Corel PSP8 User Guide Paint Shop Pro 9.0 Manual Psp9enug

User Manual: corel PaintShop Pro - 9.0 - User Manual Free User Guide for Corel PaintShop Pro Software, Manual

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User Guide

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Trademark Information

Animation Shop, ImageCommander, Media Center Plus, Paint Shop and the Jasc orbit logo are

trademarks of Jasc Software, Inc. Jasc, Paint Shop Pro, and The Power to Create are registered

trademarks of Jasc Software, Inc. Acrobat, PostScript, Photoshop, Photoshop Elements are either

registered trademarks or trademarks of Adobe Systems Incorporated. The Postscript language is

copyrighted by Adobe Systems Incorporated. Macintosh is a registered trademark of Apple

Computer, Inc. Autodesk is a registered trademark of Autodesk, Inc. MacPaint is a product and

trademark of Claris Corporation. GIF is a service mark property and Graphic Interchange Format is

registered trademarks or trademarks of Corel Corporation. GEM, GEM Paint are either registered

trademarks or trademarks of Digital Research Inc. Digimarc is a registered trademark of

Digimarc Corporation. Deluxe Paint is a registered trademark of Electronic Arts. Kodak Photo CD

is registered trademark of Eastman Kodak Company. OS/2, Lotus 1-2-3 are registered trademarks of

International Business Machines Corporation. Dr. Halo is a registered trademark of Media

Cybernetics. Micrografx Draw is registered trademark of Micrografx, Inc. Microsoft, Windows,

Microsoft Paint, Microsoft Word, Video For Windows are either registered trademarks or

trademarks of Microsoft Corporation. CT is a registered trademark of Scitex Corporation. ZSoft

All other trademarks or registered trademarks are the property of their respective owners.

We have done our best to ensure that the material found in this publication is both useful and

accurate. However, please be aware that errors may exist in this publication, and that neither the

authors nor Jasc Software, Inc. make any guarantees concerning the accuracy of the information

found here or in the use to which it may be put.

Printed in the United States of America

First Printing

2004

Contents

Chapter 1 Getting Started . . . . . . . . . . . . . . . . . . . . . . . 1

What’s New in Version 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Installing the Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Learning Paint Shop Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Chapter 2 Getting to Know The Program . . . . . . . . . . . 9

Starting and Exiting Paint Shop Pro . . . . . . . . . . . . . . . . . . . . . . 10

Exploring the User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Using Shortcut and Function Keys . . . . . . . . . . . . . . . . . . . . . . . 11

Using Toolbars and Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Working with Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Viewing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Viewing Image Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Chapter 3 Getting Images into Paint Shop Pro . . . . . . 29

Importing Images from Digital Cameras and Scanners. . . . . . . . 30

Opening Existing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Creating Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Capturing Images from the Computer Screen. . . . . . . . . . . . . . . 41

Opening Frames from Animation Shop . . . . . . . . . . . . . . . . . . . 43

Using the Paint Shop Pro Browser . . . . . . . . . . . . . . . . . . . . . . . 44

Saving Image Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Closing Image Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Contents

Chapter 4 Customizing Paint Shop Pro . . . . . . . . . . . . 53

Using Custom Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Customizing Toolbars and Menus. . . . . . . . . . . . . . . . . . . . . . . . 56

Setting General Program Preferences . . . . . . . . . . . . . . . . . . . . . 59

Setting Autosave Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Setting File Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Setting File Format Preferences . . . . . . . . . . . . . . . . . . . . . . . . . 73

Setting File Format Associations. . . . . . . . . . . . . . . . . . . . . . . . . 79

Resetting Application Preferences . . . . . . . . . . . . . . . . . . . . . . . 80

Assigning and Viewing Shortcut Keys . . . . . . . . . . . . . . . . . . . . 81

Adjusting Monitor Display Options . . . . . . . . . . . . . . . . . . . . . . 84

Chapter 5 Improving Photographs. . . . . . . . . . . . . . . . 87

Basic Steps in Improving Photographs . . . . . . . . . . . . . . . . . . . . 88

Using the Digital Camera Noise Removal Filter . . . . . . . . . . . . . 89

Using the Chromatic Aberration Removal Filter. . . . . . . . . . . . . 92

Using the Fill Flash Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Using the Backlighting Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

How to Approach Color, Contrast, and Saturation Adjustments . 96

Fixing Photos in One Step. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Correcting Image Distortions . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Improving Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Improving Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Improving Image Clarity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Improving Saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Removing Image Defects and Noise . . . . . . . . . . . . . . . . . . . . . 110

Removing Source Defects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Retouching Photographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Chapter 6 Making Color and Tonal Corrections. . . . . 125

Key Points to Know Before Making Corrections . . . . . . . . . . . 126

How Corrections Relate to Color Depth . . . . . . . . . . . . . . . . . . 127

Adjusting the Color Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Adjusting Brightness and Contrast . . . . . . . . . . . . . . . . . . . . . . 134

Replacing Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Reducing or Removing Colors . . . . . . . . . . . . . . . . . . . . . . . . . 142

Using the Histogram to Analyze Images . . . . . . . . . . . . . . . . . . 145

Contents iii

Chapter 7 Editing Images . . . . . . . . . . . . . . . . . . . . . 151

Adding Borders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Changing the Canvas Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Combining Two Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Correcting Image Perspective. . . . . . . . . . . . . . . . . . . . . . . . . . 155

Cropping Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Cutting, Copying, and Pasting . . . . . . . . . . . . . . . . . . . . . . . . . 160

Deleting Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Flipping and Mirroring Images. . . . . . . . . . . . . . . . . . . . . . . . . 164

Repeating Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Resizing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Rotating Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Scaling and Transforming Images . . . . . . . . . . . . . . . . . . . . . . 171

Using Rulers, Grids, and Guides . . . . . . . . . . . . . . . . . . . . . . . 173

Using Undo/Redo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Warping Images Using the Mesh Warp Tool . . . . . . . . . . . . . . 178

Using the History Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Chapter 8 Making Selections in Images . . . . . . . . . . 191

Using the Selection Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Using Edit Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Adjusting Selection Borders. . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Converting a Selection into a Layer . . . . . . . . . . . . . . . . . . . . . 204

Creating Custom Patterns from Selections . . . . . . . . . . . . . . . . 205

Modifying Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Clipping a Selection to the Canvas. . . . . . . . . . . . . . . . . . . . . . 212

Moving Selections within an Image . . . . . . . . . . . . . . . . . . . . . 213

Saving and Loading Selections. . . . . . . . . . . . . . . . . . . . . . . . . 214

Working with Standard and Floating Selections. . . . . . . . . . . . 218

Chapter 9 Applying Effects. . . . . . . . . . . . . . . . . . . . 219

Choosing Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Using Effects Dialogs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Adding Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Adding Picture Frames. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Creating Your Own Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Using the Displacement Map Effect. . . . . . . . . . . . . . . . . . . . . 228

Using the Radial Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Mathematically Combining Two Images . . . . . . . . . . . . . . . . . 231

Contents

Chapter 10 Working with Colors and Materials . . . . . . 233

Basics of Using the Materials Palette . . . . . . . . . . . . . . . . . . . . 234

Using the Materials Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Choosing Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Choosing Gradients. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Choosing Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Choosing Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Working with Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Editing Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Understanding Color and Color Models . . . . . . . . . . . . . . . . . . 256

How Monitor and Print Colors Differ . . . . . . . . . . . . . . . . . . . . 258

Working with Color Channels. . . . . . . . . . . . . . . . . . . . . . . . . . 259

Understanding Color Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Working with Image Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Making a Palette Color Transparent . . . . . . . . . . . . . . . . . . . . . 272

Chapter 11 Raster Painting . . . . . . . . . . . . . . . . . . . . . 275

Setting Brush and Paint Options . . . . . . . . . . . . . . . . . . . . . . . . 276

Painting with the Paint Brush or Airbrush. . . . . . . . . . . . . . . . . 278

Creating Brush Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Using the Brush Variance Palette . . . . . . . . . . . . . . . . . . . . . . . 282

Filling Areas with Colors, Gradients, Patterns, or Textures . . . 284

Warping Images With the Warp Brush . . . . . . . . . . . . . . . . . . . 286

Erasing Parts of an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Cloning Parts of Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Painting with Picture Tubes . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Replacing Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Retouching Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Contents v

Chapter 12 Art Media Tools . . . . . . . . . . . . . . . . . . . . 297

Art Media Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Using the Mixer Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Using the Art Media Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Using the Oil Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Using the Chalk Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Using the Pastel Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Using the Crayon Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Using the Colored Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . 313

Using the Marker Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Using the Palette Knife Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Using the Smear Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Using the Art Eraser Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Chapter 13 Drawing and Editing Objects . . . . . . . . . . 319

Drawing Objects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Drawing Lines with the Pen Tool. . . . . . . . . . . . . . . . . . . . . . . 321

Drawing Bezier Curves with the Pen Tool . . . . . . . . . . . . . . . . 325

Drawing Freehand Curves with the Pen Tool . . . . . . . . . . . . . . 326

Using the Rectangle Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Using the Ellipse Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Using the Symmetric Shape Tool . . . . . . . . . . . . . . . . . . . . . . . 330

Using the Preset Shape Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Creating Custom Line Styles . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Editing Vector Object Properties . . . . . . . . . . . . . . . . . . . . . . . 336

Adding and Closing Contours . . . . . . . . . . . . . . . . . . . . . . . . . 338

Aligning and Arranging Vector Objects . . . . . . . . . . . . . . . . . . 343

Resizing and Reshaping Vector Objects. . . . . . . . . . . . . . . . . . 347

Editing Paths and Contours . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Editing Nodes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Chapter 14 Working with Layers. . . . . . . . . . . . . . . . . 359

About Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Adding New Layers to Images . . . . . . . . . . . . . . . . . . . . . . . . . 366

Editing Layer Properties. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Modifying Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Using Adjustment Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Using the Layers palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Contents

Chapter 15 Working with Masks . . . . . . . . . . . . . . . . . 389

About Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Creating Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Deleting Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Editing Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Loading Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Saving Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Chapter 16 Working with Text . . . . . . . . . . . . . . . . . . . 405

Creating Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Editing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Moving Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Applying Effects to Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Converting Text to Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Creating Text on Object Paths. . . . . . . . . . . . . . . . . . . . . . . . . . 414

Creating Text with Image Patterns . . . . . . . . . . . . . . . . . . . . . . 418

Scaling and Transforming Text . . . . . . . . . . . . . . . . . . . . . . . . . 418

Chapter 17 Automating Tasks . . . . . . . . . . . . . . . . . . . 419

Using and Creating Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Processing Multiple Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Renaming Multiple Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Scripting Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Running a Saved Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Stopping or Undoing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . 427

About Restricted Script Mode. . . . . . . . . . . . . . . . . . . . . . . . . . 428

Recording and Saving a Script . . . . . . . . . . . . . . . . . . . . . . . . . 429

Editing Scripts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Binding Scripts to Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Contents vii

Chapter 18 Printing Images . . . . . . . . . . . . . . . . . . . . 435

About Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

About Printing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Printing Multiple Images on a Page . . . . . . . . . . . . . . . . . . . . . 439

Printing a Single Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Printing Images from the Browser . . . . . . . . . . . . . . . . . . . . . . 446

Printing Images Using a Template . . . . . . . . . . . . . . . . . . . . . . 448

Placing Text Captions on the Layout . . . . . . . . . . . . . . . . . . . . 451

Printing with CMYK Color Separations. . . . . . . . . . . . . . . . . . 452

Saving Images for Printing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

Chapter 19 Sharing and Creating Images for the Web 457

Sending Images via E-Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Uploading Images to a Photo Sharing Service . . . . . . . . . . . . . 458

Saving Images for the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Saving Images for Use In Animation Shop. . . . . . . . . . . . . . . . 470

Previewing Images in a Web Browser . . . . . . . . . . . . . . . . . . . 470

Creating Image Rollovers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Mapping Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Slicing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Using Digital Watermarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

Contents

viii

Getting Started

Paint Shop Pro sets the standard for affordable, professional image

editing. Version 9 builds on Paint Shop Pro’s legacy of creative

innovation with a new set of art media tools, professional photo

correction filters, and precision graphic design capabilities to offer

users limitless creativity. You can greatly reduce time spent on

production tasks with Paint Shop Pro’s streamlined production tools.

Edit photos, create graphics, draw, paint, and animate, all within a

highly customizable workspace environment. Paint Shop Pro 9

provides advanced tools for advanced imaginations.

Contents What’s New in Version 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Installing the Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Learning Paint Shop Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

CHAPTER 1

Chapter 1: Getting Started

What’s New in Version 9

Briefly described below are the new features in Paint Shop Pro 9 that

will enhance your ability to work with digital photographs, create

and enhance artwork and graphics, and boost your productivity.

User Interface Enhancements

Although similar to the version 8 interface, Paint Shop Pro 9 has

been updated to include the following.

The History palette lists each command you apply to the active

image. The most recent action appears at the top of the list. The

History palette gives you the ability to quickly undo and redo

actions applied to the current image. In addition to its basic Undo

and Redo To Here functions, the History Palette also offers the

ability to save selected actions as the Quickscript, which you can

then apply to other open images. Refer to Chapter 7 for more

information.

The Mixer palette offers a more natural, intuitive way for artists

to create and pick colors. Working in conjunction with the new

Art Media brush tools and the new Art media layer, the Mixer

palette provides artists with the best way to digitally simulate

real-world painting. Refer to Chapter 12 for more information.

What was labeled the Layers palette in previous versions is now

called the Layers palette.

What was labeled the Material palette in version 8 is now called

the Materials palette. Additionally, the Materials palette now

contains the Frame tab, offering a new (and for some users a

more intuitive) method of choosing colors. Refer to Chapter 10

for more information.

Open images can optionally be displayed in a tabbed format

across the top of the workspace. To make an image active, click

the desired tab. When many images are open, use the forward and

backward buttons to scroll among the tabs. Refer to Chapter 2 for

more information.

The docking behavior of palettes has been modified. Palettes can

be set to slide open and closed from a tab along the right side,

roll up at a user-selected speed, or roll up into the nearest

quadrant of the workspace. Refer to Chapter 2 for more

information.

Chapter 1: Getting Started 3

The Customize dialog now contains a new tab called Scripts.

This tab lets you easily bind a script to one of 50 icons. The icon

can then be dragged onto a toolbar or into a menu. Refer to

Chapter 17 for more information.

The General Program Preferences dialog has new options for the

Crop tool's shading area, as well as the number of steps to save

for the History palette. Additionally the main workspace right-

click context menu now contains the command to access this

dialog in a single click. Refer to Chapter 4 for more information.

In the Adjust menu, the three Automatic correction commands

(Color Balance, Contrast Enhancement, and Saturation

Enhancement) have been pulled out of their former submenus

and now reside as standalone items. Additionally, the Adjust

menu contains a Photo Fix item loaded with helpful commands

geared toward quickly correcting common problems with digital

photos.

New Art Media Tools

Working in conjunction with the new Mixer palette, the new Art

Media tools let you create digital artwork that closely mimics

real-world media, pigments, paints, and artist's tools. The Oil

Brush creates realistic paint strokes, while the Chalk, Pastel,

Crayon, Colored Pencil, and Marker tools are used for making

dry-pigment works of art. Refer to Chapter 12 for more

information.

Chapter 1: Getting Started

Image Browser Updates

The Image Browser now contains two tabs, Find and Info, in the

left side of the Browser window. The Find tab contains the

familiar Windows Explorer-like navigation view, and the Info tab

displays image information, creator data, and EXIF data.

Additionally, with the Browser active you can choose File > Sort

and use the Sorting dialog to sort images by EXIF data. Refer to

Chapter 3 for more information.

Raw Camera Image Support

You can now open Raw (unprocessed) images from high-end

digital cameras in Paint Shop Pro. Additionally, a new File

Format Preferences tab contains an option for displaying a dialog

that allows for further Raw image editing before the image opens

in Paint Shop Pro. Refer to Chapter 4 for more information.

New Digital Photo Correction Filters

Four new filters provide innovative methods of correcting common

problems with digital photos:

The Digital Camera Noise Removal filter scans your photo and

removes image noise often inherent to digital cameras while

intelligently preserving normal image textures. You can even

customize noise removal by defining specific regions or color

ranges to focus on or ignore, and then save settings as a Preset

that can be applied to photos taken from the same camera.

The Chromatic Aberration Removal filter helps eliminate the

colored glow that often appears in digital photos, especially in an

image's high contrast images.

The Fill Flash filter corrects underexposed, shadowy areas of

your photos.

The Backlighting filter corrects the opposite problem by

compensating for overexposed areas surrounding the photo's

subject.

Refer to Chapter 5 for more information on these filters.

New Effects

Two new powerful and interesting effects include:

Chapter 1: Getting Started 5

The Displacement Map effect lets you create two or three-

dimensional surface effects using a different, underlying image

as the basis for the effect.

The Radial Blur effect lets you add interesting and fun spin,

twist, and zoom effects to an image.

Refer to Chapter 9 for more information on these effects.

Vector Drawing Tool Updates

Creating vector shapes has never been easier or more powerful.

The Pen tool's functionality has been simplified to offer a clearer,

more intuitive way to create and edit curves and lines.

Three new tools, Rectangle, Ellipse, and Symmetric Shape,

provide all the controls you need to create buttons, banners,

polygons, any kind of rectangle or ellipse or custom shape.

The Preset Shape tool provides you with a variety of arrows,

flowers, gears, and other miscellaneous shapes.

Refer to Chapter 13 for more information.

Text Tool Updates

The Text tool now provides a vertical text layout option, updates

to the text on a path feature, as well as new anti-aliasing

rendering options that generate cleaner text at smaller font sizes.

Refer to Chapter 16 for more information.

Crop Tool Updates

The Crop tool now provides the option of shading the area

outside the crop box. This option can be set in the Transparency

and Shading tab of the General Program Preferences dialog.

Refer to Chapter 7 for more information.

Print Layout Feature Updates

The Print Layout feature now lets you draw a text box on the

layout to easily add custom captions or titles to your printed

pages. Additionally, you can create elliptical cells and apply edits

to multiple cells simultaneously. Refer to Chapter 18 for more

information.

Chapter 1: Getting Started

System Requirements

Before installing Paint Shop Pro, make sure that your computer

meets the minimum system requirements, or matches/exceeds the

recommended configuration:

Minimum System Requirements

Windows® 98SE / 2000 (SP4)/ ME / XP

300 MHz processor or faster

256 MB RAM

500 MB free disk space

16-bit display adapter at 800 x 600 resolution

Microsoft Internet Explorer 6.0 or later

Recommended System Configuration

Windows XP

1.0 GHz processor or faster

512 MB RAM

500 MB free disk space

32-bit display adapter at 1024 x 768 resolution

Microsoft Internet Explorer 6.0 or later

Installing the Software

Before installing Paint Shop Pro, close any programs or applications

that you have running on your computer.

To install the software:

1 Insert the Paint Shop Pro CD in your CD-ROM drive. The

installation program starts automatically.

Note: If the installation program does not start automatically, use

Windows Explorer or double-click the My Computer icon,

navigate to the contents of the Paint Shop Pro CD, and double-

click the file Autorun.exe.

2 Follow the prompts to install the program.

Chapter 1: Getting Started 7

Learning Paint Shop Pro

Learn Paint Shop Pro in a variety of ways: in addition to reading this

User Guide, we encourage you to use the Help system, follow the

Quick Guides in the Learning Center palette, and visit our Web site

for even more learning resources.

Using the Quick Guides to Learn

Common Tasks

Quick Guides are short, fast tutorials that guide you through new

tasks and projects using your own image. Perform each step

yourself, or have the program show you where to find the tools

needed to complete the task.

To use Quick Guides:

1 Choose View > Palettes > Learning Center or press F10 to open the

Learning Center window.

2 Click the title of a Quick Guide to view the selected topic.

Using the Help System

When you start up the Paint Shop Pro Help system (by choosing

Help > Help Topics, or by pressing the F1 key) it will open to the

Welcome to Paint Shop Pro page. The left side of the Help window

contains the Contents tab (listing all the main Help pages), the Index

tab, the Search tab, and the Favorites tab. The right side of the Help

window displays the currently selected Help topic.

Most command dialogs have a Help button located along the bottom

of the dialog. Click that button to open a Help topic associated with

the dialog.

Context-Sensitive Help Tool

To display Help about a particular user interface item, such as a tool

or button or menu item, use the Context Help button as follows:

1 Choose Help > Context Help. The cursor shape changes to:

2 Drag the cursor over the item you want to display Help for, and

then click the mouse. The Help file will open and display the

Help topic associated with what you clicked.

Chapter 1: Getting Started

Using the Jasc Software Learning

Center

The Jasc Software Learning Center shows you how to use Paint

Shop Pro’s features to create amazing photograph enhancements and

sophisticated graphics. Jasc and third-party tutorials walk you

through the steps for everything from restoring old photographs to

creating metallic text.

To access the Jasc Software Learning Center, use your internet

browser to got to www.Jasc.com, and then click the Support link.

In addition to Learning Center tutorials, you'll also find Knowledge

Base articles and other helpful materials.

Using Web-Based Resources

On the Help menu of Paint Shop Pro, you can access a number of

Web site pages dedicated to support issues. In the Help menu select

one of the following Web site links:

Online Support and Resources Access the Jasc Customer Care

Center to search for answers in our Knowledge Base, submit

questions to Technical Support, or give us feedback.

Register Product Online Register your copy of Paint Shop Pro

online.

Check for Updates Check the Jasc.com Web site for updates to

Paint Shop Pro.

Contact Information Send an e-mail message to Technical

Support.

Getting in Touch with Other Paint Shop Pro Users

Millions of people use and love Paint Shop Pro. There are many

independent (non-Jasc) Paint Shop Pro communities where users

share tips and tricks, ask questions, and get answers about Paint

Shop Pro. There are Web sites, newsgroups, and chatrooms devoted

to Paint Shop Pro. As a starting point, search online for “Paint Shop

Pro.”

Popular newsgroups include forums.jasc.com as well as the Usenet

newsgroup, comp.graphics.apps.paint-shop-pro. You can access

newsgroups using your favorite news reader such as Microsoft

Outlook Express, or an on-line news reader such as Google Groups.

Getting to Know The Program

The Paint Shop Pro workspace includes menus, tools, toolbars, and

palettes that you use to create and edit images. Becoming familiar

with this workspace will help you accomplish your photo editing,

painting, and drawing tasks.

Contents Starting and Exiting Paint Shop Pro . . . . . . . . . . . . . . . . . . . . . . 10

Exploring the User Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Using Shortcut and Function Keys . . . . . . . . . . . . . . . . . . . . . . . 11

Using Toolbars and Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Working with Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Viewing Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Viewing Image Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

CHAPTER 2

Chapter 2: Getting to Know The Program

Starting and Exiting Paint Shop Pro

To start Paint Shop Pro:

If you chose to place the Paint Shop Pro icon on your desktop

during installation, you can start the program by double-clicking

this icon.

If you chose not to place the Paint Shop Pro icon on your

desktop, start the program by clicking the Start button and

choosing All Programs > Jasc Software > Jasc Paint shop Pro 9.

The first time you start Paint Shop Pro, the program displays the File

Format Associations dialog. This dialog lets you assign file formats

to the program so that your computer always uses Paint Shop Pro to

open files in those formats. You can change associations at any time

by choosing the File > Preferences > File Format Associations menu

commands. For more information, see “Setting File Format

Associations” on page 79.

To exit paint Shop Pro:

Exit Paint Shop Pro using one of the following methods:

Choose File > Exit; or

Click the Close button in the upper right-hand corner of the

main window's title bar; or

Click the Paint Shop Pro icon in the upper left-hand corner

of the main window title bar and choose Close from its menu.

Note: Note: If there are unsaved images open in the

workspace, you'll be prompted to save them before closing the

program.

Exploring the User Interface

When you open Paint Shop Pro, it displays the main program

window. This window is your work area. It contains the commands

and tools used to create, edit, print, and export your images.

The Paint Shop Pro workspace includes the following components:

Menu bar The menu bar displays commands for performing tasks.

Menus are organized by topic. For example, the Effects menu

contains commands for applying effects to images.

Chapter 2: Getting to Know The Program 11

Toolbars The toolbars display buttons for common commands. See

“Using Toolbars” on page 14.

Palettes The palettes display information and help you select tools,

modify options, manage layers, select colors, and perform other

editing tasks. See “Using Palettes” on page 15.

Status bar The Status bar displays text about the selected tool or

menu command as well as image information, including the

dimensions and color depth. See “Viewing Image Information” on

page 28.

Browser Displays thumbnail previews of image files. You can open,

delete, copy, and perform other file commands in the Browser. For

more information, see “Using the Paint Shop Pro Browser” on

page 44.

Print Layout window Displays a window on which you can arrange

and size multiple images, add text captions, apply templates, and

then print the images. For more information, see “Printing a Single

Image” on page 446.

Using Shortcut and Function Keys

To work quickly and easily in Paint Shop Pro, learn the shortcut and

function keys for common tasks. Key combinations like Ctrl + Z

(Undo) and Ctrl + C (Copy) become second nature as you work, and

they save time over using the mouse.

Here are the ways you can use shortcut and function keys in Paint

Shop Pro:

Use shortcut keys to execute menu commands, display palettes,

edit nodes on vector objects, and execute Browser commands.

All menu commands list their shortcut keys on the menu.

Shortcut keys for palettes are listed on the View > Palettes menu.

Use shortcut keys to select tools. Move the cursor over a tool to

display a ToolTip with its shortcut key in parentheses.

Use function keys to display a menu by pressing Alt plus the

underlined letter of the menu name (for example, press Alt + F for

the File menu). Then, press the underlined letter of a menu

command or scroll through menus using the arrow keys. Press

ESC to return to your image without executing a command.

To display all default shortcut keys, choose Help > Keyboard Map.

Customizing Shortcut Keys

If you don’t like the assigned

function keys, you can customize

the function keys to suit your

needs. See “Assigning and

Viewing Shortcut Keys” on

page 81.

To view all assigned keys,

including custom shortcuts, choose

Help > Keyboard Map.

Chapter 2: Getting to Know The Program

Using Toolbars and Palettes

One aspect of customizing your workspace involves the ability to

dock, float, resize, and move the toolbars and palettes. The sections

below describe how to work with palettes and toolbars.

To allow for palette docking:

1 Choose View > Docking Options. The Palettes tab of the

Preferences dialog appears.

2 In the Allow docking of section, mark the palettes you want to be

able to dock.

Note: Even if a palette is set for docking, by holding down Ctrl and

then dragging the palette you can place it anywhere in the

workspace.

Pushpin Button in a Toolbar or Palette Title Bar

Be aware of the pushpin button in the toolbar/palette's title bar as

it relates to floating and docking:

When the toolbar/palette is floating:

When the pushpin is pointing down, the toolbar/palette will

remain fully displayed when you move the cursor away from it.

When the pushpin is pointing to the left , the toolbar/palette

will roll up so that only its title bar is visible.

When the palette is docked:

(For palettes only) When the pushpin button is pointing down,

the palette will remain fully displayed in its docked position

when you move the cursor away from it.

Chapter 2: Getting to Know The Program 13

(For palettes only) When the pushpin is pointing to the left, the

palette will slide into the workspace side. You'll then see a tab

with the palette name. To display the palette again, move the

cursor over the tab.

The Animate Auto Hide and Quadrant Rollup

Options

The way in which floating palettes roll up can be modified by two

settings in the Options tab of the Customize dialog. (Choose View >

Customize to display this dialog.)

To set the speed in which floating palettes roll up, mark the

Animate Auto Hide check box, and then drag the Speed slider to

the desired setting.

To have the title bar of rolled up floating palettes move into the

nearest workspace quadrant, mark the Quadrant Rollup check

box. (The Quadrant Rollup check box is marked by default.)

When this box is not marked, floating palettes will roll up and

their title bar will not move.

To dock a toolbar or palette:

Double-click its title bar; or

Drag its title bar to one edge of the workspace. The toolbar or

palette snaps into place.

To float a toolbar:

Double-click its handle; or

Chapter 2: Getting to Know The Program

Place the cursor over the handle (you'll get the four-sided mover

icon) and drag the handle to move the toolbar away from the

workspace edge. Note: The handle size and position will vary

depending on the toolbar's size and whether it is vertical or

horizontal.

To move an undocked toolbar or palette:

Drag its title bar to a new position.

To resize a toolbar or palette:

Click and drag the sides or corners of a toolbar or palette to change

its size.

To display all toolbars and palettes:

Press Ctrl + Shift + T.

Note: To hide a specific palette, click the Close button on its title

bar.

Using Toolbars

The toolbars display buttons for the most common tasks. Position the

cursor over a button to display a ToolTip with its name. The Status

bar displays more information about the command.

Display or hide toolbars, or arrange them on the workspace. Dock a

toolbar to snap it into place at an edge of a workspace, or to float it

to move it anywhere on the screen.

Paint Shop Pro contains these toolbars:

Standard toolbar Displays the most common commands, such as

saving images, undoing a command, and cutting items. Paint Shop

Pro automatically displays this toolbar when you first run the

program.

Tools toolbar Crop, paint, draw, type, and perform other image

editing tasks. See “Using the Tools” on page 17.

Browser toolbar Displays commands for using the Paint Shop Pro

Browser.

Effects toolbar Displays commands for applying effects to your

images.

Status bar

The Status bar displays text about

the selected tool or menu

command, as well as image

information including the

dimensions, color depth, and

cursor position. For more

information, see “Viewing Image

Information” on page 28.

Chapter 2: Getting to Know The Program 15

Photo toolbar Displays commands for enhancing photos.

Script toolbar Displays commands for creating and running scripts.

Web toolbar Displays commands for creating and saving images for

the Web.

To execute a toolbar command:

Click the command button. If the button is greyed out, it is not

available.

To display or hide a toolbar:

Do either of the following:

Choose View > Toolbars and choose the toolbar from the menu.

Right-click any toolbar or palette, choose Toolbars, and then

choose the toolbar from the context menu.

Note: To hide a specific toolbar or the palette, click the close

button on its title bar.

Using Palettes

Use palettes to choose tools and tool options, select colors, and

manage layers. Display or hide palettes, or arrange them on the

workspace. Dock a palette to snap it into place at an edge of a

workspace, or to float it to move it anywhere on the screen.

Paint Shop Pro contains these palettes:

Materials palette Select colors and materials for painting, drawing,

filling, and retouching. Refer to Chapter 10 for more information.

Tool Options palette Modify options for the currently selected tool.

See “Setting Tool Options” on page 17.

Layers palette View, organize, and edit image layers. See “About

Layers” on page 360.

History palette Lists the actions taken on the current image, allows

you to undo and redo adjacent or non-adjacent actions, and allows

you to create Quickscripts. Refer to Chapter 7 for more information.

Mixer palette Place and mix pigments for use with the Art Media

tools, allowing you to create realistic oil paint strokes, as well as

chalk, colored pencil, and marker strokes. Refer to Chapter 7 for

more information.

Learning Center palette Displays tutorials for common tasks. See

“Using the Quick Guides to Learn Common Tasks” on page 7.

Customizing toolbars

You can add and remove buttons

from toolbars and create your own

toolbars. For more information, see

“Customizing Toolbars and Menus”

on page 56.

Flyout menu displaying toolbars

Chapter 2: Getting to Know The Program

Histogram palette Displays a graph of the distribution of red, green,

blue, greyscale, hue, saturation, and lightness values in an image.

Analyze the distribution of detail in the shadows, midtones, and

highlights to decide how to make corrections. See “Using the

Histogram to Analyze Images” on page 145.

Overview palette Displays a thumbnail view of the active image, as

well as information about the image. See “Using the Overview

Palette” on page 18.

Script Output palette Displays actions you take and the results of

running scripts. See “About the Script Output Palette” on page 427.

Brush Variance palette Sets additional brush options. This palette is

particularly useful if you have a 4D mouse or a pressure-sensitive

tablet. For example, you can vary the opacity of a brush stroke by

applying pressure with the stylus. You can use some options with a

mouse.

To display or hide a palette:

Do one of the following:

Choose View > Palette and choose the palette name.

Type the palette’s shortcut key (listed to the right of the name).

Right-click any palette and choose the palette name from the

context menu.

To set the docking preference of palettes:

Choose File > Preferences > General Program Preferences and click

the Palettes tab of the dialog. In the Allow docking of group box,

mark the check boxes of the palettes you want Paint Shop Pro to

dock automatically when you drag them to the edge of the

workspace.

Note

You can also open the Palettes tab of the Paint shop Pro 9

Preferences dialog by choosing View > Docking Options.

To resize a palette:

Click and drag a corner or an edge, or use the Minimize and Maximize

buttons in the upper right corner.

Flyout menu displaying pallets

Chapter 2: Getting to Know The Program 17

Using the Tools

Use the Paint Shop Pro tools to perform actions such as crop, paint,

draw, add text, and perform other image editing and creative tasks.

Select a tool by clicking its button on the Tools toolbar. Some tools

(for example Crop, Move, and Text) reside in their own space on the

Tools toolbar. Most other tools, however, are grouped with other

tools that perform similar tasks. A group of tools is denoted by a

small arrow on the right side; click the arrow to reveal the other

tools.

To view information about a tool, hold the cursor over it. A tool tip

displays the tool name and shortcut key, and the Status bar (located

along the bottom of the main Paint Shop Pro window) displays hints

for using the tool.

To use a tool:

1 Click its button on the Tools toolbar. For tools that share a flyout

with other tools, click the down-arrow next to the tool and select

the tool.

2 Specify options using the Tool Options palette. See “Setting Tool

Options” below.

3 Use the tool on the image.

For information on moving, hiding, and displaying the Tools toolbar,

see “Using Toolbars” on page 14.

Resetting Tool Options to Default Values

To reset the Tool Options palette to the default values, click the

Presets drop-list and then click the Reset to default button .

Setting Tool Options

After you select a tool from the Tools toolbar, set its options in the

Tool Options palette. Options include such settings as brush size and

shape for painting tools and line width for drawing tools. By default,

the palette is below the Standard toolbar. The palette displays

options grouped into bands, which you can minimize and drag

within the palette. To display a minimized band, click its handle or

right-facing arrow.

Set the options before you use the tool. You cannot edit settings in

the Tool Options palette for brush strokes or objects you have

already created.

Flyout menu displaying tools

Why some tools are inactive

(greyed out)

Some tools work only on raster or

vector layers. For example, the

Paint Brush and Clone Brush work

only on raster layers; the Object

Selection tool works only on vector

layers.

For information on raster and

vector layers, see “About Layers”

on page 360.

Chapter 2: Getting to Know The Program

Although the items in the Tool Options palette depend upon the

active tool, here are features common to all or some of the tools:

Presets Scripts that load specific settings for a tool. For more

information, refer to Chapter 17.

Arrow button When more tool options are available than there

is room to show them, click these buttons to reveal the additional

options.

Apply button Some tools (Crop, for example) have this

button. Click it to apply the changes you have made or execute

the action.

Here is an example of an un-docked Tool Options palette for the Oil

Brush tool:

Using the Overview Palette

Display the Overview palette to preview the entire active image or to

view image information. The Overview palette displays a rectangle

over the part of the image visible in the image window. To show

other areas of the image, click and drag this rectangle.

The Overview palette contains two tabs:

Preview Displays the image preview. The image updates after you

complete an action. Transparent areas of the image appear as white.

Info Displays image status information including height and width,

color depth, memory used, cursor position, rotation, and other

information.

The Overview palette

Chapter 2: Getting to Know The Program 19

Using Context Menus

Context menus provide quick access to commands specific to the

active tool, selection, or palette.

Note

For a complete list of Context menus, choose View > Customize to

open the Customize dialog. Click the Menu tab, and select a context

menu from the Select context menu drop-down list.

To use a context menu:

1 Position the cursor over an image, an empty area of a palette, a

layer name on the Layers palette, a thumbnail in the Browser, or a

toolbar.

2 Right-click to display the context menu.

3 Choose a command from the menu.

Working with Dialogs

Dialogs are windows that open when you choose certain Paint Shop

Pro commands. Use them to select and preview command options.

All dialogs remember where you last positioned them on the screen

and re-open in the same location.

Most dialogs have the following features in common:

Preview windows Zoom and navigate to see before and after views

of changes.

Presets Saved settings, or scripts, that you can use to make quick

changes to images. Use the presets that come with Paint Shop Pro or

create your own. For more information on creating and using

presets, refer to chapter 17.

Numeric edit controls The controls that you use to select a value.

Color boxes The box you click to select a color.

Randomize parameters button A button you click to try out random

settings in the dialog.

Resize Handle A handle in the lower right corner of the dialog used

to change the size of the dialog.

Context menu for the

Layers palette

The Average dialog

Chapter 2: Getting to Know The Program

Using Preview Windows

Most dialogs that correct images, apply effects, or modify selections

have two preview windows that show the image before and after

changes are applied. Use the window controls to zoom the preview

in or out, pan it, or proof changes on the actual image.

You can show or hide the preview windows. When you hide

previews, use the main image window to proof changes.

To display or hide preview windows:

Click the Show/Hide Previews button .

To zoom the image preview:

Click the Zoom In or Zoom Out buttons. The zoom

percentage displays next to the Zoom buttons.

To pan the image:

Do either of the following:

Move the cursor over either preview window (the cursor changes

to a hand), and then click and drag the image.

Click and hold the Navigate button , and then center the

selection rectangle over the part of the image you want to

display.

To proof changes in the main image window:

Click the Proof button . All settings in the dialog are applied to

the main image window. Each time you change settings, click the

Proof button to view the changes in the main image window.

To set automatic proofing:

Click the Autoproof button .

Paint Shop Pro automatically applies all dialog settings to the main

image window each time you change a setting.

The preview windows

Size the dialog

In each Paint Shop Pro dialog with

preview windows, you can size the

dialog by clicking and dragging a

corner. Expand a dialog when you

want the preview windows to be

large enough to see detailed

changes. You can also double-

click the dialog title bar to

maximize the dialog.

Exceptions to panning in

the left preview window

In a few dialogs, the left preview

window is used for making

selections (such as selecting a red

eye in the Red Eye Removal

dialog). In these dialogs, the

cursor does not change to a hand

over the left preview window. Use

the right preview window for

panning instead.

Chapter 2: Getting to Know The Program 21

Using Preset Settings

Presets are saved settings, or scripts, that you can use to make quick

changes to images. Use the presets that come with Paint Shop Pro or

create your own. For more information on creating and using

presets, refer to Chapter 17.

Editing Numerical Values

To edit numbers in Paint Shop Pro dialogs, you use the Jasc numeric

edit controls, which provide an easy way to edit numbers and change

settings.

To edit numbers:

Do one of the following:

To enter a specific value, click the edit box, use the Delete or

Backspace key to delete the number as needed, and then type a

new value. You can also double-click the number to highlight it,

and then type a new value.

