Powerful CorelDRAW Shaping Commands for Corner Effects

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The applications and features described in this tutorial require CorelDRAW Graphics Suite X3 or newer to be installed.

The three new shaping commands available since CorelDRAW X3 enable you to apply corner effects to vector paths, eliminating what would otherwise be a time-consuming manual operation. You can now instantly apply fillet, scallop, and chamfer shaping commands to create curved, reverse-curved, or beveled effects at specified distances across an entire path or at the node level. These time-saving shortcuts will enable you to create a variety of complex effects for object corners, such as the one shown below.

In this optical illusion of an intertwining and overlapping path, a series of rectangular shapes were used as the framework for a continuous closed-outline object. The outline was thickened and converted to an object. Then, fillet and scallop commands were applied to specific corners (shown below). The overlapping illusion was created by using carefully placed white rectangles. Let's take a look at a few more practical examples and explore how these different effects can be applied in other common tasks.

Fillet for curved corner effects

The filleted corner effect applies uniform and concentric roundness around a point at a specific radius, enabling you to convert a sharp corner to a rounded corner. The filleted corner is a common design effect.

In the example shown below, an optical illusion is created by rounding one or more corners of a carefully placed series of rectangles. To create the illusion of bent wire or tubing, specific corners were filleted with values either equal to, or half of, the width of the rectangles. A white outline was then applied to visually separate the brown-filled shapes.

In the example shown below, the outline shape of a cactus was created from combined rectangular outlines. The welded rectangles were broken apart at the base and a simple thick outline was applied. The outer corners of the cactus branches were rounded by using the fillet command, which creates the effect much faster and more accurately than simply combining rectangles with rounded corners.

Scallop for reverse rounded corners

The scalloped corner effect instantly applies concentric reverse-rounded corners to objects that result in a seashell-like effect, which is essentially the opposite of the filleted effect. Like the fillet command, the scallop command can be applied at specific radius values. Although not as commonly used as the rounded corners, the scallop effect is equally as useful in eliminating the time required to manually create similar effects. In the example shown below, certain objects in this arrangement were given scalloped corner effects along with alternating bitmap fills to create a wood pattern tile.

A closer examination (shown below) shows the shaping effect at the corners of the tile.

In another example of scalloped corners, this matted photo uses scalloped corner effects to frame a photo subject. To create the cutout shape, the rotated square in the center was combined with a larger rectangle. The drop shadow applied to a duplicate object simulates the depth between the matte and the photo surface, while a copy of the original scalloped corner square was enlarged and outlined to emphasize the cutout shape.

Chamfer for flat corners

The chamfered corner effect applies a simple bevel concentrically around a point at a distance, enabling you to convert a sharp corner to a flattened corner. The chamfered corner is perhaps the most versatile in drawing, enabling you to quickly convert sharp corners to precise and uniformly angled corners with a single click.

In the example shown below, the teeth of a mechanical gear were created from a simple star shape. Using the Polygon tool, a 2-inch square, 20-point star outline with a sharpness of 53 was created and converted to curves. A chamfer shaping command set to a distance of 0.2 inches was applied to instantly bevel all corners on the object. By varying the object size, points, sharpness, and chamfer distance, you can use this same technique to quickly create any gear shape.

How corner effects work

As mentioned earlier, fillet, scallop, and chamfer effects enable you to apply rounded, reverse-rounded, or flat effects (respectively) to the angled corners on an open or closed path. You can apply the effects at specific distances (shown below).

The effects are applied using the familiar docker interface (shown below), much like the trim, weld, and intersect shaping commands. To open the docker, choose Windows > Dockers > Fillet/Scallop/Chamfer. This simple docker includes an Operation list box to choose the effect style, a field to specify the Distance or radius, and an Apply button

.

If you're new to applying docker effects, you can get your feet wet with corner effects by following these simple steps:

  1. Use the Pick tool to select an object. Choose a simple object comprised of straight line segments, such as a rectangle converted to curves or straight line segments comprising an open or closed path created with the Bezier tool.

