Published for the Association of CorelDRAW® Professionals (ACDRP) / www.coreldrawpro.com
CorelDRAW
®
Pro
the entrepreneurial
magazine for
CorelDRAW®
users worldwide
February 2008
► New Tone Curve
in X4
► New Template
Features in X4
► Beauty Masks
► Function Keys &
Hot Keys
Cover Art
by
RamilBaylon
Details on page 6
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CONTENTS

OPPORTUNITIES:
How to Profit
5 Graphics News Wire
7 About the Cover
9 Inside ACDRP:
Looking Forward
38 GNN Network
39 Marketplace
40 Contributing Writers
26

Book
Review: Color
Management
for CorelDRAW
by David
Milisock
10 Using CorelDRAW: Beauty
Masks:
Using PHOTO-PAINT’s
Masking Tools to Perform Digital
Plastic Surgery by Bill Leek
13 Using CorelDRAW:
Function Keys & Hot Keys
by Dave Demoret
15 CorelDRAW Applied:
Creating & Using Template
s
by John McDaniel


50 Years for Awards by Kay in
Sacramento
by Otis Veteto
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GRAPHICS NEWS WIRE
February 2008
Product News Headlines:
Calendar

(Web Link)
Check out the upcoming training
classes and trade shows of
interest to CorelDRAW users.
● New Unisub catalog released
● ASI president co-authors
management book
● MHM offers Film Positioning Unit
● Great Notions offers embroidery-
look printable designs
● PSI expands Home Décor line of
sublimatable items

catalog
● Transfer Express has Easy
Print® soccer numbers
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NEWS
DETAILS
(Click Here)
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About the Cover
THE FRONT SECTION
First, I copied the original image (downloaded from the internet) into CorelDrawX3.
Then I drew the contour line of the car using the Freehand Tool to obtain exact
dimension and proportion. I chose to draw first the front portion of the car – the cross-
like figure above the bumper. Each rectangular object was drawn carefully. Using the
Fill Tool, I rendered appropriate color by utilizing the preset fills and customizing until
the right color combination was obtained. Its frame holding the cross-like figure was
rendered with Mesh, but only to a certain extent.
After this was completed, I built the screen on its radiator. First, I drew a separate
shape somewhere outside of the image to spare any unnecessary movements in
objects. Then I created a small rounded rectangular object. I copied one and had
it placed next to the first object. I repeated this action until these small rectangular
shapes would be enough to cover the object supposedly where the radiator screen

Drop Shadow.
THE HEADLIGHT SECTION
Like the insignia, the headlight image is also blurry. You could not exactly figure out
how it may look like up close. By zooming out, you could see what the image would be
like. The shapes here were easy to draw and so were the effects. I have manipulated
the preset Fill Tool, and also the Interactive Transparency Tool for this.
THE BODY SECTION
Basically, the shapes and objects involved in designing the main body were pretty
simple. There were not many curves to deal with. Like the hood, there was a lot of
Mesh being rendered in here, and for hours, I had to carefully make the surface smooth
with precise application of color as well. The insignia seen here isn’t recognizable, so
I instead put the Dodge name on it along with the logo.
THE UPPER SECTION
The windshield had actually no transparency visible based on the original image,
maybe partly because it was set on a black background. Here, I set the transparency
in a way that the glass would appear a bit obvious, without necessarily compromising
its transparent characteristic, thus showing what is inside of the car. The seats were
mostly done with Interactive Transparency Tool as well.
THE HUBS AND TIRES SECTION
I had to trace the hubs and applied the color a bit lighter than the original.
Although this was simple, careful attention to the details was necessary. Since one
hub comprised several objects, the challenge was how you could arrange each object
in a way that it is placed on its appropriate layer. Otherwise, one object would cover
the other one, making the design simply distorted.
Now for the tires, which were very tricky because you could not perfectly figure
out how the ‘stripes’ or ‘cuts’ or basically the design of the tire would look. It’s difficult
to see it due to its dark color. So I copied the image, pasted on MS Photo Editor and
adjusted the brightness so that I could see even the slightest hint of the way the tire is
designed. I had to crop the image in its tire area and brought it back to CorelDrawX3
and traced it. It worked for me although it took me a hell of my time. I copied the

HEADLINES, now on its 8th year. I am working here as Art Director. Along the way,
I had some part time work with an advertising firm called SignWrite Advertising. We
did graphic designs for sports cars and motorcycles and other outdoor ads. We used
a printer-plotter to cut the stickers. I also had a stint working in a card company,
which is where my skills in CorelDraw jumpstarted. I designed hundreds of logos for
corporations and schools.
Presently, I am still working as Art Director but contemplating in working abroad.
From time to time, I am accepting freelance online design projects. My most loved
design software is CorelDrawX3, but I also use Illustrator if necessary. Other design
programs I am proficient with are CorelPhotoPaint, Freehand, Fireworks, Photoshop,
Pagemaker, QuarkXpress, FrontPage, and Powerpoint.
I can be reached at (+63)(033) 328-5623 / 320-8076 (office numbers) or by email
at [email protected], [email protected]
Here is a link to my work: http://www.flickr.com/photos/18223199@N04/
About the Cover
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Inside ACDRP
By Mike Neer,
Executive Director
Looking Forward
FEBRUARY 2008
Published by Association of
CorelDRAW® Professionals
President: John H. McDaniel
Vice President: Judith McDaniel
Executive Director: Michael R. Neer

