What do you know about Vector Images?

2. What do you know about RasterVector Images?

3. How scaling is done in vector images:

4. Where vector images can be used

 

Lecture №17-18. Drawing

1 Raster vs. Vector

2 Shape Layers and Shape Options

3 Using the Shape, Pen, Anchor Point Tools

4 Using the Paths Palette

5 Working the Paths

 

Understanding the differences between Illustrator and Photoshop can range from confusing to downright frustrating for those who are new to graphics and image editing. Which application should you use for your project?

It really boils down to having an understanding not only of what you wish to achieve, but also having a firm grasp on the key differences between Photoshop and Illustrator; what are their strengths? Their weaknesses?

Before we can compare Photoshop vs Illustrator, we must understand the difference between raster and vector graphics.

 

Raster and Photoshop

First off, a raster graphic (also sometimes called a bitmap graphic, but not to be confused with the.bmp file format) is an image that's comprised of tiny blocks of colour called pixels. Zoom in close enough on a raster image, and it begins to pixelate, like a mosaic. Raster graphics are what we call "resolution dependent" images. Essentially what that means is that quality is always a concern. Without getting into a lengthy conversation about resolution and re-sampling, let's just keep it simple for now and say that resizing your raster graphics is where problems, sometimes major problems, arise.

Examples of raster-based images include photographs, scans, digital paintings, website components like buttons and header graphics, and any other image that's made up of a lot (like, millions) of coours. Raster-based file formats include JPEG, GIF, PSD, PNG, and a few others.

Conceptual artists, digital painters, and comic book artists also turn to Photoshop for a lot of their work, too. web designer use Photoshop to help mock up layouts, create web interfaces, and develop a lot of graphical components for sites. So Photoshop is very flexible.

 

Vector and Illustrator

Unlike raster graphics, vector images are "resolution independent," here problems solved about quality, pixels, resolution, or re-sampling. Rather than being based on pixels, vector graphics are based on mathematical lines and curves. Of course, this is where Illustrator comes into play. in Illustrator we can scale it larger or smaller, and not give a second thought to quality. A vector graphic is always top quality. Usually, but not always, vector graphics are images that are comprised of solid blocks of colour, like a cartoon, a company logo, or a block of text. So who's making use of Illustrator? Graphic designers, visual artists, apparel companies, and even technical illustrators. Vector-based file formats include AI, SVG, and Flash's FLA and SWF.

 

Ұсынылатын әдебиеттер тізімі:

1. Digital Darkroom Procedures Using Photoshop CS 2002-638 с.

2. Дэн Маргулис.PHOTOSHOP для профессионалов. Пер. с англ. - М.: 000 "РТВ-Медиа", 2001. - 400 с.

3. Microsoft office 2000 Complete, BPB Publications

4. Adobe Photoshop CS4 book for Digital Photographer by Scott Kelby

5. http://www.photoshop-master.ru/lessons.php?rub=32&id=1666

6. http://www.photoshop-master.ru/lessons.php?rub=28&id=1371

7. http:// http://www.adobeps.ru/photoshop-lessons/44-model-lab.html

8. http://www.photoshop-master.ru/lessons.php?rub=3&id=768

9. http://www.adobeps.ru/download/photoshop-lessons/45-model-hsb-cvetovojj-krug.html

1. http://www.macprovideo.com/hub/photoshop/photoshop-vs-illustrator

Бақылау сұрақтары

1. Which application should you use for your project?
2. What are differences between Photoshop and Illustrator; what are their strengths? Their weaknesses?
3. Who's making use of Illustrator?

 

Lecture 19-20. Basic Photo Corrections

1 Strategy of retouching

2 Resolution and Image Size

 

Purpose: to own skills to work with basic photo corrections and know resolution and image size

Keywords: retouch photographic images, color casts, resolution, image size

 

Strategy for retouching   You can retouch photographic images in ways once available only to highly trained specialists. You can correct problems in color quality and tonal range created during the original photography or during image scanning. You can also correct problems in composition and sharpen the overall focus of the image. Photoshop provides a comprehensive set of color-correction tools for adjusting the color and tone of individual images. Most retouching follows these eight general steps: Duplicating the original image or scan. (Always work in a copy of the image file, so that you can recover the original later if necessary.) Checking the scan quality and making sure that the resolution is appropriate for the way you will use the image. · Cropping the image to final size and orientation. · Repairing flaws in scans of damaged photographs (such as rips, dust, or stains) · Adjusting the overall contrast or tonal range of the image. · Removing any color casts. · Adjusting the color and tone in specific parts of the image to bring out highlights, midtones, shadows, and desaturated colors. Sharpening the overall focus of the image. The retouching techniques you apply to an image depend in part on how you will use the image. Whether an image is intended for black-and-white publication on newsprint or for full-color Internet distribution affects everything from the resolution of the initial scan to the type of tonal range and color correction that the image requires. Photoshop supports the CMYK color mode for preparing an image to be printed using process colors, as well as RGB and other color modes. ImageReady supports only RGB mode, used for on-screen display.

