
CorelDraw Tutorials
CorelDRAW Tutorials: Corel Corporation's flagship graphics suite
featuring CorelDRAW® and PHOTO-PAINT® provides unparalleled value and
flexibility and a huge collection of fonts and clipart. These tutorials show
but a fraction of the possibilities for you to explore and create. CorelDRAW is
one of my most frequently used graphics applications. I can do things with
CorelDRAW that simply can't be done with any other graphics program.
A PC-based graphic design vector drawing program. Files created in this
program can be accepted and translated by Model Graphics if they are saved with
the “.ai” extender. (see vector image)
CorelDRAW is a vector graphics editor developed and marketed by Corel
Corporation of
This is a popular drawing program for the Windows market. We don't support Corel Draw specifically but can usually import its files into Macromedia FreeHand or Adobe Illustrator if needed. Saving your drawings as an EPS (Encapsulated Postscript) file with all the type converted to graphics is another way we can accept this format.
Lesson 1: The Anatomy of a Vector
Illustration
Part One
Illustrations created in all major
vector drawing programs have a definite anatomy and share a common pattern.
Whether you use Deneba Canvas™, Adobe® Illustrator®, CorelDRAW or Macromedia®
FreeHand® you will find that this pattern exists even though each program may
define the parts differently. The purpose of this section of the web site is to
take apart a vector drawing so you can see how it is put together and able to
understand it. In the illustration section is a table of equivalent terminology
to better help you translate the terms from one application to another. This
will clarify the subject and make it less confusing. You will not be bound to a
single application once this becomes clear to you.
The pattern of vector illustrations is best viewed or represented as a
hierarchy or "tree". The illustration itself would be at the
top and its various parts would descend below it:
An
ILLUSTRATION is composed of vector |
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OBJECTS
each having one or more |
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PATHS
which are composed of |
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LINE
SEGMENTS having |
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ANCHOR
POINTS at each end |
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Illustration: |
Objects: |
Paths:
Line Segments and Anchor Points:
In the diagram above the OBJECT shown is composed of a single closed PATH
composed of 19 LINE SEGMENTS and 19 ANCHOR POINTS. Notice the curved line on
the bottom. It is composed of 2 separate line segments even though it appears
to be one continuous smooth line.
Lesson 2: The Anatomy of a Vector
Illustration
Part Two
Bezier Curves And The Different
Kinds Of Anchor Points
Continuing with the anatomy of
vector illustrations, let's now take a look at ANCHOR POINTS (or simply points
or nodes...please refer to the table of equivalent terminology in the
illustration section of the web site).
Anchor Points
Anchor points are the basis of all
objects in a vector illustration and are its most fundamental components.
Anchor points have only a few basic properties. However, there are many
combinations of these basic properties that result in several variations of
anchor points. This can appear overly complex at first glance. The pattern
outlined here is very simple and explains all the variations.
All line segments have anchor points at each end which define their position
and curve attributes. The name for the resulting curves are called Bezier
(pronounced beh-zee-ay) curves. They are named after the French
mathematician, Pierre Bezier, who developed a method for defining curves
mathematically.
All anchor points fall
roughly into two categories:
1. Those having CONTROL HANDLES and
2. Those having NO CONTROL HANDLES
Curves are controlled by control handles extending from the points. These
control handles do not print. The direction and magnitude of curves entering
and leaving anchor points are determined by the direction and length of the
control handles.
Each control handle extending from a point controls only the portion of the
curve of the line segment facing the control handle:
Line segments with points having control handles are curved.
Line segments with points having no control handles are straight.
Points And Control Handles
A point can have either:
1. ONE CONTROL HANDLE or
2. TWO CONTROL HANDLES
There is really
only ONE handle per SIDE of a point because points between consecutive line
segments are shared.
Smooth Points And Corner Points
Points with both handles in line
with each other are called SMOOTH POINTS. All other points (except for two
specialized ones shown below) are generally referred to as CORNER POINTS.
Line segments whose curves
transition smoothly from one anchor point to the next in an unbroken manner are
joined by smooth points.
Line segments whose curves do not transition smoothly together are joined by
corner points.
The corner point shown above has two handles but a corner point can also have
one handle, no handles, join a curved line segment to curved line segment, join
a straight line segment to a curved line segment or a straight line segment to
a straight line segment. Below are samples of corner points:
Specialized Points
Some point types are unique to
certain applications.
CorelDRAW has a specialized smooth point called a "symmetrical node".
The lengths of both control handles of a symmetrical node remain equal when
either one of them is adjusted:
Although Deneba Canvas™ doesn't
have a symmetrical point, the same effect can be produced by dragging the
handle of a smooth point with Ctrl (Windows®) or Option (Mac®). When smooth
points are first placed, both handles are equally spaced by default. As long as
neither handle is altered, the same effect can be produced.
Macromedia®
FreeHand® 8 provides a "connector point". It is used to make a smooth
transition from a straight line segment to a curved line segment. It actually
controls the curve so that it is always tangent to the straight segment. The
handle on this point can only move directly in line with the straight segment.
You cannot alter the angle of the handle like other points. CorelDRAW also
provides two similar points: either a "symmetrical line node" or
"line smooth node". These points function the same as the FreeHand 8
point. This is a useful point. All draftsmen have run into this in mechanical
drawing:
Lesson 3: The Anatomy of a Vector
Illustration
Part Three
Objects And Their Properties,
Paths And Subpaths
Continuing with the anatomy of a
vector illustration, let's take a look at objects and their properties, paths
and subpaths.