month which certainly opens the door to more productivity
with our graphics skills – and makes getting up to speed on
the new program a priority for most users.
Inside this issue
We will continue to bring you regular articles that will
help use CorelDRAW X3 and get acquainted with X4. For
example, in this issue, you’ll find an excellent article by Bill
Leek on how to use masking to enhance a person’s look
in a photo. Dave Demoret spells out for you how important
keyboard shortcuts are and why you’re “losing time” if you
don’t use them.
Then John McDaniel starts a new series on CorelDRAW
Applied, where he explores how the new template process in
X4 can be used to make you more productive. David Milisock
shows you why the new Tone Curve in X4 is so valuable,
and demonstrates a few ways to use it.
Also in this issue are stories that show you how to
apply CorelDRAW to specific processes or help you expand
your knowledge of these profit centers – screenprinting,
sublimation, sandblasting, and engraving. In fact, Deborah
Sexton reviews All-Inclusive Screen Printing equipment.
Finally, we have Donna Gray discussing how to prepare
your business for a visit from the unpredictable Murphy, and
Otis Veteto reports on the 50
th
anniversary of Awards by Kay
in Sacramento.
On the road
Plans are underway for the 2008 version of the Making
Money with CorelDRAW Road Show. The format has been

Apparel.
It’s going to be a good year for exploring new
opportunities for growth. Start your education with the articles
in this issue, and we hope we’ll see you on the Road later
this year!
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Using CorelDRAW®
Training
By Bill Leek
Beauty Masks:
Using PHOTO-PAINT’s Masking
Tools To Perform Digital Plastic Surgery
I rarely receive a photo from a client that can’t be improved with a variety of
digital retouching techniques. This is particularly true with portrait photos. Corel
PHOTO-PAINT® comes with a varied assortment of retouching tools. The key is to
use the tools subtly and selectively. Just as in real life plastic surgery, we do not want
to drastically change a person’s appearance. Plastic surgery, when overdone, can
produce disturbing results. We do not want to lose our subject’s overall appearance
and personality. When digital plastic surgery is done right, the subject should say,
“That’s a great picture of me!”
In this article we will use the BRUSH MASK in conjunction with several other tools
to retouch a woman’s face. Our subject is middle aged with a blotchy red complexion
(too much Texas sun) and some wrinkles that need to be smoothed out. We will also
add a little sparkle to her earring to add interest.
Definitions
Before we go forward a few definitions are in order:

brush will reveal the underlying pixels and remove the red transparency mask. If
we select too large an area we can come back with the – brush to deselect those
pixels.
At this point we can click on MASK on the upper menu bar, then select MASK
OUTLINE, then FEATHER. Feather the mask a few pixels (10-15) with AVERAGE
mode selected.
Before and After Images
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Training
Using CorelDRAW®
Next click on MASK, then SAVE, then select SAVE AS CHANNEL. Save this mask as an alpha
channel named WRINKLE REMOVAL. We can always reload this mask in the future and make
adjustments to it.
To remove the selected pixels we will use Gaussian Blur. Click on EFFECTS on the upper menu
bar, then select BLUR and then choose GAUSSIAN BLUR. In the Gaussian blur dialog box, adjust the
radius control while observing the preview image. Start with just a small radius and watch the wrinkles
disappear. When happy with the results, click OK.
Select MASK again from the upper menu bar, then pick remove. The red transparency mask will
disappear and the entire image will be displayed with the wrinkles reduced in the selected areas. This
step is done. If it is necessary to go back and make more adjustments, we can load the wrinkle removal
alpha channel at any time.
RED FACE ADJUSTMENT
We need to reduce the red in the woman’s face without changing the bright red clothing in the
image.
First we will select the BRUSH MASK tool and specify a slightly smaller brush diameter. Click on
the + mode and then draw an outline of the mask around the face and the neck.

using a small diameter brush mask
setting. Save the mask as a
channel called EARRING.
Click on ADJUST, then HUE
/ SATURATION / LIGHTNESS,
and then select the YELLOW
channel. Increase the HUE,
SATURATION and LIGHTNESS
sliders to brighten up the earring.
Then click OK.
Sharpening the selected earring will add some more
sparkle. Select EFFECTS from the TOP MENU BAR. Next
select SHARPEN and then UNSHARP MASK. Using a
very low THRESHOLD SETTING (less than 9), increase the
PERCENTAGE SLIDER until you see the desired effect. Then
click OK.
We can now remove the mask and we are finished with
our retouching exercise.
SAVING YOUR IMAGE
If you want to retain your saved ALPHA CHANNEL masks,
save the image in the program’s CPT file format. You will also
wish to flatten the object layers with the background and save
the finished image as a TIF or JPG file.
Conclusions
These retouching techniques can greatly add to the value
of your work. They just take a few moments’ effort. These
articles are brief by necessity. I will continue to add similar
articles that I hope will help you with everyday problems. I’d
appreciate your input. If there are specific areas you want to
cover, I can address them in future articles.

