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Preparing files for print service providers
With Corel DESIGNER, you can prepare a print job for sending to a print service provider.
This section contains the following topics:
• Preparing a print job for a print service provider
• Working with imposition layouts
• Working with color trapping and overprinting
• Specifying In-RIP trapping settings
• Working with a print service provider
Preparing a print job for a print service provider
You can print a drawing to a file, which lets the print service provider send the file directly to an output device. If you are unsure about which settings to choose, consult the print service provider.
To print to a file
1 Click File Print.
2 Click the General tab.
3 In the Destination area, enable the Print to file check box.
4 Click the flyout arrow, and click one of the following commands:
• For Mac — saves the drawing to be readable on a Macintosh computer
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• Single file — prints all pages in a document to a single file
• Pages to separate files — prints each page to a separate file
• Plates to separate files — prints each plate to a separate file
5 Click Print.
6 Choose one of the following from the Save as type list box:
• Print file — saves the file as a PRN file
• PostScript file — saves the file as a PS file
7 Choose the folder where you want to save the file.
8 Type a filename in the File name box.
9 Click Save.
If you prefer not to prepare PostScript files, print service providers equipped with the application in which you created your work can take the original files
(for example, Corel DESIGNER files) and apply the required prepress settings.
Working with imposition layouts
Working with imposition layouts lets you print more than one page of a document on each sheet of paper. You can choose a preset imposition layout to create documents such as magazines and books to print on a commercial printing press; produce documents that involve cutting or folding, such as mailing labels, business cards, pamphlets, or greeting cards; or print multiple thumbnails of a document on one page. You can also edit a preset imposition layout to create your own layout.
You can select a binding method by choosing from three preset binding methods, or you can customize a binding method. When you choose a preset binding method, all but the first signature are automatically arranged.
You can arrange pages on a signature manually or automatically. When you arrange the pages automatically, you can choose the angle of the image. If you have more than one page across or down, you can specify the size of gutters between pages; for example, you can choose the automatic gutter spacing option, which sizes gutters so that the document’s pages fill the entire available space in the layout.
When printing on a desktop printer, you can adjust the margins to accommodate the non-printable area of a page. If the margin is smaller than the non-printable area, the edges of some pages or some printers’ marks may be clipped by your printer.
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To choose a preset imposition layout
1 Click File Print.
2 Click the Layout tab.
3 Choose an imposition layout from the Imposition layout list box.
The layout you choose does not affect the original document, only the way it is printed.
To edit an imposition layout
1 Click File Print.
2 Click the Layout tab.
3 Choose an imposition layout from the Imposition layout list box.
4 Click Edit.
5 Edit any imposition layout settings.
6 Click File Save imposition layout.
7 Type a name for the imposition layout in the Save as box.
When editing an imposition layout, you should save it with a new name; otherwise the settings for a preset imposition layout will be overwritten.
To select a binding method
1 Click File Print preview.
2 Click the Imposition layout tool .
3 Choose Edit basic settings from the What to edit list box on the property bar.
4 Type values in the Pages across/down boxes.
If you want the page to be double-sided, click the Single/double sided button .
5 Choose one of the following binding methods from the Binding mode list box:
• Perfect binding — cuts apart individual pages and glues them at the spine
• Saddle stitch — folds pages and inserts them into one another
• Collate and cut — collates and stacks all signatures together
• Custom binding — lets you arrange the pages that are printed in each signature
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If you choose either Saddle stitch or Custom binding, type a value in the corresponding box.
When you click the Single/double sided button for double-sided printing, and you are printing on a non-duplex printing device, a wizard automatically provides instructions on how to insert the paper into the printer, so that you can print on both sides of the page.
To arrange pages
1 Click File Print preview.
2 Click the Imposition layout tool .
3 Choose Edit page placements from the What to edit list box on the property bar.
4 Click one of the following buttons:
• Intelligent auto-ordering — automatically arranges the pages on a signature
• Sequential auto-ordering — arranges the pages from left to right and top to bottom
• Cloned auto-ordering — places the working page in each frame of the printable page
If you want to arrange the page numbering manually, click on the page and specify the page number in the Page sequence number box.
5 Choose an angle from the Page rotation list box.
To edit gutters
1 Click File Print preview.
2 Click the Imposition layout tool .
3 Choose Edit gutters and finishing from the What to edit list box on the property bar.
4 Click one of the following buttons:
• Auto gutter spacing — sizes gutters so that the document’s pages fill the entire available space in the layout
• Equal gutters — lets you set equal horizontal and vertical gutters
5 Click one of the following buttons:
• Cut location — places cut marks between pages
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• Fold location — places fold marks between pages
If you click the Equal gutters button, you must specify a value in the Gutter
size box.
You can edit the gutters only if you’ve selected an imposition layout with two or more pages across and down.