  2. If it isn't already open, choose Window > Dockers > Fillet/Scallop/Chamfer to access the corner effects.

  3. Choose a style from the Operation list box, type a radius or distance value (shown below), and click the Apply button.

  1. That's it, you're done. Notice the corner effect you selected is applied to all points where corner nodes joining straight lines exist on your object (shown below).

Using the above steps applies the effect you selected across the entire shape. There is, however, a second method you can use to apply a more localized effect to specific points on your shape. This will enable you to selectively apply corner effects without affecting all corners at once. Here's how to do it:

  1. Use the Shape tool to create a simple object comprised of straight line segments fashioned into an open or closed path.

  2. Click to choose one of the path nodes or Shift-click to select multiple nodes on the object to make a node selection (shown below).

  1. On the Fillet/Scallop/Chamfer docker, choose a style from the Operation list box, type a radius or distance value, and click the Apply button (shown below).

  1. Your effect is applied (shown below). Notice that this time the effect was applied only to the corner node(s) you selected.

There are some considerations you'll want to keep in mind as you apply your corner effects. These include things such as the usual object suitability, practical limitations, and alert dialog boxes you may encounter as you become more familiar with the Fillet/Scallop/Chamfer commands. Here are a few guidelines you may wish to follow before applying your corner effects:

  • Size matters (really) - If the distance or radius value you're attempting to apply to your object is larger than the object corner(s) can accommodate, the effect will not be applied. Instead, CorelDRAW will display a warning dialog box (shown below) enabling you to proceed with the compatible corner effects only, or decline the command.

  • Use only straight segments - Corner effects can only be applied to corners joined by straight line segments. This means that if you attempt to apply a corner effect to an ellipse-shaped object or a shape involving curved segments, the corners involving the curve segments will not be involved in the effect.

  • Curve paths only please - Although the terminology may be confusing to vector-drawing newcomers, a curve path is simply a series of nodes joined by line segments that have no dynamic effects applied. Corner effects can only be applied to undistorted open or closed vector curve paths, which means that objects with distortions applied with the Interactive Distortion or Interactive Envelope tools and dynamic objects created with the Rectangle, Star, Perfect Shape, Artistic Media, or Text tools are ineligible unless first converted to curves. If you attempt to apply a corner effect to an object created with one of these tools, CorelDRAW will display a friendly reminder (shown below) enabling you to automatically convert the object or decline the command. You can easily convert any object to curves by right-clicking the object and choosing Convert to Curves from the pop-up menu, by choosing Arrange > Convert to Curves, or by using the Ctrl+Q shortcut.

  • Control objects are compatible - You can apply corner effects to objects acting as control objects that have had effects applied with existing dynamic effect tools ¾ such as Interactive Blend, Interactive Contour, Interactive Drop Shadow, and Interactive Extrude tools. Provided, of course, that the objects are curve objects (or can easily be converted to curves).

  • Corner effects are not dynamic - Corner effects applied with the Fillet/Scallop/Chamfer docker are not dynamic, which means you cannot edit the properties of a corner shape once it has been applied.

  • Sticky docker values - CorelDRAW stores the last-used distance or radius value for each corner effects in the docker as the default. This means as you switch between corner effect styles, the values may change. It may be worthwhile to re-check your values before clicking the Apply button.

Like other invaluable effects in CorelDRAW, the new fillet, scallop, and chamfer shaping commands help you to solve common drawing challenges without compromising accuracy. Now that you've explored the possibilities, I'm sure you'll agree that working yourself into a corner doesn't get much better than this.

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Taking Corel PowerTRACE for a Test Drive

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The applications and features described in this tutorial require CorelDRAW Graphics Suite X3 or newer to be installed.