Although you can create publications for both paper and on-screen use, remember that a computer screen and a printed page are very different. Keep these differences in mind when you create publications for either medium—or for both media: Text can be small and still very legible on paper, because the dots of ink on paper are much finer than the dots of light used in a monitor. Therefore, avoid small text and finely detailed graphics on-screen. This means that it is more difficult to effectively use formatting such as multiple columns on-screen. Computer monitors come in all sizes, and you can rarely guarantee that your online readers all have the same monitor size. You should design for the smallest monitor you expect people to have—typically a 15-inch monitor. By contrast, when you print to paper, you know what size the paper is and can design the publication accordingly. However, a page in an HTML or PDF publication can be any length. The larger dimension of a computer screen is horizontal (“landscape”), while in most printed pages, the larger one is vertical (“portrait”). This fact fundamentally affects the format of your pages. A printed publication is usually read sequentially—even to flip through the publication the reader must turn from one page to the next. In an online publication, the reader can go anywhere at any time, either by indicating what page to go to or by clicking on a link that goes to somewhere else, such as to an entirely different publication.

Resolution and image size The first step in retouching a photograph in Photoshop is to make sure that the image is the correct resolution. The term resolution refers to the number of small squares known as pixels that describe an image and establish its detail. Resolution is determined by pixel dimensions, or the number of pixels along the width and height of an image.

Pixels in a photographic image / Пикселов в фотографическом изображении

Types of resolution In computer graphics, there are different types of resolution: The number of pixels per unit of length in an image is called the image resolution, usually measured in pixels per inch (ppi). An image with a high resolution has more pixels (and therefore a larger file size) than an image of the same dimensions with a low resolution. Images in Photoshop can vary from high resolution (300 ppi or higher) to low resolution (72 ppi or 96 ppi). The number of pixels per unit of length on a monitor is the monitor resolution, usually measured in pixels per inch (ppi). Image pixels are translated directly into monitor pixels. In Photoshop, if the image resolution is higher than the monitor resolution, the image appears larger on-screen than its specified print dimensions. For example, when you display a 1-inch-by-1-inch, 144-ppi image on a 72-ppi monitor, the image fills a 2-inch-by-2-inch area of the screen.

4 in. x 6 in. at 72 ppi; file size 342K/ 100% on-screen view   4 in. x 6 in. at 200 ppi; file size 2.48 MB 100% on-screen view

It is important to understand what “100% view” means when you work on-screen. At 100%, 1 image pixel = 1 monitor pixel. Unless the resolution of your image is exactly the same as the resolution of the monitor, the image size (in inches, for example) on-screen may be larger or smaller than the image size will be when printed. The number of ink dots per inch produced by an imagesetter or laser printer is the printer or output resolution. Of course, higher-resolution printers combined with higher-resolution images generally produce the best quality. The appropriate resolution for a printed image is determined both by the printer resolution and by the screen frequency or lines per inch (lpi) of the halftone screens used to reproduce images. Keep in mind that the higher the image resolution, the larger the file size and the longer the file takes to download from the Web.

 

Слайдтар: Basic Photo Corrections

Ұсынылатын әдебиеттер тізімі:

http://www.adobepress.com/articles/article.asp?p=472326&seqNum=7

Бақылау сұрақтары

1. Digital Darkroom Procedures Using Photoshop CS 2002-638 с.

2. Дэн Маргулис.PHOTOSHOP для профессионалов. Пер. с англ. - М.: 000 "РТВ-Медиа", 2001. - 400 с.