To adjust margins
1 Click File Print preview.
2 Click the Imposition layout tool .
3 Choose Edit margins from the What to edit list box on the property bar.
4 Click one of the following buttons:
• Auto margins — sets the margins automatically
• Equal margins — lets you make the right margin equal to the left one, and the bottom margin equal to the top one
If you click the Equal margins button, you must specify values in the Top/left
margin boxes.
When preparing a job for a commercial press, the print service provider may request minimum margin sizes, such as for page grippers and printers’ marks.
Printing printers’ marks
Printing printers’ marks lets you display information on a page about how a document should be printed.The available printers’ marks are as follows:
• Crop/fold marks — represent the size of the paper and print at the corners of the page. You can print crop/fold marks to use as guides to trim the paper. If you print multiple pages per sheet (for example, two rows by two columns), you can choose to print the crop/fold marks on the outside edge of the page so that all crop/fold marks are removed after the cropping process, or you can choose to add crop marks around each row and column. Crop/fold marks ensure that marks appear on each plate of a separated CMYK file.
• Bleed limit — determines how far an image can extend beyond the crop marks.
When you use a bleed to extend the print job to the edge of the page, you must set
a bleed limit. A bleed requires that the paper you are printing on is larger than the
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size of paper you ultimately want, and the print job must extend beyond the edge of the final paper size.
• Registration marks — are required to line up film for proofing or printing plates on a color press. They print on each sheet of a color separation.
• Color calibration bars — are color scales that print on each sheet of a color separation and ensure accurate color reproduction. To see calibration bars, make sure that the page size of the print job is larger than the page size of the work you are printing.
• Densitometer scale — is a series of gray boxes ranging from light to dark. These boxes are required to test the density of halftone images. You can position the densitometer scale anywhere on the page. You can also customize the levels of gray that appear in each of the seven squares on the densitometer scale.
• Page numbers — helps you collate pages of an image that do not include any page numbers or do not contain page numbers that correspond to the actual number of pages
• File information — prints file information, such as, the color profile; halftone settings; name, date, and time the image was created; plate number; and job name
To print crop and fold marks
1 Click File Print.
2 Click the Prepress tab.
3 In the Crop/folds marks area, enable the Crop/fold marks check box.
If you want to print all crop/fold marks, disable the Exterior only check box.
To print crop and fold marks, ensure that the paper on which you print is 0.5 inches larger on all sides than the page size of the image that you are printing.
To set crop and fold marks, see “To edit gutters” on page 722.
To print composite crop and fold marks
1 Click Tools Options.
2 In the list of categories, double-click Global, and click Printing.
3 Choose Composite crop marks (PS) from the Option list.
4 Choose Output on all plates from the Setting list box.
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To set a bleed limit
1 Click File Print.
2 Click the Layout tab.
3 Enable the Bleed limit check box.
4 Type a value in the Bleed limit box.
Usually, a bleed limit of 0.125 to 0.25 inches is sufficient. Any object
extending beyond that uses memory needlessly and may cause problems when you print multiple pages with bleeds on a single sheet of paper.
To print registration marks
1 Click File Print.
2 Click the Prepress tab.
3 In the Registration marks area, enable the Print registration marks check box.
4 Choose a registration mark style from the Style picker.
To print registration marks, ensure that the paper on which you print is 0.5 inches larger on all sides than the page size of the image that you are printing.
To print color calibration bars and densitometer scales
1 Click File Print.
2 Click the Prepress tab.
3 In the Calibration bars area, enable any of the following check boxes:
• Color calibration bar
• Densitometer scales
If you want to customize the levels of gray in one of the densitometer scale squares, choose a number from the Densities list (lower values represent lighter squares), and type a new density for that square.
To print page numbers
1 Click File Print.
2 Click the Prepress tab.
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3 In the File information area, enable the Print page numbers check box.
If you want to position the page number inside the page, enable the Position
within page check box.
To print file information
1 Click File Print.
2 Click the Prepress tab.
3 In the File information area, enable the Print file information check box.
4 Type a job name in the Print file information box.
If you want to position the file information inside the page, enable the Position
within page check box.
To position printers’ marks
1 Click File Print preview.
2 Click the Marks placement tool .
3 Click the Auto-position marks rectangle button on the property bar.
4 Type values in the Marks alignment rectangle boxes.
You can also change the position of printers’ marks by clicking a printers’ mark
icon in the print preview window and dragging the bounding box.
If you want to affix printers’ marks to the object’s bounding box instead of to the page bounding box, click File Print, click the Prepress tab, and enable the Marks to objects check box.
Maintaining OPI links
Open Prepress Interface (OPI) lets you use low-resolution images as placeholders for the
high-resolution images that appear in your final work. When a print service provider receives your file, the OPI server substitutes the high-resolution images for the lowresolution placeholders.
To maintain OPI links
1 Click File Print.
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2 Click the PostScript tab.
3 Enable the Maintain OPI links check box.
The Maintain OPI links option is available for PostScript devices only.