Note: If you type a value in the edit box that is out of range for

the control, the box turns red.

To increase or decrease the number by one, click the up or down

arrow of the spin controls.

To choose an approximate value, click once at a position on the

meter bar.

To choose from the range of possible settings, click and hold the

mouse button down on the meter bar or the slider button, drag to

select a desired setting, and release the mouse.

Using Color Boxes

In some dialogs, a color box displays the currently selected color.

When you move the cursor over the color box, the cursor changes to

a dropper and displays the RGB values. Click the color box to select

another color:

Left-click the color box to select from the Color dialog.

Right-click the color box to select from recently used colors.

Presets in a dialog

Numeric edit controls

Slider button

Spin controls

Edit

box

Meter bar

Using sliders to select values

The color box in the New Image

dialog.

Chapter 2: Getting to Know The Program

Randomizing Parameters

Many correction and effect dialogs have a Randomize parameters

button. Click this button to update all dialog settings with random

values. To try out a variety of settings, click the button multiple

times.

To randomize settings within a dialog:

Click the Randomize parameters button .

Resizing a Dialog

All dialogs contain a Resize Handle in the lower right corner of

the dialog. Click and drag the handle to resize the dialog.

Viewing Images

The image window displays your image. You can move or size the

image window or open the same image in multiple image windows

(for example, to see the image at different magnifications).

The title bar at the top of the image window shows the file name and

the magnification percentage. An asterisk after the filename

indicates the image has been modified since you last saved it.

To see a thumbnail of the entire image, display the Overview palette.

To move an image window:

Click and drag the title bar to move an image to a new position in the

workspace.

To resize an image window:

Click an edge or a corner of the image window and drag it to a new

position.

If the image is larger than the window, use the scrollbars to view

another area of the image.

To minimize or maximize an image window:

To minimize an image window so that only its title bar appears, click

the Minimize button located in the upper right corner of the image's

title bar. Click the Restore button to display the image window at its

previous size.

An image window

Does the image have a

watermark?

If the image has an embedded

watermark, a copyright symbol is

displayed in front of its name. For

more information on watermarks,

see “Using Digital Watermarks” on

page 480.

Chapter 2: Getting to Know The Program 23

To maximize an image window that it fills the Paint Shop Pro

workspace, click the Maximize button located in the upper right

corner of the image's title bar.

To close an image window:

Click the Close button located in the upper right corner of the

image's title bar. If you have unsaved changes to the image, you'll be

prompted to save the changes.

To open multiple views of the same image:

Choose Window > New Window or press Shift + W.

A new window opens with another view of the active image. When

you make changes in one window, the other is updated.

To make a copy of the active image:

Choose Window > Duplicate or press Shift + D.

A copy of the active image opens and can be edited independent

from the original image.

To arrange multiple windows:

Do either of the following:

Choose Window > Cascade to display windows stacked and

cascading from the upper left to the lower right of the workspace.

Choose Window > Tile Vertically or Window > Tile Horizontally to

display windows side by side vertically or horizontally. Windows

are resized to fit within the workspace.

To close an image window:

Do either of the following:

To close an active window, choose File > Close or click the Close

button on the title bar of the image.

To close all windows, choose Window > Close All.

If there are any unsaved changes in the images, you will be

prompted to save the files.

Save time by saving

workspaces

Did you know that you can save

entire workspaces, not just

images? The workspace includes

open images, their magnifications

and screen positions, as well as

the positions of palettes, toolbars,

and windows.

For more information, see “Using

Custom Workspaces” on page 54.

Chapter 2: Getting to Know The Program

To see a list of all open images:

At the bottom of the Window menu the file names for all open

images appear. The file names are listed in the order they were

opened in Paint Shop Pro.

Tabbed Image Windows

Paint Shop Pro 9 gives you the option of displaying open images in a

tabbed format.

To set this option, choose Window > Tabbed Documents. To turn off

this feature and go back to the floating image windows, choose this

option again.

When this option is on, the active image covers the entire

workspace, and its bolded file name appears in a tab across the top of

the workspace. Each open image has a separate tab. To view another

image, click its tab. To access an image tab not in the current view,

click the and buttons.

To close an image in tabbed format, click the Close button .

Note: When the Tabbed Document option is on, the concept of

minimizing and maximizing the image window no longer applies.

Chapter 2: Getting to Know The Program 25

Navigating the View Area

When an image is too large to fit within its window, scroll bars

appear on the bottom and right sides of the image.

To view another area of the image:

Do one of the following:

On the Tools toolbar, choose the Pan tool , and then click and

drag in the image.

Click and drag the horizontal or vertical scroll bar.

Press the arrow keys to move the image by small increments.

Display the Overview palette (choose View > Palettes >

Overview), and then drag the preview rectangle to a new position.

To fit the window to the image:

Choose Window > Fit to Image or press Ctrl + W.

Magnifying and Reducing the View

Magnify the view of an image (zoom in) to view and edit image

details or reduce the view (zoom out) to see the overall image. The

title bar of the image window displays the zoom percentage.

To zoom in:

Do one of the following:

Zoom with the mouse wheel, roll the optional wheel on your

mouse to zoom in or out quickly.

On the Tools toolbar choose the Zoom tool (if necessary, click

the down-arrow next to the Pan tool), and then left-click the area

you want to magnify. The view magnifies to the next preset

percentage with each click, up to the maximum magnification of

5000%.

Choose the Zoom tool or the Pan tool, and then in the Tool

Options palette select a zoom percentage or click the Zoom In or

Zoom In More buttons.

Choose View > Zoom > Zoom In to magnify the view to the next

preset percentage.

Choose View > Zoom > Zoom In More to magnify the view by five

preset percentages.

Zooming in and out

Automatic resizing

By default, when you zoom in or

out the image window is

automatically resized to fit the

image. To change this preference

setting, see “View Preferences” on

page 60.

Chapter 2: Getting to Know The Program

To zoom out:

Do one of the following:

On the Tools toolbar, select the Zoom tool (if necessary, click

the down-arrow next to the Pan tool) and then right-click the area

you want to reduce. The view reduces to the previous preset

percentage with each click, down to a minimum magnification of

1%.

Choose the Zoom tool or the Pan tool, and then in the Tool

Options palette select a zoom percentage or click the Zoom Out

or Zoom Out More buttons.

Choose View > Zoom > Zoom Out to reduce the view to the next

preset percentage.

Choose View > Zoom > Zoom Out More to reduce the view by five

preset percentages.

To magnify a specific area:

1 Choose View > Magnifier. This puts the cursor in magnifier mode.

2 Place the cursor over the part of the image you want to magnify.

The selected area is displayed at the highest percentage that will

fit within the window.

3 To turn off magnifier mode, choose View > Magnifier again.

Chapter 2: Getting to Know The Program 27

Previewing and Editing Using the

Full Screen

Use the Full Screen Preview command to preview an image without

any of the menus, toolbars, or palettes visible.

Use the Full Screen Edit command to expand the entire workspace,

giving you the largest possible space for displaying and editing

images. The palettes and toolbars are visible but the menus, Paint

Shop Pro title bar, and Status bar are hidden.

To preview an image on the full screen:

1 Choose View > Full Screen Preview or press Ctrl + Shift +A. The

workspace disappears and the image displays at its current

magnification.

2 To return to the Paint Shop Pro workspace, press any key.

To edit using the full screen:

1 Choose View > Full Screen Edit or press Shift + A. The menu bar

and status bar disappear.

To select from a menu when using the full screen, move the

cursor to the top of the screen and left-click. The menus appear

as you move the mouse along the top.

2 To return the window to its previous size, press Shift + A.

Previewing on the full screen

Editing using the full screen

Chapter 2: Getting to Know The Program

Viewing Image Information

As you work with an image, you may want to view information

about it. There are several ways to do this, as described in the

sections below.

To view general image information:

Look at the Status bar (along the bottom of the main Paint Shop

Pro window) to see the cursor position, image height and width

in pixels, and the color depth.

Display the Info tab of the Overview palette to view information

about the image. Choose View > Palettes > Overview, and then

click the Info tab. The information displayed depends on what

tool is selected.

To view image color information:

Choose Image > Count Image Colors to display the number of unique

colors in the image.

To view detailed image information:

1 Choose Image > Image Information, or press Shift + I.

2 Do one of the following:

Click the Image Information tab to view the file name and

format, image dimensions, resolution, and color depth,

modification status, number of layers and alpha channels, and

the amount of RAM and disk space used for the image as well

as its selections, masks, alpha channels, and undo storage.

Click the Creator Information tab to view or edit the image

title, artist name, copyright, description, date created, and date

modified.

Click the Watermark Information tab to view and enter

information on Digimarc watermarking.

Click the EXIF Information tab to view information for images

taken with digital cameras. In the Section group box, mark the

check boxes for the information you want to display: Input

Device, Artist, Date, Image, Shot Conditions, and GPS.

Getting Images into Paint Shop Pro

You can get images into Paint Shop Pro in a variety of ways: import

images (from a digital camera, card reader, or scanner), capture

images from the computer screen, duplicate an existing image or

layer, or create a new image.

Contents Importing Images from Digital Cameras and Scanners. . . . . . . . . 30

Opening Existing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Creating Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Capturing Images from the Computer Screen . . . . . . . . . . . . . . . 41

Opening Frames from Animation Shop . . . . . . . . . . . . . . . . . . . . 43

Using the Paint Shop Pro Browser . . . . . . . . . . . . . . . . . . . . . . . 44

Saving Image Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Closing Image Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

CHAPTER 3

Chapter 3: Getting Images into Paint Shop Pro

Importing Images from Digital Cameras and

Scanners

With Paint Shop Pro you can access and manage your images while

they are in your digital camera. You can also load the images directly

into Paint Shop Pro.

Before you can view and download images from a digital camera,

card reader, or scanner you must install the special software (called

drivers) that enables your computer to connect to the camera, card

reader, or scanner. You must install this software before connecting

the camera, card reader, or scanner to the computer. Refer to the

documentation supplied with your camera, card reader, or scanner

for more information about this software.

Determine which type of connection your camera, card reader, or

scanner uses:

WIA The default for WIA compatible computers running the

Windows XP and ME operating systems. Your camera, card

reader, or scanner must support WIA.

Mounted Drive The default for non-WIA computers, and the most

common type of connection. Some cameras and scanners, and

most card readers are viewed as an additional disk drive when

they are connected to the USB port of your computer.

TWAIN Most cameras and scanners are TWAIN-compliant. Use

this setting if your camera, scanner, or card reader is TWAIN-

compliant.

Running scanning software

In addition to running the scanning

software from Paint Shop Pro, you

can also run the software from the

Windows Start menu. After you

perform the scan, you then need to

run Paint Shop Pro.

Chapter 3: Getting Images into Paint Shop Pro 31

Downloading Images Using

Windows XP, ME and a USB Cable

Paint Shop Pro supports the WIA connection protocol. If your

computer has the Windows XP or ME operating system, your camera

or scanner uses the WIA connection system, and you connect your

camera or scanner to the computer using a USB cable, then Paint

Shop Pro and Windows XP or ME will automatically detect when

you have connected your camera to your computer.

To download from a WIA camera or scanner with Windows XP or

ME:

1 Connect the camera, card reader, or scanner to the computer using

the USB cable.

2 Choose File > Import > From Scanner or Camera to download the

images to your computer.

Downloading Images From a Mounted

Drive

Some cameras, card readers, and scanners display as a separate drive

(assigned a drive letter) on your computer. For example, your

camera may display as My Computer\Removable Disk (G:).

To download from a camera, card reader, or scanner that appears

as a mounted drive:

1 Choose File > Open to open the Open dialog. Or choose File >

Browse and use the browser to locate the images on the mounted

drive.

2 Navigate to the drive for your camera, card reader, or scanner.

3 Locate the images that you want to download in a folder or sub-

folder of that drive.

4 Select the images that you want to download and click Open to

open the images in Paint Shop Pro.

Viewing EXIF Data

EXIF stands for Exchangeable

Image File Format. If your camera

supports this standard, it will record

the time & date the image was

taken, exposure information (ISO,

shutter, aperture) and other camera

details in the header of each image

file. To view EXIF data, choose

Image > Image Information to

open the Current Image

Information dialog, and then click

the EXIF Information tab.

Chapter 3: Getting Images into Paint Shop Pro

Importing Images Using the TWAIN

Interface

To import images using the TWAIN interface:

1 Choose File > Import > TWAIN > Select Source. The Select Source

dialog lists the TWAIN-compliant devices connected to your

computer.

Note: You only need to select the source the first time you

connect to the camera, card reader, or scanner.

2 Click the name of the device, then click Select.

3 Choose File > Import > TWAIN > Acquire to run the device’s

software.

4 Do one of the following:

For scanners, perform the scan using the device’s software.

(Refer to the scanner manufacturer’s documentation for

details.)

For digital cameras, an Import dialog displays. Select the

images that you want to download, and then click Download.

When the device and software finish processing the image, the

image is sent to Paint Shop Pro and placed in an image window.

The software remains open so you can continue to acquire

images or close the software.

5 Click the Paint Shop Pro icon in the Windows task bar to display

Paint Shop Pro and your image.

6 Choose File > Save As to save the image.

What does your image

need?

Here are some edits your digital

photograph may need:

Crop the image. Cropping

reduces the amount of memory

the image uses and eliminates

extra areas of color, which may

allow you to make better color

corrections.

Correct colors or retouch parts of

the image.

Chapter 3: Getting Images into Paint Shop Pro 33

Opening Existing Images

You can open images in a variety of file formats. The list of formats

you can open in Paint Shop Pro appears in the Open dialog.

You can select which formats Paint Shop Pro displays as available to

open.

You can open a file using the Open dialog or the Browser or by

choosing a recently used file from the File > Recent Files menu.

With the Open dialog, you can view a preview of each image file

that you select. With the Browser, you can view previews of all

image files within a folder. When you open a file via the Browser,

the Browser window stays open until you close it.

To open an image file using the Open dialog:

1 Do one of the following:

Choose File > Open.

Click the Open button .

Press Ctrl + O.

2 In the Look in drop-down list, select the folder where the file is

stored.

3 Click the name of the file you want to open. To select multiple

files, press Ctrl and click each name.

4 To view information or a preview of the image, choose an option:

Details Click this button to open a pop-up that displays

information about the selected image. Click OK to close this pop-

up.

Show preview Mark this check box to display the selected image

in the preview area. If you have selected multiple files, no

preview is displayed; use the Browse window instead.

5 Click Open.

To open an image file using the Browser:

1 Do one of the following:

Choose File > Browse; or

Click the Browse button ; or

Press Ctrl + B.

From open to browse

While opening a file from the Open

dialog, you may decide you want to

preview all files in a folder. Click

the Browse button to open the

Browser.

Chapter 3: Getting Images into Paint Shop Pro

The Browse window opens. Note that the Paint Shop Pro menu

bar displays commands specific to when the Browse window is

active. The Browse menu is active until you open a new file or

click an open image.

2 In the left side of the Browse window you’ll see the Find and

Info tabs. Use the Find tab like you would Windows Explorer to

navigate and then select the folder that contains the file you want

to open. Use the Info tab to display image information on a

selected image. The right side of the Browse window displays

thumbnails of image files located in the selected folder.

3 Select files using one of these methods:

Click a thumbnail image; or

To select non-adjacent files, hold down Ctrl and click each

file; or

To select adjacent files, click the first file, hold down Shift,

and click the last file.

Note: To deselect a file, press Ctrl and click its thumbnail.

4 Open the selected file(s) using one of these methods:

Double-click a single file’s thumbnail or Ctrl + double-click

one thumbnail when multiple files are selected; or

Select a file or multiple files and then drag them onto a blank

part of the work space; or

Press Enter; or

Right-click and select Open from the context menu; or

Choose Image File > Open.

After the file or files open, you can close the Browse window by

clicking its Close button. You may also want to leave the Browse

window open in the workspace.

To open a recently used file:

Choose File > Recent Files and then choose the file name.

By default, the Recent Files menu lists four recently used files. You

can include up to 10 files. For more information, refer to the

Miscellaneous Preferences details in Chapter 4.

Explore the Browser

For more information on using the

Browser, see “Using the Paint Shop

Pro Browser” on page 44.

Chapter 3: Getting Images into Paint Shop Pro 35

Creating Images

About Raster and Vector Graphics

Computer graphics are of two types: raster (also called bitmap) or

vector. With Paint Shop Pro, you create both raster and vector

images, as well as images with Art Media content. You can also

create an image with both raster and vector layers (or Art Media

layers). It’s important to understand the differences between the two

data types.

Raster Images

Raster images are composed of individual elements, called pixels,

arranged in a grid. Each pixel has a specific location and color. If

you magnify raster data, you can see the individual pixels as squares

of colors.

An object in a raster image is defined by its pixels. For example, the

front door in an image of a house is made up of a mosaic of pixels at

certain locations in the image. In bitmap images you edit pixels

rather than objects or shapes.

Raster images can display subtle changes in tones and colors, so they

are most often used for images like photographs and digital artwork.

Raster images contain a fixed number of pixels, so when you

magnify the image you are magnifying the display size of the pixels.

As a result, raster images can display jagged rather than smooth

edges if magnified on screen or printed at a large magnification.

Vector Graphics

Vector graphics or images use geometric characteristics—lines,

curves, and their locations—to define objects. For example, a door

in a graphic of a house is made up of a rectangle with a certain width

and height at a specific location and filled with a certain color. In

vector images you edit objects or shapes rather than pixels.

Vector graphics do not lose clarity or detail when scaled to any size

or printed at any resolution. They work well for technical

illustrations or corporate logos.

Chapter 3: Getting Images into Paint Shop Pro

Choosing Raster or Vector

In Paint Shop Pro, you create and edit raster and vector data on

separate layers. With some tools you create raster data (like brush

strokes with the Paint tool) and with other tools (like the Text and

Preset Shapes tools) you can choose whether you want to create

raster or vector data.

In general, use vector objects when you’ll need to edit the object as

an element separate from other parts of the image. For example, if

you add a star to an image, you may want to change its size, color or

location. This is easier if the star is a vector object. You can create

raster data on separate layers so you can easily edit or move them.

To apply tools or commands to vector objects that work only on

raster data (such as the painting tools or the effects commands), you

can create a raster selection of a vector object. Then, paste the

selection to a new raster layer.

About Image Size, Resolution, and Color

Depth

Before you create a new image, think about how you will use it. For

example, will you display the image on a Web site, send it as an e-

mail attachment, or print it? How you use the image helps you

determine the image’s size, resolution, and color depth. All three

elements also contribute to the file size of the image.

Image Size The physical dimensions of the image. In Paint Shop Pro

you define image height and width in pixels, inches, centimeters, or

millimeters.

For printed images for which you know the size you need, use

inches, centimeters, or millimeters. By starting with the final

image dimensions, you can produce an image that will fit the

page.

For printed images that you will import into another software

package (such as a word processor) and resize as needed, use

whichever unit is easiest for you.

For images to be displayed on screen, use pixels.

You can resize an image after you have created it, but doing so may

result in loss of image data. For more information, refer to the

Resizing Images details in Chapter 7.

Chapter 3: Getting Images into Paint Shop Pro 37

Image Resolution The number of pixels per inch (ppi) or pixels per

centimeter in images. It is important to select an appropriate

resolution. Too low a resolution causes pixelation, or large pixels

that produce coarse output. Too high a resolution adds to an image’s

memory requirements without producing a proportional increase in

its quality.

Typical image resolutions are as follows:

For images displayed on Web pages, use 72 or 96 ppi.

For images printed to a high-quality printer, set the image

resolution to one-half to one-quarter of the actual printer

resolution. For example, for a laser printer with a resolution of

600 dots per inch (dpi), use an image resolution of 150 to 300

ppi.

Color Depth The number of colors that a pixel can display. Each

pixel’s color information is stored in a certain number of computer

bits—from 1 bit to 24 bits. In a 1-bit image, each pixel can display

only one of two colors (black or white). In a 24-bit image, each pixel

can display one of 16 million colors. Images with a color depth of 16

million colors look best because they contain the most colors, but

they also require the most memory to store and edit. Not all

computer monitors can display 16 million colors, so some file

formats limit the number of supported colors. For example, GIF

images, a popular format for the Web, contain up to 256 colors (8-bit

depth).

Many of Paint Shop Pro’s effect and correction commands work on

16 million color images only. Therefore, its best to create most

images using 16 million colors. When you have finished working on

the image, you can decrease its color depth and save it in another

format.

For more information, see “Understanding Color Depth” on

page 260.

Chapter 3: Getting Images into Paint Shop Pro

Creating an Image

You can create a new image by creating a blank image or by using

another image as a starting point.

For information on using other images, see “Creating New Images

from Existing Images” on page 39.

When you create a new blank image, you select the image size and

resolution, along with the color depth and background color and

material. It’s important to choose a size and resolution that fits with

your desired output type and output quality. For more information,

see “About Image Size, Resolution, and Color Depth” on page 36.

To create a new image:

1 Do one of the following to open the New Image dialog:

Choose File > New; or

Press Ctrl + N; or

Click the New Image button on the toolbar.

2 Choose the image dimensions:

To select a preset size for the new image, in the Presets drop-

list choose a standard size for print materials (such as 4” x 6”

or letter) or computer screens (such as 640 x 480 pixels).

The Presets list defaults to the Last Used option, which

specifies the settings that were used the last time you created a

new image.

To create an image using specific dimensions, in the Image

Dimensions group box, set the following options:

Units The units of the dimensions (pixels, inches, centimeters,

or millimeters).

Width The width of the new image.

Height The height of the new image.

Resolution The resolution of the new image. Specify the

resolution units (pixels/inch or pixels/cm) in the drop-down

list.

3 In the Image Characteristics group box, select from these

options:

Chapter 3: Getting Images into Paint Shop Pro 39

Raster Background, Vector Background, or Art Media

Background The type of the bottommost layer. Choose a raster

background for most photographic applications. Choose a vector

layer if you are creating vector graphics. Choose an Art Media

layer if you are creating an image with the Art Media tools.

Color Click in the Color box and set the background color or

material.

For raster images, click the color box to select from the

Material dialog (for 16 million color images) or the image

palette (for images of all other color depths). To choose a

transparent background (for greyscale or 16 million color

images only), mark the Transparent check box. For more

information on choosing colors or materials, refer to Chapter

10.

For vector images, you only need to choose the color depth.

Vector images start with a transparent vector layer.

Note: The Memory Required field displays the amount of

memory required for the image. Your computer should have at

least two to three times this amount of RAM. To reduce the

memory requirement, reduce the resolution or the dimensions

of the image.

Canvas texture This is available only when Art Media

Background is selected. Select a canvas texture from the drop-

list, and then a fill color for the texture. (Uncheck the Enable fill

color option if you do not want a fill the chosen texture with a

color.) Art Media tool strokes applied to the texture will take on

the properties (bumpy, smooth, etc.) of the texture you choose.

4 Click OK. The new image opens in the work space.

Creating New Images from Existing

Images

You can use a copy of an existing image or a layer to create a new

image. You can also create an image from any graphic data copied to

the Windows clipboard from Paint Shop Pro.

To duplicate an entire image:

1 Open the image you want to duplicate.

2 Choose Window > Duplicate or press Shift + D. A new window

containing the image opens in the work space.

Chapter 3: Getting Images into Paint Shop Pro

To create a new image from a layer of another image:

1 On the Layers palette, click the layer you want to copy.

2 Choose Edit > Copy.

Note: If you use the Cut or Copy commands, the current selection

or layer is placed on the clipboard.

3 Choose Edit > Paste > As New Image. A new image window

opens in the work space. The layer you copied is now the

background of the new image.

To create a new image from a layered image:

1 On the Layers palette, click a layer.

2 Choose Edit > Copy Merged.

Note: All layers are merged into one layer and placed on the

clipboard.

3 Choose Edit > Paste > As New Image. A new image window

opens in the work space. The new image contains all layers

merged into one raster layer.

To create a new image from clipboard data:

1 Cut or copy a selection or layer of an image, or an item from

another program.

2 Choose Edit > Paste > As New Image. The clipboard data is

pasted as a new image. If this command is greyed out, then the

data you have copied to the clipboard cannot be pasted as a Paint

Shop Pro image.

Note: A dialog may appear requesting additional information

such as width and height of the new image window. You can

change your preferences so that Paint Shop Pro does not prompt

for size and options when you paste data. Refer to the

preferences information in Chapter 4.

Chapter 3: Getting Images into Paint Shop Pro 41

Capturing Images from the Computer Screen

You can take a picture, called a screen capture, of all or part of the

computer screen. You can then edit and save the screen capture in

Paint Shop Pro. Before you capture screens you should configure the

screen capture options.

Setting Screen Capture Options

Use the Capture Setup dialog to select how you want to capture, how

you activate the screen capture, and to set other options.

To set screen capture options:

1 Choose File > Import > Screen Capture > Setup to open the

Capture Setup dialog.

2 In the Capture group box, select the type of capture:

Area Captures an area of the screen that you select by clicking

once at one corner of the area and clicking again at the opposite

corner.

Full screen Captures the entire computer screen.

Client area Captures the contents of the active program.

Window Captures the active window. If a dialog is open, this

option captures the dialog. If no dialog is open, this option

captures the active application.

Object Captures an object within a program, such as a menu bar,

toolbar, icon, or a document window. When you initiate the

capture, you move the cursor over an object and it is highlighted

with a rectangle.

3 In the Activate capture using group box, select the method for

activating the screen capture:

Right mouse click A right mouse click activates a capture.

Hot key A key (such as F11) or key combination (such as Shift +

F1) activates a capture. Select the option, then click the drop-

down list to select a key or key combination.

Delay timer The screen capture is taken a certain number of

seconds after you start the screen capture.

Add the capture icons to a

toolbar

If you frequently capture screens,

you may want to create a new

toolbar containing the icons for the

screen capture command. Refer to

Chapter 4 for details.

Chapter 3: Getting Images into Paint Shop Pro

Note: These options select the method for activating the capture

after you have started the screen capture feature. To start the

screen capture, you click the Capture Now button on this dialog,

or at the Paint Shop Pro work space press Shift + C or choose

File > Import > Screen Capture > Start.

4 In the Options group box, select from the following options:

Include cursor Mark this check box to include the cursor in

screen captures. This check box is not available for area captures.

Multiple captures Mark this check box when you want to take

multiple captures one after the other. Start the screen capture, and

then press the hot key to activate it multiple times. Clear this

check box to have Paint Shop Pro display after you take one

screen capture.

5 Do one of the following:

To start the screen capture feature immediately, click Capture

Now. Screen capture settings are saved and Paint Shop Pro

minimizes to the task bar. Use the hot key to activate the

screen capture. See “Capturing Images from the Computer

Screen” on page 41.

To save the settings, click OK.

Capturing a Screen

Once you have configured the screen capture settings, you can begin

capturing screens.

When you are finished, you can edit the screen captures as needed

and save the image in Paint Shop Pro. For information about saving

images, see “Saving Image Files” on page 49.

To capture a screen:

1 Open or display Paint Shop Pro.

2 To start the screen capture feature, do one of the following:

Choose File > Import > Screen Capture > Start.

Press Shift + C.

Paint Shop Pro minimizes to the Windows task bar.

3 Open or display the image or window that you want to capture.

How do I capture a

Paint Shop Pro screen?

Open two copies of Paint Shop Pro.

In one copy, set up the screen

capture options and start the

capture feature (press Shift + C),

which minimizes the software.

Display the other Paint Shop Pro

and press the hot key to activate

the capture.

Chapter 3: Getting Images into Paint Shop Pro 43

4 To activate the screen capture, right-click or press the hot key

(such as F10) you chose during setup.

If you chose Full Screen, Client Area, or Window during setup,

the screen, area, or window is captured.

5 For Area and Object captures, select the area or object to capture:

For Area captures, click at the top corner of the area you want

to capture, then move the cursor to the bottom corner and

click again. As you move the cursor a rectangle displays the

selection area.

For Object captures, move the cursor until the area you want

is highlighted (with a black rectangle around it), then click to

activate the capture.

6 If you selected to take multiple captures during setup, you can

now take another capture. Right-click or press the hot key for

each screen capture. When you are finished, click the Paint Shop

Pro button in the Windows task bar.

Opening Frames from Animation Shop

Paint Shop Pro allows you to bring in selected frames from Jasc

Animation Shop. After exporting the frames, you can use Paint Shop

Pro's image editing arsenal to modify the frames before sending

them back to Animation Shop.

Before opening Animation Shop frames in Paint Shop Pro, be aware

of the Export option in the Animation Shop Preferences (this option

affects how selected animation frames open in Paint Shop Pro).

To set the export options in Animation Shop:

1 In Animation Shop, choose File > Preferences > General Program

Preferences, and choose the Layered Files tab. The first option is a

check box labeled "Export frames to Paint Shop Pro as layered

images."

2 Your choices are:

If you mark this check box, when you subsequently select

multiple animation frames for export to Paint Shop Pro, the

frames will be contained as individual layers within one Paint

Shop Pro image.

If you do NOT mark this check box, when you subsequently

select multiple animation frames for export to Paint Shop Pro,

each frame will open as its own Paint Shop Pro image file.

Chapter 3: Getting Images into Paint Shop Pro

To open frames from Animation Shop:

1 In Animation Shop, select the frames you want to export to Paint

Shop Pro. Only selected frames will be exported.

2 Choose File > Export Frames > To Paint Shop Pro.

If Paint Shop Pro is already open, it will become the active

application, and the selected frame(s) will appear. If Paint Shop Pro

was not open, it will start up, and the selected frame(s) will appear.

Important Notes about Interactivity

While animation frames are open in Paint Shop Pro, the two

programs are “linked,” meaning that modifications made on the

frames in Paint Shop Pro can be automatically updated to the

associated animation in Animation Shop. (To do so, in Paint

Shop Pro, choose Edit > Update Back to Animation Shop). You

can, however, break this link. To do so, in Animation Shop,

choose File > Export Frames > Break Link with Exported Frames.

You can also break the link by closing the images in Paint Shop

Pro without saving changes.

If you also have an older version of Paint Shop Pro, be aware that

Animation Shop will export selected frames to the most recently

used version of Paint Shop Pro.

Using the Paint Shop Pro Browser

With the Paint Shop Pro Browser, you can view, open, sort, and

manage your files.

When you open the Browser window (or when the Browser is the

active window), you'll notice that the menu bar instantly changes

into Browser mode. This provides a variety of options for selecting

files to open and for renaming, moving, copying, and deleting files.

The Image Browser contains two tabs, Find and Info, in the left side

of the Browser window. The Find tab contains the familiar Windows

Explorer-like navigation view, and the Info tab displays image

information, creator data, and EXIF data. Additionally, with the

Browser active you can choose File > Sort and use the Sorting dialog

to sort images by EXIF data.

Chapter 3: Getting Images into Paint Shop Pro 45

To open the Browser:

Choose File > Browse, or press Ctrl + B, or press the Browse button

on the Standard toolbar.

To select all files in a folder:

On the Browser menu, choose Edit > Select All or press Ctrl + A.

To deselect all files in a folder:

On the Browser menu, choose Edit > Select None or press Ctrl + D.

To select files by file characteristics:

1 On the Browser menu, choose File > Select.

In the Select dialog, you can select files that have specific file or

image attributes, such as name, file extension, size, width, bits

per pixel, and date.

2 Select the file and image attributes, then click OK.

To change the order of thumbnails:

Click the file’s thumbnail and drag it to a new position within the

same folder.

To sort thumbnails by file characteristics:

While in Browser mode, the Sorting dialog contains options for

sorting images via their EXIF data.

1 Choose File > Sort to open the Thumbnail Sort dialog.

2 In the Sort condition drop-list of either the Primary sort order or

the Secondary sort order sections, choose the desired options to

sort by (for example, you can sort by EXIF data), and then click

OK.

Note: Sorting thumbnails is a one-time operation. The thumbnails

will not remain sorted if you add new images or change the

properties of the existing files. New images are always added to the

end of the list.

To invert which files are selected:

Choose Edit > Invert Selection. All selected thumbnails are

deselected and all unselected thumbnails are selected.

Chapter 3: Getting Images into Paint Shop Pro

To rename files:

1 Press Ctrl + R or right-click the thumbnail and select Rename from

the context menu.

2 Type the new filename. The Browser does not automatically add

an extension.

3 Click OK.

To copy files:

1 Press Ctrl + Y or right-click the thumbnail and select Copy To from

the context menu.

2 Select the folder to copy the file to.

3 Click OK.

To paste files to other applications that support OLE functions:

Press Alt and click the file’s thumbnail, drag it to the application’s

button in the Window task bar until the application opens, then move

the cursor to the application and release the mouse button.

You can paste images into any applications that support meta files,

DIBs, and BMPs, such as Microsoft Word. If the image has more

than one layer, all layers are automatically merged.

To move files:

Do one of the following:

Click the file’s thumbnail and drag it to a different folder in the

left pane of the Browse window. You can also select several

thumbnails and drag them to a new folder.

Select the file or files, then press Ctrl + M or right-click the

thumbnail and choose Move To from the context menu. At the

Browse for Folder dialog, select the desired folder and click OK.

To delete files:

1 Select the file or files you want to delete.

2 Press Ctrl + Delete or right-click the file’s thumbnail and select

Delete from the context menu.

To find files:

1 Choose File > Find Name to open the Find dialog.

Copying one image into

another image

You can copy the layers of one

image into another image. See

“Cutting, Copying, and Pasting” on

page 160.

Chapter 3: Getting Images into Paint Shop Pro 47

2 Enter the search criteria and click Find Next or Find All to display

the search results in the Browser window.

To rotate files:

1 Select the files that you want to rotate.

2 Choose ImageFile > JPEG Lossless Rotation, and then choose an

option to rotate the selected files.

Using the Find Tab in the Browser

The Image Browser includes two tabbed panes on the left side, the

Find tab (for navigation) and the Info tab (for displaying image

information).

Use the Find tab's familiar Windows Explorer-like controls to

navigate to the folder containing the desired images. To use the tab:

1 If it is not already open, start up the Image Browser. The Find tab

will be the active tab.

2 Using the Windows Explorer-like interface, navigate to the folder

containing the desired images. Thumbnails of the folder's images

will appear on the right side of the window.

Note: To modify how the thumbnails are displayed, choose File >

Preferences > General Program Preferences (or right-click in the

workspace and choose General Program Preferences from the

context menu) and then choose the Browser tab. Make the desired

settings in this tab to affect the Image Browser.

Using the Info Tab in the Browser

Use the Info tab to display pertinent image information, such as

creator details as well as EXIF details for digital photos. To use the

tab:

Chapter 3: Getting Images into Paint Shop Pro

1 If it is not already open, start up the Image Browser.

2 Click the Info tab located in the upper left portion of the Browser

window.

3 Click an image thumbnail to view its details in the Info tab. If

you're browsing digital camera images, the EXIF data associated

with the image will appear in the Details section of this tab.

Updating Thumbnails

When you open a folder in the Browser, Paint Shop Pro creates

thumbnails for all supported graphic images and stores them in a file

called PspBrwse.jbf. Every folder you have opened in the Browser

has a copy of this thumbnail file. Paint Shop Pro uses this file to

display thumbnails more quickly each time you open a folder.

The default preference setting is to have the thumbnails file update

automatically every time you open the folder. To change this

preference, use the Browser tab in the General Program Preferences

dialog.

Occasionally you may want to update the thumbnails with the

Update Thumbnails command. For example, if you have used

Windows Explorer to delete or add a file in a folder, you can choose

File > Update Thumbnails, or press F5 to update the thumbnails file.

(You can also open the folder again in the Browser for Paint Shop

Pro to update it automatically.)

After a thumbnail file is created, new files are appended to the end of

the thumbnails list. To sort the list alphabetically or by other

characteristics, choose File > Sort.

Chapter 3: Getting Images into Paint Shop Pro 49

Saving Image Files

Paint Shop Pro has a native .PspImage format that supports layers,

alpha channels, and other features you use to create images. You will

find it convenient to save an image in this format while you are

working on it and then convert it to a different format after you have

finished.

Using Autosave

You can use the Autosave feature to save your files automatically at

specified intervals. This can prevent you from losing your work if

your computer shuts down unexpectedly. For more information,

please refer to “Setting Autosave Preferences” on page 67.

Compressing a .PspImage File

An image file in the .PspImage format can be saved without

compression, or it can be compressed to save space. Both of the

compression methods that Paint Shop Pro uses are lossless, and

reduce the file size without losing any image information. Saving a

file without compressing it is the quicker method, but it requires

more hard disk space.

Paint Shop Pro uses two compression methods:

Run length encoding (RLE), which is fast and compresses most

multi-layered images to about 75% of their original sizes. It

works well with images that contain large areas of the same

color.

LZ77 compression, which is slower than RLE, but can compress

an image to a smaller size than RLE. It works well with photo-

realistic images.

Choose a compression option by clicking the Options button in the

various save dialogs.

Saving an Image

You can easily save an image with the same file name and location.

Note that this will overwrite the original image with the modified

image. To save the image using a different name or file format,

choose File > Save As.

Always save a .PspImage

version of your file

To be able to use all Paint Shop

Pro features, we recommend you

save and edit your files in

.PspImage format with a color

depth of 16 million colors. You can

then use the Save As or Export

command to save a copy of the file

in the desired output format. Your

original image stays intact in case

you need to make changes to it

later.

Chapter 3: Getting Images into Paint Shop Pro

To save an image:

To automatically save the image with the same file name and

location (overwriting the original image with the modified image):

Choose File > Save.

Press Ctrl + S.

Click the Save button on the toolbar.

Saving a New Image File

The first time you save an image, Paint Shop Pro automatically

opens the Save As dialog, where you select a location, name, and

format for the image. After this, Paint Shop Pro saves changes to the

original image without opening the dialog.

To save a new image:

1 Choose File > Save, press Ctrl + S, or click the Save button on

the toolbar to open the Save As dialog.

2 Use the Save In drop-down list to navigate to the folder in which

you want to save the image file. If you frequently save files to the

same folder, click the Favorites folder and select a folder

from the list.

3 In the File Name field, type a name for the file.

4 To save the file in a new format, select the format from the Save

As Type list.

5 If the file format has save options, click the Options button to

open the Save Options dialog. Select new settings, if appropriate.

If you are unsure of the settings, use the default values. Click OK

to return to the Save As dialog.

6 Click Save to close the dialog and save the file.

You can have Paint Shop Pro display the last used file type when

opening this dialog. Select this option in the Dialogs and Palettes

Preferences tab of the General Program Preferences dialog.

