
path an imaginary line connects the first
and last points thus defining which areas
are inside. Overlapping areas are not filled, and multi-
ple overlaps alternate between filled or not
However, on any shape where a path filled.
crosses itself, or where one path encloses Non-Zero Winding Rule example.
another path, Expression must decide
which areas to fill and which to leave
empty. To fill a compound shape:
The Fill Rule Control in the Paint Style pal- 1 Using the Object Selection tool from the
ette lets you set which of two methods is Tools toolbar, drag a marquee to select
used in applying your fill to such an object: two or more over-lapping objects.
2 Choose Objects menu> Compound 4 Click on the Fill tab. Using The Clipper
Object> Make.
(Masking)
You may also wish to change the stack Using Boolean Operations
order of other objects within your mask.
Choose Arrange menu> Up One or To release a clipped object:
Down One change the order of the 1 Using the Object Selection tool from the
objects as needed. Tools toolbar, select the masked object. Expression supports Boolean operations
which allow you to create closed paths
3 Select the mask and the base object(s) to 2 Choose Objects menu> Clipper> based on the area enclosed by two source
be masked. Release. paths.
A clipped object.
The Boolean functions supported are: Back minus Front Creates a new path that 2 From the Options tab, select the Path
contains areas in the back path that are not operations: keep original checkbox to
Union Creates a new path based on the
overlapped by areas in the front path. keep the original paths or deselect to
outline of all selected source paths as if
discard original paths after applying a
they were merged into one object. Paths
Boolean operation.
inside are ignored.
Applying Boolean Operations
Boolean operations may be applied to a
selection containing more than two source
paths. In this case, the operation is applied
Back minus Front path. first to a pair of selected paths. Then the
same operation is applied to the new path
Intersection Creates a new path that con-
and the next path in the selection. This pro-
tains areas where the selected source
cess is continued until all source paths
paths overlap. Areas and paths that do not
have been processed. When applying Bool-
overlap are ignored.
ean functions to multiple paths, the
Union path. selected paths are processed in order
Front minus Back Creates a new path that depending on the type of Boolean functions
contains areas in the front path that are not you are applying.
overlapped by areas in the back path. Union or Intersection Order is of no
importance.
Intersection path.
Back minus Front Paths are processed
Setting Boolean Preferences from the back to front.
Source paths can be retained or discarded, Front minus Back Paths are processed
based on a Preference you set. from the front to the back.
Blending paths.
2 Choose the Blend button from the 4 Select a method for interpolating path Tagging Paths for Blending
Miscellaneous toolbar or choose geometry: You can also set up a point-to-point corre-
Objects menu> Blend Paths. The spondence between the two paths, which
Blending dialog appears. Linear Each pair of corresponding sometimes produces better results.
points is interpolated without regard to
its relationship with other pairs of
points.
2 On first source path, starting from the 5 Choose a method for interpolating path 6 Expression then matches each tagged
beginning point and working toward the geometry: Linear or Length Angle. point on the first source path with the
endpoint, click on the points you want to corresponding tagged point on the
tag. The point changes from a white box second source path.
to a larger solid box when selected.
3 On the second source path, starting from Blending More Than Two Paths
Linear interpolation with tagged points. You can use the Blend command on more
the beginning point and working toward
the end point, click to tag an equal than two source paths. In this case, Expres-
number of points. sion blends the first two paths, creating the
number of steps you requested, then
4 Choose the Blend button from the blends the second path with the third path,
Miscellaneous toolbar or choose again with the same number of steps. The
Objects menu> Blend Paths. The process continues until all source paths
Blending dialog appears. have been blended.
Using a Stylus
4
Using Color
hue. The Value Picker is represented as a Understanding the Color Palette HSL
triangle, diamond or square. Use the Value Picker
method that works best for you. For To select fixed or draggable Color Wheel: The HSL Value Picker comes in three differ-
more information on Value pickers, see 1 Choose File menu> Preferences. ent shapes: triangle (the default), diamond,
the following section, ➤“Understanding and square. The Picker's behavior is similar
the Color Palette HSL Value Picker.” 2 Click the View and palettes tab. in all of its three shapes, so you can choose
the one which best suits your tastes. The
differences between them are described
below.
Click or drag the small crosshair to select • The left half is a triangle pointing to the
Triangle the value you want. The current selection is complementary (opposite) color and
shown in the swatch at the bottom of the functions as a mirror image; dragging
palette. right selects a muddier or grayer
Diamond saturation while dragging left selects a
Square purer hue.
• Click or drag the small crosshair to select
the value you want.
Gamut
• The current selection is shown in the
swatch at the bottom of the palette.
The current color is represented as a small 2 Click the RGB tab in the Color palette.
circle on the display. If the circle is within
the gamut, the color is printable; otherwise Click to expand
the output might not be what you would the palette
expect. The gamut display is not for picking Sliders
colors. It is mainly for displaying how far
off your chosen color is from the printable Clipped color Color values
gamut. Since the gamut display only shows ring
the gamut slice with the same intensity as
the current color, it is possible that the
gamut slice vanishes completely if the cur-
rent color is brighter than the brightest A clipped color ring appears around colors The Color palette, RGB tab.
printable color. outside the gamut.
Color values
Copying Colors
In addition to choosing colors from the Copying a color using the Color Dropper tool.
Controlling Custom Color Tint Color palette you can use the Color Drop-
The tint control slider lets you specify a per to pick up a color from an object and 3 Drag to the object or area you want to
tint of the selected custom color. The set- drop it onto another object. color then release the mouse button. The
ting on the tint control slider does not area now displays the new color.
change the definition of the custom color; it
only affects the instance of the color
applied to the current selection. Changes in To copy color from one area to another:
tint are displayed in the Paint Style palette 1 Click the Dropper Tools icon in the Tools
Color swatch and the Value Picker. toolbar and choose the Color Dropper
tool. The cursor changes to an eye
dropper.
Copying Attributes 3 Drag to the object to which you wish to Using Gradients
The Attribute Dropper tool allows you to apply the stroke and fill attributes, then
copy one object’s paint attributes, (stroke, release the mouse button. The object
fill, and colorize settings) to another now displays the new stroke and fill.
object. All paint attributes are copied, Expression gives you complete control
including stroke type, fill type, color, width, over gradients. You can select the direc-
shear angle, etc. tion, type of blend, colors used in the blend
and the rate of change.
Applying Gradients
To copy stroke and fill attributes from The Paint Style palette allows you to select
one object to another: a gradient scheme and apply it to a
1 Click the Dropper Tools icon in the Tools Release the mouse button to drop the selected object or path.
toolbar and choose the Attribute attributes.
Dropper tool. The cursor changes to an
eye dropper with an asterisk (*).
To select and apply a gradient stroke or
fill:
1 Using the Object Selection tool from the
Tools toolbar, select an object or path.
The Attribute Dropper tool.
2 If the Paint Style palette is not displayed,
choose Window menu> Paint Style.
2 Click-hold on the object whose attributes
The Paint Style palette appears.
you want to acquire. The Attribute
Dropper cursor fills, indicating the
attributes have been copied.
3 Click the Stroke or Fill tab in the Paint
Style palette. If you want to apply the
gradient to a stroke, click the Stroke tab.
If you want to apply the gradient to an
object fill, click the Fill tab.
2 Choose the Gradient tool from the Tools If you start or end your drag away from
toolbar. an edge, the first or last color in the gra-
Gradient icon
dient is used to start or complete the gra-
dation.
Linear gradient.
Colorizing Objects The colors retain the value (light/dark) of little contrast, say black and forest green,
the original but now reflect a different color shows very little difference between the
scheme. Colorize each fish in your school foreground and background color.
to quickly create a school of related but dif-
When you have a fully colored Skeletal
Expression provides several ways of con- ferent instances.
Stroke and use foreground/background
trolling the colors used in your strokes.
How to Colorize mode to colorize the stroke, the intensity
These colors are based on grayscale val-
(or lightness) of the colors are taken to get
ues. Any changes made affect all selected Expression offers two methods of coloriz-
a color between the foreground and back-
objects and any new path you draw while ing:
ground colors. The original hue of the col-
the same Skeletal Stroke is selected.
• Foreground/Background which applies to ors is ignored; only the intensity value is
Why Colorize? Skeletal Strokes only. used.
• To shift the color range of a portion or the • Three Primaries plus Background which The most intense (lightest) areas receive
entire picture as a whole without applies to any object. the background color. The least intense
modifying the individual colors of the (darkest) areas receive the foreground
objects. Foreground/Background Mode color. All areas with intensity between the
When working with a Skeletal Stroke that most intense and least intense areas are
• To tint black and white objects such as
includes two colors, such as a Natural- assigned colors between the foreground
clip art.
Media brush stroke, control the colors and background based on their relation-
• To swap the primary color channels to using the Foreground/Background Mode. ship to the two extremes.
create a different impression.
The foreground and background colors for
• To control the color scheme of a multi- Skeletal Strokes are applied based on value.
colored Skeletal Stroke. Black areas are replaced by the foreground To apply color using the Foreground/
color while white areas are replaced by the Background mode:
Experiment with the Paint Style palette’s
Colorize tab. Use it to change the mood of
background color. Gray areas (between 1 Using the Object Selection tool from the
black and white) are replaced by appropri- Tools toolbar, select the object to be
your artwork, to change individual
ate hues based on the balance of black and colorized.
instances of a stroke or to restrict your
white.
color to a specific range.
2 If the Paint Style palette is not displayed,
In strokes with only black and white you
For example, you want to create an image choose Window menu> Paint Style.
see only the foreground and background
with a school of fish. The individual fish is The Paint Style palette appears.
color. In strokes with grays you see
created using three or four colors. Make
color(s) assigned to the particular gray- 3 Click the Colorize tab. The palette
the fish into a Multi-view stroke so each
scale value. A stroke with two colors, but changes to reflect the Colorize options.
instance may be a slightly different view.
Then, select one copy and adjust the Col-
orize tab to give it a distinct set of colors.
4 Click on the Fg/Bg Mode button. Two Note: Colorizing a Skeletal Stroke using the the primaries in the Additive color model is
squares, appear in the palette, Colorize tab has exactly the same effect as like changing the colors of the light emitted
representing the foreground color editing the Stroke’s primary and secondary by the computer screen (or changing the
(upper left) and the background color colors in the Color palette. color of the phosphors used in the CRT).
(lower right).
Primary Colors Substitution Since most artists find the concept of sub-
Mode stituting inks simpler than the concept of
altering the CRT, this manual explains the
The Foreground/Background mode is ideal
primary color substitution process in
for colorizing grayscale strokes. Since most
terms of the Subtractive model. The inter-
of Expression's Natural-Media Strokes are
face works identically for the Additive
designed in grayscale, this mode is very
model; only the actual primary colors are
useful. However, it does not work as well
different.
for colorizing multi-colored strokes, since it
replaces all of the original colors with just Combined Color Substitution
two.
