Pattern Studio

© 2008 Mediachance
Pattern Studio

© 2008 Mediachance

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Printed: December 2008 in (whereever you are located)

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Mediachance

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 Contents 3

Table of Contents
Foreword 0

Part I Overview 8

Part II Features 12

Part III What's new 14

Part IV Basics 16
1 Introduction
................................................................................................................................... 16
2 Texture
...................................................................................................................................
Shaker 21
3 Types...................................................................................................................................
of objects 24
4 Rulers,
...................................................................................................................................
Guides, Grid 27
5 Document
...................................................................................................................................
Size 29

Part V Paths 32
1 Editing
...................................................................................................................................
paths 32
2 Standard
...................................................................................................................................
Shapes 33
3 Arrow................................................................................................................................... 34
4 Drawing
...................................................................................................................................
a Shape from scratch 35
5 Add a...................................................................................................................................
point to existing Shape 37
6 Combine
...................................................................................................................................
two or more objects 38
7 Liquid...................................................................................................................................
Shape 44
8 Import...................................................................................................................................
Vector Object 46

Part VI Text 50
1 Text Object
................................................................................................................................... 50
2 Fit To...................................................................................................................................
Path 53

Part VII Bitmaps 60

1 Bitmap
...................................................................................................................................
Object 60
2 Bitmap
...................................................................................................................................
as Reference 62
3 Re-Crop
................................................................................................................................... 67
4 Seamless
...................................................................................................................................
Bitmap 70
5 Create...................................................................................................................................
Texture from Photo 72
6 Non Destructive
...................................................................................................................................
Sharpen 78
7 Paste...................................................................................................................................
Bitmap Inside a Vector Object, Cropping Bitmaps 79
8 Masking
...................................................................................................................................
Bitmap 81
9 Transparency
...................................................................................................................................
Masking 82

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3
 4 Pattern Studio

10 Color...................................................................................................................................
Transparency 83
11 Trace...................................................................................................................................
Bitmap 85

Part VIII Properties 88

1 Working
...................................................................................................................................
With Object Properties 88
2 Color...................................................................................................................................
& Texture 88
3 Adjusting
...................................................................................................................................
the Texture 92
4 Color...................................................................................................................................
Space 94
5 GenetX
...................................................................................................................................
Procedural Colors and Textures 95
6 Bitmap
...................................................................................................................................
Effects 97
7 Transparency
...................................................................................................................................
Properties 99
8 Bump/Normal
...................................................................................................................................
Map editing 101
9 Area...................................................................................................................................
Gradient 103
10 Bevel
...................................................................................................................................
Properties 104
11 Effect
...................................................................................................................................
Properties 109
12 Push-Back
...................................................................................................................................
Tool 114
13 Push-Back
...................................................................................................................................
with Bump Map 121
14 Outline
...................................................................................................................................
Properties 124
15 Surface
...................................................................................................................................
Skin 125
16 Color
...................................................................................................................................
Correction 127

Part IX Lights 130

1 3D Lights
...................................................................................................................................
& Material 130
2 3D Lights
...................................................................................................................................
& Material - Tips for using it 134

Part X Painting 138

1 Basics
...................................................................................................................................
of Painting Mode 138
2 Brushes
...................................................................................................................................
Tool Bar 139
3 Editing
...................................................................................................................................
Bitmap Object 141
4 Painting
...................................................................................................................................
on a Vector Object 142
5 Paint...................................................................................................................................
Object 146
6 Cloning
................................................................................................................................... 147
7 Advanced
...................................................................................................................................
Bitmap Edit Mode Options 150
8 Editing
...................................................................................................................................
Brushes 151
9 Bitmap
...................................................................................................................................
Envelope Editing 159

Part XI Packages 162

1 Packages
................................................................................................................................... 162
2 Create
...................................................................................................................................
and Edit Package 164
3 Package
...................................................................................................................................
Document 166
4 Working
...................................................................................................................................
with packages 167

© 2008 Mediachance
 Contents 5

5 Crop...................................................................................................................................
Package 170
6 Clone
...................................................................................................................................
Package 172
7 Perspective
...................................................................................................................................
Transformation 173
8 Liquid
...................................................................................................................................
Package/Bitmap 174
9 Other
................................................................................................................................... 176

Part XII Global NPR 180

1 Overview
................................................................................................................................... 180
2 Apply
...................................................................................................................................
NPR Style 180
3 NPR...................................................................................................................................
Quick Adjust 181
4 NPR...................................................................................................................................
Style Settings 181
5 NPR...................................................................................................................................
Area Gradient 187
6 NPR...................................................................................................................................
and Bitmaps 191
7 Tips...................................................................................................................................
for NPR 192

Part XIII Advanced 196

1 Blueprint
................................................................................................................................... 196
2 Export
................................................................................................................................... 198
3 Export
...................................................................................................................................
To Clipboard 203
4 Mega...................................................................................................................................
Render 205
5 Layers
................................................................................................................................... 210
6 Styles
................................................................................................................................... 214
7 Object
...................................................................................................................................
Library 215
8 Printing
................................................................................................................................... 216
9 Screen
...................................................................................................................................
Capture 218

Part XIV Appendix 220

Part XV Thank You 224

Index 225

© 2008 Mediachance

5
Pattern Studio

Part

I
 8 Pattern Studio

1 Overview

Design Seamless textures and patterns the visual way

Pattern Studio is a special editor for creating seamless textures and patterns. Such seamless texture is
then used for 3D applications, cloth design, scrap-booking, web etc. It has features not commonly seen
in other editors, like 3D lights, NPR styles, Liquid vectors or Push-back tool to easily create amazing
interlocking patterns.

Pattern Studio uses Real-DRAW VectorBit technology that combines vector tools with the pixel based
image manipulation. On top of all this, whatever you draw or paint in it is always editable and always
automatically seamless - without any additional work! Pattern Studio will also automatically generate
Bump maps, Normal maps and Transparency maps so the result is immediately usable in a 3D
application. The unique Pushback tool can aid in creating interlocking patterns even on the Normal or
Bump map level!

© 2008 Mediachance
 Overview 9

The basic idea of Pattern Studio is to produce rich seamless textures and patterns using the comfort of
vector-like editing combined with 3D features and Natural paint techniques. It is a unique creative tool
where you can design your pattern or texture from scratch, combining shapes, transparencies and
textures with large amount of effects.

© 2008 Mediachance
Pattern Studio

Part

II
 12 Pattern Studio

2 Features
Automatically Seamless
Whatever you draw or paint is automatically seamless. In fact you see the whole seamless texture right
during the design.

Vector-like Editing
Any object you create is editable all the time. You can change shapes, group objects, move them in
layers, resize, edit envelopes etc. Any object has its own changeable properties like color, texture,
outline, lights, material, transparency, multiple 3D effects, bevels, shadows, motion blur and much more.

Bitmap Editing
Unlike in a normal vector editor you can actually paint directly onto any vector object using airbrushes,
3D or Artistic brushes and special Image Nozzles. You can paint on the canvas and the strokes will
become another seamless object to which you can apply effects, just as with vector objects. You can
even convert a brush stroke directly into editable vector shape. Importing images from disc allows you to
create seamless textures from photos.

3D Effects
You can apply various bevels and extrude effects to any object or bitmap to create perfect three-
dimensional work. You can get even closer to rendered-like image by applying an unlimited number of
3D lights to any object or by changing its material properties. For example it very easy to create realistic
metallic textures - often a big problem in standard vector drawing packages.

Scalable output
One of the Pattern Studio strength is that you can design in small size then export it with Megarender
into much larger yet crisp output.

Texture Shaker and GenetX

Not sure how to start? Use Texture Shaker to generate a seamless texture and its variations with one
click.

Non-Photo Realistic Styles

At any time you can switch the output to one of many Global NPR Styles for instant hand-drawn output
using pencil, watercolor or even a paint. As any other feature in Pattern Studio, this is non destructive,
you can easily switch between styles, go back to original style or tweak the current style to your
preference.

Export to Adobe Photoshop

You can export the whole design into Adobe Photoshop keeping all the layers, transparency channels,
shadow layers and layer names as you created them in Pattern Studio.
You can also use MegaRender technology to export large quality work to Adobe PhotoShop.

© 2008 Mediachance
Pattern Studio

Part

III
 14 Pattern Studio

3 What's new
· Liquid Shape 44 and Liquid Package 174
· Non-Photo Realistic Styles
· Export to Clipboard 203
· Draft Bitmap with Reference 62
· Area Gradient 187
· Re-Crop 67 tool with ability to switch between Normal image and Image by Reference
· Crop tool can be now used inside packages 170
· Various fixes and small additions: Pure Vector Export - fix on regional dependency, Limited Poly
Nodes 32 option, preview during Megarender creation.

© 2008 Mediachance
Pattern Studio

Part

IV
 16 Pattern Studio

4 Basics

4.1 Introduction
In this short introduction we will quickly run through couple of important Pattern Studio features. We will
not produce a texture that is much of use but rather demonstrate the basic principle and workflow.

The Canvas of Pattern Studio always display whatever you draw or paint in a seamless matter.
In the middle you will find the center Tile Canvas surrounded by the pattern area that displays the
center Tile in the seamless context.

When we draw anything for example a simple circle we will immediately see it in the larger context of
seamless texture.

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 Basics 17

Drawing a single circle and call it a seamless pattern isn't exactly very convincing, so let's draw a blue
star in the middle between the circles..

This is already start showing the time-saving feature of Pattern Studio for seamless graphics. We can
move the objects around and the tile will be always seamless. When we export the image, we will export
the center tile:

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18 Pattern Studio

This is a very simple pattern that took only few seconds, but without the seamless feature of Pattern
Studio it would be much harder to do so in normal editor.

Double-clicking on the star will reveal the vector-editing 32 nature of Pattern Studio where we can always
adjust the shape of object using the control nodes.

If we draw a rectangle 33 (let's make it a bigger than the center Tile) and then apply a texture from the
Color & Texture 88 palette we will discover another feature of Pattern Studio: The textures we apply to
the object will also be seamless - we can resize the rectangle and it will still be true.

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 Basics 19

We can check out another feature of Pattern Studio - each object is in its own layer 210 , we can select
the top rectangle we draw last and send it back: Menu Object-Arrange-Send to Back or with the
corresponding button on bottom bar.

Each object can use many properties: texture, drop-shadow, bevel. The styles can be set manually with
the palettes or use predefined complex styles in the Style palette 214 .
Most of the topics in the Properties 88 section will deal with this.

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20 Pattern Studio

Now we will look in the Style palette under the NPR Styles 180 and select the Illustration style. Everything
will change into a hand-drawn style because now we used Non-Photo realistic Rendering.

Now let's export this one. Menu: Bitmap Export 198 .

Here we will find the option to select file format and also couple of other options to resize and sharpen
the output.
At the bottom of the export window is a combo box option where we can select which type we want to
export: texture, bump-map, normal map or transparency map.

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 Basics 21

It is of course very simple example but it quickly shows the power of Pattern Studio for designing
seamless patterns in any style.

4.2 Texture Shaker

Menu: Project - Texture Shaker

Texture Shaker is a quick random texture mixer to create new textures and their variations.

It is very easy to use, just press the Shake Me! button until you like the result and then press OK.
Each texture has also 4 its variations that are displayed on the right. If you choose a variation, it will be
loaded in the large view and the variation will be randomly changed again.

Shake Me - The whole texture and variations will be randomly created using different combinations.
Shake Me Gently - will randomly change only certain components of the current texture

When you press OK a new seamless rectangle object with size of the canvas will be created.

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22 Pattern Studio

Move to Background
It will move the new object below any other objects.

Lock The Object

The new object will be locked so you can't accidentally select it. This is indicated by the lock-pad in the
Layers. To unlock it, click the little red lock-pad in the Layers palette.

Favorites
You can permanently save the large texture into the Favorites. Click the Add to Favs. button. To remove
it from Favorites, select it and click Del button.

Edit the Bitmap

The created bitmap is seamless and you can edit it directly with the Paint on Object tool.
If it is locked, select it in the Layers and then press the Paint on Object 138 tool. Then you can use
brushes or clone tool to directly edit the texture.

Tweak the Bitmap

After you create the bitmap object you can apply some of the bitmap effects. Press the Bitmap icon in
the Color palette.

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 Basics 23

Use the texture for objects

Normally a simple bitmap rectangle is created. If you want to use the texture of this bitmap rectangle for
other object, this is simple: we need to extract the texture from the bitmap.

Select the created rectangle (if locked, you can select it in the Layers)

Use menu Bitmap - Make Texture

New temporary texture will be added at the bottom of the Texture list. This is only available for this
project only and closing the project will erase the texture.(The texture is saved in the project)

Now you can use the texture on any other object.

© 2008 Mediachance
 24 Pattern Studio

4.3 Types of objects

There are four types of objects in Pattern Studio: Path, Polynome, Text and Bitmap

1. Path
This is the basic object. You actually create a path anytime you use one of the basic shape objects
such as Rectangle, Circle or Star

Path is created with a Bezier curves and it can be closed or open.

2. Polynome
Polynome is an object similar to Path. While Path is a continuous shape, Polynome doesn't have to be.
A shape created from Polynome can have for example a hole inside. You can convert any Path or Text
to a Polynome.

3. Text

The text can be edited any time. You can also apply a Path envelope to the text and then twist the
object. All the effects apply to text as well as for any objects.

4. Bitmap Object

Bitmap is a non-vector object, however, you can work with it as with any other object. You can
apply any effect, such as bevel, or drop shadow, or you can paint directly into the bitmap, create
transparency, and much more. You can also apply envelope to twist or distort the Bitmap.

5. Painted Object

Painted object is an Object created by painting with brushes on the canvas. Painted object behaves
like any other object; you can apply any effects to it.

Select an Object, Edit

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 Basics 25

If you want to select, move or resize an object you use the Object Selector tool.
If you want to change the shape by moving the Path points you use the Shape Tool.
If you want to paint into the object use the Paint on Object Tool.

Tip: You can switch between the Selector and Shape Tool with a double-click.

When you press the Paint on Object tool, the view changes into painting view where you can see the
object transparency and paint with various brushes. You can get back to the normal view by clicking the
Object Selector, by un-clicking Paint on Object tool, or if you press the Esc key.

With the Object Selector tool, you can select an object by clicking on the visible part of the object.
You can resize the object by pulling on one of the 8 handles. The bottom right handle (in gray color) is
for resizing in all directions, the other 7 handles always resize in their direction. (For example: the
middle left and right handle will resize only in the horizontal direction.)

Tip: Sometimes, if the object is very tiny, you may have a hard time selecting the object. You can
just hold down the Ctrl key and click on the object again. This will select the object by its boundary.

If you want to select, move, or resize an object, which is covered by other objects, just click on its name
in the Layers 210 Bar. This will make it selected and you can now click on it on the workplace, drag it, or
resize it.

Select more objects at the same time

Often, you would like to select more objects at the same time and then move, resize, or apply a
command.
To select two or more objects use one of these:
· Click on the empty part of the canvas - where there is no object - hold down the mouse button and
drag a rectangle around the objects. Then release the button. You have to drag around the objects
you want to select. Only the objects, which are inside the rectangle, will be selected.
· Click on the object you want to select first: then hold down the SHIFT key and click on the
second object. Repeat until all objects are selected.
· Click on first object name in Layer Bar, then hold SHIFT and continue selecting the objects.

To deselect all objects, click outside the selected area. To deselect only one object from the group of
selected objects, hold down the SHIFT key and click on a previously selected object.

Tip: During multiple selections, look at the bottom of the screen (the status bar). The text will
identify the number of objects you have selected.
The Objects on screen will have a small number in the top left corner - this is the order on which you
selected the objects. It is important for some operations such as boolean Subtract.

Move and Resize Objects with Arrows

You can move/resize objects when you have the Object Selector tool selected.
You can move the object in pixel precision in almost any mode by pressing the Arrow keys on your
keyboard. If you hold CTRL while you press the arrow key, you will move in increments defined by a Grid
27 .

You can resize the object in pixel precision in almost any mode by pressing the SHIFT + Arrow keys on
your keyboard. If you hold CTRL while you press the SHIFT + arrow key, you will resize in increments
defined by a Grid 27 .

© 2008 Mediachance
26 Pattern Studio

Groups And Packages

If you have a complex project, you can make selections easier by Grouping or Packaging related objects
together.

Package 162 : Package is a unique ability to divide a large project into segments where you can edit
each segment (Package) in a different view window. Packaging has many benefits - the system needs
less memory and you don't get lost in hundreds of objects. The package shows in your main document
as a single object, which you can transform any way - resize, rotate, or add any effects to it, such a
drop shadow or bevel. This means you have the ability to design the contents of a package in a large
view. This is an important topic, please read more in a Package Section 162 .

Groups: Groups are logical selections in the main document. You don't get fewer objects, you just move
all objects with the group. Select two or more objects and press CTRL-G (or from the Menu: Object-
Group). The group has a red border. You can move or resize grouped objects, and you can also change
the parameters of whole group. To un-group a group, press CTRL-U (or from the menu:Object -
Ungroup). You can also select one or more objects from an existing group without un-grouping, by
expanding the group it in Layers. See more details in Layers 210 .

Various Object Examples:

© 2008 Mediachance
 Basics 27

Tip: Each object type has a different color of bounding rectangle in the Selection mode. The Path is
blue, Polynome is Green, Text is violet, and Bitmap is orange. The multi-object selection has a dark blue
border and a group is bright red.

Paths and Polynomes

Pattern Studio uses a simple path for any simple objects you start drawing - circle, square or curved
line. Paths are made of Bezier curves only. Even a straight line in a square is made of Bezier curves and
you can expand its control points to round the square.

The more complex object is Polynome. Polynome shape has not only Beziers curves but also lines and
offset points which allows you to create "Islands" or "Holes" within the object. You can convert any time
any Path to Polynome or it will be created automatically by software whenever it is needed (For example
when using Combine command)

Combined object
This is a polynome created with combine command. It still retains all combined objects even they may
be not visible. You can simplify such shape into normal Polynome with Create S ingle Shape Command.

You can also convert Painted object into Polynome.

Perspective transformation can be applied to Packages and Bitmaps.

4.4 Rulers, Guides, Grid

To help you to place and draw objects you can use Rulers, Grid, or Guides. You can drag a guide to the
workplace from the Rulers, and objects will snap to them. Alternatively, you can set up a grid where
objects will snap to this grid.

Rulers

Rulers measure the distance in pixels. Rulers give you information about the size of the selected object,
its position, and the position of the cursor.

The position and size of a selected object is marked by a red bar (as in the above image), and a blue bar
marks the position, and size of a selected object.

When you draw a primitive object, such as rectangle or circle, you will see a blue bar on the rulers as
you draw, from the place where you started.

Guidelines

Guides (or Guidelines) are lines that you drag on the canvas from rulers. Guides help you to align or
position objects, because objects will snap to guides. An on/off switch for the guides exists on the

© 2008 Mediachance
28 Pattern Studio

menu: Edit - Snap To Guidelines.

To move the guide, simply click on it and drag.

To delete the guide, simply drag it outside the window. You don't have to drag it in the guide direction; it
is enough for you drag it to the closest border. In other words, you can drag a vertical guide to the top or
bottom, even though it normally only operates from left to right.

Guides are saved with the document, and you can add/edit the guides by pixels with the Guide editor.

To open Guide Editor, right click on the Ruler or select: Edit Guidelines & Grid from menu Edit.

The Guide editor works like an ordinary editor, you can add, edit or delete the numbers (in pixels) by
simply typing. It doesn't matter if you put the numbers in order or not.

Grid

The grid is a net of dots to which the objects snap. You can show/hide the grid from the menu: Edit -
Show Grid, or by clicking on the Grid button in the tool bar. The only property of a grid is distance, and
you can adjust it in the same Guidelines & Grid box as above. Grid distance is saved with the
document as well.

Size and Position

To set the size and position of the object, you can use the Sizes bar. You can show the Sizes bar from
menu: View - Properties-Sizes, or simply by clicking on the Sizes Button. (On the right bar)

Above is displayed the size and position of the current selected object. You can type a new number and
press Enter to update the object.

© 2008 Mediachance
 Basics 29

Position Lock

On the Sizes bar you have a “lock icons” beside the left and top position. This is a Position Lock. If you
click on the lock, the object will be locked in that particular movement and you can move the object by
mouse, only in that direction. If you lock the left horizontal position for example, you will only be able to
move the object horizontally with your mouse.

You can lock both directions, and then you won't be able to move the object by mouse at all. This is
good if you want to have the object selectable, but you want to protect it from accidental movements.

What is the difference between Position lock and Lock in Layers 210 ?

Simple, if you lock the object in layers, you won't be able to select anything it at all as it will become a
transparent for the mouse. If you lock the position, however, you are still able to select an object.

4.5 Document Size

Menu Project - Size and Color

The canvas is the white rectangle on your screen where you place your object. You can place objects
anywhere else and it is perfectly fine, but canvas represents the part which will be exported, so it defines
the size of the output image. You can, however, export any other part of the document with the Crop
Tool.

To change the Canvas Size and color:

From menu: Project select Size and Color

Here you can change the size and the background color. You can set the background color by typing
the web color or selecting it from the color selector. Clicking on the Color preview, the left part of the
color selector will bring you another window, where you can set the color by specifying RGB, Hue, Sat,
Lum, or pick a color from the basic windows colors.

Tip: You can also change the background color during Export 198 .

© 2008 Mediachance
30 Pattern Studio

To change the default Canvas size, which appears on startup or anytime you press New:
From Menu: Project select General Settings
Note: In this case the current document doesn't change.

Package - Special Case

If the active document is a Package 162 then this dialog sets the size and color of the package canvas.
See more 166 .

© 2008 Mediachance
Pattern Studio

Part

V
 32 Pattern Studio

5 Paths

5.1 Editing paths

Each Path lying on the path point has two detached control handles. You can shape the curve between
two points by moving these handles. If you don't see the handles, (for example on a square), this means
that the handles are aligned with the main Path point. To drag the handles out of the point, hold CTRL
and then drag the point. To drag symmetrical handles, hold down the SHIFT when dragging the handles.

Hold Ctrl and drag a point to reveal the handles.

Hold down Shift and drag the handle to make the point symmetrical.
To delete a point, press Del.
Note: You can only delete "points". If you delete the handle, the handle will be aligned with the non-
deleted point.

Open and Closed path

The Path or Polynome can be open or closed. When you draw any of the basic shapes, the path is
closed. Closed path means the object is filled, whereas, open path shows only an outline. If you click on
the open path object, you will see the “Line Width slider” appear on the upper tool bar.
You can apply any effects, colors, or textures on an open path, as well as on a closed one. To change
the width of the outlined path, adjust the “Line Width Slider” (On the top tool bar)
To Break the path:
Draw a basic shape, for example, a circle.
Click the Shape tool
From Menu: Object select Break Path.

Now, with the shape tool, you can separate the shape at the zero point.
Note: Click on any point and look at the status bar at the bottom of the screen. You should see
something like: Path Point 2. The break point is always at the point 0 and the last point. Also when you
select an object with the Selection tool you will see a small square at the point 0 (or start of the path)
To close the path: From menu: Object select Close Path.
You can change the width of an open path anytime with the slider at the top tool
bar. This appears only if your selected object is an open path.
Break Apart
Menu: Object-Break Apart
We can easily separate complex Polynomes (such as text or clipart into basic shapes and then apply
different formatting for each new shape.

© 2008 Mediachance
 Paths 33

Here we separated Text into its simple shapes from which the Polynome is build.
Limited Poly Nodes
Menu: Object-Limited poly Nodes
A polynome could be a complex object where displaying all nodes will result in a overcrowded canvas
during editing. You may not be even sure where to click.
You can switch ON the Limited Poly Nodes that will display only the main control nodes and then
extended nodes only in the neighborhood of the selected control node, creating far less crowded view.

This apply only to Polynome Object. A simple objects like standard shapes 33 will always display all
the nodes regardless of this setting (there are usually only few nodes anyway).

Note: This setting doesn't change the object in any way, it is only a visual helper.

5.2 Standard Shapes

You create a basic shape by using one of the six predefined shapes: Rectangle, Rounded-Rectangle,
Circle, Star/Polygon, Toroid, Frame.
The Tools are grpouped into 3 buttons on toolbar. To reveal the subselection click on the small arrow in
the corner of tool item or simply click and hold mouse on the tool for few seconds.

The Rectangle is a simple object with four Path points. Each point has two handles, but to achieve
sharp corners they are aligned with the Path points. You can always reveal the handles in the SHAPE
editing by holding down the CTRL key and dragging the point.

The Rounded Rectangle is a more complex object made from 8 Path points. Before you start drawing
the Rounded Rectangle you can set the smoothness of the corners. Click on the Rounded Rectangle
tool and change the Corners slider at the top tool bar:

Tip: You can change the roundness of the cornes even while you draw by pressing left or right arrow

© 2008 Mediachance
 34 Pattern Studio

key on the keyboard.

Circle is a shape with four Path points.

Star/Polygon

Before you draw the star you can set the parameters on the top tool bar. Click the star tool to reveal
these parameters:

The first parameter, Angles, is the number of arms the object will have. The second one is how far the
inner points are from the center - this is the slider which changes the object from a polygon to a Star.

Tip: You can change these parameters even while you draw by pressing Left or Right and Up or
Down arrow key on the keyboard.

Here is how the second slider

affects the object. If the slider is
on the left side, the object will be
a polygon. If it is on the right side
the object will be a thin star.

5.3 Arrow

The arrow is a special shape tool that draws simple arrows.

The Arrow is an open Polynome. One element is the head of the arrow, and the second element is the
line.

On the left is the general arrow. You start drawing it from the head. Click where
you want to have the head of the arrow. Release and move the mouse. The
next click is the knee of the arrow, and then the horizontal line is dragged until
you click again.
If you double click when you are about to draw a knee, the leader of the arrow
will stop at that point, making it a simple arrow.

Because an arrow is an open Polynome, you can change the width of the lines at anytime. Select an
Arrow object you have already drawn and look at the top tool bar for Width:

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 Paths 35

Mouse Cursor

The second choice is a Mouse Cursor. If you are working on manual with screen captures you will know
the importance of this tool.

Simply select the tool and click anywhere on the document. A standard Mouse Cursor object (Bitmap)
will be added.

You can hold CTRL to draw Mouse Cursor with shadow (great to enhance the appearance of it) You can
always remove or adjust the shadow with the Effect properties.

Tip: Since it is a bitmap you can doubleclick on it and then paint it over with some color. Set If
Darker mode to preserve the Cursor black outline. and paint only in white area. Set If Lighter to change
only the outline color.

5.4 Drawing a Shape from scratch

With these tools you can create new shapes - paths.

You have few optional methods for drawing a Path from scratch.
The Line Tool for (drawing paths with non-curved sides) Pencil (for drawing free paths) and the Curve
Tool (Bezier Curve)

Curve tool

With this tool you can create lines and Path paths by drawing Path points.