3. Microsoft office 2000 Complete, BPB Publications

4. Adobe Photoshop CS4 book for Digital Photographer by Scott Kelby

5. http://www.photoshop-master.ru/lessons.php?rub=28&id=1371

6. http://www.photoshop-master.ru/lessons.php?rub=32&id=1666

7. http://www.photoshop-master.ru/lessons.php?rub=8&id=2104

8. http:// http://www.adobeps.ru/photoshop-lessons/44-model-lab.html

9. http://www.adobeps.ru/download/photoshop-lessons/45-model-hsb-cvetovojj-krug.html

10. http://www.photoshop-master.ru/lessons.php?rub=3&id=768

 

Lecture №21-22. Correcting and Enhancing Digital Photographs’

1 About Camera raw

2 Processing camera raw and Processing camera files

3 Correcting digital Photographs

4 Editing images with a vanishing-point perspective

 

Keywords: Camera raw, Processing camera files, Correcting digital Photographs

 

 

 

 

 

 

Слайдтар: Correcting and Enhancing Digital Photograps

Ұсынылатын әдебиеттер тізімі:

1.Digital Darkroom Procedures Using Photoshop CS 2002-638 с.

2. Дэн Маргулис.PHOTOSHOP для профессионалов. Пер. с англ. - М.: 000 "РТВ-Медиа", 2001. - 400 с.

3. http://coloroncloth.com/2011/02/09/echinacea-fabric-comparing-designs-to-fabric/

4. http://www.photoshop-master.ru/lessons.php?rub=8&id=2104

5. http://www.adobeps.ru/download/photoshop-lessons/45-model-hsb-cvetovojj-krug.html

6. http://www.photoshop-master.ru/lessons.php?rub=3&id=768

 

 

 

Lecture №23-24. CorelDRAW Basics and Interface

1 Exploring the CorelDraw Screen

2 Moving Around and Viewing Drawings

3 Customizing Options Графика GDI+

 

Purpose: Exploring the CorelDraw Screen and working with menu

Keywords: useful file name, document size, color mode, Stroke Color, Stroke Width, Laser Cutter

 

This lesson will introduce you to using CorelDraw with the Epilog Mini 24 Laser Cutter, and teach you how to create a new document or import your pre-existing design and format properly to be sent to the laser cutter. II. CorelDraw X5 CorelDraw is a vector design program that is compatible only on the Windows Operating System. It is recommended that you design outside of CorelDraw and import your design. CorelDraw is only a means to job setup and printing. Our laser cutter computer is located directly to the right of the machine, you will find the software shortcut on the desktop on the computer, double click on it to open.

1. Welcome Screen On this screen, you must decide whether you want to create a new document or import a design that you have already prepared. Select “Open other...” and navigate to your design file to import it. Check out the “Importing Files” section to find out more about file format and compatibility. If you wish to start from scratch, select “New blank document” and you will be prompted with the new document settings menu.

 

2. New Document Properties Menu

There are a couple of important settings that all laser cutter documents should have: 1. useful file name - please include a name that is easily recognizable and a date and/or version number - example of a good file name = “10_21_2011_pressfit_birdhouse.cdr” 2. document size - our laser cutter has a 24” (width) x 12” (height) working area, please keep all documents sizes to a maximum size of 24” x 12”. 3. color mode - the laser cutter coverts the color mode into a greyscale mode before engraving and cutting, for the most successful results please always use RGB. 3. Document View Whether you open a preexisting file or create a new one, you will see the document view when you are prepping your design for cutting/engraving. If you have set your document to 24” x 12” in size, then you will see a document that represents the entire work area of the laser cutter. The orientation of your document and the laser cutter are the same, the X direction is the width of your document and the direction that the X Carriage of the laser cutter travels. Likewise, the Y direction is the height of your document and is the direction that the Y Carriage that the laser cutter travels. The home position for both is the top-left corner.

 

4. Setting up an Object to Vector Cut Vector cutting is when the machine is tracing the shapes of the vectors cutting through the material. If we want to cut shapes out of our material, this is the mode we want the laser to be in. In order to the machine to cut an object out, we have to set the properties of that object to the following: 1. No Fill = remove the fill of the object. 2. Stroke Color = set the stroke color to black (RGB = #000). 3. Stroke Width = set the stroke width to “hairline”, a dimensionless unit.