Objects - Stroke and Fill
Properties
Objects have stroke and fill
properties. Stroke (or outline) properties apply to the path of an object and
fill properties apply to the area enclosed by the path.
Stroke Properties:
Weight (line thickness)
Color
Solid vs. Dashed
Line Caps and Corners:
Except for differences in terminology, line cap and corner properties are the
same between Deneba Canvas™, Adobe® Illustrator®, CorelDRAW and Macromedia®
FreeHand®:
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CorelDRAW |
Adobe |
FreeHand |
Deneba |
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"Caps and |
"Cap and Join" |
"Cap and Join" |
"Line Joins and |
Caps |
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Square |
Butt |
Butt |
Flat |
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Extended |
Projecting |
Square |
Square |
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Rounded |
Round |
Round |
Round |
Corners |
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Mitered |
Miter |
Miter |
Miter |
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Beveled |
Bevel |
Bevel |
Bevel |
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Rounded |
Round |
Round |
Round |
Fill Properties:
Color
Uniform or Gradient Fill
Patterns and Textures
Stroke Examples: (fill = uniform or none)
Solid |
Dashed |
None |
Pattern* |
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*
Pattern stroke unavailable in CorelDRAW
Fill Examples: (stroke = none)
Linear |
Radial |
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*
Vector texture fill available in CorelDRAW only
It could be said that Tiles are one of the basic fill properties. Patterns and
tiles are basically the same kind of fill.
Deneba Canvas Stroke and Fill Examples:
Canvas is unique in that it can apply the same properties to strokes as it can
to fills. In addition to colors, textures and gradients, you can also apply
symbols and hatch patterns as strokes and fills. Below are a few examples:
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Gradient Fill |
Gradient Fill |
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Paths are either:
1. Open or
2. Closed
Fills are not restricted to closed paths. Open paths can be filled just like
closed paths:
Paths of an object having more than one path are called subpaths.
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Note: Subpaths are nothing more than
discreet, individual paths in an object composed of more than one path. The
word "subpath" is easily misunderstood because the prefix
"sub" implies subordination. Multiple paths within an object are of
equal hierarchy (rank). |
By default each path becomes a new
object when it is first created. Subpaths are created when objects are formed
from composite paths.
Lesson 4: The Anatomy of a Vector
Illustration
Part 3A
Composite Paths and Object
Grouping and Combining
Deneba Canvas™, Adobe®
Illustrator®, CorelDRAW and Macromedia® FreeHand® also share the following
features...
Objects may be:
1. Grouped or
2. Formed into Composite Paths or
3. Combined into new objects
The Differences Between Composite Paths and Object Grouping And Combining
1. Object Grouping
Objects retain all their original properties and appearance when grouped.
Grouping allows them to be selected with a single click and moved, resized,
deleted, etc. as a single unit. Grouping has no other affect on the original
appearance of the objects. Below are examples of object groups:
2. Composite Paths
Creating a composite path from separate objects makes it possible to make
doughnut-shapes and knockouts where more than one path is required. It is how
the letter "O" is made. A composite path does not alter the original
objects and it can be split into its original objects with a single command.
Below are examples of the effect of creating composite paths out of the same
objects:
3. Combining Objects
Combining objects is a means of merging existing shapes into new shapes. With
object combining, the original objects are altered. In some cases the original
objects can be recreated from the new shapes by ungrouping or reapplying object
combining again to these new shapes. In other cases, however, the effects of
object combining is not so easily undone. Below are examples of the effect of
combining objects into new shapes:
How Each Application Defines
Composite Paths and Object Grouping and Combining
Grouping and ungrouping objects,
making and breaking composite paths and combining objects is supported by all
four applications. The terms "group" and "ungroup" are
identical between them. Composite paths and combined objects are defined
differently, however:
Program |
Composite
Paths |
Combined
Objects |
CorelDRAW |
(Combining Objects) |
Welding, Trimming |
Adobe |
(Compound Path) |
Pathfinder -
Combine, Isolate |
Macromedia |
(Composite Path) |
Merging Objects |
Deneba |
(Composite Path) |
Combining Objects |
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Lesson 5:The Anatomy of a Vector
Illustration
Part Four - Summary
The anatomy of a vector
illustration has an exact, finite pattern. There are only so many parts to it.
It is summarized below:
An
ILLUSTRATION is composed of vector |
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OBJECTS
each having one or more |
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PATHS
which are composed of |
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LINE
SEGMENTS having |
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ANCHOR
POINTS at each end |
ANCHOR POINTS fall into two
categories:
1. Those having CONTROL HANDLES and
2. Those having NO CONTROL HANDLES
Line segments with points having control handles are curved.
Line segments with points having no control handles are straight.
An ANCHOR POINT can have either:
1. ONE CONTROL HANDLE or
2. TWO CONTROL HANDLES
There is really
only ONE handle per SIDE of a point because points between consecutive line
segments are shared.
Points with both handles in line with each other are called SMOOTH POINTS. All
other points (except for the specialized ones - "symmetrical node"
and "connector point") are generally referred to as CORNER POINTS.
Objects have stroke and fill properties. Stroke (or outline) properties apply
to the path of an object and fill properties apply to the area enclosed by the
path.
Objects may be:
1. Grouped or
2. Formed into Composite Paths or
3. Combined into new objects
Paths are either:
1. Open or
2. Closed
That's it!