In addition to altering colors on an object
To alter the colors of multi-colored strokes, by changing the colors used for the prima-
you can use the Primary Colors Substitu- ries, you can alter the color by changing
tion mode. By allowing you to substitute the color of the intersection of the three
different colors for the standard primaries, primary color circles. This way you change
Paint Style palette, Colorize tab, Foreground/
this mode enables you to apply subtle or the whole color spectrum toward the new
Background mode.
dramatic color shifts to one or more color you have introduced. When you
5 If the Color palette is not displayed, objects in your illustration. change the intersection of the three circles
choose Window menu> Color. The Expression actually changes the three pri-
The Primary Colors Substitution mode mary colors to primaries that create that
Color palette appears. allows you to selectively substitute the pri- color.
mary colors in a Stroke's color model to
6 Click within the Foreground swatch and alter the appearance of the colors in the ; Note: The combined color represents
select or define a color from the Color Stroke. You can work in the Subtractive the maximum intensity color possible with
palette. The color is applied to the color model (the default) where the prima- the new primaries when the additive
Foreground swatch. ries are Cyan, Magenta and Yellow, or the models is chosen; or the minimum
Additive color model, where the primaries intensity color possible when the
7 Apply a color to the background swatch are Red, Green and Blue. subtractive model is chosen. Therefore
the same way.
selecting black as the combined color
Substituting the primaries in the Subtrac-
under the additive model would give three
8 Click Apply. The new colors are applied tive color model is like substituting differ-
blacks as primaries, turning every color
to the selected object. ent colored inks for Cyan, Magenta, and
black on such substitution. Similarly,
Yellow in the printing process. Substituting
selecting white as the combined color 3 Click the Colorize tab. The palette 6 Click to select one of the primary color
under the subtractive model would give changes to reflect the Colorize options. circles or the intersection of all three
three whites as primaries, turning every circles, then select or define a color from
color white. 4 Click on the Additive Model or within the Color palette. The color
Subtractive Model button. Three appears in the selected area.
Background Color Substitution overlapping circles and a square appear
The background color, represented by a in the palette. The circles display the 7 Apply a color to the other primary color
square in the Colorize tab affects how color primary ink colors. The square swatches the same way.
is seen. It is equivalent to changing the represents the background upon which
color of the paper the object is printed on, the inks are placed. 8 Click Apply. The new colors are applied
except each object in your image could to the selected object.
have a different background color. Chang-
ing the background color does not change Removing Colorization
the primary colors but does change the If you decide later on that you want a col-
appearance of the object. orized object to revert to its original colors,
you can reset the colorization option.
offers you the largest number of colors to 2 Click the Color match tab. The dialog paper. This will compensate for the color
choose from. 8-bit or 16-bit color monitors displays the color match selections. of your paper and better match the
can not give you as large a selection of col- colors you see on your screen.
ors.
6 Click OK.
The first step in color calibration is to
acquire a printed sample of the standard To return the Color Match settings to the
color combinations, known as a progressive default setting click the Reset to Default
color bar. If you are taking your color image button. To return to the last settings,
to a service bureau for output, the service prior to recent changes, click the Reset
bureau should supply you with this tool. If to last button.
you have a color printer in your office you
should use the progressive color bar sup-
plied with the printer. The progressive The Preferences dialog, Color match tab.
color bar contains color swatches of the
following colors: 3 In the gamma field, enter the same target
cyan, magenta, yellow, magenta/yellow, gamma setting you used in Fractal
cyan/ yellow, cyan/magenta, cyan/ Design Painter, Adobe Photoshop, Adobe
magenta/yellow, white and black. Illustrator or CorelDRAW! to calibrate
your monitor in that application.
5
Applying Strokes
and Fills
Applying Paint: The Paint When no object is selected the Paint Style The preview windows near the bottom of
palette displays the current attributes. this palette display the selected stroke on
Style Palette These are the attributes applied to the last the left and the selected fill on the right.
selected object or attributes to be applied
to the next object created. Stroke
You paint a path by specifying two main When a single item is selected, the Paint
attributes: stroke and fill. The stroke you Style palette displays that object’s
set determines the appearance of an attributes. When multiple objects are FIll
object’s path(s). The fill you select deter- selected the Paint Style palette displays
mines the appearance of the area enclosed those attributes which are common to all
by the path(s). You control these attributes selected objects. If a particular attribute
by using the Paint Style palette. Paint Style palette color preview windows.
differs between the selected objects, that
field is blank or displays a special item (i.e.,
Using Apply and Auto Apply
a question mark) to indicate there is a dif-
You can set Expression to automatically
ference.
apply any attributes selected in the Paint
Style palette by selecting the Auto box in
the lower left of the Paint Style palette.
Controlling Opacity/
Transparency
Opacity refers to the ability of material to
The Paint Style palette. block light, which is the inverse of trans-
parency. Drag the Opacity slider near the
bottom of the Paint Style palette to change
the opacity of the selected object(s).
Paint Style palette when two or more objects
are selected with different attributes.
With Opacity set to 100%, your object is Changing Stroke None No stroke is displayed so there are
opaque and you can not see through it. Set no specific parameters.
Opacity to 0% to make the object com-
Attributes
Basic Path is drawn with a solid color.
pletely transparent and invisible.
Gradient Path is drawn with color chang-
; Note: Since many file formats do not
Expression allows you to choose from sev- ing gradually from a starting color to an
support Opacity, you need to consider
eral types of strokes: None, Basic, Gradient ending color.
your output plans when using this feature.
For more information on printing, see or Skeletal. Each stroke type has attributes Skeletal Stroke Path is drawn with the
➤Chapter 7, “Printing.” specific to that type. The information Skeletal Stroke chosen from the Stroke
within the tab changes to reflect the type of Warehouse palette.
Using the Paint Style Palette stroke selected. Click to select the type of
Tabs stroke you want to apply. Applying No Stroke
Use the tabs at the top of the Paint Style Skeletal
palette to activate the controls for the None Basic Gradient Stroke
attribute you wish to edit. To select Stroke, When None is selected as your stroke from
Fill or Colorize, click the appropriate tab. the Paint Style palette, no stroke is dis-
For information on using the Colorize tab, played on the selected object. If you set
see ➤“Colorizing Objects” in Chapter 4, both stroke and fill to None, no image dis-
“Using Color.” plays. With stroke set to None and Fill set
Stroke tab Fill tab to Color, Gradient or Pattern you see the
color or pattern with no outline.
Applying Basic strokes 5 If the Color palette is not displayed, Changing the stroke Width
choose Window menu> Color. The Expression allows you to set the width (in
Color palette appears. points) of any Basic, Gradient or Skeletal
This is similar to the standard stroke you Stroke.
6 Select or define a color from within the
use in Adobe Illustrator or CorelDRAW!. Color palette. The color appears in the
The stroke is displayed as a solid color, set color selection rectangle at the bottom
to the width you prefer. Dashed lines can of the Color palette as well as in the Paint To change the width of a stroke:
be created using a basic stroke. You can Style palette.
also specify corner joint type and end caps
1 Using the Object Selection tool from the
Tools toolbar, select an object.
to be used. For detailed instructions on picking a
color, see ➤Chapter 4, “Using Color.” 2 Click the Stroke tab in the Paint Style
Applying Color
palette. If the Paint Style palette is not
Color can be applied to Basic, Gradient and
displayed, choose Window menu>
Skeletal strokes. The method for applying
Paint Style.
color to each stroke varies. This section
discusses applying color to Basic strokes.
3 In the Width entry box, highlight the
For additional information on colorizing current number displayed and enter a
Skeletal Strokes, see ➤“Colorizing Objects” new number. You can also click the up
in Chapter 4, “Using Color.” and down arrows to increase or decrease
the width in increments of one point.
Drag the up/down arrows to adjust the
width more quickly.
To change the color of a basic stroke:
1 Using the Object Selection tool from the 4 Click Apply.
Tools toolbar, select an object.
3 Click the Stroke tab. The attributes for The color selected in the Color palette
strokes appear in the palette. appears in the Paint Style palette.
3 Select the Dash check box. Dashed line using 90, 10 intervals.
4 Enter a pattern of numbers indicating the Changing Corner Attributes
size and interval for the dashes. For The Join buttons give you the ability to
example, enter 20 10 to create a line that select how Expression applies a stroke to a
has dashes of 20 points separated by corner.
spaces of 10 points.
3 Click any stroke you prefer from the Using Quick Strokes
Stroke Warehouse palette. The controls This feature can be used to assign single
and the preview in the Paint Style palette keystrokes to your favorite Skeletal To use a quick keystroke:
are updated to reflect your choice. Strokes. Instead of returning to the Stroke 1 Type the Quick Stroke number. The
Warehouse palette each time you need to selected stroke becomes highlighted in
4 In the Paint Style palette, click Apply. change your stroke, you simply use a key- the Stroke Warehouse palette and
stroke to switch between strokes. becomes the active stroke in the Paint
Style palette.
Changing the Width of the Skeletal Shear is also adjusted. For more
Stroke information on Shear, see ➤“Shearing
You can control the width of a Skeletal the Stroke.” To change the Skeletal Stroke mode:
Stroke as you can for a Basic or Gradient 1 Using any of the Selection tools from the
stroke; by using the Width entry box in the Tools toolbar, select an object to which a
Paint Style palette. In addition, you can also Skeletal Stroke has been applied.
control the width by manipulating the
Shear/Width handle assigned to each Skele- 2 Click the Stroke tab in the Paint Style
tal Stroke. palette. If the Paint Style palette is not
displayed, choose Window menu>
Paint Style.
3 Click on a Mode button. Note: Do not confuse this ability to shear In Sausage mode the Shear angle is relative
the Skeletal Stroke with the transformation to the particular Skeletal Stroke. In Ribbon
handles on the bounding box of a selected mode the Shear angle is based on the glo-
object. The transformation handles on the bal Y axis or the paper on which the stroke
bounding box affect the path. The Shear/ is placed.
Width handle on the object itself and the
Control the shear by using the Shear slider
Shear slider in the Paint Style palette affect
or the Shear/Width handle that is assigned
the Skeletal Stroke. For information on
to each Skeletal Stroke.
shearing the path, see ➤“Shearing Objects”
in Chapter 6, “Arranging and Editing
Objects.”
To adjust the shear:
Ribbon mode.
1 Using any of the Selection tools from the
Tools toolbar, select an object to which a
Skeletal Stroke has been applied.