Select the Curve tool and click

where you want to have the start
point. If you release the mouse
button right after the click, you will
draw straight lines. If you hold the
button and move the mouse, you

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36 Pattern Studio

will draw symmetrical Path points.

To stop drawing the Path, use one

of the following:
· Double click on the point
where you want to finish.
· Click with the Right mouse
button on the point where you
want to finish.
· Move the mouse over the start
point and click - this will
create the object as a closed
path.

Drawing a line with Line Tool

This tool simplify drawing a line. To draw a line, just click and release the mouse button and then drag
the mouse to another point, click and release. To finish at this point, click the right mouse button.

Drawing a line with Curve

A line is basically a path with aligned control points. To draw a line, just click and release the mouse
button and then drag the mouse to another point, click and release. To finish at this point, click the right
mouse button.

Drawing a vertical or horizontal line

As you drag the mouse, hold SHIFT key. You will draw the line only in a horizontal or vertical direction.

Pencil tool for drawing free shapes

You can reveal this tool by clicking on the small arrow in the Curve tool to pop-up subselection menu, or
simply clicking on Curve tool and holding the mouse button for few seconds.

Open/Closed Paths

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 Paths 37

With the Pencil you can draw a free path. Select the Pencil tool and click
where you want the start point. Do not release the mouse button, just drag
the mouse and release the mouse button at the end of your desired path.

You can create open or closed Paths. While you are drawing, move the
mouse back to the Start point and you will see the mouse cursor change to
the black arrow with a square. If you release the mouse cursor at that point,
the Path will be closed - creating a filled shape.
Tip: You can close a Path any time from Menu: Menu Object - Close
Path

Note: You can't add a point to an existing object with the Pencil nor Curve tools. For that we have
the Add Point to Path tool.

You can change the width of a line of an open path with the: slide.

5.5 Add a point to existing Shape

Select tool Add Point to Path

With the Add Point to Path you can add a point in an existing path or
Polynome. With this tool you have to click on the edge of the object, on the
exact spot where you would like to have a new point. By holding the button and
dragging the mouse, you will expand the Path handles from that point.

Note: The path is a simple object created with basic tools - it has one shape. On the other hand
Polynome is a complex object, it can have more than one path inside -holes or islands. A typical
example of Polynome is a text. Pattern Studio will convert between these two types whenever it is
necessary.

Adding an Island to Polynome.

As you read in the basics, there are Paths and Polynomes. You always start working with Paths. Later
you can convert a Path or Text to a Polynome.

Polynomes can have a Hole or Island - a detached closed 'path' inside or beside another one in one
integrated object.

To add an island to the Polynome, you have to hold the SHIFT key when you click anywhere inside or
outside the selected object.

Example - Add an island.

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 38 Pattern Studio

1. With the Circle tool create a circle.

2. Select the circle and from menu: Object - select: Convert

to Polynome. The bounding rectangle will change the color
from light blue to dark green, signaling that the object is now a
Polynome.

3. Now click the Add Point to Path tool , and the selected
circle will show the Path points

4. Hold down the SHIFT key, click inside the circle, then
release the mouse

5. Now with the Shape tool, move the Path handles.

Note: the Polynome doesn't keep the end point with the start
point - you can separate them, creating a line between them.

You can add more points to the outer or inner path of the
object, again, with the Add Point to path tool.

Note: The island is always in reverse. If you cross two islands, you get the combination of both.

The next chapter Combine Objects 38 show you much easier method how to add Holes, Islands or
simply manipulate a shape.

5.6 Combine two or more objects

Menu: Object - Combine Objects

This tool combines two or more, Path, Text, Paint Object or Polynome objects
together either as XOR, Union, Intersection or Subtraction

Using a combination of primitive objects is the easiest way how to create any complex shapes.

In the previous example, we learned how to add an Island to an object, however, there is a much easier
method, which does exactly the same thing but much more elegant way.

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· First we draw two circles, one larger, one in the background, and on top of it,
we draw a smaller star.
We just select a different color of the top object to be visible on the picture.
· Now click outside the object and drag a mouse selection rectangle around
both objects to select them. (You can also select objects by holding the
Shift key and selecting additional objects.)
· Click the Combine XOR button

Note: The resulting object will get the color and properties of the first object in
the selection. If you select all objects by dragging a selection rectangle around
them then the first object will be the bottom one. If you use the Shift-Click method,
then the first object will be the one you selected first.

You can combine text, paths, and Polynomes together. The result will be always a Polynome.

You can also combine Paint objects with Polynomes, however the result will be always Polynome. The
bitmap object will be first converted into Polynome itself (from its transparency mask) and then merged
with the other objects. If you trying to make holes in the bitmap use Bitmap Masking 81 instead.

Tip: Combine XOR a rectangle object and text to get a reverse (cut) text.

BOOLEAN operations
Combine can have 4 modes: XOR, Union, Intersect and Subtract.

The Subtract depends on the order of selection. It Subtract the 2,3,4... selected objects from the first
selected. On the image above we first selected the Rectangle, then the Circle (second image from right).
The right-most image was created by first selecting the Circle, then Rectangle.

Tip: The result object will get the formatting (color, texture etc.) from the first selected object. (You
can see this behavior also on the BOOLEAN operations image above) When you selecting objects to be
combined you can see a number on the selected object. This will tell you which object was selected
first.

BOOLEAN vs. All to XOR, UNION

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40 Pattern Studio

The normal BOOLEAN combination can be freely mixed,. You can for example combine 3 circles as
union and then subtract a rectangle from the union. Consider the image below:

The other commands All Object XOR and All Object UNION would simply combine all objects to XOR
or UNION and you can freely switch between these two types any time later without re-creating it all
again. Consider the image below which was created from the previous object by using menu command
Object-Combine Objects-Change Mode-All Object XOR.

And then Object-Combine Objects-Change Mode-All Object Union

We didn't have to re-create the object again, just simply switch the mode.

Whenever you add other boolean operation to such object or choose Object-Combine Objects-Change
Mode-Boolean it will return to its original state (that means 3 object Union + one subtraction).

Simplify Complex Objects - Create Single Shape

Menu: Object-Combine Objects-Create Single Shape

Combine tools will create a complex object - with the original shapes still present inside (and thanks to
this you can always Un-Combine objects). This is visible only when you do editing with SHAPE
tool. Normally in Pattern Studio it doesn't matter, however sometimes you may want to simplify the
object (for example when you planning to do a pure vector export). You can do it in Menu: Object-
Combine Objects-Create Single Shape.
Note: For best accuracy of complicated objects you should leave the result objects in the Complex
mode. Create Single Shape may sometimes create less accurate object by applying curve simplification
around fine areas.

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 Paths 41

After you create Single Shape then you can no longer use Un-Combine. However, because the result is
now Polynome you will be still able in some cases apply Break Apart. (Imagine our Circle and Star
example from the top of this chapter - even after you convert the XOR Combination into Single Shape it
still has the star as an Island. You can then separate this object into star and circle again using Object-
Break Apart.)

Combine Paint Object

In Pattern Studio you can BOOLEAN combine Paint Object (or even a Package or Bitmap, if you really
want) with other vector objects. The result is always a vector (Polynome) object.

On the image above we combined (Subtract) a vector circle with Paint object (painted simply with brush).
The result is now fully editable vector object.
The bitmap is vectorized based on the transparency channel. It is obvious that combining simple picture
(which has a simple rectangular mask) will not give you anything extraordinary, however it is interesting
to combine Paint Objects (Brushes, Nozzles) with other vector object.

General Note about Combine tool

While it isn't very useful in general it is good to know that you can also combine Packages with other
vector objects to create new vector object. But here apply the same as for Paint Object - it is
vectorized based on the Package transparency channel. There are of course much better way to
combine packages (yes, it is Packaging by itself..) Vectorizing packages makes in fact little sense, but
you are free to do it.

Here we combined a package (red circle+star) with blue circle using XOR. The Package was during
conversion treated as simple bitmap object with transparent channel. It is important to realize that if you
have package with object having drop shadow (or other effects) then the drop shadow will be also part of

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42 Pattern Studio

the vectorized result. (Because it is a part of the transparency channel)

Note: Reading the above you may wonder if you can vectorize a bitmap which has no transparency -
for example a scanned image of your signature. Yes, you can do it with a single command in menu
Bitmap-Trace Shape. This will do vectorizing not based on transparency but rather on actual bitmap
data.

You can combine object also other way where the formatting is not shared between objects but remain
for each object and you are still able to add another formatting on top of the new combined object. It is
called Packaging 162

Un-Combine objects

Menu: Object-Combine Objects-Un-Combine

The Combined Objects carry inside their original shapes. As far as you don't convert the Combined
object into Polynome (Create Single Shape) or Bitmap, you can anytime Un-Combine the objects.

Here we have Combination Object: Star subtracted from Circle. After Un-Combine the object will be
divided back to 2 objects Star and Circle (The Star is shown here in different color, in real life it will come
up with the same formatting as the main object)

Break Apart

Menu: Object-Break Apart

The Combined Object/Polynome will be broken into two or more independent Single Shape objects.

There is a marginal difference between Un-Combine and Break Apart.

The Un-Combine will always separate Combination object into the original objects. The Break Apart will
cut the Combination object into smaller Shapes depending on the Combination.

See Example

We created a Combination from Circle and Rectangle using Subtract method. That is - we subtracted
the rectangle from the circle.

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 Paths 43

Now if we use Un-Combine we get back the Circle and Rectangle. Here on the Image below the objects
are separated for illustration.

Now on the other hand, if we use Break Apart on the Combination object we get 2 Circle halves:

Break Apart command will create a new objects from the combination, it will not use the original objects
stored in combination.
This gives you many possibilities for creating totally new objects:

The steps in the example above:

Create Text, then paint with brush "Paint new Object" a line through the text (Image 1.). Select both
objects (Ctrl+A) Then use Subtract. (Image 2)
Now use Break Apart - we get 10 objects (Image 3)
The rest is just a play. Here it is briefly: we selected the 5 object on upper part then use Combine Union.
Selected the rest bottom part - again Union so now we have two object Top and Bottom part of the text.
Little rotate and Extrude effect with Texture and few lights does the candy. The shadow was created by
simply selecting both objects and use menu Bitmap-Create-Shadow from Selected Object. This gives us
a shadow bitmap which we need to resize and Skew then apply some transparency to it.

Note 1: For Combined Object there are two steps involved during Break Apart command. This is
done automatically - to first create a Polynome from Combined Object. That means if you apply Break
Apart on any Combined object Pattern Studio will run two commands: Create Single Shape + Break
Apart. But again this is just for your info, you don't have to worry about this.

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 44 Pattern Studio

Note 2: It is obvious that some Combination will always create just one shape. For example if you
have an Union of two overlapping object the Break Apart command will have nothing to do and you will
get result the same as the Union.

5.7 Liquid Shape

Liquid Shape is a feature where you work with the shape as if it was a clay or liquid. This allows you to
create organic shapes very easily without manipulating the vector nodes and curves.
To use Liquid Shape select an object and press Liquid Shape Button.

The window will switch into Liquid Shape view.

There are new tools on top of this window:

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 Paths 45

Push/Pull - move the shape

Magnify - enlarge the shape under brush
Shrink - shrink the shape under the brush
Erase - erase to original state
Rotate - rotate under the shape

The idea is to use the cursor as a brush to move or otherwise affect the shape. In the image below we
used the Push/Pull mode with a medium sized brush (ex. 60) to push the shape:

We can also use very small brush (ex. 10) to pull new shape out of the original shape:

The Brush Strength sets the strength which means how far and how fast we can pull or push the
shapes.

When you made mistake use the Eraser and brush over the error parts.

After you are done, press the Apply button. The object will use its altered shape.

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 46 Pattern Studio

The Liquid Shape is a nondestructive parameter. At any time you can edit the Liquid Shape in any way
you want.

Note: A text object will be converted to Polynome when Liquid Shape is used in order to lock down its
shape..

Another Part of the Liquid Shape is Liquid Bitmap 174 which apply to Bitmaps and Packages. In that
case the tool not only changes only the shape but also the texture of the object.

5.8 Import Vector Object

The Image import allows you to import vector objects in WMF (Windows metafile) or SVG - Scalable
vector graphics) format.

You can also Import TTF (True Type font) which will result in the same action as command from menu
Text-Import Font (Glyph) 52

The WMF format can be imported either as a bitmap object or a vector object, SVG format can be
imported only as a vector object.
The import to vector format will translate each element from the image into Pattern Studio native objects.
It is important to understand that some metafiles may have hundreds of tiny objects which would
prevent you from using it any other way than in Package.

After you select the image to import you will be asked for a type:

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Load as Bitmap - (WMF only) this allows you to load the WMF vector format as a bitmap
Create one Final Package - The result will be always packaged and you will get a Package instead of
single standing object.
Create Final Group - The resulting objects will be grouped
Create just objects - This will leave the objects free standing

Initial Size Image into Width .. pixels

WMF and SVG are scalable formats - this is how big they will be imported (width only, the height will be
set according to the ratio)

Package every...objects
Some WMF or SVG files may have thousands of objects (sometimes 3,000 and more). Such import is,
for sure, not very useful since you can't do much with it anyway and because Pattern Studio uses
antialiasing and various advanced methods. The memory to open such file is also much larger.

Here, you set how many objects should be assigned to each package.

For example if you set 200 objects, then every 200 objects will be packaged, and if the WMF file has a
total 400, objects you will get 2 packages. This has priority over all previous settings.

What to do with the imported objects?

The vector objects will be imported as native Pattern Studio objects (Paths, Lines, Beziers) and you can
use them as any other Objects. There are many WMF files from which you can use already prepared
shapes to build your image. Also, many vector editors are able to export in WMF format. Since WMF
has been here from the time of Windows 3.0, there are thousands of free, or very inexpensive libraries of
vector objects in WMF. You can get CD's with ten thousands objects or more, yet the usefulness of
such CD's is often questionable. The most useful objects are always the simple ones (!), various arrows,
bubbles...simple shapes, where you can easily change color and add effects to your need.

Here we imported a WMF arrow, changed the color and Packaged it. We can later change the color
again by editing in the package.

If you don't want to disassemble the vector object you can simply load it as a bitmap.
-OR-
after necessary changes, if you don't want to change the vector object anymore, you may save a lot of
memory by simply selecting all of its objects and packages and converting them to bitmap with menu
Bitmap - Create- New Bitmap from Selected Objects, and then deleting the vector objects.

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48 Pattern Studio

SVG is a Scalable Vector Graphics build for the web. Currently all new browsers directly support SVG
and you can, not only import SVG but also Export it with Pattern Studio. The Import/Export supports
colors, outlines and transparencies.

Other way to get a shape into Pattern Studio is a Shape Tracer 60 . Simply load any Image with the
shape on white background and run it through it (Menu Bitmap- Trace Shape) This has many advantages
- you can actually draw a complex shape with a black marker on piece of paper and scan it. Then load it
in Pattern Studio and convert your shape to vector.

The next way to get some interesting shapes is to directly Import some dingbat True Type Font 52 .

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Pattern Studio

Part

VI
 50 Pattern Studio

6 Text

6.1 Text Object

This tool allows you to add text.

To add text, click the Artistic Text tool and click anywhere on the canvas. A dialog box, to enter the text
in, will appear. You can edit the text anytime by double-clicking on the text object or using the shortcut
Ctrl-T.

The text input dialog

Here you can input the text, select the font, its initial size, choose if it is italic, bold, and also select
alignment. Type some text and press OK.
You can resize the text freely after you enter it, so you don't have to set the size if you are not sure what
size text you require.

Real Size

Because you can resize the text afterwards, the Real Size indicates what the real size of the text is. If
you start new text, or never resize the text, the Font Size and Real size will remain the same..

If you resize the text (for example from 20), the real size will change (in our case 68.0), but the Font
Size will stay the same size as that which you initially entered. Note that the Real size may not be an
integer number. You can return back to the initial size (here 20), by simply pressing the

Reset to Original Size button.

The text will return to its original size (20) and the Real Size will change to the same number.

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Note: By resizing the text, the x/y ratio may change. To make sure your text is in correct size, you
may simply reset the size and then type the number, which was originally set as the Real size.

Character map

You can find the Character map button on the Text dialog next to the font selection.
The character
map is great if
you select a
'dingbar' or
'specialty' font
(for example
Windings), it
allows you to
see all the
characters.
When you
select one and
press OK, the
character will be
written in the
text location
within the text
edit box. In the
case of
'dingbars', you
will see a
corresponding
letter. You can
use the
Character map
to look for a
special
character, and if
you really hate
typing, you can
even write whole
sentences with
it. But, if the
reason is a
sticky keyboard
- you should
really clean it :)

You can import

font even without
installing it! See
below.

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52 Pattern Studio

With the selection tool, you can resize and move the text.
With the shape tool, you can change the Envelope of the Text
You also can use Skew or Rotate tools.

Envelope

With the envelope you can easily

shape the text. There are upper and lower
lines, each with two Path points. By
moving the points and/or handles, you can
give the text different shapes.

If you want to reset the transformations,

from menu: Text select Reset
Transformations.

To Edit the Path points of the text; go to menu: Text and select Convert to Polynome.

This will convert the text to Polynome Object (Path points and handles)
Note: You can't change the text context anymore because the object is now a Polynome.

You can combine the text with other objects with the Combine Tool 38

Import Font (Glyph)

Menu: Text - Import Font (Glyph)

Probably you have already come across such Fonts called Dingbats (Fonts that consist of symbol
characters such as decorations, arrows, signs, bullets etc.) In fact you can find hundreds of such fonts
on internet. It is a great oportunity to import some to your drawing.

Instead of installing the font and then going to character map, Pattern Studio can actually Import TTF
font directly from Disk or CD. You don't have to abuse your windows directory by installing hundreds of
dingbat fonts, just Import the one which you need and when you need it.

Simply from menu Text, select Import Font (Glyph). Select any TTF from disk or CD and a modified
Character Map window will appear. Here you simply select the Glyph you would like to import and Press
Import.

The Import Font window gives you also a short information about the font, plus font copyright info.

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 Text 53

You can Import one or multiple Glyphs. Just check the Multiple Checkbox and you can press Insert
button as many times as you want.

Tip: You can apply Break Apart 42 command on the glyph if you need to desintegrate the glyph into
basic shapes.

Note: You can Import the font also from the menu Files-Import or by clicking on Import Image button.

Reload Font List

Menu: Text - Reaload Font List

This will actualize the list of installed fonts. You may use it for example if you install new font into
Windows during your session in Pattern Studio. You don't have to close software and run it again,
simply use this command to actualize the installed fonts.

6.2 Fit To Path

Menu: Text - Fit to Path and Object - Follow Path

Interactive Tool

This tool allows you to fit a Polynome object (such as text) to Path.

Note: The Fit to Path in Text menu and Follow Path in Object menu have the same functionality.
Each one will first convert the object into the necesary type for processing.

You can fit any Polynome to a path of other Polynome. This is probably most useful for text.
You need to select the Text object and the Path together, then apply the command.
The object selected First will be the Object fitted (the Text), the object selected second will be used as
the Path.

When you do multiple selection (by using Shift+Click on object or item in Layer list) you will see the
order numbers to show you which object is selected first and which second. Make sure the Object to be

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54 Pattern Studio

fited is selected as first.

With the interactive tool you can choose the Place (Outside of Path, Centerline or Inside of the Path)
and the Start position relative to the path lenght

If you change any data you will see preview in the main document. Position the Text withthe slider and
then click OK.
Depending on the selected type you will get the result:

Note: The text can be positioned from the Path start (0%) to the Path End (100%). It can't cross the
start/end. Each object may have start of the path on different place - it doesn't have to be always on left
side.

Because the object can't cross the start/end you have to make sure the start/end of path is not on the
side where you planning to add the text. For example we would have trouble to position the text on left
side of the circle because there is a start point. In this case we may just simply rotate the circle to get
the start/end of its path away.

Note: You can Fit the Object to any path - closed or not.

You don't have to Fit only text, but you can use any Polynome. However note that a simple polynomes
such as Circle or Rectangle have just very few polygon points (Rectangle has 4). If you fit such low point
Polynome to a path then it won't work well (Except for repeat command, see later) - for example the

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Rectangle will still have 4 corners placed along the path.

That's why Text works best - it has hundreds of polygon points.
Tip: If you want you can increase number of Bezier curves in the simple object with Increase
Curves command (see below).

Here is an example of high polygon object fitted around the circle:

Note: If you fit Combination of objects the best is to use Create Single Shape first to convert the
combination to Single shape object.

Other Fitting Methods

The Menu: Text - Fit to Path has more than just Interactive Tool listed. See the picture below:

You can also Stretch the object or Repeat the object along the Path.

Stretch will stretch the Object along the whole Path. The repeat will repeat the Object along the whole
Path.

Complex Paths

Polynomes used for Paths can be also complex - they can have holes for example. The fitting will be
applied also on the holes. (Note that for holes the Inside and Outside is obviously reversed)

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56 Pattern Studio

This gives some interesting possibility for experimenting. For example fit a text around another text.

The result will be however quite complex and calculation may take quite long.

Note: If you choose a very complex font for your text (a font which has many points per character)
the result may have tens of thousands new polynomes.

Tip: Use any small object such as circle or star to fit around text for interesting results.

The Repeat can be used for many interesting effects of path following with small object, here are some
examples:

Tip: Letters and characters such as I, O . : " can be used along some path to easy create
interesting objects. To be sure the character covers all of the path use few of them in row for example
IIIIII or :::::::

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Note: If you would like to fit a text around Combined object you have to first Create Single Shape
from the combined object otherwise the text will follow all the objects from which the combined object is
created.

Increase number of Curves

Menu: Object - Increase Curves

You can add more Bezier points to the object, which may enable to do more with the object - for
example follow a path.

It is best to show it on example:

The shows two object rectangle and circle.

We would like to fit the rectangle around circle. So we use Object-Follow path- Interactive and the result

is in .
Now, obviously this isn't what we had in mind. This is because the rectangle has only 4 points and while
they are fitted around the circle the result is still rectangular.

In step we increased the number of the curves in rectangle 8^2 = 64 times. (Object - Increase
Curves)

Now we repeat the step two, with much better result

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Pattern Studio

Part

VII
 60 Pattern Studio

7 Bitmaps
7.1 Bitmap Object
What is a "Bitmap" Object?
Bitmap objects (also Bitmaps) are a non-vector objects. While vector objects are created from curves,
bitmap objects can be described only by the pixels.
You can import Bitmap from any supported image file: BMP, PNG, JPG, PCX etc .
Please note that some people mean by Bitmap the BMP file. This isn't accurate since BMP is a
"Windows Bitmap" where Bitmap is a common name for any pixel based image.

This tool allows you to import image from a file into a Bitmap Object

Click on the Insert Image from file button and then click anywhere on the Canvas. The open dialog box
will appear and you can select image file.

If "Resize & Crop Next Step " is selected, after you press Open the image will be transferred to Resize
& Crop dialog where you can crop the image or resize it before you import it into the object.

By Default the Image size percentage will be set so it will be a screen-size. Also at this point you can
choose the image to be used as a Normal Object or External Reference 62 .

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 Bitmaps 61

To resize the image before you import it, use the Resize Image box (for example 50 %). To crop the
image before you import it, move the two crop handles as indicated by red arrows on the image above.
Note: This will never modify the original image on the disk.

You can also Re-Crop the image later with menu Bitmap - Re-Crop.

When you have your Bitmap object, you can apply effects (bevel, shadow etc.), bitmap effects (blur
sharpen oil paint...), you can edit it, create transparency, scale it, rotate it, and more.

Scalability (Normal Bitmap Object)

If you scale down the Bitmap object, Pattern Studio will temporarily hold the bitmap internally in its
imported size. That means you can resize the bitmap back and the object will be updated from the
imported image quality.

In case of Normal Bitmap Object this is rather very temporary; the bitmap will be finally resized to its
display size after you do one of the following:
· You use Make Changes Permanent from menu Bitmap
· You save the project
· Or, you use one of the bitmap effects

Since the bitmap was from a file, you can reload the original bitmap from the same file,by using
command: Update From Reference from menu Bitmap.

With the selection tool, you can resize and move the bitmap.
With the shape, tool you can change the Envelope of the Bitmap

There are other ways to create bitmap objects:

· Paste a bitmap from the clipboard
· Use the Screen Capture Tool embedded in Pattern Studio
· Or, Paint a new bitmap 138 using brushes

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Note: This tool allows you to import also a vector drawing in either WMF or SVG format. You will find
more information about this in the Vector Import 46 section.

7.2 Bitmap as Reference

The Bitmap can be imported in two different ways.

· Normal Editable Bitmap Object

· Draft Object with External Reference

It is important to understand the difference because using it correctly gives you a big advantage and
ability to create large photo-montages and collages without any slow down.

During export and Fine Print of a Normal Image its own internal data are used. So if we import a nice
sharp 10 megapixel image, but resize and crop it to a 300x300 pixel image, this resized data quality will
be what we get in export. This is fine for normal web graphics and other normal screen-resolution jobs as
long as we don't want to use Megarender 205 to export or print image larger than the document size.

Draft with External Reference uses the resized data only during designing to show it on canvas for
easy manipulation, but during Export and Fine Print those data will be replaced with the original "best
quality" data from the image on the disk. This makes big difference in Fine print 216 and Megarender 205 ,
but for normal screen-resolution graphic this gives very little benefit.

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As we see on the graph above both Normal and Draft with Reference comes originally from a file. They
both remember the link to the original file, but in Normal Image this is only used so we can re-crop the
image later or during Update from Reference command. All the editing goes to the resized image in the
memory.
In the Draft image the link goes much deeper. The image we see on canvas is only a shadow
"placeholder" for the real data on the disk. When we do export those real data will be used.

Draft with External Reference image is therefore as close to resolution independent as a bitmap goes.
We don't have to think in advance how large we need our document because no matter how large we
export it - the best resolution will be always automatically used on the final output.

Note: During Export 198 to file we still see the draft images displayed in the Export Preview but once we
hit the final Export button the images will be then loaded from their Reference and the file rendered to
disk.

When to use what

When you work on: You use: Why:

Screen sized images/ Normal Image If we are making screen-size graphics, for web for
web graphics example, then we can simply import bitmap as Normal
Image because our output will be equal or smaller than
what we design on the screen. There will be no benefit
in using Draft and we don't have to take care of the
external references.
Photo Collages or Draft with External If we are making a photo collage for print or for large
posters for large export Reference export then using Draft with External Reference will
or print give us a huge benefit of automatically using the right
amount of resolution for any size of the output. For
such project we expect to use Megarender 205 or Fine
Print which multiply the size of the canvas. So we
design small for fast manipulation and then export big
without loss of quality.

Copy of the Reference, REF file.

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When we try to use a bitmap-only effect on the Draft Image (such as painting over it or using some
bitmap-only effects like contrast or levels) we will be prompted to create a copy of the Reference. Since
the Draft is a placeholder for the real data on the disk, our changes have to go somewhere. Because we
don't want to modify the original Reference image, we need to create a copy of it and then modify the
copy. The new file will have extension *.ref and all the changes or any link to Reference image will from
this time be going to this *.ref file.