You can reduce your work time by using OPI and print management server
solutions, such as Creo® Color Central®. Low-resolution samples are
automatically created from the high-resolution originals and are placed in
Corel DESIGNER. These files contain their own OPI comments, which the
Creo Color Central server recognizes when it receives the job and then substitutes the high-resolution version of the file for the low-resolution version.
Low-resolution images must be flagged as OPI images (this must be done using third-party software) before you can import them into a document.
Printing color separations
When you send color work to a print service provider or printing shop, either you or the
print service provider must create color separations. Color separations are necessary
because a typical printing press applies only one color of ink at a time to a sheet of paper.
You can specify the color separations to print, including the order in which they print.
Printing presses produce color using either process color or spot color, or both. You can
convert the spot colors to process colors at printing time. For more information on spot
and process colors, see “Choosing colors” on page 337.
When setting halftone screens to print color separations, we recommend that you use the default settings; otherwise, screens can be improperly set and result in undesirable
moiré patterns and poor color reproduction. However, if you are using an imagesetter,
the screen technology should be set to match the type of imagesetter the print service provider uses. Before customizing a halftone screen, consult the print service provider to determine the correct setting.
If you have overprinted areas, you can choose how you want those areas to print. For
more information about overprinting, see “Working with color trapping and overprinting” on page 729.
To print color separations
1 Click File Print.
2 Click the Color tab.
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3 Enable the Print separations option.
If you want to print specific color separations, click the Separations tab, and
enable the corresponding check box in the list of color separations.
You can change the order in which color separations print, by enabling the Use
advanced settings check box in the Options area. In the separations list at the bottom of the dialog box, click in the Order column next to the color separation that you want to change. Chose a new order value from the list box.
If you want to print separations using a color profile that is different from the document color profile, you can click the Color tab and choose a color profile from the Correct colors using color profile list box.
To convert spot colors to process colors
1 Click File Print.
2 Click the Color tab.
3 Enable the Print separations option.
4 Enable the Convert spot colors to check box.
Changing the spot colors to process colors does not affect the original
Corel DESIGNER file; it affects the way colors are sent to the printer.
To customize a halftone screen
1 Click File Print.
2 Click the Color tab.
3 Enable the Print separations option.
4 Click the Separations tab.
5 In the Options area, enable the Use advanced settings check box.
6 Click Advanced.
7 Change any of the following settings:
• Screening technology
• Resolution
• Basic screen
• Halftone type
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You can set the screen frequency, screen angle, and overprint options for spot
colors as well as process colors. For example, if you have a fountain fill made up
of two spot colors, you can set one to print at 45 degrees and the other at 90 degrees.
Working with color trapping and overprinting
When colors are trapped, they are intentionally overlapped so that misalignments of print separations are not noticeable. In manual trapping, one color must overprint the other. Overprinting is achieved by printing one color over another. Overprint trapping works best when the top color is much darker than the underlying color; otherwise, an undesirable third color may result (for example, cyan over yellow results in a green object). In some cases, you might actually want to create a third color; for example, you can overprint two spot colors to create a third color.
How overprinted colors mix depends on the type of colors and ink you are mixing and the types of objects you are overprinting. For example, an object that uses a CMYK color overprints differently from an object that uses a spot color. Bitmaps also overprint differently from vector objects. You can preview a simulation of how overprinted colors will mix by enabling the Enhanced viewing mode and the Simulate overprints
version may occur, depending on the printer you use.
When you are ready to print, you can choose to preserve overprint settings if you want
to trap objects in a document, or if you want to mix the overlapping colors for effect.
You can also choose to knock out the overprinted areas so that only the top color is
visible. If you want to print a proof version of the file, you can simulate overprints.
Simulating overprints rasterizes the file, and it prints using process colors only.
You can set a group of objects to overprint. You can allow text to overprint overlying
objects. You can also overprint bitmaps; or each vector object’s fill, or outline, or both.
In addition, you can overprint specific color separations and specify in which order they
will print, as well as whether you want to overprint graphics, or text, or both.
The two methods for automatic color trapping include always overprinting black and auto-spreading. Overprinting black creates a color trap by causing any object that contains 95% black or more to overprint any underlying objects. This option is useful for artwork containing a lot of black text, but it should be used with caution on artwork
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with a high graphics content. You can adjust the threshold, if the print service provider recommends a black threshold value other than 95%.
Auto-spreading creates color trapping by assigning an outline to an object that is the same color as the object’s fill and having it overprint underlying objects. Auto-spreading is created for all objects in the file that meet three conditions: they do not already have an outline, are filled with a uniform fill, and have not already been designated to overprint.
For advanced trapping options, see “Specifying In-RIP trapping settings” on page 733.