5. Setting up an Object to Raster Engrave Rastering is when the machine is engraving a graphic into the material, it is a similar process to an inkjet printer except that it removes materials to create the graphic instead of adding layers of ink. Raster engraving is a bit more forgiving than vectoring, we have some room for experimenting with different settings. This also means there is not a clear path to a “good” engrave, that will determined by you and the job you are trying to do. In general the following properties can be applied for engraving jobs: 1. No Stroke = remove the stroke of the object to avoid accidentally cutting it out. 2. Fill Color = set it to black (RGB = #000). Note about colors and etching - the machine is going to map different colors to different etching depths. This is how the machine is about to etch a complex graphic into a piece of material. The machine will map Black (RGB = #000) to the deepest part of the etch and it will not etch White (RGB = #FFF). Any colors will be mapped to a gray scale mode and will etch to depth somewhere in between Black and White.

will etch the deepest - обцарапает глубоких

will not etch at all - травления не будет вообще

III. Using the Epilog Print Driver 1. Setting the Laser Cutter Properties Once you have gone through and properly formatted all of your vector cuts and rasters, you are ready to set up the appropriate machine settings based on the material that you are using. This is a very crucial step! To edit the machine settings, first enter the general print menu. The laser shows up just like a normal home printer machine.

Once in the printing menu, select “preferences” to edit the machine properties.

 

 

Слайдтар: CorelDRAW Basics And Interface

 

Ұсынылатын әдебиеттер тізімі:

1. Bryant, Michele Wesen, Fashion Drawing: Illustration Techniques for Fashion Designers, Pearson, Prentice Hall, 2011.

2. Peter A. Koenig, Design Graphics, Drawing Techniques for Design Professionals, Third Edition, Doorling Kindersley, India Pvt. Lt., 2012.

3. templates/

4. http://www.designersnexus.com/design/free-fashion-croquis-templates/female-fashioncroquis-

5. http://www.corel.com/corel/pages/index.jsp?pgid=800382&item=resource&listid=13600110

Бақылау сұрақтары:

1.How do you Using the Epilog Print Driver

2.How do you Setting up an Object to Raster Engrave

3.discuss Setting up an Object to Vector Cut

4.What do you should have for laser cutter documents:

 

Lecture №25-26 Objects - Creation And Manipulation

1 Outlining & Filling Objects

2 Arranging Objects

3 Using Layers

 

Purpose: Изучить основные методы работы с папками и файлами в языке C#

Keywords: Interactive Blend Tool,, файлы, файловая система, перечисления

 

Interactive Blend Tool

Let us start with the first effect in Corel draw. Interactive Blend Tool blends two objects. We are learning just the basics about blend effect in this lesson. There are lots of details which will be covered in the advanced level.

1. Open Corel DRAW. Select Rectangle Tool and draw rectangle at the top left
corner of the window. Fill it with red color.

2. Select Ellipse Tool and draw circle at the bottom right corner of the window. Fill it with green color.

3. Select Interactive Blend Tool (marked with green circle).

4. Now please observe the changes in the cursor carefully.

5. Move the cursor inside the red rectangle. There is a difference between the cursor outside and inside the rectangle.

6. Once the cursor is changed when it is inside the red rectangle, press and drags it. Take it to the inside area of the green circle.

7. A dotted line will form while you drag the cursor and once you release the mouse button, the blend will form between the rectangle and circle.

8. Observe carefully that the rectangular shape is smoothly converted into the circle with the gradual steps.

9. At the same time, the red color is also transformed into green using the same steps.

 

 

Making A Layer Mask

1.Select a layer. Highlight the layer you wish to mask. Make sure the layer is visible, or you will not be able to perform this function.

2. Select an area. Using the the Marquee tool (press M to select it), select the area you wish to reveal.

Note that if you want a soft edge, set the Feather radius as desired, before drawing the selection.

3. Create the mask. Click the Add Layer Mask button at the bottom of the Layers palette.

Alternatively, from the Layer menu, choose Layer Mask, then Reveal Selection.

4. After adding the layer mask, the image will look like the one given right. Notice that the kitten's face remains revealed in the top layer, while the rest of the image is transparent, allowing the background layer to show through.

 

Слайдтар: Objects - Creation And Manipulation

Ұсынылатын әдебиеттер тізімі:

1. Digital Darkroom Procedures Using Photoshop CS 2002-638 с.

2. Дэн Маргулис.PHOTOSHOP для профессионалов. Пер. с англ. - М.: 000 "РТВ-Медиа", 2001. - 400 с.