3 Drag the Shear slider. 2 Drag the Shear/Width handle to the left 3 Drag the Twist slider.
or right to change the shear.
Twisting a Stroke
You can twist your Skeletal Stroke by drag-
ging the Twist slider to set the number of
turns you want.
280° twists and 1,080° twists.
40° shear and -25° shear.
Setting the Shape of a Multi-view
To twist a stroke: Stroke
1 Using the Object Selection tool from the Whereas ordinary Skeletal Strokes are
To manually change the shear of a
Tools toolbar, select an object. defined from a single picture, Multi-view
Skeletal Stroke:
strokes are defined from a sequence of dif-
1 Using any of the Selection tools from the ferent (but closely related) pictures.
Tools toolbar, select an object to which a
Expression treats these pictures as differ-
Skeletal Stroke has been applied.
ent views of a single stroke, any of which
may be used each time you apply the
stroke. For more information on Multi-view
strokes, see ➤“Creating Multi-view
A simple object.
Strokes,” later in this chapter.
2 Click the Stroke tab in the Paint Style Each view is assigned a shape parameter
palette. If the Paint Style palette is not between 0% and 100%, which allows you to
A simple object. displayed, choose Window menu> specify which view to use. Because Expres-
Paint Style. sion automatically generates “in-between”
views from the original views in the Stroke
definition, a Multi-view stroke can have a
wide range of appearances.
By dragging the Shape slider in the Paint 3 Click the Stroke tab. The attributes for
Style palette, you can specify which view of strokes appear in the palette.
the stroke you want to use. Alternatively, if
you enable the Random checkbox, Expres-
sion randomly chooses a view. The Shape
slider and the Random checkbox are
enabled only when the Paint Style palette
contains a Multi-view stroke (Multi-view
strokes are marked in the Stroke Ware-
house with a blue dot).
4 Enable the Random checkbox below the Applying Fills 2 Click the Fill tab in the Paint Style
Shape slider. The Shape slider is now palette. If the Paint Style palette is not
disabled, and a value is randomly displayed, choose Window menu>
generated. Paint Style.
Expression allows you to choose from four
types of fill; None, Solid, Gradient and Pat-
tern. The currently active fill is displayed
and can be changed using the Paint Style Fill Types
palette’s Fill tab.
Fill Tab
Applying Solid Fills 4 Set the color by clicking the preferred Applying Gradient Fills
When you select Solid Fill, Expression dis- color in the Color palette. The display at When you select Gradient Fill, Expression
plays the fill as a solid color. the bottom right of the Paint Style displays the fill as a simple or complex gra-
palette updates. dient, changing gradually from one
selected color to another.
For more information on applying color,
To apply a solid fill: see ➤Chapter 4, “Using Color.” Gradient fills are set in the same manner as
1 Using the Object Selection tool from the Gradient strokes. For more information on
Tools toolbar, select an object. 5 Click Apply. gradients, see ➤“Using Gradients” in
Chapter 4, “Using Color.”
6 Click Apply.
To select a predefined pattern: To define a new pattern:
1 Using the Object Selection tool from the 1 Create or open a basic tile picture in the
Tools toolbar, select an object. Expression workspace.
When you release the mouse, a pattern 5 Click the Define button in the lower left
definition box is created. This box allows corner of the Pattern Definition window
you to further adjust the pattern tile and to define the pattern. To set the pattern to transform with
displays a preview of the pattern. object:
1 Choose File menu> Preferences. The
Preferences dialog appears.
5 Click the Define button in the lower left kept within individual Expression docu-
corner of the Pattern Definition window ments, you don’t have to worry about miss-
To remove a pattern from the pattern to define the pattern. A dialog appears ing patterns when you re-open a file.
list: prompting you to enter a name for the
1 Click the Fill tab in the Paint Style pattern. Patterns Within Strokes
palette. If the Paint Style palette is not When a stroke definition includes an object
displayed, choose Window menu> 6 Enter a name for the pattern. If you save with a pattern fill, the pattern is re-applied
Paint Style. the pattern with the same name as an to each instance of the stroke. Therefore,
existing pattern, the new pattern the pattern is not deformed with the con-
2 Click the Pattern fill type icon. overrides the exiting, and all objects to tents of the stroke.
which the pattern is applied are
changed. If you save the pattern under a Patterns and Color Substitution
different name, the original pattern is left When you change the primary colors of an
unchanged. object whose fill or Skeletal Stroke uses a
pattern, the colors of the pattern are
7 Click OK. affected along with the rest of the object’s
colors. However, the individual colors
The Pattern fill type icon. within a pattern cannot be edited on an
object-by-object basis.
3 Select a pattern from the pattern list. To rename a pattern, save it with a different name,
then delete the original pattern. Hatching
4 Click the Del button. With Expression you can mimic and extend
the traditional pen and ink shading tech-
nique known as hatching. Hatching gener-
Pattern Storage ates a pattern of strokes whose widths vary
To edit patterns: based on the contrasting lightness/dark-
All patterns are stored in a single pattern
1 Click the Fill tab in the Paint Style ness of the source imagery you provide.
file within the main Expression directory. In
palette. If the Paint Style palette is not addition, each Expression document file The shape, thickness and relative place-
displayed, choose Window menu> contains the pattern definitions for all pat- ment of individual lines within the hatching
Paint Style. terns used in the document. pattern determine how the object is per-
ceived. Hatching can indicate depth or cur-
2 Click the Pattern fill type icon. If your pattern list becomes cluttered, you
vature as well as distance and texture.
can simply delete patterns you use infre-
Hatching is one of the features that gives
3 Select a pattern from list. quently. Since pattern definitions are also
Expression its exciting Natural-Media feel.
4 Click Edit. Make changes as needed.
2 Choose Objects menu> Hatch. The 6 Click Use Background Color to color the Creating and Editing
Hatch dialog appears. hatching strokes with the object’s
original color. When this option is
Skeletal Strokes
deselected, hatching is applied to the
object based on the intensity of the
original color. The color is discarded and We provide you with a number of pre-
only hatching remains. defined Skeletal Strokes located in the
Stroke Warehouse palette but the real
7 Click Keep Original Paths to include the power of Expression comes as you create
object’s original path in the hatched and edit your own Skeletal Strokes.
image. When this option is deselected,
the path itself is discarded and the Creating Skeletal Strokes
resulting object consists of only the Expression allows you to create a Skeletal
hatching pattern. Stroke from any vector picture, whether it
The Hatch dialog. is clip art, artwork you create in Expres-
8 Click OK. The hatch is applied to the sion, or artwork you import from another
selected object.
3 Choose a hatch pattern from Hatch application.
Pattern list.
To edit a stroke:
1 Double-click on the stroke you wish to
edit from the Stroke Warehouse palette.
The Define button.
Removing Anchors 3 Click the Free Anchor button from the Relocating Anchors
After you have created an anchor, you can Actions tool. You can also choose After you have created an anchor, you can
remove a node from the anchor or remove Stroke menu> Free Anchor. The move it anywhere along the length of the
the anchor altogether by using the Free node is removed from the anchor. Any stroke reference frame. Moving an anchor
Anchor button on the Actions toolbar. other nodes belonging to the same does not move the associated nodes; it sim-
anchor is not affected. ply changes the point to which they are
anchored.
Repeating Elements of a Stroke 2 Drag a marquee to select all objects to be Repeat frame handles
You can designate certain elements of a included in the repeat.
stroke to repeat instead of stretching to fit
your path. This function can be very effec- 3 Shift-click to select additional objects or
tive if you plan your stroke carefully. to remove objects from selection.
For example, you could create a train con- 4 Click the Make Repeating button from
sisting of an engine, a passenger car and a the Actions toolbar. A Repeat frame
caboose. By designating the passenger car appears, indicating that the selected
as repeating, with just one path you can objects have been designated to repeat,
create a train consisting of numerous pas- rather than stretch along the path.
senger cars but only one engine and one
caboose. You can also choose Stroke menu>
Make Repeating.
2 Click or drag a marquee to select a Creating Multi-view view stroke might be used to simulate a
repeating part, or click on a Repeat brush which spatters paint in spots of vary-
frame.
Strokes ing size and shape; because each instance
of the stroke is slightly different, the simu-
3 Click the Make Non-repeating button on lation is more convincing. The same princi-
the Actions tool. You can also choose Expression's Multi-view stroke feature is ple also applies to Graphic Element
Stroke menu> Make Nonrepeating. particularly useful for adding variations to strokes. You could design a Multi-view
your artwork. It also allows you to create stroke to create an entire school of fish,
simple animations with very little work. each one slightly different, without the
This section explains how to create and tedium of tweaking a bunch of duplicates.
edit Multi-view strokes. You can animate with Expression by treat-
The Make Non-repeating button.
Instructions for applying Multi-view strokes ing a Multi-view stroke's sequential views
appear in ➤“Applying Skeletal Strokes,” like keyframes in an animation. Expression
earlier in this chapter. automatically creates the “in-between”
frames. Any Multi-view stroke can be ras-
Whereas ordinary Skeletal Strokes are terized (converted to a bitmap) and saved
defined from a single picture, a Multi-view as a movie. You can save movies in any of
stroke is defined from a sequence of differ- the following formats: QuickTime (Macin-
ent (but closely related) pictures. Expres- tosh), AVI (Windows), or a sequence of still
sion treats these pictures as different views images in any of the formats Expression
of a single stroke, any of which may be supports. For more information on the
used each time you apply the stroke. Each types of formats Expression supports, see
view is assigned a shape parameter ➤“Opening and Saving Documents” in
between 0% and 100%, which allows you to Chapter 1, “Overview of Expression.”
specify which view to use. Because Expres-
sion automatically generates “in-between” The basic process for designing a Multi-
views from the original views in the Stroke view stroke is straightforward. You simply
definition, a Multi-view stroke can have a draw (or import) artwork for the stroke's
wide range of appearances. initial view. Then, within the Stroke Defini-
tion window, you create additional views
To add randomness to your artwork, you by editing the initial artwork with Expres-
can create a Multi-view stroke and have sion's editing tools. The only limitation is
Expression randomly pick a view each time that there must be a one-to-one correspon-
you draw with the stroke. Or, if you prefer a dence between objects and nodes across
more controlled approach, you can explic-
itly specify which view to use for each
instance of the stroke. For example, a Multi-
9 Click OK. The stroke is automatically paths to your liking. If your Multi-view
added to the Stroke Warehouse palette. stroke contains instances of other Skeletal
Multi-view strokes are identified in the Strokes, you can also use the Paint Style
Stroke Warehouse palette by a blue dot. palette to change certain attributes of
these strokes width, shear angle and shape
between views.