Tip: When you going to paint over the new copy reference image, you will see that it will open in the
bitmap editor in its full size. You can now retouch or paint in a very fine detail.

Note: Creating the Ref file will make the current image crop permanent. You can still call Re-Crop tool
but you will be able to crop only inside of the previous crop.

Here is an example of Photo Collage

This example will show you the difference in printable output and also show you how to change the
Image mode after the import using Re-Crop.

We designed this little postcard using many large mega-pixel images. However to make our point clear
with this example, we designed it as a small 400x300 document. As it is, it would be great for web but
definitely not for print. This was a breeze because small size makes it easy to handle.

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For this image we imported all the photos (photos of paintings) as Normal Object.

Then when all was set up nicely on the canvas, we used the famous Pattern Studio Megarender Export
to create output 5x the size of 2000x1500

This was Output 1.

After that we selected first image right-click on it and from menu selected Re-Crop.
Tip: Re-Crop not only allows us to change the image crop later (which we don't want to do now) but also
change the Image mode.

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In the old familiar Resize & Crop Window we simply changed the Image mode to Draft Object

We did this for every image on our tiny canvas.

Again, we exported it using 5x Megarender to Output 2.

We can't show you the full result images here, but as you may already know the Output 1 was simply
not much better than enlarging the 400x300 collage in a bitmap editor. It wasn't print worthy any more
than the original canvas. Just bigger and blurry.

But when we used our images in the Draft with External Reference mode for the Output 2, the result was
a large sharp Collage with all the new details taken from original images.

Here is a small crop from the small corner of our 400x300 image after the 5x Megarender 205 . It is
obvious which one was using Normal Images and which was using Reference images.

Final thought
The Draft with Reference is an amazing tool to work with many large photos very comfortably on the
canvas without thinking too much about the actual sizes. Then we can Megarender it into any size of

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image and it will automatically use the best resolution possible.

7.3 Re-Crop
Re-Crop tool allows you to change the Image Crop and Image type later after it has been imported if
the original (Reference) image still exist. This apply to both Normal and Draft images as they both keep
track of the original Reference image. However as we explained previously in Normal Image this link is
not used outside the Re-Crop or Update from Reference commands while with Draft image the link is
automatically used to get data for export.

Note: We can use Re-Crop even on objects to which no Reference such as New Paint Object 146 or
conversion from vector to bitmap. In such case the Re-Crop is limited to crop only towards smaller
image.

The most interesting usage of Re-Crop tool is when we use it on images that had been imported from a
file. In this case we can simply Re-Crop image back to larger crop as illustrated by the image below.

Image Type Change

Another interesting feature of Re-Crop is also its ability to change the Normal image to a Draft and back

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with the ability to copy transparency from one to another.

The Data Flow. (and some nice nerdy graphs that hopefully make sense)
When changing from Normal Image to Draft, only the transparency will be copied, any other bitmap
editing on the Normal Image (such as painting over it) will be lost as the Draft object is created by
combination of the Reference file on the disk and the Normal Image transparency Alpha Mask.

However when Converting from Draft Image to Normal image, everything can be fully transferred directly
because any changes had been actually done on the full size Reference REF file.

Example:
In this example we will show you how easy is to paint a large transparency area on a Normal Image then
transfer it to the Draft Image.

First we import a Normal image, Use Bitmap Edit Tool 141 and select Transparency Brush (looks like
eraser) and paint transparency around the border to create a cutout image.
Next we go to Re-Cop tool and select Draft with Reference. it will prompt us to save new *.REF file and
we will get a Draft with Reference Image that inherited the painted Transparency of the Normal Image
in proper scale.

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You may still not see the significance yet because they both look exactly the same on the canvas.
Here is the big difference between our Normal Image and the Draft with Reference when opening in
Bitmap edit 141 :

While the Normal Image was bitmap edited as a small image of the same size as on canvas, the new
Draft image opens as large as the reference image, but it has also new transparency.

So what we did was: we comfortably painted rough transparency border on a small image within few
seconds then carry that transparency over to the new Reference image (*.REF) in its proper scale. Now
if we go to Bitmap Edit we can continue to paint transparency but in much finer detail.

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7.4 Seamless Bitmap

Any Bitmap imported into the Pattern Studio and resized to size of the Tile and larger will be made
seamless by the Pattern Studio automatic process.

Menu: Bitmap - Re-Crop

Tool: Insert Bitmap

When you import the bitmap the Make Seamless button will be automatically turned ON. You can
change the settings later using Re-Crop tool.

In this image we set the crop tool to part of the pot to capture the relief. We will keep the settings as
default:

When the object is resized to the tile size or larger it will become automatically seamless. By resizing
the object we can control the blend radius.

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Note: When we rotate the bitmap the seamless setting will be switched off. To reset the rotation use
menu: Bitmap-Reset Transformation

High Pass filter

When trying to capture texture with uneven lighting the result tile may exhibit frame-like repeating
pattern. High Pass filter will extract the high frequency texture details and discard the low frequencies
making the result much more even. However by discarding the low frequencies the image tone will also
change.

High pass filter is often used for creating textures from photographs for 3D rendering and games where
repeating error pattern will be disturbing.

You can change those setting any-time by selecting the image and using Re-Crop 67 tool.

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7.5 Create Texture from Photo

Here is step by step mini-guide to create seamless texture from a photo. Pattern Studio is very versatile
tool that allows to create and edit seamless textures from any photo image without need to go to
external image editor.

1. Insert Bitmap using the Insert Bitmap tool

2. The image will be opened in the Resize & Crop dialog box. Here we can select the region to capture.
We use the Normal directly Editable Object and keep the settings as Make Seamless..

3. We will resize the image so ti covers the whole tile size. Resize the object width and height until the
image looks good.

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4. We can use this texture or we can apply High Pass filter if there is uneven light that creates the
repeating "frames". Let's see how to do that: Select the object, right click and select Re-Crop.

5. This will open the Resize & Crop dialog we had seen earlier. Here we can change the crop or other
settings. This time we will check Use High Pass filter.

6. The High Pass filter will remove all low frequencies - like uneven light for example. It will also change
the color.

7. From menu Object we select Color Correction. This is a non-destructive color correction, at any time
we can change it to different values. We will change the settings to the desired color.

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8. At this moment we have a seamless texture with even light. However it require some editing to remove
few obviously repeating patterns.

There are two ways to approach the image editing. First one starting at step 9 is a method that allows
us to work with layers. In this method our editing will be on separate layer. Second method will change
the image texture directly and starts at step 14

9. Method A: Using layers to edit the bitmap.

Click on the Paint Object button. It will create a new Paint object and switch the view to Paint Mode.

10. In the Paint mode, use the stamp tool. Simply right click on a place of source and then start painting

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at place of destination. The Paint Object editing mode is fully seamless.

11. This way we will remove obvious repeating patterns. To exit paint mode press ESC or click the Arrow
button (Object Selector)

12. Look at the layers, we have two objects. All the editing was done on the top layer Paint Object.

13. We can flatten the image - it will merge all objects into a single bitmap.

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14. Method B. Directly editing the texture.

This method will show us how to edit the image directly. If we click the Paint on the object tool we will
see that we are editing the bitmap, but the window is not seamless. We can do it here, but better way is
to convert the bitmap into a Paint Object:

15. From menu Bitmap select Convert to Paint Object.

16. Nothing will change on the canvas, but if we use the Paint on Object, now the view will be fully
seamless which gives us better way to edit the texture. Click the Paint on Object tool.

17. We will use the steps 10 and 11 to remove the repeating patterns. To exit Paint mode click the
Arrow button (or press ESC).

18. Now look at the Layers. Unlike in the Method A, we have only one object.

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19. We can export the texture using the Bitmap Export in the menu File. Make sure you select Texture.
If you look at Bump Map or Normal map, it will be flat because we didn't yet specified bump for the
texture.

20. To create Bump or Normal map from flat texture, we can set few properties.In the Color palette
select any texture (1). The image will change, but we will move the slider (2) to the left which will again
reveal the original texture. We set the 3D option and move the slider (3) to create Bump texture.

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21. Now when we go to Bitmap Export the Bump map and Normal Map will show texture. This way as
described in the step 20 we can regulate which objects will have bump map from textures and which are
flat.

7.6 Non Destructive Sharpen

Any Bitmap object (or a Package) has a special property - interactive sharpen. You can access it
by clicking on the Sharpen square on top of the bitmap/package bounding box.

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Interactive Sharpen is a great way in which to sharpen any image or Package, especially after sizing
down. It is a non - destructive effect. You can increase or decrease the sharpness any time you want
and how many times you want. It is easy to use, just click on the second top handle on any bitmap or
package and move the slider up or down.
If you work with Packages or bitmaps, you may use this often.

7.7 Paste Bitmap Inside a Vector Object, Cropping Bitmaps

Paste inside

1. You can paste a bitmap inside a vector object. To do so, select a source bitmap object and use Edit
- Copy, Then select a destination vector object and use Edit - Paste Inside.

The Bitmap will be stretched to fit the object.

Note: even if you resize the original bitmap, the Pattern Studio holds its original size and any pasting
"inside" will have exactly the same effect. If you want to keep the same ratio it is desirable that the
object and the bitmap also have similar width/height ratio. If they are different, you can simply adjust the
bitmap:
· Before using Paste Inside, crop unwanted parts as described below on this page.
· After using Paste Inside, simply adjust with the Texture Size and Rotation 92 tool.

Adjusting the size of the Pasted Inside bitmap with Texture Size and Rotation:

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2. As an addition to it, you can Paste Inside any other vector object or selection of objects. Exactly
the same way - select object, Copy , select destination object and Paste Inside. The objects will be
Pasted as a bitmap with transparency and you can edit it as any Bitmap layer 138 . To Adjust the Size,
Position, or rotation, you can again use the Texture Size and Rotation tool.

Tip: Because the objects will be pasted with their transparency, you can actually repeat this
process and Paste Inside another vector object or selection, layering the bitmap layer.

3. You can Paste Inside any bitmap which is on the clipboard. You can also create your own bitmap on
the clipboard from objects using Edit - Copy as Bitmap. Such Bitmaps will have no transparency.

In any case, the image will be pasted into a Bitmap layer 138 of the object where you can then edit it
or remove it. To remove the Pasted Bitmap, use menu: Object - Bitmap Layer - Remove Bitmap Layer or
its button on a tool bar.

Cropping Bitmap

Sometimes the bitmap is just too large or you only need a portion of it. Then you can use the Crop to
Object tool.
The trick is to place or draw a vector object over the part you want to keep. Select both the vector object
and the bitmap (by holding SHIFT while clicking or dragging a selection rectangle around them) and from
menu: Bitmap - select Crop To Object. Now the Bitmap will be cropped and you will get only the
portion of the bitmap object inside of the vector object.

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Tip: You can use different shapes instead of a rectangle to get interesting
effects.

This is visually similar to the Paste Inside as described above, but it is different
in nature:

The difference is that Paste Inside will paste a bitmap inside the vector object
and you will have a vector object as result. You can later change the shape, or
if it is text, you can easily change it like any normal text.

With the Crop Bitmap, you can crop the Bitmap Object - and again the result
will be a Bitmap object.

Cropping to Object can be creatively used to cut out objects from bitmap such as faces etc.

Note: Cropping To Object is similar to other methods such as Masking, but cropping changes the
size of the result (that's the main point of it), while Masking just adjusts a transparency channel.

7.8 Masking Bitmap

Masking Bitmap is a very similar process to cropping, except the bitmap object doesn't change size;
only the bitmap transparency will be created. Again the result is a Bitmap Object.

There are two types:

· Mask From Object
· Mask From Object - Inverted

The masking bitmap is a great way to make an unwanted part of the bitmap transparent.
You can make the masking object semi-transparent so you can see through it.

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1. Draw any object (we will call it a

mask) on the bitmap and make the
mask semi-transparent by adjusting
the Transparency slider so you can
see the bitmap behind it.
2. You can reshape the mask with a
shape tool to match your desired
shape.
If you want to keep the mask for
later, you can now copy it to
clipboard and later paste it back to
document.
3. Select both objects and use
Mask-From Object

The Masking function, unlike the

Crop function, doesn't alter the
bitmap, but just changes its
transparency. You can later edit the
transparency with Bitmap Editing
138 .

You can reset the Masking by

using Reset All from the menu
Bitmap or clicking the button.

Inverse masking

The same as masking, except the

unwanted area is behind the mask object,
not around it.

Use: Mask-From Object Inverted

Note: Masking Bitmap, as well as Cropping to Object, will ignore the transparency of the mask as
set in the Transparency properties. However, if the mask has a transparency created in the Color &
Texture, with the option, Transparent, selected then this will be applied to the result bitmap as well.

7.9 Transparency Masking

Transparency Masking is again very similar to Masking Bitmap. In Transparency Masking the bitmap will
also get the transparency as set in the Transparency settings from the Mask Object.

To use the Transparency Masking, use one of the following options from the menu: Bitmap
· Transparency - From Object
· Transparency - From Object Inverted

The difference between Mask and Transparency from Object is as follows ...

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If you are looking for other ways to make a part of the image transparent see next page; Making,
Transparent Colors... 83

7.10 Color Transparency

As an advanced designer, you might like to use a clip art photo object in your project. The photo objects
are usually photographed on a solid (white) background. If you make the background color of the photo
transparent, you can compose the photo within your project and/or use drop shadow or other effects to
spice up the image.

There are several great tools in Pattern Studio to turn the background of an image transparent. If the
background of the image is not a solid color, you can use the technique described in the Masking
Bitmap 81 .
You can also use the Bitmap editing part of Pattern Studio to Add/Remove transparency using brushes.
Another method is to use the Color/Intensity transparency to simply create transparency from any color
or intensity.

The tools for Color/Intensity transparency are:

· Color Transparency
· Auto Transparency from Intensity
· Reset Transparency and Transformation

Manual Transparency Editing

· Paint transparency in Bitmap Editing 141 mode
· Paint-on Transparency 142 (on vector objects only)

Color Transparency

It is a an easy process to make one color transparent. After you click this tool, you can select the
tolerance in the upper tool bar.

Higher tolerance - more similar colors to the one initially selected will become transparent. The tool lets
you select the color on the Bitmap object with the Color Picker tool.

There are 2 kinds of Color transparency:

· Only the surrounding pixels within tolerance will be turned transparent - transparency fill.

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· The pixels within tolerance anywhere on image will be turned transparent (applied when you hold
CTRL)

1. The first image is the original photo of a domino on a white background.

2. Select the Color Transparency tool and click outside the domino on the white surrounding area. This
produces the second image - the black border of the domino stopped the transparency fill.

3. For third image we used the same Color Transparency Tool, but we held CTRL when we were clicking
on the domino surrounding. All colors similar to the one we clicked were turned transparent. This
transparency also antialiases the edges a bit.

Here is an example of a butterfly on white background photography. We used

the Color Transparency tool, low tolerance, and selected the background
white color while holding CTRL .
The result is good enough that we can add a drop shadow and it looks
perfectly real.

Intensity Transparency
The Transparency is calculated from the intensity. The more intensity the more transparency. This
means this will work with images on a white background (unless you want a special effect). The Intensity
Transparency uses a different algorithm than the Color Transparency and it is usually good if the image
has glass, which will become semitransparent.

You can always use a combination of all the tools to get great effects.
Here is an example:

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· We used a photograph of a car on a

white background from the clip art
collection.
· Using Intensity Transparency, we
created the image in the middle,
however, because there were other
white areas, like headlights, plate or
inner wheels, they become
transparent as well.
· Now we use Pattern Studio Bitmap
Editing 141 to Paint Opaque the error
areas - we painted on wheels,
license plate, and headlights.

The result is an object with very good

transparency.

Tips:
· Always use the Color or Intensity tools on the maximum size of the image (before resizing). Make
it transparent and then resize it to smaller size. This way you will get smoother results
· If the background is not a solid color you will have to use other techniques described in Masking
Bitmaps 81 .
· If the image has a lot of tiny details (like a spider's web), you have to use very low tolerance.
· If you don't want to use Drop Shadow, then the Matting doesn't have to be too precise, if your
project background is not too dark.
· You can apply the tools again and again. Even if you don't see the colors, (because they are
transparent), the color picker will get the proper color from the original image anyway.

7.11 Trace Bitmap

Menu: Bitmap-Trace Shape

You can trace a shape from bitmap into a vector object. One example of usage would be a scanned
image which you would then convert into a vector shape for further processing.

On the left side is a bitmap, right side is a vectorized object. Now you can apply any of the Pattern
Studio vector formatting.

The bitmap for tracing shape should be very contrast on white background.

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If you have scanner then it is easy to create even most complex objects by simply drawing them with a
black marker on a piece of paper, scanning and then vectorizing.

It is important to realize that it is a shape tracer. It doesn't recognize colors of the input image.

Note: If you would like to trace a Paint Object, then use Object-Convert to Polynome (Vectorize)
instead. This will trace the alpha (transparency) channel where the Paint Object is defined.

Import Vector Format

You can also import vector format with the same tool. WMF, SVG and TTF are supported. See more in
other sections 46 .

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Part

VIII
 88 Pattern Studio

8 Properties

8.1 Working With Object Properties

Each object (Text, Path, Bitmap, Package) can have many parameters. These are in various groups
represented by a dialog bars floating on the desktop.

There are grouped into basic, and more advanced settings. If you don't want to see or use all the
settings, you can hide/show them with the right tool bar.

AutoHide Buttons

You can hide the tool bar with the buttons on the tool bar caption. You can also set Auto-Hide option
with the Pin button. The Toolbar will then hide to the side when not used - showing only its Tab.

Entering by numbers

Clicking with the right mouse button on any slider or rotation control will show an edit space where
you can directly change the value by typing in it. The edit will allow you to enter only valid numbers, and
you can apply it by pressing Enter or Right clicking on it again. Esc will cancel the typed number.

Rotation controls offer a range of 0-360 degrees. The zero is on the right of the control, 90 is on the top
etc.

8.2 Color & Texture

This most important property group defines the color and texture of an object. This dialog is responsible
for the fill of the object and the material texture.

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Color: You can select the base

color of the object in the upper part
of the dialog bar. Click with the left
mouse button on the Color Palette
to select a primary (foreground or
F) color. With the right mouse
button you can select a secondary
(background or B) color, which is
used for linear or radial fill, or for
screening the texture.
Tip: By clicking on the well with
the F or B color, you can edit the
RGB values of the color or select
an exact color from the expanded
Palette.
By clicking on the F or B color with
the right mouse button, the two
colors F and B will be switched.

Texture: Select a texture.

The default textures are all seamless.

How to add textures.

The textures you see in the list are all placed in the software folder in textures sub-folder.
You can also load your own textures with the load button.The loaded textures will be placed near the top
below the gradients. Loaded textures will be external to the project. If you load the project later, it will
look for the texture in the specified external folder.

If you use some of your own textures often, the best is to copy them to the Textures folder of the
application director For example C:\Program Files\PatternStudio\Textures. Better yet, create a sub-
folder within the Textures folder and place your custom textures there to keep it organized. You will need
to restart the software.

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The sub-folders will then appear near the top of the list below the gradients:

Color/Texture Mix: A very important control. It adjusts the ratio between the color and the texture. If
the control is to the left, 100% of the color will go to the object, if the slider is to the right, 100% of
texture will go to the object. The position in between will mix the color with the texture. See the image
above: we have selected the primary F color red and the texture is green. With the slider at about 60 %,
the object will be brown but it will still have visible texture.

Advanced Settings and Options

Screen: There will be no mixing of color. Instead the texture will be screened on the color. In this case
the color of the object will always be F in color (in our case red) and the slider will regulate the amount of
texture.

F-B: Works only with the Screen option. The Screen option mixes the color with the selected texture,
which results in an image from F to white (depending on texture selection). The F-B option will mix the F
color with the B color
In the the picture on the left you
can see how different settings
changed the image. We used F
color Red and B color Blue. The
Texture was Fabric-Patch2, as
you can see on the top right
image. The first object was
created by just mixing the F color
with the texture. On the second
image we used the option
Screen. In that case, the F color
is used for the whole image, and
by using the Mix slider you can
adjust only the texture intensity.
The last image was created via

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the option Screen, and F-B. Now

the whole image uses F and B
color only, depending on the
texture selection.

Here is another texture using a

100% texture setting. This time
there is no mixing with the solid
color. With the Screen option you
can completely change the color
of the texture and with the
GenetX option (see below), you
can create a completely new
image.

Transparent: This makes the white color of the object transparent and the black opaque. All colors in
between will get the appropriate transparency value. Since you can mix between solid color and Texture
you can control the transparency by using the Color-Texture Mix as well.
The leftmost image is a rectangle
with 100% texture of the fabric.
The image to its right has the
Transparent color option set.
Note: The transparency will be
used with other effects also - for
example; Bevel is sensitive to
transparency.

3D -Use the texture as a bump map.

Using 3D bumps is a great way to make a texture non-flat. The slider on the 3D control
changes the bumps from inwards to outwards. In the middle- there are no texture bumps
visible. 3D bumps also works great with 3D lights

Tip: You can also make the texture of a Bitmap Object appear 3D. It is very simple, select a Bitmap
Object, select any texture and move the Texture/Color Mix to the left so no or very little texture will be
applied to the bitmap. Did you know you could apply a texture to the bitmap? Now select the 3D option
and you are done. Even more fun starts when you apply lights or play with transparency.

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3D option will use the texture for the effect called bump mapping. This could be grat for various effects.
However in some cases you need to create bump map which differ from the texture. In that case look
into 3D Lights Bump Mapping 133 option.

Color Wash

There are 3 types of Color Wash. They are the first 3 textures in the Texture selector.

Linear wash, Radial Wash and Burst. For color wash you have to use foreground and background color.
Remember that to choose background color from the palette you have to use right mouse button.

The Burst, unlike linear or radial, will actually follow the shape of the object.

Gradients
Pattern Studio uses a special area gradient 187 to create very complex flat gradients.

8.3 Adjusting the Texture

Setting the properties is not the only function available for textures. After you apply a texture to an object
you can change the textures' size and position.

Note: The textures in Pattern Studio are always resized to be seamless if used on object that spans
from border to border of the tile canvas. if you use Texture and Size rotation it will break the seamless
feature. (It is OK to use them on objects that are not across whole tile canvas.

For that function there is a button for Texture Size and Rotation. For example: draw a square and
apply some texture... then select the object and press the Texture size and position button. You will see
the 3- point handle with one point in the middle.

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Moving the middle point will move

the texture offset so you can find a
pattern you like. The other handles
are for changing size, rotation and
perspective of the texture. The
handle which is pointing down, is
the master handle - moving or
rotating this handle will keep the
current aspect ratio of the texture. If
you move the other handle originally
pointing to the right, the aspect
ratio, size, and angle will change.
This allows the texture to be
squeezed or expanded in a
direction, as well as in an angle.

The handle originally pointing to the

top is for perspective. Moving it up
and down will change the
perspective and turning it will
change the perspective angle.

You can really twist the textures with these controls and create new textures.

Here is another example of creating a cloud like structure from a fractal texture.

Another example of using Texture Size, Rotation, and Perspective.

The textures are interpolated with the highest quality however you twist them, they still look smooth.

Bitmap Layer and Packages

Texture Size and Rotation has multiple functions when it goes into Bitmap Layers and Packages.
Bitmap Layers - If the object has a bitmap layer and no texture, then the settings apply directly to the
bitmap layer. For example you can paste a bitmap inside an object with Paste Inside 79 function and
then you can adjust the size and rotation of the bitmap layer with Texture Size and Rotation. If the
Object has texture and also a bitmap layer, then simply adjusting the settings will apply to the Texture
alone. If you want to apply the settings on both the texture and the bitmap layer you have to hold ALT

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key while adjusting.

Packages - Packages can be also adjusted the same way. Here the settings always apply to the
Package, no matter if you have texture selected or not . You wouldn't normally apply texture on a
package.
How to reset the settings

To reset the Rotation/Perspective/Size, while in Texture Size & Rotation mode ( ) , click the right
mouse button. From the pop-up menu you can select Reset All or reset each particular effect: Reset
Offset, Size, Angle or Perspective

8.4 Color Space

More about colors: GenetX, Color Space, Memory, Color shift.

Behind the small button under F and B color are hidden millions of complex procedural textures. The
reason for the name GenetX is because each procedure is defined by DNA code and by changing the
numbers in the DNA, we can create mutations of the textures. The next page will explore the GenetX 95
window.

When an object uses GenetX color procedures, the button will change its color to : This will tell you
that the F color is used as the GenetX procedural color, which doesn't have to be solid. With the other
options (Texture Mix, Screen or 3D) we can create new completely original textures.

Here are a few examples of an object created

using the GenetX texture with a combination of
various settings and lights.

There is a virtually unlimited number of

combinations and mutations, and you could
spend whole days just exploring this vast area.

Read more in the GenetX 95 section.

If the object is a bitmap, then this button will change to: . This means that instead of F color, the
colors (the image) from the bitmap will be used. Clicking on this button will reveal the bitmap effects 97
window with many standard and exotic bitmap effects available. (Sharpen, Boost, Alias, Boss...) All the
other options will have the same effects.

See next page for instruction on working with the GenetX.

Color Space and Color Memory

To select a foreground color with better accuracy, and to be able to get many shades, you can use the
Color Space bar. To be able to preserve any color, foreground or Background, you can use Color
Memory.

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Working with the color memory is easy - to recall a color, you just click on any color square with the left
mouse button for foreground or the right mouse button for background color. To store a color you need to
hold CTRL while clicking on a square. Basically you can find an empty square, by scrolling down the
color memory, or replacing an already assigned one. Holding CTRL and left clicking will store the current
foreground color and right clickinf will store the current background color.

Color Shift.

This is one of the very powerful tools provided for illustrators.

If you are making an original illustration, you can design the objects of the illustration in such a way that
they will always mix F color with the texture in some ratio. (More F than texture)
Later, if you want to change the color tone of the whole picture, you just select all the desired objects,
and from menu: Object select Shift Color. This will shift the F color of all selected objects toward the
desired new color. The illustration will change its color tone depending on the ratio of color/texture mix.
See the example image, where we designed a phone with a blue housing. The illustration itself has more
than 80 objects. We grouped the 19 blue housing objects into one group (CTRL-G). Now we can change
the color of the housing by selecting the group and using the Shift Color command, where we select
the color from blue towards red.

Of course there are also many other ways to do the same. For example you can Package the objects
and use Color Correction 127 .

8.5 GenetX Procedural Colors and Textures

You can edit the GenetX color by clicking on the button on the Color Bar or from menu: Object
select GenetX.

The GenetX procedural color and texture function is a powerful engine for generating and mutating
artificial colors and textures. There are millions of combinations, and they can be sorted into about ten
general categories: color washes, spirals, patterns, etc. We will call the procedural texture Gene and the
key to it, DNA. It is a combination of 3 integer numbers and by varying these numbers, we increase or
decrease the effects of the mutation procedure.