To preserve or ignore overprints when printing
1 Click File Print.
2 Click the Color tab.
3 Choose one of the following options:
• Print composite
• Print separations
4 Click one of the following tabs:
• Separations
• Composite
5 From the Document overprints list box, choose one of the following options:
• Ignore — does not overprint areas; color on top prints and underlying colors are
• Preserve — preserves overprinted areas
To print a simulated overprint
1 Click File Print.
2 Click the Color tab.
3 Enable the Print composite option.
4 Click the Composite tab.
5 From the Document overprints list box, choose Simulate.
The Simulate option rasterizes the file; the file is printed with process colors.
To overprint selected objects
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2 Click Edit, and choose any of the following:
• Overprint outline
• Overprint fill
• Overprint bitmap
You can also set an object to overprint by right-clicking the object and choosing an overprint option from the context menu.
To overprint selected color separations
1 Click File Print.
2 Click the Color tab.
3 Enable the Print separations option.
4 Click the Separations tab.
5 In the Options area, enable the Use advanced settings check box.
6 Click Advanced.
7 In the Advanced separations settings dialog box, choose a color separation from
the Screening technology list box.
8 In the Overprint column, click one or both of the following icons:
• Overprint graphics
• Overprint text
The icons appear darker when the separation is set to overprint.
You can change the order in which color separations print by selecting a color separation and choosing an order from the Order list box.
To trap by always overprinting black
1 Click File Print.
2 Click the Color tab.
3 Choose one of the following options:
• Print composite
• Print separations
4 Click one of the following tabs:
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• Separations
• Composite
5 In the Options area, enable the Always overprint black check box.
To set the overprint black threshold
1 Click Tools Options.
2 In the list of categories, double-click Global, and click Printing.
3 Choose Overprint black threshold (PS) from the Option list.
4 Choose a number from the Setting list box.
The number you choose represents the percentage of black above which black objects overprint.
To trap by auto-spreading
1 Click File Print.
2 Click the Color tab.
3 Choose one of the following options:
• Print composite
• Print separations
4 Click one of the following tabs:
• Separations
• Composite
5 In the PostScript trapping or Trapping area, do one of the following:
• Enable the Auto-spreading option, and type a value in the Maximum box.
• Enable the Fixed width option, and type a value in the Width box.
6 Type a value in the Text above box.
The value that you type in the Text above box represents the minimum size to which auto-spreading is applied. If you set this value too low, small text may be rendered illegible when auto-spreading is applied.
The amount of spread assigned to an object depends on the maximum trap value specified in the Maximum box and the object’s color. The lighter the color, the greater the percentage of the maximum trap value. The darker the color, the smaller the percentage of the maximum trap value.
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Specifying In-RIP trapping settings
In-RIP trapping allows you to specify advanced trapping settings. Before selecting In-
RIP trapping, ensure that your PostScript 3 printer supports In-RIP trapping options.
You can select a trap width — the amount that one color spreads into another. You can also specify image trap placement, which determines where the trap occurs. You can, for
example, specify whether the trap is a choke or a spread, depending upon the neutral
densities of adjacent colors. Neutral density indicates the lightness or darkness of a color and helps determine how adjacent colors spread into one another.
You can specify a threshold at which a trap is created by specifying a step trap limit. If
trap colors are of similar neutral densities, the trap placement adjusts accordingly. The step trap limit specifies a threshold at which a trap adjusts.
Before trapping, you can set the inks; for example, you can set an ink to opaque, as in the case of a metallic ink, so that nothing shows through it. To reduce the visibility of a trap, you can decrease the amount of ink color in a trap. This is especially helpful in the case of pastel colors, contrasting colors, and colors with similar neutral densities.
To select a trap width
1 Click File Print.
2 Click the Color tab.
3 Enable the Print composite option.
4 Click the PostScript tab.
5 Choose PostScript 3 from the Compatibility list box.
6 Click the Composite tab.
7 Enable the PostScript level 3 In-RIP trapping check box.
8 Click Settings.
9 Type a value in the Trap width box.
If you are trapping to black, type a value in the Black trap width box.
To select In-RIP trapping options, you must have selected PostScript 3 from the Compatibility list box under the PostScript tab of the Print dialog box.
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To specify image trap placement
1 Click File Print.
2 Click the Color tab.
3 Enable the Print composite option.
4 Click the PostScript tab.
5 Choose PostScript 3 from the Compatibility list box.
6 Click the Composite tab.
7 Enable the PostScript Level 3 In-RIP trapping check box.
8 Click Settings.
9 From the Image trap placement list box, choose one of the following placements:
• Neutral density — used to determine the lighter object and thus the direction and placement of the trap
• Choke — used to trap a dark foreground object to a light background image
• Spread — used to trap a light foreground object to a dark background image
• Centerline — used when adjacent images and objects have similar neutral densities or when image density changes along an object’s edge
If you want to trap an object to an image, enable the Trap objects to images check box.
To specify a threshold
1 Click File Print.
2 Click the Color tab.
3 Enable the Print composite option.
4 Click the PostScript tab.
5 Choose PostScript 3 from the Compatibility list box.
6 Click the Composite tab.
7 Enable the PostScript 3 In-RIP trapping check box.
8 Click Settings.
9 Type a value in one or more of the following boxes:
• Step limit — specifies a threshold between color variations. The lower the
threshold value, the more likely it is that a trap will be created.