Chapter 3: Getting Images into Paint Shop Pro 51

Saving an Image File in its Original

Format

When you save an image and then edit it, the image title bar displays

a Modified tag (an asterisk) after the file’s name to indicate the file

has been modified. This tag disappears each time you save the file; it

reappears when you again edit the image.

Saving an Image in a New File Format

If you want to save a file in another format, use the Save As

command.

To save a file:

1 Choose File > Save As or press F12 to open the Save As dialog.

2 Navigate to and open the folder in which you want to save the

image file.

3 To rename the image file, type a new name in the File name field.

4 In the Save as type drop-down list, select a new format.

5 If the file format has save options, click the Options button to

open the Save Options dialog. Select new settings, if appropriate.

If you are unsure of the settings, use the default values. Click OK

to return to the Save As dialog.

6 Click Save to save the image file and close the dialog.

Saving a Copy of an Image

When you save an image using the Save Copy As command, you are

copying the original file, not saving it. Use this command to save a

version of a file without affecting the original. The dialog contains

all the same features as the Save As dialog.

Note

When using the Save Copy As command:

The modifier tag is not affected. It does not disappear from the

title bar.

The file name does not change. The copy is titled “Image Name.”

Paint Shop Pro saves the copy to the same directory and in the

same format that was last used with the Save Copy As command

(not the Save As command).

Chapter 3: Getting Images into Paint Shop Pro

To save a copy of an image:

1 Choose the File > Save Copy As or press Ctrl + F12 to open the

Save Copy As dialog.

2 Use the Save In drop-down list to navigate to a new folder if you

want to save the copy in a different folder. If necessary, use the

Up One Level button to help navigate, or the Create New Folder

button to create a new folder.

3 In the File Name box, type a name for the file.

4 To save the file in a different format, select the format from the

Save As Type drop-down list.

5 If the file format has save options, click the Options button to

open the Save Options dialog. Select new settings, if appropriate.

If you are unsure of the settings, use the default values. Click OK

to return to the Save As dialog.

6 Click Save to save a copy of the file.

Note

For information about saving several images in a new file format,

refer to Chapter 17.

For information about optimizing images for the Web, refer to

Chapter 19.

Closing Image Files

To close an Image, choose File > Close, or click the Close button

on the image window's title bar. If you haven't saved changes to the

image, you'll be prompted to do so.

Customizing Paint Shop Pro

By setting up Paint Shop Pro to appear and respond in ways that

best suit your work, you’ll not only create a better user experience,

but you’ll likely find yourself working faster and more efficiently.

This chapter describes the various ways you can customize Paint

Shop Pro.

Note

CMYK Conversion Preferences are covered in Chapter 16, Printing

Images.

Contents Using Custom Workspaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Customizing Toolbars and Menus. . . . . . . . . . . . . . . . . . . . . . . . 56

Setting General Program Preferences. . . . . . . . . . . . . . . . . . . . . 59

Setting Autosave Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Setting File Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Setting File Format Preferences. . . . . . . . . . . . . . . . . . . . . . . . . 73

Setting File Format Associations . . . . . . . . . . . . . . . . . . . . . . . . 79

Resetting Application Preferences . . . . . . . . . . . . . . . . . . . . . . . 80

Assigning and Viewing Shortcut Keys . . . . . . . . . . . . . . . . . . . . . 81

Adjusting Monitor Display Options . . . . . . . . . . . . . . . . . . . . . . . 84

CHAPTER 4

Chapter 4: Customizing Paint Shop Pro

Using Custom Workspaces

The Paint Shop Pro workspace is made up of all the program’s

palettes, toolbars, and open images. You may find that the way you

arrange the workspace while editing photos may differ from your

arrangement for using the Web tools. Fortunately, Paint Shop Pro

allows you to save any number of workspace arrangements, allowing

you to load the specific workspace that best suits the work you

intend to do.

Saving Workspaces

When you save a workspace, Paint Shop Pro saves the information

in a .PspWorkspace file. The following information is stored:

Ruler, grid, and guide information

Menu, palette, and toolbar settings, locations, and docking status

Browser window position (if open)

Full screen edit mode status

Open images, including the images zoom levels and scroll bar

locations

Note: Workspace files do not include an actual copy of any open

images. Workspace files only reference the name and location of

an image. If you delete an image from your computer, it will not

display in a workspace.

To save the current workspace:

1 Choose File > Workspace > Save or press Shift + Alt + S to open

the Save Workspace dialog.

2 To save the workspace in a folder other than the program default

folder, click the File Locations button.

3 In the New Workspace Name field, type a name for the new

workspace.

4 Click Save.

If your workspace contains any modified images that you have not

saved, you will be prompted to save the changes to your image.

Choose from these options:

Yes Saves the image changes and saves the workspace.

Chapter 4: Customizing Paint Shop Pro 55

No Saves the workspace, but does not save the changes to your

image.

Cancel The workspace is not saved.

Loading Workspaces

To load a workspace:

1 Choose File > Workspace > Load or press Shift + Alt + L to open

the Load Workspace dialog.

2 Select the workspace file you want to load.

Note: To load a workspace not displayed in the dialog, click the

File Locations button and use the File Locations dialog to make

the desired workspace folder the active directory.

3 Click Load.

Workspace files do not include an actual copy of any open images.

Workspace files only reference the name and location of an image. If

you delete an image from your computer, it will not display in a

workspace.

If you had two windows open for the same image when you saved

the workspace, they both open again.

If an image from the workspace is already open, Paint Shop Pro

applies the workspace settings to the open image.

Deleting Saved Workspaces

To delete a saved workspace:

1 Choose File > Workspace > Delete or press Shift + Alt + D to open

the Workspace dialog.

2 Select the workspace file you want to delete.

3 Click Delete.

Quick Access to

Workspaces

Load a recently used workspace by

choosing it from the list of recent

workspaces located at the bottom

of the File > Workspace menu.

Chapter 4: Customizing Paint Shop Pro

Customizing Toolbars and Menus

Paint shop Pro 9 gives you almost total control over the program’s

toolbars, allowing you to:

Move commands from toolbar to toolbar.

Add almost any command to any toolbar.

Add your own custom scripts to toolbars (Refer to Chapter 17).

Create your own custom toolbar.

Customizing Toolbars

When you display the Customize dialog, the entire Paint Shop Pro

workspace transforms into customize mode. You can click and drag

almost any menu command or tool to any other menu or toolbar. You

can add or delete commands from the menus on the Menu Bar. All

this can be done with the Commands and Toolbars tabs of the

Customize dialog.

To access the toolbar customize mode:

1 To open the Customize dialog, choose View > Customize. You can

click back and forth between tabs to access the controls you need.

2 After making your changes, click Close.

To select which toolbars are displayed:

Choose View > Toolbars, and select the toolbar that you want to

display; or

Choose View > Customize to open the Customize dialog. Click

the Toolbars tab, and mark the checkbox for the toolbars that you

want to display, and then click Close.

To select which Menu Bar is displayed:

1 Click the Menu tab.

2 In the Application Frame Menus group box, select an option from

the Show Menus for drop down list:

Default This set of commands displays when no images are open.

Image This set of commands displays when images are open.

Browser This set of commands displays when the Browser is the

active window.

Right-click access to

Customize dialog

Another way to access the

Customize dialog is to right-click in

the Menu bar, Tool palette, or Tool

Options palette, and then choose

Customize from the context menu.

Chapter 4: Customizing Paint Shop Pro 57

To reset a Menu Bar:

1 Click the Menu tab.

2 In the Application Frame Menus group box, select the menu you

want to reset from the Show Menus for drop-down list.

3 Click the Reset button.

To move a command button or tool:

While in Customize mode, drag the item to another palette or

toolbar.

To add commands or tools to a toolbar:

1 Click the Commands tab of the Customize dialog.

2 From the Categories list, select a category. Paint Shop Pro groups

related commands into categories. For example, click the File

category to display all File menu commands. To list all Paint

Shop Pro commands at once, choose All Commands.

3 From the Commands list, click and drag a command to a toolbar.

To remove commands or tools from a toolbar

Drag the item to an empty workspace area or an empty area

outside a toolbar. Release the mouse button when you see the

cursor change to this shape: ; or

Right-click on the item and choose Delete from the context

menu.

To reset all toolbars:

1 Click the Toolbars tab.

2 Click the Reset All button. All toolbars will revert to the

program’s default settings.

To reset a specific toolbar:

1 Click the Toolbars tab.

2 In the Toolbars list, select the name of the toolbar to reset.

3 Click the Reset button. The selected toolbar will revert to the

program’s default settings.

Chapter 4: Customizing Paint Shop Pro

To add a separator to a toolbar:

1 Choose View > Customize to display the Customize dialog.

2 Right-click a button in the toolbar to which you’ll be adding the

separator, and then choose Include Separator from the context

menu that appears. This adds a separator to the left of the button

you clicked.

Note: To rearrange a button relation to the separator, hold down

Alt and drag the button to the desired location.

To delete a separator from a toolbar:

1 Choose View > Customize to display the Customize dialog.

2 Right-click the toolbar button directly to the right of the

separator. This displays the context menu. Notice the check mark

next to the Start Group item.

3 Select the Include Separator item to remove the check mark and

the separator.

Creating a New Toolbar

You can create a custom tool bar with your favorite commands and

tools.

To create a new toolbar:

1 Choose View > Customize to open the Customize dialog.

2 Click the Toolbars tab.

3 Click New to open the Toolbar name dialog.

4 Type a name for the new toolbar and click OK. You’ll see a small,

empty toolbar.

5 Drag this new toolbar off to the side of the Customize dialog so

you can see it better.

6 To add commands to it, choose the Commands tab in the

Customize dialog.

7 Under Categories, choose the menu containing commands you

want to load onto your custom toolbar.

8 Drag command icons into the new toolbar. Add separator bars, if

necessary, as described above.

9 When you’re done adding commands, click Close. Your custom

toolbar is now listed when you choose View > Toolbars.

Chapter 4: Customizing Paint Shop Pro 59

To delete a custom toolbar:

1 Choose View > Customize to open the Customize dialog.

2 Click the Toolbars tab.

3 In the Toolbars list, select the name of the custom toolbar you

want to delete.

4 Click Delete.

5 Click Close.

Customizing Context Menus

Context menus open when you right-click with a certain tool or

right-click over a certain area of the workspace.

To customize a context menu

1 Choose View > Customize to open the Customize dialog.

2 Click the Menu tab.

3 From the Select context menu drop-down list, choose a context

menu. The context menu will display in the workspace. Edit the

menu just like any other toolbar. For instructions see,

“Customizing Toolbars” on page 56.

Setting General Program Preferences

General Program Preferences define the behavior of various

features.

To set General Program Preferences:

1 Choose File > Preferences > General Program Preferences to

open the Paint Shop Pro Preferences dialog.

2 Click the tab containing the preference information you want to

change.

3 Modify the desired settings, and then click OK.

Undo Preferences

The Undo tab controls some settings of the Undo and Redo

commands, as well as one setting for the History palette

Chapter 4: Customizing Paint Shop Pro

Undo and Redo Settings

To enable Paint Shop Pro to undo actions, mark the Enable the undo

system check box. This enables you to set all the items in this area of

the Undo tab.

When the undo system is active, you can set the following options:

Limit undo/redo disk usage to n MBytes of storage per open

image Sets the maximum amount of disk space each images

undo/redo steps can use.

Limit undo/redo to n steps per open image Sets the number of

undoable/redoable steps in each open image. The default value is

250. Steps older than 250 will become undoable steps, only 10 of

which will be retained as defined by the Non-undoable steps after

last undoable step setting.

Compress undo/redo information Marking this check box saves

disk space, but slows down undo and redo operations.

Enable the redo system Activates the Redo command, allowing

you to redo actions you have undone.

History Palette Setting

n Non-undoable steps after last undoable step Sets the number

of non-undoable steps that will be retained after the last non-

undoable step limit has been reached. The default value is 10.

View Preferences

The View tab controls some image window behaviors.

Zooming

These options determine if Paint Shop Pro automatically resizes an

image window when you zoom in or zoom out. A window is resized

to include as much of the image as will fit.

New Images

Auto size With this check box marked, Paint Shop Pro automatically

zooms out to fit the entire image in the window if you open an image

that is too large to fit in its image window.

Chapter 4: Customizing Paint Shop Pro 61

After Changing Size

Fit window to image check box is selected, Paint Shop Pro

automatically resizes the image window whenever you resize an

image.

Auto Size With this check box marked, if you increase an image’s

size to more than can fit in its window, Paint Shop Pro reduces the

image’s magnification accordingly.

Display and Caching Preferences

The Display and Caching tab controls presentation and caching.

Presentation Options

Re-use last type in save-as dialog When you mark this check

box, the last file format used to save an image automatically

appears in the Save as type field.

Display all color dropper ToolTips Clear this box to hide the

color information that appears next to the dropper tool when it is

positioned over a color.

Use precise cursors Mark this check box to use a cross hair for

tool cursors instead of the tool’s icon.

Show brush outlines Clear this check box to hide the outline

(shape, size) of the current brush as the cursor moves over an

image.

Thumbnail/Preview Enter a size for the thumbnails in the Effects

Browser and the preview images that display in the Layers

palette.

Zoom/Rescaling Quality Adjust the slider between Faster and

Better. Faster will zoom images faster, but will display less fine

detail. Better will zoom images more slowly, but display more

fine detail.

Caching Options

These options allow for faster image redraws after you make

changes. By default, they are all marked. Turning these options off

will likely slow image redraws.

In the Image group box:

Merged Image Clear this check box to stop saving an image cache

of your entire merged image.

About color pickers

In previous versions of Paint Shop

Pro, you could use the Jasc Color

Picker or the Windows Color

Picker. In Paint shop Pro 9, the

Windows Color Picker is not

available.

Chapter 4: Customizing Paint Shop Pro

Merged Below Active Layer Clear this check box to stop saving

an image cache of all the layers below the active one.

Group Layers Options

Merged Group Clear this check box to stop saving an image

cache of the merged image for each group.

Merged Below Active Layer Clear this check box to stop saving

an image cache of all the group layers below the active one.

Palettes Preferences

The Palettes tab controls behaviors of the materials palette as well as

how palettes dock.

Materials Palette Options

Display colors in RGB format or Display colors in HSL format

This option controls the color information that appears in the

materials palette and with the dropper tool.

Decimal display or Hexadecimal display

This option controls how color values will display throughout the

program.

Show rainbow picker or Show document palette

For images with limited palettes (8-bit, 256 color), the document

palette shows only colors that are actually in the image.

Docking Options

Clear the check box beside each palette to prevent the palette

from docking. This will allow you to drag the palette anywhere in

the workspace.

Browser Preferences

The Browser tab controls the appearance and operation of the

Browser.

Thumbnail Size

Enter values (in pixels) for the thumbnail size the Browser

displays. The size range is from 50 to 150 pixels. Clear the

Symmetric check box to adjust thumbnail width and height

independently.

Why use hexadecimal?

Web browsers use the

hexadecimal format to specify

colors.

Chapter 4: Customizing Paint Shop Pro 63

Appearance

Choose Use Windows colors to highlight thumbnails with the

current Windows selection color. Or, choose Use classic colors

and choose a thumbnail highlight color form the Selection color

box.

Clear the Display flat style thumbnails check box to display

thumbnails that look like raised button bars.

Other Options

Display tooltips over thumbnails Clear this check box to hide the

image information that appears when the cursor is over

thumbnails.

Save browser files to disk Clear this check box to stop the

Browser from creating a cache file in folders you browse. By

default, when you view a folder using the Browser, Paint Shop

Pro saves a file called pspbrwse.jbf in that folder. This cache file

allows you to view the thumbnails more quickly the next time

you browse the folder.

Automatically update the thumbnails Mark this check box to

automatically update a folder’s cache file every time the folder is

browsed. When you view a folder with the Browser, the Browser

displays the contents of the folder’s cache file. If you make

changes to the images in the folder, the thumbnails will not show

the results unless the cache file is updated.

File Format Exclusions Click this button (located in the lower

right corner of the Browser preferences tab) to display a dialog

allowing you to exclude selected file formats from appearing in

the browser.

Units Preferences

The Units tab controls ruler options and the default resolutions for

new images.

Rulers

Choose a measurement system for the rulers from the Display

units drop-down list.

Choose Toolbar colors to have the ruler color match

Paint Shop Pro’s toolbars or choose Black on White rulers.

Color choice tip:

Right-click the Selection color

box to pick from the Recent

Colors dialog.

Grid Preferences

To set grid preferences, see

Chapter 6, Editing Images.

Chapter 4: Customizing Paint Shop Pro

Default Resolution

Choose a measurement system from the drop-down list and enter

the default resolution for new images. You can override this

resolution on an image-by-image basis by modifying the settings

in the New Image dialog.

Vector Coordinates

When this check box is marked, objects will snap to the center of

pixels while they’re moving. You will have to zoom in very far to

see this.

Transparency and Shading Preferences

The Transparency and Shading tab controls the grid size and color

representing transparent backgrounds and transparent areas of

layers. Additionally, this is where you set the color and opacity of

the Crop shading area.

Setting Transparency Options

Grid size Chose one of the four grid sizes from the drop-down

list.

Grid Colors Choose a color scheme from the Scheme drop-down

list. To customize the grid colors, click inside the Color 1 or

Color 2 boxes and select new colors.

Preview displays your proposed changes to the transparency grid.

Setting Crop Shading Options

Enable crop shading area Mark this check box to activate

shading outside the crop rectangle.

Color Click inside the Color box to choose a shading area color.

Opacity Use the Opacity setting to control how opaque the

shading area color will be.

Warning: When crop shading is enabled and you attempt to crop an

8-bit (256 colors) or less image, the area outside the crop rectangle

will be black. Thus when cropping these types of images, you may

want to disable this option.

Color choice tip:

Right-click the Selection color

box to pick from the Recent

Colors dialog.

Chapter 4: Customizing Paint Shop Pro 65

Warnings Preferences

The Warnings tab controls how warning dialogs will display.

By default, Paint Shop Pro displays a warning dialog whenever you

are about to perform an operation that will result in lost information

or one that can not be applied to the image in its current state.

To prevent a warning from appearing, clear the check box in

front of its description.

Click the Enable All button to mark all the check boxes in the list.

Click the Disable All button to clear all the check boxes in the

list.

Photo Sharing Preferences

The current photo sharing service provider is shown in the Select a

photo sharing service list. When you choose File > Export >

PhotoSharing, that provider’s site will be accessed via your Web

browser.

Auto Action Preferences

Common actions that need to be performed in order to further edit an

image can be automated.

For example, you can only apply effects to 24-bit images. However,

most of the Effects menu items are active even if the active image is

8-bit. When you select an effect in an 8-bit image, the Auto Actions

dialog opens telling you Paint Shop Pro must convert the image to

24-bit to proceed with the effect.

To set the preferences for an Auto Action:

1 Select an Auto Action from the Auto Action Prompt list.

2 Choose one of these options for each action:

Never Prevents the action from happening. Choosing Never will

make certain menu commands inactive if an Auto Action is

required to complete the command. Note that some items in the

list do not have this option available.

Always Performs the action silently (without prompting you).

Prompt Asks if you want to perform the action.

Chapter 4: Customizing Paint Shop Pro

Set all the actions in the list to a certain option by clicking

Always All, Never All, or Prompt All.

Reset all the actions in the list to the program’s default settings by

clicking Reset.

Miscellaneous Preferences

The Miscellaneous tab controls a variety of preferences.

Recently used file list Set the maximum number of files that will

appear when you choose File > Recent Files. For example, if the

value is set to four, only the last four saved files will appear on

the list.

Note: You must restart Paint Shop Pro before the new settings

will take effect.

Tolerance to background color when pasting a transparent

selection When you paste data as a transparent selection, Paint

Shop Pro adds it to the current image, defines it as a selection,

and then deselects all the pixels that match the current

background color. The tolerance value you enter determines how

closely the background color must match the transparent color

for it to become transparent. The tolerance scale is 0% to 200%.

Zero percent indicates that only image pixels with a perfect

match to the current background color are made transparent.

200 percent indicates that all image pixels are made

transparent.

Clipboard Data on Exit Choose how Paint Shop Pro will handle

any clipboard data when you exit the program.

Ask Whenever you exit, Paint Shop Pro will ask you what to

do with the clipboard data.

Delete Clipboard data will be deleted on exit.

Leave Data will remain in the clipboard on exit.

Force full window redraw when positioning image elements

Mark this check box to redraw the information in the active

window whenever you move objects in the image.

Show splash screen when application starts Clear this option to

hide the Jasc Software, Inc. splash screen which appears at

program startup.

Chapter 4: Customizing Paint Shop Pro 67

Disable pressure support for puck-type pointing devices Mark

this check box to turn off the pressure sensitive features of puck-

type pointing devices included with graphics tablets.

Setting Autosave Preferences

Paint Shop Pro can automatically save all open images on a set

schedule. These autosaved files can help you recover your work if

your computer crashes. When Paint Shop Pro starts after a crash, it

will open any autosaved files it finds.

Note

To find where Paint Shop Pro saves the autosaved files, select

File > Preferences > File Locations and select the

Undo/Temporary Files folder from the File Type list.

To set the autosave preferences:

1 Choose File > Preferences > Autosave Settings to open the

Autosave dialog.

2 Set the options:

Enable autosave Mark this check box to activate the autosave

feature.

Minutes Set the number of minutes between each autosave.

Setting File Locations

Paint Shop Pro resources include such items as scripts, picture tubes,

patterns, gradients, displacement maps, and workspaces. The full

listing of resources displays along the left side of the File Locations

dialog. Paint Shop Pro saves and searches for resources in several

default folders on your computer. By changing File Locations

preferences, you can change where Paint Shop Pro looks for and

saves these resources. You can also control how plug-ins are used

and which Web browsers are used to preview your images.

Note: By default, all new files you create are saved in the

appropriate folder of the ...My Documents\My PSP Files folder.

Most default program resources are stored in the appropriate folder

in the path ...\Program Files\Jasc Software Inc\Paint Shop Pro 9.

Chapter 4: Customizing Paint Shop Pro

Editing File Locations

The File Locations dialog controls where Paint Shop Pro looks for

and saves important files.

Changing File Locations

You can change where Paint Shop Pro to stores and retrieves specific

resources.

To change file locations:

1 Choose File > Preferences > File Locations to open the File

Locations dialog.

2 From the File types list on the left side, select the resource that

you want to change file locations for.

3 At the top of the dialog's right side you'll see the default folders

where the specified resource can be saved to.

Add Select a listed folder and then click this button (or click the

Browse for Folder button at the end of the selected folder) to add

another folder to the list. This will display the Browser for Folder

dialog, allowing you to navigate to and select another folder. To

create a new resource folder, click the Browse for Folder dialog's

Create New Folder button and then enter the folder name.

Remove Select a listed folder and then click this button to

remove the folder for the current resource category.

Select a folder and then click this button to move the folder

up the list.

Select a folder and then click this button to move the folder

down the list.

4 Use the options in the Folder options section to enable the folder

system as well as the subfolders. When these items are

unchecked, Paint Shop Pro will not be able to search for folders

and their subfolders.

5 In the Save to field, click the drop list and then click on the folder

where you want the current resource saved to.

6 Click OK to save your settings and return to Paint Shop Pro.

Important: To create a custom category for a particular resource,

Refer to the Creating a Custom Category section in this chapter.

Edit Paths: another way to

view file locations

You can open the File Locations

dialog by clicking the Edit Paths

button which appears in many

Paint Shop Pro dialogs.

Chapter 4: Customizing Paint Shop Pro 69

Using the Resource Manager Dialog

Paint Shop Pro resources include such items as scripts, picture tubes,

patterns, gradients, displacement maps, and workspaces. The full

listing of resources displays along the left side of the File Locations

dialog. Using a consistent method for managing these resources can

make your workflow easier. This is where the Resource Manager

dialog comes in.

Accessing the Resource Manager Dialog

Wherever you find a Presets control (such as in the Tool Options

palette's Presets drop list for any tool, or in the Presets drop list for a

dialog), or the visual resource drop-list for resources such as Preset

Shapes, Gradients, etc., you'll find the Resource Manager button

. Click this button to access the Resource Manager dialog.

Deleting a Resource

1 If necessary, from the Category drop-list choose the category where

the resource resides.

2 Click the resource from the list.

3 Click the Delete button. You'll be prompted to verify that you

wish to proceed.

4 Click Yes to delete the resource.

Renaming a Resource

1 If necessary, from the Category drop-list choose the category where

the resource resides.

2 Click the resource from the list.

3 Click the Rename button. The Rename Resource dialog appears.

4 Enter the new name for the resource and then click OK.

Copying a Resource to Another Location

1 If necessary, from the Category drop-list choose the category where

the resource resides.

2 Click the resource from the list.

3 Click the Copy button. The Save As dialog appears.

Note: At this point, you could also rename the file via the Save

As dialog's File Name field.

Chapter 4: Customizing Paint Shop Pro

4 Navigate to the folder where you want to move the resource, and

then click Save.

Moving a Resource to Another Location

1 If necessary, from the Category drop-list choose the category where

the resource resides.

2 Click the resource from the list.

3 Click the Move button. The Browse for Folder dialog appears.

4 Navigate to the folder where you want to move the resource, and

then click OK.

Note: If you move the resource to a location not currently listed in

the File Locations dialog, you won't see the resource in the visual

resource drop-list, nor in the Resource Manager dialog.

Creating a Custom Category

Create your own categories that will appear for a given resource as

follows:

1 Access the File Locations dialog using one of the following

methods:

Choose File > Preferences > File Locations; or

From the Presets area of a dialog, or Presets area of the Tool

Options palette, or from a resource's visual drop-list, click the

File Locations button.

2 In the File types list on the left side of the dialog, click the

resource for which you wish to create a new category folder.

3 In the File folders list, click once on the folder under which the

sub folder will reside.

4 In the Folder Options area of the File Locations dialog, make

sure the Enable and Use sub folders check boxes are marked, and

then click the Create Sub Folder button. This displays the Enter

Name dialog.

5 Enter a name for the sub folder, and then click OK to close the

Enter Name dialog.

6 (In the Save to field toward the bottom of the File Locations

dialog, note that the category you created automatically becomes

the folder where new resources of that type will be saved.) Click

OK to close the File Locations dialog.

Chapter 4: Customizing Paint Shop Pro 71

To have the new category appear in the Categories drop-list, you

must first save a resource in the folder you just created, or use the

Copy or Move buttons described above to place a resource file in the

new folder.

Setting Plug-in Locations

Paint Shop Pro allows you to use Adobe compatible plug-ins. Use

the File Locations dialog to choose folders containing plug-ins and

control how plug-ins are used.

To control plug-in functions:

1 Choose File > Preferences > File Locations to open the File

Locations dialog.

2 From the File types list, select Plug-ins.

3 Set these options:

Enable plug-ins Mark this box to allow Paint Shop Pro to use

plug-ins.

Limit Loaded plug-in files to those with an .8B* extension

The .8B* extension is the most common plug-in extension. Clear

this check box to load plug-ins with other extensions.

Allow file format plug-ins to request pre-filtering of support file

types Some plug-ins can open files that Paint Shop Pro also

supports. Mark this check box to allow a plug-in to try to open

(pre-filter) the file before it opens in Paint Shop Pro.

To add plug-in locations:

1 Choose File > Preferences > File Locations to open the File

Locations dialog.

2 From the File types list, select Plug-ins.

3 Click the Add button. The Browse for Folder dialog appears.

4 Type the full path name of the folder you want to add and click

OK. This takes you back to the File Locations dialog.

5 Make sure the Enable option is checked in the Folder Options

section of the File Locations dialog, and then click OK.

Chapter 4: Customizing Paint Shop Pro

Selecting a Web Browser

Paint Shop Pro allows you to preview your images with Web

browsers. Use the File Locations dialog to select which browser(s)

to use.

To delete or edit Web browsers:

1 Choose File > Preferences > File Locations to open the File

Locations dialog.

2 From the File types list, select Web Browsers.

3 Select a browser from the list.

4 Click Edit to change the browsers location or Delete to remove

the browser from the list.

5 Click OK.

To add Web browsers:

1 Choose File > Preferences > File Locations to open the File

Locations dialog.

2 From the File types list, select Web Browsers.

3 Click Add to open the Browser Information dialog.

4 Type the full path name of the Web browser you want to add or

click the Browse button to find and select the program.

Type a different name in the Web Browser Name field if desired

and Click OK.

5 Click OK.

Another way to select Web

browsers:

Select View > Preview in Web

Browser to open the Preview in

Web Browser dialog. Click the Edit

Web Browser button.

Chapter 4: Customizing Paint Shop Pro 73

Setting File Format Preferences

With File Format Preferences, you can specify how Paint Shop Pro

handles images in the following formats: Windows Metafile, Kodak

PhotoCD, PNG, PostScript, RAW Graphics, and Raw Camera Data.

Setting Raw Camera Data Preferences

To better support the prosumer digital camera user, Paint Shop Pro 9

now supports Raw camera data images. These images contain

unprocessed sensor data captured by high-end digital cameras from

Canon, Fuji, Kodak, Minolta, Nikon, Olympus, and Pentax.

Raw Camera Data Images vs. RAW (Graphics) File

Format Images

In order to avoid confusion, be aware that there is quite a difference

between Raw (unprocessed) camera data images and images in the

RAW graphics file format.

Raw Camera Data Images

This help topic focuses on Raw camera data images produced by

high-end digital cameras. The data from these images in no way

resembles or responds like RAW graphics image data.

RAW (Graphics) File Format Images

RAW graphics images are basic raster data format images with no

compression, and may include an optional non-standard header

which is not supported by Paint Shop Pro. These graphics images are

used primarily by game developers and by the scientific community.

Game developers use RAW graphics images for custom image

texturing, bumpmapping, and shading. The scientific community

uses these images for custom application-based image analysis.

Paint Shop Pro is used not only to create and edit RAW graphics

images, but also to provide conversion from standard formats (such

as TIF, JPEG, or TGA) into the RAW graphics format.

Chapter 4: Customizing Paint Shop Pro

Opening Raw Camera Data Images and RAW

Graphics Images

When you choose File > Open, and then check the options in the

Open dialog's Files of type field, you'll notice that RAW graphics

files are differentiated from Raw camera data images as shown here.

Setting Raw File Format Options

You may want the option of displaying a separate dialog for setting

sharpening, white balance, and exposure levels before the Raw

camera images open in Paint Shop Pro. Do this in the Raw Camera

Data tab of the File Format Preferences dialog.

1 Choose File > Preferences > File Format Preferences.

2 Click the Raw Camera Data tab.

3 Make sure the Prompt for override settings each time a raw

camera format is opened check box is marked.

4 Click OK to close the File Format Preferences dialog.

Now when you now attempt to open a Raw camera data image, the

Raw Camera Data dialog will appear, allowing you to override the

camera settings.

If this check box is not marked, the Raw Camera Dialog will not

appear prior to opening a Raw camera image.

Chapter 4: Customizing Paint Shop Pro 75

Using the Raw Camera Data Dialog

1 If necessary, use the zoom in and zoom out buttons to modify the

image preview, and use the Pan button to determine what portion of

the image is shown in the preview area. You can also use one of the

Zoom level presets from the drop-list. To set the image zoom level

to 100 percent, click the button.

2 If you want to rotate the image, use the Rotate Left and Rotate

Right buttons to rotate in 90-degree increments.

3 If you expand the size of the dialog, click the button to

proportionally scale the image to fit the new window size.

4 The Sharpen Mode setting controls the contrast between adjacent

image pixels. Be aware that applying sharpening may introduce

noise in the image. Click the Sharpen Mode drop list and choose

a setting:

Low: applies a minor level of sharpening.

Normal: applies a moderate level of sharpening -- in some case

this may introduce image noise.

High: applies a high level of sharpening -- may introduce image

noise.

Standard: this is the camera-specific default level of sharpening.

Off: no sharpening will be applied.

5 The White Balance settings provide options for correcting the

color cast certain types of lighting may cause. If the photo was

shot indoors in fluorescent lighting, for example, and the camera

was set for outdoor lighting conditions, the photo may have a

green color cast. In this case, you could choose Fluorescent to

correct this problem. Click the White Balance drop list and

choose a setting:

As Shot: uses the camera settings enabled when the photo was

taken.

Incandescent: applies correction for a photo taken in

incandescent light.

Fluorescent: applies correction for a photo taken in fluorescent

light.

Sunny: applies correction for a photo taken in sunlight.

Cloudy: applies correction for a photo taken in cloudy conditions.

Shade: applies correction for a photo taken in the shade.

Flash: applies correction for a photo taken with camera flash.

Chapter 4: Customizing Paint Shop Pro

6 Use the Exposure compensation numeric edit control to set an

exposure value. (The default value is 1.0.) The values range from

-2.0 to 2.0; lower values will darken the image, while higher

values will lighten the image.

7 When you're satisfied with the settings, click OK to open the Raw

camera image into the Paint Shop Pro workspace.

Setting Kodak PhotoCD Preferences

The Kodak PhotoCD format (PCD) is used by many photo

developers. This format can provide multiple image resolutions in

one file.

To set PCD file format preferences:

1 Choose File > Preferences > File Format Preferences to open the

File Format Preferences dialog.

2 Click the PCD tab.

3 Choose:

A default resolution setting. For example, 1536 x 1204 pixels.

Ask when loading each file PSP will ask you to pick a default

resolution each time you open a PCD file.

4 Click OK.

Setting Postscript File Preferences

Paint Shop Pro can read PostScript files (including multi-page files)

through level 2 and open them as raster images. When converting,

Paint Shop Pro can anti-alias objects and retain transparency

information.

To set PostScript file import preferences:

1 Choose File > Preferences > File Format Preferences to open the

File Format Preferences dialog.

2 Click the PostScript tab.

3 Choose a prompt setting:

Chapter 4: Customizing Paint Shop Pro 77

Prompt for size and options each time a PostScript file is opened

When you mark this check box, Paint Shop Pro will ask you to

choose settings for each PostScript file you open. Clear this

check box to use the Size and Options when not prompting

settings for all opened PostScript files.

4 If necessary, choose non-prompting options:

Resolution Set the resolution for the converted raster image

Image mode Select a mode from the drop-down list.

Page Size Select a page size from the drop-down list.

By default, if a PostScript file has a bounding box, the program

will match the canvas size to the bounding box.

Landscape Mark this check box to switch the page orientation to

landscape. The default is portrait. This option does not rotate

your images; only use this option for landscape PostScript files.

Anti-aliasing Mark this box to anti-alias PostScript objects as

they are converted to raster images.

Render transparency Clear this check box to use a white

background instead of the default transparent background.

Setting RAW Graphics File Preferences

Paint Shop Pro can read and save RAW graphics image formats. This

format (which is not to be confused with Raw Camera Data images)

is commonly used in graphics images in the scientific and computer

gaming industries.

To set RAW graphics file preferences:

1 Choose File > Preferences > File Format Preferences to open the

File Format Preferences dialog.

2 Click the RAW (Graphics) tab.

3 Set the Save options:

Header size Sets header size of the file.

Flip top and bottom Mark this box to flip the image upside down.

4 Set the 24 bit options:

RGB order or BGR order Choose the color order.

Planar mode Clear this box to turn off planar mode.

Chapter 4: Customizing Paint Shop Pro

Setting Metafile Preferences

Windows Meta File (WMF) is the Microsoft Windows native vector

format.

To set WMF image preferences:

1 Choose File > Preferences > File Format Preferences to open the

File Format Preferences dialog.

2 Click the Metafile / Import tab.

3 Choose from the two Load options:

Prompt for size and options each time a file is opened When you

choose this option, Paint Shop Pro will ask you to choose settings

for each WMF image you open.

Use file header information when available Some WMF files

have a file header containing default size information. Choose

this option to use the file header default size (if available). If you

open a file without a header, the size defaults to the values you

type in the Default size when file header is not available group

box.

4 Choose the following options:

Import vector data Mark this check box to import WMF vector

data as objects you can edit with vector tools. Clear this check

box to convert all vector objects to raster images.

Apply smoothing Mark this check box to smooth curved

polylines (vector data only).

Setting PNG Preferences

Set preferences for opening and saving PNG files as described

below.

1 Choose File > Preferences > File Format Preferences. The File

Format Preferences dialog appears.

2 Click the PNG tab.

3 Mark the Load and Save transparency to/from Alpha channel

option to enable feature for PNG files.

Chapter 4: Customizing Paint Shop Pro 79

Setting File Format Associations

File format associations control how Paint Shop Pro will interact

with many types of file formats.

Adding and Removing Associations

You can have certain file formats automatically open in Paint Shop

Pro. For example, when you associate the JPEG file format with

Paint Shop Pro, all JPEG files will open in Paint Shop Pro when you

double-click them from the Windows desktop. The associated JPEG

files will also display Paint Shop Pro icons.

To associate a file with Paint Shop Pro:

1 Choose File > Preferences > File Format Associations to open the

File Format Associations dialog. Do any of the following:

To associate a specific file format, mark the format’s check

box.

To associate all listed formats, click the Select All button.

To associate all listed formats that are not already associated

with other applications, click the Select Unused button.

To associate no file formats with Paint Shop Pro, click the

Remove All button.

2 Click OK.

Note

To add or remove file extensions you want associated with the

selected format, see “Changing File Format Extensions” below.

Changing File Format Extensions

Note

File format extension changes will not take effect until the next time

you start Paint Shop Pro.

To set file extensions:

1 Choose File > Preferences > File Format Associations to open the

File Format Associations dialog.

2 Select the file format that contains the extensions you want to

set.

What if I want to open a file

in another program?

When you associate a file format

with Paint Shop Pro, you can still

open that format in other

programs. Just use the other

program’s Open command.

Chapter 4: Customizing Paint Shop Pro

3 Click the Extensions button to open the Extensions dialog. The

preferred extension (the extension that Paint Shop Pro will use to

save files) is at the top of the list.

4 Do one of the following:

To add a file extension, click the Add button. Type in the new

extension and click OK.

Note: File extensions that have been associated with Paint

Shop Pro will have an asterisk (*) after the name.

To delete a file extension, select the extension from the list

and click Delete.

To reset a format to its default extension(s), select the

extension from the list and click Reset.

To make an extension the preferred choice, select the

extension and click Preferred. The extension will move to the

top of the list.

5 Click OK.

Resetting Application Preferences

Various program preferences can be reverted back to their defaults.

To reset application preferences:

1 Choose File > Preferences > Reset Preferences to open the Reset

Application dialog.

2 Select from these choices:

Reset general preferences Mark this check box to reset all

general program preference settings to the program defaults.

Reset file locations Mark this check box to reset all file location

settings to the program defaults.