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The
selected
(current)
Gene is in
the middle
of the 12
randomly
generated
Genes. By
clicking on
any of the
12 genes, it
will be
selected
and
subsequentl
y appear in
the middle
rectangle.

By pressing
the
Randomize
button all
the 12
genes
DNA's will
be randomly
changed.
The
selected
Gene will
remain.

If you like any of the 12 random Genes, just click on it and it will be transferred into the large middle
rectangle. Now by clicking on this middle rectangle this DNA will be mutated back into the 12
surrounding DNA's (by selecting similar patterns) and will produce mutated versions of the selected
Gene. By repeating the mutation and selection process you can follow the mutation of the gene and find
one which you really like. This is a really a fun process, but don't spend too much time on this option, as
there's are a lot more in Pattern Studio.

On the left side is a window with libraries. A library is just a storage for the DNA key to the gene. You
can create your own library by clicking the Create new Library button. The libraries are just very small *.
dna files in the same directory as the program.

Clicking on any of the predefined libraries will open, and show the stored DNA. Remember the stored
DNA codes are just bookmarks or keys to the gene. When a DNA is selected from the library, the exact
Gene will be selected in the middle and it will be mutated into 12 similar genes around it, so you can
pick or follow any pattern you like.

If you generate a gene you like, by pressing the Randomize button, or following any gene from library,
and you want to store it into the library, just press the Add to Library button. You will see the DNA
number and you can name this gene as you want. The Gene DNA then will be stored in the current

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opened library permanently.

If you want to add the current Gene in the middle to the active object just press OK.
Remember, some Genes take time to calculate and this is done every time the object changes size or
any other property is updated !

If an object is using the GenetX, then the button on the Color Bar will change from to . If you
don't want to use the GenetX texture on the object anymore, simply go back to the GenetX dialog and
press Remove.

Seamless Radius
If you want to use the GenetX as a seamless texture you need to resize the object to be bigger than the
center Tile. The size of the object will also determine the blending radius where larger object will blend
the borders with larger radius.

On the image above the red rectangle shows the object borders, on the top image the object is near the size of the center
Tile which blends the texture with a small radius. On the bottom image we resized the width of the object which creates
larger blending radius in horizontal direction.

Note: You can't use GenetX colors on a Bitmap object, since they have already defined colors in the
original image. In the Bitmap case, you don't have the button displayed, instead you see the
button. This opens the Bitmap Effects 97 .

8.6 Bitmap Effects

The Bitmap Effect can only be used on a Bitmap Object; a Package; a Painted Object, or on the bitmap
layer of a Vector object.

You can also convert any object to a bitmap - but you must have a good reason for that as it is not a
reversible function.

You can go to the Bitmap effects by pressing the button on the Color Bar (if you don't see it, just

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select any bitmap object) or from Menu: Bitmap select Tweak....

You might want to use the bitmap

effect, for example, to change or
boost colors etc. There are many
effects and some of them produce
very interesting results and
drawings.

Just be aware that this function

actually alters the bitmap object
and is not reversible. Undo: of
course helps, or if the image was
loaded from the disk you can use
the 'Update from original'
command from the Bitmap menu.

In the case of applying effects to

Packages, this process is
reversible so remember that if you
edit the package, it will always
return to its original unaltered
state.

Once you paint inside a vector object, you can apply the bitmap effects to it as well. This applies the
effect only on the part you draw, and is what we call the bitmap layer, of a vector object. In this case,
you can access the effects by menu Bitmap: - Tweak

Here we created a circle, painted on it with a brush and then applied a mosaic effect to the object. It
affects only the part we painted - the bitmap layer.
In the menu Bitmap: there are more adjusting tools:

Adjust:

Brightness & Contrast - changes the brightness and contrast of the image

Hue & Saturation - changes the color, saturation and intensity of the image

Auto Levels - stretches the color to fill the whole dynamic range - and usually enhances contrast.

Enhance Digital Photo - applies various auto effects on a digital image to create better balanced image.
An automatic process.

Invert Alpha - inverts the alpha transparency of an image

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Effects

Sharpen, More, Gaussian Sharpen - applies a sharpen effect, but note that every image or package also
has an interactive sharpen, accessible from the button on the bounding box of object. It is preferable that
you use interactive sharpen, unless you need more control of the process.

Blur, Gaussian Blur - applies a blur to the image

Oil Painting and Pop Art - two interesting artistic effects.

Note that the Pop Art filter does quite sophisticated color segmentation on an image. Such an image
may be a good candidate for the blueprint methods.

8.7 Transparency Properties

Transparency is an additional and very important option you can apply to an object. Any object can have
transparency - vector, bitmap, text or painted object.

You can apply transparency by moving

the Mix slider to the right.

In the list box you have 3 default

transparencies (Flat, Linear and Radial)
and many transparency textures as well.

The white on the texture is transparent, black is opaque and the shades in between have the proper
transparency.

Transparency MIX

This slider will add the transparency to the object. Slider on the left the object is fully opaque and on the
right the object transparency is on its maximum. That means if you use texture for example - the white
part of texture will be fully transparent if you slide the slider to the right.

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Obviously, except Flat Transparency you can't make the object completly transparent by just moving the
Transparency MIX.

If you need to change the opacity of the object as a global, you will use the Opacity on the Layers 210

bar. Please make sure you recognize the difference.

The Layer Opacity changes the transparency of the object as a global. The Transparency MIX adjust the
transparency of the Texture or Type and works closely with Bevel.

Linear, Bilinear and Radial type

The most common type of transparency, very usefull for various blending techniques.
You have a good control over the transparency by adjusting the three transparency handles on object.
when you select one of these types a small Edit Transparency button will appear.

When you select one of the Linear, Bilinear or Radial type a small Edit
Transparency button will appear on the Transparency Bar.

Anytime you wish to edit the handles of transparency - press this

button and the handles will appear on the object.

By moving the start and end handles you not only change the angle (linear and bilinear) but you also
determine where the transparency starts and where it ends. You can even move the handle outside the
object.
The middle handle is for linearity - by moving it close to the start or end handle will change the linearity
of the transparency.

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Burst

Like the Burst in Color & Texture, this type will follow the shape of the vector object. By moving The
Transparency Mix you will change the size of the burst border. Burst transparency has feather like
effect.

Transparent option: You can actually switch the transparency off with this option (un-check it) and the
transparency texture will be combined by adding it to the object. You can, for example, use it for
additional effects like rasters etc.. Where you don't need the transparency.

Negative option: This will make the transparent mask negative - what was transparent become opaque
and vice versa. Works with linear, bilinear, radial and burst as well.

The transparency works close with the Bevel option. By using Transparency with Bevel, you can create
many interesting images. Note: Vector object can have also Paint-On Transparency.

8.8 Bump/Normal Map editing

The Transparency palette can be also used for adjusting Bump and Normal maps. Instead of changing
transparency of the object we can adjust the height of the Bump Map by clicking on the Bump Map
Offset checkbox. First you need to select an object, then use either of the Transparency Mask. If you
want to just change height of the object in bump map, move the transparency slider while it is on Flat
mask.

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To get back to the Bump Map editing mode at any time, click on the blue button with arrow on the
Transparency palette.
When we go to the Bitmap Export and select Bump the Bump map offset will be applied where the
darker areas will be pushed backwards.

To get back to the Bump Map editing mode at any time, click on the blue

Flat Offset
Each object is normally automatically put on higher Z level in Normal and Bump maps.

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To adjust this we can use the Bump map Offset with Flat Mask.
Move the slider on Transparency Palette to right so the Bump Map offset become available. Click the
Bump Map Offset.

Moving the Slider will change the Bump Map color to darker which means the object will be "pushed"
down. This will be visible only on the Bump or Normal map as nothing else will change on the texture
image.

Adjusting Bump map is especially important for creating interlocking patterns with Push-Back 121 tool.

8.9 Area Gradient

Area Gradient allows you to create flexible gradient by placing GRAD point on the surface of the object,
where each GRAD point can have its own color.

Area Gradient will replace the basic color of the object with a gradient. There are various mixing modes
that allows for smooth gradients up to very defined color changes.

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To work with GRAD points on the object, click on the blue button (Edit Area Gradient) on the Area
Gradient Palette.

This will switch to the Area Gradient mode and you will see two initial GRAD points placed on the
object. You can click outside the object to exit the Area Gradient mode.

To Add GRAD point - double-click on the area.

To Remove GRAD point - select it and press DEL key.
To Change color - use Color Wheel 94

To learn more about the Area Gradient Usage, please read the NPR Area Gradient 187 topic in the NPR
section.

8.10 Bevel Properties

Bevel is the magic hat that will add a third dimension to your objects. Making Buttons or surfaces is just
as easy as a click of the mouse button, but that's just the most basic thing you can do with bevels -
they are great for AirBrush illustration and much more.

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Select one of the desired Bevel types,

and move the sliders to get various
effects.

With the radial Light Direction you can

select the position of the sun shining on
the object. The most common button
selection is the upper left side.

Note: In order to apply a bevel, the target object must be at least a certain size. If you need to apply a
bevel to tiny objects, use the Flat bevel, rather than the Smooth bevel which has a more radical slope.

Tip: To make a button, set the source of the Light Direction to illuminate it from the upper left. To give
the appearance of an inset or pressed button, move the source to illuminate from bottom right.

Bevel Types

There are many cool types of bevel and additional bevel-category effects in Pattern Studio.

Each bevel produces a specific effect, as

you can see in the picture on the left.
Between them, there are quite a few
different bevel effects.
Outline : Creates an outline around the
object edges. The outline doesn't keep
the size of the object in the same
dimensions - if you need to maintain the
same size, use Break Path instead.
Bump Out: A bevel that doesn't actually
display the fill, only the smooth bevel.
This is cool if you want to create small
bump buttons on a large bitmap image.
Feather: Feathers the edges
Warp: Makes a bevel and warps the
texture around the edges - nice on large
objects.
3D ball: Always creates a 3D ball from
any object
3D Extrude: Extrudes the object into 3D
dimensions
Linear Wash: Applies a black/white
linear wash with an angle

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Motion, Backlight and Blurrr!

You have a few other effects in a
category Bevel - a blur type effects.
Motion Linear and Motion Zoom - add
a sense of motion (any direction) to the
object or package, where the main object
remains fairly recognizable.
Backlight - is similar to Motion Zoom,
but it generates an outline projection.
Blurrr! - Blur the object in any direction

Special Types

3D Ball
A very special effect - no matter what the originating object is, produces a perfect Rendered Ball. With
the SHAPE tool you can adjust the direction of the light and create nice light reflections.

In the picture on the left we can see a

few examples of 3D Ball using different
settings of light, reflection and textures
etc..

This effect overcomes the frustration of

creating real 3D looking balls in 2D
graphic software.

Some results might be quite stunning.

Tip: Try using the Sky Texture as a

background and below the ball in size,
place a white circle as a sun. You will
get a nice sunset. Oh yes, you can do
the same with using just lights, but...

3D Extrude, Barrel, Transparency

Using these effects to create 3D like objects from any vector, bitmap Package, or text object is a lot of
fun. They work nicely with text objects and lights. You can change the angle from which you are looking

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at the object. The light always shines from top-left but you can switch it off (by moving intensity to 0) and
use 3D lights from any direction. Also try to using texture.

Motion Linear, Zoom

This is a nice effect if you want to add a sense of motion to an object. You can adjust the length of the
motion, the intensity and the direction. In a Zoom, type the motion is in perspective where the center is
always at the border of object in a direction determined by the Direction control.

Tip: By adding a different Outline color to the object you can adjust the blur color - the outline of the
object more significantly affects the motion trail.

Backlight

This is a close brother of the Motion Zoom. The motion trail shows only the outline of object.

Tip: With this effect, the color of the trail is obviously affected by the outline color of the object. You
can create a dark object with a bright outline and the trail will become bright (as in the image above).
This effect probably works best this way - on a dark background with bright outline.

Blurrr:

By adjusting the Blur angle (direction of motion), width and the intensity, you can create various effects.

You can also get interesting effects if you combine Blurrr with Lights !

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Note: For Blur, Extrude and Motion Effects - the object will appear in a projection (smaller size) to
accommodate the effect in the object boundaries. The curves of the object will remain in the original
position. If you attempt to edit such an object with the SHAPE tool, the points of the curves will go back
to their original (before effect) position, obviously not aligned with the object projection. That's not an
error.

Bevel On Transparency

The bevel also depends on the transparency settings. If you don't have any transparency set then the
bevel will be applied to the object edge.

The object on the left has the

Transparency switched off. The bevel
applies only to the object border.

The object on the right has the

Transparency On and the bevel
applies also to the transparency
mask. With the bevel on
transparency you can create the feel
of a more complex object than there
really is.

The Bevel works on both the Transparency 99 Properties and the Transparency option from The Color
Properties 88 .

Bevel and Lights

To show a simple bevel, you don't need

lights (top image), the bevel itself will
create a simple light source and you can
adjust the direction with the Light Direction
setting.

For more advanced settings, you may

apply one or more 3D lights (bottom
image) to the object. It is usually better if
you switch the light from bevel, off (so the
lights don't mix up) - by simply moving the
Bevel Intensity slider to the left. It is done
by default when you add lights.

Combine Effects

You can combine the bevel effects if you ever need to. Most of the time you won't need to, but you may
want to create a bevel and then blur it for example. As explained in detail in the Packages 162 section,
you have the ability to add and combine various effects by using Packages. Simply said, apply the bevel
effect on the object, package it, and then apply another bevel effect to the whole package.

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8.11 Effect Properties

If Bevel is the bread of the 3D effects, then Drop Shadow is the butter.

The Effect bars allows you to add external effects (going out of the objects) like Drop Shadow, Glow,
Inset, Cutout and many Lens effects.

Select one of the desired Effect types and

move the sliders to get the desired effect.

With the radial Direction, you can select

the position of the effects offset. In the case
of Drop shadow, then that would be the
direction of light.

Choose an effect color to spice up the

effect... also useful for Glows and Halos.

Effect Types

Shadows: Works best on a light

background. Makes the object appear
in space. The Drop Shadow is
commonly used on all buttons and
objects in Multimedia interfaces and
Web Art graphics.
Glow and Halo: Works best on darker
or textured backgrounds. Commonly
used on highlighted buttons in
multimedia; however, it is a nice effect
to distinguish an important dark text or
object from a dark background. You
can also get interesting effects by using
a dark color as an effect color against a
light background.
Inset and Cutout: Works best on dark
or textured backgrounds, gives the
impression of an object partially inset
into the background. The Cutout will
give an impression of a hole inside the
background. Don't use bevels if you are
using Cutout - the bevel will overlap the
Cutout.
Sparkle: A favorite for adding a touch
to reflective surfaces. Can be used on
objects of any shape and will always
produce a sparkle.

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Lenses: Lenses simulates various lens

types but of course they need some
objects behind them.

With the Effect Width you can adjust

the overall lens effect and with Effect
Intensity, you mix between the lens
color and the lens image. With Offset
you can set the magnifying factor.

Neither Direction control, or Color,

affect these types of lens effects.

Filter Lenses
Filter Lenses are similar to normal
Lenses, but instead of simulating glass
lens, they simulate various filter effects.
Defocus Filter Lens - Simulates
normal and color defocus.

Special Effects

Lens Flare: Turns any object into a

light source with lens flare. The flare is
automatically calculated in the frame to
reflect the real life scenario.

Push-Back: A special "lens" which

reorders the Layers behind it.

Shadows

Using shadows is obvious - it creates the feel of a real object. There are several shadow types; Drop,
Sun Knock Out and Drop Gradient.
The Knock Out doesn't show the object itself, but only the shadow. Where the object was, there is no
shadow, just a transparent hole.
Drop Gradient is similar to the Drop Shadow but the shadow is gradient - it is thin (light) on the beginning
of the shadow and thick (dark) on the end.

Sparkle
A cool after touch effect, works best on dark backgrounds.

Sparkle is one of the effects which doesn't care about the object shape. It only uses an object to
determine the position and size of the sparkle - you can use a circle for example. The sparkle can be
modified in various ways, and offers 3 basic choices.

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· An inner halo which is always white

· Rays with variable width, intensity and number
· An outer halo which can have various colors

The Effect Width will change the width of the rays. The Intensity will change the intensity of the rays -
from 0 to full intensity. The Offset will change the number of rays - starting from 4. The direction will
change the angle on which the first ray is drawn.
You can change the color of the outer halo. If it is black (default), the outer halo isn't visible, only the
inner white halo is shown.

Lens Flare

Lens Flare is a special version of the sparkle effect. It works in generally the same (with the same
settings) way, but it also casts a flare on the whole document from the light center, as would happen in
real life using a normal photographic lens.

As in the images above we just added a simple object - a circle, and set the Effect properties to Lens
Flare. The object becomes a light source (much like a Sparkle) and the lens flare will be calculated to fill
the document. As with the normal Sparkle, you can simply change the size of the object or it's position
and the flare will be recalculated.

If you would like to change the opacity of the effect you can use the Layers Opacity slider (not
Transparency properties).

The slider on the Effect bars has the same properties as those of Sparkle - it changes the intensity,
shape and number of sparkle rays.

The lens flare is used usually as a top layer, but you can of course move it within the layers as you like.

You may temporarily switch off displaying this effect with the Rendering Quality buttons.

Note: This effect obviously works on a dark background. Many subtle colors are calculated with this
effect so the best is if you have your video display set on 24 bit (True Color) or 32 bit colors.
Tip: While this looks very good, remember not to abuse this effect. It usually looks good on a
"space"- like images, special letters etc. Don't try to put it on every image you create (unless you want
to be known as a cheese artist).

Push-Back

This is a special lens which pushes the object behind it back into specified bottom layers. This is a very
smart tool. Please see next chapter which is all about this unique tool.

Lenses and Lens Filters

A great way to create the feel of glass or other glass effects. Object, with the lens effect, will show
everything which is behind it (below in the layer list) with the particular effect. Lenses take more time to
compute and if you use many lenses, you may see the redrawing slowing down. This is because
anytime you change something behind a lens, all the objects must be redrawn in order for lens to reflect

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the reality. It is then best if you switch the rendering lenses off during designing - see below.

Sometimes the lens may show a canvas border, or in case of zoom, sometimes the lens doesn't have
enough information to show the full image. This isn't a big problem since the final exported image will be
without these artifacts.

Note: If you use the Crop tool to export, the lens will show only objects in the export range.

Lenses tends to be very realistic. If one of the objects behind the lens is also a lens you will get multiple
lens reflections. Lens, can display only objects which are behind them, and not above them.

Thick Border and Thick Center lens are two special cases.

Where the other lenses can reflect only what is behind, the Thick border and Thick Center lens have the
ability to reflect also the texture of the object itself. You can switch between these two modes with the
two buttons, which appear if you select this kind of lens. This way, if the object has a texture/bitmap
layer, you can create various interesting effects - similar to environmental mapping where the texture
follows the object shape. You can also create an interesting effect by pasting a bitmap image inside the
vector object (with Paste Inside in menu Edit).

While the other lenses don't allow you to have a drop shadow and lens at the same time, the 2 border/
center lenses can have a simple shadow by selecting the "S" button letter.

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Defocus Lens
This is another very interesting lens for creating blured or defocused image. With Effect width you control
the amount of defocus (or blur) and with the Offset together with the angle you can set a separation of
rgb channels. On the image below the first is original. We then draw a square on top which covers the
whole object and set its Effect property to Defocus Filter. Everything what is behind the lens will be
blured (second and third image)

Tip: You can apply a linear or circular transparency to the lens to get various defocus effects. You
can simulate various depth of field or create some interesting effects:

You can also try to change the transparency of the lens only on some places with Paint-On
Transparency 142 tool. This way you can defocus just some part of the image.
Lenses takes more CPU

To be able to render all the scenes, lenses needs more CPU. This is especially true if you have
more lenses on the scene. You can easily switch off displaying the lenses with the middle button in

the Render Quality settings (or in menu: View - Rendering - Lenses Off) This will simply
switch off the lenses for displaying, but all the other things will display properly. The lenses will just
become "blind". This has no effect on Export.

Tip: Creating a complex shadow

Sometimes you need a shadow for a complex object. Here, instead of using a drop shadow on each
component, you can create a new object which will represent the shadow. It is done very easily - just
select all the objects that you need, and apply from menu: Bitmap - Create - Bitmap Shadow From
Selected Objects.

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This will create a new bitmap object behind the selected object - Shadow. Now you can scale it, rotate
it, apply effects to it (such as Feather) or paint on it.

Effect Tools

A few effects such as Sparkle, Lens Flare and Push-Back from the Effect properties can be created
directly from the toolbar.

You can either draw any object and then select the particular effect from effect properties or you can
directly use them from this toolbar. These will essentialy create an circle and apply the particular effect
to it in one step.

8.12 Push-Back Tool

The Push-Back can be accessible either from the Toolbar or by drawing an object and choosing Push-
Back in Effect Properties.

What is it?

The Push-Back is in fact a very interesting and unique tool/effect. With good understanding this tool can
help you achieve nontraditional results in just a seconds.
To understand the importance of this tool please look at the next image:

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This may look pretty normal to many people, however in fact this is something no other software have
serious tool for. In all traditional software the objects are in layers. It isn't possible for objects to cross
layers, where part of the object is in one layer and other part in a different.

To do such image in a traditional software requires large amount of work. It involves a lot of clipping,
cutting etc. and still the result may not be as smooth and natural as the image above. But with Pattern
Studio it took just few seconds.

The answer to this is the Pattern Studio unique Push-Back tool.

The Push-Back tool can push the object behind it further into another layer. This simply allows to move
part of the object into other layers, behind other objects.

Please follow this simple example:

With the toroid tool we draw two rings - green and blue.

Now from the Toolbar select the Push-Back Tool.

Normally it is as subselection with the sparkle tool:

Just click on the bottom arrow on Sparkle to open subselection toolbar and select the Push-Back Tool:

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Now with it selected simply draw a circle on the cross-section as on image below:

As you finish drawing the Push-Back object will be created:

Now as you can see, the image behind the Object already changed. The Green ring is now over the blue
one under the Push-Back object.

The selector on the right side of the Push-Back is a Layer selector. The second button from top is
highlighted in red - that means an object behind the Push-Back will be "pushed" one layer below. You
can simply click on it and select other button. If you select the top most box, the Push-back effect will
be erased.

That is - your first Push-Back Object.

The Selector

When you select Push-Back object a selector will automatically appear near it. The selector shows how
many objects down we pushed the Top Object (That is a object right below Push-Back Object)

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On the image above we have selected third button which means we push the top object (the grey button)
below2 other objects behind it.

Tip: For very small Push Objects you may not have enough layers visible in the selector - just zoom
in the picture - the selector will show additional layers.

How it works:

Note: The layers for Push-Back are not the same as layers in Layer list. Push-Back use a local
object list - created from objects in near proximity of Push-Back. It will simply skip not related layers or
any other Push-Back object. This gives you more universal approach - for example Push-Back of one
layer down will work on most cases, even if the objects are in real life much further apart in layer list.

Push-Back Pushes an object which is right behind it (top object) a number of object below.

The image above is sort of a "side view" of layers for better illustration.

The step are just three objects one on each other. The Green is the Top object.

Now in step we add a Push-Back on top of it, but set the Push layers in the selector to the top
one. Nothing change.

In step we set the layer selector to the second button. That is - the Top Object (green) will be
pushed one layer/object down, behind the blue object.

In step we set it on third button, this will push the top object (green) 2 objects below - behind red
and blue.

Note: Only objects behind the Push-Back are affected.

Now you see for the 3-ring example all we need to do is to use 3 Push-Back objects placed on each
cross-section. And all of them are set just for one layer - this shows how the "local object list" works.

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Layers List

Now lets go back to our simple example:

Check the Layers list 210 . The Layer List will not change by applying Push-Back - it always shows the
real object position.

Our situation is in the . No matter what we set in the selector, this will always appear this way in
Layer List. The object below The Push-Back (Toroid Blue) marked as gray button in selector will be
pushed one object below.

If we move the Push-Back object a layer down in Layer List this will have no effect, because the
object below Push-Back cannot be pushed below any other object since they are none.

The situation shows an additional Rectangle object on the very bottom and pushing the Blue
Toroid two objects below.

Because we don't have any other objects between the layers which are outside the Push-Back range the
Layers list shows the same situation as Push-Back see its local object list. If, for example we draw
another red circle completelly out of Push-Back range and move it behind Blue Toroid - it will appear in

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Layers, however it is not counted in the Push-Back local object list.

An object which is out of Push-Back range (doesn't lay below Push-Back boundaries) will be skipped by
Push-Back selector.
That is: a push-back one object below will work on our toroids even there is a Circle between them in
Layers (but it is positioned outside range so the Push-Back doesn't see it and so it will skip it). This has
number of advantages.

Switching off Push-Backs

When you add few push-backs it may be hard to remember which object is really on top of others and
which is just "pushed". The Push-Back does really good job in hiding this so it won't give you a visual
clue. (only The Layers List shows the real situation).

It is easy to switch the Push-Backs off: Switch display from Full-Render to Lenses Off.

This will disable all Push-Backs and you will see the real object order. OK, the top ring is in fact the top
most, that wasn't obvious from the left image!

Note: Push-back works on any objects - it can be Polynome, Package, Text or even a Bitmap.

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Here we Packaged our 3-ring sample and then used another Push-Back on the package with other ring.
This is the beauty of Pattern Studio Packages!

Push-Backs is an object as any other.

Yes, that's true. The basic Push-Back Object is nothing less than just a circle with Push-Back effect.
But you can apply any other effects to it or change shape as you want (with the shape tool). Also you
can create any shape and simply apply Push-Back to it in the Effect Properties.

You can for example make it semi- transparent or with some transparent texture. That means Push-
Back can be used also for many different purposes. See some experiments with transparency below.
We have just two solid objects and an elliptical Push-Back.

We used Linear Transparency, texture Transparency and Radial Transparency.

Other interesting effects can be achieved by - adding solid Outline, adding Bevel, or even adding Lights.

Notes:

While you are experimenting with this tool always remember what the Push-Back really does - it
pushes the top object to bottom layers. If you for example have no other object behind the Top Object (in
the boundary covered by Push-Back) there will be no effect. This may happen when you move the Push-
Back object around - on one part it has effect, on other not - simply because a number of objects right
behind it change.
Sometimes when you move or resize Push-Back it suddenly become with no effect. Just remember
it works on a local layer list. That is, it counts only objects which boundaries are behind the Push-Back
object. When you move the Push-Back the number of objects right behind it may change - this may
affect the Push layer settings in selector.
Some objects have also quite large "empty" boundary - for example a text. While your Push-Back
object doesn't touch the text it may still count the text object as one because the boundary of text lay

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under it. So you have to accommodate this when you setting the number of "push" in the selector.
If something doesn't work as it should, check also the Layers List 210 . Because the Push-Back
object is invisible, it may happen that you try to apply it on object which is above, not below it. The
Layers List will show you the real position. Then you can move the Push-Back up or down layers to get
to the desired object.