The whole purpose of this was to drive home the point that there is an anatomy
to a vector illustration. It has an exact pattern. It is finite. It is simple
and all vector illustrations from the simple to complex will reveal this
pattern.
Lesson 6: Working With Primitives
(Predefined Shapes)
To facilitate faster construction,
Deneba Canvas™, Adobe® Illustrator®, CorelDRAW and Macromedia® FreeHand®
include a set of predefined object shapes or "primitives":
1.
Rectangle (including square) |
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The user can control the number of
sides to polygons and stars.
All the predefined shapes can be converted to editable paths with access to the
anchor points. Each program handles this slightly differently, though:
In CorelDRAW the object must first be converted to curves.
In Macromedia FreeHand squares, rectangles, circles, ellipses and spirals must
first be ungrouped while polygons and stars are editable by default.
In Adobe Illustrator, all objects are editable by default:
In Deneba Canvas, objects are editable by default except for polygons, stars
and spirals which must be converted to paths.
Program |
Commands |
CorelDRAW |
Arrange >
Convert To Curves |
Adobe Illustrator |
(Objects are
editable by default) |
Macromedia FreeHand |
Modify > Ungroup
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Deneba Canvas |
Object > Path
> Convert To Paths |
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Lesson 7: Keyboard Shortcuts For The Pen
Draw Faster By Making Fewer Trips To The Tool Palette This tutorial is for
applications that use the pen: Adobe® Photoshop®, Adobe Illustrator® and
Macromedia® FreeHand®. When drawing with the pen you will inevitably have to
stop mid-path and make adjustments to anchor points, control
handles or line segments.
Usually, when first learning the
software, the novice will go to the tool palette to switch back and forth
between the pen and other tools. This is very time consuming and there are
provisions in the software to switch tools without having to select them from
the tool palette. The keys on both the right-hand and left-hand sides of the
spacebar are used for this purpose. Shown below are the keyboard hand
positions for a right-handed mouse:
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Lesson 8: Keyboard Shortcuts For The Pen
Examples
The idea behind the keyboard
shortcuts in Adobe® Illustrator®, Adobe Photoshop® and Macromedia® FreeHand® is
so you can draw paths in a fluid manner with as few interruptions as possible.
Ideally, you would draw as fluidly as if you were actually using a pen or
pencil. The previous page described the hand positions with the keyboard and
mouse. This page describes how it is done. The next page gives you practice
templates for each application.
While the pen tool is selected and you are actively drawing a path, pressing
the following keys will bring up a different tool:
For Adobe Illustrator or Adobe Photoshop:
Macintosh® |
Windows® |
Function |
Command |
Ctrl |
Selects the last selection tool |
For Macromedia FreeHand:
Macintosh |
Windows |
Function |
Command |
Ctrl |
Selects the Pointer Tool |
Basically the functions of these keys between the Adobe applications and
Macromedia FreeHand are the same. There is only a slight difference in the use
of the Alt or Option key to create a corner point. In Illustrator and
Photoshop, all newly placed points with control handles are smooth points by
default. The Convert Direction Point Tool is used to change a smooth point to a
corner point with handles. In FreeHand, you can drag out control handles for a
corner point when you first place it.
Brief
Example - Adobe Illustrator
In the following example, three
tools are used without returning to the tool palette to change tools:
1.
Drag out the first point |
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2.
Drag out the second point. The first curve is off, now. |
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3.
Press Ctrl (Windows) or Command (Macintosh) and use the Direct Selection Tool
to drag back the first curve. |
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4.
Press Alt (Windows) or Option (Macintosh) to bring up the Convert Direction
Point Tool and drag the second point's handle (changing it from a smooth
point to a corner point) to redirect the next curve. |
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5.
Place the next point and continue drawing the path. |
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Pen Cursors
The pen cursor helps you identify where you're at when drawing paths. You
need to know when you are over a point so you can append to an open path
(restarting the path) or when you are over a point so you can close a path. You
also need to know what the cursor looks like to start a new path so you don't
inadvertently keep adding to an existing path or vice versa. These are the most
important cursors. Their functions are identical between Adobe Illustrator 7
and 8, Adobe Photoshop 5 and Macromedia FreeHand 8. The chart below describes
these cursors.
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Start |
Continue |
Restart |
Close |
Illustrator
7 / 8 |
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Photoshop
5 |
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FreeHand
8 |
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Deneba Canvas™
The Curve tool is used for drawing Bezier curves in Deneba Canvas. Some of the
various cursors are described below.
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Add
Points To Path |
Pointer
Directly Over an Anchor Point. Next Click Closes Path |
Placing
Straight Segments |
Placing
Segments Constrained To 45° |
Deneba
Canvas |
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CorelDRAW®
CorelDRAW 8 handles line drawing slightly differently. You have a choice of
tools. Their functions are listed below.
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Freehand |
Freehand |
Bezier |
Bezier |
CorelDRAW
8 |
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Lesson 9: Pen Tutorial Practice Templates
Practice Practice Practice
This page contains all the
practice templates for drawing with the pen. Here are tutorials for Deneba
Canvas™, Adobe® Illustrator®, Adobe Photoshop®, Macromedia® FreeHand® and
CorelDRAW®. These tutorials are setup for both Macintosh® and Windows® platforms.
You might ask, "What are Photoshop tutorials doing here in the vector
application section?" Using the pen in Adobe Photoshop is virtually the
same as using the pen in Adobe Illustrator. Learning pen skills really belongs
here with the other vector applications. I have linked the Photoshop section of
the web site to these pages for learning the pen.