Reset workspace to default configuration Mark this check box to

reset the current workspace to the program defaults.

Reset dialog positions and last used settings When you mark

this check box, any dialogs that open will appear in their default

locations. Also, Paint Shop Pro will forget the last settings you

used in all dialogs.

Chapter 4: Customizing Paint Shop Pro 81

Delete all cache files Mark this check box to delete (reset) all

existing cache files. Paint Shop Pro saves cache files on your

computer to improve program performance. Cache files can

become corrupted by computer errors.

Make all toolbars/palettes visible and on screen Mark this check

box to view all toolbars and palettes.

3 Click OK.

Assigning and Viewing Shortcut Keys

You can view existing keyboard shortcuts, assign a keyboard

shortcut to menu commands, bound scripts, and tools, and even

modify keyboard shortcuts.

To assign shortcut keys to commands and tools:

1 Choose View > Customize to open the Customize dialog.

2 Click the Keyboard tab.

3 In the Set Accelerator for drop-list, pick which application’s

shortcuts you want to assign. Choose Default (for Paint Shop

Pro’s main workspace) or Browser (for when the Image Browser

is active)

4 In the Category drop-list, select a category. Paint Shop Pro

groups related commands into categories. For example, if you

pick the File category, all the commands in the file menu are

displayed. To list all commands at once, choose All Commands.

5 In the Command list, select a command name.

6 The description of the command and any assigned shortcut keys

are displayed.

7 Click in the Press New Shortcut Key field.

8 Press the new keyboard shortcut you want to assign to the

command. The shortcut will appear in the Press New Shortcut

Key field. If the shortcut is already assigned to another

command, this will display above the field.

9 Click Assign to assign the new shortcut to the selected command.

10 Assign more shortcut keys, or click Close.

To assign a shortcut key to a bound script:

1 Choose View > Customize to open the Customize dialog.

Chapter 4: Customizing Paint Shop Pro

2 Click the Keyboard tab.

3 In the Set Accelerator for drop-down list, pick which

application’s shortcuts you want to assign. Choose Default (for

Paint Shop Pro’s main workspace) or Browser (for when the

Image Browser is active).

4 In the Category drop-list, select Bound Script. (Note that the

Bound Scripts that appear in the Commands list match what

appears in the Bound Scripts list of the Scripts tab.)

5 In the Commands list, select the bound script to which you want

to assign a keyboard shortcut.

6 Click in the Press New Shortcut Key field.

7 Press the new keyboard shortcut you want to assign to the bound

script. The shortcut will appear in the Press New Shortcut Key

field. If the shortcut is already assigned to another command, this

will display above the field.

8 Click Assign to assign the new shortcut to the selected bound

script.

9 Assign more shortcut keys as described above, or click Close.

To view all shortcut keys:

1 Choose Help > Keyboard Map to open the Help Keyboard dialog.

2 In the Show Accelerator for drop-down list, pick which

application’s shortcuts you want to view. Choose Default (for

Paint Shop Pro’s main workspace) or Browser (for when the

Image Browser is active)

3 In the Category drop-down list, select a category. Paint Shop Pro

groups related commands into categories. For example, if you

pick the File category, all the commands in the file menu are

displayed. To list all commands at once, choose All Commands.

The commands and their shortcut keys are displayed in the list,

sorted by command name. Click any column heading (Command,

Keys, or Description) to sort alphabetically by that column.

Note: To print the list of the current category of shortcut keys,

click Print in the Keyboard Map dialog’s toolbar. To select

commands and copy their information to the clipboard, click

Copy .

4 When you are finished viewing keys, click the Close button in

the upper right corner of the dialog’s title bar.

Chapter 4: Customizing Paint Shop Pro 83

To modify a keyboard shortcut:

1 Choose View > Customize to open the Customize dialog.

2 Click the Keyboard tab.

3 In the Category drop-list, choose the menu associated with the

command, script, or tool for which you want to modify the

keyboard shortcut.

4 In the Commands list, click the item for which you want to

modify the keyboard shortcut.

5 In the Current Keys field, click once on the shortcut to highlight

it, then click the Remove button located along the bottom of the

dialog.

6 Click inside the Press New Shortcut Key field so the cursor is

blinking, and then press the desired keyboard keys you wish to

assign as the new shortcut. (For example, hold down the Alt key

and press Q; you'll then see Alt + Q in the Press New Shortcut

Key field.) If the keyboard combination you entered is already

assigned, this will be displayed above this field. If the keyboard

combination is not assigned, you'll see "Assigned to: " above this

field. If you make a mistake entering the keyboard combination,

just start over with the correct key since pressing Delete or

Backspace will not erase what you entered.

7 When you're ready to assign the keyboard combination, click

Assign.

8 Click Close to close the Customize dialog.

Adjusting General View Options

The Menu and Options tabs of the Customize dialog control a

variety of general menu and toolbar features.

Menu Tab

Menu animations Choose an animation style for menu opening

and closing from the drop-down list.

Menu icons Clear this check box to hide the Menu Bar icons.

Chapter 4: Customizing Paint Shop Pro

Options Tab

Toolbars and Palettes

Show Screen Tips on toolbars Clear this check box to hide the

ToolTips that appear over tools and buttons.

Show shortcut keys in Screen Tips Clear this check box to hide

the shortcut key (if available) that appear in ToolTips.

Large icons Mark this check box to display larger toolbar icons.

Use Quadrant Rollups Mark this check box to have floating

palettes roll up toward the nearest quadrant of the workspace.

Personalized Menus and Toolbars

Menus show recently used commands first Mark this check box

to have Paint Shop Pro simplify its menus to show only recently

used commands. You can expand the menus by clicking the

expansion button.

Show full menus after a short delay If menus are only showing

the most recent items, all items will appear in a moment.

Reset my usage data Click this button to erase the memory of

your recently used menu commands.

Adjusting Monitor Display Options

Calibrating Your Monitor

To get the best results when working with Paint Shop Pro, you need

to properly calibrate your monitor. Calibrating the monitor improves

image quality and allows others to view your images as you intend.

To calibrate your monitor, you need an on-screen aid that helps you

adjust the monitor’s brightness and contrast. The Jasc Web site

provides an on-screen aid as well as detailed instructions for

calibration. Go to the Support section of www.jasc.com.

How often should I calibrate

my monitor?

Monitor performance can change

over time, so it’s best to calibrate

your monitor every few months.

Chapter 4: Customizing Paint Shop Pro 85

Adjusting the Monitor Gamma Setting

Paint Shop Pro’s monitor gamma setting adjusts how colors display

in Paint Shop Pro. This setting does not affect how your monitor

displays colors in other applications.

Most users should not adjust the monitor gamma setting. If you

make color corrections after you change the monitor gamma, the

colors may look distorted on other monitors or in applications other

than Paint Shop Pro.

To adjust the monitor gamma:

1 Choose File > Preferences > Monitor Gamma to open the Monitor

Gamma Adjustment dialog.

2 Lean away from your monitor and look at the red, green, blue,

and grey rectangles. Each color contains an inner, solid color

rectangle and outer, patterned rectangles. On a correctly adjusted

monitor, the inner rectangles are difficult to distinguish from the

outer rectangles.

3 Do one of the following:

To adjust the red, green, and blue values in unison, mark the

Link channels check box.

To adjust the values individually, clear the Link channels

check box.

4 For each color (or for all colors if they are linked), drag the slider

until the inner rectangle seems to blend into the outer rectangle.

Note: If you have difficulty getting the inner rectangle to blend

into the outer rectangle, your monitor may be too old and faded.

5 Click OK.

Note: Click Reset to return no gamma adjustment (1.00).

Using Windows Color Management

Color Management is a feature in Windows 98 or later that improves

color consistency and accuracy between images displayed on

monitors and printed on paper. Color Management also allows you

to preview how images will look when printed on a specific color

printer. Color Management is generally not used for Web images

because most Web browsers don’t use Color Management.

Note about Color

Management

If you enable Windows Color

Management, Paint Shop Pro

ignores the monitor gamma

preference setting.

Chapter 4: Customizing Paint Shop Pro

In order for Windows Color Management to work effectively, you

must have proper color profiles for all the devices you are using.

To create proper monitor and printer profiles, you must use third-

party color profiling tools that include software or hardware for

determining how your monitor and printer produce color. If you do

not have custom monitor and printer profiles, using Color

Management is not recommend. For more information on Color

Management, please refer to your Windows documentation.

To use Color Management:

1 Choose File > Preferences > Color Management.

2 Mark the Enable Color Management check box.

3 Choose an option:

Basic color management Adjusts how the monitor displays

colors and how the printer produces colors. Most users should

choose this option.

Proofing Previews on the monitor how colors will appear on a

particular device. This option is best at representing the

limitations of a particular output device, such as a printer.

4 Select the printer and monitor profiles for your devices in the

drop-down lists.

5 For Rendering Intent, select the approach used to map image

colors to the color gamut of your monitor or printer. The

available options depend upon your Windows system. For

detailed descriptions, see your Windows documentation.

6 If you selected the Proofing option, select the Emulated device

profile (the profile of the output device) and the Rendering

Intent.

7 Click OK.

When to use Color

Management

You need to use Color

Management if any of the following

are true:

Your pre-press provider requires

specific color values for a known

set of printing conditions.

You are using the same color

graphics for printing on a printer

and displaying on a monitor.

You plan to use international and

domestic printing presses.

Improving Photographs

Once you have photos in Paint Shop Pro, the next step is to correct

any problems with the images. Sometimes the problems are obvious,

such as when the subject is too dark. Sometimes, you know that the

picture could look better, but you don’t know what to fix. This

chapter will help you determine what needs improvement in a photo

and show you how to improve it.

Note

All commands mentioned in this chapter work on 16 million color

and greyscale images only. To increase the color depth of an image,

see “Increasing the Color Depth of an Image” on page 261.

Contents Basic Steps in Improving Photographs . . . . . . . . . . . . . . . . . . . . 88

Using the Digital Camera Noise Removal Filter . . . . . . . . . . . . . . 89

Using the Chromatic Aberration Removal Filter . . . . . . . . . . . . . . 92

Using the Fill Flash Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Using the Backlighting Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

How to Approach Color, Contrast, and Saturation Adjustments . . 96

Fixing Photos in One Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Correcting Image Distortions . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Improving Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Improving Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Improving Image Clarity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Improving Saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Removing Image Defects and Noise . . . . . . . . . . . . . . . . . . . . . 110

Removing Source Defects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Retouching Photographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

CHAPTER 5

Chapter 5: Improving Photographs

Basic Steps in Improving Photographs

Paint Shop Pro contains many features you can use to enhance your

photos. Whenever you work on photos, you should follow the same

basic steps in a specific order to get the best results. This is

necessary because some later actions remove image data that is

needed to successfully complete earlier steps.

Improving Photographs

Identify the steps you may need to take to improve your photos.

1 Calibrate your monitor to ensure that screen and print images

match as closely as possible and that colors are consistent from

image to image. For more information, refer to Calibrating Your

Monitor in Chapter 4.

2 Improve colors, contrast, and saturation. Use Paint Shop Pro’s

automatic adjustment commands or use the manual adjustments

to make initial corrections to your images. Refer to How to

Approach Color, Contrast and Saturation Adjustments later in

this chapter.

3 Remove "noise" image artifacts often present in digital photos.

Refer to Using the Digital Camera Noise Removal Filter later in

this chapter.

4 Remove color aberrations often present in digital photos. Refer to

Using the Chromatic Aberration Removal Filter later in this

chapter.

5 Quickly correct problems caused by too much flash or not

enough flash. Refer to Using the Fill Flash Filter and Using the

Backlighting Filter later in this chapter.

6 Correct defects caused by the image source, including unwanted

patterns on scanned images and undesirable lines on video

frames. Refer to Removing Source Defects later in this chapter.

7 Correct image defects, such as black or white specks, and image

distortions caused by camera lenses. Refer to Removing Image

Defects and Noise later in this chapter.

8 Retouch photos, including removing scratches and red-eye

effects on people and animals. During this step you can also

remove unwanted highlights and objects from your photos. Refer

to Retouching Photographs later in this chapter.

Analyzing images using the

histogram

For image editing professionals,

the histogram and its

accompanying adjustment features

are powerful tools for

understanding and correcting

images—especially those with

contrast or brightness problems.

For casual users, getting familiar

with the histogram may not be

necessary because Paint Shop Pro

offers many simpler ways to adjust

images. For information about

using the histogram to analyze

your photos, see “Using the

Histogram to Analyze Images” on

page 145.

Chapter 5: Improving Photographs 89

9 Clarify and sharpen images. Refer to Improving Image Clarity

later in this chapter.

10 Remove red eye from your photo. Refer to Removing Red Eyes

later in this chapter.

Using the Digital Camera Noise Removal Filter

The tiny, non-uniform speckles that can sometimes appear in digital

photos are referred to as "noise." These unwanted image artifacts

usually derive from inevitable sources such as JPEG file

compression, or even as a result of electronic fluctuations inside a

digital camera. A good example would be a photo of a clear blue sky.

Zooming in may reveal tiny specks of color that you know are not

present in the sky. You can use this filter to identify and remove

noise while preserving detail smaller than the noise itself.

In addition to scanning and identifying three potential noise regions

(in the highlight, midtone, and shadow regions of the image), the

Digital Camera Noise Removal filter lets you target additional image

areas for noise removal. This filter works on the entire image, or on

a selection.

Camera Presets and Standard Presets

This filter gives you the option of creating a Camera preset. When a

Camera preset option is checked, the Presets drop-list will only

display these special types of presets. When you load a camera

preset, the image is not sampled at all, but instead the camera preset

settings are applied. You can still create additional sampling regions,

however. Using a camera preset is recommended when your camera

produces consistent noise patterns across each image. Camera

presets tend to work well on similar photos, such as photos of

people.

When you do not use a camera preset, the filter will scan your image

(or selection) and determine potential areas needing correction by

placing sampling regions in the highlight, midtone, and shadow

regions.

Like other dialogs and tools, you can also save and load standard

presets for this filter. When you load a standard preset, the filter will

use the preset's dialog settings, but will still scan the image and place

the three sampling regions.

Chapter 5: Improving Photographs

Typical Uses for this Filter

Here are some scenarios in which this filter could be an ideal

solution:

For photos you know are going to contain excessive noise (such

as a video whiteboard capture), use the filter with low settings to

help make the overall image clearer without excessive blurring.

For photos taken with normal settings yet still having image

artifacts surrounding the subject area, use this filter to target just

these key areas needing correction.

For photos taken with the same camera that tend to have noise in

the same area, use this filter to create a camera preset that can be

applied to all images from the camera.

For higher-end photography, use the options in the filter's Protect

Image tab to specify the color ranges to preserve or discard.

Lower-end cameras tend to produce more noise than higher-end

cameras.

Note that in some cases, using the JPEG Artifact Removal filter

before using this filter (or instead of using this filter) can yield

good results. Be aware also that the Digital Camera Noise

Removal filter is not designed to remove moire patterns.

Accessing and Using the Filter

1 Choose Adjust > Photo Fix > Digital Camera Noise Removal.

2 Note the three crosshairs placed on the image preview in the

Remove Noise tab (not in the normal preview area in the top half

of the dialog). These represent noise samples (as determined by

the filter) located in the image's light, midtone, and dark areas.

Click a crosshair to view its sampling region in the upper left

preview window.

To move a crosshair, hold down the right mouse button and

drag the crosshair to a new position. The sampling region will

move accordingly.

Chapter 5: Improving Photographs 91

To create more crosshairs, go to the left preview pane in the

upper half of the dialog, and then drag the cursor over the

areas you want to apply correction. A correction box will

encompass the area you dragged, and in the Remove Noise

section's preview box, a crosshair will appear over the area.

(Note that you may want to maximize the size of the dialog

and zoom in appropriately (in the upper left preview window)

to help identify image areas with noise artifacts.) You can

have a maximum of 10 sampling regions.

Avoid sampling an image edge (this will result in excessive

smoothing), and avoid sampling pure black and pure white

regions of the image.

To make a sampling region's box active in the upper left

preview window, click its associated crosshairs in the Remove

Noise section's preview box.

To remove a crosshair, go into the upper left preview pane and

drag a corner of the correction box onto its diagonally

opposite corner.

3 In the Remove Noise tab, set a level for the Small, Medium and

Large details correction settings. These settings denote the

amount of correction in its respective spatial noise band. Mark

the Lock check box to adjust these settings in proportion to each

other.

4 Use the Correction/Blend setting to determine the percentage of

the corrected image to blend in with the original. Values range

from 0 percent (no noise reduction) to 100 percent (full

processing of the entire image), and the default is 70 percent.

5 Use the Sharpening setting to define the percentage (if any) of

sharpening to apply to the image after the noise reduction is

applied. The default value is 0 percent.

6 To save the current settings as a preset specific to this image and

camera, mark the Camera preset check box, and then save the

preset by clicking the Save button found in the Presets drop-list

at the top of the dialog. Note that when the Camera preset option

is checked, the Presets drop list will only display previously

saved Camera presets, not the standard presets.

7 To save the current settings as a standard Preset, uncheck the

Camera preset option, and then click the Save button found in the

Presets drop list at the top of the dialog.

8 Click OK to apply the correction.

Chapter 5: Improving Photographs

Using the Protect Image Tab

For more advanced correction, click the Protect Image tab. The

options in this tab allow you to define regions of color and texture

that can be protected from noise correction. For example, you may

want to protect skin tones in a photo from having any correction

applied to them. You can define as many regions to protect as you

like.

To define a protected region:

1 Select the Protect Image tab.

2 In the dialog's upper left preview window, pan and zoom as

necessary so you can view the region you wish to protect.

3 Hold down the Ctrl key and drag the cursor to over the region

you wish to protect. Note that by holding down Ctrl you will not

create a corresponding crosshair in the Remove Noise tab's

Sampling Regions preview area.

4 In the Protect Image tab, the Hue and Range settings will reflect

the area you sampled. You can manually adjust the Hue knob by

dragging it inside the ring, or by adjusting the Hue and/or Range

settings.

5 Optionally, you can drag any of the seven graph handles

downward to progressively diminish the noise reduction (apply

less correction/smoothing to that segment of the hue range). For

example, dragging just the middle graph handle all the way to the

bottom of the graph will completely suppress the midtone of the

current hue range. Note that you cannot drag the graph handles

laterally.

6 To completely remove all color adjustments (essentially starting

over in this tab), click the Reset All button. To remove color

adjustments for the current color range, click the Reset Current

button.

7 Click OK to apply the correction.

Using the Chromatic Aberration Removal Filter

Chromatic aberration occurs when the imaging system (such as a

camera) places incorrect colors in at least some locations within the

image. In conventional film cameras, this is usually caused by a lens

defect. In digital cameras, a number of effects can contribute to

chromatic aberration, including:

Chapter 5: Improving Photographs 93

The camera's inherent lens aberration (which causes fuzziness at

image edges); often more common with telephoto and zoom

lenses.

The camera's auto-exposure (how it estimates the correct

exposure setting), which can lead to sensor blooming.

The demosaicing process (where different colors are caught by

different camera sensor elements and combined to make one

pixel) taking place inside the camera.

To a much lesser extent, the postprocessing (artifact removal,

noise removal, and sharpening) that takes place inside the

camera.

In your own digital photos, you may notice chromatic aberrations in

these types of situations:

The sky seen through tree branches or leaves

The edges of interior windows where bright light is coming

through the window

Night photos of fireworks or city lights

Photos of fluorescent light fixtures or bare light bulbs

Sun or light reflections on water

Reflections on chrome

The edges of backlit objects

Sunlit white shirts against a dark background

Paint Shop Pro's Chromatic Aberration Removal filter can eliminate

or reduce these types of color defects.

To use this filter:

1 Choose Adjust > Photo Fix > Chromatic Aberration. The

Chromatic Aberration Correction dialog opens.

Note: It's critical in using this dialog that the left and right

preview windows are visible. Make sure the Show/Hide

Previews button is active (appears sunken) .

2 In most cases, you should zoom to at least 200%. This simplifies

targeting problem areas in the photo. Use the dialog's Zoom In

and Zoom Out buttons as needed.

Chapter 5: Improving Photographs

3 In the left preview window, dragging the cursor encloses a

sampled area defining an area needing correction. Use the

Navigate button to pan the image and set a viewable image area

in the left preview window. Note the following points:

You can create a maximum of ten samples. If you've identified

more than ten, apply the corrections and then restart the effect.

For each sample box, a corresponding "Sample n" (where n is

1 through 10) appears in the List of Samples area located in

the center of the dialog. Each Sample listing has a color

swatch to the left, indicating a color average for the sampled

area.

Place the cursor over a sample handle to enlarge or reduce a

sample.

To delete a sample, click it (or its corresponding Sample

listing) and then click the Remove button in the bottom right

of the dialog. You can also delete a sample box by dragging a

corner onto its diagonally opposite corner and then releasing

the mouse button when the corners meet.

To select a specific sample, click its corresponding "Sample

n" entry in the List of Samples area.

4 The Range setting (located to the right of the List of Samples

area) displays the color range of the active sample. The color box

directly above the Range setting shows a visual representation of

the range. You can increase or decrease the active sample's range

value to affect the pixel range that will be corrected.

5 Mark the Show Differences check box to show which image

areas will be affected. The affected areas will appear in the right

preview window as white areas on black. The brighter (whiter)

the area, the more degree of correction will be applied.

6 If Show Differences is marked, click the Auto Proof or the Proof

button to preview the results on the image itself.

7 The Radius setting (located to the left of the List of Samples

area) indicates the of the sample's aberration. The default value is

10. Usually values in the range of 4 to 20 produce the most

acceptable results. Values greater than 10 are useful on sampling

areas enclosing sensor blooming aberrations. Values lower than

10 are useful when trying to remove 1 or 2-pixel aberrations

caused by demosaicing, as well as when using the filter on

images less than one megapixel. Generally, set the Radius to the

smallest setting that will effectively remove the aberration.

Chapter 5: Improving Photographs 95

8 Mark the Result on New Layer check box to automatically create

a new raster layer (assuming you click OK to apply corrections)

on which the corrected image will reside. This is a convenient

way to protect your original, unedited image on its own layer. If

you do not mark this check box, the corrections will be applied

on the same layer as the original image.

9 Click OK to apply the corrections.

Applying This Filter to Selections or Layers

Be aware that you can limit the number of "false corrections" by

making a selection and then applying this filter. You can also use this

filter on separate image layers.

Using the Fill Flash Filter

One of the more common problems in photography involves

lighting. Photos taken in bright light often have little detail in the

shadow areas since the camera is attempting to not overexpose the

brighter areas. The Fill Flash filter allows you to lighten the darker,

underexposed areas of a photo. If your photo's background is too

dark, or you feel there's too much difference between the photo's

light and dark areas, this filter is a good choice to help correct that

problem.

Accessing and Using the Filter

1 Choose Adjust > Photo Fix > Fill Flash.

2 Use the Strength value to determine how much the darker areas

will be lightened.

Using Fill Flash in Combination with Backlighting

You may run into a situation where a photo has just enough of a

problem with too-dark areas as well as too-light areas. In that case,

try running the Fill Flash filter on the photo, and then the

Backlighting filter.

Chapter 5: Improving Photographs

Using the Backlighting Filter

Another common problem in photography involves photos having

too much lighting from the background, essentially washing out the

entire image. A similar problem involves photos with too much flash

on the subject. The Backlighting filter allows you to darken the

bright, overexposed areas of a photo.

Accessing and Using the Filter

1 Choose Adjust > Photo Fix > Backlighting.

2 Use the Strength value to determine how much the lighter areas

will be darkened.

Using Backlighting in Combination with Fill Flash

You may run into a situation where a photo has just enough of a

problem with too-light areas as well as too-dark areas. In that case,

try running the Backlighting filter on the photo, and then the Fill

Flash filter.

How to Approach Color, Contrast, and Saturation

Adjustments

The color, contrast, and saturation have the most influence on our

perception of a photograph’s quality. If the colors are washed out or

the contrast is low, the photo doesn’t look right.

Paint Shop Pro’s adjustments modify the basic components of color:

hue, saturation, and lightness. Hue is the color (such as red or

yellow). Saturation is the vividness of the color. Lightness is the

intensity of light in the color.

Make adjustments in this order:

For most photos, first adjust the color and then adjust the

contrast. (Contrast adjustment can result in a loss of image

information that is needed for color adjustments.)

For images that are extremely dark or light, first adjust the

contrast to make the colors more visible, then adjust the color. If

necessary, adjust the contrast again.

Always adjust the saturation last.

Curious about color?

For more information about the

qualities of color, see

“Understanding Color and Color

Models” on page 256.

Chapter 5: Improving Photographs 97

Each color, contrast, and saturation adjustment can be made

automatically or manually. For automatic adjustments, you choose a

few settings and Paint Shop Pro does the rest. For manual

adjustments, you analyze the photo and decide what adjustments it

needs.

Note

When correcting color photographs, start with the automatic

adjustments, and see if you like the result. If the photo still isn’t

right, use the manual adjustments.

Fixing Photos in One Step

Use the One Step Photo Fix command to automatically adjust the

color balance, contrast, clarity, saturation, smooth edges, and

sharpen the image.

To fix a photo in one step:

Choose Adjust > One Step Photo Fix; or

On the Photo toolbar, click One Step Photo Fix .

Note: To view the Photo toolbar, choose View > Toolbars >

Photo.

Correcting Image Distortions

Camera lenses can create distortions in photographs. You see these

distortions most often in wide-angle photographs, in close-up

photographs taken with cameras with fixed focal ranges, and in

cameras with inexpensive lenses (such as disposable cameras).

Note

The Barrel and Fisheye Distortion Correction commands work

on 16 million color and greyscale images only. To increase the

color depth of an image, see page 261.

You must correct lens distortions before cropping the image. For

distortion corrections to work properly, the axis of the camera

lens must coincide with the center of the image.

Adjusting greyscale images

Because greyscale and black-and-

white photos have no color, you can

adjust only the contrast. See

“Improving Contrast” on page 106.

Chapter 5: Improving Photographs

Correcting Barrel Distortions

If your image has a barrel distortion, it looks pushed out at the

center. Lines that should be straight are curved.

To correct a barrel distortion:

1 Choose Adjust > Photo Fix > Barrel Distortion Correction.

2 Set the Strength of the correction. Adjust this value until the

distortion disappears. Look for lines in the image that are curved

and adjust the Strength Value until they become straight. The

image is resized as you adjust this value.

3 Preserve central scale Whether the scale of the center of the

picture remains the same or is adjusted. If you mark this check

box, pixels are either added to, or removed from the image. Clear

this check box if you do not want to change the size of the image

or layer.

Note: If the Preserve central scale check box is marked, the

size changes to the original image display in the Result size

group box.

4 Click OK.

Correcting Fisheye Distortions

If your image has a fisheye distortion, it looks as though it has been

pasted onto a sphere or blown up like a balloon. Lines that should be

straight are curved and the edges of the image look compressed.

To correct a fisheye distortion:

1 Choose Adjust > Photo Fix > Fisheye Distortion Correction.

2 Adjust the image using the following options:

Field of View The strength of the correction. Adjust this value

until the distortion disappears.

Preserve central scale Whether the scale of the center of the

picture remains the same or is adjusted. If you mark this check

box, pixels are either added to, or removed from the image. Clear

this check box if you do not want to change the size of the image

or layer.

Note: If the Preserve central scale check box is marked, the

size changes to the original image display in the Result size

group box.

Chapter 5: Improving Photographs 99

Correcting Pincushion Distortions

If your image has a pincushion distortion, it looks pushed in at the

center. Lines that should be straight are curved.

To correct a pincushion distortion:

1 Choose Adjust > Photo Fix > Pincushion Distortion Correction.

2 Adjust the image using the following options:

Strength of the correction. Adjust this value until the distortion

disappears. Look for lines in the image that are curved and adjust

the Strength value until they become straight. The image is

resized as you adjust this value.

Preserve central scale Whether the scale of the center of the

picture remains the same or is adjusted. If you mark this check

box, pixels are either added to, or removed from the image. Clear

this check box if you do not want to change the size of the image

or layer.

Note: If the Preserve central scale check box is marked, the

size changes to the original image display in the Result size

group box.

3 Click OK.

Chapter 5: Improving Photographs

100

Improving Colors

To improve your photographs, start by adjusting the colors. Different

types of lighting, photographic equipment, and photo processing can

cause incorrect coloring in images. In addition, scanned images or

digital camera images can have unnatural color casts.

Note

The Automatic Color Balance and Fade Correction commands work

on 16 million color images only. To increase the color depth of an

image, see “Increasing the Color Depth of an Image” on page 261.

Automatically Balancing Colors

To create natural-looking colors and remove any color cast in your

image, use the Automatic Color Balance command. This command

works best for correcting images with several colors rather than

images with variations of one color. You can apply the command to a

selection or an entire image.

To balance colors automatically:

1 Choose Adjust > > Automatic Color Balance.

2 In the preview window, center an important part of the image

(such as a face). Pan the image by clicking and dragging in the

preview window; zoom in or out as necessary.

3 Set the Strength of correction for the image, from 1 (the least) to

100 (the most). Start with 30 and then adjust the strength until the

image looks the most natural.

4 If there is a strong color cast to the image (a particular color

added to all colors in the image), mark the Remove color cast

check box to remove it.

5 In the Illuminant temperature group box, adjust the image’s

illuminant temperature from warmer tones (oranges) to cooler

tones (blues). Type a value or drag the slider. The default setting

is 6500K, which gives the effect of a photo taken in typical

daylight. Photos taken indoors tend to look more orange, while

photos taken in bright sunlight tend to look more blue. Adjust the

value to achieve the desired effect or until the colors look natural.

If colors do not improve, you may not need to make this

adjustment.

6 Click OK.

Chapter 5: Improving Photographs 101

Using Source and Target Colors to

Correct Colors Manually

When it is particularly important to get a certain color right, use the

Manual Color Correction command. Select a color in the image that

needs to be corrected (the source color), and then select the color

you want it to be (the target color). For the target color, choose from

preset color options, a specific color, or a color from another image.

Paint Shop Pro then adjusts all colors in the selection or image based

on the shift from the source color to the target color.

Use this command when the image has skin tones that need to be

corrected or when you want to get a specific color exactly right. This

adjustment also works well for images with grossly incorrect colors.

You can apply the command to a selection or an entire image.

To use the Manual Color Correction dialog:

1 Choose Adjust > Color Balance > Manual Color Correction.

2 In the right preview window, center the area with the source

color. Pan the image by clicking and dragging in the preview

window; zoom in or out as necessary.

Note: You must use the right preview window for panning the

image because you select the source color in the left preview

window.

3 Define the Source color in the left preview window using one of

these methods:

Click once to select a single pixel. Zoom in to make sure you

select the correct color.

Click and drag to select a rectangular area.

To select an irregularly shaped area, mark the Freehand check

box, then click and drag over the image.

To change your selection, click the Clear button or make another

selection.

Choose an area that is mostly one color. You do not have to be

overly precise with the selection area because pixels in the

selection are averaged to determine the source color.

When you select the source color, the Source color box displays

the selected color.

Chapter 5: Improving Photographs

102

4 Choose the Target color using one of these methods:

To choose from a preset color category, select the Preset

colors option, choose a color category from the list, and then

choose a color from within the category. See “Choosing Color

Categories” on page 102.

To choose from the Color dialog, left-click the Target color

box. See “Choosing Colors” on page 239.

To choose from recently used colors, right-click the Target

color box.

To choose from any open image, move the cursor over the

image until it changes into a dropper and then click the color.

To choose a color based on its hue, saturation, and lightness

(HSL) values, select the Manual option, and then enter the

values.

When you select the color, the Target color box displays the

target color.

5 If you are using the Preset colors option or have selected a

source color from the Target color box, choose from the

following options:

Preserve Lightness Mark this check box to preserve the lightness

of the source color in the corrected image. Clear this check box

to match the lightness of the corrected image to the target color’s

lightness.

Preserve Saturation Mark this check box to preserve the

saturation of the source color in the corrected image. Clear this

check box to match the saturation of the corrected image to the

target color’s saturation.

6 Click OK.

Choosing Color Categories

The preset color categories of the Manual Color Correction dialog

consist of a variety of frequently occurring colors. Most of these

categories are called memory colors because people remember them

particularly well and notice when they don’t look natural. Typical

examples are skin tones and sky colors. Memory color categories in

the Color Category list are Beverage, Foliage, Fruits, Grasses,

Grays, Hair Colors, Metals, Skintones, Sky, Various Foods,

Vegetables, Water, and Woods.

The Source and Target color

boxes

Select target colors manually by

entering Hue, Saturation, and

Lightness values

Preserving lightness and

saturation

If you mark Preserve Lightness and

Preserve Saturation, and the

source and target colors are similar

hues, you may not notice much

change in the adjusted image. Try

clearing one or both options.

To match the target color exactly,

clear Preserve Lightness and

Preserve Saturation.

Chapter 5: Improving Photographs 103

There are other categories that you may find helpful when defining

the target colors for your photographs:

Pure Colors The main colors on the color wheel (example, red,

orange, yellow).

Standard A set of colors designed to let you make very subtle

changes in hue. When you select a source color, the Nearest preset

color field above the list displays a number for the color that is the

closest match in the Standard category.

To correct an image using Standard Colors:

1 Choose Adjust > Color Balance > Manual Color Correction.

2 Click in the left preview window to select a source color.

3 Select the Preset colors option.

4 In the list underneath, choose Standard.

The Nearest preset color area above the list box displays the

Standard color that is the closest match to the source color. Click

the Color box to the right of the list and scroll to view the color.

5 Modify the target color using one of the following options:

To shift all hues in the image slightly, choose a color from the

Preset colors list that is similar to the current color.

To shift all hues in the image drastically, choose a color from

the Preset colors list that is quite different from the current

color.

Preserve Lightness Mark this check box to preserve the

lightness of the source color in the corrected image. Clear this

check box to match the lightness of the corrected image to the

target color’s lightness.

Preserve Saturation Mark this check box to preserve the

saturation of the source color in the corrected image. Clear

this check box to match the saturation of the corrected image

to the target color’s saturation.

Chapter 5: Improving Photographs

104

Using Grey World to Adjust Colors

Like the Automatic Color Balance command, the Grey World Color

Balance command corrects image colors, but it uses a different

mathematical algorithm.

The premise behind this command is that the average of all colors in

the image should be neutral. Although this may be a reasonable

approximation for some complex images, it isn't true for all images.

(For example, an image dominated by a blue sky.) You should

therefore use your own judgement to determine if this command is

appropriate for your image.

By default the Grey World Color Balance command balances in way

that causes neutral objects to have approximately equal red, green,

and blue components. When viewed on a typical computer monitor,

this corresponds to a color temperature of about 6500k. The Grey

World command allows you to simulate other color temperatures

relative to 6500k by adjusting the Illuminant Temperature control to

higher values (to produce cooler neutrals with larger blue

components and reduced red and green components) or lower values

(to produce warmer neutrals with smaller blue components and

increased red and green components).

To correct colors using the Grey World dialog:

1 Choose Adjust > Color Balance > Grey World Color Balance.

The right preview window shows the image colors automatically

corrected with the Grey World algorithm.

2 In the preview window, center an important part of the image

(such as a face). Pan the image by clicking and dragging in the

preview window; zoom in or out as necessary.

3 In the Illuminant Temperature group box, type a value or drag the

slider to change the image’s illuminant temperature from warmer

tones (oranges) to cooler tones (blues). The default setting is

6500K, which gives the effect of a photo taken in typical

daylight. Photos taken indoors tend to look more orange, while

photos taken in bright sunlight tend to look more blue. Adjust the

value to achieve the desired effect or until the colors look the

most natural.

4 Click OK.

When not to use Grey World

color correction

This color correction may not work

well for:

Very simple scenes with few

colors

Images with a limited range of

hues (such as mostly blues)

Simple computer-generated

graphics

Chapter 5: Improving Photographs 105

Correcting Faded Images

With time and exposure to the elements, especially light, the dyes in

a photograph fade. Colors become less vivid, the image acquires an

undesirable color cast, and contrast is lost. Use the Fade Correction

command to restore color and contrast to faded photographic

images. You can apply the command to a selection or an entire

image.

The Fade Correction command is a simple, one-step adjustment that

corrects both color and contrast. If the resulting image doesn’t look

as good as you would like, the image may need different

adjustments. Instead, try applying the three automatic adjustments

from the submenus of the Adjust menu in this order: Automatic

Color Balance, Automatic Contrast Enhancement, Automatic

Saturation Enhancement.

To use fade correction:

1 Choose Adjust > Color Balance > Fade Correction.

2 In the preview window, center an important part of the image

(such as a face). Pan the image by clicking and dragging in the

preview window; zoom in or out as necessary.

3 For Amount of correction, start with 45 and adjust the value until

the image looks the most natural.

Note: Use the minimum value that produces a good correction. If

you apply too much correction, highlight and shadow areas may

lose detail and objects may blend together.

4 Click OK.

Color depth

The Fade Correction command

works on 16 million color images

only. To increase the color depth of

an image, see “Increasing the Color

Depth of an Image” on page 261.

Have a faded black-and-

white photo?

Black-and-white photos have no

colors to correct. Instead, use the

Automatic Contrast Enhancement

command to restore the

photograph. See “Automatically

Enhancing Contrast” on page 106.

Chapter 5: Improving Photographs

106

Improving Contrast

The tone scale (contrast) of an image represents the distribution of

lightness values. It is a combination of Brightness and Contrast.

The brightness of an image relates to the overall sensation you get

when it is viewed. If most of the tones are large, the image appears to

be bright. If most of the tones are small, the image appears to be

dark. Adjusting the brightness therefore tends to shift the average

tone value either up (to make the image brighter) or down (to make it

darker).

The contrast of an image relates to the range that the tones occupy. If

most of the tones in an image are similar to each other, then the

image has a low contrast and appears "flat." If the tones are spread

widely across the scale, then its contrast is high. Therefore a contrast

adjustment either spreads the tones out (increasing the contrast) or

compresses them together (lowering the contrast).

Paint Shop Pro has several commands that are useful for adjusting

the brightness and contrast of an image. Go to the Adjust >

Brightness and Contrast submenu for a list of available commands.

Note: The Automatic Contrast Enhancement command works on 16

million color and greyscale images only. To increase the color depth

of an image, see “Increasing the Color Depth of an Image” on

page 261.

Automatically Enhancing Contrast

The Automatic Contrast Enhancement command is useful for

improving the tone distribution of your image. It automatically

adapts its behavior to the tone content of each image. Therefore, it

will be most effective when used without any selections, because

then the entire range of tones will be available for analysis.