Someone hands you a printed logo, when what you really need is a digital vector file-preferably in CorelDRAW® (CDR) format. If you've run into this scenario before, you may already know how time consuming the manual conversion process can be. Adapting images from the physical world into the digital vector realm often requires hours of work and a mastery of drawing tools. If you own CorelDRAW® Graphics Suite, you've got a powerful tool to help with the heavy lifting! In this tutorial, you'll discover how easy it is to convert pixels to vector shapes with Corel® PowerTRACE™. We'll tackle a bitmap-tracing project that will enable you to quickly produce an accurate two-color vector version of a logo design. Along the way, you'll learn how to use many of the powerful new features engineered into Corel PowerTRACE that make the process fast and efficient.

A Primer on Corel PowerTRACE

If this is your first tracing experience using Corel PowerTRACE, some advance orientation may help demystify the tools involved. With a bitmap selected in CorelDRAW, Corel PowerTRACE becomes available through the Trace Bitmap command on the property bar.

You can instantly trace a selected bitmap using default settings by choosing Quick Trace from the Trace Bitmap selector, which applies the trace without opening the PowerTRACE window. There are also six modes that you can choose from depending on your tracing requirements. The window (shown below) is divided into two basic areas. The left side of the window displays a preview of your trace results while the right side features two option areas.

Across the top of the window are viewing and zoom tools, and across the bottom below the progress bar are Undo, Redoand Reset buttons (as shown below).

If you have previous experience applying bitmap filter effects in CorelDRAW or Corel PHOTO-PAINT®, the PowerTRACE tools will seem like familiar territory. The Options tab is divided into several key areas including the trace controls, color mode and trace options. The Trace result details area (shown below) plays a key role in providing critical information as you adjust the tracing options. The Colors tab includes controls that let you manipulate the color space of the traced results. Follow the tutorial steps below to explore how easily these tools can be applied and modified to produce exactly the tracing results you need.

Before You Begin

The bitmap image you are tracing in Corel PowerTRACE will very likely come from one of two sources: a file that is either prepared in a drawing or bitmap-editing application and exported to one of the many available bitmap formats from such an application, or; a file acquired via an image-capturing device such as a scanner or digital camera.

The source of your bitmap image can significantly influence its inherent quality. Software-sourced bitmaps are the best to work with, while scanned images often require some refinement before they can be accurately traced. In the steps that follow, we'll look at both scenarios.

Download and extract these sample logos saved in Corel PHOTO-PAINT file format to get started. Both are CMYK bitmaps that have an image resolution of 200 dpi and depict the same logo. The first version we'll trace was exported from a drawing program (CorelDRAW) while the second one was scanned by using a consumer-brand flatbed scanner. Our goal will be to produce a useable vector version of the logo prepared in two PANTONE® spot ink colors.

Tracing an Exported Bitmap

  1. In a new CorelDRAW document, import the sample_logo_1.cpt bitmap (shown below) onto your blank page.
  1. By default, the imported bitmap is selected with the Pick tool. Click the Trace Bitmap flyout on the property bar, and choose Logo (as shown below).
  1. Notice that Corel PowerTRACE immediately launches and produces a preliminary trace of the bitmap. The Smoothing and Detail sliders at the top of the Options tab are automatically set. The preview window currently displays a split-screen preview of the Before and After results (as shown below), and the Trace result details area indicates that there are 10 curves comprised of 169 nodes and 3 colors.
  1. Since the background of our logo sample is white, Corel PowerTRACE automatically detects and eliminates the surrounding background color. To remove the white area in the interior of the bitmap, enable the Remove color from entire image check box (shown below). Notice the Trace result details area now indicates that only 7 curves are detected.
  1. To check the tracing accuracy, choose Wireframe Overlay from the Preview list box. Use single left-button clicks to zoom in and single right-button clicks to zoom out to examine the accuracy of the traced paths. If needed, use the Transparency slider to adjust the visibility of the original bitmap. A close look at the upper-left corner (shown below) reveals the bitmap edges have been accurately traced.
  1. Click the Colors tab to examine the color results of the trace. Notice that three CMYK colors are listed at the top (as shown next). Our next step will be to specify these colors as PANTONE spot ink colors.
  1. Click the turquoise color in the list, and click the Edit button to open the Select Color dialog box (shown below). Click the Palettes tab, and choose PANTONE(R) solid coated from the Palette menu. Notice the PANTONE ink color equivalent of the CMYK value is automatically selected - in this case PANTONE 318 C.
  1. Enter 318 in the Name field, and click OK to close the dialog box and apply PANTONE 318 C as the new color. Notice the color list (shown below) and the trace preview is updated to indicate the ink color you applied.
  1. Click the dark blue color in the list, and repeat the previous steps to change this color to PANTONE 274 C. You are now ready to accept the trace results.
  1. Click the OK button in the Corel PowerTRACE window to return to your CorelDRAW page. By default, Corel PowerTRACE places the tracing objects as a group directly on top of your original bitmap. Drag the group to one side to see both the original bitmap and the trace objects (as shown next). The vector version of your two-color logo is now complete. If you wish, delete the bitmap version from your CorelDRAW page.