These tutorials are short and fun. Make sure to download the setup sheet for
the application you are using. The setup is very straightforward. Except for Photoshop
(which rasterizes the PDF file...turns it into a bitmap), you simply load the
tutorial PDF file into the drawing application, then lock the layer containing
the template, then add a new layer and draw on that new layer. The reason you
keep the template on a locked layer is because the template contains vector
objects which can get selected and altered otherwise. Don't worry, it's really
simple. All the instructions are in the setup sheets.
The tutorials are setup in sequence starting with the easiest ones. Each one
gives you a different skill. By the time you get to the last one you will see
how it all comes together. They have been purposely setup to take advantage of
keyboard shortcuts so you don't have to return to the tool palette once the pen
tool has been selected.
The whole point is to train you to take advantage of the keyboard shortcuts so
you will draw faster, smoother and more fluidly.
Download Instructions:
Instructions:
1. First download and install the free Adobe Acrobat® Reader
2. If you wish to view the PDF file only, simply click on the link below
3. To download in Windows®: Place mouse pointer on the link,
then right click the mouse.
For Internet
Explorer®:
"Save Target As..."
For Netscape®: "Save Link as..." then save it to disk
4. To download in Mac®: Hold the mouse button down for a second
or Control + Click and a pop up window will appear.
For Internet Explorer: "Download Link to Disk"
For Netscape: "Save this Link as..." then save it to disk.
Lesson 10: Shortcuts And Pointers For The
Pen
Pen Tips
Pen Tip No. 1
In Adobe® Illustrator®,
always click the Direct Selection tool before clicking and drawing with the Pen
Tool.
First click the
Direct Selection Tool |
Then click the Pen
Tool |
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The reason for this is to make sure that when the Ctrl key (Windows®) is
pressed (or Command key for Macintosh®), that the next selected tool is the
Direct Selection Tool instead of a different, unintended selection tool. While
actively making or modifying a path using the pen, pressing Ctrl (Windows) or
Command (Macintosh) will activate the last selection tool used. It is more
likely that you will make adjustments to anchor points and control handles
while you are drawing than it is that you will move the entire path.
Pen Tip No. 2
Tear off the pen tools in Adobe Illustrator and let it float as its own
palette on the workspace.
To do this simply grab the Pen Tool button on the Tool Palette and drag it away
from it. Keep it near your drawing.
Pen Tip No. 3
You can make a simulated connector point in Adobe Illustrator using the
following technique:
In Illustrator 8 First, click
View > Snap To Point
This provides a means to snap points and and control handles on top of other
points. This step is not necessary in Illustrator 7 because "Snap To
Point" is the default.
1.
Drag the first point |
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2.
Drag a second point |
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3.
Click to place a third point |
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4.
Grab the handle of the second point and drag it over the third point. |
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5.
When the solid arrowhead cursor changes into a hollow one, the handle is on
top of the point. Release the mouse button. |
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6.
At this time you can now change the direction of the first curve going into
the second point. No matter how you adjust it, there will always be a smooth
transition into the straight line segment. |
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7.
To reshape the curve, drag the control handle of the first point. |
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8.
When the desired shape is attained, release the mouse button. |
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The theory behind this tip is by laying the control handle on top of the third
point (the far point in the straight line segment), it is assured that the
curve going into the second point will be at a tangent to the straight segment.
In Adobe Photoshop®, although there is no provision for snapping a handle over
a point, you could drag a handle over a point and come close to it.
Pen Tip No. 4
Although Deneba Canvas™ doesn't have a connector point, it does have an arc
tool which places both ends of an open arc so the tangents are at right angles.
This makes it easy to create the same effect as a connector point.
To create this effect, first drag out an arc.
Next double-click the arc to place it in edit mode.
Select the point you wish to connect the tangent straight section. Either drag
a marquee around it or click it.
This is what the point looks like when it is selected.
Next select the Curve tool. Press Ctrl-Shift (Windows) or Command-Shift (Mac)
and click to place the endpoint of the straight section. The tangent line of
the point that connects the straight segment to the curved segment can be
pulled using Shift-Drag to constrain its movement.
Pen Tip No. 5
Sometimes you may want a point with only one control handle. In Deneba
Canvas™ 5 and 6, Macromedia® FreeHand® 8 and CorelDRAW® 8 there are provisions
for making one-handled anchor points. In Adobe Illustrator, however, you
have to drag the handle over its anchor point to get rid of it:
1.
The center point has two handles. Let's get rid of one of them. |
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2.
Drag a handle back into the point. |
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3.
When the handle is over the point, the cursor changes from a solid arrowhead
to a hollow one. Release the mouse button. |
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4.
Now you have a one-handled anchor point. |
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Pen Tip No. 6
Many times you will want to close an open path (Photoshop users click here
for complete instructions). Sometimes it happens that you simply get lost while
drawing a path and you find yourself no longer adding points to the path. To
restart a path (append to a path) in Adobe Illustrator, Macromedia FreeHand or
CorelDRAW, the technique is basically the same.
1. Position the pen (for CorelDRAW users the Bezier Tool or the Freehand Tool)
over an end point in the path you want to restart. When you first click the
tool and before positioning the cursor over the end point in the path, the
cursor will appear as follows:
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Adobe
Illustrator 7 / 8 |
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Adobe
Photoshop 5 |
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Macromedia
FreeHand 8 |
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CorelDRAW
8 - Freehand Tool |
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CorelDRAW
8 - Bezier Tool |
2. Except for CorelDRAW while using the Bezier Tool, when you are over the
point, the cursor will change to let you know that the next click will append
to the path:
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Adobe
Illustrator 7 / 8 |
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Adobe
Photoshop 5 |
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Macromedia
FreeHand 8 |
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CorelDRAW
8 - Freehand Tool |
3. That is your cue that the next click will append to the path. Click once to
restart adding line segments to the path.