this simple for those who
are intimidated by the
keyboard. Don’t Try To
Memorize. The simple fact
is that if you will just read
you will automatically begin
using the function keys
and hot keys, without any
noticeable effort !
Take a look at the pull-
down menu shown here.
Select a function you might
use on a daily basis. Now
look to the right side of
the column for a shortcut
key. If you see one, like
F4 or Ctrl+Z, just take a
second to read it. Realize
that these are given to you
each time you mouse your way to these pull-down menus. Without anymore effort
than that,you will find that in a short time you will think…’I need to undo what I just
did…Oh, Ctrl+Z’.
Still Need to Know Why?
Okay, here is why and the advantage to using the keyboard.
Let’s take the common step of ‘copy’ & ‘paste’. Many people do this several times
a day. This is the usual procedure and I’m going to do this step by step.
1. Move your mouse to select the object.
2. Left click on object
3. Move mouse to Edit on Menu Bar
4. Left click on Edit

game and 3-5 if you think about it.
Again, this doesn’t sound like a lot but, given that you do
this several times a day and several times per design, this is a
lot of time. If you begin using the keyboard on a constant basis
you will save time in almost all your tasks. If you break this
down to a percentage, you will see that 6-7 seconds –vs- 2-3
seconds is as much or better than 50% savings in time. Same
with 9-10 –vs- 6-7. Again 50% or better!
One of the nice ancillary benefits of using the keyboard that
I’ve noticed in myself and others is that once you start using
it regularly you are less intimidated by designs and you will
be much more confident in using CorelDRAW for any graphic
application.
BOTTOM LINE
This is what we are all concerned about if we are in
business to make a profit. I’ve seen many people increase
their designing speed and reduce the amount of time spent on
the computer. This translates into more time spent on other
things like production, getting the books or paperwork done,
and even more time with family, or leisure time.
One gentleman, after taking a workshop, came up to me
and said this: ‘Dave, I have a staff of graphic artists and we
can do everything you did here today, but you just showed me
how to do in 20 to 30 minutes what takes us an hour or more.
Do you know how much time savings that is? I could have paid
twice what you charged for this class and been happy.’
There was nothing special about his workshop. Nothing
special in what or how I taught, other than stressing and using
throughout the workshop the need and the uses for utilizing the
keyboard. Function Keys and Hot Keys can save you enough

people understand and profit from learning CorelDRAW. He
has been in both the Flat Graphics Industry and the Decorating
Graphics Industry over the past 30 years. He has written
several articles for Screen Graphics Magazine on Color
Control & Matching in the past. Dave has used CorelDRAW®
since version 3 and became a CorelDRAW Training Partner
in 2006. During the past 5 years he has been conducting
workshops all over the U.S. and is the author of several Video
CDs & Instructional CDs on CorelDRAW. Dave continues to
conduct workshops in the U.S. & also worldwide online. He
can be reached at 765-DO COLOR (362-6567) or by email at
[email protected]
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CORELDRAW APPLIED
By Judy and John McDaniel
Applications
Last time we provided an overview of what’s new
in CorelDRAW Graphics Suite X4. This time we’ll start
exploring some of the new features that we like and
think you might find helpful.
But, we’re not going to just explain a feature, and
let you figure out how it might be useful. In the many
Creating & Using Templates
years that we’ve been helping folks figure out “How do I
get CorelDRAW to …” (fill in the blank). The questions
we’ve answered have been primarily focused on

be accomplished in older versions. We won’t go back
beyond 12. Most people we’ve talked with are using
X3; a few are still using 12. So we’ll cover those
versions in addition to X4.
Picture 1: The New from Template
dialog screen for X3.
Picture 2: The New from Template screen for X4. It
has been greatly enhanced, allowing you to see all
templates, templates by type, or by industry.
Picture 3: X4 also allows you to access
templates that you have created.
Starting a New Project with a Template
Templates have existed in CorelDRAW for a
number of versions. They are designed to speed up
your workflow. Rather than having to create everything
in your layout from scratch, they give you a framework
that you can modify -- and perhaps some inspiration for
your own creation.
In some cases, templates are also useful to show
customers alternate possibilities. It can help them arrive
at a decision. For many years, we had customers visit
our store looking for an award plaque and not quite
knowing what they wanted to say. That prompted us to
create the Words for Plaques CD and Manual which
provides suggested plaque layouts by category. Once
your customer makes a decision, then the template
provides a base graphic you can modify to get the job
done. [Editor’s Note: Words for Plaques is available
in the CorelDRAWPro Bookstore.]
►