Tracing a Scanned Bitmap

In the previous steps, you traced a bitmap that originated from a drawing or bitmap-editing application. Next, we'll examine how to work with the same logo image scanned from a color hard copy and saved in the same bitmap format.

  1. To begin the process, import sample_logo_2.cpt into your CorelDRAW document, and choose Detailed logo from the Trace Bitmap flyout on the property bar. Corel PowerTRACE launches and a preliminary trace is immediately produced. Now the Trace result details area shows that 113 curves, 7707 nodes, and 15 colors are detected (as shown below). At this point we could move the Smoothing and Detail sliders to adjust the trace results and likely produce an excellent trace, but here's a chance for you to learn an alternate strategy.
  1. To refine our scanned image and improve our trace results, we're going to apply a bitmap filter. Open sample_logo_2.cpt in Corel PHOTO-PAINT. As you can see, this version includes hard copy and scanning imperfections (see below). Eliminating these anomalies will drastically improve the tracing results.
  1. Choose Effects > Blur > Smart Blur to open the Smart Blur dialog box (shown below). Set the slider to 60, and click OK to apply the effect. This operation will eliminate most - but not all - of the image's imperfections.
  1. Choose Effects > Noise > Remove Noise to open the Remove Noise dialog box (shown below). Leave the Auto check box enabled, and click the OK button to apply the filter. This will eliminate virtually all of the remaining imperfections. Save the image, and return to CorelDRAW.
  1. In CorelDRAW, import the newly adjusted version of your scanned sample logo onto a blank page. With the image selected, choose Detailed logo from the Trace Bitmap flyout on the property bar (as shown below) to demonstrate other key Corel PowerTRACE features.
  1. Corel PowerTRACE opens and displays the trace results. Once again the Smoothing and Detail sliders settings are optimized. With Detailed logo selected, notice the Trace result details area now displays 11 curves, 236 nodes, and 9 colors detected (as shown below).
  1. Click the Colors tab to view the colors detected in the trace. Hold down your Ctrl key, and click on each of the turquoise colors in the list to select all three colors. Click the Merge button located below the list to combine these colors into a single color (as shown below). With the single color still selected, click the Edit button to open the Select Color dialog box, and change this color to PANTONE 318 C as you did in the previous steps.
  1. Repeat the previous step for the navy blue colors in the list changing them to a single color. Edit the leftover color by changing it to PANTONE 274 C. Merge the remaining white colors in the list.

  2. Return to the Options tab and click to enable the Remove color from entire image check box to eliminate the interior background shapes. Notice the curve count is reduced. You are now ready to accept the trace results.

  3. Click OK to close Corel PowerTRACE and return to your CorelDRAW document. Drag the grouped trace objects to the right of the original bitmap and examine the results (shown below). Your tracing task is complete. If you wish, delete the bitmap version from your CorelDRAW page.

Although each bitmap may require its own special treatments, you can see how powerful and easy-to-use the Corel PowerTRACE features are. In only a few short steps, you've learned how to use Corel PowerTRACE to produce an accurately traced version of a complex logo using only a low-resolution bitmap as the source.