4. When you are ready to close the path simply position the cursor over the
other end point of the path. When the cursor is over the point it will change
to let you know that the next click will close the path:
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Adobe
Illustrator 7 / 8 |
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Adobe
Photoshop 5 |
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Macromedia
FreeHand 8 |
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CorelDRAW
8 - Freehand Tool |
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CorelDRAW
8 - Bezier Tool |
5. Click once to close the path.
Deneba Canvas™
With Deneba Canvas, restarting or closing an open path is very straightforward.
To restart (append to) an open path, simply put the path into edit mode
(double-click using the Selection tool), then select the endpoint you wish to
resume adding segments to, (click to select it) then select the Curve tool and
resume with the next point. When you want to close the path, when the cursor
changes to a small crosshair, (below). This means the pointer is directly over
an anchor point. The next click (or drag) closes the path:
To close an open path without adding points, put the path into edit mode, then
click one of the endpoints with the Curve tool. A new segment will be added
joining the endpoints.
Pen Tip No. 7
Here's an undocumented tip for Deneba Canvas. Sometimes you may want to
change the angle of a tangent line without changing its length. To do this,
select an anchor point and position the mouse pointer just to the right or left
until the cursor changes into a hollow arrowhead:
When it does, click and drag the tangent line to change its angle...
The angle of the handle will change, but not its length.
Lesson 11: Shortcuts And Pointers For The
Pen
Table of Equivalent Terminology
The following table shows which
terms are equivalent between Deneba Canvas™, CorelDRAW®, Adobe® Illustrator®
and Macromedia® FreeHand® and are presented here to sort out any possible
confusion where mixed terminology has been used in this web site:
CorelDRAW |
Deneba |
Adobe |
Macromedia |
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Lesson 12: Using Masks in Illustration
Programs
A mask is a vector path which
allows part of an object to show while blocking out the rest effectively making
part of it transparent. A mask in an illustration program is functionally
equivalent to a clipping path in an image editor (more).
1. Take for example a photo. You can create a mask which will knockout the
background.
2. Using the Pen, draw a path around the bird in the photo.
3. This is a view of the path only.
4. When the path is made into a mask and combined with the background image,
the background becomes transparent.
5. Masks can be made to create many kinds of effects. A type mask can be
combined with a background photo.
6. This is the mask created by converting type to curves.
7. This is the type mask when combined with the background image.
Lesson 13: Porting a Masked (Cropped) Bitmap
From CorelDRAW® 8
In CorelDRAW 8 you may have a
cropped bitmap image either by importing an EPS file with an embedded clipping
path (using File > Import > PostScript® Interpreted [EPS]), or by
loading a bitmap image and using the node editing tools to create the cropped
outline. This tutorial outlines the steps to export the cropped bitmap as a PDF
file.
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Note: When an EPS image with a clipping path
is imported into CorelDRAW, it is defined as a "cropped bitmap"
where the bitmap and its mask become a single object. CorelDRAW also has a
"PowerClip™" feature which is equivalent to a clipping path or mask
in other drawing programs where the vector mask and bitmap image are separate
objects. |
1. Launch CorelDRAW 8 and either
load the cropped image or load a bitmap and use the node editing tools to
create the cropped outline. This is what the image looks like in "Normal
View":
2. Click the pulldown on the toolbar to change to "Wireframe View".
This will reveal the cropped outline (mask).
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Note: At this point it would seem that the
most straightforward method of creating a PDF would be to use "File
> Save As" or "File > Export" and choose the
PDF file type. However, it has been my experience that Adobe® Acrobat®
Distiller® produces the most consistent results for this purpose. |
3. Click File > Print to reveal the humongous print dialog. You need
to check all the settings that can affect the masked bitmap. First select the
Distiller Assistant printer driver:
4. In the Separations tab, make sure the "Print Separations" check
box is unchecked (we want a composite color output):
5. In the PostScript tab, there is a check box for "Output color bitmaps
in RGB". In this case we want to make sure the bitmap gets printed
as RGB. Also notice the check box for JPEG compression. Make sure this is not
checked. The "Set flatness to:" is set to 1 in this example. This is
the setting for the mask. The lower the number, the closer the mask will
conform to the curves.
6. In the Miscellaneous tab there is a whole bunch of stuff to check. In the
"Special settings" section there is a scrolling box with a lot of
options. Notice the one: "Print bitmaps as RGB". Next click the
"Set Profiles" button up there on the right...there's no way around
it...this is an Advanced tutorial.
7. For now let's not use any color profiles. Make sure the composite printer
profile is set to "None". This relates to step 4 above. If we had
wanted separations, you would check the profile for the separations printer.
Click "OK" then click the "Print" button when you return to
the Miscellaneous tab.
8. FINALLY! Distiller prompts you for a filename. Enter a filename or accept
the default, then click "Save".
Lesson 14: Porting a Masked Bitmap From
Macromedia® FreeHand 8®
You can create a masked bitmap in
Macromedia FreeHand 8 by importing a bitmap then using the pen to make the
mask. This tutorial outlines the steps to export the masked bitmap as a PDF
file.