Note: If you apply this command to a selection on an image, the

contrast adjustment may not be as effective because all the image

information is not available.

To automatically adjust contrast:

1 Choose Adjust > Automatic Contrast Enhancement.

2 In the preview window; center an important part of the image.

Pan the image by clicking and dragging in the preview window;

zoom in or out as necessary.

Chapter 5: Improving Photographs 107

3 Adjust the Bias (the brightness) of the correction: Lighter,

Neutral, or Darker.

4 Adjust the Strength of correction: Normal or Mild.

5 Adjust the Appearance of the correction:

Flat (a slight difference between light and dark areas)

Natural (an average difference between light and dark areas)

Bold (a striking difference between light and dark areas).

6 Click OK.

Improving Image Clarity

Improving image clarity is the final step in image correction. Use the

Clarify and Sharpen commands to clarify and sharpen your images.

Note

The Clarify and Sharpen Edge commands work on 16 million color

or greyscale images only. To increase the color depth of an image,

see “Increasing the Color Depth of an Image” on page 261.

Clarifying Images

Use the Clarify command to give your image a crisp, focused look so

objects stand out. This command adds a sense of depth and clarity to

the image. It can also make hazy, foggy, or slightly out of focus

images look clearer.

To clarify images:

1 Make sure the image has no selections. If necessary, choose

Selections > Select None. The Clarify command is not available if

the image contains a selection.

2 Choose Adjust > Brightness/Contrast > Clarify.

3 In the preview window, center an important part of the image

(such as a face). Pan the image by clicking and dragging in the

preview window; zoom in or out as necessary.

4 For Strength of effect, use the smallest value that gives a

satisfying result.

5 Click OK.

Accentuating Edges and

Contrast Areas

Use Edge effects to accentuate

edges and contrast areas in your

image. For more information on

Edge effects, see “Applying Edge

Effects” on page 222.

Chapter 5: Improving Photographs

108

Sharpening Images

Paint Shop Pro contains several commands that sharpen your image

by increasing the contrast of adjacent pixels:

Sharpen and Sharpen More Focus the image and improve its clarity

by increasing the contrast between adjacent pixels where there are

significant color contrasts, usually at the edges of objects. The

Sharpen More command sharpens with a stronger effect than the

Sharpen command. Both commands are automatically applied to the

image.

Unsharp Mask Sharpens the mid- to high-contrast edges in the image

without enhancing noise. This command locates adjacent pixels that

have a difference in lightness values that you specify and increases

their contrast by an amount you specify. This command is typically

used in professional color corrections.

To use the Sharpen or Sharpen More command:

Choose Adjust > Sharpness > Sharpen or Adjust > Sharpness >

Sharpen More.

To use the Unsharp Mask dialog:

1 Choose Adjust > Sharpness > Unsharp Mask.

2 In the preview window, center an important part of the image

(such as a face). Pan the image by clicking and dragging in the

preview window; zoom in or out as necessary.

3 Sharpen the image with the following options:

Radius The number of pixels to adjust around each edge. A value

between 0.5 and 2 works best, depending on the image. A lower

value sharpens only the edge pixels, while a higher value

sharpens a wider band of pixels. The effect is much less

noticeable in print than on-screen because a small radius (for

example, 1 pixel) represents a smaller area in a high-resolution

printed image. Therefore, use lower values for on-screen images

and higher values for high resolution printed images.

Strength The amount of contrast to increase in the image’s

pixels. Start with a low value and increase it gradually.

Clipping The difference in lightness values that adjacent pixels

must have before they are sharpened.

4 Click OK.

Chapter 5: Improving Photographs 109

Improving Saturation

After you have adjusted the tones of your image (by using the

Automatic Contrast Enhancement command), adjust the saturation.

Saturation is an indicator of the relative amount of color vividness.

Imagine a highly saturated color like bright orange. As the saturation

is reduced (keeping the hue and lightness unchanged), the orange

color becomes brownish, then taupe and finally a middle neutral

grey (after the saturation has been set all the way down to zero).

Reducing the saturation "drains" the color away, leaving just the

greyscale component. Taupe and mauve are familiar, fairly low

saturation colors because they are quite neutral, with just a touch of

color. Apple red and banana yellow are high saturation colors.

Generally speaking, saturation is a measure of how different a color

is from a neutral grey of the same brightness.

For digital images, increasing the saturation can give the image

brilliant color and "punch." But too much saturation will distort

colors such as skin tones.

Paint Shop Pro has several commands that are useful for adjusting

the saturation of an image. Go to the Adjust > Hue and Saturation

submenu for a list of available commands.

Automatically Enhancing Saturation

The Automatic Saturation Enhancement command is useful for

improving the saturation of your image. It automatically adapts its

behavior to the color content of each image. Therefore, it will be

most effective when used without any selections, because then the

entire range of colors will be available for analysis.

Note

This command works on 16 million color and greyscale images

only. To increase the color depth of an image, see “Increasing the

Color Depth of an Image” on page 261.

If you apply this command to a selection (rather than the entire

image), the saturation adjustment may not be as effective because

all image information is not available.

This command has no effect on greyscale images because they

have no color, it can be used on sepia or duotone images.

To automatically enhance saturation:

1 Choose Adjust > Automatic Saturation Enhancement.

Chapter 5: Improving Photographs

110

2 In the preview window, center an important part of the image

(such as a face). Pan the image by clicking and dragging in the

preview window; zoom in or out as necessary.

3 Set the Bias (which is the overall saturation) to your preferred

target saturation. The command will automatically adjust the

saturation to match this target.

4 Set the Strength of the correction to Weak, Normal or Strong.

5 Mark the Skintones present check box if appropriate. With this

enabled, the saturation adjustment algorithm is modified in a way

that produces more natural looking skin tones.

6 Click OK to apply the correction.

Removing Image Defects and Noise

Sometimes images have defects that are called noise—black, white,

or colored specks ranging in size from very tiny to relatively large or

all-over noise that gives surfaces a grainy look. You can use Paint

Shop Pro’s Noise commands to remove noise from images. Before

you decide which command to use, determine the type of noise that

your image contains.

Note

All Noise commands work on 16 million color and greyscale images

only. To increase the color depth of an image, see “Increasing the

Color Depth of an Image” on page 261.

Removing Single-Pixel Specks

Use the Despeckle command to remove single-pixel specks that are

mostly white or black. This command analyzes the brightness of

each pixel and compares it to the surrounding pixels to determine if

it should be removed.

To remove single-pixel specks in an image:

1 Select the area that contains the specks.

2 Choose Adjust > Add/Remove Noise > Despeckle. The selection

is despeckled.

Chapter 5: Improving Photographs 111

Removing Multiple-Pixel Black or

White Specks

Use the Salt and Pepper Filter command to remove multiple-pixel

black or white specks, such as those caused by dust on film or video.

This command compares an area of pixels to the surrounding pixels

and adjusts an area that is a speck to match those surrounding pixels.

To remove multiple-pixel specks:

1 Select the area that contains the specks. See “Using the Selection

Tools” on page 192.

2 Choose Adjust > Add/Remove Noise > Salt And Pepper Filter.

3 Define the adjustment using the following options:

Speck size The minimum size, in pixels, of the largest speck that

can be completely removed. The value is always an odd number.

Sensitivity to specks How different an area must be from its

surrounding pixels to be considered a speck.

4 Mark the Include all lower speck sizes check box to have Paint

Shop Pro remove all lower speck sizes. Results are usually better

if you mark this check box.

5 Mark or clear the Aggressive action check box to set whether the

strength of correction is normal (if the check box is cleared) or

aggressive (if the check box is marked).

6 Click OK.

Removing Noise While Preserving

Edge Details

Use the Edge Preserving Smooth command to remove noise in an

image without losing edge details. This command finds details such

as object edges and preserves them, while smoothing the areas

between the edges. For example, you can preserve the edges of facial

features while removing a blotchy complexion.

You can also use the Edge Preserving Smooth command to minimize

film grain.

To remove noise while preserving edge details:

1 Select the area that contains the noise.

Should I make a

selection first?

You can apply the Edge Preserving

Smooth command to a selection or

an image. It is faster and more

effective when applied to a

selection.

Chapter 5: Improving Photographs

112

2 Choose Adjust > Add/Remove Noise > Edge Preserving Smooth.

3 For Amount of smoothing, change the value until you are

satisfied with the adjustment. Choose the smallest amount of

smoothing that removes the specks while retaining image detail.

4 Click OK.

Removing Small Areas of Noise

Use the Median Filter command to remove small random specks or

areas of noise that are distinctly different from the surrounding area.

You can also use the command to remove single-pixel colored

specks.

The Median Filter command adjusts the intensity of each pixel in the

image to the median intensity of surrounding pixels. The median

intensity is the middle value (not the average) in the range of values.

To preserve object edges, the Median Filter command adjusts a pixel

that is very different from surrounding pixels more than a pixel that

is similar to surrounding pixels. You can choose the number of

surrounding pixels to use in the calculation. If you choose a large

number, more noise is removed and so more detail is lost.

To remove small areas of noise:

1 Select the area that contains the noise.

2 Choose Adjust > Add/Remove Noise > Median Filter.

3 For Filter Aperture, choose the number of surrounding pixels to

include in determining the median intensity of each pixel. The

filter is always an odd number of pixels. To preserve image

details, choose the smallest filter that removes the noise.

For single-pixel colored specks, set the filter to 3.

4 Click OK.

Chapter 5: Improving Photographs 113

Removing Noise While Keeping Texture

Details

Use the Texture Preserving Smooth command to remove noise or

specks in an image while preserving texture details. This command

analyze’s an image’s pixels to determine if they display textured or

smooth areas. Textured areas are preserved (few noise adjustments

are made) and smooth areas are adjusted to remove noise. For

example, textures in clothing may be preserved while noise from

another area (such as a person’s face) is removed.

To remove noise while keeping texture details:

1 Select the area that contains the noise.

2 Choose Adjust > Add/ Remove Noise > Texture Preserving

Smooth.

3 For Amount of correction, set a value to choose the strength of

the correction. At lower values, a small amount of noise is

removed but textured areas are preserved. At higher values, more

noise is removed but textured areas may not be fully preserved.

4 Click OK.

Softening the Image

The three Softness commands are Soft Focus, Soften, Soften More.

Soften applies a uniform blur to your image. Soften More applies the

Soften command with more intensity. The Soft Focus command

makes the image look as though it was taken with a camera using a

soft focus filter.

To use the Soften and Soften More commands, choose Adjust >

Softness and either the Soften or Soften More command.

To use the Soft Focus command:

1 Choose Adjust > Softness > Soft Focus to open the dialog.

2 In the preview window, center the important part of the image.

Pan the image by clicking and dragging in the preview window;

zoom in or out as necessary.

3 For Softness, set a percentage value to choose the strength of the

correction. At lower values, the image is softened only a small

amount. At higher values, the image appears to have a blurred

effect.

Should I make a

selection first?

You can apply the Texture

Preserving Smooth command to a

selection or an image. The

command is faster and more

effective when applied to a

selection.

Chapter 5: Improving Photographs

114

4 For Edge importance, set a percentage value to choose the

strength of the correction. At lower values, the edges of the

image are softened. At higher values, the detail of the edges are

retained.

5 Mark the Include scattered light check box if you want bright

areas in the background of the image to be softened.

6 For Amount, set a percentage value to choose the strength of the

halo effect. At lower values, the halo is added to only very bright

areas in the image. At higher values, a halo effect is created

around bright areas.

7 For Halo size, set a percentage value to choose the size of the

halo. At lower values, the halo is small. At higher values, the

halo effect is large.

8 For Halo visibility, set a percentage value to choose the strength

of the halo visibility. At lower values, the halo effect is subtle. At

higher values, the halo effect is more obvious.

9 Click OK.

Removing Source Defects

Images can contain defects that come from the process of scanning

or capturing them

Note

These commands work on 16 million color and greyscale images

only. To increase the color depth of an image, see “Increasing the

Color Depth of an Image” on page 261.

Fixing Line Problems in Video Images

Video images can contain visible scan lines. In these images, lines

can be missing or out of alignment with other lines. The resulting

image looks excessively blurry.

Use the Deinterlace command to eliminate missing or misaligned

lines from your image and to reconstruct missing information. If the

image contains noise, it may become more visible after removing

scan lines. For information on removing noise, see “Removing

Image Defects and Noise” on page 110.

Note: Apply the Deinterlace command before you resize the

image. Resizing adds or removes pixels from the image, which

makes it more difficult to determine scan lines.

Chapter 5: Improving Photographs 115

If your image has already been resized, you must return it to as close

to the original size as possible so that each scan line is one pixel

high. Zoom in until you can see individual pixels to determine how

many pixels make up one scan line, and then resize the image so that

each scan line is one pixel. For example, if the enlarged image has

scan lines that are two pixels high, you would resize it by 50 percent.

Keep in mind that the image loses clarity when you resize it.

To deinterlace an image:

1 Make sure the image has no selections. If necessary, choose

Selections > Select None. The Deinterlace command is not

available if the image contains a selection.

2 Choose Adjust > Add/Remove Noise > Deinterlace.

3 In the preview window, center the area of the image where the

scan lines are most apparent.

4 For Scanlines to retain, select either Odd or Even to determine

whether the odd-numbered or even-numbered scan lines are kept.

5 Click OK.

Removing Artifacts from JPEG Images

When you save a file to the JPEG format from any software package

(such as scanning software), the file information is compressed to

create a smaller file. The compression produces artifacts—unwanted

image problems—that can appear as halos or color leakage beyond

the edges of objects, checkerboard problems on smooth

backgrounds, or blocky-looking areas in an image.

Use Paint Shop Pro’s JPEG Artifact Removal command to restore a

JPEG image to its original appearance.

Note

Because JPEG compression discards image information, there are

limits to how well the image can be restored.

To remove JPEG artifacts:

1 Make sure the image has no selections. If necessary, choose

Selections > Select None. The JPEG Artifact Removal command

is not available if the image contains a selection.

2 Choose Adjust > Add/Remove Noise > JPEG Artifact Removal.

3 In the preview window, center the area of the image where the

artifacts are most apparent.

What if my file is not in

JPEG format?

You can apply the JPEG Artifact

Removal command to a file in any

format. For example, if you have

saved a JPEG file as a Paint Shop

Pro (.PspImage) file, you can still

apply the command.

Chapter 5: Improving Photographs

116

4 In the Strength group box, set the strength of correction to Low,

Normal, High, or Maximum. For best results, try each option and

examine all areas of the image to see which strength setting

works best.

5 Set the Crispness to determine the amount of detail that is

restored, from 0 (the least) to 100 (the most). Start with 50 and

adjust the value until the image looks the most natural. This

option determines how much fine-detail information the artifact

removal attempts to create. The recreated information can only

be a guess since the original information is lost. Excessive

crispness may produce fine dots in the image.

6 Click OK.

Removing Undesirable Patterns in

Scanned Images

Scanning printed images can produce undesirable patterns called

Moiré patterns. Other patterns may come from scanning photographs

printed on textured paper. Paint Shop Pro’s Moiré Pattern Removal

command removes these patterns from your images. You can apply

the command to a selection or an entire layer.

To remove moiré patterns:

1 Choose Adjust > Add/Remove Noise > Moiré Pattern Removal.

2 Magnify the image in the preview window until you can see the

fine patterns clearly.

3 For Fine details, select a value to remove fine patterns. Change

the value one number at a time until the pattern just disappears.

Higher values may blur the image, so use the lowest value that

removes the pattern.

4 Reduce the image magnification until you can see bands or color

blotches clearly in the preview window. Bands or blotches may

be visible when the image is at 100%, but may be easier to see at

smaller percentages.

5 For Remove bands, change the value one number at a time until

any color bands or blotches are less visible (they may not

disappear completely). Use the lowest value possible to avoid

desaturation of small objects.

6 Click OK.

Chapter 5: Improving Photographs 117

Note

After you have removed the Moiré pattern, you may be able to use

the Sharpen commands to restore detail and remove blurriness

without reintroducing the pattern. This approach works best when

you choose a Fine Details setting in the Moiré Pattern Removal

dialog that is slightly higher than needed to remove the pattern. For

more information on the Sharpen commands, see “Clarifying

Images” on page 107.

Retouching Photographs

Paint Shop Pro offers many options for retouching your photos. You

can remove red eyes from people, or the green eyes of animals using

the Red Eye Removal command. If there are scratches, cracks, and

other unwanted defects on a relatively smooth background, use the

Scratch Remover tool. If there are many small scratches or creases,

use the Automatic Small Scratch Remover command. If there are

elements you want to remove, use the Clone Brush tool. Use the

retouch tools to lighten, darken, emboss, change colors, and apply

other retouches to parts of the image.

Note

The Red Eye and Small Scratch Removal commands work on 16

million color images only. To increase the color depth of an image,

see “Increasing the Color Depth of an Image” on page 261

Removing Red Eyes

When you take a flash picture of people, sometimes their eyes look

red—the result of the flash’s light reflecting off the retina of the eye.

Use the Red-Eye Removal command to return eyes to natural colors.

You can also use this command to enhance or change eye colors.

To use the Red Eye Removal command:

1 Make sure the image has no selections. If necessary, choose

Selections > Select None. The Red-Eye Removal command is not

available if the image contains a selection.

2 Choose Adjust > Red Eye Removal.

3 In the right preview window, center the red eyes of the subject.

Pan the image by clicking and dragging in the preview window;

zoom in or out as necessary.

Chapter 5: Improving Photographs

118

Note: You must use the right preview window for panning the

image because you select the subject’s eyes in the left preview

window.

4 From the Method drop-down list, select a correction method:

Auto Human Eye Automatically selects the correction area using

a circular selection and chooses settings appropriate to a human

eye. If you are correcting human eyes (even partially obscured

ones), try this method first.

Auto Animal Eye Automatically selects the correction area using

a circular or elliptical selection area and chooses settings

appropriate to an animal eye. You can also rotate the selection

with this method. If you are correcting animal eyes, try this

method first.

Freehand Pupil Outline Manually select the correction area on

human or animal eyes using a Freehand Selection tool. Use this

method for difficult situations, such as a partially obscured pupil.

Point-to-Point Pupil Outline Manually select the correction area

on human or animal eyes using a Point-to-Point Selection tool.

Use this method for difficult situations, such as a partially

obscured pupil.

5 In the left preview window, select the first eye to correct:

For the Auto Human Eye or Auto Animal Eye method, click

anywhere inside the red area of the eye to select the eye

automatically. You can also click and drag from the center of

the eye to the outside edge of the red area.

For the Freehand Pupil Outline method, click and drag the

cursor around the edge of the red area of the pupil. Release the

mouse button when you reach the beginning point of the

selection.

For the Point-to-Point Pupil Outline method, left-click at

points a few pixels apart around the edge of the red area of the

pupil. (Right-click to reverse a click.) When you reach the

beginning point, double-click.

Note: To remove a selection, click Delete.

After you select the eye, a circle appears around the selected area

and a control box for making adjustments encloses the circle. The

right preview window displays the corrected eye.

So you always wanted

blue eyes...

To use the Red-Eye Removal

command to enhance or change

eye colors, follow the same steps

for correcting red eyes with these

special instructions:

Select the new eye color.

Select the entire eye (pupil and

iris).

Adjust the Iris Size setting until

the pupil and iris look natural.

Use the Feather and Blur

settings to make the new eyes

look more natural.

About manual eye

correction methods

For both the Pupil Outline methods,

select the pupil (the small dark

circle at the eye’s center), not the

entire eye. These methods correct

red pupils on humans and animals,

but do not correct human irises

(you’ll notice the Hue option for

setting the iris hue is not available).

Typically, red-eye effect is confined

to the pupil, so with these manual

methods you can correct the red

pupil.

Chapter 5: Improving Photographs 119

6 Make sure the selection is positioned and sized properly over the

red area of the eye:

To move the selection, drag it to a new location.

For the Auto Animal Eye method, drag the center rotation

handle to rotate the selection. You can also reshape the eye

from a circle to an ellipse by dragging its side handles.

7 Fine-tune the eye correction by adjusting the pupil size and

lightness, glint, iris size, and feathering and blurring of the iris.

Refer to the fine-tuning steps later in this section.

8 To correct other red eyes, repeat the previous steps. The settings

from the first eye are retained, so the subsequent corrections

should be much quicker.

9 Click OK.

To fine-tune the eye correction on the Red-Eye Removal dialog:

1 For a human eye, look at the corrected eye to see if you need to

adjust the iris area around the pupil. (An animal eye usually does

not show an iris.) Sometimes the red eye area covers the iris. If

needed, adjust the iris with the following options:

Iris Size The size of the iris. Increasing the iris size decreases the

pupil size.

Hue The color of the iris (such as blue, brown, or green). This

option is not available for the Freehand Pupil Outline and Point-

to-Point Pupil Outline methods because these methods select the

pupil, rather than the pupil and iris.

Color The color variation of the iris (such as light blue or deep

blue).

2 For Pupil lightness, adjust the value so that the corrected eye

appears the appropriate shade and matches your perception of the

natural color.

3 Examine the glint in the eye. A glint makes the eye look natural

and lively; without it the eye looks “dead.” Adjust the glint using

the following options:

Glint size The size of the glint.

Glint lightness The lightness of the glint. Lower values darken

the glint; higher values lighten it.

Center glint Mark the check box to move the glint to the center of

the pupil. Clear it to leave the glint at its original position.

Need to change a setting?

To make further corrections on any

eye you have selected, click the

circle surrounding the eye. You can

change any of the settings except

Method. To change the correction

method, remove the selection (click

Delete), select the method, and

then select the eye again.

Chapter 5: Improving Photographs

120

4 Use Refine when the eye is partially obscured in the original

image. For example, if the eyelid covers part of the original eye,

it should cover it in the corrected eye. Use the Refine Slider to

reduce the correction. Slowly drag the slider to the left to reduce

the correction and minimize its overlap with the surrounding

skin.

5 To blend the corrected eye with the rest of the image, set the

following options:

Feather Adjusts the edges of the corrected eye. Smaller values

make the edges more defined; larger values blend the edges to

the surrounding image areas.

Blur Blends the eye with surrounding pixels when the photo has a

grainy appearance. Increase the setting one unit at a time until the

eye blends naturally with the rest of the image.

Removing Scratches with the Scratch

Remover Tool

The Scratch Remover tool is one way to remove scratches, cracks,

and other defects from your images. Use the tool to enclose the area

with the scratch and erase it. The tool works best for scratches on

relatively smooth backgrounds.

Note

This tool can be used only on backgrounds; it is not available when

you are working on layers.

If there are many small scratches in the image, use the Automatic

Small Scratch Remover command. See “Removing Scratches with

the Automatic Small Scratch Removal Command” on page 122.

To use the Scratch Remover tool:

1 If necessary, click the background layer on the Layers palette.

2 To limit the correction to a specific area, make a selection. (See

“Using the Selection Tools” on page 192.) This step works well

when you need to be careful not to remove important details near

the scratch.

3 Select the Scratch Remover tool .

Correcting obscured human

eyes

If a human eye is partially

obscured, select the Auto Human

Eye method, and then use the

Refine setting to adjust the

correction area.

Smooth vs. textured

background

The Scratch Remover tool uses the

background image details to create

new information to replace the

scratch. If the background is

relatively smooth, the result is

usually satisfying.

To remove scratches from a

textured background, the Clone tool

may be more effective. See

“Cloning Parts of Images” on

page 290.

Chapter 5: Improving Photographs 121

4 On the Tool Options palette, set the following options:

Width The width, in pixels, of the tool. Choose a width that is

about 3 or 4 pixels wider than the scratch. If the width is

considerably larger than the scratch, you will lose image detail.

Selection boxes The shape of the Scratch Remover tool. Select

the flat-end option to correct scratches that are perpendicular

to object edges in the image or are in an open area (the

background is similar and has no objects in it). Select the

pointed-end option to correct scratches at an angle to object

edges in the image (with this option, you can place the tool closer

to the edges).

5 Center the cursor just outside one end of the scratch, then click

and drag the bounding box over the scratch:

If the tool width is 10 or fewer pixels, the box is single-sided.

Position the box so that the edges surround, but do not touch,

the scratch.

If the tool width is more than 10 pixels, the box is double-

sided. Position the box so that the inner edges surround, but

do not touch, the scratch.

6 With the mouse button still pressed, you can adjust the size and

position of the rectangle:

Press the Arrow keys to move the starting point of the

bounding box by 1 pixel.

Press PageUp or PageDown to increase or decrease the width

of the box by 1 pixel.

7 When the rectangle properly encloses the scratch, release the

mouse button. The scratch is removed.

If you are not satisfied with the result, click Undo to undo the

scratch removal, then try selecting the scratch again (perhaps

varying the width of the tool).

Achieving the best results

If the scratch background is highly

textured or contains many image

variations (say, a flower, a face,

and a wall), the result may not be

as satisfying.

Try these tips to get the best

results:

Before using the tool, select the

area that contains the scratch.

Use a tool width about 3 or 4

pixels wider than the scratch

itself.

For scratches over several

different backgrounds, try

removing the scratch a section at

a time.

Consider using the Clone Tool

instead.

Chapter 5: Improving Photographs

122

Removing Scratches with the Automatic

Small Scratch Removal Command

The Automatic Small Scratch Remover command finds and

eliminates small, line-shaped defects that are either lighter or darker

than the surrounding area.

To use the Automatic Small Scratch Removal command:

1 To limit the correction to a specific area, make a selection. (See

“Using the Selection Tools” on page 192.) The command works

best on a selection rather than the entire image.

2 Choose Adjust > Add/Remove Noise > Automatic Small Scratch

Removal.

3 Mark the check box of the type of scratches to remove (you must

choose at least one option):

Remove dark scratches Mark this check box to remove scratches

that are darker than their background.

Remove light scratches Mark this check box to remove scratches

that are lighter than their background.

4 Specify how scratches are removed with the options in these two

group boxes:

Local contrast limits The difference in contrast between a scratch

and its background. Use a value that sets the limits to where they

achieve the best results. Start with the Lower limit at 0 and the

Upper limit at 50. If scratches remain, the Automatic Small

Scratch Removal command is unable to remove them. If

scratches disappear, then adjust the limits to minimize loss of

image detail. Adjust the Lower limit up to the setting just below

where scratches reappear. Adjust the Upper limit down to the

setting just above where the scratches reappear.

Strength The strength of the scratch removal: Mild, Normal, or

Aggressive. Select the lowest setting that removes scratches.

Look at all areas of the image to make sure important details are

not lost.

5 Click OK.

Color depth

The Automatic Small Scratch

Removal command works on 16

million color or greyscale images

only. To increase the color depth of

an image, see page 261.

Chapter 5: Improving Photographs 123

Blurring Images

Use Blur to soften a selection or an image. Blur images for photo

retouching or to remove noise in the image. The Blur commands

smooth transitions and decrease contrast by averaging the pixels

near edges and areas of significant color transitions.

To increase the effect of any of the Blur effects, apply them multiple

times to the same image.

Note

These commands work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples all the blur commands,

refer to the Help system.

Select from the following blur commands:

Average Removes noise that occurs throughout an image by

adjusting the intensity of each pixel to the average intensity of its

surrounding pixels. Also removes color dithering that results from

increasing the color depth of an image from paletted to 24 bit.

Blur and Blur More Remove noise by applying smooth transitions

and decreasing the contrast in your image. The Blur More effect

applies the Blur effect with more intensity. Use either effect to

reduce graininess in your image.

Gaussian Blurs an image by an adjustable amount. Blends a specific

number of pixels incrementally, following a bell-shaped curve. The

blurring is dense in the center and feathers at the edges.

Motion Blur Blurs in a particular direction (from 0 to 359 degrees)

and at a particular strength (from 1 to 100). Use this effect to

simulate taking a picture of a moving object using a fixed exposure

time.

Radial Blur Blurs an image by simulating what you might see if you

took a picture while spinning a camera in circles, or by zooming in

quickly using a very slow shutter speed. You can also choose a

twirling effect

To apply a Blur effect:

1 On the Layers palette, click the layer containing the area you want

to blur.

2 To limit the blur to a specific area, make a selection in the image.

Applying the Motion Blur effect

Chapter 5: Improving Photographs

124

3 Choose Adjust > Blur, then choose a effect.

For the Blur and Blur More effects, the effect is applied to the

image or selection.

For the Average, Gaussian, and Motion effects, a dialog

opens. Choose from the options, then click OK. The effect is

applied to the image or selection.

125

Making Color and Tonal Corrections

Paint Shop Pro provides advanced and flexible commands that aid in

color corrections and create dramatic effects.

Start your corrections with Paint Shop Pro’s automatic commands

and then use the advanced correction commands if your images still

need adjusting. For an introduction to color and tonal corrections,

see “How to Approach Color, Contrast, and Saturation Adjustments”

on page 96. For an overview of steps that help you improve your

photographs, see “Basic Steps in Improving Photographs” on

page 88.

Contents Key Points to Know Before Making Corrections. . . . . . . . . . . . . 126

How Corrections Relate to Color Depth. . . . . . . . . . . . . . . . . . . 127

Adjusting the Color Balance. . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Adjusting Brightness and Contrast . . . . . . . . . . . . . . . . . . . . . . 134

Replacing Colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Reducing or Removing Colors . . . . . . . . . . . . . . . . . . . . . . . . . 142

Using the Histogram to Analyze Images . . . . . . . . . . . . . . . . . . 145

CHAPTER 6

Chapter 6: Making Color and Tonal Corrections

126

Key Points to Know Before Making Corrections

All the Paint Shop Pro correction command dialogs have common

ways of adjusting color and lightness. Keep the following key things

in mind:

Lightness levels are specified in a scale from zero (no light,

black) to 255 (100% light, white).

Image files store their color information in channels, or planes,

of color. A color channel specifies the amount of a certain color

in each pixel of the image. Many correction dialogs let you to

edit the red, green and blue channels. The histogram also

displays the hue, saturation, lightness, and greyscale channels.

Colors are specified on a scale from zero (no color) to 255 (100%

of the color).

Hue settings are displayed on a color wheel or they use values

that represent positions on the color wheel. For a visual

representation, look at the Jasc Color Picker. Although actual hue

values range from 0 to 255, some correction dialogs use degrees

to represent hues on the color wheel (from 0 to 359 degrees

counter-clockwise starting at the top).

When you first open a correction dialog, reset the settings by

choosing Default in the Presets drop-down list. Otherwise, the

dialog uses the settings from the previous correction.

If there’s an adjustment layer available for a correction

command, use it. That way the original pixels are left unchanged.

If you change your mind or want to revise the correction, it’s

much easier when you use an adjustment layer. See, “Using

Adjustment Layers” on page 382

Depending upon the color depth of your image, some correction

commands may not be available. It’s always best to work with

images of 16 million (24-bit) colors. If needed, you can reduce

the color depth when you finish editing the image. For more

information, see “How Corrections Relate to Color Depth” on

page 127.

Chapter 6: Making Color and Tonal Corrections 127

How Corrections Relate to Color Depth

The following table shows you which correction commands and

adjustment layers are available for images of different color depths

and which color depths can apply commands to selections.

Color

Depth Commands that Apply to

Entire Layer or Image Commands available

for Selections

Available

Adjustment

Layers

2 color (1-bit) Greyscale, Negative Image None None

16 color (4-bit) Greyscale, Posterize, Solarize, and

Sepia, plus all commands in the

Adjust menu

None None

256 color (8-bit) Same as 16 color (4-bit), plus the

Equalize and Stretch Histogram

commands

None None

Greyscale (8-bit) All commands that correct

brightness or contrast

The same commands

that work on the layer or

image

Brightness/Contrast,

Curves, Invert,

Levels, Posterize,

Threshold

16 million, 32K,

or 64K color

(24-bit)

All correction commands All correction commands All adjustment

layers

Chapter 6: Making Color and Tonal Corrections

128

Adjusting the Color Balance

In technical terms, color balance refers to the balance of red, green,

and blue in your images. In common usage, balancing colors means

creating natural looking images without a color cast (an overall

imbalance of colors in an image). Use Paint Shop Pro to correct

color balance and also to change the balance to create dramatic

effects.

Changing the Overall Color Balance

Use the Red/Green/Blue command to adjust the amount of red,

green, and blue in your image and to make color corrections by

changing the overall color cast. To reduce the amount of a color in

the image, you can either increase its opposite color on the color

wheel or reduce the amount of adjacent colors on the color wheel.

For example, to color correct an image containing too much yellow,

either increase the amount of blue or decrease the amount of red and

green.

To use the Red/Green/Blue command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Color Balance > Red/Green/Blue.

3 In the Red, Green, and Blue edit boxes, select the percentage to

change each value. A value of 0% indicates the original value. To

add more of a color, use a positive number. To remove some of a

color, use a negative number. Keep in mind the following:

Reducing the amount of blue adds a yellow cast to the image.

Reducing the amount of green adds a magenta cast to the

image.

Reducing the amount of red adds a cyan cast to the image.

4 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

To increase the color depth of an

image, see page 261.

The automatic alternative

For a quick and easy way to

balance colors, use the Automatic

Color Balance command. See

“Automatically Balancing Colors”

on page 100.

Chapter 6: Making Color and Tonal Corrections 129

Changing the Color Balance of

Shadows, Midtones, and Highlights

Use the Color Balance command to change the balance of colors in

an image. This command provides general color correction and

allows you to adjust the color balance in shadows, midtones, and

highlights.

To use the Color Balance command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Adjust >

Color Balance > Color Balance.

To create an adjustment layer, choose Layers >

New Adjustment Layer > Color Balance. For information on

adjustment layers, see “Using Adjustment Layers” on

page 382.

3 To reset the settings, in the Presets drop-down list, select

Default.

4 In the Tone balance group box, select which lightness level

(tonal range) of colors to adjust: Shadows (dark colors),

Midtones (colors in the middle range), and Highlights (bright

colors). Adjust each one individually.

5 To have the corrected image match the lightness of the original

image, mark the Preserve luminosity check box.

6 In the Color balance group box, drag a slider toward a color to

increase that color in the image or drag a slider away from a

color to decrease the color. Increasing the proportion of one color

decreases the proportion of its opposite on the color wheel.

The values in the Color levels edit boxes show the color changes

for the red, green, and blue channels. Values range from -100 to

100. Zero indicates the original color balance.

7 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color images only.

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections

130

Adjusting the Hue, Saturation, and

Lightness in Unison

Use the Hue/Saturation/Lightness command to shift all colors in an

image and change their strength and lightness. Here’s how the

command works:

Changing the hue shifts all pixels in an image around the color

wheel to a different point. For example, if you change the red

pixels to green, the green pixels turn to blue and the yellow

pixels turn to cyan.

Changing the saturation adjusts the amount of grey in a color.

The level of grey increases as the saturation decreases.

Changing the lightness adjusts the color’s brightness.

To use the Hue/Saturation/Lightness command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Adjust >Hue

and Saturation > Hue/Saturation/Lightness.

To create an adjustment layer, choose Layers > New

Adjustment Layer > Hue/Saturation/Lightness. For

information on adjustment layers, see “Using Adjustment

Layers” on page 382.

3 In the Edit drop-down list, choose the color range to adjust. To

edit all colors simultaneously, choose Master. To edit a specific

color range, choose Reds, Yellows, Greens, Cyans, Blues, or

Magentas.

The color rings represent the colors in the image. The outer ring

represents the original values and the inner ring represents the

adjusted values. If you choose a specific color range to edit, a

control ring is added between the inner and outer rings where you

can change the color range that you adjust.

4 To turn the image into a duotone (two-color) image, mark the

Colorize check box. The image turns into a greyscale image (if

you have previews or proofing on). You can now select a hue and

adjust the saturation and lightness values to colorize the image.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color images only.

To increase the color depth of an

image, see page 261.

Creating a duotone

You can use the Hue/Saturation/

Lightness command or the Colorize

command to create a duotone

image (a greyscale image with one

color added).

For more information on duotones,

see “Colorizing Images” on

page 141.

Chapter 6: Making Color and Tonal Corrections 131

5 If you are editing a specific color range (rather than the Master

mode), you can change the color range that you adjust using the

control ring:

To set the range width, drag the two outer points on the

control ring, which mark the beginning and end of the

adjustment area.

To change where the adjustment builds to full effect, drag the

two inner bars. In the area between the two inner bars, the

adjustment is in full effect.

To move the adjustment area, drag the white circle.

6 To change the hue, drag the Hue slider until the colors appear as

you want them. You can also type a value in the Hue edit box.

The hue value is not on the typical hue scale of 0 to 255. Instead,

the value is the number of degrees of rotation around the 360

degree color wheel from the pixel’s original color. A positive

values indicates a clock-wise rotation and a negative value

indicates a counter-clockwise rotation. For example, when the

Hue value is at 180, blue becomes yellow and green becomes

magenta.

7 Drag the Saturation slider up to increase the saturation or drag it

down to decrease the saturation. Values can range from -100 to

100; at zero the saturation is unchanged.

8 Drag the Lightness slider up to increase the lightness or drag it

down to decrease the lightness. Values can range from -100 to

100; at zero the lightness is unchanged.

9 Click OK.

Chapter 6: Making Color and Tonal Corrections

132

Correcting Colors by Setting Black and

White Points

If an image has a color cast, an effective way to correct it is to select

those points that you know are supposed to be black or white and

shift all colors based on resetting these points to true black and true

white. You can do this with the Black and White Points command.

You can also define the grey point too. After you select the points,

all colors are shifted.

To use the Black and White Points command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Color Balance > Black and White Points.

3 In the right preview window, center the area with the source

points (the points that should be black, white, or grey). Pan the

image by clicking and dragging in the preview window; zoom in

or out as necessary.

Note: You must use the right preview window for panning the

image because you select the source colors in the left preview

window.

4 To use a greyscale palette to select all destination colors, mark

the Balance to grey check box. If this check box is cleared, you

can select any color for the destination points.

5 For each point that you want to correct, do the following:

Select the source point: click the color’s dropper button ,

then click a color in the left preview window that is supposed

to be the color you are correcting (black, grey, or white).

If you want, change the default color: for the Desired color

boxes, click the appropriate Color box (black, grey, or white)

and select a color from a black-and-white color palette.

Note: To select a destination color from the image window or

the desktop, position the cursor over any destination color

box, press and hold the Ctrl key, move the cursor over the

image or the desktop, and click a color.

6 To preserve the lightness of the source color, mark the Preserve

lightness check box. If this check box is cleared, the lightness of

the corrected image matches the target color’s lightness instead.

7 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections 133

Adjusting the Color Channels

Use the Channel Mixer command to increase or decrease the red,

blue, or green color channel by a percentage of itself and the other

two channels. Use this command when you want to adjust color

channels individually.