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Fast ways to copy and position objects

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The applications and features described in this tutorial require CorelDRAW Graphics Suite X3 or newer to be installed.

If you want to copy one or more objects within CorelDRAW®, you can use a faster method than copying and pasting. Here are two fast ways to copy objects:

  • Use the Duplicate command.
  • Use the new Step and Repeat docker to create and position multiple copies at one time.

Let's take a closer look at these options.

Duplicating objects

Duplicating an object with CorelDRAW creates a copy of a selected object and positions the copy according to the offset distance that you set. Unlike copying and pasting, duplicating does not place a copy of the object on the Clipboard, and it allows you to control where the copy is placed in your drawing. Since CorelDRAW X3, setting an offset distance for the duplicate is easier than ever.

To duplicate an object

  1. Select one or more objects.
  2. Click Edit > Duplicate (or Ctrl + D).
    When you duplicate objects for the first time in CorelDRAW, the Duplicate offset dialog box appears. To specify the distance between the duplicate and the original object along the x-axis and y-axis, type values in the Horizontal offset and Vertical offset boxes.
Note: Offset values of 0 place the duplicate on top of the original; positive offset values place the duplicate up and to the right of the original; and negative offset values place the duplicate down and to the left of the original.

You can change the default offset for duplicates at any time. To do this, click Tools > Options, click General in the Document list of categories, and type values in the Horizontal offset and Vertical offset boxes.

Creating and positioning multiple copies

The new Step and repeat docker in CorelDRAW lets you create multiple copies of an object and control how they are positioned.

To create and position multiple copies of an object

  1. Select one or more objects.
  2. Click Edit > Step and repeat.
  3. In the Step and repeat docker, type a value in the Number of copies box.
  4. In the Horizontal settings and Vertical settings areas, specify the settings you want.


Figure 1
The figure above shows the new Step and Repeat docker.

Examples:


Figure 2
The Step and Repeat docker settings for the figure above are:
Horizontal Settings: Spacing between objects, Distance = 0.25"; Direction = Right
Vertical Settings: No offset


Figure 3
The Step and Repeat docker settings for the figure above are:
Horizontal Settings: No offset
Vertical Settings: Offset, Distance = –0.5"


Figure 4
The Step and Repeat docker settings for the figure above are:
Horizontal Settings: Offset, Distance = 0.25"
Vertical Settings: Offset, Distance = –0.25"

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Creating a marketing brochure with CorelDRAW® Graphics Suite

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1. Preparation

The first step is to collect all your images in a folder and then make sure that they are all in the CMYK colour mode, which is the mode that is used for professional printing.

  1. Open Corel PHOTO-PAINT
  2. Select all the images in the folder by selecting the File menu | Open
  3. For each image, select the Images menu | Convert to CMYK Color
  4. Select the File menu | Save as
  5. Choose Tif as the type of file format

All the images are now ready for the printing process. As a later check you can always get information about the colour mode when you click on an image in CorelDRAW. You can then see the information about the image in the Status Bar at the bottom of the screen.

If the image is in RGB bitmap mode, select the Bitmap-menu | Mode | CMYK Colour. The second step is to draw the graphics:

  • The door
  • The light bulb
  • The starburst offer symbol

2. Drawing the background (a door)

The door will look like a modern, simple metallic door with glass. Open CorelDRAW. Start by setting up the page size:

  1. Create a new document by selecting the File-menu | New.

  2. Edit the page size in the Property Bar:


    The document will be a handy size, a little wider than an A5 page.

  3. Create a rectangle that covers the whole page, by double-clicking the Rectangle Tool.

  4. You now need to create the illusion of a metallic surface with the Interactive Fill Tool.


  5. Drag horizontally across the rectangle with the Interactive Fill Tool, and you create a gradient fill that needs to be edited. As default it will be black and white, and linear. You can edit the fill type in the Property Bar.