1. Launch FreeHand 8 and File > Import command to embed or link a
bitmap image, then create the mask with the pen. This is what the image looks
like with nothing selected:
2. Click View > Keyline to view the mask:
3. Click File > Output Options, then uncheck "Convert RGB to
process" since this example is an RGB image. Select a flatness of 3 so the
mask will conform closely to the curves.
4. Click File > Print. In the print dialog select the Distiller®
Assistant printer driver, then click the "Setup" button.
5. In the Separations tab select "Composite".
6. The output options (in step 3 above) are also available on the Imaging tab.
Click "OK", to return to the print dialog, then click "OK"
to print.
7. Distiller prompts you for a filename. Enter a filename or accept the
default, then click "Save".
Lesson 15: Porting Masked Bitmaps Between
Illustration Programs
Whereas the best format to port
straight vector files is generic EPS, I have found that the most reliable
format to port a bitmap image with a vector clipping path or mask is PDF
(Adobe® Acrobat® Portable Document Format). There is more than one format you
can use to successfully port masked bitmaps between applications but I think
that the format that works most reliably and consistently between Deneba
Canvas™, Adobe Illustrator®, CorelDRAW® or Macromedia® FreeHand® is PDF.
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Note: There is one proviso to using PDF as a
means to port vector images and that is if you are using the RGB color space,
you should use "Save As" or "Export" from Deneba Canvas
Adobe Illustrator, CorelDRAW or Macromedia FreeHand to create the PDF file.
If you use the "Print" output channel (such as when using Adobe
Distiller®) all the RGB data may be converted to
CMYK in the process - depending on the version of Acrobat. Refer to the Adobe
technical document number 320683 at their web site: |
Porting a masked bitmap involves using either File > Save As (for
RGB) or File > Print (for CMYK) as an output channel. A PDF file is
generated by the File > Print command where the output is sent to
FILE instead of the printer. These files are then transformed into PDF format
through the use of Adobe Distiller. The PDF file can then be imported into the
target application where the masked bitmap will be available for editing.
Below is a chart which illustrates the use of the Portable Document Format as a
means to port masked bitmaps between Deneba Canvas, Adobe Illustrator,
CorelDRAW or Macromedia FreeHand:
Below are the step-by-step tutorials which outline exactly
how this is done:
Once the masked bitmap has been ported to a PDF file, the PDF file can simply
be opened in either Deneba Canvas, CorelDRAW, Adobe Illustrator or Macromedia
FreeHand using the File > Open command.
Lesson 16: Moving Clipping Paths Between
Photoshop® and Corel® PHOTO-PAINT® 8
Adobe® Photoshop and Corel
PHOTO-PAINT 8 are two image editors with the capacity for incorporating vector
paths. You may want to use both applications on a single image (Corel
PHOTO-PAINT 8 creates an excellent path from a selection mask [alpha channel] with
a single click).
Exporting an image and its
clipping path from Corel PHOTO-PAINT 8 to Photoshop involves first saving the
path in Corel PHOTO-PAINT 8, then exporting the image as an EPS file (the EPS
format is the only format where the clipping path can be exported). Adobe
Illustrator® is used as a "go-between" application which will read
the EPS file and allow the clipping path to be copied and pasted into Photoshop
via memory. The following chart illustrates the method:
Moving an image with its clipping path from Photoshop to Corel PHOTO-PAINT 8
requires no special steps. Corel PHOTO-PAINT 8 will open a native Photoshop
.PSD file directly and any embedded paths are accessible from within Corel
PHOTO-PAINT 8.
Below are the step-by-step tutorials which outline exactly how this is done:
Moving a clipping path from Photoshop to Corel PHOTO-PAINT 8:
1. Within Corel PHOTO-PAINT, click File > Open. Load the
Photoshop .PSD file with the embedded clipping path.
2. Click the pull down next to the "WorkPath" on the tool bar or
double-click the Path Node Edit Tool to bring up the Tool Settings and Click
the pull down next to the "WorkPath" on it. You will see the path
name of the embedded path. Click it.
3. The path will load and it is available for editing.
Lesson 17: Extracting Clipping Paths From
Corel® PHOTO-PAINT® 8
There is one drawback with the way
Corel PHOTO-PAINT 8 handles clipping paths. Corel PHOTO-PAINT 8 saves a path in
a separate file in a proprietary format which cannot be read by either
CorelDRAW® or any other application except for Corel PHOTO-PAINT. This prevents
their being opened and edited directly by any other application (CorelDRAW,
Deneba Canvas™, Adobe® Illustrator® or Macromedia® FreeHand®). An image can be
exported as an EPS file with its clipping path. By opening this EPS file in
Adobe Illustrator, the clipping path can be separated and extracted from the
bitmap portion of the image.
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Note: Corel PHOTO-PAINT 9 now saves the path
in the same file as the image. |
Extracting a clipping path from Corel PHOTO-PAINT 8 involves first saving the
path in Corel PHOTO-PAINT 8, then exporting the image as an EPS file (the EPS
format is the only format where the clipping path can be exported). Adobe
Illustrator is used as a "go-between" application which will read the
EPS file and allow the clipping path to be extracted and saved in a format
which can be used by other applications. The following chart illustrates the
method:
Once the image with its clipping path has been loaded into Adobe Illustrator,
the path can be extracted and saved as a separate vector file which can then be
edited in CorelDRAW, Deneba Canvas, Adobe Illustrator or Macromedia FreeHand.
The path also can be copied into memory within Adobe Illustrator and pasted
into an Adobe Photoshop® file as a path.