• Black limit — specifies the threshold at which process black is considered pure black
734 Corel DESIGNER X6 User Guide
• Black density limit — specifies a neutral density value for the black ink
• Sliding trap limit — specifies the difference between the neutral densities of adjacent colors at which a trap adjusts (slides) from the darker side of a color edge toward the centerline. The lower the sliding trap limit, the more gradual the transition.
To choose In-RIP trapping options, you must have selected PostScript 3 from the Compatibility list box under the PostScript tab in the Print dialog box.
To set inks for trapping
1 Click File Print.
2 Click the Color tab.
3 Enable the Print composite option.
4 Click the Composite tab.
5 Enable the PostScript Level 3 In-RIP trapping check box.
6 Click Settings.
7 In the Type column, select one of the following for each color separation:
• Transparent — the selected ink doesn’t get trapped, but anything beneath it does
• Neutral density — the neutral density of the selected ink determines how it is treated
• Opaque — the selected ink is treated as opaque
• Opaque ignore — the selected ink doesn’t get trapped nor does anything beneath it
To choose In-RIP trapping options, you must have selected PostScript 3 from the Compatibility list box under the PostScript tab in the Print dialog box.
To select a trap color reduction
1 Click File Print.
2 Click the Color tab.
3 Enable the Print composite option.
4 Click the Composite tab.
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5 Enable the PostScript 3 In-RIP trapping check box.
6 Click Settings.
7 Type a value in the Trap color reduction box.
A reduction value of 100% indicates no reduction, while a lower value reduces the neutral density.
Printing to film
You can set up a print job to produce negative images. An imagesetter produces images on film that may need to be produced as negatives depending on which printing device you are using. Consult your print service provider to determine whether you can produce images on film.
You can specify to print with the emulsion down. Printing with the emulsion down produces a backward image on desktop printers.
To print a negative
1 Click File Print.
2 Click the Prepress tab.
3 In the Paper/film settings area, enable the Invert check box.
Do not choose negative film if you are printing to a desktop printer.
To specify film with the emulsion down
1 Click File Print.
2 Click the Prepress tab.
3 In the Paper/film settings area, enable the Mirror check box.
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Working with a print service provider
When you send a file to a print service provider, the provider takes your file and converts it directly to film or to plates.
When you prepare a print job for printing, you can send camera-ready paper output or the work on disk. If you send the work on disk, the print service provider needs either a PostScript file or a native file from the application that you use. If you are creating a
file to send to an imagesetter or a plate-setter, speak with the print service provider
about the best file format and printing device settings to use. Always provide a final printout of the work to the print service provider, even if it is only a black-and-white representation. This helps the print service provider to identify and assess any potential problems.
Before printing a drawing, you must choose and properly configure the appropriate printing device driver. Consult the printing device manufacturer instructions, or the print service provider or printing shop that you use to print the work, to find out the best way to set up the printing device driver.
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File formats
Importing and exporting files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .741
Working with 3D models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .751
Working with office productivity applications . . . . . . . . . . . . . . . . . . . .777
File formats 739
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Table of contents
- 3 Table of contents
- 19 Getting started
- 21 Welcome
- 21 Installing CorelDRAW Technical Suite applications
- 23 Changing languages
- 24 Changing startup settings
- 24 Updating Corel products
- 25 Corel Support Services
- 25 About Corel
- 27 What’s new in Corel DESIGNER X6?