3. http://www.photoshop-master.ru/lessons.php?rub=28&id=1371

4. http://www.photoshop-master.ru/lessons.php?rub=3&id=768

Бақылау сұрақтары

1. How do you using Interactive Blend Tool?

2. How do you using A Layer?

3. How do you Making A Layer Mask?

 

Lecture №27-28. Working With Special Effects And Texts

1 Special Text Effects.

2.Using Symbols and Clipart

3. Working With Bitmaps Bézier drawing tools

4. Anatomy of a Bézier Path

 

Purpose: Getting to know the engineering of bézier drawing tools

Keywords: compound path, corner points, smooth points, bézier path

 

The engineering of bézier drawing tools into graphic and layout programs certainly opens a world of opportunity and creativity for many designers. But, if you’re unfamiliar with the use of these far-from-simple tools, they do you little good. In this tutorial, I’ll showcase the bézier tools included in QuarkXPress to demonstrate to you the power of the bézier drawing tools, and how to control and manipulate the paths they enable you to create with a high degree of flexibility.

What Exactly is a Bézier?
The term bézier (bezz-ee-aye) drawing stems from the name of mathematician Pierre Bézier, who formulated principles on which vector objects are based. In simple terms, his theory states that all shapes are composed of segments and points. Segments may be either curved or straight while their condition and shape are controlled by properties of the points that join them. A collection of two or more points joined by line or curve segments is referred to as a path. Two or more paths combined to form a broken or non-continuous series of segments and points are called a compound path. And that’s your history lesson for today. Once a bézier path exists in digital form on the page, it can be assigned specific properties such as line width, patterns (dash and stripe), arrowheads, and color. Paths can also be open or closed, a condition that’s determined by whether the endpoints of the path are unjoined (open) or whether they’re joined to form a continuous loop (closed). If a path is closed, it can also be filled with color, or converted from a shape box to a picture or text box. Open paths can be converted to text paths.

Anatomy of a Bézier Path
Bézier drawing in QuarkXPress follows Pierre’s theory with the same accuracy enjoyed by most graphic applications. QuarkXPress now includes the Freehand Line, Bézier Line, Bézier Picture Box, Bézier Text Box, and Bézier Text Path tools for creating various open and closed paths. But, before you grapple too hard with using these tools, it may help to know a bit about the on-screen information provided by QuarkXPress to reflect the point and segment types you’re working with. Again, remember that these rules apply equally to FreeHand, Illustrator, or most any other application that uses the bézier tools.

As mentioned earlier, path segments can be either straight or curved. Straight segments are simply joined end to end, while curved segments are more involved. The path followed by a curved segment is controlled by the properties of its adjoining points, which can be set to either smooth or symmetrical.

Corner points

These are points that enable the shape of segments on either side to be unaffected by each other. In other words, the straight or curved segments can be shaped to allow the path to abruptly change direction where the point joins them, as shown below. For this reason, the corner point is perhaps the easiest to work with.

Smooth points

As the name suggests, smooth points force the direction or angle of curved segments on either side to align, creating a smooth transition between the two endpoints, as shown below. Smooth point handles can be set to unequal distances from the point they control. This will apply only where a smooth point joins two curved segments. While a smooth point is in use, the point and both handles will be in alignment.

Symmetrical points

These types of points force the curved segments on either side to be equal in slope or angle, as shown below. Unlike smooth points, symmetrical point handles can only be positioned equal distances from the points they control.

Each smooth and symmetrical point features two curve handles. One handle controls the shape of the preceding segment, while the other controls the shape of the segment to follow. Curved segment endpoints-the points at the beginning and ends of each path-contain only one curve handle each to control the respective segment.

In an effort to enable you to distinguish which point is which, QuarkXPress displays each of the points and their associated handles in different ways. A corner point takes the shape of a triangle, a symmetrical point is square-shaped, and a smooth point takes the shape of a rotated square, or diamond.

Defining Points and Segments While Drawing
Any of the bézier tools in QuarkXPress can be used to create a new bézier path. But creating an accurately drawn path certainly takes a bit of practice. The mouse action involved in the creation of each point on your path plays a key role in the shape and properties associated with the points and segments it contains. A single click on your page creates a point position, while a second click creates another point with a straight segment between them. But a click-drag action with your mouse automatically creates a curved segment – and this is where the tricky part comes, as you can see below.

As you click-drag to create a new point, several things occur in the background. First, the point at which you first clicked with the mouse defines the new point’s position, and now as you continue to drag, you’re no longer holding the actual point. Instead, you’re now dragging a curve segment handle that can be rotated 360 degrees around the new point position. By releasing the mouse button, you define the curve handle’s position, in turn affecting the shape of the curve segment you just created -and the next one you’re about to create. The process is ongoing until you’ve completed drawing your path. Choosing a different tool from the main Toolbox, such as the Item tool, ends bézier drawing sessions. Practice makes perfect and bézier tools are no exception to this rule. While drawing using bézier tools, you can also specify a specific point type (other than the default) by holding down the modifier keys that are listed below, while defining each point’s position.