  6. When you have changed the fill to a Conical Gradient you need to change the colours of the fill.

  7. Select the Interactive Fill Tool once more, and you will see a half-circle with dotted lines in the rectangle.



  8. Drag a medium grey from the colour palette, which is located at the right hand side of your screen, to the first square in the dotted half circle. This way, you change the start colour. Drag a darker grey to the opposite square. And finally drag a white colour on to the dotted line. You should end up with a result like shown above.

  9. Experiment with more colours in the gradient fill by dragging more colours on to the dotted line.

  10. Create a copy of the rectangle by selecting the Edit menu | Copy and then the same menu and Paste.

  11. Change the size of this copy by clicking on it and dragging the left line to the right, the right line to the left and the bottom line upwards, creating something like this:



  12. Change the gradient fill to a dark grey to white linear gradient fill, by deleting all the colours you have inserted, until you have only two colour handles left. Select “linear” from the property bar.

  13. Create another copy of this rectangle, apply a dark blue colour by clicking on the colour in the Colour Palette, and change the width and height to make it like shown below:


  14. Finally you must create the door handle:

  15. Select the rectangle tool, and create a rectangle.

  16. Edit the size in the Property Bar to 5 x 35 mm.

  17. Round the corners by changing the corner radius in the property bar to 50:



  18. Apply a linear gradient fill to the handle.

  19. Apply a shadow to the handle by selecting the Interactive Drop Shadow Tool and dragging from the middle of the handle to the right.

  20. Remove any black outline on the handle by right-clicking the cross field in the Colour Palette.

This drawing of the door will be used as a basis for all the following 7 pages, but in slightly different ways.

3. Working with multiple pages and backgrounds

  1. Select the Layout menu | Insert Page and add 7 pages to the document.



  2. Select all on the first page by selecting the Edit menu | Select All Objects and make a copy of this.

  3. Click on page 8 in the page-section in the bottom of the screen.



  4. Paste the copy by selecting the Edit menu | Paste and the click on the Top Mirror Button in the Property Bar.

The second page will have the metal background only.

  1. Click on the background rectangle on page 1, copy it and add it to page 2.

    Page 3 will have almost the same background, but as this page will contain text that might be difficult to read, you must maintain the middle rectangle. So copy all rectangles from page 1 and paste them on page 3. Delete the top rectangle and apply a white colour to the remaining middle rectangle.



  2. Fill pages 4-7 with the same backgrounds as the front page. Just change the colour of the top rectangle to white.

  3. Delete the door handle on these pages, as we are already inside the shop.

Now you have created the basic layout of the brochure and only need to add content to the pages, which can consist of product pictures, informative text and graphic elements.

4. Drawing a starburst offer symbol

In this section, you will learn how to create a starburst symbol, which will be used on page 2:

How to create the starburst symbol:

  1. Select the Star Tool in the list of drawing tools.



  2. Drag with the tool to create a star that is twice as long as it is tall.


  3. Edit the star by changing the settings in the Property Bar.



  4. Apply a yellow fill to the star, and a red outline with a width of 2 mm. You change colours on the outline by right-clicking a colour in the colour palette. You change the width in the Outline Width field in the Property Bar.

  5. Select the Text Tool and write some text, and place the text on the star.

  6. Place the star in the middle of page 2.

5. Drawing a lightbulb

Now we will create the light bulb to illustrate the generation of ideas.

Creating the light bulb:

  1. Start the drawing of the light bulb by drawing a circle. Select the Ellipse Tool

  2. Drag with the Ellipse tool across the page.

  3. Edit the size of the ellipse in the Property Bar:
  4. Apply a radial gradient fill to the circle, starting with white and ending with yellow.

  5. To create the bottom part of the bulb, you need to create some rounded rectangles.

  6. Select the Rectangle Tool and drag a rectangle on the page.

  7. Set the size to 12 x 3 mm in the Property Bar.

  8. Apply a linear grey to white gradient fill to the rectangle.

  9. Round the corners by editing them in the property bar.

  10. Copy the rectangle 4 times and place them like shown below.



  11. Create a smaller black rectangle, and place it at the bottom of the light bulb.

  12. Place the light bulb in the middle of page 3.

6. Converting a drawing into a silhouette

  1. Make a copy of the light bulb, select it and click the Weld button in the Property Bar. In this way you connect all the shapes into one symbol. Change the colour of this symbol to nothing, by clicking the Cross field in the Colour Palette.