8.13 Push-Back with Bump Map

We explained in previous chapter you how to create interlocking texture with the Push-back 114 tool.

However if we look at the Normal map we will see that it doesn't correctly represent the interlocking
objects.

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To fix that we will use the Bump Map Offset 99 .

We will change the Bump map offset of the center ring so it will become "tilted".

The normal Map will now correctly represent the situation.

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Adjusting the second larger ring with linear gradient going in opposite direction we can create even better
result.

Exporting Texture, Bump and Transparency we can directly use this in a 3D application.

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8.14 Outline Properties

Any object can have an outline (including Bitmaps and Packages).

There are a few types of outlines: Solid, Thick,

Soft, and Blurred.

Outline can be a solid color or a color wash of 3

colors, where you can define the break point.

Types
Solid - from very thin to a medium outline
Thick - a thick outline
Soft - a combination of Solid and Blurred
Blurred - blurred very soft outline

Color Wash
Besides a single color, outline can have a color wash from 3 colors. To set the Color Wash you have to
check the checkbox near the color wash selector.

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The Direction tool allows you to set the direction of the color wash.

How to set the color:

The Color Wash control has 3 buttons, each representing a color. The middle button is a special button
allowing you to set the break point by moving it left or right between the two border colors. You can move
the break point completely left or right, creating a color wash from just 2 colors.

There are various places where you can use outline. Blurred outline for example may be used to add an
additional 3D look to the object.

Tip: Outline also works with transparency textures (or normal textures with the Transparent setting)
where it actually outlines the texture, rather than just the object.

8.15 Surface Skin

To add even more natural feel to some objects you can use Surface Skin properties.

The Surface Skin adds very subtle uniform texture to the object which needs to look natural. You can
add various skin types, textures, rust, various noise and more. With the Intensity slider you can adjust
the intensity of the texture applied over the object. With the Size slider you can set the overall
magnification of the Surface texture.

Unlike other settings in Pattern Studio this will not dramatically change the look of the object. It will only
add more details to the previously flat-looking surface.

Warp to Bevel option can be used only if the object has a 3D Bevel. The Skin texture will somehow
bend around the bevel.

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The right object has a Warp to Bevel option on the Mosaic Surface Skin.

Another example below shows the Surface Skin applied on an object where we already used a texture.
This allows us to mix the Texture and Surface Skin to create a different new feel of the object material.

We already used a Chess We can create a new feel

texture on the background by simply adding a Marble
object. Surface Skin to the object.

Tip: Another trick is to add some very little noise with the Surface Skin Noise to objects which are
too smooth or un-natural. This adds more photography-like quality to it.

Note: There is no need to use Surface Skin on EVERY object. This effect is a gentle after-touch to
enhance details of some previously boring objects. The Surface Skin will be not very visible on objects
which have already many texture details.

New Surface Skin

To create the desired effect, Surface Skin uses a special texture. Unlike normal texture, the surface skin
texture is an uniform texture. The texture should not have strong repeating pattern and the color must be
uniformly adjusted around the middle of intensity, sometimes with very subtle colorization. You should
remember that when creating your own Surface Skin texture.
The texture files are in jpg format in the Surface directory and when viewed outside Pattern Studio they
will look pale or washed out.

Another MediaChance software Photo-Brush can be perfectly used for creating such textures. (The
default textures were created this way) Here is small how-to.

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We loaded an interesting texture of painting to Photo-Brush.

We used Texture Pick (menu Tool or from menu on Color & Texture Bar) to simply create
seamless texture. Clicking ok will add this texture to the Color & texture bar

From the menu on Color & Texture bar chose Export Custom and save it.

Now load it again in PhotoBrush

Run Menu: Image-Adjust-White Balance and slide the each RGB slider so all the RGB peaks are
around the middle line on the graph - initially the peaks would be probably each in different place. If
youcan't move sliders far enough, you simply apply as far as you can and do White Balance again.

Now you have Uniform Texture. For stronger effect you can use Image-Adjust-Levels and move the
Left (0) and Right (255) sliders on the Input closer to the middle. Then do the WHite Balnce again.

all you have to do is to export such texture into Pattern Studio SURFACE folder (not skin!) Next
time you run Pattern Studio the skin texture will be there.

This texture adds a subtle - rustic looking feel to the object (left without, right with):

8.16 Color Correction

Non-Destructive Color Correction, RGB, HSL and Clorize

Any object color can be adjusted in a non-destructive way, with the Color Correction (menu: Object,
or button).
Similar to the Interactive Sharpen, this is non-destructive, and you can adjust it or remove it any time
you want.

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Note: You can also color correct the whole image on Export 198 . (Only RGB option)

RGB, HSL and Colorize options

You can switch Color Correction into 2 types: RGB and HSL.

When you are working with RGB, you are adjusting gamma of the particular primary color. This is good
to tone up photos.

In HSL mode you are working simillar way as with the Hue, Saturatiion and Lightness option in Bitmap
menu. You can change colors of the Object, change saturation, desaturate, make it lighter, darker or
colorize it in one tone. This is very powerful tool becaus it takes from you the need to adjust textures
and colors if you need to see different color variation of the object.

Above are some examples of HSL color correction applied on a Package.

Colorize

The colorize option is active only in HSL mode. This will make the image in one color tone determined
by the Hue Slider. Very interesting and popular effect to spice up your graphics.

Note: Color Correction is Non-Destructive tool. That means you can not only apply it but also
remove it or change it any time later, even after you save and load the project.

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Pattern Studio

Part

IX
 130 Pattern Studio

9 Lights

9.1 3D Lights & Material

One of the most innovative features of Pattern Studio is the ability to use an unlimited number of
lights on any object. (Including Bitmaps) and to adjust the object reflectivity properties.

The 3D lights simulate the lights found in real life very closely. You can create amazing lifelike textures
and object by using one, or a few lights.

Note: Normally each object uses its own 2D light source for bevels.

As soon as you enable light on the object the object will start to behave more like a 3D object in real life
and less like a 2D drawing. You can adjust the material properties of the object (the reflectivity), and
ambient intensity, and adjust any light source. Using lights is especially effective if you use any bevel on
the object.

The 3D lights property bar is

divided into 2 sections: Lights
and Object Material
Properties.

The lights are properties of the

object and they stay with the
object. That means as you
move the object, the lights
move with it, so the effect you
build doesn't change. Also if
you copy the object properties,
you copy the lights with it.

Lights are an amazing addition

to Pattern Studio's ability to
generate life-like textures and
objects.

The object can have an unlimited number of lights. You add light by clicking on the small sphere on the
right of the list. Each sphere represents a different type of light. The lights will be added to the list and
the selected light will visually appear on the object, ready to adjust its position and parameters. You can
select any other light for editing by selecting it from the list box.

Light Types

Point Light

Point light is the most dynamic light whilst being very simple to adjust; it has position and direction from
the object. You may imagine this light as a light bulb or a reflector pointed straight at the object.

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You can move the center of the light (by clicking and dragging) relative to the object and the Size/
Distance point. The Size/Distance can be understood as the distance of the light source from the object
- smaller radius, the light source is smaller (or more distant in the 3D world)

Spot Light

Spot Light is the most complex light - it has position, direction, cone angle and focus. You may imagine
this light as a reflector which can light a cone on the object. You can also adjust the cone angle and
then the shape of the light will change.

You move this light by the Focus Center. The Light Source is used to adjust the direction of the light
cone around the focus center. The elevation and the Size/Distance can be used for adjusting the
diffusion and intensity properties.

The Elevation can be used to shape the light cone (the closer it is to the focus center causes the lower
elevation and the light to become more circular, depending also on the cone angle). The Size/Distance
can be used to proportionally enlarge the light cone.

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The Cone angle shapes the light most significantly. You can adjust the Cone angle by moving the handle
on the black ring around the Focus Center. You may create light which is very wide by moving the cone
angle handle closer to the Light Source, or create an almost circular light where the cone is rotated
closer to the object by moving the cone handle towards the Focus Center.

With the Focus you can adjust the focus of the light - how diffused or focused it is. The focus is the red
ring around the Focus Center.

With this kind of light you can create various effects by adjusting all the parameters. Because there are
so many parameters, it takes some time to master this light. It could also be used for creating a feel of
shapes as explained on the next page.

Distant light

The simplest light - it has only direction, no distance. This simulates light sources which are very distant
(the Sun for example). The light rays from a very distant source will uniformly light a flat surface. That
means if we don't have bevel on the object it doesn't matter from which side the light shines, it will
always uniformly brighten the object by the same amount. If we add bevel then the light will brighten
closer edge and darken the other.

The only adjustment with the mouse is the direction of the light (for example, top, left, right etc.)
This light is used to add a shine effect to beveled edges.

Tip: You can select the next light for editing, by right-clicking the mouse on the object.

Material

Once you enable lights to the object you can also adjust the properties of the object material. This is
how the object reflects the lights. For example, metal surfaces reflect more Specular Light and less

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Diffuse Light. Plastic materials are quite the opposite.

Ambient Intensity

This controls the intensity of ambient light around the object. Ambient light has no direction and no
position, it sets the dark point.

Diffuse Reflectivity

This controls how an object reflects diffuse light. Plastic materials reflect more diffuse light than metal.

Note that reflected light is the main carrier of color information. We see the color of an object because of
the kind of light that the material reflects.

Specular Reflectivity

This controls how the material reflects the light peaks. Plastic materials reflect less specular light than
metal. Specular reflection doesn't carry very much color information.

Here is an example of 2 materials. Both are exactly the same objects, with one Point light at top left.
The left object simulates a plastic material and the right object looks more like a metallic one.

Note that we can add a light to the object not only to make it lighter but also to make it darker - it all
depends on the material properties.

Bump Map

Pressing a button Bump Map located just below the Material Properties will open advanced option for
Bump Mapping.

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Bump Map allows you to add 3D depth to the surface texture, such as various scratches, metal artifacts
etc. You have maybe already discovered the 3D option 91 in Texture properties. This uses the texture
itself for creating the bump map effect.

However with this "real" Bump Map you can apply different surface maps onto different textures for
greater flexibility. You can for example apply scratchy Bump Map into object with smooth texture.

On example here, we apply "Dots" Bump Map into an object with "Fabric-Strape" texture.

There are just a few controls in Bump Map. First is the Map library - just select the bump map of
choice.
The second is a Inward/Outward slider. The zero is in the middle where there is no effect. Sliding it
left will make the bump map go into the surface - inward. Sliding right will appear as outward. In the "golf-
ball" example above we used the slider left of the center.

Stretch to Object - this option will stretch the bump map into whole object so that means the pattern will
not repeat and as you resize the object the map will resize with it. This could be good for some special
effects or for small objects (so the large bump map will shrink to fit the small object)

You can actually combine the 3D from textures and Bump Map to create a new
complex surface. However since the mapping is applied at different stages the result can be sometimes
hard to predict. Moving one slider will also affect the other option, and sometimes it will even cancel
bump mapping all together. So it is recommended that you use either Bump map or 3D texture, not
both. But experimentation is free :)

These are the basic properties of lights. Using 3D lights is an amazing way to create realistic effects and
are probably the most interesting properties to explore.

9.2 3D Lights & Material - Tips for using it

The 3D Lights can be applied to any object - path, text, bitmap or Package.

Use lights with Bevels

You can use a 3D light instead of the default bevel light. The 3D light can be adjusted with more
accuracy, and it also simulates, more precisely, the real life situation. And you are of course able to put
more than one light in any direction, and in any color.

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 Lights 135

Above is simple Flat bevel with 2 lights, yellow from left top and red from bottom right. The object color
was originally blue.

Use Light with Textures and 3D option

Lights works especially well with textures, and 3D options, to create a bump mask (see Color Properties
88 ).

It is quite easy to create a realistic metallic or plastic surface with just one or two lights, some texture
and a bevel.

Below is a combination of all the methods used together, with which you can simply create a fantastic,
rendered-like world, full of textures, metals and materials.

No wonder we call it a Pattern Studio!

Use lights to create feel of curvature

The 3D Lights could be often used as a way to express the curvature of the surface without actually
using any bevels or any special objects.

Such methods were used in the above camera example.

Use lights to create light reflections on glass

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Using the Lens Effects, and lights creates realistic glass effects.

What other options I have?

You can also simulate interesting spotlight effects by using the Transparency Blend Modes. Create a
simple object, add a feather effect and set the Transparency Blend Mode to Soft Light. Now the object
will behave as a soft light source. The light will depend on the color of the object.

© 2008 Mediachance
Pattern Studio

Part

X
 138 Pattern Studio

10 Painting
10.1 Basics of Painting Mode
Besides the vector editing Pattern Studio allows you to use various brushes and paint on objects or
canvas with a color or texture.
There few basic types of objects you edit or create in a bitmap editing mode:
· Editing existing Bitmap Object
· Painting on the Bitmap layer of any vector objects.
· Painting a new Paint Object on the Canvas

Bitmap Editing Mode

You can get to Paint Mode by simply selecting an object (Vector or Bitmap) and pressing the Paint on
Object button. If the object is a bitmap you can open Paint editing by simply double-clicking on the
object. When you are in Paint editing mode your view changes to a view where you can see the objects
transparency by showing the objects on a check board. The ruler border changes to green to remind you
that you are editing a bitmap.

The check board allow you to see where your object has transparency. With bitmaps you can paint
colors as well as add or remove transparency by simply using brushes.

Any time you want to go back to normal vector editing you just press ESC or select Arrow tool from
your tools.

Painting With Color, Texture

You can freely paint with various colors and also the texture. You simply select the texture in the Color
& Texture 88 bar and adjust the Color Mix to your desired Color/Texture ratio.

Aligned and Non-Aligned Texture

There is an option on the bottom of Brush Bar - Aligned Texture.

If you decide to paint with textures you have choice to use the texture
· Aligned (default)
With the Aligned option checked, the texture will always be applied in the same position - if you
paint over the stroke again, the texture will remain as before
· Non-Aligned
If you un-check the aligned option, the texture origin will be applied in random order - if you paint
over the same stroke, the texture will change, since the origin has changed. This brings a very
interesting random effect to the texture. If you feel that the texture is too much repeating a pattern,
you can break it with non aligned strokes.

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Other options for texture painting are Screen and Screen with F-B, similarly as described in the Color &
Texture 88 .

10.2 Brushes Tool Bar

During editing in Paint mode you use only color properties, and a new Brush Tool Bar which will appear
on your workplace.

You can select color from Color & Texture 88 , Color Space 94 or Color Memory.

The color Space is especially useful for picking out different tones.

Another way is to Pick a color from anywhere in the image with the Color Pick tool.

The Color Pick on the Brush Tool Bar does the same thing as the one on the main Tool bar.

Brushes

You have many different predefined brushes in the Brush library. There are various Airbrushes, Artistic
Brushes, 3D Brushes and Nozzles and you can create your own brushes and also new libraries.

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Brush Mode

The Brush Mode determines how the Paint color affects the color in the Image.

Normal
The most commonly used brush mode, Paint color will simply paint over the image

Multiply
Multiplies the Image color and the Brush color. The result is darker. Painting with Black will produce
black, painting with white will leave the Image colors unchanged. All colors in between will darken the
image.

Difference
Subtracts the Image Color from the Brush color or Brush color from the Image color, whichever is
brighter.

Screen
Works just the opposite to Multiply. The result is lighter. Painting with black will leave the Image
unchanged, painting with white will produce white. All the colors in between will lighten the image.

Overlay
Overlay will colorize (mix) the Image with the Brush color. It uses either Multiply or Screen which depend
on the brightness of the Image color in the area that you are modifying. This is a fun way to colorize an
image. If you are looking for a more optically realistic colorizing method, use the Colorize brush from the
Retouch Collection.

Darken
The resulting color is Brush Color or Image Color - whichever is darker. Painting with white will have no
effect since the pixels from the Image will be always darker. In other words, the image color will dictate
the resulting color if the brush color is lighter than the image color.

Lighten
Similar to darken, but the resulting color will be the lighter of the two (brush or image). Painting with
black will have no effect and Image pixels will always be lighter, so the resulting color will be the one
within the Image.

Hard Light
This works similarly to Overlay, it Multiplies or Screens the color, but the decision between modes is
dependent on the the Brush color; while in Overlay it is dependent on the Image color. If the Brush color
is lighter than 50% gray, the image will be Screened. If the Brush color is darker than 50% gray , the
image will be multiplied.

Soft Light
This darkens or lightens colors, depending on the the Brush color. If the Brush color is lighter than 50%
gray, the image will be lightened. If the Brush color is darker than 50% gray , the image will be
darkened. While Hard Light can be pure black or white, Soft Light can't produce pure black or white, it
will just darken or lighten.

If Lighter
The Brush Color will be applied only to areas where the Brush Color is lighter than the Image Color.
Therefore this will paint only in areas darker than the Brush color.

If Darker

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The Brush color will be applied only to areas where the Brush Color is darker than the Image Color. In
other words, this will paint over areas lighter than the Brush color.

Note: The mode settings will also work for Image Nozzles and Artistic brushes.

Brush Intensity (Opacity)

The Intensity (Opacity) slider controls the Brush Opacity. An Opacity setting of 0% is completely
transparent, and an Opacity setting of 100% is opaque. With a combination of Opacity and modes, you
can control various aspects of the mode, allowing almost infinite effects.

10.3 Editing Bitmap Object

This is the basic editing - anytime you double click on the Bitmap Object or click the paint on Object
button you get to the Paint Editing window where you can paint over the object, add or remove
transparency, clone and more.

Editing Bitmap Object - just double click on Bitmap Object

Convert to Paint Object

There is a subtle difference between Bitmap Object and Paint object.
· A Bitmap object 60 came from a file and when editing in Paint Mode you are constrained to the object
boundaries. Bitmap object keeps link to the original file and has couple of functionality related to this
link.
· Paint Object 146 is normally created by painting and when edited in Paint Mode you are constrained to
the size of the canvas.

To convert a Bitmap object to the Paint Object use menu: Bitmap-Convert to Paint Object

Transparency of Bitmap Object

To turn any image transparent, select the brush, click on the Erase/Transparent button and paint over
the image. You will immediately see the result.

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Opacity

The reverse of Transparency, you paint opacity, thereby removing the transparency.

Whenever you apply a bevel, shadow or other effects in Real-DRAW on bitmaps, they work on the
bitmap transparency. That means that the transparency, is the key where the bevel or shadow will be
created.

10.4 Painting on a Vector Object

This is another unique specialty of Pattern Studio: You can paint on top of any Vector object where the
strokes will be masked by the object shape.

To start painting on any object, select it first, and then press the Paint on Object button.

If your object was a bitmap, then you go to bitmap editing as described before.

What you paint will become a Bitmap layer of a vector object. The bitmap layer follows the size and
shape of object. That means that if you change the shape of the object or resize it, the bitmap layer will
adjust accordingly.

Note: If you rotate the object, you don't rotate the bitmap layer (Same as with the Object texture).

If for any reason you need to rotate the bitmap layer, you can use the Texture Size and Rotation 92 tool.

Erase

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To erase a stroke, click on Erase/Transparent button and paint over the strokes. This will paint a
transparency over the strokes in Bitmap layer, thus making the original color and texture of the object
visible.

Remove Bitmap Layer

If you ever need to remove the Bitmap Layer from the object, you don't have to paint over it with an
eraser, as it's enough to click the "Remove Bitmap Layer button". This button, when used outside the
bitmap edit mode, will remove the Bitmap Layer and also any additional Paint-On Transparency (see
below).

But if you use this button, while IN the bitmap editing mode, it will remove only the bitmap layer, while
the Paint-On Transparency (if any) will stay unchanged.

How to use it?

The simplest way is to paint various shadows or lines over the object, which may become an interesting
addition to bevel. You can create brand new effects simply:

Above, we painted green, blue and yellow lines across the text with the airbrush and then added a
flowers with the Image Nozzle.

But there is much more you can do

The feature, Paint on Object, is actually one of the most important features for airbrush drawing, and you
may not be able find any similar software that makes it so easy.

If you use a normal (real life) airbrush, you know that the basic way to draw is to paint with an air gun
through masks. In real airbrush painting you cut a mask (for example a circle) out of a transparent
adhesive sheet and stick it on a paper. Then with the airbrush gun you paint over it. When you remove
the adhesive mask you have a perfect circle with sharp edges, yet it is painted. Then you can cut
another mask, put it over and try some other colors and shapes ...

This is also the idea for Airbrush editing in Pattern Studio, where your mask is the vector object. Pattern
Studio goes much further though. Unlike in real life, you can reshape the object (mask) afterwards, and
then you can move the object up or down the layers.

You can also erase what you painted, and paint something under the object as well. There is also a very
easy cloning method you can use to "blend" two objects together. It is quite simple but very powerful. If
you are artistically inclined, you can easily create a painted like art form, which is both realistic, yet
painted.

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The image above was painted using this method. While the pen is a pure vector object without any paint,
the hand is made up of vector objects with painted layers. Each finger is basically a separate vector
object.

Another even more detailed image created using a combination of an airbrush plus a Surface Skin 125 on
a simple vector object.

Show layer Above

This feature while applicable to all bitmap editing, is especially useful if you draw painted art. When you
have opened an object for bitmap editing or painting, you can make all the upper layers, that intersect
the object visible. This allows you for example to paint shadows exactly on the right spot - under raised
objects.

In this, surrealistic example of, let's say an orange on grass, we have 2 objects; a circle and a square.
We have already painted some shadows and highlights on the circle (so it looks like a painted sphere),
and also a few strokes on the green rectangle. Now we would like to paint a shadow on the rectangle
from the sphere. We select the rectangle and click the Paint on Object button. In the Bitmap editing
mode we check the Show layers Above, check box. The sphere appears in the places where it

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intersects the rectangle we are editing. Now we can paint with a dark airbrush on the rectangle, exactly
in the places where we need the shadow. Don't forget that you can change the intensity of a brush by
sliding the Intensity/Opacity slider for a softer effect or by using a pressure sensitive stylus.

With this knowledge, you can start making your own painted art, and if you are a novice, you will
probably learn a great deal about colors, mixing, as well as light, and shadows as you progress. Just
one piece of advice - everything in this type of art, is a game of shadows and lights.

There are various other very powerful tools to help you - Clone from bottom layer and Blueprint
method as described later.

Paint-On Transparency

As an addition to the normal transparency and Painting on a vector object, you can use the Paint-On
Transparency option.
To Select this option you have to click on the small arrow on Paint on Object tool to reveal sub-selection
toolbar.

This works similarly to the Painting on Object, however it will paint a transparency to the vector object
instead of painting on the object bitmap layer.

The Paint-On transparencyis also in the menu: Object - Paint Transparency, and it is enabled for vector
objects.

Imagine a complex object, where you want just a specific part transparent and none of the linear or radial
transparency does the job - here is a perfect time to use Paint-On Transparency. Select the object,
Click on the Paint-On Transparency button and you will get to the familiar bitmap editing. However,
this time it doesn't matter what color you choose - it will always paint transparency.

Eraser can be used to remove the painted-on transparency (paint opaque).

To remove the whole Transparency Layer from the object, while in Paint-On Transparency mode, press
the Remove Bitmap Layer button .

Using the Remove Bitmap Layer button, while NOT in Paint-On Transparency mode, will clear the
Transparency and Bitmap Layer.

Tip: Paint-On Transparency works with the Bevel option in the same way as normal transparency, and
of course you can use Nozzles, or any of the brushes.

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Don't get confused by the Paint-On transparency feature - you will understand its potential when you
use, and experiment with it.

10.5 Paint Object

The third type of object you can edit and create with brushes is a Paint Object and unlike the previous
two types, this type doesn't need any object to start.

To start painting a New object press the Paint Object button.

The view will switch to bitmap editing, however, this time, you will see the whole canvas to help you
position the brush strokes.

During the painting, we can freely change colors, textures, or brush types. If you make mistake, just use
the Erase brush tool, as in the previous examples. When you finish with the painting, you just need to
press Esc or click the Arrow Tool button to return back to the vector editing.
The part you painted will become a new Object. You can do everything that you can do to other Objects;
you can apply bevels, shadows, resize it, move it in layers, etc. Above, we applied a bevel, lights and a
shadow.

Edit Paint Object

If you wish to edit a created paint object (for example to erase some strokes or add new ones), you use
the Paint On Object Tool.
You can also simply double-click on it, which will have the same effect.

Preserve Transparency Edit (Bitmap edit)

+ CTRL

Normally, anytime you click a Paint on Object tool, on the object created as a New Paint Object, you
will be editing on a full canvas size with the canvas visible behind. Any strokes you draw will be visible if
you stay within the canvas space.
If you need to edit the transparency of the strokes, as you would edit a normal bitmap, you can hold
CTRL, while clicking on a Paint on Object tool, or hold CTRL while double clicking on the object.

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The Preserve Transparency Edit mode is very similar to the Bitmap editing. If you are in a Preserve
Transparency Edit mode, the strokes you paint will be visible only in the places where there are already
some strokes - where the object is opaque.

In other words, the stroke will not make the object under it opaque, if it is currently transparent, but will
preserve the transparency, as during normal bitmap editing. Also in a Preserve Transparency mode you
have both the Erase/Transparent tool and the Opaque brush tool, the same as in normal Bitmap Editing.

See the difference in the pictures above: In the first example, we painted on the Paint Object in normal
paint mode. In the second example, we painted on the Paint Object in a Preserve Transparency mode
(also called Bitmap) Edit mode.

While the Paint Object is excellent for adding various shadows, highlights, or color strokes to the
airbrush image, it could be used in many other ways. As with any object you can apply various effects to
it such as bevel, drop shadow, Extrude and more.

Convert the paint Object to Polynome

Menu: Object-Convert to-Polynome (Vectorize)

Yes, you can convert this object to fully editable Polynome object.

Here we paint with Puzzle Nozzle (1), then convert it into Polynome(2) on which we can now apply all
vector editing tricks such as Envelope (3)

10.6 Cloning
Cloning means that you take a part of some image and paint it into the object you edit.

There are two types of cloning, each having a few different options

Rubber Stamp

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Rubber Stamp is a great tool for removing unwanted parts of an image, or adding something that wasn't
there. It can clone from one part of the image (the source) to another part (the destination). It can even
clone from one image to another.

First, after you select the Rubber Stamp tool, you have to select the Source. This is the origin from
where you want to start cloning. You can always select the origin with a Right mouse click on the
particular section of the image that you want to clone, or with a left-click and holding ALT key.

The origin (Source) will be marked by a small cross. The next step is to click with the left mouse button
somewhere else on the image - this location becomes the Destination. Next, as you hold the mouse
button down and move, the cross will move along with it as well. You will clone the part under the Source
(the cross) to the Destination location.

In this manner, you can cover one area of the image with another part of the image.

Rubber Stamp from a different source.

You can use the Rubber Stamp feature to clone from one image or document into a different or
document. What you need to do is to open the other object in the bitmap editing mode, and arrange the
views so that they are both visible, and then use the Rubber Stamp as before.