2 Choose File menu> Save Stroke as the edges between regions of contrasting ºSelect file destination and name the file.
Movie. The Animation Settings dialog color, eliminating the “jaggy”
appears. stairstepped edges typical of bitmap ¡Click Save. The Status bar at the bottom
images. of the document window indicates the
status of the rasterizing process.
Unless you specifically require an anima-
tion which is not anti-aliased (for use as a
sprite in a multimedia authoring pro-
gram, for example), there is no reason to
disable this option. Anti-aliasing does not
The Animation Settings dialog. significantly increase the time required
to rasterize an animation.
3 Set the frame's Width, Height and
Resolution by entering values into the 5 Set the Duration and Frames per Second.
appropriate fields. See above for some See above for some more general
basic guidelines. guidelines.
By default, the values in the Width and 6 Click OK. The Save dialog appears.
Height fields are constrained to maintain
a constant aspect ratio (ratio of width to 7 Select the file type. You can choose a
height). When you change either of these movie format or sequenced stills. For
values, the other automatically changes more information on file types, see
proportionally. ➤“Opening and Saving Documents” in
Chapter 1, “Overview of Expression.”
For any particular animation, the aspect
ratio is determined by the proportions of 8 Click Options to select a video
the reference frame in the Stroke Defini- compression method. The Video
tion window. If you want the aspect ratio Compression dialog appears. The
of your animation to be different from compression options vary depending on
that of the reference frame, disable the the type of compressor you select. For
Keep Proportions checkbox. You can more information on compression
then set the Height and Width values methods, see ➤“Choosing Video
independently. Compression,” in the following section.
4 Enable or disable the Anti-Alias 9 Click OK when you have set your
checkbox. When anti-aliasing is enabled compression options. The Save dialog
(the default), Expression smooths all of reappears.
An Example of Video
Animation
6
Arranging and
Editing Objects
Objects, Paths and Points Selecting Objects and • Drag a marquee with the Object or Group
Selection tools to select all objects
Points included or partially included within the
selection area.
Expression objects are paths. An object
may be a simple or compound path, a The Object Selection, Group Selection and
group of paths, a clone of another object, Node Selection tools are used for selecting
or a text object. Each object is defined by and moving objects and points. The three
points based on the particular drawing tools have a lot in common and behave in
tools used in its creation. Before you can Expression as they do in other applica-
arrange or edit an object you must select tions.
the object or its points.
Select an object with any Selection tool. • Click with the Group Selection tool to
select an object within a group. Click the
object again to select the entire group.
Selecting Objects
By default, Expression displays the Resize handles
Before you can edit or arrange an object
(four corner and four transformation handles). These
you must select it. When an object is
handles can be used to scale, rotate, or skew the Drag a corner handle while holding Shift to selected, its appearance changes indicating
selection. scale proportionally.
that it is selected.
You should select an entire object (as Selecting Points 3 Using the Node Selection tool, select a
opposed to some or all of its individual In order to change the shape of a path, you point. You can also drag a marquee with
nodes) whenever you want to transform must be able to select individual points. the Node Selection tool.
the object (move, rotate, scale, shear or When a node is selected, it is displayed as a
mirror) without changing its basic shape. Unselected nodes
large, solid-filled square in the selection
Transformations applied to an object are color of the object’s layer. The path is also
stored in memory and can be reset at any highlighted, and all of its unselected nodes
time, restoring the object to its original are displayed as small, hollow squares.
location, orientation and scale. For addi- Multiple nodes may be selected at once,
tional information on transforming objects, whether they are on the same path or on
see ➤“Transforming Objects,” later in this several different paths. When more than
chapter. one node is selected, Resize handles
appear, allowing you to transform the
multi-node selection.
To select an object: The Transformation tools also work on
1 Using the Object Selection or Group multi-node selections. Unlike transforma-
Selection tool, select the object. tions applied to objects, transformations
applied to nodes actually change the basic
shape of the path(s) and thus cannot be Selected nodes
reset. Selecting individual points.
Viewing Selected Objects and B-Spline points are shown with a dotted
Points line indicating the imaginary polygon that
The appearance of an object or point varies controls the shape of the B-Spline path.
depending on whether it is selected or
unselected, as well as the View quality
(Path, Wireframe or Preview) currently
active.
Path view, object is shown by its path
In Wireframe view, a colored line indicat-
To set view quality: ing the path, is superimposed on the wire-
frame. Preview view, the path is shown by its
1 Choose preferred view quality from the painted representation
View menu.
If your Preferences are set to Show resize
For additional information on view qual- handles, a triangle is positioned at each
ity, see ➤“Changing Your View” in corner of the invisible bounding box con-
Chapter 1, “Overview of Expression.” taining the object. These corner handles
can be used to resize the object.
Selected Objects
In all selected objects, all points are visible, Wireframe view, the path is shown by its
each represented by a small, filled square. unfilled outline, including any Skeletal Stroke
The last node is always represented by an outlines.
arrowhead indicating the direction of the In Preview view, a colored line indicating
path. the path, is superimposed on the color pre-
In Path view, a selected path is shown as a view of the object.
colored line. Set selection colors for each No Bézier tangent handles are visible when
layer by choosing Arrange menu> the entire object is selected. Handles are
Layer> Info. only displayed when individual points
(nodes) are selected. Resize handles on a selected object.
• Drag the double arrows to skew the The beginning and ending points on a clone Transforming Objects
object. object are displayed as filled circles. You
can not edit the shape of a clone object.
• Drag the double arrows while holding
down the Shift key to rotate the object.
Transformation is a general term that
refers to changes or modifications to a path
that do not involve adding, removing or
editing points. The object remains the
same basic shape but is moved, scaled,
rotated, mirrored or skewed. Transforma-
Selected clone object. tions are done by dragging the object’s
handles. You are given a real-time preview
Transformation handles on a selected object. Selected Points of the changes as you drag. Or use the
The path is displayed, as described above, Transformation palette to make your
A selected text object is shown with its changes numerically.
depending on view quality you have set.
baseline.
Selected points are represented by a large Moving Objects
Selected Text on a Path is shown with point
filled square. There are two methods for moving objects
of origin and baseline.
Bézier points show tangent handles. in Expression. You can move selected
objects and points manually using the
Unselected Points mouse, or you can enter specific distances
Unselected point is represented as a hollow into the Transformation palette.
square.
Scaling Objects
These settings increase or decrease the
To move an object using the distance between selected points along the Scaling may also be applied to individual points on a
Transformation palette: x and y axes. Scaling is proportional along path as well as the whole path.
1 Using the Object Selection or Node the specific axis but a different scaling fac-
Selection tools from the Tools toolbar, tor may be applied to each axis. Scaling is
select the object(s) or point(s) you want applied relative to the point you select to
to move. serve as anchor or remain stationary dur-
ing the scaling operation.
2 If the Transformation palette is not To scale using the Resize handles:
displayed, choose Window menu> In addition to scaling selected objects using
Transformation. The Transformation the Resize handles, scaling can be done 1 Using the Object Selection tool from the
palette appears. using the Scale tool or the Transformation Tools toolbar, select the object you wish
palette. to scale.
3 Click the Translate tab. The attributes for
moving objects appear in the palette. 2 Drag the corner Resize handles to resize
the object. Use the Shift key to resize
your object proportionally.
Free
Original
Proportional
The Transformation palette, Translate tab.
3 Click to set the center point for scaling. If The Transformation palette, Scale tab.
no center point is set, the center of the
object becomes the scale center. 4 In the Center entry boxes, enter the
location of center point for scaling
4 Drag to scale. Hold down the Shift key transformation.
while dragging to scale the object
proportionately. 5 In the Scale entry box, enter the
percentage of scaling for the X and Y Objects before and after rotating.
5 Release the mouse button to set the axis.
scale.
6 Click Apply to apply selections to the To rotate an object using the
selected object or click Duplicate to transformation handles:
create a copy with the scale applied to
the copy.
1 Using the Object Selection tool from the
To scale an object using the Tools toolbar, select the object you wish
Transformation palette: to rotate.
1 Using the Object Selection tool from the
Tools toolbar, select the object you wish
to scale.
2 Drag the bounding box side handle while 3 Click to set the center of rotation. If no 3 Click the Rotate tab. The attributes for
holding down the Shift key. The object is center point is set, the center of the rotating objects appear in the palette.
rotated using the center of the bounding object becomes the center of rotation.
box as the rotation center.
4 Drag to rotate. A set of lines and an arc
appear as you drag, indicating the
rotation as well as a preview. Hold down
the Shift key while dragging to constrain
the rotation angle as set in File menu>
Preferences.
5 Release the mouse button to set the 6 Click Apply to apply selections to the
reflection. selected object or click Duplicate to
create a copy with the mirroring applied
to the copy.
Shearing Objects more information on setting preferences, 3 Click to set the shear axis point. If no axis
You can think of shearing as the way an see ➤“Options Tab” in Chapter 1, “Over- point is set, the center of the object
image printed on the edges of a book can view of Expression.” becomes the axis point.
be distorted by pulling the book at an
angle. The original image is contained in an 2 Drag one of the transformation handles. 4 Drag to shear the object. Hold down the
imaginary rectangle. Once sheared, that Drag the top or bottom handles to skew Shift key while dragging to constrain the
rectangle has been changed to a parallelo- horizontally. Drag the side handles to angle of the shear plane.
gram with the image distorted appropri- skew vertically. The object is sheared in
ately. the direction of the drag. 5 Release the mouse button to set the
shear.
Shearing changes the angular relationship
between each point in the selection and a
specific point on the shear axis. A given
point’s shear anchor point is the point on To shear an object using the
the shear axis nearest to the point’s origi- Transformation palette:
nal position. You specify the shear axis 1 Using the Object Selection tool from the
(plane) and shear angle. Shearing objects. Tools toolbar, select the object you wish
to shear.
3 Release the mouse button to set the
shear. 2 If the Transformation palette is not
displayed, choose Window menu>
Transformation. The Transformation
Objects before and after shearing. palette appears.
To shear an object using the Shear tool:
1 Using the Object Selection tool from the 3 Click the Shear tab. The attributes for
To shear an object using the Tools toolbar, select the object you wish shearing objects appear in the palette.
transformation handles: to shear.
1 Using the Object Selection tool from the
Tools toolbar, select the object you wish
2 Click the Transformation Tools icon from
the Tools toolbar and choose the Shear
to shear.
tool.
The Show resize handles preference in
the Preference’s Options tab must be
enabled to show the Resize handles. For
4 In the Center entry boxes, enter the Changing Perspective replaced by the Perspective Control
location of center point for shearing Expression’s Perspective tool allows you to Frame, the smallest box that can enclose
transformation. quickly change the perspective of your art- the object and all its handles, with small
work. This tool is especially helpful to edit circles at each corner.