- 27 Access and repurpose technical design assets
- 28 Create technical illustrations with precision
- 31 Illustrate with style and consistency
- 35 Publish to technical communication standards
- 36 Increase performance, speed, and efficiency
- 41 Learning resources
- 41 Getting help
- 42 Using the Help and tooltips
- 44 Welcome screen
- 44 Macro programming guide
- 45 Network deployment guide
- 45 Web-based resources
- 45 Customized training and integration resources
- 47 Corel DESIGNER workspace tour
- 47 Corel DESIGNER terms and concepts
- 48 Corel DESIGNER application window
- 49 Corel DESIGNER workspace tools
- 71 Corel DESIGNER basics
- 71 Understanding vector graphics and bitmaps
- 72 Starting and opening drawings
- 78 Acquiring images from scanners and digital cameras
- 80 Undoing, redoing, and repeating actions
- 82 Zooming, panning, and scrolling
- 86 Previewing drawings
- 88 Choosing viewing modes
- 90 Working with views
- 91 Saving drawings
- 94 Backing up and recovering files
- 96 Adding and accessing drawing information
- 97 Closing drawings and quitting Corel DESIGNER
- 99 Finding and managing content
- 99 Exploring Corel CONNECT
- 104 Accessing content
- 106 Browsing and searching for content
- 110 Viewing content
- 111 Using content
- 114 Installing pattern fills and fonts
- 115 Managing content
- 119 Working with precision
- 119 Using gravity snapping
- 123 Using dynamic guides
- 130 Using alignment guides
- 136 Using constrain keys
- 137 Using object coordinates
- 147 Collaborating
- 147 Using ConceptShare
- 149 Lines, shapes, and outlines
- 151 Working with lines, outlines, and brushstrokes
- 151 Setting the default property values
- 152 Drawing lines
- 160 Closing multiple line segments
- 160 Drawing callouts
- 165 Drawing connector lines
- 170 Drawing dimension lines
- 175 Formatting lines and outlines
- 180 Adding arrowheads to lines and curves
- 183 Drawing calligraphic, pressure-sensitive, and preset lines
- 186 Applying linear-pattern brushstrokes
- 188 Spraying linear patterns along a line
- 193 Drawing shapes
- 193 Drawing rectangles and squares
- 197 Drawing ellipses, circles, arcs, and wedges
- 199 Drawing polygons and stars
- 201 Drawing grids
- 201 Drawing predefined shapes
- 202 Drawing projected shapes
- 205 Drawing by using shape recognition
- 209 Shaping objects
- 209 Working with curve objects
- 216 Shaping curve objects by using Reflect Nodes mode
- 216 Cropping, splitting, and erasing objects
- 223 Trimming objects
- 224 Filleting, scalloping, and chamfering corners of curve objects
- 228 Welding and intersecting objects
- 229 Creating new objects from boundaries
- 230 Creating PowerClip objects
- 236 Smudging and smearing objects
- 240 Adding twirl effects
- 241 Roughening objects
- 243 Shaping objects by attracting or pushing away nodes
- 246 Applying distortion effects
- 248 Shaping objects by using envelopes
- 251 Reference: Shaping objects
- 253 Projecting objects
- 253 Understanding projected drawing modes
- 255 Using projected drawing modes
- 258 Customizing drawing profiles
- 261 Objects, symbols, and layers
- 263 Working with objects
- 263 Selecting objects
- 267 Changing object properties
- 267 Copying, duplicating, and deleting objects
- 271 Copying object properties, transformations, and effects
- 272 Cloning objects
- 273 Moving objects
- 276 Sizing and scaling objects
- 279 Rotating objects
- 280 Mirroring objects
- 281 Skewing objects
- 282 Aligning and distributing objects
- 285 Changing the order of objects
- 287 Grouping objects
- 289 Combining objects
- 291 Locking objects
- 291 Finding and replacing objects
- 292 Accessing and displaying geometric information about objects
- 293 Inserting bar codes
- 295 Working with symbols
- 295 Using symbols in drawings
- 299 Managing collections and libraries
- 300 Creating, editing, and deleting symbols
- 303 Sharing symbols between drawings
- 304 Reference: Working with symbols
- 307 Creating objects for the Web
- 307 Exporting bitmaps for the Web
- 315 Saving and applying Web presets
- 315 Exporting objects with transparent colors and backgrounds
- 317 Creating rollovers
- 319 Adding bookmarks and hyperlinks to documents
- 321 Adding hotspots and alternate text to objects
- 323 Working with layers
- 323 Creating layers
- 328 Changing layer properties
- 331 Moving and copying layers and objects
- 333 Object linking and embedding
- 333 Inserting linked or embedded objects
- 334 Editing linked or embedded objects
- 337 Working with object data
- 337 Setting up the project database
- 339 Managing object data
- 341 Applying CGM data to objects
- 349 Color and fills
- 351 Working with color
- 351 Understanding color models
- 354 Understanding color depth
- 355 Choosing colors
- 364 Using the Document palette
- 368 Creating and editing custom color palettes
- 372 Organizing and displaying color palettes
- 374 Displaying or hiding color palettes in the Palette libraries
- 376 Setting the properties of color palettes
- 379 Filling objects
- 379 Applying uniform fills