Important! The source must be in the Bitmap Editing mode. You can't put a source cross on a view
which is in the normal editing mode.

Tip: If you need to open two windows from the same document, you can do it in menu: Window -
New Window:
1. Start in a normal edit Mode
2. Use Window - New Window, now you should have opened two copies of the same document.
3. Open one Bitmap Object for Bitmap editing in one copy of the document
4. Open a different Bitmap Object in the other copy of the document.
5. Use the Rubber stamp
6. After you finish, simply close one of the windows.

Note: The Rubber Stamp respects the transparency of the source, where the source is transparent,

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Rubber Stamp doesn't paint anything.

Clone from bottom Layer

This is a special technique in Pattern Studio with which you can paint onto an object, whatever is behind
the it. This is a perfect way to blend an object into the background, or into other objects.

Above are 2 spheres The second is just a copy of the first one. We opened the second sphere in Bitmap
editing mode and selected the Clone from bottom Layer brush, and then carefully painted with it in
places where we expected to blend it with the first sphere. On the resulting image, there are still 2
spheres, but the second one now appears to blend into the bottom one. Of course if you now move the
top sphere, you would have to repaint the blend part again.

Clone from Blueprint

This is another special Pattern Studio technique and it is very similar to the previous method, but this
time, it clones from Blueprint 196 , not from the layers below. If the layers below are transparent, only the
Blueprint will be visible.

If you have the Blueprint feature loaded (See the section about Blueprint) in your project, then whenever
you are in a Bitmap editing you will see a small sphere near the Clone from Bottom Layer tool.

This sphere is clickable and clicking on it will change its color from white to blue. If the sphere is white,
then the tool works as described before - cloning from bottom layer. If the sphere is set to blue, then the
tool is cloning from the Blueprint mode.

Above we have a photograph, set as a blueprint, and a vector object of a pair of lips, created by simply
outlining the Blueprint. We opened the lips object in the, Bitmap Edit, selected the Clone from Bottom
Layer tool, and set the clone sphere to blue. Now we can lightly paint over the object and it will clone the
Blueprint photograph

You can use Clone from Blueprint (as well as any clone) during any type of bitmap editing - Bitmap
Object, Painted Object or Bitmap Layer on Vector object.

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10.7 Advanced Bitmap Edit Mode Options

There are plenty of options dealing with bitmap size that may be confusing at first, but the good thing is
you are not normally require to change them.
The basic idea is that Pattern Studio tries to hold on the original bitmap data as long as it can in order to
use the best quality. This may not always be what you want and so there are few options how to modify
the default behaviour.

Resized Edit

+SHIFT

It may happen, that you need to paint something very fine onto an object, but the brushes are too wide.
A Resized edit is the cure. What you need to do is to hold SHIFT key while clicking on the Paint on
Object Tool.

What will happen is that the object will temporarily resize to fit the edit view. This isn't a zoom. The
object is physically resized, and then, when you exit the view mode it will return to its original size, with
everything you painted on it. In this way you can paint more than pixel precise strokes, even hairlines
which are still smooth.

On the menu: Object-Bitmap Layer, there are a few additional advanced options which apply to Bitmap
editing.

Auto Resize Bitmap Layer (Doesn't apply to Draft by Reference)

If you resize the bitmap and then try to edit it, Pattern Studio will automatically "apply changes".
Normally Pattern Studio holds the original size of the bitmap until you "Apply Changes" or save the
project.

You can change this behavior, by un-checking the Auto resize Bitmap Layer from the menu: Object -
Bitmap Layer. If auto resize isn't used and you resize the bitmap, then when you go to the edit mode
you will work on the original size bitmap. The size before, last "Apply Changes".

If you rotate the bitmap and then try to edit it, you will edit on its before rotation state.

Resize Bitmap Layer to Object

With rotation, changing shape and other changes on the object, the size of the Object changes. The
Bitmap Layer will be always be dynamically resized to the size of object. If you don't use the above
option, then in many cases you will edit the object in a different size than it appears to be.

This may be desired or not, so you have the tool to force the bitmap layer to become the same size as
object.

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Snapshot From the Object

Snapshot From the Object will copy the image, showing how the object looks (with bevel, and all the
effects) into its bitmap layer. This may for example be used, if for any reason you need to know how the
beveled object looks during the bitmap editing.

Paint on Edge

If you switch the Paint on Edge, to on, you will only be able to paint on the edges of objects, with
specified Widths (the width slider will appear on the top tool bar). This is useful if you need to matte the
edge of an object for example, when painting a very thin joint, shadow/highlights, between two objects.

Tip: If you look at a fine painting or photograph, you will see that the edges often don't go simply

from the shadow to the object color. Some times they go in a very thin layer, from
shadow first, an then to a highlight, and then after that to the object color. Other times it is quite the
opposite. The gradient is however always hairline thin. You can paint a similar edge, by using the Paint
on Edge technique. You first select a color; set a larger Width, and then paint lightly on the edge. You
then set a smaller width and select another color. Paint over the edge again, and if you did it right, you
will have created a hairline edge. Of course you can put more layers, or paint several more times to
create the desired effect.

10.8 Editing Brushes

You can easily create your own brushes, or you can create many interesting variations from the existing
ones.

In case you want to adjust brushes or add a new brush, you can do it from the Brush Properties dialog
box. To get to the Brush properties, select any brush from the Brush bar, and click with the right mouse
button on it, or click the small arrow near the bottom of the Brush Library. Then from the Brush Library
menu, select Edit.

If you want to create a new brush, click Add.

Name
The name of the brush - could be anything.

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Size
In the case of Circular or Rectangular brushes, this is the size of the Brush.

Blur
In the case of Circular or Rectangular brushes, this is the Blur of the brush. The blur creates a smooth
blending edge. Air Brushes for example, generally have a large Blur Value.

Spacing
The Spacing is the distance between the brush marks in the stroke. The value is a percentage of the
brush Size. The different spacing is most visible on Non-circular brushes:

Enable or Disable Spacing. In order for most of the Brushes to work properly, they should have the
Spacing Enabled by putting a check mark next to the Spacing slider. Otherwise, the steps will depend
on the speed of the mouse as it travels across the image. In many Brushes this will result in the
separation of the complete stroke into dots as you move faster. However, in some exotic brushes this
could be a desired effect.

The first Brush uses Spacing, but the Second does not have the spacing enabled. Notice there is no
check mark next to the Spacing slider.

The spacing will depend on the speed of the stroke. When you move slowly, the brush is denser, but
more quickly, and it becomes sparser.

Type of Brushes
There are essentially 2 types of brush. A generated brush, such as Circular or Rectangular, and a brush
created using different bitmaps and masks.

Circular or Rectangular
These are basic brushes, and you can set size, blur and spacing.

Bitmap
The Bitmap brush uses a bitmap for the brush mask. The bitmap brush doesn't take the color
information from the bitmap but uses instead the intensity of the image to make the brush mask.
Generally for Bitmap brushes, you would use black and white images. The black is transparent, and
the white will be opaque, and the Bitmap Brush will paint the selected color.

An example of a Bitmap Brush is shown below.

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Here is an example of a type of Above is what we painted with the Bitmap

Bitmap Mask, used for the Bitmap
Brush.
You can load the Bitmap with the
button "Load Mask".
Check "Negative" if you want to load
the mask as a negative image.
Brush. The effect was dependent on the
spacing set.
Now this is probably not a very useful
brush unless you're drawing a "Slinky".
Most brushes shouldn't be donut shaped.

How to create a Bitmap Brush in Pattern Studio.

· In the document, draw a star, set the color black, select a Transparent Texture, and move the
transparency to the fullest setting.
· In the menu: Project, we select Trim Canvas, to make the size of the canvas, the same as the
size of the star.
· Go to Menu: File-Export
· First we need to have the brush smaller, so we'll resize it to 40 %. You don't have to use sharpen
· Select Alpha Mask Only.

The preview should look something like this:

Export it in JPG, PNG or BMP format.

· Open a new document and press a New Paint Object tool, to get to the bitmap editing mode.
· Right click on the Brush Library and select Add
· On the Brush Properties, select Type Bitmap, and click the Load Mask button.
· Select the previously saved file. You can leave all other parameters as they are and click OK
· Now paint something with this brush.

The result should be something like this

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Note: If you use a PNG Transparent image to load the Mask - the alpha channel from the image will
be loaded.

Image Brush

This is an extension of the Bitmap Brush. While the Bitmap brush takes only the mask for the brush, the
Image Brush takes the mask as well as texture - or image information. Basically we need to create 2
files, one is a mask and the other one is the image itself. Another way, is to load the Transparent PNG
as a brush. The transparent PNG carries the information for the image and the mask. If you use 2 files,
you first need to load the image with Load and then the mask with the Load Mask button. If you use
the Transparent PNG, it is sufficient to just load it with the Load Button.

How to Create an Image Brush.

· In the document, we draw a circle and apply any of the styles from the Style Library. In the above
picture you can see that that is has a metallic look, and a drop shadow.
· In the menu: Project, we select the Trim Canvas Expanded to make the size of the canvas the
same as the size of our object and drop shadow
· Go to the menu: File-Export.
· If you prefer you can resize it to a smaller size and use some sharpening to bring the details out.
· Select the PNG Transparent format and the preview should look something like this.

· Export it.
· Open a new document and press a New Paint Object tool, to get to the bitmap editing mode.
· Right click on the Brush Library and select Add.
· On the Brush Properties, select Type Image Brush, and click the Load button.
· Select the previously saved file.
· You can leave all other parameters as they are and click OK.
· Now paint something with this brush.

The result should look like this ...

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Interesting brush!

Notice that it doesn't matter which color you select, it always paints the brush with an image.
This is a great way to add interesting brushes. But what if you want to change color? For that function,
Image Brush has a Color overlay option.

Color overlay

Color Overlay allows you to select any color for the Image Brush.
Open the previously created brush - Select the brush in the Library and click on it with a right mouse
button to open the menu.

Select Edit.

In the Brush properties, Set the Color Overlay.

Click OK, select any color, and then paint.

Our Image Brush can now paint with any color.If you want to get more from this feature, you need to
create the brush image with lighter colors.

You can see that the Image Brush is an incredibly strong type of brush. With some experimentation
you can create very interesting, artistic and unique brushes. Try to experiment with the various
transparencies.

For example.

Image Hose

The image brush is very powerful, but how about adding a few different images in a row, into one brush?
Here is an image Hose type of brush!
With the Image Hose, you have to click Settings on the Brush Properties to go to the more advanced

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options.
This is basically the same idea as with the Image Brush, but here we have a list of images. You can
load the image with Add Image if you are using a PNG transparency as your source, or if not you can
load the mask for each brush with the Load Alpha Mask.

Let's modify the previous example. We'll apply different styles to our circle and save each one under a
different name, as a PNG Transparency.
Now create a new brush, select Image Nozzle, open Settings and load images, one by one with the Add
Image Button. Adjust the spacing a bit more, 30% for example.

Click OK and paint.

Distribution of the images

Sequentially - the images will be "sprayed" in the same order as they are listed in the list box.

Randomly - the images will be randomly chosen

Directional - the image will be chosen from the angle you paint. For example, if we have 5 images, 360
degrees divided by 5 is 72. That means that as we paint, that a different image will appear for every 72
degrees of change in the mouse travel angle.

Note: 0 degrees (and image 1) is horizontally oriented to the right side. The angle used for image
selection will continue in a clockwise direction at 72 degree increments in the above example.

Example of different distributions

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The Directional distribution is great for Brushes, which should follow your path as you draw. For
example, arrows. Below we we created 8 images of an arrow, each rotated 45 degrees from the previous
angle. Don't touch that calculator :-) 45 x 8 is 360 degrees, so we needed 8 images.

The Image Hose type of Brush has the Color overlay option as well.

Pressure Sensitivity.

This works if you have a Pressure Sensitive Tablet. There are a few options as to how the brush will
behave regarding the pressure information i.e. how hard you press with your stylus.

None. No Pressure will be applied. This would be useful for Image Nozzles for example.

Pressure. This will change according to how hard you press on the brush. This is a good choice for
Natural and Artistic brushes, because it simulates the real situation.

Opacity. This will change the opacity of the resulting brush, according to the pressure on the stylus. A
good choice for "Airbrush" like brushes.

Press. & Opacity. A combination of Pressure and opacity

Speed. This one actually works without a Pressure sensitive Tablet. It isn't related to the pressure on the
stylus, but it takes into account the speed of your drawing stroke. If you draw slowly, the stroke will be
denser than if you draw fast. The minimum density is set by the Spacing parameter, and in order for
Speed to work, the Spacing must be enabled.

The rest are various combinations of the above.

Brush preview

You can let the software generate the preview for you automatically, or if you want a specific image, for

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example, for Nozzles, you might want to show the path. You can paint anything and save it as a file. In
the Brush properties window, turn the Auto generate switch off, and Load the saved image. This image
will now be the preview image seen in the library list box. A Secret: Instead of loading the image, you
can even paste an image from the clipboard into the preview by pressing Alt-P

Note: Pattern Studio has the same format of brushes as does the Photo-Brush software from www.
photobrush.com.

Working with the Brush library

If you select any brush and then click on the library with right mouse button, a menu will appear. You
can also use a small arrow near the left bottom of the library.

Add
Add a new brush. For more info about creating a new brush see Brush Properties.

Delete
Delete the currently selected brush from the Brush Library.

Edit
Edit the Brush Properties.

Import / Export
Import or Export one brush from/to current Library. The brush has the extension *.br1
You can use Export and Import if you (for example) want to move or copy a brush from one Library into
another.

Load / Save Library

This loads or saves the *.brs library. The Brush Library is a set of Brushes grouped into one library.

To make a library available for Pattern Studio it has to be in the directory of Brushes. Then next time
Pattern Studio starts, it will show the new library in the Library combo-box on the Brushes Tool bar.

Sort
Sort the brushes in the library. For example, if you would like to have the brushes that you use the most
on the top. You can also change a name of a brush here.

Creating your own library

You can use User1 library for your new creation.

Or, if you want to add a totally new library you can ...
· Save any Library under a different name in the directory Brushes, then exit and start Pattern
Studio again.
· Copy an empty .brs file from the Brushes\Empty folder into the Brushes folder, then rename it and
start Pattern Studio.

Note: Brush libraries will be sorted alphabetically in the Library Selection Combo Box.

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10.9 Bitmap Envelope Editing

You may have realized from the previous chapters, that a Bitmap can be distorted with the envelope the
same way as text.
Before you use the envelope for the first time, you have to convert the Bitmap to Envelope. To do that, go

to menu: Bitmap and select Convert to Envelope or press the button on bottom toolbar.

Note: In order to make smooth effects, you have to move the envelope inwards - making the resulting
object smaller.

You can make very interesting

effects with the Bitmap on
Envelope, however, this takes
some time to calculate and the
results are not always smooth.

Perspective Transformation (High Quality)

The Envelope is an interesting tool for bitmaps but Pattern Studio has another tool for re-shaping
bitmaps (this time with advanced quality).
Select a bitmap object and press the Perspective Transformation tool. (This Tool is on the bottom
bar, not on the left tool bar)
Main Perspective Transformation application is for Packages 162 , however it works for Bitmap Objects as
well.

Simply select any bitmap and press the

Perspective Transformation tool. Now you can drag
each of the Bitmap corner to move the 2D image in the
3D Perspective space.

When finished simply click on Arrow tool or doubleclick

on the image.

Note: The perspective will remain even if you rotate the

object.

Make a Texture

Pattern Studio uses textures on the disk. There are enough quality textures with Pattern Studio to allow
you to design almost anything, however, you can make your own texture and copy it to the directory
Textures. (PhotoSEAM makes wonderful textures for this purpose)
If you want to use a texture just for a project, you can load a Bitmap, and from menu: Bitmap select
Make a Texture.
This will create a temporary project-specific texture. From now on in this project you will see a new

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texture in the texture list box.

Pattern Studio doesn't save textures to the *.rdw Project file by default, however, once you add a project-
specific texture to a project, this project will also always save all used textures to an *.idr project file as
well. The project file will be much bigger in this case. There is also an option in general settings to allow/
disallow saving of the textures.

Note: You can't add the objects, with user textures, to the Object library. The object will only work
for the project for which the texture was defined.

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Part

XI
 162 Pattern Studio

11 Packages

11.1 Packages
Package is in fact one of the most important features of Pattern Studio. Understanding it will not only
multiply your productivity, but will allow you to create more detailed illustrations, new effects, and much
more. Packages are a revolutionary, Pattern Studio own feature.

Generally speaking, Package is the ability to divide a large project into segments, where you can edit
each segment (called Package) and its objects separately, in a different view.
· The Package itself shows in your main document as a single object which you can transform any
way you like - resize, rotate, perspective transform, or add various effects to it such as drop
shadow, bevel or lights. These transformations will never change the objects inside, and the
objects keep their own transformations and effects.
· Because you can resize the package, it also means that you have the ability to design the
contents of a package in a larger view than it appears in your document and create many more
details.
· Packaging has many obvious benefits - the system needs less memory and you don't get lost in
hundreds of objects, but it has also many hidden benefits.
· The ability to apply additional effects to a package, plus easy transformation, with non-destructive
sharpening and the ability to Clone Package, and to create more details.
· It can be used for much more than saving some space, and making editing easier !

Packages are a higher form of Groups, and provide you with the ability to create large projects, divide
project into logical segments and then apply effects globally to a whole group of objects.

Working with Packages is very transparent to the user.

You can easily create a Package from any group of objects, and even from a single one, with edit
Package, update, and Unpack the Package, whenever you need.

Because the Packages open in a separate document you can easily add, copy, or remove objects in-or-
out of the package.

Differences between Package and Groups

Both areu sed for grouping objects. However the major difference is when you apply effects or properties
to each.

We have two objects, we can either Group them or Package them

Here we first Group the objects and then apply some effects such as drop shadow , bevel and
lights on the whole Group

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This time we Package the objects and apply the same effects to Package

If we apply effects to a Group, each object in the group will get the new properties.
If we apply effects to a Package, the effect will be applied on top of all other effects and properties.
That is, each object inside will keep its settings, yet another set of effects will be applied to them
globally. It means for example that if the objects inside Package have each a different bevel we can still
apply another bevel to the whole Package.

Here is an example of the idea. We created our object by simply applying 3D Ball bevel effect from the
3D Bevel properties. Now if we Package the object we can apply yet another Bevel on top of it from the
same 3D Bevel properties. This time we used Saucer bevel. This gives you unlimited possibilities in
applying effects.

Other difference is when you want to edit the objects inside Groups or Packages.

Package Document Color

In most cases you don't have to worry about the background color of the package document either.
However in some cases a very little fringe may appear due to the antialiasing. For example if you create
a Package of black objects on a white Package background and then place this package on a black
background in the main document, you'll probably see a very thin light fringe around the package
objects.

It's easy to fix. When you're editing the Package, just set the background color (In the Project-Size and
Color) to approximate the background on which the package will be placed, in the main document.

Note: It doesn't have to be a perfect match.

Packages and Pattern Studio

Packages have special place in designing seamless patterns. All object inside package behave on the
main canvas as if they were just one object. This create some subtle difference because a package,
even if it has many object will occupy only a single plane.

Look at the images below if you can spot the subtle, yet interesting difference.

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Packages will also affect the way Bump and Normal maps are created. All object in a package will be at
the same height.

Packages benefits also from their own crop settings which can solve couple of problems in seamless
graphics.

It is probably safe to say that if you have problem to create certain image or effect a package will solve
it.

11.2 Create and Edit Package

It is very easy to create a Package, just select all the objects that you want to be packaged and press
the,

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Create package button or from the menu: Object - Package - Create Package

You also have the ability to freely transform a package, and can also add any of the effects to it.

Adding bevel, shadow or lights, will apply to the whole package, but the objects inside will be never be
touched, and they'll keep their own effects!

Above, we added some lights and a drop shadow to the whole Package.

Edit a Package

Another great feature in Pattern Studio is the ability to edit objects inside a Package without the need to
unpack it.

This is simply done. Just double-click on a package, or click the Edit Package Button.

The package will open in a separate view where you can edit all the packaged objects.

When you finish you just need to close the Package window. You can either click on close button which
will ask you to save to package (Answer Yes) or simply hit the green OK button on the top left corner of
your package canvas (where Rulers meet)

Hitting the red X will close the package without accepting changes.

Tip: If you want to keep the Package window open and just update the Package in a main view.

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Simply hit the Save button and the package in the main document will be updated.

11.3 Package Document

Package Document size

You don't have to worry about the document size of the package. When you edit the package it will
always appear in a document large enough to encapsulate all of the objects.

You can freely add (or move) any object outside the Package document, and when you close the
Package, all will be smartly updated the right way. You don't have to worry about moving, or resizing the
result, or the package document.

This behavior is indicated in the Size and Color 30 settings of the Package Canvas by the checked
option: Dynamic Update of Package Canvas Size.

Note: In special cases you can disallow this option and the Package will be cropped to the Canvas
size.

Size and color of the package canvas (Size and Color Dialog)

The Package canvas is transparent when shown in the original document.

Normally the Package size is updated dynamically. That means that if you add another object out of the
Package canvas, it will be resized as soon as you save the package. This way all the objects will
always be visible in the package.

On the Size and Color dialog, this is indicated by checked Dynamical Update of Package Canvas
Size.

In special cases when you don't want this behavior you can uncheck this option. In that case the
package will be cropped by the Package canvas size. This will also be indicated by the title of the
Package window : "Package (Canvas Crop)".

A typical example of this is the e-book cover sample.

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Because we didn't use

The Blue circle and letter B are Dynamical Update of Canvas This is if we do use Dynamical
"bleeding" from the canvas. They Size, the package will be Update - obviously this isn't
are just partially inside the canvas. cropped at the Canvas. This is what we wanted.
what we want.

11.4 Working with packages

The multi-documented interface gives you a lot of freedom and you can open, and edit any number of
packages you want at the same time. You can edit a package and the main document at the same
time. You may even open the same package more than once, make different changes and then,
whichever package you save, will be updated in a main document.

It's also easy to copy objects between packages, or between the main document and packages.

In our example, we added lights to each small element in the package, and then closed the Package
View, after answering "yes" to the Pattern Studio question about saving changes to the main document.

The lights applied to the whole package will be mixed with the lights applied to each element.

Working with packages has other benefits. You can actually design the Package in a larger view than it
will be used in in the main document.

This enables you to create a lot of small details.

Tip: You can eventually treat the package as a bitmap that you can apply normal bitmap effects to,
or paint on it.

You should remember that these effects will be removed every time you update the Package from its
data.

While it's fine to paint on a Package, in the long run it would be better, if you opened the package,
created a new paint object and painted whatever you needed there, and then closed the package.

Same effect, but more flexibility!

Copy a Package

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When you copy and paste a package, you also copy and paste the embedded objects. If you create
three copies of the Package object, then you can edit each Package separately, and change the objects
in each copy of the package differently.

Above, we re-sized the package and created 3 copies of it, simply by using Copy and Paste.

We then opened each package and changed the colors of few objects.

Sometimes you won't need to keep all of the objects embedded in the copy. You may for example
decide to copy an image 20 times, and it would be just a waste of space and memory, if each image
included all of the objects embedded inside.

Create a Bitmap Object from package

We can do it in two ways:

· Copy the Package, and then, instead of the normal Paste, use Paste as Bitmap from the menu:
Edit
· Select the package, and then from the menu: Bitmap - Create use New Bitmap from Selected
Object(s)

The new Bitmap Object will look exactly the same as the package, and you can add effects to it as well,
but you obviously can't edit the objects inside.

Note: The Bitmap will be created in exactly the same way as the object looks on screen. If you have
a drop shadow, bevel or lights applied on the object, then the bitmap will have it as well, and it will be
non-removable. If you're planning to adjust these parameters, then it would be better to create a bitmap
from the object, without any effects applied and then apply the effects to the newly created bitmap.

Reload a Package

Nothing that you do to the Package from the outside (except deleting it), such as resizing, applying
effects, rotating etc. will change the original data inside.

Some times it may happen that you want to reload a package from these original data. It is usually in
these cases:
· You applied permanent bitmap effects to a package, such as Oil painting, and you don't want
them any more, so instead of opening and closing the package you can just reload it.
· You resized the Package, and now you would like to have it the same size as the objects inside.

The first case is obvious - you can apply bitmap effects to the package, such as "Aged Photo", or you
can paint on the package.

Reloading Package will remove these effects. See tip, in the "Edit a Package" section.

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The second case. If you resize a package, then the data inside will remain at the original size. You may
want to make the Package the same size as the original without unpacking.

To reload a Package: Select it in menu: View - and press the Reload Package button. A window
with options will appear:

It just depends on how the Packaged object should change its size

Reload and set the Package aspect ratio (default)

The aspect ratio of the Package in the main document will become the same as the aspect ratio of the
objects inside the Package. This means that the Package will look the same as when editing, except
that it may be a different size, depending on how you resized it.

This, in most cases is the best choice.

Reload, keeping the current aspect ratio

The size and aspect ratio of the Package will remain the same as before using Reload. Because the
Package inside has changed its size, in most cases the result will look shrunken or expanded in one
direction, but the total size of the image will remain the same.

Reload and Resize to the original

The size and aspect ratio of the Package will be set to the same size as the data inside. If the Package
was rotated, this will be reset as well.

In the example above we resized the package and shrank it in a horizontal direction, and then applied a
bitmap effect (colorize from Tweak set).

Note: Keep the Current ratio. It has the same effect as simply opening and saving the package.

Texture Transformation
This will reset any texture transformation done with Texture Size and Rotation 92 to the package.

Unpack Package

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You can Unpack a package, anytime.

The package object will be deleted and all the objects from inside will be returned to the main document
at their original size.

Non-Destructive Sharpen

Package, as well as Bitmaps, has a special property - Interactive Sharpen, and you can access it
from the bounding box.

Interactive Sharpen is a great way to sharpen a Package especially after downsizing it. It is a non-
destructive effect and you can increase or decrease the sharpness, any time you want, and as many
times you want.

It is easy to use, just click on the second top handle of any bitmap or package, and move the slider up
or down.

11.5 Crop Package

You can use the Interactive Export Crop inside a Package.

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This will make the package on the main document visible only inside its crop

Example:
By duplicating the Package (Copy and Paste) and cropping each different way you can for example
easily "split" complex object into two or more parts which would be much harder to do otherwise.

Crop and Seamless graphics

Package crop can solve couple of problems. Consider this example:

We would like to draw a thick beam across whole tile, but we want the beam also using a bevel.

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This creates a bit of a problem because the bevel will then show also on the vertical side. We can
probably clean it by moving the light source in bevel to shine from top which will eliminate the visibility of
vertical bevel...but there is more certain solution:

By wrapping the object in a package, then opening the package and adding crop we can cut out the
horizontal bevel completely.