5 In the Angle entry box, enter the angle of an object which already has some perspec-
shear. tive. Take for example, the image of a
child’s ABC block. In order to view this
6 In the Plane entry box, enter the degree block from a different angle, you must set
of plane.
the Perspective Control Frame to the shape
of one side of the cube, then use the Active The Perspective tool.
7 Click Apply to apply selections to the
Perspective Frame to change the angle.
selected object or click Duplicate to 3 Drag the corner circles to arrange the
create a copy with the shear applied to The object’s Perspective Frame may be Perspective Control Frame to the size
the copy. considered to be a piece of imaginary and shape of your object.
paper with your artwork on it. The Perspec-
Shearing a Stroke tive Control Frame can be edited when it is
You can also adjust the shear of a Skeletal displayed with small circles at each cor-
Stroke by adjusting the shear/width handle ner.Click anywhere with the Perspective
or the Shear slider in the Paint Style pal- tool to change the Perspective Control
ette. The Shear/Width handle and the Shear Frame into the Active Perspective Frame,
slider adjust the shear of the Skeletal represented by larger circles at each cor-
Stroke in relation to the path to which it is ner. When the Active Perspective Frame is
applied. The Shear tool, the transformation available changes you make will transform
handles of the bounding box and the Shear the artwork. Click to toggle back and forth
tab of the Transformation palette adjust between the Perspective Frame and the
the shear of the path itself. Active Perspective Frame.
4 Click anyplace to change to the Active Transformation Shortcuts 4 Choose Arrange menu> Repeat Last
Perspective Frame. Expression’s Arrange menu also has some Transformation. The last
functions that assist you in using the Trans- transformation is applied again to the
formation tools. You can repeat, undo and current selection.
make transformations permanent.
Cloning Objects
2 Choose Edit
menu> Clone or press
Command/Ctrl+K.
object and the clone. Once the link is Arranging Objects Stack Arranges selected objects along the
broken it can not be restored except by specified axis with a user-specified gap
using Edit menu> Undo immediately. between the objects bounding boxes. The
default gap size is 0 pts.
Expression provides several arrangement
functions so you can quickly position
To break link between master object and selected objects in relation to each other.
selected clone: Arranging applies to objects, not individual
1 Using the Object Selection tool from the points. All arrangement operations work
Tools toolbar, select the clone object. along the document’s horizontal and verti-
cal axes and are based on the objects’ rect-
2 Choose Object menu> Convert To angular bounding boxes. Stacking objects.
Path. The selected clone is no longer
There are three different arrangement
linked to the master. You can now edit Aligning Objects
operations that you can use with objects:
the shape of the object. Further changes Use Expression’s Align function to arrange
to the master object do not affect the Align Arranges selected objects based on objects exactly in relation to each other.
former clone. a particular line. Alignment is always based on the object’s
bounding box. A bounding box is the small-
est rectangle that can enclose the entire
object or group, including it’s tangent han-
dles and shear/width handle.
Aligning objects.
Distribute Arranges selected object equi-
distant from each other between the two
extreme objects.
Distributing objects.
Top The topmost selected object Left The leftmost selected object remains Vertical Center All of the selected objects
remains stationary while the other selected stationary while the other selected objects are moved vertically so that their centers
objects are moved vertically so that their are moved horizontally so that their left are aligned with the original center of the
tops align with the topmost object’s top edges align with the left-most object’s left multiple selection.
edge. edge.
To align objects:
1 Using the Object Selection tool from the
Tools toolbar, select two or more objects
you want to align.
2 If the Alignment palette is not displayed, Distributing Objects Horizontal Centers: The leftmost and right-
choose Window menu> Alignment. Use Expression’s distribute function to most selected objects remain stationary
The Alignment palette appears. evenly space selected items in relation to while the other selected objects are moved
each other. Distribution is especially useful horizontally so that the centers of all the
for creating images such as a picket fence selected objects are evenly spaced.
Align left or railroad track.
Align center Distribute has six variations:
Align top
Align center
Align bottom
Distributing objects, horizontal center.
Stacking Objects
Use Expression’s stack function to arrange
two or more objects so there is gap of a
specified distance between their bounding
boxes. Set the gap to zero when you want
objects to touch but not overlap.
Stacking objects, left.
To set the gap size, choose File> Prefer- Stacking objects, up.
ences. For more information on setting Right The rightmost object remains sta-
Bottom (Down) The topmost object tionary while the other selected objects are
preferences, see ➤“Setting Preferences” in
remains stationary while the other selected moved horizontally so that there is a hori-
Chapter 1, “Overview of Expression.”
objects are moved vertically so that there zontal gap of the specified distance
is a vertical gap of the specified distance between each pair of neighboring objects.
between each pair of neighboring objects.
Layers are ordered from front to back with Creating New Layers
Stack right back layers being drawn first and front lay- Layers can be added and used to control
ers being drawn last, possibly obscuring groups of objects at once.
Stack left
parts of back layers. Use this feature to
control the appearance of the image. You
can create and delete layers, assign names
to layers, lock them, and change the dis- To create a new layer:
Stack bottom play quality of specific layers. 1 If the Layers palette is not displayed,
Any object on any unlocked layer may be choose Window menu> Layers. The
Stack top
selected and manipulated. A multiple selec- Layers palette appears.
tion may include objects on several differ-
The Alignment palette. ent layers. Adding additional objects to a
2 Click the icon above the scroll bar to
access the Layers pop-up menu (shown
3 Click on the Vertical and Horizontal selection does not change the currently
above) and choose New from the menu.
Stack icons to select the type of stacking active layer.
The new layer is placed at the front of
you prefer.
Removing objects from a multiple layer the layering order and becomes the
selection may change the currently active current layer.
layer. If all remaining objects are from a sin-
gle layer, that layer becomes the current
layer.
Hiding Layers
Layers can be hidden on your Workspace.
You can also choose Arrange menu> Layer> This is useful if you do not want objects on
New. the layer to be visible on the screen, you
want to work on layers partially covered by
other layers or you do not want certain lay-
ers to print.
Deleting a Layer
Delete a layer when you want to remove all
objects on a layer at one time. To hide a layer:
1 If the Layers palette is not displayed,
choose Window menu> Layers. The
To delete layer: Layers palette appears.
The Layer Info dialog.
1 If the Layers palette is not displayed, 2 Click the name of the layer you want to 4 Deselect Visible. Hiding a layer
choose Window menu> Layers. The hide. automatically locks the layer as well. A
Layers palette appears. hidden layer does not display on screen,
3 Click the icon above the scroll bar and nor does it print.
2 Click the name of the layer you want to choose Info from the menu. The Layer
delete. Info dialog appears.
Locking Layers
Layers can be locked to prevent accidental
changes to a layer. From the Layers palette, click on the lock icon next From the Layers palette, click on the lock icon next
to the layer you want to lock. Click again to unlock to the layer you want to unlock.
the layer.
To lock a layer:
1 If the Layers palette is not displayed, Changing the Active Layer
choose Window menu> Layers. The
Unlocking Layers All new objects are created on the active
Layers palette appears.
Locked layers must be unlocked in order to layer. When you want to add an object to a
2 Click the name of the layer you want to edit or move objects within the layer. particular layer, make it the active layer.
lock.
3 Click the icon above the scroll bar and To unlock a layer: To change the currently active layer:
choose Info from the menu. The Layer
Info dialog appears. 1 Click the icon above the scroll bar and 1 If the Layers palette is not displayed,
choose Info from the menu. The Layer choose Window menu> Layers. The
Info dialog appears. Layers palette appears.
2 Click the name of the layer you want to 2 Select a layer you want to make active
You can also choose Arrange menu> Layer> unlock. from the Layers palette.
Info.
3 Create new objects as needed. New
objects are automatically placed on the
selected layer.
4 Click Locked. The objects in that layer You can also choose Arrange menu> Layer>
cannot be moved or changed until you Info.
unlock the layer.
3 Deselect Locked.
3 Highlight current name and type new 2 Choose Arrange menu> Layer> Info. Convert Node
name. The Layers palette appears.
The Node tools.
4 Click OK. 3 Drag Red, Green, Blue sliders to set new
color. • Add Node tool
• Delete Node tool
From the Layers palette, double-click on the layer • Split Path tool
name to display the Layer Info dialog. Change the From the Layers palette, double-click on the layer • Reverse Path tool
name as described above. name to display the Layer Info dialog. Change the
color as described above. • Change Start Point tool
Selecting and Moving Points • Drag the point’s tangent handle or an • Drag a B-Spline control line point to
The Node Selection tool lets you select a adjacent line segment to edit the shape of reposition it.
particular point along a path. Selected the path.
points are shown as filled squares. Use this
tool also to manipulate tangent handles to
alter the shape of your path.
• Using the Node Selection tool from the
Tools toolbar, select a point. A selected
point is displayed as a large filled square
and its tangent handles as well as the
Drag a B-Spline control point to reposition.
tangent handles before and after the
point, if any, are also displayed. Changing Point Continuity
Drag a point’s tangent handle to reshape.
Expression gives you several choices for
Tangent handle behavior depends on the
the behavior of tangent handles when you
assigned Node Continuity. For more
are editing. This makes it easier for you to
information on changing tangent han-
edit your paths just the way you want to.
dles, see ➤“Changing Point Continuity”
Set your preference by selecting Edit
following. The default Node Continuity is:
menu> Node Continuity Mode or by
Select a point.
clicking on the preferred button in the
Freehand and Smoothed Polyline
• Drag the Bézier point to reposition it. Actions toolbar.
tools Smooth
Smooth Unconstrained
Smooth As you move one tangent han- Unconstrained Moving one tangent
dle the other handle remains opposite handle does not change the position of
To set node continuity: but the distance between the point itself the other tangent handle at all.
1 Using the Node Selection tool from the and the other handle is not changed.
Tools toolbar, select an object you want
to edit.
The drag gesture determines the posi- For more information on constraints, see
tions of the new tangent handles, just as ➤“Changing Point Continuity” earlier in
drag behaves when drawing with the Pen this chapter. To extend an existing open path:
tool. 1 Select the drawing tool you want to use
Adding Points to extend a path from the Tools toolbar.
Hold down the Shift key while dragging The Add Node tool allows you to add addi-
to constrain the angular relationship tional points to an existing path segment. 2 Position the cursor over the beginning or
between the opposite tangent handle end point of an open path. A tilde (~) is
and the Bézier point. added to the cursor indicating that any
action will extend the line.