- 380 Applying fountain fills
- 384 Applying hatch fills
- 388 Applying pattern fills
- 393 Applying texture fills
- 395 Applying PostScript texture fills
- 396 Applying mesh fills
- 398 Applying fills to areas
- 400 Working with fills
- 403 Using color management
- 403 Understanding color management
- 409 Getting started with color management in Corel DESIGNER
- 413 Installing, loading, and embedding color profiles
- 416 Assigning color profiles
- 417 Converting colors to other color profiles
- 417 Choosing color-conversion settings
- 418 Soft proofing
- 422 Working with color management presets
- 424 Working with color management policies
- 426 Managing colors when opening documents
- 428 Managing colors when importing and pasting files
- 429 Managing colors for print
- 429 Using a safe CMYK workflow
- 430 Managing colors for online viewing
- 431 Special effects
- 433 Adding 3D effects to objects
- 433 Contouring objects
- 437 Applying perspective to objects
- 439 Creating extrusions
- 444 Creating bevel effects
- 447 Creating drop shadows
- 450 Blending objects
- 457 Changing the transparency of objects
- 457 Applying transparencies
- 460 Applying merge modes
- 465 Using lenses with objects
- 465 Applying lenses
- 467 Editing lenses
- 469 Text
- 471 Adding and manipulating text
- 472 Importing and pasting text
- 474 Adding artistic text
- 475 Adding paragraph text
- 479 Adding columns to text frames
- 481 Combining and linking paragraph text frames
- 485 Aligning text by using the baseline grid
- 486 Selecting text
- 487 Finding, editing, and converting text
- 489 Shifting, rotating, mirroring, and flipping text
- 492 Moving text
- 492 Wrapping text
- 494 Fitting text to a path
- 497 Embedding graphics and adding special characters
- 498 Working with legacy text
- 501 Formatting text
- 501 Choosing typefaces and fonts
- 504 Formatting characters
- 507 Changing text color
- 509 Kerning a range of characters
- 510 Changing text case
- 512 Working with OpenType features
- 518 Adjusting character and word spacing
- 520 Adjusting line and paragraph spacing
- 522 Adding bullets to text
- 524 Inserting drop caps
- 525 Changing character position and angle
- 527 Aligning text
- 530 Adding tabs and indents
- 532 Working with text styles
- 532 Hyphenating text
- 535 Inserting formatting codes
- 536 Displaying nonprinting characters
- 539 Working with text in different languages
- 539 Formatting Asian text
- 540 Using line-breaking rules for Asian text
- 541 OpenType support for Asian text
- 542 Formatting multilingual text
- 544 Displaying text correctly in any language
- 547 Managing fonts
- 547 Substituting fonts
- 549 Previewing and displaying fonts
- 550 Using the Bitstream Font Navigator
- 551 Using writing tools
- 551 Using QuickCorrect
- 554 Using the spelling checker and Grammatik
- 556 Using the thesaurus
- 558 Working with languages
- 559 Customizing the writing tools
- 560 Using checking styles
- 563 Using rule classes
- 565 Analyzing a drawing
- 566 Using word lists
- 570 Checking statistics
- 570 Reference: Using writing tools
- 577 Templates and styles
- 579 Working with templates
- 579 Searching for templates
- 582 Using templates
- 583 Creating templates
- 584 Editing templates
- 587 Working with styles and style sets
- 587 Creating styles and style sets
- 591 Applying styles and style sets
- 592 Editing styles and style sets
- 594 Managing default object properties
- 596 Exporting and importing style sheets
- 597 Assigning keyboard shortcuts to styles or style sets
- 597 Finding objects that use a specific style or style set
- 598 Breaking the link between objects and styles or style sets
- 599 Working with color styles
- 599 Creating and applying color styles
- 603 Editing color styles
- 605 Exporting and importing color styles
- 605 Breaking the link between a color style and an object
- 607 Pages and layout
- 609 Working with pages and layout tools
- 609 Specifying the page layout
- 613 Choosing a page background
- 615 Adding, duplicating, renaming, and deleting pages
- 618 Inserting page numbers
- 620 Using the rulers
- 622 Calibrating the rulers
- 622 Setting up the document grid
- 624 Setting up the baseline grid
- 625 Setting up guidelines
- 628 Modifying guidelines
- 629 Setting the drawing scale
- 631 Working with tables
- 631 Adding tables to drawings
- 633 Selecting, moving, and navigating table components
- 636 Inserting and deleting table rows and columns
- 638 Resizing table cells, rows, and columns
- 639 Formatting tables and cells
- 641 Working with text in tables
- 642 Converting tables to text
- 643 Merging and splitting tables and cells
- 645 Manipulating tables as objects
- 645 Adding images, graphics, and backgrounds to tables
- 646 Importing tables in a drawing
- 649 Bitmaps
- 651 Working with bitmaps
- 651 Converting vector graphics to bitmaps
- 654 Importing bitmaps
- 654 Cropping bitmaps
- 655 Changing the dimensions and resolution of bitmaps
- 657 Straightening bitmaps
- 659 Using Digimarc watermarks to identify bitmaps