Use this silhouette in different places in the brochure.

The basic elements are now in place. You just need to add photos and text to finish the brochure.

7. Adding photos in random and standardised sizes

You can add photos in different ways:

On page 2 we will add images of random sizes.


  1. To place the photos on the page, select the File-menu | Import, and select all the photos.

  2. Click on the page, and the photo is placed in the original size. Drag before you click, and in this way you can manually determine the size of the photo.

  3. Resize the photos by dragging in a corner handle. Resize the photos in a randomly order.

    On page 1, 4, 5, 6 and 7 the photos will be placed in equal sizes. The easiest way to do this is to place the photos in placeholders:

  1. Create a rectangle of your desired size. On the first page the size is 35 x 22mm. On the other pages the size is 55 x 40 mm.

  2. Import the first picture to the first page, and drag the cursor around the rectangle, so it is just a little bigger than the rectangle.



  1. Select the Pick Tool and move the picture so you can see the rectangle again.

  2. Select the Effects menu | Powerclip | Place inside Container, and a big black arrow will occur.
  3. Click on the rectangle and the picture is placed inside the container.

  4. Continue with all the other pictures.

8. Creating text areas and defining style templates

There are two ways to insert text in CorelDRAW: Artistic and Paragraph text.

You can create Artistic text by clicking somewhere on the page with the Text Tool. This is mostly for headlines or single lined text like on the front page and back page of the brochure.

You can edit the text like in all other programs by selecting the text and editing the font, the size etc. in the Property Bar.



When you need multi lined text you must drag the Text Tool across the page, and you will create a placeholder for Paragraph text.

Or you can draw a rectangle of a specific size, and then click inside the rectangle with the Text Tool.

On page 3, the text container has a size of 145 x 160 mm. This container should have 2 columns in the text to make it easy to read. The light bulb is placed inside the text, with the text floating around the bulb.

Two column text

  1. When you have filled the container with text, select the Text menu | Columns and 2 columns in the Column Settings dialog box.



  2. Place the light bulb on top of the text, select the bulb and click the Wrap Paragraph Text button in the Property Bar. Select Straddle Text and 5 mm in the Text Wrap field.


  3. Continue with the text on the other pages.

The text on page 4, 5, 6 and 7 contains product descriptions.


In order to maintain a common look in your marketing materials, it is a good idea to create standard text styles that can be reused. In the product description we have used 4 styles: a headline, body text, paragraph header, bullets and a price style.

To define these styles, select the Window menu | Dockers | Graphics and Text Styles. One of the many dockers appears to the right of the document.



The docker already contains several styles. You apply a style to the text by first selecting the paragraph with the Text Tool, and then by double clicking the appropriate style.

To define a new style, you can right click in the white area of the docker, and then select New | Paragraph Text style. Immediately hereafter you can change the name of the style.

To change the look of the style right click the new style and then select Properties in the list of choices.

Make sure to select the new style, before you click the first Edit button. Now a dialog box opens.


Under the Character tab you can change the look of the characters, e.g. font, size and style.

Under the Paragraph tab you can change the appearance of the whole paragraph, e.g. alignment, spacing between paragraphs and indents.

In the “Effects” area, you can define bulleted text by selecting “Bullet” in the Effect Type dropdown.

To save the style as a template, you must right click in the docker once more, select Template | Save as, and you are now able to place this style file on your computer or the company intranet. To use the style, your colleagues need to load the template into their documents.

9. Preparing the brochure for print

The first times you send your brochure to a service bureau, it is propably best to let the people there do the prepress work for you.

  1. Select the File menu | Prepare for Service Bureau, and a small Wizard opens to guide you along in the process.

  2. When you have followed the Wizard, you will have created a folder with copies of all the files.

  3. Send this folder to the service bureau.
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