Hold down the Option/Alt key before or To add additional points between
during the drag gesture to lock the oppo- existing points:
site tangent handle in its current posi- 1 Click the Path Tools icon in the Tools
tion: the drag thus affects the position of toolbar and choose the Add Node tool.
one tangent handle only. If you release
the Option/Alt key before releasing the
mouse button, the opposite tangent han-
dle snaps back into the position symmet-
rically opposite the tangent handle you The Add Node tool.
have moved.
2 Click on a path segment. The cursor changes when positioned over an
• Drag on a tangent handle to change its end or beginning point.
position or move it. This action causes Adding a point to a B-Spline path con-
the path segment to change. verts the path to a Bézier path. 3 Click or drag on an end or beginning
If the initial constraint is Unconstrained, point to continue creating the path.
Adding a point to an existing path seg-
the constraint is changed to Symmetri-
ment does not affect the shape of the
cal. The two tangent handles are oppo-
path.
site each other and move appropriately
as you drag. It is even possible to create a path with B-Spline
Clicking on a point has no effect.
controls for part of the shape and Polyline or other
If the initial constraint is Symmetrical, controls for a different part of the path.
Smooth or Angle Locked the constraint is
changed to Unconstrained and the tan-
gent handles move independently of
each other as you drag.
Deleting Points 2 Click the Path Tools icon in the Tools Reversing Path Direction
The Delete Node tool allows you to remove toolbar and choose the Split Path tool.
points from an existing path segment.
To split a path:
Click on the path segment to split the path.
1 Using the Object Selection tool from the
Tools toolbar, select an object.
Select an object.
2 Click the Path Tools icon in the Tools Changing the Path Direction 3 Click the path you want to reverse. The
palette and choose the Change Start Expression allows you to change the direc- path arrow changes direction. If a
Point tool. tion of your path. This is especially useful Skeletal Stroke was applied to the path,
with Skeletal Strokes that are not symmetri- the stroke also reverses direction.
cal.
Select an object.
2 Choose Objects menu> Convert To Editing Ellipses 3 Drag the point to open up the ellipse.
Path. The Selected object is converted to
a Bézier path.
Pie
Pie ellipse.
Chord ellipse.
7
Printing
Like other draw programs, Expression pro- Having Expression rasterize an image is
duces artwork which is vector-based. Because printers do not yet support trans- generally the best way to ensure that the
Unlike bitmap images, which simply consist parency in vector images, the only way to printed image will faithfully reproduce the
of many colored pixels (dots), vector preserve transparency when printing an image on screen. However, many images
images consist of mathematically defined Expression image is to have Expression ras- will look equally good when rasterized by
curves with control points. This is why terize the image before sending it to the your printer, and may require less time and
Expression artwork is so highly editable, printer. If you choose to let your printer system resources to print (see
and why it prints beautifully at any size. rasterize an image with transparency, the ➤“Performance Considerations,” later in
However, because printers work by placing transparency will simply be ignored; this chapter).
tiny dots of ink, toner, or dye on the page, a objects which are transparent will be In general, it is best to rasterize your image
vector image must be converted to dots printed as if they were opaque. at a resolution (dpi) one and a half to two
(rasterized) before it can be printed.
times the linescreen frequency (lpi) of your
When you print artwork from Expression, printer. Most laser printers have a line-
you can let your printer rasterize the screen frequency of approximately 60 lpi.
image, or you can have Expression raster- Many of the Natural-Media strokes included with Most high-end image setters have a line-
ize the image before sending it to the Expression use transparency to achieve subtle screen frequency of 100-150 lpi.
printer. Which option you choose depends effects, so your image may include transparency
even if you have not explicitly applied it. You may want to rasterize at lower resolu-
on the image itself and the capabilities of
tions when printing proofs to speed up the
your printer. A checkbox in the Print dialog
printing process. You will rarely, if ever,
allows you to choose each time you print
want to rasterize at a higher resolution
an image.
(dpi) than your printer is capable of print-
ing. If you are not sure of your printer’s res-
olution (dpi) or linescreen frequency (lpi),
consult the printer’s documentation or
contact its manufacturer.
ble printers (Windows). PostScript printers Performance sion as possible, and that you have some
tend to do a better job of rasterizing free space on your hard disk. If you are still
Expression artwork than non-PostScript
Considerations unable to print the image, try printing with
printers, because non-PostScript printers the Rasterize Before Printing option dis-
do not support some Expression features abled (transparency and perhaps certain
(e.g., clipping, Bézier curves, and the Non- When Expression rasterizes an image, your other features of your artwork will not be
zero Winding rule for fills). As a result, cer- computer will be busy for a time (perhaps supported in this case, as explained in
tain Expression images may not print satis- up to several minutes for a complex image ➤“Printing Images with Transparency,”
factorily when rasterized by PICT- or WMF- printed at high resolution). However, once earlier in this chapter).
compatible printers. the image has been sent to the printer, it
will print in less time, since the printer
does not have to rasterize it.
If you are not satisfied with a printed image which In general, the total time required to print
was rasterized by your printer, try printing the image should be comparable whether the image
again with the Rasterize Before Printing option is rasterized by Expression or by your
enabled. printer; the option you choose simply
determines how the printing task is divided
between the computer and the printer.
However, if you are running Expression on
an older or lower-powered system, you
may find that images print considerably
faster when rasterized by your printer.
Likewise, if your printer is older or less
powerful, rasterizing the image before
printing may yield faster results.
4 Click Print.
To print:
1 Choose File menu> Print. The
standard Print dialog appears. This
dialog varies depending on the printer
driver you are using.
A
Technical Tips
Before You Call Technical 6 What kind of problem are you having? 3 Run the software to see if the problem
still occurs.
Support 7 Do you get an error message? If so, what
message? 4 If the problem goes away when you start
the computer with Extensions off, you
When you first experience a problem with a
8 Is there anything unusual about your know that the culprit is an item in the
computer set up? Do you have a special Extension folder or Control Panel. Once
software program you might be able to find
video card or accelerator, for example. identified, it is usually just a matter of
the solution yourself without calling Tech-
nical Support. If you do call Fractal Design getting the most current version of the
9 Do you have a CD-ROM player? When product to solve the problem
Technical Support, please have the follow-
was it last used? permanently. Or the problem may be
ing information available. Filling out the
Troubleshooting Worksheet included as solved by replacing the extension or its
ºAre you running virus protection or disk preferences.
the last page of this chapter will also be compression software, and if so, what
helpful. products are you using?
1 Which Fractal Design product are you
using? Once you have answers to the above ques- To identify the item that causes the
tions, call Fractal Design Technical Sup- conflict:
2 Which version? port. To investigate the problem yourself,
look below for instructions based on your
1 System 7.5 Choose Apple menu>
Control Panels> Extensions
Macintosh Look under the Apple menu computer platform.
Manager. If you need more instructions
if the program is running or highlight the
than what appears in this control panel,
application icon and choose File Macintosh
see your System 7.5 documentation.
menu> Get Info. The most common cause of problems when
After turning off one half of your
running Macintosh software is a conflict
extensions, go to Step 2.
Windows Look under the Help with Extensions.
menu> About Expression.
Pre-System 7.5 Create a new folder and
name it Extensions Off. Open the Exten-
3 What is your serial number? (See the sion folder and drag half of the items
label attached to the Read This First card To find out if an Extension conflict is
causing a problem: from the Extension folder into the new
or the Registration card)
folder.
1 Restart the computer while holding
4 What kind of computer are you using? down the Shift key.
2 Restart your computer in the usual way.
See if the problem still occurs. If the
5 How much RAM does your computer 2 When you see the message “Welcome to
problem persists, go to step 3. If the
have? Macintosh. Extensions off.” release the
problem is solved, go to step 4.
Shift key.
3 If the problem still occurs you know the If you have the most current version, If the problems are gone, you know the
culprit is still active. Turn off or remove contact Fractal Design Technical Sup- cause was the video driver. Contact the
half of the still active extensions and port. We will want to have the name and manufacturer of your video card to get
repeat step 2. phone number of the developer’s techni- the most current video driver. Some
cian you spoke with so we can work with manufacturers change drivers every few
4 System 7.5 If the problem goes away, them to create a permanent solution. months. The new version is most likely
you know that the extension is turned free and can usually be downloaded from
off. Turn half of the extensions back on. If 8 If the problem is identified as an Apple a bulletin board or on-line service.
a problem still occurs, turn off half of the Control Panel, contact Fractal Design
remaining extensions. Keep turning Technical Support. Windows 95/Windows NT 4.0
extensions on or off until you zero in on 1 From the Start menu, choose Settings>
the extension that causes the problem. Windows Control Panel.
If you are running Windows, sometimes
Pre-System 7.5 If the problem goes there is a video driver incompatibility. The 2 Double-click Display and select the
away, you know the culprit is in the solution is easy so try this test to see if Settings tab.
Extensions Off folder. Whichever folder your problem is caused by a video driver.
contains the culprit, cut that group in 3 Click Change Display Type /Record
half and restart again. Keep cutting the Windows NT 3.5 Adapter Type.
group in half until you zero in on the 1 Close all applications except Windows.
extension that causes the problem. 4 Click Change under Monitor Type and
2 In your Main directory, locate and select Show All Devices. Make a note of
5 If you get all the way through the double-click the icon labeled Windows the current setting so you can return to it
Extensions folder without locating the Setup. after this test.
item that causes the problem, it is
possible that the culprit is in the Control 3 Write down the current Display setting 5 Scroll to Standard Monitor Types and
Panels folder. so you can return to it after this test. select Standard Display Adapter (SVGA).
6 Follow the same procedure with the 4 Choose Options menu> Change 6 Click OK.
Control Panels folder, starting by System Setting.
removing all items that are not included 7 Turn off hardware graphics acceleration
in Apple’s standard system. 5 Where it shows Display, scroll down and by going to the Control Panel>
select plain vanilla VGA. Performance tab.
7 If you identify the problem as an
Extension or a third-party Control Panel 6 Restart Windows. 8 Click the Graphics button then set it to
device, contact the developer of that None.
software to verify that you have the most 7 Run Expression to see if the problem
current version. persists.
If running under SVGA does not solve the Set Up • Any virus protection software.
problem or if the manufacturer verifies that
• Ιf you are using disk compression, try
you are running the most current driver,
installing to an uncompressed volume.
contact Fractal Design Technical Support.
Q:The Expression installer does not install 3 Reinstall Expression. If installation is still
Expression on my machine. What can I unsuccessful, contact Fractal Design
do? Technical Support.
1 Do you have enough hard disk space? To Q:What is a TSR (Terminate and Stay Resi-
dent) application?
install the default Expression package
including the tutorial files, you need to
A: A TSR or memory resident application is
have 10MB of hard drive space reserved
a program or driver that stays in memory
for program files. once it is loaded and works in the back-
ground. The program normally responds
To install the full collection of Skeletal only to a specific command or event
Strokes, you will need considerably more (such as the deletion of a file or a specific
space—run the Expression Installer from key stroke combination).
the CD to see the exact requirements. If
possible, you should also have several Q:How can I turn some or all TSR’s off?
megabytes of free hard drive space.