- 661 Removing dust and scratch marks from bitmaps
- 661 Applying special effects in bitmaps
- 663 Working with colors in bitmaps
- 665 Using the Image Adjustment Lab
- 672 Adjusting color and tone
- 675 Using the Tone Curve filter
- 676 Transforming color and tone
- 677 Editing bitmaps with Corel PHOTO-PAINT
- 679 Working with bitmap color modes
- 679 Changing the color mode of bitmaps
- 680 Changing bitmaps to black-and-white images
- 681 Changing bitmaps to duotones
- 683 Changing bitmaps to the paletted color mode
- 689 Tracing bitmaps and editing traced results
- 689 Tracing bitmaps
- 693 PowerTRACE controls
- 695 Previewing traced results
- 695 Fine-tuning traced results
- 698 Adjusting colors in traced results
- 702 Setting default tracing options
- 703 Tips for tracing bitmaps and editing traced results
- 705 Working with RAW camera files
- 705 Using RAW camera files
- 706 Bringing RAW camera files into Corel DESIGNER
- 709 Adjusting the color and tone of RAW camera files
- 712 Sharpening and reducing noise in RAW camera files
- 713 Previewing RAW camera files and obtaining image information
- 715 Printing
- 717 Printing basics
- 717 Printing your work
- 719 Laying out print jobs
- 720 Previewing print jobs
- 721 Applying print styles
- 722 Fine-tuning print jobs
- 724 Printing colors accurately
- 727 Printing to a PostScript printer
- 730 Using print merge
- 735 Viewing preflight summaries
- 737 Preparing files for print service providers
- 737 Preparing a print job for a print service provider
- 738 Working with imposition layouts
- 741 Printing printers’ marks
- 744 Maintaining OPI links
- 745 Printing color separations
- 747 Working with color trapping and overprinting
- 751 Specifying In-RIP trapping settings
- 754 Printing to film
- 755 Working with a print service provider
- 757 File formats
- 759 Importing and exporting files
- 759 Importing files
- 764 Exporting files
- 769 Working with 3D models
- 769 Installing XVL Studio 3D Corel Edition
- 770 Importing 3D models
- 772 Inserting and adjusting 3D models
- 775 Exporting to PDF
- 775 Exporting documents as PDF files
- 779 Including hyperlinks, bookmarks, and thumbnails in PDF files
- 780 Reducing the size of PDF files
- 782 Working with text and fonts in PDF files
- 784 Specifying an encoding format for PDF files
- 784 Specifying a viewing option for EPS files
- 785 Specifying color management options for exporting PDF files
- 786 Setting security options for PDF files
- 788 Optimizing PDF files
- 790 Viewing preflight summaries for PDF files
- 791 Preparing PDF files for a print provider
- 795 Working with office productivity applications
- 795 Importing files from office productivity applications
- 795 Exporting files to office productivity applications
- 795 Adding objects to documents
- 797 Exporting to HTML
- 797 Setting preferences for exporting images to HTML
- 798 Creating Web-compatible text
- 799 Previewing and verifying files before exporting to HTML
- 800 Exporting to HTML
- 801 Supported file formats
- 803 3D file formats
- 803 Adobe Illustrator (AI)
- 807 Adobe Type 1 Font (PFB)
- 808 Windows Bitmap (BMP)
- 810 OS/2 Bitmap (BMP)
- 810 Computer Graphics Metafile (CGM)
- 812 CorelDRAW (CDR)
- 813 Corel Presentation Exchange (CMX)
- 814 Corel PHOTO-PAINT (CPT)
- 815 Corel Symbol Library (CSL)
- 815 Cursor Resource (CUR)
- 815 Microsoft Word (DOC, DOCX, or RTF)
- 819 Microsoft Publisher (PUB)
- 820 Corel DESIGNER (DES, DSF, DS4, or DRW)
- 821 AutoCAD Drawing Database (DWG) and AutoCAD Drawing Interchange Format (DXF)
- 824 Encapsulated PostScript (EPS)
- 831 PostScript (PS or PRN)
- 832 GIF
- 833 HTML
- 834 JPEG (JPG)
- 835 JPEG 2000 (JP2)
- 837 Kodak Photo CD Image (PCD)
- 839 PICT (PCT)
- 840 PaintBrush (PCX)
- 842 Adobe Portable Document Format (PDF)
- 844 HPGL Plotter File (PLT)
- 847 Portable Network Graphics (PNG)
- 848 Adobe Photoshop (PSD)
- 850 Corel Painter (RIF)
- 851 Scalable Vector Graphics (SVG)
- 856 Adobe Flash (SWF)
- 858 TARGA (TGA)
- 859 TIFF
- 859 TrueType Font (TTF)
- 860 Visio (VSD)
- 861 WordPerfect Document (WPD)
- 861 WordPerfect Graphic (WPG)
- 862 RAW camera file formats
- 863 Wavelet Compressed Bitmap (WI)
- 863 Windows Metafile Format (WMF)
- 864 Additional file formats
- 866 Recommended formats for importing graphics
- 866 Recommended formats for exporting graphics
- 867 General notes on importing text files
- 869 Customizing and automating
- 871 Setting basic preferences
- 871 Disabling warning messages
- 871 Viewing system information
- 872 Corel Application Recovery Manager (Windows XP)
- 873 Customizing Corel DESIGNER
- 873 Saving defaults
- 874 Using multiple workspaces
- 876 Customizing keyboard shortcuts
- 879 Customizing menus
- 881 Customizing toolbars
- 885 Customizing the property bar
- 887 Customizing the status bar
- 888 Customizing feedback sounds
- 889 Customizing filters
- 890 Customizing file associations
- 893 Using macros to automate tasks
- 893 Working with macros
- 905 Reference
- 907 Comparing features
- 911 Glossary
- 943 Index