Tip

: Holding Shift as a modifier key, while defining a new point, will constrain the preceding segment angle to 90-degree increments. Holding Shift, while click-dragging to define a new curve segment’s point, will constrain rotation of its curve handles to 45-degree increments.

Selecting and Editing Paths

Whether you’ve created your path from scratch using bézier drawing tools or you’ve converted a box, shape, or text to a path, knowing how the points and line shapes can be changed or transformed is another critical area. Once you’ve created your path, editing the existing points or segments can be a complex process if you’re unfamiliar (or even if you are familiar) with commands for manipulation of the various components. To edit a path, you must use either the Item tool or the Content tool while an open or closed path is selected.

Tip

: To reposition the entire path while it’s being created, hold down the Ctrl/Cmd key and drag the path.

Both points and segments can be repositioned to any point on or off your layout page simply by dragging (or using the nudge keys), while the shape of curve segments can be altered by dragging their curve handles. To make the editing process even more important, straight segments can quickly be converted to curves or vice versa. Plus, the conditions of points can be interchanged between corner, smooth, and symmetrical states. Common commands for this type of editing can be found in a number of places. To find them, select Point/Segment Type from the Item menu, which only becomes available while a point or segment is selected.

But perhaps the most crucial companion to have around when editing points is the Measurements palette (press F9). The Measurements palette, as shown below, provides quick access to nearly all properties associated with points and segments, including fields for entering exact point or handle page positions, and buttons to set the condition of points and/or segments. The palette itself has been organized into two distinct areas.

The left side of the palette includes the following controls:

§ X and Y: These two fields display the current vertical and horizontal upper-left page position (relative to your ruler origin) of an invisible bounding box surrounding your selected path. To move the path, simply type in a new value followed by the Enter key.

§ W and H: These two options set the overall width and height dimensions of your selected path. To change the scale of your path, type in a new value followed by the Enter key.

§ Angle: This option enables you to perform a rotation of your selected path by entering a degree value followed by the Enter key. Positive values rotate the path counterclockwise, while negative values rotate the path clockwise.

The right half of the palette is dedicated to points. The controls are as follows:

§ XP and YP: These abbreviations represent the vertical and horizontal page position of the selected point (relative to your ruler origin). For precision positioning, type in a new value followed by the [enter] key.

§ Curve Handle Angle: The boxes labeled with angle symbols represent the angle of the curve handles. The left angle box controls the curve handle affecting the preceding segment, while the right angle box controls the curve handle for the segment to follow.

§ Curve Handle Position: The two boxes below the point angle boxes enable you to specify the curve handle distance from the point they protrude from. Changing the curve handle positions changes the shape of curve segments.

Between these path and point options are five buttons that enable you to change the condition of points or segments. On the top row, three buttons enable you to change the selected point(s) to symmetrical, smooth, and corner points, respectively. Below these, two buttons enable you to change a selected segment from (or to) a curved or straight segment.

When you draw a path using any of the bézier drawing tools, the result is always an open path, meaning the first and last points remain unjoined. To join these points and close the path so that it can be filled with an image, text, or color, use the Item tool to select the path, hold down the Alt/Option key, and choose Item > Shape > Bézier Box (fourth symbol from the bottom). If the points are on top of each other (or at least close together), the endpoints will become joined automatically.

Point and Segment Shortcuts
Many more options for editing segments and points are available by holding down modifier keys during your path or segment-editing process. The table below lists these keys and their functions, as well as other shortcuts used to select, alter, and transform points and segments.

Bézier paths give you exacting measures and a high degree of control and flexibility unafforded to you by other drawing tools. And combining the background information here with a little practical experience on your part should get you started on the road to creativity and control.

 

Слайдтар: What Exactly is a Bézier?

Ұсынылатын әдебиеттер тізімі:

1. Peter A. Koenig, Design Graphics, Drawing Techniques for Design Professionals, Third Edition, Doorling Kindersley, India Pvt. Lt., 2012.

2. http://coreldesigner.wordpress.com/2009/06/01/get-snapping-with-coreldraws-object-snapping-features/#more-597

Бақылау сұрақтары

1. What Exactly is a Bézier?