Below are the step-by-step tutorials which outline exactly how this is done:
Lesson 18: Separating A Mask From A Cropped
Bitmap In CorelDRAW®
When a masked bitmap is imported
into CorelDRAW the bitmap and its vector mask are converted into a
"cropped bitmap". A cropped bitmap is treated as a single object
where the bitmap and its vector mask are inseparable when using CorelDRAW
alone. There is no way to separate a vector mask from the bitmap unless you use
another vector application as a "go between". If you are not
importing an EPS or PDF file and intend to work with a bitmap and vector mask
as separate objects, it is better to use CorelDRAW's PowerClip™ feature
instead.
If you open an EPS or PDF file with a clipping path using the File >
Import > PostScript Interpreted (EPS) filter or if you embed a bitmap
image and crop it with the node editing tools, you may run into this situation.
Other illustration programs (Deneba Canvas™, Adobe® Illustrator® or Macromedia®
FreeHand®) treat a bitmap and its mask as separate objects when imported as an
EPS or PDF file. This tutorial uses one of these other applications to separate
a cropped bitmap into its vector and raster components.
Extracting a mask from CorelDRAW
first involves exporting the image as a PDF file (Adobe Acrobat® Portable
Document Format), then using Deneba Canvas, Adobe Illustrator or Macromedia
FreeHand to extract the mask from the bitmap. Any one of these programs is used
as a "go-between" application which will read the PDF file and allow
the mask to be extracted and saved as a vector EPS file. This vector EPS file
can then be imported or opened by CorelDRAW (as well as Deneba Canvas, Adobe
Illustrator or Macromedia FreeHand). The following chart illustrates the
method:
Once the bitmap image with its
mask has been loaded into Deneba Canvas, Adobe Illustrator or Macromedia
FreeHand, the mask can be extracted and saved as a separate object which can
then be edited in CorelDRAW or any other drawing program.
Below are the step-by-step tutorials which outline exactly
how this is done:
Lesson 19: Porting Files Across Platforms:
Overview
I've had several requests for
cross-platform tutorials. This is the first in a series of tutorials for
sharing files between Macintosh® and Windows® systems. There is good news for
porting files between Mac® and PC and that is that most all graphic file formats
will port without any modification whatsoever. You can share files between Mac
and PC versions of Adobe® Illustrator®, Adobe Photoshop®, Macromedia®
FreeHand®, CorelDRAW® and Deneba Canvas™ to name a few.
Some File Types That Port
Easily Between Mac and Windows
You can share files from
practically any application that is supported on both platforms. Although I am
unable to do a proper test of all file formats in all systems, I have a Mac-Win
network with a G4 Power Mac running OS 9 and a PC running Windows 98. On this
system I've been able to successfully port the following formats without any
problems:
File Type |
Application |
Note |
PSD |
Adobe
Photoshop |
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Please keep in mind that this is a
very limited list. There are many more formats which will port just as well.
You can even download files from
the Internet intended for one platform using the other platform to download
them. For example, it is common to download files in compressed format. You can
download PC files such as .ZIP and .EXE using a Mac and port them over to the
PC. These are WinZip, PKZIP (.ZIP) or EXEcutable (program) files on the PC. You
also can download Macintosh .SIT and .BIN files with the PC and port them over
to the Mac. These are Stuffit (.SIT) and MacBinary (.BIN) file compression
formats used on the Mac (more here on these file formats).
The Macintosh
and PC File Systems
The main difference between the
Mac and PC file systems is that some Macintosh files have two parts called
"forks" - a data fork and a resource fork. PC files have only one
part. When files are ported from the Mac to the PC, the PC recognizes the data
fork, but can't really do anything with the resource fork. Fortunately, most
graphic file formats use the data fork.
Porting Icons and Fonts Between
Mac and PC
While most application data files
port without a hitch, icons and fonts are a different story. Mac icons and
fonts are stored as resources. Fonts require special software and techniques
for them to survive the trip (more about porting fonts here). Icons are
basically images and can be converted into one of the bitmap formats then
ported as data, then recreated into icons once ported. There is a lot more to
the subject than can be adequately covered on this page, so it is only
mentioned here.
Lesson 20:
There are basically two ways to
port files between Macintosh® and Windows® platforms - over a network or by
removable media (disks). The following chart best illustrates the point:
Networking With PC MACLAN
Windows NT and Windows 2000
support the Macintosh file system and will allow connectivity to Macintosh
computers over a network. However, these operating systems are more expensive
and not meant for the freelance or
The Power Mac®
When Apple Computer introduced the
Power Mac (or "PowerPC™"), new possibilities began to open up to
bridge the gap between the Mac and Windows platforms. The Power Mac will read
and write files on PC formatted disks and translate them into the Macintosh file
system without any additional software. A Power Mac will do this right out of
the box. The Windows 95/98 operating systems, unfortunately, do not read or
write Macintosh formatted disks without special software. The Mac is friendlier
to the PC than the PC is to the Mac for this reason.