Expression makes use of free space when A: To turn off TSR’s:
printing or rasterizing high resolution
images. Windows 95:
Q:Can TSR’s cause conflicts and how can I Contacting Technical Other Ways to Contact Technical
resolve them? Support
Support
A: TSR conflict occurs when a specific TSR email
conflicts with another TSR, application or mac_support@fractal.com
a function within an application. You can win_support@fractal.com
Q:How can I contact Technical Support?
resolve a possible TSR conflict by:
A: Make sure that you register your copy of America Online
1 Restarting the computer with only
Expression so you can benefit from Frac- Keyword: Fractal
those TSR’s turned on that are
tal Design Technical Support.
required to run Windows.
Phone
Please fill out the Troubleshooting
2 Retry the operation. If the conflict Worksheet included at the end of this
(408) 430-4200 8:00 AM to 5:00 PM
does not recur, the problem is proba- Monday through Friday
book before contacting Technical Sup-
bly caused by a TSR conflict.
port. Fax
Internet
www.fractal.com
B
Glossary
additive color model The color model save an Expression image as a bitmap, Boolean Operation Allows you to create
which describes color based on direct light Expression automatically anti-aliases the closed paths based on the area enclosed by
or transmitted light (as in television or image to make its edges smooth. Disable two source paths. Unite, Intersect, Front
computer screens). The RGB model is addi- the Anti-aliasing option when saving to minus Back and Back minus Front are the
tive. All color values set to their highest, override this default. Boolean functions supported by Expres-
create white. See also Subtractive color sion.
Back minus Front Creates a new path that
model.
contains areas in the back path that are not bounding box An onscreen aide which is
alpha channel An extra color channel overlapped by areas in the front path. the smallest rectangle that can completely
which provides an 8 bit mask so that you enclose a selected object or group of
base objects The objects and layers
can composite your image with other bit- objects. The bounding box includes invisi-
beneath a mask object. Once a mask is
map images in an application such as Frac- ble points such as tangent and shear/width
clipped out of the base objects, only the
tal Design Painter or Adobe Photoshop. handles.
clipped portion remains visible.
anchor point A point, or set of coordi- B-Spline A type of smooth curve com-
Bézier curves The Pen tool is used to cre-
nates defining a position which remains monly used in computer graphics. A
ate Bézier curves. Bézier curves define the
constant as an action or transformation B-Spline curve is defined by a set of control
shape of the path by a combination of point
occurs. points governing the shape of the curve,
position and tangent handle position.
while the control points might not neces-
anchoring A technique that allows the
bitmap Bitmapped artwork is defined by sarily lie on the curve itself.
user to constrain specific points of a stroke
a grid of pixels. There is no outline. Resiz-
so selected parts of the picture are not dis- caps Defines the way Expression displays
ing such an image may result in
torted as the Skeletal Stroke is applied the end points of an open path. Expression
stairstepped edges. Graphics created by
along the path. can display a stroke with a flat cap, round
Fractal Design Painter, Adobe Photoshop,
cap or square cap.
angular interpolation When using the scanned images and other paint programs
Blend Path command, interpolates the are examples of bitmapped artwork. clip See mask.
angle and distance between consecutive
Blending The Blend Path command cre- closed path A path wherein the start and
points instead of interpolating the posi-
ates a series of new paths based on two dif- end point are at the same location, such as
tions of the nodes explicitly. This some-
ferent source paths. After you define the a circle, rectangle or polysided object. Or a
times results in more shape constancy
number of step, Expression automatically path that completely encompasses some
along the steps of the blend.
generates the new paths whose character- area.
aspect ratio The length of a line as com- istics are determined by the characteristics
colorize Applies color to black and white
pared to the width of the stroke. of the source paths. Both geometry (shape)
artwork or changes the color scheme of an
and paint characteristics (color, width,
anti-aliasing The process of removing the object by substituting the primary colors
transparency, etc.) are interpolated.
jagged stairstepped edges (aliasing) which with new colors.
are typical of bitmap images. When you
color separation Creates separate pieces Even-Odd rule On any shape where a handle See tangent handle, shear/width
of film or printed image for each color of path crosses itself, or where one path handle, Resize handle or transformation
ink used in the artwork. encloses another path, Expression must handle.
decide which areas to fill and which to
Color Table A visual representation of hatching A pattern of strokes whose char-
leave empty. The Even-Odd rule deter-
colors from which the user may select a acteristics vary based on the contrasting
mines whether a point is inside a path (and
color to apply to an object. lightness/darkness of the source imagery
therefore filled) by drawing a ray from that
beneath it. It is a technique to mimic pen
compound path A compound path is a point in any direction and counting the
and ink drawing or woodcut prints.
path that describes an object made from number of path segments that the ray
two or more shapes, wherein one shape crosses. If the number is odd, the point is HSL color model Refers to Hue, Satura-
cuts a hole or void in the other. The letters inside; if even, the point is outside. See also tion and Lightness. This is the color model
“A” and “O” are examples of compound Non-Zero Winding Number rule. that artists use to describe color.
shapes.
fill Color or pattern used to define inside Hue Basic color family, such as red,
corner point A vector point (node) with areas of an object as in stroke and fill. On green, etc.
both tangent handles retracted. Since the an open path, an imaginary straight line
connects the beginning and ending points Interpolate Estimate values inserted
tangent handles are at the same location as
to specify which areas are inside the stroke between specifically defined values.
the node itself, they can not be seen when
the node is selected. A corner point defines and therefore contain the fill color or pat- Intersect Creates a new path that con-
an angle intersection of two line segments, tern. tains areas where the selected source
rather than a curved intersection. paths overlap. Areas and paths that do not
Freehand tool The Freehand tool allows
you to create paths by freely drawing with overlap are ignored.
curve point A vector point (node) with
tangent handles extended and visible when the mouse or tablet stylus. keyframe Specific image (view) in a Multi-
the node is selected. A curve point defines view stroke. Expression automatically
Front minus Back Creates a new path that
any intersection of two line segments other interpolates views between keyframes.
contains areas in the front path that are not
than an angle. The angle and distance of
overlapped by areas in the back path. Lightness The property which makes
the tangent handles define the shape of the
adjoining line segments. gamut An entire range or series. In color appear to reflect or transmit more or
Expression the term gamut refers to the less light. A color with no lightness appears
cusp point A point on a curve at which a black. A color with full lightness appears
gamut of printable colors, that is, the whole
point tracing the curve would abruptly white.
range of printable colors.
change its direction of motion. In Expres-
sion, this term is used to describe a corner Graphic Element stroke A vector picture linear interpolation When using the
point of a B-Spline or Bézier path. Generally used as a stroke. Blend command, each pair of correspond-
a B-Spline path is all smooth, but a cusp ing points is interpolated without regard to
grayscale An image consisting entirely of its relationship with other pairs of points.
point can be created by Option-click.
shades of gray.
marquee A dotted rectangle indicating a After counting all the crossings, if the result (CY), Cyan-Yellow (CY), Magenta-Yellow
selected area. is zero, then the point is outside the path. If (MY), Cyan-Magenta-Yellow (CMY), White
the result is anything other than zero, the and Black (K).
mask A mask or clipper allows only those
point is inside the path and is filled. See
objects or parts of objects that lie inside rasterize To convert vector (outline)
also Even-Odd rule.
the mask path to be seen. The topmost information into bitmap information for a
object is used as the mask and its original open path A path with distinct beginning non-PostScript printer or for use in bitmap
fill is discarded. Strokes and fills from and ending points; not a closed shape. imaging application.
objects on lower layers are shown in the
original path The source path for objects Resize handles Triangles shown at each
masked area only.
of cloning or Boolean operations. corner of the imaginary bounding box of
Multi-view stroke A stroke composed of selected object(s). Drag to resize selection.
path A path is a continuous line made up
two or more pictures or keyframes. Expres- A preference controls whether or not
of one or more curved or straight path seg-
sion automatically interpolates the Resize handles are visible.
ments. Each path segment is defined by
between views. A Multi-view stroke can
two or more points (nodes) which can be resolution Number of pixels per inch
also be saved as an animation.
edited. when referring to monitor screen. Number
Natural Media stroke A stroke that mim- of dots per inch when referring to printer
pixel Small, discreet points on the com-
ics traditional artist tools and brushes. output.
puter screen. Computer images are com-
node A control point or vector point, posed of pixels. Saturation Describes the intensity of
used to define the shape of an object. color. Less saturation results in a muddy
point See node.
color, more saturation results in a clear,
Non-Zero Winding Number rule On any
PostScript The printer description lan- intense color.
shape where a path crosses itself, or where
guage created by Adobe Systems Incorpo-
one path encloses another path, Expres- Selection Object(s) currently active and
rated and used by most high quality
sion must decide which areas to fill and ready to be acted upon.
printers, PostScript defines the appearance
which to leave empty.
of type and images on the printed page. shear/width handle Controls a Skeletal
The Non-zero Winding Number rule deter- Stroke’s shear and width. The angle of the
preferences User definable options
mines whether a point is inside a path (and handle from the point controls shear. The
located under File menu> Preferences
therefore filled) by drawing a ray from that distance of the handle from the point con-
that allow you to customize the way
point to infinity in any direction then evalu- trols width.
Expression behaves.
ating the places where a segment of the
Skeletal Stroke A simple or complex pic-
path crosses the ray. Starting with zero, progressive color bar A printed sample of
ture that has been defined as a stroke.
you add one each time a path segment the standard color combinations used in
crosses the ray from left to right and sub- Color Monitor Calibration. Includes Cyan source imagery Original artwork used for
tract one each time a path segment crosses (C), Magenta (M) Yellow (Y), Cyan-Magenta hatching. Hatching is applied based on the
the ray from right to left. grayscale value of the source imagery.
source path Original artwork used for tangent handles are retracted and placed at
blending or for Boolean operations. the same coordinates as the point itself and
so are not visible.
stroke A mark or path made by a single
movement of an instrument. Also refers to tint A variation of a color produced by
the outline or edge of a piece of artwork, as adding white. A 100% tint includes no
in stroke and fill. Traditionally an artist white. A 0% tint is completely white.
defines an area with a stroke then fills the
transformation handles Paired arrows
area with color or pattern. The stroke itself
shown at the midpoint of the right, left, top
may have particular attributes, such as
and bottom of the imaginary bounding box
width and color assigned to it.
of selected object(s). Drag to shear selec-
stylus A pen-like tool used when drawing tion. Drag while holding down the Shift key
with a digitizing tablet. to rotate selection. A preference controls
whether or not Resize and transformation
subtractive color model The color model
handles are visible.
which describes color based on reflected
light, such as when using pigment. The Union Creates a new path based on the
CMYK model is subtractive. All CMY values outline of all selected source paths as if
set to their highest create black. See also they were merged into one object. Paths
additive color model. inside are ignored.