To use the Channel Mixer command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Adjust > Color

Balance > Channel Mixer.

To create an adjustment layer, choose Layers >

New Adjustment Layer > Channel Mixer. For information on

adjustment layers, see “Using Adjustment Layers” on

page 382.

3 Do one of the following:

To maintain a color image, in the Output channel drop-down

list, select a color channel to edit: Red, Green, or Blue.

To change the image to a monochrome (which looks like a

greyscale but has a color depth of 16 million colors), mark the

Monochrome check box. The Channel drop-down list displays

Grey. When you adjust the color channels in the next step, you

change the amount of each channel that is used to create the

monochrome image.

4 In the Source channels group box, use the Red, Green, and Blue

edit boxes or sliders to change the current percentage of that

color in the channel you are editing. For example, if you are

editing the Red channel and set the Red value to 50%, you reduce

the amount of red in the image to 50% of its original amount.

5 To brighten the color channel, drag the Constant slider to the

right. To darken the color channel, drag the slider to the left. The

default of zero is the original setting.

6 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color images only.

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections

134

Adjusting Brightness and Contrast

There are numerous methods for correcting the brightness and

contrast of an image.

Analyze the image with the histogram and then use the histogram

commands to adjust the image.

Use the Brightness/Contrast command to adjust the brightness or

contrast individually.

Use the Curves command to change the brightness values of

individual pixels.

Use the Gamma Correction command to change the image’s

gamma, which adjusts the brightness and contrast in unison.

Adjust the brightness of highlights, midtones, and shadows to

improve contrast and bring out detail in light or dark areas.

Use the Levels command to adjust the lightness of the image.

Using the Histogram to Fix Contrast

Problems

In Paint Shop Pro there are three main ways to use the histogram to

fix contrast problems:

Use the Histogram Adjustment command to edit the luminosity

(or lightness) channel. See “Correcting Images by Adjusting the

Histogram” on page 148.

Use the Histogram Equalize command to average image

brightness by distributing the lightness values of pixels more

evenly across the lightness spectrum from black to white. This

command makes the darkest pixel as close to black as possible

and the lightest pixel as close to white as possible, and then

distributes the remaining pixels evenly between these two values.

Use the Histogram Stretch command to increase contrast. If an

image’s histogram does not cover the entire lightness spectrum,

the image does not contain very dark or very light areas and so it

lacks contrast. The Stretch command stretches the graph closer to

both ends so that it covers more of the spectrum. (You can also

do this manually with the Histogram Adjustment command.)

Automatic adjustment

Choose Adjust > Brightness and

Contrast > Automatic Contrast

Enhancement to adjust the

contrast with several easy-to-use

options.

Creative ideas for

equalizing

In some cases the effect of

equalizing the histogram of an

image may be too strong. You may

get better results when you blend

the original image with the

equalized version. Copy and paste

the original as a new layer, then

equalize the copied layer and use

the layer opacity options to blend

the two layers together.

For more information on the

opacity options, see “Changing

Opacity of Layers” on page 372.

Chapter 6: Making Color and Tonal Corrections 135

To use the Histogram Equalize command:

1 To limit the adjustment to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Brightness and Contrast > Histogram Equalize.

The image updates in the image window.

To use the Histogram Stretch command:

1 To limit the adjustment to a specific area, make a selection in the

image.

2 Choose Adjust > Brightness and Contrast > Histogram Stretch.

The image updates in the image window.

Manually Adjusting Brightness and

Contrast

You can manually adjust the brightness and contrast of an image

using the Brightness/Contrast command. This is one of the simplest

of the lightness correction commands.

To adjust contrast and brightness manually:

1 To limit the adjustment to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Adjust >

Brightness and Contrast > Brightness/Contrast.

To create an adjustment layer, choose Layers >

New Adjustment Layer > Brightness/Contrast. For

information on adjustment layers, see “Using Adjustment

Layers” on page 382.

3 In the Brightness edit box, select a negative number to darken

the image or select a positive number to lighten image. A value

of zero indicates no change.

4 In the Contrast edit box, select a positive number to increase the

contrast or select a negative number to decrease the contrast. A

value of zero indicates no change.

5 Click OK.

Make your own adjustment

layer!

Although there are no adjustment

layers for the Histogram Equalize

and Histogram Stretch commands,

you can still apply the commands

without changing the original

image pixels. Make a copy of the

layer to which you are applying the

commands and paste it as a new

layer. Apply the commands to the

copied layer, and on the Layers

palette turn off the visibility of the

original layer.

You can use this trick with all Paint

Shop Pro correction commands

that don’t have an adjustment

layer.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color or greyscale images only.

To increase the color depth of an

image, see page 261.

Using automatic corrections

To adjust the contrast with several

easy-to-use options (such as

choosing an appearance that is

flat, natural, or bold), use the

Automatic Contrast Enhancement

command. See “Automatically

Enhancing Contrast” on page 106.

Chapter 6: Making Color and Tonal Corrections

136

Adjusting Individual Brightness Values

Use the Curves command to adjust the individual brightness values

of your image. You can change any brightness value on the 0–255

scale. For example, you can change all pixels that have a brightness

value of 128 to a value of 150. The Curves command gives you

enormous flexibility in changing the brightness of your image.

To use the Curves command:

1 To limit the adjustment to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Adjust >

Brightness and Contrast > Curves.

To create an adjustment layer, choose Layers >

New Adjustment Layer > Curves. For information on

adjustment layers, see “Using Adjustment Layers” on

page 382.

3 To reset the settings, in the Presets drop-list choose Default.

4 In the Channel drop-down list, select a color channel to edit.

Choose RGB to edit the red, green, and blue channels together.

Choose Red, Green, or Blue to edit the individual color channels.

5 Use the points on the graph to adjust the relationship between the

input levels (the brightness of the original pixels) and output

levels (the brightness of corrected pixels). At the lower left of the

chart, both values are zero (black). At the upper right, both

values are 255 (white).

To add a point to the graph, move the cursor over the dotted

red line until the cursor changes to an arrowhead and displays

“+ADD,” then click the line.

To move the line, drag a point or enter values in the Input or

Output edit box.

To remove a point, drag it off the graph.

6 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color or greyscale images only.

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections 137

Adjusting the Brightness and Contrast

in Unison

Use the Gamma Correction command to adjust the brightness and

contrast of an image in unison. The gamma of an image is a standard

measure of its contrast and brightness.

The gamma curve has three components: the red, green, and blue of

the image. In addition to adjusting the brightness and contrast of the

image, with the Gamma Correction command you can adjust the

color balance of an image by unlinking the three components and

changing them separately. For example, if the image has a red cast to

it, you can reduce its red value.

To use the Gamma Correction command:

1 To limit the adjustment to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Brightness and Contrast > Gamma Correction.

In the Gamma Correction dialog, the graph shows the gamma

curves for the three colors. If the three colors have the same

gamma value, there is one white line representing the three

colors. If the gammas are different values, there is a line for each

color.

The left side of the graph represents the shadows of the image;

the right side represents the highlights.

3 Do one of the following:

To adjust the brightness and contrast in unison, mark the Link

check box.

To change the color balance of the image rather than the

brightness and contrast, clear the Link check box.

4 For the Red, Green, and Blue values, drag the sliders or type new

numbers in the edit boxes. A value of 1 indicates the original

gamma. If colors are linked, increasing the value lightens the

image and decreasing the value darkens the image. If colors are

not linked, increasing or decreasing a individual color value

increases or decreases the amount of that color in the image.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections

138

5 Click OK.

Note: The Gamma Correction command can result in an image

looking somewhat flat; you may want to increase the contrast

after correcting the gamma. See “Improving Contrast” on

page 106.

Adjusting the Brightness of Highlights,

Midtones, and Shadows

The Highlight/Midtone/Shadow command is useful to adjust

selected regions of the tone scale. In this sense, the tone scale is

divided into three general regions, containing light values

(highlights), middle values (midtones) and dark values (shadows).

The Highlight region is centered on the 75% tone, the Midtone

region is centered on the 50% tone and the Shadow region is

centered on the 25% tone. These three regions overlap somewhat in

order to provide smooth transitions as the tone scale passes from one

region to the next.

To use the Highlight/Midtone/Shadow command:

1 To limit the adjustment to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Brightness and Contrast > Highlight/Midtone/

Shadow.

3 Select an adjustment method, either Absolute or Relative:

Absolute adjustment method: the controls are used to set the

absolute positions of the 25% histogram point (Shadows), the

50% histogram point (Midtones) and the 75% histogram point

(Highlights). Typical values are about 35 for Shadow, 50 for

Midtone and 65 for Highlight, but they will vary depending on

the particular image you have. Increasing the value will lighten

the region and decreasing the value will darken it.

Relative adjustment method: the controls are used to adjust the

lightness relative to their original state. Positive values will

lighten the region and negative values will darken it.

4 Set the desired values for Shadow, Midtone, and Highlight:

Shadow Removes lightness from the image. Increasing the value

darkens lighter pixels.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections 139

Midtone Changes the middle portion of the light scale. Increase

the value to darken middle values or decrease the value to lighten

middle values.

Highlight Adds lightness to the image. Decreasing the value

lightens darker pixels.

5 Click OK to apply the correction.

Adjusting the Lightness Levels

Use the Levels command to make adjustments to the brightness,

contrast, and gamma in the image. Adjusting the gamma changes the

brightness values of middle grey tones.

To use the Levels command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Adjust >

Brightness and Contrast > Levels.

To create a Levels adjustment layer, choose Layers >

New Adjustment Layer > Levels. For information on

adjustment layers, see “Using Adjustment Layers” on

page 382.

3 In the Channel drop-down list, select a color channel to edit.

Choose RGB to edit the red, green, and blue channels together.

Choose Red, Green, or Blue to edit the individual color channels.

4 To increase the contrast of the image, drag the Input levels

sliders, which show the image’s brightness values. To darken the

darkest values, drag the black diamond to the right; all values

below this value become zero (black). To lighten the lightest

values, drag the clear diamond to the left; all values above this

value become 255 (white). To change the value of medium grey,

drag the grey Gamma diamond left or right; the range for of the

gamma value is 0 to 7.99, with 1 being in the middle.

5 To decrease the contrast, drag the Output levels sliders. To

lighten the darkest pixels, drag the black diamond to the right. To

darken the lightest pixels, drag the clear diamond to the left.

6 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color or greyscale images only.

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections

140

Replacing Colors

Changing Individual Colors

Use the Hue Map command to replace one or more colors

throughout a photograph or other complex image. For example, you

can shift all greens to blues.

You can also use the Hue Map command to change the saturation or

the lightness of the image. When you adjust these values, all colors

(original and shifted colors) are adjusted.

To use the Hue Map command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Hue and Saturation > Hue Map.

The Hue Map dialog opens. In the Hue shift group box, the top

row of color boxes shows 10 original colors and the bottom row

of color boxes represents the shifted colors. Each color is

represented in degrees around the 360-degree color wheel.

3 To reset the colors to their default settings (which is no shift in

colors), in the Presets drop-down list choose Default.

4 For each color that you want to shift, drag its slider to a new

color.

5 To change the saturation of all colors, adjust the Saturation shift

value (from -100 to 100). A value of zero represents no change.

6 To change the lightness of all colors, adjust the Lightness shift

value (from -100 to 100). A value of zero represents no change.

7 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections 141

Colorizing Images

Use the Colorize command to replace all colors in a selection or an

image with a single color and saturation while leaving the lightness

values unchanged. You can use this command to create sepia tones

(the brown seen in old photographs) and other single-color effects.

Note

The Colorize command creates an image that looks like a duotone

(two-color) image. To create a duotone with more subtle color

changes, apply the Greyscale command, increase the color depth to

16 million (24-bit) colors, then apply the Colorize command.

To colorize an image:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Hue and Saturation > Colorize.

3 To colorize the image, modify the following settings:

Hue The hue that all current colors are changed to. Click the

slider button and drag the slider to select the color visually.

Saturation The saturation of the selected hue. Click the slider

button and drag the slider to select the saturation visually.

4 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections

142

Reducing or Removing Colors

In Paint Shop Pro you can reduce or remove colors in several ways.

You can create black-and-white, greyscale, duotone (two-color),

colorized, and sepia images. You can also create a negative image or

create a positive image from a photographic negative.

Creating Black-and-White Images

To create a black-and-white image, use the Threshold command.

Select the threshold lightness value—below which all pixels are

changed to black and above which all pixels are changed to white.

This command does not change the color depth of the image.

Note

The Threshold command creates an image with pixels of two colors:

black or white. To create a “black-and-white” photograph, which is

really made up of many shades of grey, see “Creating Greyscale

Images” on page 143.

To use the Threshold command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Adjust >

Brightness and Contrast > Threshold.

To create an adjustment layer, choose Layers >

New Adjustment Layer > Threshold. For information on

adjustment layers, see “Using Adjustment Layers” on

page 382.

3 Click the Zoom out button until you can see the entire image in

the preview windows.

4 In the Threshold edit box, select a pixel lightness value that

determines which pixels change to white (those above the

threshold) and which pixels change to black (those below the

threshold). The value ranges from 1 to 255. Adjust the threshold

until the image in the preview window is satisfactory.

5 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color or greyscale images only.

To increase the color depth of an

image, see page 261.

Another way to create a

black-and-white image

You can also decrease an image’s

color depth to 2 colors, which gives

you options for how colors are

reduced that may result in more

natural-looking images than the

Threshold command. For more

information, see “Decreasing Color

Depth to 2 Colors (1-bit)” on

page 262.

Chapter 6: Making Color and Tonal Corrections 143

Creating Greyscale Images

A greyscale image looks like a traditional black-and-white

photograph. Use the Greyscale command to convert a colored image

into a greyscale image with a palette that contains white, black, and

254 shades of grey. Each color in the image is replaced with a grey

that matches its lightness value.

The Greyscale command changes the color depth of the image to 8-

bit.

To create a greyscale image:

Choose Image > Grey Scale.

Creating Sepia Tone Images

Sepia tones are the browns of old black-and-white photographs and

newsprint. You can give your photographs and graphics this

19th Century look by turning them into sepia-tone images. In Paint

Shop Pro you have two ways to do this:

Apply the Sepia Tone effect to the image. You select the number

of years to age the image. See “Applying Artistic Effects” on

page 222.

Use the Colorize command and choose a brown hue. For more

information, see “Colorizing Images” on page 141.

Reducing the Number of Lightness

Levels

Use the Posterize command to reduce the number of lightness levels

in the image and create interesting effects. With this command,

Paint Shop Pro divides the range of lightness levels (from 2 to 255)

into a number of equal increments that you specify. As you lower the

number, you increase the effect.

To use the Posterize command:

1 To limit the correction to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Do one of the following:

To modify the image pixels directly, choose Effects > Artistic

Effects > Posterize.

A greyscale look-alike

There’s another way to create an

image that looks like a greyscale

but maintains its same color depth:

Use the Channel Mixer command

and mark the Monochrome check

box. With this command you can

modify how much of the image’s

red, green, and blue channels are

used to create the monochrome

image. For more information, see

“Adjusting the Color Channels” on

page 133.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color or greyscale images only.

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections

144

To create a Posterize adjustment layer, choose Layers >

New Adjustment Layer > Posterize. For information on

adjustment layers, see “Using Adjustment Layers” on

page 382.

3 In the Level edit box, select the number of lightness levels (2 to

255) for the adjusted image. To create a dramatic effect, the

number of levels typically must be below 10.

4 Click OK.

Creating Negative Images

In Paint Shop Pro there are three ways to create a negative image

(which looks like a photographic negative):

Use the Negative Image command to replace each pixel color

with its opposite on the color wheel. You can also use the

Negative Image command to create a positive image from a

scanned photographic negative.

Use an Invert adjustment layer to create an adjustment layer that

has the same effect as the Negative Image command but doesn’t

change the original image pixels.

Use the Solarize command to produce a negative image in which

you control the threshold level. This level is the lightness value

above which all colors are inverted. Use this command to create

interesting effects.

You can create a negative of a selection or an entire image.

To use the Negative Image command:

Choose Adjust > Negative Image.

To use an Invert adjustment layer:

1 Choose Layers > New Adjustment Layer > Invert.

2 Choose the layer properties. There are no additional settings for

this adjustment layer. For information on adjustment layers, see

“Using Adjustment Layers” on page 382.

3 Click OK.

Color depth

To apply this command to a

selection, the image must be a

16 million (24-bit) color image

(otherwise the command is applied

to the entire image).

In addition, adjustment layers are

available for 16 million (24-bit)

color or greyscale images only.

To increase the color depth of an

image, see page 261.

Chapter 6: Making Color and Tonal Corrections 145

To use the Solarize command:

1 Choose Effects > Artistic Effects > Solarize.

2 In the Threshold edit box, select a lightness threshold (1 to 254)

above which all colors are inverted. At a threshold of 1, all image

pixels are inverted and the effect is the same as applying the

Negative Image command.

3 Click OK.

Using the Histogram to Analyze Images

The histogram displays a distribution graph of red, green, blue,

greyscale, hue, saturation, and lightness values in an image. You can

analyze the distribution of detail in the shadows (shown in the left

part of the histogram), in the midtones (shown in the middle), and

the highlights (shown in the right part) and decide how to make

corrections.

After you analyze the histogram, you can correct the image with

Paint Shop Pro’s color and contrast correction commands or you can

use commands that adjust your image based on its histogram

features: Equalize, Histogram Adjustment, and Stretch.

To display the histogram for an image:

1 To limit the histogram data to a specific area, make a selection in

the image. See “Using the Selection Tools” on page 192.

2 Choose View > Palettes > Histogram or press F7.

The graph represents how many pixels are at each value of the

selected channels. The vertical axis represents the number of

pixels and ranges from zero pixels to the highest number of

pixels in the graph. The horizontal axis represents the value from

zero to 255 of a selected channel: Red, Green, Blue, Greyscale,

Hue, Saturation, and Lightness.

Do I need the histogram?

For image editing professionals,

the histogram is a powerful tool for

understanding and correcting

images.

For casual users, getting familiar

with the histogram may not be

necessary. Paint Shop Pro offers

many simpler ways to adjust

images. For information on how to

begin correcting your photos, see

“How to Approach Color, Contrast,

and Saturation Adjustments” on

page 96.

Chapter 6: Making Color and Tonal Corrections

146

For detailed information on the graph, see “Understanding

Histogram Values” on page 147 and “Guidelines for Analyzing

the Histogram” on page 147.

3 Mark or clear the check boxes below the graph to display or hide

the values for the channels.

4 Choose the image data that is graphed:

Sample merged If this check box is marked, the histogram graphs

all layers in the image. If this check box is cleared, the histogram

graphs only the current layer.

Selection only If this check box is marked, the histogram graphs

only the active selection. If the check box is cleared, the

histogram graphs the entire layer or image.

5 Do one of the following:

To view information about a specific value, place the cursor at

that point on the histogram.

To select a range of values, click and drag in the graph. When

you release the mouse, the range is deselected.

These fields show information about the selected point or range:

Value(s) The value or range of values (from 0 to 255) of the point

over which the cursor is positioned in the graph.

% in Range The percent of image pixels that are the value(s) of

the selected point or range. The number in parentheses is the

number of pixels that are the selected value(s).

% Above The percent of image pixels that are above the value(s)

of the selected point or range.

% Below The percent of image pixels that are below the value(s)

of the selected point or range.

6 To view the mean and median values for a channel, in the Display

channel drop-down list choose a channel: Red, Green, Blue, Hue,

Saturation, Lightness, or Greyscale. The Mean field displays the

average value for the selected channel. The Median field displays

the middle value in the range of values for the selected channel.

Note: The Display Channel has no effect on what is graphed in

the histogram.

Chapter 6: Making Color and Tonal Corrections 147

Understanding Histogram Values

The value of a selected channel is graphed from 0 to 255 along the

horizontal axis of the histogram. The meaning of the value depends

on the selected channel:

Red, Green, and Blue values represent the amount of red, green,

or blue in each color channel. A channel value of zero indicates

the color is not present and a value of 255 indicates the color is at

full strength. For example, if the graph has a spike at the value

128 for the Red channel, then there are a large number of pixels

with a red value of 128 (or middle red).

Hue, Saturation, and Lightness values are a different

representation of color than the Red, Green, and Blue channels.

Hue is the actual color and the value is the number assigned on

the color wheel; for example, red is zero, yellow is 43, green is

85, cyan is 128, blue is 170, and magenta is 212. (As a reference,

look at the color wheel on the Jasc Color Picker.) Saturation is

the level of grey added to the hue; zero is very grey and

unsaturated and 255 is no grey and fully saturated. Lightness is

the brightness of the hue; zero is no light (black), 128 is middle

grey, and 255 is fully light (white). The lightness histogram has

information similar to the greyscale histogram.

Greyscale values are levels of grey; zero is black, 128 is middle

grey, and 255 is white. These represent the brightness or

luminosity of an image. The distribution of grey values

determines the contrast of an image.

Guidelines for Analyzing the Histogram

Here are guidelines that can help you analyze the histogram and

make decisions about how to correct your images:

If a line spikes, there are many pixels at that value.

If a line is close to the horizontal axis, there are few pixels at that

level.

If the graph is spread out, the image has a balanced composition

and probably has enough detail to be corrected.

If the lines are compressed into a narrow area, the image

probably doesn’t contain enough detail to be corrected; try a new

scan.

Chapter 6: Making Color and Tonal Corrections

148

The usefulness of the histogram depends upon the image content

as well as its channel values. For example, an image of pale,

desaturated skin tones may display a big saturation peak on the

left side (in the lower values) of the histogram. An image of a

bright red fire engine may display a peak on the right side (in the

higher values) of the histogram. If the images were improperly

saturated, the saturation histograms might be reversed.

If the greyscale graph is mostly at the left side, the image is too

dark.

If the greyscale graph is mostly at the right side, the image is too

light.

If the greyscale lines are not spread out enough, you may need to

increase the contrast.

Correcting Images by Adjusting the

Histogram

Use the Histogram Adjustment command to adjust the contrast and

color balance of your image.

The graph in the Histogram Adjustment dialog displays how many

pixels are at each value of the selected channel. The vertical axis

represents the number of pixels and ranges from zero pixels to the

highest number of pixels in the graph. The horizontal axis represents

the value from zero to 255 of the selected channel.

When you change the histogram, the graph displays the adjusted

histogram as red and the original histogram as grey. To turn off the

red overlay, clear the Overlay result histogram check box.

For detailed information on the graph, see “Understanding

Histogram Values” on page 147 and “Guidelines for Analyzing the

Histogram” on page 147.

In the Histogram Adjustment dialog, you can edit the luminance

(lightness) and the red, green, and blue color channels. The

Histogram Window (opened by choosing View > Palettes >

Histogram) also graphs the hue, saturation, and greyscale values, but

these cannot be edited by adjusting the histogram.

Color depth

The Histogram Adjustment

command applies to greyscale and

16 million (24-bit) color images

only.

To increase the color depth of an

image, see page 261.

What the ToolTip reveals

When you place the cursor over the

histogram, a ToolTip displays the

following information:

Input is the value on the

horizontal axis

Count is the number of pixels

that have that value

Integral is the percentage of

pixels in the image with that

value

Output is the adjusted value.

Chapter 6: Making Color and Tonal Corrections 149

Note

The Histogram Adjustment dialog graphs one color channel at a

time, unlike the Histogram Window which can display all color

channels at once. You may want to first display the Histogram

Window (choose View > Palettes > Histogram), then use

autoproofing on the Histogram Adjustment dialog so you can see

changes graphed in the Histogram Window.

To use the Histogram Adjustment command:

1 To limit the adjustment to a specific area, make a selection in the

image. See “Using the Selection Tools” on page 192.

2 Choose Adjust > Brightness and Contrast > Histogram

Adjustment to open the Histogram Adjustment dialog.

3 For the Edit option, choose a channel:

Luminance Lightness values of the image. If you are correcting

contrast, start with this channel.

Color Pick a color channel from the drop-down list: Red, Green,

or Blue.

4 In the Presets drop-down list, choose Default. The default values

represent no adjustment to the image.

5 On the left side of the histogram, look for a gap between the left

edge and the point where the graph starts to rise. If there is a gap,

it shows that the darkest pixels in the image are not completely

black. Click and drag the Low slider (the black triangle) to the

point where the graph rises. The top Low edit box displays the

low position (from 0 to 255). The bottom edit box displays the

percentage of pixels that are between zero and the low value;

their contrast will be lost. As a general rule, keep the percentage

below 0.1%.

6 On the right side of the histogram, look for a gap between the

right edge of the window and the point where the graph decreases

to zero pixels. If there is a gap, click and drag the High slider (the

white triangle) to that point on the graph. This changes the

lightest pixels in the image to white. As a general rule, keep the

High percentage change (the bottom edit box) to below 0.1%.

7 If the overall image is too dark or too light, adjust the gamma.

(Gamma is a standard measure of change in an image’s contrast.)

If the image is too dark, drag the Gamma slider (the grey

triangle) to the right to increase the gamma (the number changes

in the Gamma edit box). If the image is too light, drag the

Gamma slider to the left to decrease the gamma.

Quick histogram

adjustments

To correct contrast using histogram

functions, you can use the

Equalize or Stretch commands.

See “Using the Histogram to Fix

Contrast Problems” on page 134.

Zoom in or out

Click to magnify the histogram

or click to reduce the view of

the histogram. Click 1:1 to display

the histogram at its original size.

Chapter 6: Making Color and Tonal Corrections

150

8 If the graph has peaks on the left and right sides and contains low

points in the center, the midtones need to be compressed.

Shadows and highlights need to be expanded to reveal the

information they contain. This often occurs in flash photography

when a subject is too close to the camera; the subject appears

brightly illuminated but the background of the photograph is very

dark. To compress the midtones, click and drag the Midtones

slider up.

9 If the graph peaks in the center and has a low number of pixels at

the left and right sides, expand the midtones by dragging the

Midtones slider down.

10 If you are improving your image, skip this step. If you are

creating artistic effects, use the Output Max and Min sliders on

the left side of the histogram to make further adjustments. The

Max slider is the white circle within a grey square; the Min slider

is the black circle within a grey square. To darken the image’s

whites, click and drag the Max slider down. To lighten the

image’s blacks, click and drag the Min slider up.

Note: Even though you are dragging sliders along the vertical

axis, the Max and Min values actually affect the horizontal axis.

They indicate the maximum and minimum value (from 0 to 255)

in the image. All pixels outside those values are converted so that

they fall within the maximum and minimum.

11 To adjust another channel, choose it in the Edit drop-down list

and follow these steps again.

12 Click OK.

151

Editing Images

Edit your images in many ways: copy from one image to another,

crop or resize an image, flip, mirror, or rotate an image, or change an

image’s scale or perspective.

Contents Adding Borders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Changing the Canvas Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Combining Two Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Correcting Image Perspective . . . . . . . . . . . . . . . . . . . . . . . . . 155

Cropping Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Cutting, Copying, and Pasting . . . . . . . . . . . . . . . . . . . . . . . . . 160

Deleting Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Flipping and Mirroring Images . . . . . . . . . . . . . . . . . . . . . . . . . 164

Repeating Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Resizing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Rotating Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Scaling and Transforming Images. . . . . . . . . . . . . . . . . . . . . . . 171

Using Rulers, Grids, and Guides . . . . . . . . . . . . . . . . . . . . . . . 173

Using Undo/Redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Warping Images Using the Mesh Warp Tool . . . . . . . . . . . . . . . 178

Using the History Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

CHAPTER 7

Chapter 7: Editing Images

152

Adding Borders

Use the Add Borders command to add a colored frame around an

image. The border increases the dimensions of the image by the

width of the border.

For multi-layer images, Paint Shop Pro prompts you to flatten the

image first. To add colored borders without flattening an image, use

the Canvas Size command instead; see “Scaling and Transforming

Images” on page 171.

To add borders:

1 Choose Image > Add Borders to open the Add Borders dialog.

2 Mark the Symmetric check box to create an equal width border

on all sides. Clear the check box to enter each border width

independently.

3 In the Size in pixels group box, select the dimensions of the

border.

Note: To change the dimensions from pixels, select the units in

the drop-down list in the Original Dimensions group box.

4 Click the Color box to choose the color for the border.

5 Click OK.

Changing the Canvas Size

The image canvas is the work area of the image and defines the

image’s dimensions—for example, 200 by 300 pixels. Sometimes

you need more canvas to add elements to an image; other times you

want to make the canvas size smaller. Use the Canvas Size command

to add or remove pixels at the edges of the image.

Note

Reducing the canvas size is not always the same as cropping an

image. For images with layers, reducing the canvas size does not

delete the pixels outside the new canvas area, it just shows less of the

layer. Background layer information will always be deleted, even

when there are other layers in the image.

Adding a colored border

Color choice tip:

Right-click the color box to pick

from the Recent Colors dialog

Original image and canvas

added at the top

Chapter 7: Editing Images 153

To change the image’s canvas size:

1 Choose Image > Canvas Size to open the Canvas Size dialog.

2 Choose settings from the New Dimensions group box:

Width, Height Enter values for the new canvas size.

Units Use this drop- list to change the measurement system.

Lock aspect ratio Mark this check box to constrain the new

canvas size to the current image proportions. The numeric edit

control (below the check box) indicates the image’s current

width-to-height ratio. Change this value to create a different

aspect ratio.

Background Click in the color box and pick a color for any added

canvas. Or, mark the Transparent check box to have any added

canvas be transparent.

Note: You must choose a color for any canvas added to the

background layer.

3 Set the placement of the image in the new canvas. In the

Placement group box, click a placement button. The fields to the

right of the placement buttons will show the amount of canvas

added or subtracted from each edge.

Note: You can also enter values in the fields to control image

placement.

4 Click OK.

Combining Two Images

Paint Shop Pro can combine two images into a third image. The new

image is the product of the color data from the two source images.

The color data from the two images is combined on a pixel-by-pixel

basis according to the function you select.

To combine two images:

1 Open the two images you want to combine.

2 Choose Image > Arithmetic to open the Image Arithmetic dialog.

3 Choose an image for Image #1 from the drop-down list. The size

of Image #1 determines the size of the new image.

4 Choose an image for Image #2 from the drop-down list.

Other resize options

You can also change the image

size by resizing, cropping, or

printing at a different size. For a

comparison of these options, see

the sidebar “Other ways to change

an image’s size” on page 166.

Color choice tip:

Right-click the color box to pick

from the Recent Colors dialog

Chapter 7: Editing Images

154

5 From the Function group box, select a method for combining the

images:

Add Image 1 Value + Image 2 Value

Subtract Image 1 Value - Image 2 Value

Multiply Image 1 Value x Image 2 Value

Difference Absolute Value of (Image 1 Value - Image 2 Value)

Lightest Maximum of (Image 1 Value, Image 2 Value)

Darkest Minimum of (Image 1 Value, Image 2 Value)

Average (Image 1 value + Image 2 Value)/2

OR Binary Or

AND Binary And

XOR Binary And/Or

6 From the Channel group box, select the color channel from each

image to use for combination. Mark the All channels check box

to use all the color channels in both images. This will produce a

24-bit image.

7 In the Modifiers group box, choose modifier options. The

modifiers are applied to the color values produced by the

Function and the Channel selections.

Divisor This number is used to divide the color values. It can

reduce the effects of the other selections.

Bias This number shifts each color value by a fixed amount. The

number is added to the color value produced by the Function,

Channel, and Divisor selections.

Clip color values This check box determines how Paint Shop Pro

handles final color values greater than 255 and less than 0.

8 Click OK.

Clip Color

Values Value less than 0 Value more than 255

Marked Value = 0 Value = 255

Cleared Value = Value + 256 Value = Value - 256

Chapter 7: Editing Images 155

Correcting Image Perspective

When you take pictures of tall objects, the resulting photographs

may have perspective distortion—the objects seem to be leaning or

angled. This distortion happens when the camera is at an angle to the

subjects.

Fix perspective distortion with two tools:

To use the Deform tool to correct perspective:

1 Select the layer to correct in the Layers palette.

2 Use grid lines to help you correct lines in your photograph that

should be vertical or horizontal. To turn on the grid, choose

View > Grid.

3 On the Tools toolbar, select the Deform tool .

4 Press Ctrl and click and drag a corner handle. The image updates

when you release the mouse button. Continue adjusting the

perspective until the image looks correct.

Note: If the correction causes some image data to fall outside the

image canvas, you can restore that data by increasing the size of

the canvas. See “Scaling and Transforming Images” on page 171.

Tool How to Use Applies to...

Deform

tool

Drag the corner handles of a

bounding box around an entire layer

to interactively change the

perspective.

See “To use the Deform tool to

correct perspective:” below.

The current layer

only.

Raster layers only.

Perspective

Correction

tool

Drag a bounding box around a

feature within the image (such as a

building) that is supposed to be

rectangular but is angled. Paint Shop

Pro adjusts the perspective to make

the selected feature rectangular.

See “To use the Perspective

Correction tool to correct

perspective:” on page 156.

The current layer

only.

Raster layers only.

Chapter 7: Editing Images

156

To use the Perspective Correction tool to correct perspective:

1 On the Tools toolbar, select the Perspective Correction tool .

A bounding box with corner handles appears on the image.

2 On the Tool Options palette, select from these options:

Grid lines To display grid lines in the box, enter the number of

lines to display.

Crop image Mark this check box to crop the image back to its

original size after the perspective is applied. Areas of the

image that fall outside the original image size are deleted.

3 Drag each handle to the corner of a feature that is supposed to be

rectangular. For example, the feature may be a building with

sides that are angled but should be straight.

4 On the Tool Options palette, fine-tune the position of the

bounding box by specifying the X and Y positions of the four

corner handles.

5 Double-click the image or click Apply.

Note: To reset the perspective correction box to the original

rectangle, click Reset on the Tool Options palette.

Correcting perspective

Bounding box

After Correction

Chapter 7: Editing Images 157

Cropping Images

Crop images to create stronger compositions and change the image

focus. Cropping can reduce the memory needed to edit the image.

Also, by eliminating extraneous areas of color, cropping can

improve color corrections.

Use the Crop tool to select the crop area—a rectangle with edge and

corner handles that defines what part of the image to keep. You can

also crop based a selection or based on the opaque areas of an image.

Note

Cropping permanently removes the parts of the image outside the

crop area.

To define the crop area:

1 On the Tools toolbar, click the Crop tool .

2 Define the crop rectangle doing any of the following:

Click and drag the crop area rectangle over the image; or

On the Tool Options palette:

Enter values for the Height and Width of the crop area (if

necessary, change the unit of measurement with the Units

drop-down list); or

Enter positions for the Top, Bottom, Left, and Right sides of

the crop area; or

To use a standard image size, choose one of the many Presets.

Note: The image area outside the crop rectangle will be shaded.

To modify this shaded area, or to turn off the shading option, go

to the Transparency and Shading tab of the General Program

Preferences dialog. Note also that when crop shading is enabled

and you attempt to crop an 8-bit (256 colors) or less image, the

area outside the crop rectangle will be black. Thus when

cropping these types of images, you may want to disable this

option.

3 To adjust the crop area, do any of the following:

Click and drag an edge or corner handle; or

Move the entire crop rectangle by placing the cursor inside it

and then dragging the mouse; or

Adjust the Height and Width values; or

Cropping an image

Crop Area

After Cropping

Chapter 7: Editing Images

158

Adjust the Top, Bottom, Left, and Right sides of the crop area;

To remove the crop area and start over, right-click anywhere

in the image.

Note: To constrain the crop area to its current proportions, mark

the Maintain aspect ratio check box on the Tool Options palette.

Be aware that if you're using a cropping preset, this check box

will be unavailable.

4 When you're ready to crop the image, double click inside the crop

rectangle, or click the Apply button in the Tool Options

palette.

Note: After cropping an image, you may notice that the Width and

Height values in the Crop tool options are set to 1 and 1. This is not

a reflection of the cropped image size. To see the image size

dimensions after cropping, choose Image > Image Information, and

in the Image Information tab's Image section, look at the Dimensions

field.

To crop an image for printing:

1 On the Tools toolbar, click the Crop tool .

2 Define the crop area.

3 On the Tool Options palette, mark the Specify Print Size check

box.

4 In the Units drop-down list, select inches or centimeters. You

cannot use pixels for this method of cropping.

5 Enter the desired Height and Width for the final image. The

program will fit the final crop area into this size (reducing or

increasing the image resolution as needed).

6 To adjust the crop area, do any of the following:

Click and drag an edge or corner handle; or

Click and drag within the crop area to move the whole

rectangle; or

On the Tool Options palette, enter positions for the Top,

Bottom, Left, and Right sides of the crop area.

7 To crop the image, double-click the image or click Apply .

To crop an image for on-screen display:

1 On the Tools toolbar, click the Crop tool .

Chapter 7: Editing Images 159

2 On the Tool Options palette, clear the Specify Print Size check

box.

3 Define and adjust the crop area.

4 To crop the image, double-click the image or click Apply .

Cropping with a Selection

In Paint Shop Pro, you can make a selection and then crop the image

using that selection.

Note: If you crop to a selection that is feathered, the current

background color fills in the feathered region of the selection.

To crop using a selection:

1 Make a selection in the image.

Note: The selection can be any shape. Paint Shop Pro places a

crop area rectangle around irregularly shaped selections.

2 Do either of the following:

Choose Image > Crop to Selection.

Click the Crop tool, and then click Current selection in the

Snap crop rectangle to group box on the Tool Options palette.

Adjust the crop area and click Apply .

Chapter 7: Editing Images

160

Cropping Based on Opaque Areas

Use this feature to eliminate transparent areas at image edges. The

Crop tool can automatically set the crop area to cover just the opaque

(non-transparent) area of a single layer or an entire image.

Note

Opaque areas that are not rectangular, may have transparent areas

remaining after cropping.

To crop to the opaque area of a layer or image:

1 Click the Crop tool .

2 On the Tool Options palette, select an option from the

Snap crop rectangle to group box:

Layer Opaque Selects opaque areas of the current layer.

Merged Opaque Selects opaque area of all layers.

Note: If any layer or the background has a solid color (non-

transparent) background, the entire layer or image is selected as

the crop area.

3 Adjust the crop area as needed. See, “To define the crop area:” on

page 157.

4 To crop the image, double-click the image or click Apply .

Cutting, Copying, and Pasting

You can cut or copy a selection or an entire layer to the Windows

clipboard and then paste the contents of the clipboard into the same

image or another image. The basic commands are:

Cut Removes a selection or a layer to the clipboard and replaces it

with the selected background color or transparency.

Copy Copies a selection or a layer to the clipboard.