Windows 98 Second Edition
Windows 98 SE (Second Edition)
includes Internet Connection Sharing (ICS), which allows more than one computer
to use a single Internet connection. Starting with Mac OS 8.5, it became
possible to share this connection with a host PC running Windows 98 SE with
ICS. With a single Internet connection shared by both Mac and Windows computers
and by utilizing PC MACLAN, the freelance or
Porting
Files With Removable Media
Users who wish to share files
between Macintosh and Windows computers who are not connected by a network can
do so with removable media such as floppy diskettes or Zip® disks. A Mac can
read and write to a PC-formatted disk but a PC running Windows 95/98 cannot
read and write to a Mac-formatted disk without special software. If you plan to
share files between a Mac and a PC, the simplest method is to use a
PC-formatted diskette or Zip disk. You can read and write files to it with
either the Mac or PC and the files will be readable on both platforms. But if
you have a PC and you receive files on a Mac-formatted diskette or Zip disk,
then you will need a special utility for the PC to be able to read and write to
the Mac-formatted disk. Two popular packages for this purpose are MacOpener®,
available from DataViz®, Inc. of Trumbull, CT: and MacDrive®, available
from Mediafour Corporation of
The Internet - The Ultimate
Network
The Internet has proven to be the
great equalizer between users of all platforms. The Internet falls under the
category of network transfer. However, in this case, no special software is
required to port files across platforms. All that is required is that files be
uploaded to a server, then downloaded by the user via FTP or HTTP or via email
as a file attachment. Still, users must account for the differences in the Mac
and PC file systems to ensure that files reach their target as intended. For
example, users can't send Mac fonts to PC users without special preparation
(more here). I'll cover this in more detail elsewhere in this site, but it is
mentioned here as a reminder.
MacBinary,
BinHex and Aladdin Stuffit®
Whereas it is possible to port
files across platforms on PC-formatted removable media, another means is
required to port Mac files over the Internet or to copy Mac files using a PC.
In this case, Mac files have to be "flattened" using software to
encode them into a one-part file by combining the two forks together. Once
encoded, files can be safely copied using a PC. After porting the encoded files
to a Macintosh drive they can be decoded and restored.
When Mac files are available for
downloading from the Internet you will often see several file formats to choose
from. The following table describes some of the most commonly used formats:
File Extension |
File Format |
Each of these formats flatten the
two forks of the Mac file system into a single data fork which can be safely
ported between the two platforms. Files encoded with these formats can be
stored on Mac or PC disks. When ready to be used, they can be decoded on the
Mac. The following utilities will encode and decode Mac files as described
above:
MacBinary
MacBinary II+ is a freeware program available from the following link:
http://hotfiles.zdnet.com/cgi-bin/texis/swlib/hotfiles/info.html?fcode=MC12279&b=mac
BinHex 5.0 is a shareware program
available from the following link:
http://hotfiles.zdnet.com/cgi-bin/texis/swlib/hotfiles/info.html?fcode=MC11162&b=mac
BinHex
HQXing 1.3 is a freeware program
available from the following link:
http://hotfiles.zdnet.com/cgi-bin/texis/swlib/hotfiles/info.html?fcode=MC18910&b=mac
One means of flattening Mac files
is to use a file compression utility such as Stuffit, available from Aladdin
Systems of Watsonville, CA: Stuffit can encode and decode files using the SIT
format. The SIT (Stuffit) format on the Macintosh is equivalent to the ZIP
(Winzip or PKZIP) format on the PC. Each of these formats is virtually the file
compression standard for their respective platforms. Aladdin Systems offers
shareware programs at their web site to encode and decode Mac files into the
Stuffit format. The Aladdin Expander™ is available for the PC and The Stuffit
Expander™ and DropStuff™ are available for the Macintosh. A commercial version
of DropStuff is available for the PC.
The Mac shareware Stuffit Expander
program will decode all of the above formats and the Mac shareware DropStuff
program will encode in all formats but MacBinary.
Aladdin offers Stuffit Deluxe™ as
a total solution for all of the above formats but it is strictly a commercial product.
However, it is very convenient on the Mac. Stuffit Deluxe will encode and
decode Mac files in all of the above formats (even the ZIP format), thus
simplifying the situation by using a single application for all formats.
Lesson 21: Using a Matte Color When Creating
Transparent GIFs With CorelDRAW®
Using a matte color for a
background will help blend the edges of anti-aliased objects when making
transparent GIFs.
1. The frames used in the
following animated GIF were created in CorelDRAW. The background was set to
gray because the animation was to be displayed over a gray background. When
each frame was exported as a transparent GIF, CorelDRAW blended the anti-alised
pixels into the background color. In this fashion, the background color
functioned as a matte.
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2. For each frame you export, you
will see a dialog similar to the one below. When you export an image in the GIF
format, select "Paletted (8-Bit)" for the color depth (underlined
below). If you choose "Anti-aliasing" (circled below), Coreldraw will
blend the anti-aliased pixels into the background colour.
3. If you export the frames in the
GIF format, you will also see a dialogue similar to the one below. In this dialogue
you can select the transparent colour. You can use the Eyedropper (circled
below) to select the colour in the image preview pane. Click the Eyedropper to
select the transparent colour from the preview.
4. Using the Eyedropper, click
anywhere in the background.
5. To preview the transparency,
click the "Preview" button. You can see the effect of the transparent
color in the "Result" pane on the right.
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Note: The color designated as the transparent
background color is just another color in the palette. It can happen that the
color you select also occurs in some of the pixels in the image itself. In
this case there will be transparent voids in the image. If this occurs then
pick another color for the matte - even if only similar to the color over
which the image will be displayed. |
6. When the exported frame is
opened in an image editor, you may see the solid background color (below left).
Depending on the application in which it is opened, the transparent color may
appear as a checkerboard pattern (below right).
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7. To see the effect of the matte
color, zoom in to see the individual anti-aliased pixels. In this case you can
see that they have been blended into a gray background.
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