183
Blend Paths button 15, 74 Clipper command 71 Colors
Blend Paths command 74, 75 Clipping calibration 95
defined 178 objects 70 CMYK 82
Blending releasing objects 71 copying 87
multiple paths 75 Clone command 146 custom 85, 86
paths 73 Cloning objects 146 fixed width strokes, and 100
BMP file format, exporting 31 Close command 34 gradients 89
Boolean operations Closed path HSL 79
defined 178 defined 178 layers and 155
preferences 26, 72 understanding 60 RGB 82
using 71 Closing, documents 34 saving 84
Boolean Operator buttons 15, 73 CMYK colors, creating 82 Skeletal Strokes 92
Bounding box 135, 178 Color Dropper tool 10, 87 substitution 114
B-Spline objects preferences 27 Commit Transform command 144
creating 63 Color match, preferences 26 Compatibility, file format viii
defined 178 Color models Composition toolbar 6
B-Spline tool 9, 63 selecting 79 Compound Object command 69, 70
using 79 Compound path
Color palette 18, 78 defined 179
C CMYK tab 83 understanding 60
Calibration, color 95 HSL tab 79 Compound shapes
Caps preferences 27 creating 68
defined 178 RGB tab 82 filling 69
editing 102 Color separations 85, 179 Compression, video 128
Cascade command 22 Color Table command 84 Constraining objects 133
Center View command 22 Color tables Continuity
Center Zoom command 22 creating 83 angle locked 157
CGM defined 179 smooth 157
exporting 31 displaying 78 symmetrical 157
importing 30 editing 83 unconstrained 157
Change Start Point tool 8, 160 loading 84 Continuity, node 156
Circles saving 84 Conventions, manual ix
creating 66 sorting 85 Convert Node tool 7, 158
Circles, creating 66 Colorize tab 93 Convert To Path command 147, 162
Classic Drawing tools 8 Colorizing Converting
Freehand tool 8, 61 defined 178 points 158
Pen tool 8, 62 Multi-view strokes 92 to Bézier paths 162
Clipboard, importing 30 objects 92 Copy button 6
Clipper 70 removing 94 Copy command 31
185
ellipses 162 Targa files 31 Freehand tool 8, 61
Gradient strokes 89, 102 TIFF/TIF files 31 defined 179
gradients 89 transparency and 29 preferences 27
Multi-view strokes 108 vector graphics 31 pressure sensitivity 76
paths 156 WMF files 31 Front minus Back
points 156 Extensions, conflicts with 172 defined 179
Skeletal Strokes 105, 117 operation 72
strokes 99, 117 Front-Back button 15, 72
Ellipse Closure controls 13 F
Add Chord button 163 Fax number, Fractal 175
Open Arc button 163 Fill tab 110 G
Pie button 163 Filling Gamut
Ellipse tool 10, 66 compound shapes 69 Color palette 80
Ellipses objects 109 defined 179
creating 66 Fills Grabber tool 8, 23
editing 162 copying 88 Gradient Editor palette 19, 90
Enable Pressure Sensitivity button 15, 76 defined 179 Gradient tool 10, 89
Endpoints gradient 88, 111 Gradients
attributes 102 patterns 111 applying 88, 89, 102
caps 102 preferences 27 attributes 89, 102
EPS file format, exporting 31 solid 110 colors, and 89
Even-Odd rule Fixed width strokes 100 editing colors 89
defined 179 Flat cap 102 fills 88, 111
using 69 Floating toolbars 5 linear 91
Exit command 34 Font command 67 radial 91
Exiting 34 Font palette 19 strokes 88
Exporting Fractal Design ix Graphic Element strokes
Adobe Illustrator files 31 address 175 defined 179
Adobe Photoshop files 31 America Online address 175 understanding vii, 3
bitmap graphics 31 Fax number 175 Graphics
BMP files 31 Internet address 175 exporting 32
CGM files 31 MSN address 175 importing 30
CorelDRAW! 31 technical support 172, 175 Grayscale 179
EPS files 31 Free Anchor button 14, 119 Greeking 27
JPEG files 31 Free Anchor command 119 Grids
movies 31 Freehand paths displaying 21
PCX files 31 creating 61 hiding 21
PhotoPaint files 31 editing 136 preferences 27
PICT files 31 Group command 145
187
Models Natural-Media strokes duplicating 145
additive 93 defined 180 filling 109
color 79 understanding vii, 3 grouping 144
subtractive 93 New layering 152
Modes command 2, 4, 20 masking 70
ribbon 106 documents 20 moving 133, 136
sausage 106 New command 2 resizing 137
Skeletal Strokes 105 New File button 2, 5 rotating 138
Monitor, resolution 29 New Stroke Definition command 116, 123 scaling 133, 137
Movies New View command 24 selecting 132, 133, 134
exporting 31 New view, creating 24 shearing 141
saving 31 Node Continuity controls 12 stacking 151
Moving Angle Locked button 157 transforming 136
anchors 120 Smooth button 157 ungrouping 145
images 23 Symmetrical button 157 unstructuring 161
Multi-view stroke views 126 Unconstrained button 157 viewing 135
objects 133, 136 Node Continuity Mode command 157 Opacity 98
points 156 Node Selection tool 7, 156 Open Arc button 13, 163
toolbars 5 Node tools 7 Open command 30
MSN address 175 Convert Node tool 7, 158 Open File button 5
Multiple paths, blending 75 Node Selection tool 7, 156 Open path
Multiple windows 21 Nodes defined 180
Multi-view strokes defined 180 understanding 60
adding views 124 See also, Points Opening, documents 30
animating 126 None Continuity controls 157 Origin, text object 68
colorizing 92 Non-Zero Winding rule 69 Original path 115
creating 122 defined 180 defined 180
defined 180 keeping 72
editing 108 Output device, resolution 29
moving views 126 O Ovals
saving 32, 126 Object Selection tool 7, 132 creating 66
Shear/Width handle 125 Objects editing 66
understanding vii, 3 aligning 147
arranging 147
cloning 146 P
N colorizing 92 Page, sizing 20
Naming constraining 133 Paint Style palette 17, 70, 98
documents 33 deselecting 133 Colorize tab 93
layers 155 distributing 149 Fill tab 110
189
Q Repeating Control tools 14 Save As command 31, 33
QuickTime Make Non-repeating button 14, 122 Save Bitmap command 32
animation 126 Make Repeating button 14, 120 Save command 31
compression 128 Repeating Skeletal Strokes 120 Save File button 6
saving as 32 Reset Transform command 144 Save Stroke as Movie command 33, 127
Quit command 34 Resize handles 133, 135, 137 Saving
Quitting 34 defined 180 animations 32
Resizing AVI format 32
objects 137 color tables 84
toolbars 5 colors 84
R Resolution 29 documents 31
Radial gradient 91 animation 127 Multi-view strokes 32
Randomizing Skeletal Strokes 108 defined 180 patterns 113
Rasterize document 29 QuickTime format 32
defined 180 monitor 29 strokes as animation 126
graphics 28 output device 29 Scale tab 138
Ratio, zoom 22 printing 166 Scale tool 10, 138
Rectangle tool 10, 65 Reverse Path command 161 Scaling
Rectangles, creating 65 Reverse Path tool 8, 160 objects 133, 137
Redo command 34 Reversing paths 160 patterns 115
Registration 2 Revert to Saved command 34 Scratch disk 28
Releasing, clipped objects 71 Reverting 34 Scrolling images 23
Removing RGB colors 82 Select All button 6
anchors 119 Ribbon mode 106 Selecting
colorization 94 Rotate tab 139 color models 79
patterns 113 Rotating objects 138 custom colors 86
Removing, views 125 Rotation tool 10, 139 objects 132, 133, 134
Renaming, documents 33 Round points 132, 134, 156
Repeat Accumulated Transform cap 102 Selection objects
command 144 join 102 defined 180
Repeat frame 121 Rulers understanding 132
Repeat Last Transformation displaying 21 Selection tools 7
command 143 hiding 21 Group Selection tool 7, 132
Repeat tool 12, 53, 120, 122 Object Selection tool 7, 132
Repeating Sensitivity, pressure 76
strokes 120
transformations 143, 144
S Separations, color 168
Saturation 79 Serial number 2
defined 180 Set As Quick Stroke command 104
Sausage mode 106 Shape Object tools 9
191
Transformation tools 10, 112, 134 Unstructuring, objects 161 Windows
Mirror tool 10 Up One button 6 arranging 22
Perspective tool 11, 142 Up One command 71 multiple 21
Rotation tool 10, 139 Use Quick Stroke command 105 Wireframe view 135
Scale tool 10, 138 WMF file format
Shear tool 11, 141 exporting 31
Transformations V importing 30
accumulated 143 Value Picker 80 Workspace 20
committed 144 Vector graphics
patterns and 112 defined 181
repeating 143 exporting 31 Z
shortcuts 143 importing 30 Zoom in command 22
Transforming objects 136 understanding 28 Zoom out command 22
Translate tab 137 Video compression 128 Zooming
Transparency Video drivers, incompatibility 173 in and out 22
applying 98 Video for Windows Zoom ratio 22
exporting and 29 animation 126
printing and 166 compression 128
TSR applications View
conflicts 175 adding 124
turning off 174 moving 126
Twisting strokes 107 Path 135
preferences 27
preview 135
U removing 125
Unconstrained button 13, 157 Wireframe 135
Unconstrained continuity 157 View All command 22
Undo View bar 123
command 33 Viewing
operations 33 objects 135
preferences 27 points 135, 136
Ungroup command 145
Ungrouping objects 145
Union W
defined 181 Width
operations 72 Skeletal Strokes 105
Union button 15, 72 stroke 100
Unlocking layers 154
Unstructure command 161
•
5) Remedies which vary from state to state. Some
Chapter
disk, provided you keep the original states do not allow the exclusion of inci-
solely for backup or archival purposes. dental or consequential damages, or the
Fra
193
Troubleshooting Page 194 Thursday, November 7, 1996 3:20 PM
Date:__________________________________
Fax:___________________________________ 2)
3)
❐ Macintosh ❐ Windows 4)
Serial #: _______________________________ Using Standard VGA video driver? Yes/No When all Extensions are off? Yes/No
When all TSRs are off? Yes/No