Copy Merged Copies a flattened (merged) version of all the layers in

a selection to the clipboard.

Paste Pastes a cut or copied selection or layer as a new image, a

selection, a new layer, or into the current layer.

Cropping to opaque area

After Cropping

What is the clipboard?

The Windows clipboard is an area

of computer memory used for

temporary storage. Cut or copied

image data is stored in it.

Chapter 7: Editing Images 161

To cut a selection or a layer:

1 Select the area or layer you want to cut. For information about

making selections, see Chapter 8, Making Selections in Images.

2 Choose Edit > Cut or press Ctrl + X.

To copy a selection or a layer:

1 Select the area or layer you want to copy.

2 Do either of the following:

To copy the selection or active layer, choose Edit > Copy or

press Ctrl + C.

To copy all layers of the selected area, choose

Edit > Copy Merged or press Ctrl + Shift + C.

To paste a cut or copied selection as a new image:

Choose Edit > Paste > Paste As New Image or press Ctrl + V.

To paste a cut or copied selection as a new layer:

1 Select the image into which you want to paste the selection.

2 Choose Edit > Paste > Paste As New Layer or press Ctrl + L.

Cutting vs. deleting

The Cut command places your

data in the Windows clipboard so

that you can paste it. The Clear

command throws away the data.

Chapter 7: Editing Images

162

To paste a cut or copied selection into a layer:

1 On the Layers palette of the target image, click the layer into which

you want to paste the selection.

2 Choose Edit > Paste and choose one of these commands:

Paste As New Selection (Ctrl + E) Pastes the contents of the

clipboard as a floating selection above the current layer. If the

image already contains a floating selection, it is defloated first.

Paste As Transparent Selection (Ctrl + Shift + E) Use this

command to remove a specific color from the selection you are

pasting. The command makes transparent any pixels in the

clipboard data that exactly match the current background color

(in the Materials palette). Then the command pastes the contents

of the clipboard as a floating selection above the current layer.

Note: Select the background color before you paste.

Paste Into Selection (Ctrl + Shift + L) Pastes the contents of the

clipboard into the current selection. The clipboard contents are

resized to fit the current selection.

Copying One Image into Another Using

the Browser

You can copy all the layers of an image in the Browser into an open

image by dragging the image thumbnail from the Browser onto the

open image.

To use the Browser to copy one image into another:

1 Open the image into which you want to copy the layers. This target

image must be a 16 million color or greyscale image.

2 On the Layers palette, click the layer which you want to place the

new image above.

3 Open the Browser (choose File > Browse or press Ctrl + B).

4 Navigate to the folder containing the image you want to copy.

5 Click the browser thumbnail and drag it into the target image.

When you release the mouse button, the layers are added to the

image. They are linked automatically.

Note: If a new layer duplicates the name of a layer in the target

image, a number is appended to the name.

When the pasted selection

looks out of proportion

When you paste data into another

image, the data keeps its original

pixel dimensions. If one image is

much larger or smaller than the

other, the selection may look out of

proportion.

After you paste the selection, use

the Deform tool to scale the

selection. See the sidebar “Quick

steps for proportional scaling” on

page 172.

Resize the two images to make

them similar size before copying

and pasting. See “Resizing

Images” on page 166.

Another way to remove a

color from a selection

Modify your selection by choosing

Selections > Modify > Select

Color Range. For detailed

instructions, see “Adding or

Removing a Color from a

Selection” on page 208.

Chapter 7: Editing Images 163

Copying Paint Shop Pro Images into

Other Applications

Copy a Paint Shop Pro image into other applications (such as word

processors or desktop publishing packages) in these ways:

Choose File > Save As to save the image to another file format

(such as TIF or BMP), and then open the other application and

import or place the file.

In Paint Shop Pro, copy the image (choose Edit > Copy to copy

the current selection or layer or Edit > Copy Merged to copy all

layers), and then open the other application and paste the image.

Open the Paint Shop Pro Browser, select the image, and then

press Alt while clicking and dragging the image to an open

document in the other application. A multi-layered image is

merged (or flattened) before it is copied into the other document.

The copy and browser options are available only for programs that

support graphic clipboard data.

Emptying the Clipboard

Placing large amounts of data in the clipboard can slow your

computer’s performance. Emptying the clipboard erases the

clipboard data.

Note

This command cannot be undone.

To empty the clipboard:

Choose Edit > Empty Clipboard.

Don’t have the other

document visible?

Drag the image to the application’s

icon on the Windows task bar, wait

for the application to open, move

the cursor over the document, and

then release the mouse button.

Chapter 7: Editing Images

164

Deleting Images

In Paint Shop Pro you can delete image files from the main

workspace or using the Browser.

To delete the current image in the workspace:

Choose File > Delete or press Ctrl + Delete.

To delete an image using the Browser:

1 Display the Browser, choose File > Browse or press Ctrl + B.

2 Navigate to the folder containing the file you want to delete.

3 Select the image to be deleted.

4 Choose File > Delete or press Ctrl + Delete.

Flipping and Mirroring Images

Use the Flip command to reverse an image along its horizontal

axis—the on top becomes the bottom and vice versa. Use the Mirror

command to reverse the image along its vertical axis—the left side

becomes the right and vice versa.

Note

To flip or mirror all layers in an image, make them all part of the

same layer group.

To flip a selection, layer, or image:

Choose Image > Flip or press Ctrl + I. Flipping a selection converts it

into a floating selection, leaving the original layer unchanged.

To mirror a selection, layer, or image:

Choose Image > Mirror or press Ctrl + M. Mirroring a selection

converts it into a floating selection, leaving the original layer

unchanged.

Flipping an image

Mirroring an image

Chapter 7: Editing Images 165

Repeating Commands

The Repeat command lets you apply the same command to other

images or to apply a command multiple times to the same image.

This command allows you to apply the same effect or correction

without opening a dialog each time.

The last command that can be repeated always displays in the Edit

menu. If the previous command cannot be repeated, the Repeat

command is inactive.

To repeat a command:

You can repeat a command (or apply a command to another image)

in multiple ways:

Choose Edit > Repeat; or

Press Ctrl + Y; or

Hold down Shift while selecting any toolbar button or menu item.

This will bypass the dialog and run the command with the last

used settings.

Repeating a Command Via the History Palette

With the History palette open, drag the desired command action

listed in the History palette and drop it onto another image. This will

make the second image active and apply the command to it. The

History palette is discussed toward the end of this chapter.

To repeat multiple actions:

Record a script and run it on each

image. For more information on

using scripts, please see “Scripting

Basics” on page 425.

Another way to repeat

actions:

Holding down Shift while selecting

any toolbar button or menu item

bypasses the dialog and runs the

command with the last used

setting.

Chapter 7: Editing Images

166

Resizing Images

After scanning or importing an image, you can adjust its size using

Image > Resize.

Pixels have no set, physical size. Each pixel just represents one area

of a single color. Resizing can reduce or increase the number of

pixels in the image (resampling the image). This reduces or

increases the file size. For instructions, see “To increase or decrease

the pixels in an image:” on page 166.

Resolution is the number of pixels printed per inch. More pixels per

inch (ppi), will create smaller printed pixels and a smaller printed

image. Fewer ppi, will create larger printed pixels and a larger

printed image. Resizing can also change the image’s resolution,

leaving the number of pixels in an image (and the file size)

unchanged. For instructions see, “To change the resolution (print

size) of an image:” on page 167.

For best results:

Don’t increase an image’s size more than 25 percent. Increasing

the size of an image causes a loss of detail and sharpness.

Only resize an image once. If your first resize is not correct, undo

it and try again.

Correct and retouch images before resizing.

To increase or decrease the pixels in an image:

1 Choose Image > Resize (Shift + S) to open the Resize dialog.

2 To resize the current layer only, clear the Resize all Layers check

box.

3 Mark the Resample using check box and select a resampling

type:

Note: Bilinear, bicubic, and weighted average resampling are

available only for greyscale and 16 million color images.

Smart Size Use this type in most cases. Based on the new pixel

dimensions you set, Paint Shop Pro chooses the best algorithm

listed below.

Weighted Average Uses a weighted-average color value of

neighboring pixels to determine how newly created pixels will

appear. Use this type when reducing photo-realistic, irregular, or

complex images.

Other ways to change

an image’s size

In addition to resizing an image,

you can also change the image

size by changing the canvas size,

cropping the image, or printing at a

different size.

Resizing the image removes

pixels to make it smaller or adds

pixels to make it larger.

Increasing the canvas size adds

pixels at the edge of the image.

Decreasing the canvas size

hides pixels at the edges of the

image (full layer information is

kept).

Cropping an image deletes the

pixels outside the selected crop

area.

Printing through Print Layout

resizes the image for printing but

the image file remains

unchanged. This is the best

option if you want to print the

image at various sizes.

Chapter 7: Editing Images 167

Bilinear Uses the two nearest pixels around each existing pixel to

determine how newly created pixels will appear.

Bicubic Minimizes the jaggedness that often results from

expanding an image by estimating how the newly created pixels

will appear. Use this type when enlarging photo-realistic,

irregular, or complex images.

Pixel Resize Duplicates or removes pixels as necessary to

achieve the selected width and height of the image. Use this type

with hard-edged images and simple graphics.

4 To constrain the new image dimensions to the image’s current

proportions, mark the Lock Aspect Ratio check box.

The aspect (width-to-height) ratio defaults to the ratio of the

active image. Changing the aspect ratio distorts the image by

stretching or contracting it in one dimension more than the other.

5 To keep the image’s current print size, mark the Maintain original

print size check box. The image resolution will change, keeping

the print size constant. For information on selecting image

resolution, see “About Image Size, Resolution, and Color Depth”

on page 36.

6 In the Pixel Dimensions group box, enter the new Width and

Height values. From the drop-down list, choose whether to enter

values in pixels or as a percent of the original size.

7 Click OK.

To change the resolution (print size) of an image:

1 Choose Image > Resize (Shift + S) to open the Resize dialog.

2 Clear the Resample using check box.

3 In the Print Size group box, enter the new Width and Height

values or the new Resolution value. Choose measurement

systems from the drop-down lists.

4 Click OK.

Chapter 7: Editing Images

168

Rotating Images

Rotating an image turns it around its pivot point. Rotating can

straighten an image that was scanned at a slight angle. Use the

Rotate command, the Deform tool, or the Straighten tool, as shown

in the table.

To Free Rotate:

1 To rotate a selection or layer (rather than the whole image), do

either of the following:

To rotate a selection, make a selection in the image.

To rotate a layer, on the Layers palette click the layer name.

2 Choose Image > Rotate > Free Rotate (Ctrl + R) to open the Rotate

dialog.

3 In the Direction group box, select the rotation direction: Right or

Left.

4 In the Degrees group box, select the number of degrees to rotate.

To enter a value between 0.01 and 359.99, select the Free option.

Command

or Tool How to Use Applies to...

Free Rotate

command

Choose the rotation angle from a

dialog and then apply the rotation.

See “To Free Rotate:” on page 168.

A selection, the

current layer, or all

layers of the image.

Rotate 90

degree

commands

Rotate image 90 degrees clockwise or

counter clockwise. See “To rotate all

layers 90 degrees:” on page 169.

All layers of the

image.

Deform

tool

Drag the rotation handle to see the

effect of the rotation immediately.

See “To rotate with the Deform tool:”

on page 169.

The current layer

only.

Raster layers only.

Straighten

tool

Specify a line along an image feature

that is supposed to be straight. Paint

Shop Pro aligns the image with this

rotation line.

Use this tool when the image has a

strong vertical or horizontal feature

(such as a building or a horizon). See

“To rotate with the Straighten tool:” on

page 170.

The current layer or

all layers in the

image.

Raster layers only.

Chapter 7: Editing Images 169

5 To apply the rotation to all layers rather than just the current layer

or selection, mark the All layers check box.

6 Click OK.

Note: When you rotate a selection, the selection becomes a

floating selection and the original image is unchanged.

To rotate all layers 90 degrees:

1 Choose Image > Rotate and pick Rotate 90 Clockwise or Rotate 90

Counter clockwise.

To rotate with the Deform tool:

1 Select a layer on the Layers palette.

2 On the Tools toolbar, choose the Deform tool .

3 To change the center of rotation, drag the rotation pivot point (the

circle at the image’s center).

4 Click and drag the rotation handle (the square connected by a line

to the rotation pivot point) to a new position. Keep adjusting the

rotation as needed.

Note: Paint Shop Pro hides the image data that is rotated off the

canvas. You can view the data by increasing the size of the image

canvas. See “Scaling and Transforming Images” on page 171.

Deform Tool rotation

Placing Rotation Pivot

Points

In Paint shop Pro 9, pivot points

will snap to grids and guides.

Rotation Handle

Rotation Pivot Point

Chapter 7: Editing Images

170

To rotate with the Straighten tool:

1 To straighten a layer (rather than the whole image), click the layer

name on the Layers palette.

2 On the Tools toolbar, click the Straighten tool . A

straightening bar with end handles appears on the image.

3 Click and drag each handle of the straightening bar to align it

with the part of the image that you want to be straight.

4 On the Tool Options palette, choose from these options:

Auto Paint Shop Pro automatically straightens the image based

on the position of the straightening bar.

Make vertical Rotates the image to make the straightening bar

vertical.

Make horizontal Rotates the image to make the straightening bar

horizontal.

Angle To choose a specific angle for the straightening bar, enter a

value with the numeric edit control.

Crop image To crop the edges of the image to make it rectangular

after straightening, mark the check box. Clear this check box to

fill edge areas with the background color.

Rotate all layers To straighten all layers in the image, mark this

check box.

5 To apply the command, double-click the image or click Apply

Straightening an image

Position Straighten Bar

After straighten and crop

Chapter 7: Editing Images 171

Scaling and Transforming Images

The Deform tool gives you the power to transform images

interactively. Use the tool to scale, shear, distort, apply perspective,

or rotate a layer as follows:

Scaling resizes the selection or layer horizontally, vertically, or

proportionally.

Shearing skews a selection or layer vertically or horizontally.

Distorting stretches or contracts a selection or layer in any

direction.

Applying perspective corrects the perspective or applies a false

perspective on a selection or layer. For specific directions, see

“Warping Images Using the Mesh Warp Tool” on page 178.

Rotating moves a selection or a layer around a pivot point. For

specific directions, see “Scaling and Transforming Images” on

page 171.

The Deform tool works on raster layers only. To deform vector

objects or text in similar ways, see “Resizing and Reshaping Vector

Objects” on page 347 or “Applying Effects to Text” on page 413.

To deform an image:

1 Choose a layer by clicking its name on the Layers palette.

2 On the Tools toolbar, select the Deform tool .

A bounding box with handles appears on the selection or the

layer.

3 To deform the image by clicking and dragging in the image, do

one or more of the following:

To resize, click and drag one of the corner or edge handles.

To resize while keeping the current proportions, right-click

and drag a corner handle.

To move the entire image within the canvas, click and drag

anywhere within the bounding box.

To change the center of rotation, drag the rotation pivot point.

To rotate, drag the rotation handle.

To change perspective symmetrically, press Ctrl and drag a

corner handle horizontally or vertically.

Deforming an image

Color depth and layers

The Deform tool works on greyscale

and 16 million color images only. To

increase the color depth of an

image, see page 261.

To use the Deform tool, the image

data must be on a regular raster

layer. If necessary, promote the

background by choosing

Layers > Promote Background

Layer.

Bounding box

SkewDistort

Asymmetric

Perspective Symmetric

Perspective

Chapter 7: Editing Images

172

To change perspective asymmetrically, press Shift and drag a

corner handle.

To shear, press Shift while dragging a side handle.

To distort, press Ctrl and Shift while dragging a handle.

4 Adjust the deformation or view the deformation settings on the

Tool Options palette. For more information on these settings, see

“More Deform Options” below.

5 To cancel previous deformations, choose Edit > Undo (Ctrl Z).

Note

By default, you must press the Shift and Ctrl keys to deform an

image. To apply a deform operation without having to hold down

keys, choose a different Mode from the Tool Options Palette:

Scale The default setting; you must hold down a key or keys.

Shear (Shift) Allows you to shear without holding down Shift.

Perspective (Ctrl) Allows you to change perspective without

holding down Ctrl.

Free (Shift + Ctrl) Allows you to distort without holding down

Ctrl + Shift.

More Deform Options

You can precisely control many of the deform settings. The

following options appear on the Deform tool’s Tool Options palette:

Pivot X, Pivot Y Sets the X and Y coordinates of the rotation pivot

point.

Position X, Position Y Sets the X and Y coordinates of the top left

corner handle.

Scale X(%), Scale Y(%) Sets the percentage change for the horizontal

(X) and vertical (Y) resize.

Shear The offset of a side. Enter positive values to shear to the right

and negative values to shear to the left. At 0.5, a side shears 50% of

its length.

Angle The rotation around the pivot point. The image rotates clock-

wise from 0 to 360 degrees.

Reset Rectangle Resets the deformation rectangle to its original

shape but keeps any current deformations.

Deform Tool Tip

To make the deform handles on a

layer easier to see, drag the corner

of the image window to make it

larger than the image.

How do I resize and reshape

vector objects and text?

Use the Object Selection Tool. For

instructions, see “Using the

Selection Tools” on page 192.

Quick steps for

proportional scaling

To resize a floating selection or

layer and keep the same

proportions, select the Deform tool

and right-click and drag a corner

handle of the bounding box.

Chapter 7: Editing Images 173

Perspective X, Perspective Y The best way to create and adjust

perspective is by dragging the control handles. When you create a

perspective effect with the control handles, you are manipulating

many variables. Changing the values in the Perspective fields may

affect the scale, shear, and position values.

Using Rulers, Grids, and Guides

Use the rulers, grids, and guides to align and arrange artwork and

image elements.

Note

You must save your image in .PspImage format to save your grid and

guide settings.

Using Rulers

You can hide or display rulers. By default, rulers are hidden. When

the cursor is on the image, a thin line appears on each ruler to show

the cursor’s position. You can display rulers in pixels, inches, or

centimeters and change the color of the ruler.

To display or hide rulers:

Choose View > Rulers or press Ctrl+Alt+R.

To change ruler units and colors:

1 Choose File > Preferences > General Program Preferences.

2 Click the Units tab.

3 In the Display units drop-down list, select Pixels, Inches, or

Centimeters.

4 Choose the ruler color by selecting either Black on white or

Toolbar colors.

5 Click OK.

Displaying rulers on an image

Chapter 7: Editing Images

174

Using Grids

Grids are horizontal and vertical lines that help you position items.

You can display or hide grids and set preferences for grid spacing

and appearance. When you display grids, they appear in all open

image windows.

To display or hide the grid:

Choose View > Grid or press Ctrl + Alt + G.

To modify the grid:

1 Do either of the following:

Right-click the image’s title bar and from the context menu

choose Change Grid, Guide, and Snap Properties.

Choose View > Change Grid, Guide, and Snap Properties.

2 Click the Grids tab.

The Default settings group box shows settings for all future grids

you display. The Current image settings group box shows

settings for the grid in the current image.

3 For either the default or current settings, select from these

options:

Horizontal grids Sets the distance between horizontal grid lines

(starting from the top of the image).

Vertical grids Sets the distance between vertical grid lines

(starting from the left side of the image).

Units The unit of measure for positioning grid lines.

Color Click the color box to select a different color for grid lines.

Snap influence Controls how many pixels away an item must be

to snap to a guide or grid. The Snap to Grid option must be

selected in the View menu.

Displaying grids on an image

Chapter 7: Editing Images 175

Using Guides

Guides are horizontal or vertical lines that you drag onto your image

to use for positioning items or aligning. While grids place a series of

horizontal and vertical lines at certain intervals, you place guides at

the locations you want.

To place guides, you must first display the rulers by choosing

View > Rulers.

To display or hide guides:

Choose View > Guides.

To place a horizontal or vertical guide:

1 Do one of the following:

To place a horizontal guide, click the top ruler and drag a

guide to the desired position.

To place a vertical guide, click the left ruler and drag a guide

to the desired position.

As you drag, the Status Bar displays the guide’s position in

pixels.

To move a guide:

Do either of the following:

Click the guide handle on the ruler and drag it to a new position.

Double-click or right-click the guide handle to display the Guide

Properties dialog, type in a new Guide position value, and click

OK.

To change the color and position of a guide:

1 Double-click or right-click the guide handle to display the Guide

Properties dialog.

2 Select from these options:

Guide color Click the color box to choose a new color for the

guides.

Guide position Type values in this field to control the guide’s

position (in pixels).

3 Click OK.

Displaying guides on an image

Color choice tip:

Right-click the color box to pick

from the Recent Colors dialog

Chapter 7: Editing Images

176

To modify settings for guides:

1 To open the Grid, Guide, and Snap Properties dialog, do any of the

following:

Choose View > Change Grid, Guide, and Snap Properties.

Right-click the image title bar to display a context menu, and

choose Change Grid, Guide, and Snap Properties.

Double-click the ruler.

2 Click the Guides tab.

The Default settings group box shows settings for all the guides

you place in the future. The Current image settings group box

shows settings for the guides in the current image.

3 For either the default or current image settings, select from these

options:

Color Click in the color box to choose a new guide color.

Snap influence Controls how many pixels away an item must be

to snap to a guide or grid. The Snap to Grid option must be

selected in the View menu.

4 Click OK.

To delete one guide:

Do either of the following:

Drag the guide handle in the ruler off the image window.

Double-click the guide handle to display the Guide Properties

dialog and click Delete.

To delete all guides in an image or all open images:

1 Choose View > Change Grid, Guide, and Snap Properties.

2 Click the Guides tab.

3 Mark the Delete guides check box, and then select From current

image only or From ALL open images.

4 Click OK.

Chapter 7: Editing Images 177

Snapping to Grids and Guides

You can use the Snap features to align your brush strokes and objects

precisely to the nearest grid line or guide. The snap influence

controls how many pixels away an item must be to snap to guide or

grid.

Note

An item’s center point will snap to a guide or grid point if the center

point is the closest part of the item to a grid point or guide.

To snap to the nearest grid line:

Choose View > Snap to Grid (Ctrl + Shift + G).

To snap to the nearest guide:

Choose View > Snap to Guides (Shift + Alt + G).

Note: If a grid point and a guide are equal distances from an item,

the item will snap to the guide.

To change the snap influence:

1 Choose View > Change Grid, Guide, and Snap Properties.

2 Click the Grid or Guides tab and change the Snap influence

value.

The Default settings group box shows settings for all future

guides or grids. The Current image settings group box controls

settings for guides in the current image.

3 Click OK.

Using Undo/Redo

You can undo most actions as you edit an image. Use the Undo

command to remove brush strokes, color adjustments, effects, etc.

Use the Redo command to reapply a command that you have

undone.

Note: The History palette, described later in this chapter, provides a

more robust undo/redo functionality.

Items won’t snap?

Grids or guides must be displayed

for items to snap to them.

Chapter 7: Editing Images

178

To undo the last action:

Click the Undo button , choose Edit > Undo, or press Ctrl + Z.

If the action can’t be undone, the Undo button and menu command

are inactive.

To redo the last action:

Click the Redo button , choose Edit > Redo, or press

Ctrl+Alt+Z.

To revert to the last saved version of an image:

Choose File > Revert.

Warping Images Using the Mesh Warp Tool

Use the Mesh Warp tool to deform images, layers, and selections.

Clicking the tool places a grid, or mesh, on the image. The grid

intersections have mesh points, or nodes, that you drag to create

deformations.

Note

The Mesh Warp tool is limited to deforming the interior of a

selection. Use the Warp brush when you want to blend the selection

into the rest of the image.

To use the Mesh Warp tool:

1 On the Tools toolbar, select the Mesh Warp tool .

2 Drag the nodes to deform the image:

Click and drag a node to move it.

Press Shift while dragging a node to move the entire row or

column.

Press Ctrl while dragging a node to deform the row or column

into a smooth curve.

What you can’t undo

In Paint Shop Pro you can undo

most actions—with these

exceptions:

Renaming files

Saving files

Opening and closing files

Changes that are program-wide

and not specific to the current

image (such as changes to color

settings and preferences)

Actions that do not change

image pixels (such as zooming

and scrolling)

Warping with the Mesh Warp

tool

Other ways to warp images

Use the Warp Brush. See “Warping

Images With the Warp Brush” on

page 286.

Use the Warp Effect. See

“Applying Geometric Effects” on

page 223.

Chapter 7: Editing Images 179

3 Choose settings from the Tool Options palette:

Draft quality Choose the quality of the preview that displays

while you edit the mesh nodes.

Note: Increasing the quality can slow the warping process in

large images.

Final apply Clear the Best Quality check box to create a finished

mesh warp at the lower quality of the mesh preview.

Mesh horizontal and Mesh vertical The values indicate the

number of mesh lines within the frame. The border lines are not

counted.

Note: You can change the grid size as you work. Entering new

Mesh values reconfigures the grid and returns it to the original

position. The image retains any deformations you have made.

Symmetric Mark this check box to create a grid that evenly

covers the image. If your image is not square, there will be

different values for Mesh horizontal and Mesh vertical. Clear this

check box to adjust the Mesh horizontal and Mesh vertical

independently.

Show grid Clear the check box to hide the mesh warp grid.

4 You can save the position of the mesh nodes (the deformation

map) to apply the deformation to other images. For instructions

see “Saving and Loading Deformation Maps” on page 179.

5 Use Edit > Undo to undo changes to the mesh as you edit.

6 To apply the mesh warp, double-click the image or click Apply

. To cancel the mesh warp, click Cancel .

Saving and Loading Deformation Maps

You can save the deformations you have created to warp other

images. Paint Shop Pro creates a Deformation Map file that contains

the positions of the nodes and the number of mesh lines. Save the

mesh during the warping process or after you have applied the

deformation.

To save a deformation map:

1 On the Mesh Warp Tool Options palette, in the Deformation map

group box, click Save to open the Save Deformation Map

dialog.

Activate and move nodes

using the keyboard

Press Ctrl + PgUp or Ctrl + PgDn

to activate the next or previous

node in a row.

Press Shift + Ctrl + PgUp or

Shift + Ctrl + PgDn to activate the

next or previous node in a column.

Press the Ctrl + Arrow keys to

move the node 1 pixel.

Press the Shift + Ctrl + Arrow keys

to move the node 5 pixels.

Chapter 7: Editing Images

180

2 In the New deformation map group box, type a name for the map

file.

3 In the Checkerboard size drop-down list, choose a checkerboard

size that helps you preview the deformation effect. This

information is not saved with the map file.

4 Click Save to add the file to the default Deformation Maps

folder. Click the Edit Paths button to choose a different folder for

saving the deformation maps.

To load a deformation map:

1 On the Mesh Warp Tool Options palette, select an option under

Edge mode:

Background or transparency fill The areas between the edge

of the image and the edge of the warp are filled with:

the current background color if the areas are on a background,

transparency if the areas are on a layer.

Fixed The edge pixels are replicated to fill in the areas

between the edge of the image and the edge of the warp.

Wraparound The areas between the edge of the image and the

edge of the warp are filled with material from the opposite

side of the image.

2 Click Open Deformation Map to open the Load Deformation

Map dialog.

3 In the Deformation map group box, choose a map from the drop-

down list. Click the Edit Paths button to load a map from a

different folder.

4 In the Operation group box, select how you want the map to be

added:

Replace current map Replaces the existing mesh nodes with

the new map. Any adjustments you have made but not applied

are lost.

Add to current map Adds the settings from the new

deformation map to the mesh nodes. Any adjustments you

have made are retained.

5 In the Mapping group box, select how Paint Shop Pro should

adjust the size of the map to fit to the layer or image:

Fit to canvas The map size adjusts to fit the image canvas.

Fit to layer The map size adjusts to fit the current layer.

What is an Edge Mode

setting?

The Edge Mode setting determines

what happens if there is a gap

between the border of the image

and the edge of the image.

Chapter 7: Editing Images 181

Current size centered on The map retains its original size and

is positioned in the center of the Canvas or Layer.

6 In the Preview group box, choose a Checkerboard size from the

drop-down list to obtain the best preview of the deformation.

7 Click Load.

Using the History Palette

The History palette lists each command you apply to the active

image. The most recent action appears at the top of the list. The

History palette gives you the ability to quickly undo and redo actions

applied to the current image. In addition to its basic Undo and Redo

To Here functions, the History Palette also offers several additional

powerful and time-saving functions:

Selectively Undo any listed action. Depending on which action

you undid, actions that were applied after the undone action may

or may not remain applied to the image. This is described in

more detail in the section Undoing and Redoing History Palette

Actions below.

Save a Quickscript based on any number of selected History

palette actions, and then run the Quickscript on the current image

or another open image. This is described in more detail in Saving

and Applying Quickscripts below.

Save History palette actions as a regular PspScript file, or copy

them to the clipboard for pasting into another script file.

Drag and drop History palette actions onto another image to

instantly apply those actions.

Displaying and Hiding the History Palette

Display this palette by choosing View > Palettes > History, or by

pressing F3.

To hide the palette, click its Close button in the upper right corner of

the title bar, or choose the menu item again, or press F3 again.

Setting the Number of Saved Commands in the

History Palette

By default, the History palette will list the 250 most recently

executed commands on the active image. To set this value higher or

lower:

Chapter 7: Editing Images

182

1 Choose File > Preferences > General Program Preferences.

2 Click the Undo tab.

3 Make sure the Enable the undo system check box is marked.

4 Set the Limit undo/redo to n steps per open image to the desired

value. As mentioned above, the default value is 250. Steps older

than 250 will become undoable steps, only 10 of which will be

retained as defined by the next setting.

5 The Non-undoable steps after the last non-undoable step value,

as mentioned above, sets the number of non-undoable steps that

will be retained after the last non-undoable step limit has been

reached. The default value is 10.

Note: Non-undoable steps cannot be undone or redone anymore.

They can, however, be reapplied to the current image or other

open images, can be saved to the Quickscript, or as a regular

PspScript file, or copied to the clipboard.

Undoing and Redoing History Palette

Actions

The History palette lists all actions performed on the active image.

The most recent action is at the top of the list, and the first action

performed is at the bottom of the list. You can select an individual

action to modify by clicking its name in the History palette, or select

multiple actions by holding down Shift (to select adjacent actions) or

Ctrl (to select non-adjacent actions).

After applying any number of actions to an image, you can use the

History palette to:

Undo any listed action by clicking its Undo/Redo button , or

by highlighting the item name and then pressing the Undo to here

button on the History palette's toolbar. Both methods

perform an “Undo to Here” function, undoing the action you

clicked as well as all subsequent actions (which are listed above

the action you clicked). The undone actions will be denoted with

a yellow X .

Chapter 7: Editing Images 183

Redo an undone action by again clicking its Undo/Redo button,

or by highlighting the item name and then pressing the Redo to

here button on the History palette's toolbar. Both methods

perform a “Redo to Here” function, undoing the action you

clicked as well as all preceding actions (which are listed below

the action you clicked). The redone actions will no longer have

an X of any color over their eye icon.

Note: Selectively undone actions (denoted with a red X) that

precede the action you clicked will not be redone. These

actions can only be redone by purposely choosing Redo

Selected.

Selectively undo an action by holding down Ctrl and clicking its

Undo/Redo button, or by highlighting the item name and then

pressing the Undo selected button on the History palette

toolbar. Selectively undone actions will be denoted by a red X

. Be aware that a selectively undone action can yield

unintended or unexpected results depending on its relationship to

subsequent actions. Refer to the section Using the Selective

Undo Feature Carefully below for more information.

Redo a selectively undone action by highlighting the item name

and then pressing the Redo selected button on the History

palette toolbar. To redo selectively undone actions, Ctrl-click

them again.

Using the History Palette's Undo and Redo

Toolbar Buttons

The table below lists the function of each undo/redo-related button

in the History palette.

Undo to here Click a History palette item name and then click

this button to undo the item and all actions that followed it. Same

as clicking on that item’s Eye icon.

Redo to here Click an undone (yellow X) History palette item

name and then click this button to redo the action and any other

undone actions preceding it. Same as clicking on that item’s Eye

icon.

Undo selected Click a History palette item name and then click

this button to selectively undo the item. Be aware that this may or

may not affect subsequent actions, and may not yield the

intended results. Same as Ctrl-clicking that item’s Eye icon.

Chapter 7: Editing Images

184

Using the History Palette's Context Menu

Right-click on a selected History palette item (or group of selected

items) to display the context menu, which contains all History

palette-related commands.

Using the Selective Undo Feature Carefully

The History palette's selective undo feature is powerful and

convenient, but under certain circumstances may not be the ideal

course of action. Shown below are two examples showing the results

of the selective undo feature.

A Simple Example

1 Here is an image containing five individual paint strokes placed left

to right across the image.

Redo selected Click a selectively undone History palette item

name and then click this button to redo the action.Same as Ctrl-

clicking that item’s Eye icon.

Clear selectively undone commands Click this button to

convert all selectively undone actions into non-undoable

commands (commands that can no longer be undone or redone).

You'll be prompted whether or not to perform this action.

Show non-undoable commands Click this button to show or

hide the non-undoable commands. When shown, non-undoable

items will be listed in gray (denoting that they're inactive/

unavailable).

Empty history Click this button to convert all History palette

items into non-undoable commands. You'll be prompted whether

or not to perform this action.

What about the standard

Undo and Redo commands?

You can still use the

Standard toolbar's Undo

and Redo buttons,

or choose Edit > Undo /

Redo to undo or redo

actions in the order they

were performed. Using

these methods will update

the History palette Undo/

Redo button to the

appropriate state ( for

undone items, and for

redone items). Be aware,

however, that selectively

undoing an action can only

be performed via the

History palette.

Chapter 7: Editing Images 185

2 Click here to see what happens when we selectively undo the

second and third strokes.

An Example of an Unintended Results

1 Here is a photo that could benefit from straightening as well as the

Fillflash filter applied to the foreground.

Chapter 7: Editing Images

186

2 Here is the photo after being straightened and cropped.

3 Here is a Freehand selection of the foreground area.

Chapter 7: Editing Images 187

4 Here is the Fillflash filter applied to the selection.

5 Here you can see what happens when you selectively undo the

straightening. Clearly this adversely affected the Freehand

selection and the Fill flash applied to it.

Chapter 7: Editing Images

188

Saving and Applying Quick Scripts

One of the powerful and convenient features of the History palette is

that it allows you to selectively choose steps applied to an image and

save those steps as a Quickscript. You can then apply the Quickscript

to another image (or to the current image).

Be aware that there is only one Quickscript; each time you select

History palette commands and click the Save Quickscript button, the

previously saved Quickscript is written over.

Saving Commands as a Quickscript

To save one more commands as a Quickscript:

1 Click the desired commands listed in the History palette (click the

command name, not its associated button). Note that as soon as one

command is selected, the Save Quickscript button activates.

2 Click the Save Quickscript button . The selected steps can

now be applied to any image the next time you click the Run

Quickscript button.

Note: Saving a group of selected commands as the Quickscript

overwrites the previously saved Quickscript without warning.

Applying a Quickscript to Another Image

After saving commands as the Quickscript, open another image (or

make another open image active) and then click the Run Quickscript

button .

A Note About Scripting and Plug-ins

Be aware that if you've executed commands involving plug-ins,

scripting these commands may not produce the intended results. In

particular, plug-in commands will not execute in Silent mode and

may not default to the parameters originally used.

Applying Selected Commands to Other

Images

Commands selected in the History palette can quickly be applied to

another image, or to all images open in the Paint Shop Pro

workspace.

Where is the Quickscript?

The Quickscript is saved to

the file

QuickScriptTemp.PspScript

and resides in the Scripts-

Trusted folder.

Chapter 7: Editing Images 189

To apply selected commands to all open images:

1 Select the desired commands— Shift-click to select adjacent

commands, or Ctrl-click to select non-adjacent commands.

2 Right-click on any selected command to display the History

palette's context menu, and then choose Apply to other open

documents.

To drag commands to another image:

To quickly apply one or more selected commands to another open

image, drag the command name(s) (not the icon) onto another open

image.

Saving Commands as PspScript Files

Commands selected in the History palette can quickly be saved to

the .PspScript file format, or copied to the clipboard.

Saving to the .PspScript Format

1 Click the desired commands listed in the History palette— Shift-

click to select adjacent commands, or Ctrl-click to select non-

adjacent commands.

2 Right-click on any selected command to display the History

palette's context menu, and then choose Save to script. This

displays the Save As dialog.

3 If necessary, navigate to the folder where the script will reside.

4 In the File name field, enter a name for the script.

5 In the Save only active commands check box, do one of the

following:

Mark this check box (it is marked by default) to not include

undone commands in the script.

Uncheck this box if you want to include the undone

commands in the script. Be aware, however, that the undone

commands will be active (not undone) when the script is

executed.

6 Click Save.

Chapter 7: Editing Images

190

Copying Commands to the Clipboard

To copy the Python syntax associated with selected commands to the

clipboard:

1 Click the desired commands listed in the palette— Shift-click to

select adjacent commands, or Ctrl-click to select non-adjacent

commands.

2 Right-click on any selected command to display the History

palette's context menu, and then choose Copy to the Clipboard.

3 Open a text editor such as Notepad, or a Python-aware text editor

application such as PythonWin or Idle.

4 In the text editor application, paste the clipboard contents. You'll

then see the syntax associated with the commands you selected.

191

Making Selections in Images

Selecting the parts of images to edit is an important step in

modifying images. After you create a selection, you can edit it while

leaving the rest of the image unchanged. You can use tools (such as

painting or drawing) or apply commands (such as flipping, copying,

or cropping) to the selection.

The border of a selection is identified by black and white dashes

called a marquee. This chapter shows you how to make many types

of selections.

Contents Using the Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Using Edit Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Adjusting Selection Borders . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Converting a Selection into a Layer . . . . . . . . . . . . . . . . . . . . . 204

Creating Custom Patterns from Selections . . . . . . . . . . . . . . . . 205

Modifying Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Clipping a Selection to the Canvas. . . . . . . . . . . . . . . . . . . . . . 212

Moving Selections within an Image. . . . . . . . . . . . . . . . . . . . . . 213

Saving and Loading Selections. . . . . . . . . . . . . . . . . . . . . . . . . 214

Working with Standard and Floating Selections. . . . . . . . . . . . . 218

CHAPTER 8

Chapter 8: Making Selections in Images

192

Using the Selection Tools

The way in which you select part of the image depends upon the type

of layer: raster and art media, or vector.

Paint Shop Pro provides selection tools that create raster (or pixel)

selections as well as vector selection tools that select vector objects.

Raster (and Art Media) Selection Tools

Selection tool Makes a selection of a specific shape, such as a

rectangle, circle, or star. See “Making Selections with the

Selection Tool” on page 193.