11.6 Clone Package

Menu Object - Package - Create Clone

Another interesting feature of package is that it can be cloned. Create Clone will create a new object
which will be a clone of the Source Package. Anytime you update the Source Package (by opening and
closing) all the clones will be updated as well.
Clones and Sources are clearly marked when you select them.
If you double click on Clone, you will automatically go inside the Source package.

Clones have however some independency on the Source Package:

· They can be created in different sizes, rotated, or transformed
· They can have their own effects: Non-Destructive Sharpen level and Color Correction.

The Restrictions:

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· Related Clones and Sources must be in the same logical document.

· Related Clones and Sources must all be in the same Package or outside the Package, they can't
be across different packages or package, and main document.
· Clone Relations can't be copied with Copy/Paste, except when you copy a Clone to a document
where the Source also exists.

If you break the restrictions, you will break the relationship between the source and the clone, but both
objects will remain intact - the Source as a Package and the Clone as a normal Bitmap Object.

In the above example we created a package with 3 objects. Next we created a Clone object from the
menu: Object-package-Create Clone.

Then we resized the new object, copied it to the clipboard and pasted it 3 times back into document.

Now we can transform each Clone, as we want - Vertical/Horizontal Flip, Rotation, or even add more
complex effects to them. You can change the source by double clicking on either the source, or any of
the clones, adding a new object or changing the color of another.All 4 clones will update accordingly,
preserving their own effects.

Note: You can actually have nested clones (Similar to nested Packages), and you can select all the
objects, the source and the clones, and package them creating one clone from that package.

Cloning is a very powerful tool in the right hands.

To explore more, please load the example packclone.rdw

In the example above we have one source and a few clones. Each of the clones has a different
properties set, and sometimes a drop shadow, a bevel or a healthy glow. Also, each clone has set
different Color Correction so each clone has a slightly different color shade. All of the clones are also
horizontally flipped. Then we opened the Source, by double-clicking on it, (actually double clicking on
any clone will open the source anyway) and changed the color of the original sheet. We then closed the
open package, and all the clones were updated accordingly, preserving their own settings.

11.7 Perspective Transformation

Menu Object - Package - Perspective transformation

This command works like a tool where you can drag each corner of the package to stretch the package
image in perspective space. Thanks to this feature you can simply design your package in regular view

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and then adjust its perspective. Of course this is fully dynamical so anytime you can double-click on the
Package to edit it in regular 2D view.

One example would be to

We designed this Package as
simple 2D view of a book cover.
With Perspective
Transformation you can stretch
the 2D package in the 3D
space.
build a whole image of a book
where the Cover and Spine
are Packages, each always
editable in the regular simple
2D view.

Another example could be a facade of a building - design it from the front and then simply stretch it to
the desired perspective.
You should keep the edges as close to the object boundaries as possible. It is best to resize the object
to the final size and then move the perspective.

Note: This tool also works for simple Bitmap Objects 159 . For any other vector objects you should
use Envelope Tool 159 .

11.8 Liquid Package/Bitmap

Liquid Brushes allows you to use organic manipulation of objects.
Packages and Bitmaps works differently with Liquid Shape 44 tools than regular objects. While with
regular objects the Liquid Brush changes only its shape, with Packages and Bitmaps the Brush
changes (smears) also the texture. Knowing the editing flexibility of Packages, this allows us to do new
special effects.

Consider This Image

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Now we will select both objects and press Create Package Button.

The objects will be wrapped in a Package. If we go to Liquid Shape tool the window will switch to
the Liquid Bitmap where we can smear the graphics with the Brushes similarly to the Liquid Shape 44 .

Note how we smear the texture, not only the shape. Since we apply this to the package, after pressing
Apply in the Liquid Bitmap window we can still edit each of the objects! Now double click on the
Package to enter Package Edit Mode, change color of one of the object and press OK to close
Package. The whole Package will be updated using the previously created Liquid Bitmap.

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We can add objects and also at any time redraw the Liquid Bitmap. Also we can use Liquid Shape
inside the Package and the Liquid Bitmap on the Package... the possibilities are endless.

11.9 Other
Compact Packages

Menu Object - Package - Compact package

This command was added for easier Internet distribution. It basically removes any pre-build Package
data and sets a Package or Clone to a preview mode showing a light transparent cyan image. Then you
can save the file. Compacting packages may reduce the size of the saved *.rdw file by more than a 50%
per package.

The next time the compacted file is loaded, Pattern Studio will automatically rebuild the missing
packages from the data and also any of the missing Clones from Packages.

It reduces the file size, but the drawback is that it takes longer during loading, due to the rebuilding
time.

This is however only a one time process for any end user because once the file has done its rebuilding,
it will be automatically updated.

Other things to know

There are few tips and rules for packages

· Packages are great if you use Multimedia Extension and then you can design a complex button,
package it, and then add a Highlighted and Pushed frame. In each frame you can change the data
inside the Package and the whole package will be exported as one button.
· You can have as many nested Packages as you want and can for example, select 2 Packages
and create a new package from them. It will have the same logic - if you edit the master package,
it will open a Package Window with your 2 nested packages, and double clicking on each will
open another Package Window etc. You are not limited to how deep the recursion can be, and
you can have packages inside packages inside packages.
· You can pack just a single object. For example you can apply one effect on the object, Package it
and then apply another effect.

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Above, we created simple text with a bevel and applied a Bevel feature Halo to it. Then we Packaged it
and applied a 3D Extrude and a Drop Shadow to the Package.
· You can't Package a single Package.
· You can't use the Lens effect across documents. That means, it is fine if the Lens effect works
inside a package, but you won't get the Lens effect from an Object inside a package, on objects
which are outside the package. Of course, you can apply a lens effect to the whole package and
that's fine.
· You can use the Texture Size and Rotation 92 tool on the Package and the clones as well. While
the best way to rotate a Package is to use the normal Rotation tool, and to resize the Package
to a normal object by, resizing, you can also use the Texture Size and Rotation tool to adjust
the Package appearance in more advanced way. You can change the perspective for example,
perform a crop, or stretch it in various directions. And as with other effects, Clones can each have
different Texture Size & Rotation settings.
· To reset the rotation settings use either Reload Package or Texture Size & Rotation - Reset.

When resizing a package, remember that to obtain the best quality you need to resize down, and not up
from the original package size. The same goes if you change perspective.

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Part

XII
 180 Pattern Studio

12 Global NPR

12.1 Overview
Enter topic text here.

12.2 Apply NPR Style

You can set the Style at any time, the simples way is to use the Global NPR tab in the Styles palette.

All you need to do is to click on any of the style and it will be applied globally to the whole document.

Apply Style on a Per-Object Basis

You can apply NPR style only to a certain objects. This could be done by using the NPR Settings that
can be accessed by clicking on the Global NPR Style button on toolbar or using menu Project - Global
NPR Style.

The settings will be examined in another topic, but to apply any preset or custom settings to an object
or selection of objects use the Apply to Selected button on the Global NPR Styles.

Apply Style to Packages

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Each package can have its own Global NPR Style, but if you want to apply a single Style to all objects
inside packages use the Process Packages (Recursive) option on the Global NPR Styles.

Otherwise you can switch it off, then open a package and set a completely different NPR Style as a
Global Style Inside Package, then close the package. This way you can easily mix various styles on
one document and keep it all clean using packages.

12.3 NPR Quick Adjust

You can quickly adjust the NPR look of each object (or selection of the objects) separately with the
NPR Quick Adjust slider that is available on the Color & Texture palette.

Note: This slider has the same effect as changing the Rel. Intensity on the NPR Settings 181 and
applying it to the selection.

It will adjust the shading type of Multisample strokes and change the relative strength of the fill brush
that is applied to the object.
Here is a typical effect of the slider on an object:

Note: Applying a NPR Style globally will reset the per-object settings, therefore the slider in Color &
Texture should be used to fine-tune a style after it has been applied and set-up globally.

12.4 NPR Style Settings

To adjust NPR Style, create New one or apply it on Per-Object basis we use the Global NPR Style
settings.

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The Settings could be intimidating at first because of the various options. Here are the main groups:

1 - Presets, the same as Shown in the Style palette under Global NPR, here you can delete or add new
preset with the buttons under the preset window.
2 - The Main Switch - it switches the NPR ON or OFF, all styles have this obviously ON, while the first
Style called NONE, have this OFF.
3 - Outline Brush - settings for the outline
4 - Fill Brush - settings how the fill of the object will be adjusted
5 - Color Load - the characteristics of the Fill Brush Style, this largely modify the painting style
6 - Shadow settings - how the Shadow will be processed
7 - Large Preview window with some default objects to see the changes
8 - Various settings
9 - Global Settings per whole document

Preset Window
The Preset window shows all the available preset (default or newly created). You can delete the selected

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preset with the button Delete or add new preset with "Add Preset".
Presets with yellow M square are multi-sample (more complex) presets.
Note: you can scroll the preset window by clicking anywhere and dragging it.

Apply the Style

There are three ways to apply the style:

Apply Globally - The style will be applied to all object, existing and new (this is the same as clicking on
a style in the NPR Style bar on main screen)
Apply to Selected - The style will be applied only to selected objects
Apply to New - The style will be applied only to new object you going to create

The Basic idea of Stye

A Style consist of an outline brush set in the section (3) and the Fill set in sections (4) (5) and (6).

Outline Brush

Here you select the Brush from the various Brush presets and set its:
Hardness (how strong will be the drawing)
Thickness (how thick will be the outline).
Color - the color of the outline Brush/Pen

Here are different values of Hardness:

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Obj. Color - the Color will be used from the Fill of the object instead of a particular color. This is good for
the various Paint styles where we don't use outline any particular pen but still want a certain outline,
such as oil colors. It works best with a fat brush.
Dark - works with Obj. Color. This will make the outline to be darker instead of it being lighter in color.

Here is difference between normal color and Obj. Color on rather thick brush:

Overlap Strokes - overlap some strokes, this works closely with the brush and its size. Depending on
the brush this could have opposite effect (the strokes may overlap more when switched off)
Use Layer Transp. - Use the Layer transparency for outline. If not used then the outline will be always
on even if you put Layer transparency to zero.
Change with Size - the brush thickness will be changed depending on the object size. Some styles
that are usually paint with brushes use this, where we can "use" smaller brush for smaller objects, other
styles such as various pen drawings do not use this option as we normally don't "use" thinner pen when
drawing smaller objects.

Fill Brush

This will set the way the Fill of object is processed. It is the set of techniques that creates particular
style.

First you select a Stroke preset. This is an image of the way the technique is used on a paper. On the
image above we have use MultiMarker1

Multisample Stroke - some of the stroke presets are called multisample where the stroke can
dynamically change its character during drawing. The multisample strokes are build to produce very fine

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detailed output. MultiSample strokes have "Multi" as their prefix and this setting is automatically set
when Multisample stroke is used. You may switch the Multisample Stroke option off to get different type
of output.

Rel. Intensity - changes the relative draw intensity of the Fill Brush stroke. Left it darkens - right it
lightens the color or pattern . It also work closely with the pattern coverage of Multisample Stroke:

Here are different values of Rel.Intensity on Multisample Stroke

This setting is probably one of the most used when drawing in a NPR style, especially with Multisample
strokes as it can be used to fine-tune each object look -for example you would prefer more or less
pattern shown on some object. Therefore this slider is also available on the Color & Texture palette
where it changes each object separately.

Please note that applying a NPR Style globally will reset the per-object settings, therefore the slider in
Color & Texture should be used to fine-tune a style after it has been applied and set-up globally.

Color Load
These settings further define the way colors are mixed and how they react on a paper.

Paint type - this is set of basic paint proto-types. This is the way how the paint is applied and it works
closely with the Stroke type. The name suggest the common usage, but it is a guidance because
different stroke types with different paint type will produce yet different results

Thinning Solution - this represents a thinning solution in the color and how it reacts. Like adding water
into the Watercolor Type will make it lighter, removing water will make its color bolder as on the image
below:

Here are different values of Thinning Solution:

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Smear - how much the color is smeared outside the object boundaries.
Random Wave - this works with the settings of Wave Strength. It will make straight edges of the object
appear more hand drawn.

Shadow
Few settings how the shadow is processed.
Wave Shadow - like the Random Wave previously, this will make the shadow look more hand drawn.
Clamp Shadow Blur - normal shadow has rather nice smooth blur. This may not be desirable for some
techniques where it is not easy to create such smooth blur - like pen or crayon drawings. This will make
the shadows appear more sharp.
Texturize shadow - if to use the Fill Stroke to a shadow or not. In most cases this is yes, if you don't
use it then the object may appear as cut out by using the original smooth shadow.

Misc Settings

Wave Strength - the Strength of the hand-painted look where straight edges will appear curved. Strong
number above 100 create unrealistic wave.
Apply to Editable Text - if the Editable text will use the NPR Style or not. This can be also switch on/
off easily on the Text edit dialog (as "Apply Global NPR") in per object basis
Make Small Text more readable - a small text will be processed with finer details than other objects
to be more readable.
Apply Liquid Shape to Outline Brush - allows to apply existing Liquid shape 44 to the outline brush
and fill or only to the the fill.

This Shows the effect of Liquid Shape on outline Brush. The irregular paint streak was created from
circle in Liquid shape by first pulling streaks then erasing them in the middle to create disassociated
blobs. The left image has not applied the Liquid Shape on the Outline which looks like the color run out
of our pre-drawn shape during painting, while the right image has it applied to the outline which looks as
if we planned to have this streak.

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Disable Objects Own Texture - many styles do not look right if the object has applied some texture on
other Styles this may create interesting effect.
Apply To Bitmaps - the coloring will be applied to bitmaps and painted bitmap objects as well. This
may not work very well with most of the simple styles for regular images or produce any realistic/usable
output. Some Styles are on the other hand suitable 191 for Bitmap processing.

Here are two images - one when the Apply to Bitmap doesn't work very well (Watercolor) and another
where it produces rather interesting output (Charaocal)

Process Packages - the style will be applied inside the packages (recursively)
Warn when Selection - if you press Apply Globally and you have selection it will pop a warning
message making sure you want to apply the style globally and not to the selection only.

12.5 NPR Area Gradient

One thing that sets real painting apart from a computer generated one is the amount of complex colors
and shades that easily appears on real-life canvas but are hard to emulate using software. If you enjoy
painting or watch somebody who paints you see how the colors are constantly being mixed (intentionally
or not) on both palette and canvas.
Some approximation for this in a software could be usage of gradients. It helps of course, but typical
gradient geometry (radial, linear etc...) tends to look too perfect unlike real art where it is far more
difficult to produce smooth gradient.

For this purpose we created Area Gradient tool and you can see it at work here:

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Area Gradient is not bound to any geometry - in fact you are creating the gradient geometry by placing
Grad points over the whole area as you would when using brushes.

Show Area Gradient Controls

If the Area Gradient is not visible, click the Area Gradient tool button:

Area Gradient colors will replace the basic object color as set in Color & Texture 88 . You can still mix
Textures and all other effects. Area Gradient works with or without NPR style but it is especially
beneficial for the NPRs.

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How to Use
To Start using Area Gradient, select any vector-based object and press the blue Edit Area Gradient
Button:

This will immediately add first two Grad points to the object:

Adding more Grad points.

To add more Grad points, simply double-click anywhere inside the object.

Change Color of Grad point.

Select any Grad point and then use the Color Wheel to change its color:

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Sample Color of previous Grad point.

Before you add new Grad Point (by double-clicking), click briefly on any previous existing Grad point to
have its color sampled. This color will be then used for the new Grad point.

Remove Grad point.

Select any Grad point and press DEL on keyboard.

Remove All Grad point.

Press the Remove all Grad points button:

Opacity of Area Gradient

The mix slider can be used to mix between the basic color/basic gradient/GenetX (slider left) and the
Area Gradient (slider right).

Mode
The combo-box will set the gradient mode (how steep the colors mix between Grad points). Default is
Quadratic.

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Grab Color from Bg

If set, whenever you move existing Grad point or create new one its color will be grabbed from all the
objects behind it. This is good for fast blends between objects.

12.6 NPR and Bitmaps

As we explained in previous chapter, the simple, single-stroke NPR's are not very suitable for bitmap
images and produce usually unusable results. In fact on most of the simple Presets the bitmaps have
NPR switched off.

However, there are few advanced NPR preset styles (using multisample strokes) that are designed to
work well on bitmaps.

Here is an example of Real Engraving preset that works well on both vector objects as well as bitmaps.

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The Presets that are suitable for bitmaps have them already switched on (Apply to Bitmaps)

Tip: Fine Tune the image with the NPR Quick Adjust in Color & Texture Palette.

12.7 Tips for NPR

Drawing in hand-painted style require small changes in the way you normally draw graphics. You have to
look around a bit for what works in each style.
If you would use real brushes and pens you would be probably guided by the same principles since the
NPR styles tries to mimic the real methods.

Small Text
If you need to use small text then you probably want to draw image bit larger than you would use and
then shrink it and sharpen it later.
Small text may look unreadable or out of place while large text looks nicely shaded. There is also
setting to make small text more readable by over-sampling the effect. In most presets this is turned on.

Use color transitions

What works really great for natural styles is simple Linear, Circular or Burst Color transition not only
using different colors, but also different intensities. A perfect solid color across the object is more of a
domain of the recent digital era, not a hand painted style.

Avoid Empty Background

Painting styles such as watercolor or paint are almost always best used on some solid or even better
gradient object background as they mimic closely the actual technique. (object are hardly ever painted
on a white background except few water color illustration techniques)

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Package
If some objects don't have enough details after applying the NPR style, put them in the Package, then
open the package and resize the object to about twice its size. Close the Package then resize the
package back to desired size and sharpen it with the interactive sharpen tool.

No Outline
Using Feather Effect will disable creating object outline even if you cancel the feather effect by moving
the sliders to far left.

Lastly, have fun and don't be afraid to experiment.

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Part

XIII
 196 Pattern Studio

13 Advanced

13.1 Blueprint
Blueprint is an image, positioned on the background of your project behind all the other objects.
Blueprint has a few unique properties. It is visible all of the time (Onion Skin), and it could be used as a
source for cloning. You can also use the Blueprint image as an original, from which you can draw an
image.

You access the Blueprint from menu: Project - Blueprint.

Load Blueprint
First you need to load an image as a blueprint. Remember that the Blueprint isn't an object, so while you
can change its position, you can't resize it. It is however very easy to convert the bitmap object to a
blueprint, and then convert the blueprint back to a bitmap object again

You can load a Blueprint image from File, or from Object.

Load from file - similar to the bitmap import, and you will have the option to resize and crop the image
before you load it. The Blueprint image will be centered on the canvas.

Load from Object - another easy way to load Blueprint from any bitmap object already existing on the
canvas. In this case, the blueprint will stay on exactly the same spot as the Object is.

Let's load an image with the Image import button.

Above is an image we took with a digital camera, because we wanted to draw something similar. We
resized the object to the desired size, left it selected, and then from the menu: Project-Blueprint we
selected Load From Object. This caused two new buttons to be enabled:

The first is Show on Back and the second is Onion Skin on Top.

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Now, we can delete the image object as we don't need it anymore. Even if you delete the object its
image will be still in the very same position - that's the Blueprint.

Now we can use the blueprint to guide us while we create a shape with the Path Tool.

Now this isn't anything special, since we could have done it before, with the bitmap. But now we would
like to draw some more elements but we can't see them because the new object is covering our
Blueprint. We could play with the transparency, but this would become annoying if we added more
objects. Fortunately this is easy to fix. Jjust press the second Blueprint button - Onion Skin on Top .

While in Onion Skin mode, the Blueprint can always be visible, by overlaying on top of all the objects.

We can easily create other paths with the guidance of the blueprint, and after that is done, it'll be time to
remove the Blueprint, since we won't need it anymore. We use the Remove function from menu: Project-
Blueprint-Remove.

We now have a pretty decent drawing which was done very easily.

Note: If you want to keep the the Blueprint and continue later, you can. The Blueprint will be saved
with the project and if you currently don't need it, just switch off both buttons Show on Back and Onion
Skin on Top.
Now you can repeat this process with other images, and add another objects if you want.

Clone from Blueprint

Another great feature of Pattern Studio is that you can use the Blueprint feature as a Clone source
during bitmap editing. More info is available in Cloning 147 .

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Other Options

In the Blueprint menu we have a few other options:

Position - allows you to change the position of the Blueprint by moving in any direction.
Center - centers the blueprint on the canvas.
Resize Canvas - Resizes the canvas to the size of the Blueprint.
Convert to Object - At anytime, you can go back and create a Bitmap Object from Blueprint, and can,
for example, Convert the Blueprint to an Object, resize it, or change its position, and then use Load from
Object to update the Blueprint.

13.2 Export
After you've created your artwork you'll want to show it to the whole world! This is done via the Export
dialog.

From menu: File select Export

The Export window has many options for output.

First, you select the type of the image you want to save.
There are several different built in image formats:

JPG, BMP, PNG, Transparent PNG, Mega Render JPG, E-JPG and SVG
There is also the capability to import plug-ins, thereby providing additional formats.

You can always see the total size of the file at the bottom of the export window. If you are saving a JPG
file or E-JPG file then you can change the quality to achieve a smaller size output file.

Texture/Bump Map/Normal Map

On the bottom of the export window is important combo box to select the type of export.

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Mixing Texture to Bump Map

There are various Bump map and Normal map settings. By default the Bump Map and Normal Map
shows only the object shape, edge slope and its height, not the texture of it.
The "Texed" settings will overlays the texture of the objects onto the bump map as a quick solution if the
texture is desired.

Note: The Texture also contains shading (for example on objects with bevels). That means a texture
applied to all objects could create false edges that may or may not be a problem. Therefore adding
texture to Normal/Bump map this way is best suitable for a flat bitmap textures without shading (for
example created from photos, edited, then flattened (Project - Flatten Image)

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If we are particular about how our Normal/Bump Map looks like we can set the Bump/Normal texture per
object basis (described below) and have much better control over it.

Mixing Texture to Bump Map on per-object basis

For better control of bump map texture you can use the 3D option in the Color palette 88 to signal which
object will have its texture mixed over its bump map and its strength (using the slider).

In the example below we set only the circle with the 3D option, then used Bump Map export (not Texed).

JPG File

JPG is probably the most popular image file format in use today, and Pattern Studio produces one of
the best looking JPGs. This is achieved by sub-sampling color components and you can set
Progressive, or Grayscale JPG.

Note: Whilst all web browsers can read Progressive JPGs, there are many other programs which
may have a problem reading them.

So use the Progressive option with caution !

Set DPI
For JPG files you can also set a DPI flag to the desired number. It is important to undrstand that it is
just a flag some other software may read and find interesting. It doesn't affect the image at all. You can
type anything you want there. Because you are creating the image from scratch there is no prior
knowledge of the size of your artwork measured in inch. That's why the DPI isn't important but some
software really wants this number just to confuse users.

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What is E-JPG file

Pattern Studio saves a project as an *.rdw file. However you can also export it in the Pattern Studio
exclusive E-JPG format as well.

E-JPG is a JPG compatible image format and you can use it on your web pages, or open it in any
graphics editor. However if you open an E-JPG in Pattern Studio you will again be able to edit its
objects, text or whatever else you like. The quality or size of the JPG image you see doesn't affect the
quality of the editable objects. In other words you can just show it as a small thumbnail on your web
page, but then if somebody downloads it and opens it in Pattern Studio, they will be able to edit it in full
quality, and save it in the size or quality preferred.

The advantages:
· You don't have to make two files; a thumbnail and a file to download. The thumbnail is already the
project file
· You can show the image in small size and let the user recreate the image, in a quality, size and
file format he likes. Because of the small size of the project data, the file will be much smaller than
a JPG of the original size and best quality.
· Versatility and no quality loss. You can preview the file as a JPG with low quality, but with Pattern
Studio, you can recreate the file again to any format and to any quality desired.

PNG and Transparent PNG

Unlike JPG, PNG is a lossless format (the quality doesn't

change) while still producing small file sizes. It is
recommended that you use PNG as much as you can. All
graphics software should be able to load it...

Transparent PNG also saves the alpha channel (as if you

have no canvas), andit is indicated by showing the image on
the check board.

Pattern Studio can also load transparent PNGs back as

images with their alpha transparency.

Transparent PNG is also a great way to create new brushes

or Nozzles.

PSD - Adobe Photoshop

Pattern Studio can save a whole project as an Adobe Photoshop PSD project, and each object and its
shadow, will be in separate layers so you can continue to work on them in Photoshop if you need to.

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Pattern Studio will export each object and it's shadows as a

separate layer. Pattern Studio can handle a large number of
layers easier than Photoshop. It is recommended that you pack
logical groups of objects into the Packages so you don't export
each small line as a separate object. This will reduce the
number of layers and you will then be able to work better in
either Pattern Studio or Adobe Photoshop.

Image on left: A Pattern Studio project exported entirely into

Adobe Photoshop with all objects in separate layers.

The layers in Photoshop will be named as the Labels of objects and each shadow layer will have the
name Shadow, before its label.

Note: Some Pattern Studio specific effects such as lenses will obviously not be present in
Photoshop.

You can also use MegaRender 205 feature to export the project into PSD format in enhanced resolution.

SVG - scalable vector format for web

Pattern Studio can save a vector drawing as an SVG format.

SVG is a vector image format for the web, and all new browsers supporting XML are able to display it.
Note though. that SVG is a pure vector format, and supports color fills, outlines and transparency, but
other effects such as texture and bitmaps will not show.

The advantage of SVG is that the files are very small, and are XML commands, which is something like
HTML language.

Mega Render

This is an advanced export option, allowing you to export a design in a much larger size than the one it
was designed in. You can find a more thorough description on the next page.

Plugins

You can also use additional formats to the built in ones, and only need to download the plug-ins for
them. On the www.Pattern Studio.com home page there are some plug-ins, and links to other sites.
There is also simple SDK available to allow you to develop your own export plug-in.

Background Color

You can temporarily change the background color of your image

during export, and this is most useful if you want to try the image on various background colors for the
web. You can also directly change the color of a web style.

Color Correction

Another filter you may want to use is a Color Correction. Here, if enabled you can set the color feel of
the image - you can make it warmer or colder, etc. This will not change the project image, only the

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image you export. The Color Correction settings are saved with the project file.

Resize on Export

You can resize the output image to the required size. If you want to create a small web graphic, it is
always a good idea to design it larger, with many details, and then resize it during export. Note: Sharpen
it also, as resizing makes an image softer

There are four algorithms used to resize an image.

The most used are Cubic and Bilinear. The Cubic resizes a sharp image with good quality. The Bilinear
uses more antialiasing and the result has smoother details, but is less sharp. You can use the Cubic
resizing for line graphics and screen captures and the Bilinear for photography and smoother effects.

Sharpen Image

It is a good idea to sharpen an image if you are down-sizing it so you can produce a small graphic with a
lot of detail. For JPGs, the sharpening doesn't change the file size too much, but it gives you better
overall quality, even if you save with a low JPG quality.

You can use low sharpening even if you don't resize the image and in most cases a sharper image looks
better on the web.

Export Alpha Mask Only

If you want to export only the alpha mask, you can do it by selecting this option. It may be useful for
some authoring packages if you need alpha transparency, or have a program which doesn't support
PNG, with transparency. The Alpha channel, is the information for the overall image transparency.

Pure Vector Export

You can export the project in Pure Vector format (That means Shapes and Colors only). You have
choice of few common formats:

Pure Vector export is for a special cases when you want to use Pattern Studio tools to create some
specific shape, or combination of objects to be used in other vector software or CAD. None of the
Pattern Studio specific effect will be exported - only the shapes and fill color.
You have to think about this when you draw your project. Also Combination objects must be converted
to Polynome (Create Single Shape) before export.

Note: The SVG is presented both in normal Export and in Pure Export but it is not the same. In
Export as described above will the SVG export also transparencies and outline to match more closely
the project. In Pure Vector Export it will be much more lean - just the fill color and shapes.

13.3 Export To Clipboard

Besides normal Clipboard Functions and the Copy as Bitmap option, the Export to Clipboard is a

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similar process to the Export, but the file ends up in Clipboard instead of disk. Before the document is
send to windows clipboard you have the option to resize it and sharpen. This is great way for web
authoring or writing manuals where you can work very fast from Pattern Studio to your application
without creating any intermediate files.

The resize options allows you to select the way you want the image to be resized

Locked aspect ratio:

Resize by Percentage - image will be resized by the specified percentage
Maximum Width - the image will be resized so its width will be set by specified number and its height
will be calculated
Maximum Height - the image will be resized so its height will be set by specified number and its width
will be calculated
Must fit into box - the image will be resized so it never exceeds the specified width and height

Force resize to - it will resize the image without regard of the aspect

Interactive Export Crop

Similarly to the Crop for Export you can select only some part of the document that will be sent to
Clipboard.

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This is done on the document before you use the actual Export. Select the Crop tool and draw
rectangle around the area you want to export. Both Export to Bitmap and Export to Clipboard will use
this rectangle as the area to export.You can resize the crop area by the red handles. The Export Crop
will never modify the document itself, it is just a mark to show the area.

You can keep it displayed on the document or switch it off by pressing the crop tool again.

13.4 Mega Render

Real-DRAW allows you to render an image in a larger size than the one that it was designed in. This is
useful if you need to create an image for a large or special print.

MegaRender can save files in JPG or PNG format or in Adobe PhotoShop PSD format. In case of PSD
format, each object and its shadow, will be in separate layers so you can continue to work on them in
Photoshop if you need to.
See more about exporting in PSD in Export 201 .

Mega Render will internally resize each vector object, and recursively, all the objects inside packages.
Apply all the effects and lights, and then mix everything together to create the output image (in case of
JPG or PNG as output). This may take some time but you will be provided with progress details.

First you must specify the size magnification factor 2x, 3x...of the original size.

Resize Texture Fills, Transparency Textures and NPR.

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You have the option of deciding if you also want to resize the Texture fills applied in Color & Texture, the
Transparency Textures applied in Transparency settings, or if you want to use the original.

The Texture Fills and the Transparent Textures use the same idea.

Use Original

This will resize the object, and all the effects and bitmap layers, but will leave the Texture Fills at their
original size. This is great if you want to keep the number of details on objects, since textures are often
used to add a natural feel to an object. For example, for posters or large printouts. The image will be
similar to the original, but much larger, and with more small details.

Resize for all objects.

This will resize the texture along with the object. The texture will then appear as it did on the original
image, but of course it will be in scale.
This setting will produce an image which is very similar to the original in scale and this should be used if
you need an image with better resolution, but don't necessarily want to print or use it in larger size.

Note: By resizing the texture fills, you obviously don't bring more texture detail to the object because
textures are just bitmaps. A solution may be to you use the texture in the original image, but scaled
down. See more in the Adjusting Textures 92 .

Resize for objects (Label):

Here is a compromise - only the Objects listed below will have the Texture fill (or transparency) resized.

This is great if you generally want to have much smaller details, but some of the textures create an
important part of the message so you want to resize them.

Example:

1. We used this simple, but quite nice and colorful 3D lights example.

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This design in its original size is 400 x

This is a small part from the image, resized
300 pixels; almost twice as large as
3 times.
shown here. This of course looks great on
the web or a screen but isn't very good for We will use this part for comparison later.
printing on a poster

2. For the second image we opened the Mega Render and set the Magnification Factor to 3 x, which will
gave us a 1200 x 900 output image.

And for the first Image we left the default setting on Use original in the resizing Texture Fills. As we
didn't use any transparent textures we didn't need to concern ourselves with the Transparent Textures
setting.

Above is how our image looked after a

minute or so of rendering. It is 3 times
bigger than the original, with 1200 x 900
Above is a closer look at
pixels.
the image (actually it is a
1:1)
You can already see that the image is a
bit different, so let's look at it more
closely.

3. For the third image we used the Resize for all objects setting in Mega Render.

Above is the result. And above is the detail.

If you look at the original image and this
one, they are pretty much alike except If you compare the

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that the new one has 3 times more

original detail, and this
pixels in it, although we can't see much
one you should see the
difference in this small thumbnail.
difference.

4. Let's compare the images we produced.

The original No resized textures And resized textures

While the third image produces the same overall impression as the original, we felt that our printout
would benefit from the small details found on the letters of the second image. However we also liked the
large chessboard in the original. The third image.

So here it comes. The time to use the third option Resize for objects (Label).

4. If you would like to resize textures only on the background object, open the Layer 210 list to see what
Label this object has. It has a Round-Rect label. Now you can change it while in layer list or leave it. As
there is no other object with this name it's OK to leave it.
(In the sample 3dlights.rdw the Round-Rect is renamed to Chess rect)

Simply type the label of the object on the list below our third option. One object per line, if you need
more objects. Note that this is case sensitive and must be the same as on the Layer list.

Note: If the object has a Surface Skin 125 then the Skin will be resized together with the texture.
However in some cases if you need to resize only the texture and leave the Surface Skin in its original
size simply specify -s after the object label.

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The large chess board is the background, Detail, Mega Render 3x

and the text has a nice fine texture,
although it's not very visible in this small
thumbnail.

Detail, Mega Render 3x, for

more natural feel we added
Detail, Mega Render 10x (4000 x 3000)
a Marble Surface Skin to
This took around 6 minutes.
the Round-Rect and render
it in original size. (-s option)

Note: Resizing the design will not only multiply the size of the objects, but will also make any small
errors and misalignments more visible. For example, two small objects that looked aligned on an original
image may show themselves to be quite misaligned, when rendered to a larger size.

The rendering may take several minutes depending on the complexity, lights used, packages and the
Magnification Factor. And remember that all packages will be recursively rendered as well. Bevels,
Lights and Shadows slow down the rendering most.

Generally you will be able to produce very large smooth images with lots of details, but remember that a
large amount of memory is needed to create and maintain buffers while rendering.

Because these images are computer generated, they are usually smooth. That means there is no need
to go to the extreme sizes. The image would look good in print even in smaller sizes.

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13.5 Layers
The layers are an essential part of object oriented graphics programs. Even if you don't use them they
are there! Each object you put on the canvas is on its own layer and you can see it because top objects
cover the bottom ones.

You can move the objects between layers, bringing the object back or forward, moving the object to the
bottom or to the very top.

You can access these options from menu Object-Arrange or more conveniently with the tool bar at the
bottom of Pattern Studio.

Or with the buttons on the Layer dialog itself

The first two arrows select the previous or next object. Great if you can't select an object from behind
another one.

The other 4 buttons that move the object in layers are

· On the top of all
· On the bottom
· Move one layer up
· Move one layer down

However, you can do much more with the layers. To display the Layers window Menu: View-Layers

Below is a view of the Layers window.

The Layers window is resizable so you can adjust its size to

the screen.

Each object on a layer is represented by two icons and a Label

with an optional type icon.

The Object on the top is also the top most object on the
canvas.

Hide
The first Eye icon shows or hides the object. This is great if you want to make a few changes, and you
want to export the image with or without these changes.

Lock
The second Lock icon locks or unlocks an object on the screen. Locked objects can't be selected and
moved by a mouse. The mouse see no object and it will select any object that is behind it. This is great
if you don't want to accidentally select any objects that you are not going to edit.

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However, you can still select a locked object in the Layers window and move it by arrow keys pixel by
pixel, or change its properties.

Tip: You can lock a particular direction of movement, or lock the movement and still allow the object
to be selectable - see the Sizes 27 bar for more information.

Group
If you group a number of objects with the Group command, (Ctrl-G) all of the objects in the group will be
locked but, grouped objects can still be selected with the mouse, and moved or resized. A group will
appear in the Layers as a single item called Group with the plus sign.

You can expand the Group by clicking on the Plus sign. Then you will see listed all items in the group
and you can select any item inside the group to change its parameters or move it without Un-Grouping.

You can also delete object from group this way or even Un-Group just the item from group. To Un-Group
just the item from group you need to doubleclick on the item and from the Label Object remove the
checkbox on Lock.

You can move the Group (if it is collapsed) or multiple Selections, only on the top or bottom of all other
objects, although you can still move a single object in between objects of the group or any other objects.

If you apply parameters to the collapsed group then (simillar to selection) each object will inherit the new
parameters. That is if you apply for example drop shadow to the group or selection, each object will have
its own drop shadow. If you need to add a parameter globally to the group of some objects but not to
each object separately then Packaging 162 is the way.

Label
If you double-click on the item in the Layers window, you will be able to change the Label. This way you
can keep track of the objects in large documents.

The optional type bitmap (on the very right) will be assigned depending on the label.

Please note the difference between Transparency and Layer Opacity. Layer opacity is a global opacity
setting on the whole object and unlike the Transparency it doesn't change the bevel.

Layer Opacity

Layer Opacity works like a global opacity on the object layer. Moving the slider to the left will make the
layer more transparent.

Blend Modes

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The Blend Mode is how an object is combined with the objects, (background) underneath it. You choose
the Blend Modes from the combo box on top of the transparency bar, and then adjust the transparency
with the Transparency Mix.

Blending modes are useful tools in experienced hands for image/object composing.

Normal

A default and most used blend mode. It simply blends the objects with a
transparency set by the Transparency Mix.

Multiply

Multiplies the background and the object color. The resulting color is always darker.
Multiplying any color with black produces black. Multiplying any color with white
leaves the color unchanged. The effect is similar to looking at two overlapping slides.

Difference

Subtracts either the Object color from the background or the background color from
the Object color, depending on which is brighter.

Screen

Multiplies the inverse of the objects and background. The resulting color is always
lighter than the background or object. Screening with black leaves the color
unchanged. Screening with white produces white. The effect is similar to projecting
two slides on the same screen.

Overlay

Combines Multiply and Screen modes - depending on the background color. The
background color is not replaced, but is mixed with the Object color.

Darken

The resulting color is background or Object - whichever is darker.

Lighten

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The resulting color is background or Object - whichever is lighter.

Hard Light
Multiplies or screens the colors, depending on the Object color. That's the difference
from Overlay.
If the Object color is lighter than 50% gray, the image is lightened (screened). If the
Object color is darker than 50% gray, the image is darkened (multiplied).

Soft Light

Darkens or lightens the colors, depending on the Object color. The effect is similar to
shining a diffused light on the image.
If the Object color is lighter than 50% gray, the image is lightened and if the Object
color is darker than 50% gray, the image is darkened.

If Lighter

The Object Color will appear on the areas where the Object is lighter than the
Background.

If Darker

The Object will appear on the areas where the Object is darker than the background .

Negative

Creates a negative of the background.

Tint

The object is more visible on a dark background than on bright background. It will
disappear on white!

Colorize

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It will take the color from the object but will use the intensity from the background.

You may use the Blend Modes for composing bitmaps or objects, and when creating new interesting
artistic effects.

Don't worry if you don't understand the blending modes. You can skip the science and simply try various
options.

Tip: Try to use bevels with various modes!

13.6 Styles
Styles, is the description of an object; it's color, texture, and the effects it uses. Style doesn't store the
information about the shape of an object.

The idea behind Styles is to load only the attributes to an already defined shape. The usage is simple.

Select an object, and then click on the Style you want to apply.

All Styles are grouped in the Quick Style floating bar under the Tabs. You can switch the bar on/off on
menu: View - Quick Style.

There are basically 2 type of Styles, depending on which parameters they change.
· Styles replacing only one logical attributes like color, bevel, shadow etc.
· Styles replacing all attributes

The first Style type is in the groups called, Color & Texture, Transparency, Bevel, Shadows & Effect and
3D Lights.

If you apply a Style from the Tab called Color & Texture, then only texture and color related attributes
will be applied. If the object has other attributes, such as bevel, then these will not be changed.
Similarly, if you apply a Style from the Tab called Bevel, the object will change only the bevel attributes.

The second type of Styles are in the Libraries A, B, and User group.
If you apply Styles from these libraries, all the attributes will be changed, and the object will keep only
its shape.

All these three libraries behave the same way.

You can store your own Styles in any of the libraries. Logically, if you store a Style in the bevel Library,
only the bevel attribute will be stored.

To store the whole style, use Library A, B or User.

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 Advanced 215

Add Style to Library

To add an object to the Styles list, you first have to have the Styles list visible, and then select the Tab
that you want to store the style under.
Then select the object whose style you want to save, and click on the Styles list with the RIGHT mouse
button, and select Add to Styles, and the style will be added to the end of the list.
or
Drag the object from the canvas to the Style list.

You can also use Replace, or Remove a particular Style.

Note: The Styles are separate *.sty files in the directory Styles. Do not delete any style manually
by deleting the file, unless you want to remove all the styles, but instead, remove the style by clicking
on the Styles list with the Right mouse button, and select Remove Style.

How to copy Style from one object to another

If you don't want to create a permanent Style, then use the simple Paste Attribute command.

Copy an object with the Style that you like, to the clipboard and select Edit-Copy (Ctrl+C), and then
select another object, and use Edit-Paste Attributes (Ctrl+Shift+V).

The last Tab in the Quick Styles is the Object library 215 .

13.7 Object Library

While Styles stores only the attributes of one object, the Object Library can store the whole object or
selection of objects. Think of the object library as your Clip Art. You can have any type of object in the
library, text, path, bitmap, Package, Brush drawing, or any selection of objects.

To view Object list go to menu: View and select Quick Style. Now select the Object Tab from the
Quick Style Bar. You will see a list of groups in the combo box (Arrows, Balloons etc.). Each group
could have hundreds of clip art images.

Get Object(s) from Library

To get an object from the library, just drag and drop a desired clip from the Object Library to the Canvas.
You can also get the object by double-clicking on it.

Add Object(s) to Library

To store an object or selection of objects from canvas to the Object Library, first select the object(s),
and then click on the Object library with the right mouse button, and select Add to Library. Similarly,
you can replace an existing object in the library with the one on canvas

or

Drag Object or selection from your canvas to the Object Library - the new item will be added at the end.

Note: If you add a Group of objects to the Object Library then the objects will automatically be

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grouped. To Ungroup, a group, press Ctrl-U

To create a new Object library

If you want to ever create a new object library you have to first exit Pattern Studio.
Find the Pattern Studio home directory and go to subdirectory Objects. Create a new folder with the
name you want to call the library. The next time you load Pattern Studio you will see it in the library
combo box and it will be empty.

Feel free to store any of the objects you think may be useful in the future.

13.8 Printing
Pattern Studio isn't exactly a tool where the printout is the major output format. However we prepared
few types of printing:

Draft printing

This will print in the same resolution as you design it. Unless your document is larger size the printout
on full page will be rather blocky. You will notice it especially in text objects. However the printing will be
fast.

Set Draft Size

In this dialog you can specify the actual size of the document to be printed - for example full page or fit
into predefined size.

You can use one of 3 options:

· Stretch to fit - will stretch the image to fit on the sheet of paper. If you need to change paper
orientation then you need to go to Print Setup (File menu)
· Set DPI of image - Here you can set what resolution the image should be printed at. Note that in
draft printing the DPI would be fairly low. If you enter higher DPI, the result image will shrink in size
- in draft printing the only way to create higher DPI is to lower the printed size.
· Fit to Format - here you specify into what size it should fit. If you specify for example 6x4 then
the image will be resized so it all proportionally fits into that specified size.

Fine printing

This option uses the MegaRender feature to prepare a higher resolution print. You can specify your
desired DPI and the MegaRender will prepare corresponding image. This will clearly improve the quality
of output, however it will take much longer.

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 Advanced 217

Desired DPI - here you can specify the desired DPI of your image. A value of around 300 is
recommended for most printers. While many inkjet printers report much higher DPI, please note that DPI
of image and DPI of printer are two different things. A printer creates image dithering, using dots. Each
dot in Inkjets can have just a few colors created from 3-4 inks while each dot of digital image can have
millions of color shades. That's why true color image resolution around 300 is enough for most of the
inkjet printers.

MegaRender - The size and DPI of an image will change the needed MegaRender magnification. The
two values, DPI and MegaRender magnification work together - changing one of them will adjust the
other one.

Exact DPI - because MegaRender will resize integer steps, the actual (exact) DPI printed may not be
exactly as requested, but will be a be bit higher or lower. You don't have to worry about that since the
deviation is small.

Stretch to fit and Fit into Size - here you set the size of the image on paper. Changing the size will
adjust the MegaRender magnification. For example, for larger print size the magnification must be also
be higher if the DPI should stay constant.

Textures - Use Original DPI or Resample to desired DPI

The image will look exactly as on screen if you choose Resample to desired DPI. In that case each
texture will be re-sampled to meet the desired DPI. This is the default setting.

If the textures have just a secondary role in your image (for example a grain) you might try Use Original
DPI. The textures will be not re-sampled, but will stay at their original resolution, and the desired DPI will
be met by repeating the texture. That means you will get many small textural details in your printed
image. In the case of grain this would look good as you'll get very fine grain texture on your printout.

Repeat Last - this button will appear next to the Print button if you previously printed in the session. If
for example you need another copy of the same image or just to print a smaller size, adjust the
properties, and use this button. The software will not go into the time consuming MegaRender but will
print what was rendered last time.

With Fine print you can produce high quality output, but again this takes a considerable rendering time.

© 2008 Mediachance
 218 Pattern Studio

13.9 Screen Capture

One of the little-Big helpers in Pattern Studio is the ability to capture a screen region or window.

There are three buttons on the bottom tool bar for screen capture.

The first is the switch to hide the Pattern Studio window before capturing.

The second is Region Capture. A second after you press this button, a red cross hair will appear on
the screen allowing you to select a region that you would like to capture. After you select that region
the image will be directly transferred to Pattern Studio.

The third is a Window capture. This option allows you to capture the window or windows control
without having to select a region manually with the cross-hair. As you move around your screen you will
see that a window under the cursor will be highlighted. In Windows terminology the window, is any
defined object, for example a button or a list box. Even a simple window, many times consists of the
main window with the header text, and a client window which lies on top of it.

With the Window capture you can precisely capture windows and objects. Great for making a tutorial.

Note: For Multi-Monitor users: The Screen Capture works in Monitor 1. If you need Multi-Monitor
enabled screen capture use for example our UltraSnap.

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Part

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 220 Pattern Studio

14 Appendix
Copy/Paste Commands
You have various copy and paste commands on the Edit menu.

Most often you would use

Copy (CTRL + C) - copy any object or selection of object to the clipboard
Paste (CTRL + V) - paste object, or selection of object and any normal bitmap that is on the clipboard

You also have a few other special case copy/paste commands:

Copy as Bitmap - copy object or selection of objects and render it as a bitmap on the clipboard. With
this command you can simply copy objects and paste them inside any other application. The Bitmap
will be on the solid background color (if visible).

Paste as Bitmap - when you copy any Pattern Studio object onto the clipboard you can paste it as a
Bitmap Object back into Pattern Studio. The Bitmap Object will have a transparent background (it will
behave as a normal object) . You can use a similar method to do the same - select objects, and from
menu Bitmap-Create select New Bitmap from selected Objects

The difference between Copy as Bitmap/Paste and Copy/Paste as Bitmap is that in the first case it
will copy-paste a bitmap with a solid background and in the second case you will get a Bitmap Object
with a transparent background.

Paste Inside - this allows you to paste a bitmap or objects inside another object bitmap layer.

Paste Attributes - Paste only attributes of the object on the clipboard to the selected object. Copy an
object with the Style you like onto the clipboard Copy (Ctrl+C), then select another object and use
Paste Attributes (Ctrl+Shift+V).

Bitmap - Create

New Bitmap from selected Objects

Create a new Bitmap Object from Selected Objects - the objects will stay as they are, a new Bitmap
Object will be created. Similar to Copy - Paste as Bitmap.

Bitmap Shadow from Selected Objects

Create a new Bitmap Object Shadow from selected object and place it behind the object. In case you
need shadow from many objects - this will help you to to do it the simplest way.

New Document Snapshot

This will create a Bitmap snapshot of a whole document and place it in a new document view. That is,
you will see a new document created with just one Bitmap Object.

Project - Production Notes

You can enter a few production notes about the project such as Name, Copyright, version number, date
and free text.

However you have also the possibility of protecting the project with few hidden commands typed into the
(c) field.

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 Appendix 221

PWD:pass

After you load the project with the PWD: keyword in (c) field it will ask you to enter a password - which
is the rest of the text in the (c) field after the double-colon.

For example if you enter PWD:mmb

then the password is mmb and you will be asked for it if such project is loaded.
Note: This isn't done as any strong protection, it is there in case you want to keep original project safe
against changes made by mistake.

LOCK:
If this keyword is present in the (c) field, then anytime you click Save or Save as you will be reminded
that this file is Locked and you must confirm the overwriting.

You can combine both:

LOCK:PWD:oscar

© 2008 Mediachance
Pattern Studio

Part

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 224 Pattern Studio

15 Thank You
I would like to thank you, for trying, and for using this software (and also for reading this documentation).

I must also thank you for sharing with me the vision of a "new type of illustration software" and I hope
you will have a lot of fun using it, at least as much fun as I had making it.

The software combines both - simplicity and power. I worked many hours just on the user interface - to
make it easy to use with a set of specially designed controls.

But it doesn't stop here, there is much more in Pattern Studio than could be described in this manual.

Because of its flexibility you could create something new everyday, almost as if a Pattern Studio had a
life of its own.

In fact it has, check the About box :-)

Many thanks to these people who helped me with this help file in their spare time:

Lyn Monrean
Michael Redbourn

Thanks for your support.

Roman Voska
Pattern Studio author

March-July 2001, Canada

http://www.mediachance.com

(c) Mediachance 2001-2008

© 2008 Mediachance
 Index 225

Index -C-
Character map 50
-3- Clone from Blueprint 147, 196
Clone from bottom layer 147
3D Ball 104 Clone Packages 172
3D Extrude 104 Cloning 147
3D Lights 130 Clorize 127
Close Path 32
Color & Texture 88
-A- Color Correction 127
Color Memory 94
Add Object 215
Color shift 94
Add Point to Path 37
Color Space 94
Adding an Island 37
Color Transparency 83
Aligned Texture 138
Color Wash 88
Ambient Intensity 130
Color/Texture Mix 88
Apply Style 180
Combine Objects 38
Apply Style to Packages 180
Combine Paint Object 38
Apply the Style 181
Combined object 24
Arrow 34
Compact Packages 176
Convert to-Polynome 146
-B- Copy a Package 167
Create a Bitmap Object from package 167
Backlight 104 Create Final Group 46
Barrel 104 Create one Final Package 46
Bevel 104 Create package 164
Bevel On Transparency 104 Create Single Shape 38
Bitmap 24 Crop 170
Bitmap Editing 138 Cropping Bitmaps 79
Bitmap Effects 97 Curve tool 35
Bitmap objects 60
Blend Modes 210
Blueprint 196 -D-
Blurrr 104
Defocus Lens 109
BOOLEAN 38
Diffuse Reflectivity 130
Break Apart 32, 38
Distant light 130
Break Path 32
Document Size 29
Brush Mode 139
DPI 216
Brush Strength 44
Draft printing 216
Brushes 139
Draft with External Reference 62
Bump Map 130
Burst 99
-E-
Edit a Package 164
Edit Transparency 99

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 226 Pattern Studio

Editing Bitmap 141 Lenses 109

Editing Brushes 151 Lights 130
Editing paths 32 Limited Poly Nodes 32
Edit-Paste Attributes 214 Line Tool 35
Effect 109 Liquid Bitmap 174
Elevation 130 Liquid Package 174
Entering by numbers 88 Liquid Shape 44
Envelope 50 Load Blueprint 196
EXPORT 198 Lock 210
Export to Clipboard 203

-M-
-F- Make a Texture 159
F-B 88 Mask From Object 81
Fine printing 216 Masking 81
fine-tuning 181 Mega Render 205
Fit To Path 53 Motion Linear 104

-G- -N-
Gaussian Blur 97 New Paint Object 146
Gaussian Sharpen 97 NPR Quick Adjust 181
GenetX 94, 95 NPR Style Settings 181
Glyph 50
Grid 27
Group 210 -O-
Guidelines 27
Object Library 215
Object Properties 88
-H- Object Selector
Onion Skin 196
24

HSL 127 Open and Closed path 32

Outline 124

-I-
Image Hose 151
-P-
Import Font 50 Package Document Color 162
Import Vector 46 Package Document size 166
Increase Curves 53 Packages 162
Intensity Transparency 83 Paint on Edge 150
Inverse masking 81 Painting on a Vector Object 142
Paint-On Transparency 142

-L- Paste as Bitmap

Paste Inside 79, 220
220

Path 24
Layer Opacity 210
Perspective Transformation 159, 173
Layers 210
Point Light 130
Lens Flare 109
Polynome 24
© 2008 Mediachance
 Index 227

Position Lock 27
Preserve Transparency Edit
Printing 216
146
-T-
Production Notes 220
Text 24
Push-Back 114
Text Object 50
Texture 88
-R- Texture Size
Trace Shape 85
92

Real Size 50 Transparency 99

Re-Crop 62, 67 Transparency Masking 82
Rectangle 33 Transparency of Bitmap 141
REF file 62 Tweak 97
Reload a Package 167
Reload Font List 50
Remove Bitmap Layer 142 -U-
Reset All 81
Un-Combine 38
Reset to Original Size 50
UNION 38
Resize & Crop 60
Unpack Package 167
Resize Bitmap Layer to Object 150
Resize for all objects 205
Resize Texture Fills 205
Resized Edit 150
-W-
Rotation 92 Warp to Bevel 125
Rounded Rectangle 33 Window capture 218
Rubber Stamp 147
Rulers 27
-X-
-S- XOR 38

Screen Capture 218

Shadows 109
Shape 35
sharpen 78
Simplify Complex Objects 38
Size and Color 29
Size and Position 27
Snapshot From the Object 150
Spacing 151
Sparkle 109
Specular Reflectivity 130
Spot Light 130
Standard Shapes 33
Star/Polygon 33
Styles 214
Surface Skin 125

© 2008 Mediachance
228 Pattern Studio

Notes

© 2008 Mediachance