Freehand Selection tool Makes a selection of an irregular shape

or around the edges of an object, such as the petals of a flower or a

child’s hand. See “Making Selections with the Freehand Selection

Tool” on page 195.

Magic Wand tool Makes a selection based on a color, brightness,

or opacity. See “Making Selections with the Magic Wand Tool” on

page 197.

These selection tools are grouped together in a flyout on the Tools

toolbar. One tool is displayed at a time. Click the down arrow to the

right of the tool to see the other selection tools.

Although these selection tools create raster selections, you can use

them on vector layers; they create raster selections from the vector

objects. For example, if you copy the selection and paste it as a new

image, the object is copied as individual pixels (rather than a vector

object) onto a raster layer.

Vector Selection Tools

To select vector objects and vector text (without turning them into

raster selections), use these tools:

Object Selection tool Selects vector objects or vector text. See

“Selecting Vector Objects” on page 199.

Text tool Creates a selection in the shape of text. See “Selecting

Text” on page 199.

Transforming a selection

Here are a few of the ways you can

edit selections:

Cut, copy, or paste selections.

Crop to a selection.

Move selections within the

image.

Flip, mirror, or rotate selections.

Correct colors within selections.

Apply effects to selections.

Paint or draw in selections.

Use multiple selections

tools

You can make an initial selection

with one selection tool, and then

switch to another selection tool to

add to or subtract from the

selection. For more information,

see “Modifying Selections” on

page 205, or “Subtracting from a

Selection” on page 207.

Chapter 8: Making Selections in Images 193

Making Selections with the

Selection Tool

Use the Selection tool to select a portion of a raster layer, or to create

a raster selection of objects on a vector layer. You can make a

selection of a specific shape: rectangle, square, rounded rectangle,

rounded square, ellipse, circle, triangle, pentagon, hexagon, octagon,

star, or arrow.

To use the Selection tool:

1 On the Tools toolbar, choose the Selection tool from the

Selection tool flyout.

2 On the Tool Options palette, choose from these options:

Selection Type Use this drop-list to choose the shape of the

selection area (rectangle, ellipse, star shape, etc.).

Mode Specifies whether you want to Replace, Add, or Remove

from an existing selection.

Feather Specifies a width in pixels (0 to 200) that the selection is

faded along the edges. When you move or paste the selection,

feathering helps blend the selection into the surrounding area and

makes it appear more natural. The higher the Feather value, the

softer the edges. Set the width to 0 to create a selection with no

feathering and distinct edges.

Anti-alias Mark this check box to use anti-aliasing, which

produces a smooth-edged selection by partially filling in pixels

along the edge, making them semi-transparent. Clear the check

box to keep the original edges.

Note: After you create a selection, you cannot change the

Selection Type or the Anti-alias setting. Changing these options

applies to the next selection you make. You can change the

feathering; see “Changing the Feathering of a Selection” on

page 207.

3 To make the selection, do one of the following:

Drag in the image. As you drag, a border indicates the

selection. When you release the mouse, the selection border

becomes a marquee. If you select a Feather value, that portion

of the selection is added to the marquee.

Feather before or after

If you select a Feather value in the

Tool Options palette, that value

affects the next selection that you

make with the Selection tool. You

can also change the feathering of

an existing selection; choose

Selections > Modify > Feather or

Selections > Modify > Inside/

Outside Feather.

Chapter 8: Making Selections in Images

194

To make a selection of a specific size, on the Tool Options

palette, click Custom Selection and then enter the

selection position in pixels for the left, top, right, and bottom

positions. The positions are measured from the top left corner.

On the Tool Options palette, choose Layer opaque to select

opaque areas (the non-transparent area that has data) of the

current layer.

Choose Merged opaque to select the opaque area of

all layers within the image. This option is unavailable if the

image has only one layer.

4 To create a rectangular selection from an odd shaped selection:

In the Create selection from area of Tool Options, choose

Current selection . A new rectangular selection surrounds

the current selection.

5 To modify the selection borders, do any of the following:

To add to the selection, from the Mode drop-down list, choose

Add, or hold down the Shift key and click and drag another

selection area (it does not need to be part of the original

selection).

To subtract from the selection, from the Mode drop-down list,

choose Remove, or hold down the Ctrl key and click and drag

within the original selection.

To move the selection marque, right-click and drag with any

selection tool, or choose the Mover tool and right-click and

drag within the selection.

Note: You can also switch to another selection tool before adding

to or subtracting from the selection.

You can now edit the contents of the selection (move it, copy it,

paint it, correct colors, apply effects, and so on). The selection

remains active until you make another selection or right-click

outside the selection boundary to deselect it while one of the

selection tools is active, or choose Selections > Select None.

Align that selection

You can use grids and guides in the

image window to help you align

your selections. For more

information, see “Using Rulers,

Grids, and Guides” on page 173.

Chapter 8: Making Selections in Images 195

Making Selections with the

Freehand Selection Tool

With the Freehand Selection tool, you can select objects with

irregular borders. Use this tool to select everything from the outline

of a tree to a child’s hand to the jagged edge of a leaf.

To use the Freehand Selection tool:

1 If the image has more than one layer, click the layer on which you

want to make a selection from the Layers palette.

2 On the Tools toolbar, choose the Freehand Selection tool

from the Selection tool flyout.

3 On the Tool Options palette, choose the Selection Type to

determine how Paint Shop Pro makes the selection:

Edge Seeker Click on the edges of irregularly shaped areas, and

Paint Shop Pro finds the edges between two areas with subtle

color or light changes between them.

Freehand Click and drag to select the area—like making a

freehand drawing. Use this type for irregular shapes when you

want to make a selection quickly.

Point to Point Click from point to point and Paint Shop Pro

draws a straight border between the points. Use this when you

want a selection with straight edges.

Smart Edge Click along the edges of irregularly shaped areas and

Paint Shop Pro finds the edges. Use this selection to create a

border between two areas of highly contrasting color or light.

4 On the Tool Options palette, choose from these additional

options:

Feather A width in pixels (0 to 200) that the selection is faded

along the edges. Feathering controls the sharpness of a

selection’s edges. For a detailed description, see page 193.

Range Specifies the distance (0 to 15) from the point you click

that Paint Shop Pro searches for an edge. This option is available

only for the Edge Seeker selection type.

Smoothing The amount of smoothing (from 0 to 40) for the

selection border. This smooths sharp edges or jagged lines.

Anti-alias Mark this check box to use anti-aliasing, which

produces a smooth-edged selection by partially filling in pixels

along the edge, making them semi-transparent. Clear the check

box to keep the original edges.

Select the layer first!

Before you make a selection,

display the Layers palette and click

the name of the layer that contains

the data you want to select.

Using the Edge Seeker

selection type

Using the Freehand selection

type

Chapter 8: Making Selections in Images

196

Sample Merged If the check box is marked, the tool searches for

an edge in all layers of the area you select. If the check box is

cleared, the tool searches for edges only in the current layer. It is

only available when the image has multiple layers and when

using the Edge Seeker and Smart Edge selection types.

5 Make the selection:

For the Edge Seeker and Smart Edge selection types, click in

the image where you want to start the selection, then click

points around the area you want to select. After you click each

point, a line indicates the selection border. To delete a

previous point, press Delete. To complete the selection,

double-click or right-click.

For the Freehand selection type, drag an outline of the area

you want to select. When the line encloses the selection,

release the mouse button. (If you release too soon, start again

or add to the selection as described in the next step.)

For the Point to Point selection type, click where you want the

selection border to start and then continue clicking until you

return near the starting point. To complete the selection,

double-click or right-click. To delete a previous point, press

Delete.

For all selection types, the line becomes a marquee indicating the

selection border.

6 To modify the selection area, do either of the following:

To add to the selection, from the Mode drop-down list choose

Add, or hold down the Shift key and click and drag another

selection area.

To subtract from the selection, from the Mode drop-down list

choose Remove, or hold down the Ctrl key and click and drag

within the original selection.

Note: You can also switch to another selection tool before adding

to or subtracting from the selection.

You can now edit the contents of the selection (move it, copy it,

paint in it, correct colors, apply effects, etc.). The selection remains

active until you make another selection or right-click to deselect it,

or choose Selections > Select None.

Using the Point to Point

selection type

Chapter 8: Making Selections in Images 197

Making Selections with the

Magic Wand Tool

Use the Magic Wand tool to select content rather than defining edges

in the image. It works well for selecting a complex part of an image

that has distinctly different pixels from other parts—for example, a

pink rose surrounded by green leaves. The tool uses four types of

values for making selections—color (RGB value), hue, brightness,

or opacity.

With the Magic Wand, you select the type of match you want (such

as hue), choose a tolerance that determines how closely pixels must

match, and then click once in the image to select the pixel that the

other pixels are compared to.

To use the Magic Wand tool:

1 If the image has more than one layer, on the Layers palette click the

layer name which contains the part of the image you want to select.

2 On the Tools toolbar, choose the Magic Wand tool from the

Selection tool flyout.

3 On the Tool Options palette, choose the Match mode to determine

how Paint Shop Pro creates the selection:

None Chooses all pixels.

RGB Value Chooses pixels that match the red, green, and blue

value of the color that you select in the image.

Color Chooses pixels of the same color that you select in the

image.

Hue Chooses pixels based on the position in the color wheel of

the hues you select within the image.

Brightness Chooses pixels based on the brightness of the color

you select within the image.

All Opaque Chooses only areas containing pixels. No transparent

areas are selected.

Opacity Chooses pixels based on their opacity.

4 On the Tool Options palette, choose from these additional

options:

Tolerance Controls how closely the selected pixels must match

the initial pixel you click. At low settings, the values must be

close. At higher settings, the Magic Wand tool selects a wider

range of pixels.

Select what you don’t want

Sometimes the easiest way to

select a complicated part of an

image is to select the part of the

image that you don’t want and then

invert the selection. For example, if

you have a picture of a tree

silhouetted against a blue sky, use

the Magic Wand tool to select the

sky and then invert the selection to

select the tree.

For more information, see

“Selecting Everything Outside the

Selection” on page 204.

Chapter 8: Making Selections in Images

198

Feather A width in pixels (0 to 200) that the selection is faded

along the edges. Feathering controls the sharpness of a

selection’s edges. For a detailed description, see page 193.

Sample Merged Mark this check box to have the Magic Wand

tool search for matching pixels in the merged image. Clear this

check box to limit the selection to the active layer.

Contiguous Mark this check box to select pixels that connect to

your original pixel. Unchecked, this option selects any image

pixel meeting the other criteria you’ve set.

Anti-alias Mark this check box and then choose whether you

want to anti-alias inside or outside of the selection marquee.

5 Click the part of the image that has pixels you want to match. The

selection marquee surrounds all matching pixels.

If the Magic Wand tool selected more pixels or fewer pixels than

you wanted, adjust the Tolerance value and make a new

selection.

6 To modify the selection, from the Mode drop-down list, choose:

Replace to replace an existing selection with a new selection.

Add to add to the selection, click another area of the image.

(Holding down Shift will also do this.)

Remove to subtract from the selection, click within the

original selection to remove the selection. (Holding down Ctrl

will also do this.)

Note: Use the Expand or Select Similar commands to add to the

selection. See “Modifying Selections” on page 205.

You can now edit the contents of the selection (move it, copy it,

paint in it, correct colors, apply effects, etc.). The selection remains

active until you make another selection or right-click to deselect it.

Chapter 8: Making Selections in Images 199

Selecting Vector Objects

To edit a vector object or vector text, you must first select the object

with the Object Selection tool. You can select one or several objects,

on the same layer or on different layers. You can also select vector

objects from the Layers palette.

To select vector objects with the Object Selection tool:

1 On the Tools toolbar, choose the Object Selection tool .

2 Do one of the following:

Click the object you want to select. To select multiple objects,

press Shift and click each additional object.

Drag the cursor to create a selection rectangle around the

object(s). The rectangle must enclose all objects completely to

select them.

A bounding box with handles surrounds the objects you selected.

For information on using these handles to edit the objects, see

“Resizing and Reshaping Vector Objects” on page 347.

To select vector objects from the Layers palette:

1 On the Layers palette, click the plus sign (+) to next to a layer to

expand the layer and display the objects within the layer.

2 Click the name of the object. To select multiple objects, press

Shift and click each object name. A bounding box in the image

surrounds the objects you selected.

Selecting Text

You can make two types of selections with text:

Use the Object Selection tool to select vector text so that you can

edit it.

Use the Text tool to create a raster text selection (a selection

marquee shaped like text) that you can use to create interesting

effects. For example, create a text selection on a solid colored

layer and then delete the selection so the letters become

transparent and are outlined in the solid color.

To select vector text:

1 On the Layers palette, click the layer name that contains the text.

2 On the Tools toolbar, choose the Object Selection tool .

Versatile Object Selector

In addition to selecting vector

objects, use the Object Selection

tool to:

Move, resize, reshape, and

rotate vector objects and vector

text.

Align and distribute vector

objects.

Group and ungroup vector

objects.

Apply Edit menu commands

such as copying and pasting.

For more information, see

Chapter 13, Drawing and Editing

Objects.

To deselect all

To undo the Select All command,

choose Selections > Select None.

Chapter 8: Making Selections in Images

200

3 Click the text. A bounding box with editing handles surrounds

the text.

You can now move or resize the text. Double-click to edit the

vector properties (such as the color or texture). To edit the words

themselves, click the Text tool and then click the text. You can

also right-click on the text in the Layers palette and choose Edit

Text from the context menu.

To create a text selection with the Text tool:

1 Select the Text tool .

2 On the Tool Options palette, in the Create as group box choose

Selection (which creates a selection shaped like the text rather

than text as a painted object).

3 Click where you want to start the text selection to open the Text

Entry dialog.

4 Select the text options and type the text.

5 Click Apply.

Deselecting a Selection

You can deselect any selection in the image, which removes the

marquee and integrates the selection back into the image. If you

deselect a floating selection, Paint Shop Pro defloats it and places it

in the underlying layer if the layer is raster. If the underlying layer is

vector or art media, Paint Shop Pro creates a new raster layer and

defloats the selection to it.

To deselect a selection:

Choose Selections > Select None, right-click in the image outside

the selection marquee, or press CTRL + D.

Selecting All Non-Masked Areas

Create a selection that selects all non-masked areas and omits all

masked areas. The selection is clipped to the canvas size.

To select all non-masked areas:

1 Create a mask as described in “Creating Masks” on page 391.

2 On the Layers palette, select the mask layer.

About the Text tool

Making a text-shaped selection is

just one thing that the Text tool can

do. The tool’s main function is to

add text to your image. For more

information, see Chapter 16,

Working with Text.

Creating a mask from

aselection

You can also use a selection to

create a mask. For more

information, see “Creating Masks

from Selections” on page 394.

Chapter 8: Making Selections in Images 201

3 Choose Selections > From Mask. The selection marque surrounds

the non-masked areas.

Note

If you saved a mask to an alpha channel, you can load it as a

selection by choosing Selections > Load from Alpha Channel.

Selecting All Pixels

Use the Select All command to select everything on a single layer or

in the entire image if the image has only one layer. The Select All

command selects everything on the image canvas.

To select all pixels in a layer or an image:

1 If the image has more than one layer, on the Layers palette click the

name of the layer you want to select.

2 Choose Selections > Select All or press Ctrl + A. A marquee

appears around the layer on the canvas.

Creating Raster Selections from Vector

Objects

You can select a vector object, convert it to a raster selection, and

then copy and paste this selection into another layer or another

image. Do this when you want to apply raster-only tools and

commands to vector objects.

To create a raster selection from a vector object:

1 Use the Object Selection tool to select one or more vector objects.

2 Choose Selections > From Vector Object.

The selection marquee surrounds each vector object. You can

now copy and paste the selection as needed. The original vector

objects remain unchanged.

Using Edit Selection

Use the Edit Selection command to create a selection from a brush

stroke, or to apply an effect to only the selection marquee.

Selecting a layer

As long as there are no selections

on the image, when you click a

layer’s name on the Layers palette

Paint Shop Pro automatically

selects all contents of the active

layer (though without a selection

marquee). If the layer has data that

is moved off the image canvas, that

data is also selected.

Chapter 8: Making Selections in Images

202

To create a selection:

1 Choose Selection > Edit Selection, or click the Edit Selection

button on the Layers palette. A selection layer is added to the

Layers palette.

2 Select a painting tool from the Tools toolbar. For more

information, see Chapter 11, Raster Painting.

3 Set the options for the painting tool in the Tool Options palette

and the Variance palette.

4 Paint on the image with black, white or shades of grey.

The lightness of the paint controls the opacity of the selection.

A ruby overlay displays the brush strokes.

5 Choose Selection > Edit Selection, or click the Edit Selection

button on the Layers palette. The selection marquee displays

the selected area.

To apply tools and effects to the selection marquee:

1 Make a selection on the image. See “Using the Selection Tools” on

page 192.

2 Choose Selection > Edit Selection, or click the Edit Selection

button on the Layers palette. A ruby overlay displays in the

selected area.

3 Apply a tool or effect to the selection area.

4 For more information, see Chapter 11, Raster Painting, or

Chapter 9, Applying Effects.

5 When finished editing the selection, choose Selection > Edit

Selection to display the selection marquee.

To turn off the selection marquee but retain the selection itself,

choose Selections > Hide Marquee. To remove the selection, choose

Selections > Select None.

Adjusting Selection Borders

After you make a selection in your image, you may want to modify

or edit the selection borders.

Chapter 8: Making Selections in Images 203

Moving the Selection Marquee

To change or fine-tune the area the selection encloses, you can use

the Mover tool to move the marquee.

To move the selection marquee:

1 On the Tools toolbar, choose a selection tool.

2 Right-click inside or on the marquee and drag the marquee to a

new position.

Hiding and Viewing the Selection

Marquee

The selection marquee is normally visible. Sometimes when working

with a selection it is helpful to hide the marquee temporarily without

disabling the selection. For example, you may want to see the results

of pasting a selection or feathering a selection’s edges.

To hide or view the marquee:

Choose Selections > Hide Marquee or press Ctrl+Shift+M.

Tips:

If you right-click in the image

outside the marquee, you deselect

the selection. If you click and drag

the selection with a selection tool,

you float the selection and move it.

(If you did one of these by mistake,

press Ctrl + Z to undo.)

Chapter 8: Making Selections in Images

204

Selecting Everything Outside the

Selection

Sometimes the easiest way to select a complicated part of an image

is to select the part of the image that you don’t want and then invert

the selection. For example, if you have a picture of a person against

a solid color background, you can select the background and then

invert the selection to select the person.

To invert a selection:

1 Make a selection in the image.

2 Choose Selections > Invert. The marquee changes to enclose the

opposite area of the image.

Converting a Selection into a Layer

To convert a selection into a layer, use the Promote to Layer

command on the Selections menu. The original selection contents

are unchanged; a copy of the selection becomes a new layer. By

converting the selection into a layer, you can modify it without

changing the original image data.

To promote a selection to a layer:

1 Make a selection in the image.

2 Choose Selections > Promote to Layer.

The new layer is placed above the original selection’s layer and is

named Promoted Selection.

Inverting a selection

Color depth

The Promote to Layer command

works on 16 million color and

greyscale images only. To increase

the color depth of an image, see

page 261.

Placing a selection in

another image

To place a selection as a layer

within another image, copy the

selection, open the other image,

and choose Edit > Paste > As New

Layer.

Chapter 8: Making Selections in Images 205

Creating Custom Patterns from Selections

You can turn a selection into a custom, seamless pattern which you

can use for applications like painting, adding text, or creating Web

page backgrounds.

To create a custom pattern:

1 Make a selection in the image.

2 Choose Effects > Image Effects > Seamless Tiling to open the

Seamless Tiling dialog.

3 Choose the tiling method, direction, settings, and corner style,

and then click OK.

Modifying Selections

After you make a selection in your image, you may want to modify

or edit the selection.

Adding to a Selection

You can add to the selection area using the selection tools, either the

same selection tool you used to make the original selection or a

different selection tool. For example, you have a picture of a person

carrying a large sign. You can select the sign with the rectangular

Selection tool, then add the person to the selection using the

Freehand Selection tool.

You can also use the Expand command to increase a selection by a

specific number of pixels or the Select Similar commands to add to

selections based on pixel color values.

To add to a selection using the selection tools:

1 On the Tools toolbar, choose the selection tool (Selection,

Freehand, or Magic Wand tool) that you want to use to add to the

selection.

2 On the Tool Options palette, select the tool options.

3 Hold down the Shift key as you click the parts of the image you

want to add to the selection. The areas do not need to be adjacent.

How to use the pattern

To use the pattern that you create,

save it in the Patterns folder of the

Paint Shop Pro program folder and

select it as your foreground or

background material. (See

“Choosing Patterns” on page 246.)

You can then use the pattern to

paint, create text, or fill an entire

image.

Adding to a selection

Chapter 8: Making Selections in Images

206

To expand the selection by a specific number of pixels:

1 Choose Selections > Modify > Expand.

2 Select the number of pixels (1 to 100) by which you want to

expand the selection.

3 Click OK. The marquee expands while keeping its original shape.

To add pixels to a selection based on color values:

1 Choose Selections > Modify > Select Similar.

Note: You’ll get best results with this dialog if your original

selection is not anti-aliased. Note also that in the dialog you can

click the Transparency button to change between showing

only the selection or showing the selection and the rest of the

image.

2 Select from these options:

Tolerance Specifies how closely pixels must match the colors of

the initial selection. At low settings, the values must be close. At

higher settings, more pixels match.

Sample Merged If the check box is marked, Paint Shop Pro

selects matching pixels in the merged image. If the check box is

cleared, Paint Shop Pro selects pixels in the active layer only.

Anti-alias Mark this check box to use anti-aliasing, which

produces a smooth-edged selection by partially filling in pixels

along the edge, making them semi-transparent. Mark whether

you want the areas Inside or Outside the selection marquee to be

anti-aliased. Clear the Anti-alias check box to keep the original

edges.

Contiguous Selects all adjacent pixels of a similar color.

Discontiguous Selects all pixels of a similar color anywhere

within the image.

3 Click OK. The selection changes to include matching pixels.

Chapter 8: Making Selections in Images 207

Subtracting from a Selection

You can subtract from the selection area using the selection tools,

either the same selection tool you used to make the original selection

or a different selection tool. You can also use the Contract command

to contract a selection by a specific number of pixels.

To subtract from a selection using the selection tools:

Hold down the Ctrl key as you click the parts of the image you want

to remove from the selection.

To contract the selection by a specific number of pixels:

1 Choose Selections > Modify > Contract.

2 Select the number of pixels by which you want to contract the

selection.

3 Click OK. The marquee contracts while keeping its original

shape.

Changing the Feathering of a Selection

Feathering specifies a width in pixels (0 to 200) that the selection is

faded along the edges. When you move or paste the selection,

feathering helps blend the selection into the surrounding area and

makes it appear more natural. The higher the Feather value, the

softer the edges. Set the width to 0 to create a selection with no

feathering and distinct edges.

Use the Tool Options palette to set the feathering before creating a

selection. After you create the selection, you can modify the

feathering amount and the feathering position (inside or outside the

selection border) using commands from the Selection menu.

To change the feathering amount:

1 Choose Selections > Modify > Feather.

2 Select the number of pixels for the feathering width, both inside

and outside of the selection.

3 Click OK.

Subtracting from a selection

How to set the feathering

before you create a

selection

To feather a new selection, choose

a selection tool (Selection,

Freehand, or Magic Wand) and on

the Tool Options palette adjust the

Feather value. When you make the

new selection, that feathering is

used.

Chapter 8: Making Selections in Images

208

To adjust the position and amount of feathering:

1 Choose Selections > Modify > Inside/Outside Feather.

Note: In the dialog you can click the Toggle Selection button

to change between showing only the selection or showing the

selection and the rest of the image.

2 Select the feather position: Inside, Outside, or Both (the feather

amount is added to each side).

3 In the Feather amount edit box, enter the width in pixels of the

feathering.

4 Click OK.

To unfeather a selection:

1 Choose Selections > Modify > Unfeather.

2 Select the threshold value. The higher the value, the less

feathering.

3 Click OK.

Adding or Removing a Color from a

Selection

To add or remove a color from a selection, use the Select Color

Range command. You can choose to add or remove a color from the

selection border. The color that you choose is either added or

removed, and the selection border changes. If you copy and paste the

selection, the pasted area has the color added or removed.

To add or remove a color from a selection area:

1 Make a selection in the image.

2 Choose Selections > Modify > Select Color Range.

3 Select either the Add color range or Subtract color range option.

4 Move the cursor over the image and click a color. The Reference

color box, displays the selected color.You can also click this box

to open the Color dialog and choose a color. For more

information, see “Choosing Colors” on page 239.

5 In the Tolerance edit box, specify a color tolerance (0 to 200). If

the value is 0, no colors are added or removed from the selection

area. If you specify a higher value, shades of the color or related

colors are added or removed.

An alternative

To remove a color from a

selection, you can also use the

Paste As Transparent Selection

command to remove a color when

you paste a selection. However,

with this command you cannot

remove shades of a color, only the

exact color you specify as the

background color. For more

information, see “Cutting,

Copying, and Pasting” on

page 160.

Chapter 8: Making Selections in Images 209

6 In the Softness edit box, specify the amount of softness for the

referenced color.

7 Click OK. The selection borders change to add or exclude the

color you specified.

Cleaning Up the Edges of a Selection

When you move or copy a selection, some of the pixels surrounding

the border are included, especially when the selection is anti-aliased

or feathered. Matting cleans up the border by removing these pixels.

There are three Matting commands: Remove Black Matte, Remove

White Matte, and Defringe. Use the Remove Black Matte or Remove

White Matte command when the selection is from an image with a

black or white background. These commands remove the black or

white pixels at the selection edges.

Use the Defringe command when the selection is from an image with

a colored background. Defringing bleeds non-feathered pixels in the

selection edges outward and over the “jaggies” in the feathered part

of the selection.

To use a Matting command:

1 If the selection is not floating, choose Selections > Float.

2 Do one of the following:

To remove the black matte, choose Layers > Matting >

Remove Black Matte.

To remove the white matte, choose Layers > Matting >

Remove White Matte.

To move a colored matte, choose Layers > Matting > Defringe.

The Defringe dialog opens. Enter the number of pixels to

defringe and click OK.

Color depth

These commands work on 16

million color and greyscale images

only. To increase the color depth

of an image, see page 261.

Using matting on a layer

You can also use matting to clean

up the edges of a layer created

from a selection. The Layers menu

has the same Matting commands

as the Selections menu.

For more information, see

“Cleaning up the Edges of Layers

Created from Selections” on

page 381.

Chapter 8: Making Selections in Images

210

Removing Specks and Holes from a

Selection

To remove holes and specks from a selection:

1 Choose Selections > Modify > Remove Specks and Holes to open

the Remove Specks and Holes dialog.

2 Do one of the following:

Choose the Remove Specks option to remove only specks

from the selection.

Choose the Remove Holes option to remove only holes from

the selection.

Choose the Remove Specks and Holes option to remove both

specks and holes from the edges of the selection.

Note: In the dialog you can click the Toggle Selection button

to change between showing only the selection or showing

the selection and the rest of the image.

3 For the Square area smaller than, enter the number of pixels and

the scale factor. Start at low values, and increase them as

necessary until the specks and/or holes are removed.

4 Click OK. The holes and specks in the selection are removed.

Smoothing the Boundary of a Selection

Use the Smooth command to smooth the edges of a selection.

To smooth the boundary of a selection:

1 Choose Selections > Modify > Smooth to open the Smooth

Selection dialog.

2 For Smoothing amount enter a number for the level of smoothing

for the corners of the selection.

Note: In the dialog you can click the Toggle Selection button

to change between showing only the selection or showing the

selection and the rest of the image.

3 For Corner scale enter the number of pixels at the corners of the

selection to smooth.

4 Anti-alias mark this check box to smooth the edges of the

selection.

How specks and holes are

removed

The Remove Specks and Holes

dialog removes specks and holes

from the area that you define in

square pixels. For example: If you

have an area of specs and/or holes

in an image that is 20 pixels wide

by 20 pixels high, then in the

number of pixels field, enter 5 and

a scale factor of 100. Because 20 x

20 = 400, and 5 X 100 = 500 then

all specs and/or holes in a pixel

area less than 500 will be

removed.

Chapter 8: Making Selections in Images 211

5 Preserve Corners mark this check box if you want the corners

preserved. Clear this check box if you want the corners to be

smoothed.

6 Click OK. The selection is smoothed.

Recovering the Anti-alias

Use the Recover Anti-alias command when you want to restore the

original anti-aliasing of an object that was pasted into an image. This

command is useful if you made the selection without anti-aliasing,

and now want the edges of the selection to be smooth.

To recover the anti-alias:

1 Choose Selections > Modify > Recover Anti-alias to open the

Recover Anti-alias dialog. The selection with the anti-alias added

in the right preview window.

2 To apply the anti-alias to all layers of the selection, mark the

Sample merged check box.

3 To apply the anti-alias and copy the result to a new layer, mark

the Result on new layer check box.

4 Choose an Anti-alias option:

Inside to anti-alias the inside of the selection marquee.

Outside to anti-alias outside of the selection marquee.

5 Click OK to anti-alias the selection edges.

Shape-Based Anti-aliasing

Use the Shape-Based Anti-alias command to anti-alias a selection

based on its shape.

To anti-alias based on shape:

1 Choose Selections > Modify > Shape-Based Anti-alias to open the

Shape-based Anti-alias dialog.

2 Choose an Anti-alias option:

Inside to anti-alias the inside of the selection marquee.

Outside to anti-alias outside of the selection marquee.

3 Click OK to anti-alias the selection edges.

Chapter 8: Making Selections in Images

212

Modifying the Select Selection Borders

Use the Select Selection Borders command to add a border around

the selection. This command is useful when you want to add a border

around the selection, and then fill that border using the Flood Fill

tool.

To change the shape-based anti-alias:

1 Choose Selections > Modify > Select Selection Borders to open

the Select Selection Borders dialog.

2 Choose whether you want to add a selection border Inside,

Outside, or on Both sides of the selection border.

3 Mark the Anti-alias check box if you want to smooth the edges of

the selection border.

4 Enter the width of the border in pixels.

5 Click OK to add a selection border.

Clipping a Selection to the Canvas

After making a selection in Paint Shop Pro, you can move the

selection anywhere on the image, including off the canvas. If you've

expanded the image window to show the off-canvas diagonal

crosshatch pattern area, you'd see the portion of the selection moved

off the canvas. The Clip to Canvas command allows you to remove

the portion of the selection not within the image borders. To use this

command:

1 Make a selection and move part of it off the image canvas.

2 If necessary, expand the image window to reveal the diagonal

crosshatch pattern area that appears outside the image borders.

3 Optionally, choose Selections > Defloat. This will defloat the

selection, which allows for more selection edits than would

otherwise be available. If you don't choose this command, Paint

Shop Pro will display an Auto-Actions dialog, prompting you to

take this action before completing the next step.

4 Choose Selections > Clip to Canvas. The selection area outside

the image borders will be removed

Chapter 8: Making Selections in Images 213

Moving Selections within an Image

You can move a selection and leave the space empty or you can

move a copy of the selection and leave the original data.

Moving a Selection and Leaving an Area of

Background

To move a selection by cutting it from a layer and leaving a transparent

area or area of background do one of the following:

Drag the selection with one of the selection tools (Selection,

Freehand, or Magic Wand tool)

Press any of the arrow keys to move it one pixel.

Hold down Shift and then press any of the arrow keys to move it

10 pixels.

Hold down Shift and then press the Page Up, Page Down, Home,

or End key to move it 10 pixels.

Hold down Shift and Ctrl and then press the Page Up, Page

Down, Home, or End key to move it 100 pixels.

Moving a Selection and Leaving the

Original Data

To move a selection by creating a copy of it and leaving the original

data in place, do one of the following:

Hold down Alt while using the selection tool to drag the

selection.

Hold down Alt and then press any of the arrow keys to copy and

move the selection by 1 pixel.

Hold down Shift with Alt and press any of the arrow keys to copy

and move the selection by 10 pixels.

Hold down Ctrl and press the Page Up, Page Down, Home, or End

key to move the selection 10 pixels.

Chapter 8: Making Selections in Images

214

Saving and Loading Selections

It’s helpful to save complicated selections that you may use again or

to save selections to use in other images to create effects. Save a

selection in one of two ways:

Save the selection as a file with a .PspSelection extension on a

hard disk or removable disk; see “Saving Selections to Disk” on

page 214. To load this selection file into Paint Shop Pro, see

“Loading Selections from Disk” on page 215.

Save the selection as an alpha channel within the image. The

selection is stored as part of the image, not as a separate file. See

“Saving Selections to Alpha Channels” on page 215. To load the

selection into the same or a different image, see “Loading

Selections from Alpha Channels” on page 216.

Saving Selections to Disk

When you save a selection to a hard disk or a removable disk, Paint

Shop Pro saves the selection as a separate file with a .PspSelection

extension. You can then load this selection into the current image or

another image.

To save a selection file:

1 Make a selection in the image.

2 Choose Selections > Load/Save Selection > Save Selection to

Disk to open the Save Selection to Disk dialog.

The Selection files drop-list shows thumbnails of selections files

in the default directory for selections. To change the default

directory, or to add another directory, click the File Locations

button.

3 In the File name edit box, type a name for the selection.

4 Click Save.

Chapter 8: Making Selections in Images 215

Loading Selections from Disk

Load a selection (with a .PspSelection extension) or image file that

you have saved to a hard disk or removable disk. When you load an

image, Paint Shop Pro creates a selection based on luminance, non-

black pixels, or opacity.

To load a file or selection from disk:

1 Choose Selections > Load/Save Selections > Load Selection from

Disk to open the Load Selection from Disk dialog.

The Selection Files drop-list shows thumbnails of selections files

in the default directory for selections. To change the default

directory, click the File Locations button.

2 Choose the selection or image file you want to load.

3 In the Operation group box, select an option to determine

whether to replace the selection or add to or subtract from it.

4 In the Create selection from group box, choose what

Paint Shop Pro creates the selection from.

5 Click Load. The selection displays on the current layer.

Saving Selections to Alpha Channels

Save a selection to an alpha channel within the current image or

within another image. An alpha channel is a data storage area in an

image that holds selections and masks. Alpha channels are like

secret compartments within a suitcase—use them to store things you

may need later. Selections and masks stored in alpha channels have

no effect on the look of an image. To use the stored selections or

masks, load them into the same image or another image.

When you save the image to a file format other than .PspImage

format, the alpha channels are not saved. Always keep a master copy

of your image in .PspImage format.

To save a selection to an alpha channel:

1 Make a selection in the image.

2 Choose Selections > Load/Save Selections > Save Selection to

Alpha Channel to open the Save Selection to Alpha Channel

dialog.

The Add to document drop-down list displays the image name

and below it are the alpha channels in the image (if any).

Another way to create

greyscale images

You can open .PspMask and

.PspSelection files in Paint Shop

Pro, edit them and save them with

another file extension (.PspImage,

.jpeg, .gif, etc.).

Chapter 8: Making Selections in Images

216

3 To save a selection to another image’s alpha channel, select the

image name in the Add to document drop-down list. The image

must be open in Paint Shop Pro.

4 To edit the default name for the new alpha channel, type a new

name in the Name edit box.

5 To move the selection to the upper left corner of the image

canvas, mark the Move to upper left of canvas check box. This

option is helpful when the selection is larger than the current

image and may not otherwise show up on the image.

6 Click Save. The selection is saved to the alpha channel.

Loading Selections from

Alpha Channels

When you save a selection as an alpha channel within a .PspImage

image, you can load that selection from the alpha channel into the

same image or into any other image.

To load a selection from an alpha channel:

1 Choose Selections > Load/Save Selection > Load Selection from

Alpha Channel to open the Load Selection from Alpha dialog.

Note: In the Preview group box, click the Transparency button to

show the area around the selection as either transparent or

black .

2 In the Load from Document drop-down list, select the image that

contains the alpha channel you want to load. To load from

another image’s alpha channel, the image must be open in Paint

Shop Pro.

3 In the drop-down list below the document name, choose the alpha

channel that contains the selection you want to load.

4 In the Operation group box, choose whether the selection you

load replaces, adds to, or subtracts from the active selection in

the image (if there is one).

5 A message in the Operations group box indicates how the

original alpha channel rectangle (which is the saved selection)

intersects the canvas of the current image: completely intersects,

does not completely intersect (part of the selection is off the

canvas), or does not intersect at all. If it partially intersects or

does not intersect, mark the Move to Upper Left of Canvas check

box to move the selection onto the image canvas.

Chapter 8: Making Selections in Images 217

6 In the Options group box, choose from these options:

Mark the Move to upper left of canvas check box to place the

loaded selection in the upper left. If the check box is cleared,

the selection remains in the same position it was on the

original image.

Mark the Clip to canvas check box to clip the selection at the

places where it goes beyond the image canvas.

Mark the Invert image check box to select everything outside

the original selection.

7 Click the Load button. The selection displays on the current

layer.

Deleting Selections from

Alpha Channels

If you saved selections to alpha channels that you no longer need,

you can delete them. You can delete alpha channels from the current

image only.

To delete an alpha channel:

1 Choose Image > Delete Alpha Channel to open the Delete Alpha

Channel dialog.

2 Select the alpha channel that you want to delete, or mark the

Delete all alpha channels check box.

3 Click Delete.

Chapter 8: Making Selections in Images

218

Working with Standard and Floating Selections

A raster selection can be either standard (non-floating) or floating. A

standard selection is part of a layer or image. When you edit a

standard selection, you modify the image itself. Standard selections

are what you create when you use the Selection, Freehand, and

Magic Wand tools.

A floating selection temporarily rests above the image or layer. The

Layers palette displays a Floating Selection icon to indicate that

the layer contains a floating selection.

Floating applies to raster selections only. Selections are

automatically floated when you do one of the following:

Move a selection with one of the selection tools (Selection,

Freehand, or Magic Wand tool).

Paste a selection by choosing Edit > Paste > As New Selection.

Select the Floating option when creating text.

Floating selections are automatically defloated to the nearest raster

layer, or promoted to a raster layer, when you deselect the selection,

create a new selection, or add to or subtract from the selection. As a

result, much of the time you do not have to be aware of whether a

selection is floating or standard—Paint Shop Pro takes care of it for

you.

However, you can also float a selection using the Float command,

which creates a copy of the selection that you can move or modify

without changing the original image. When you finish editing the

floating selection, use the Defloat command to defloat it.

To float a selection:

1 Make a raster selection in the image using the Selection, Freehand,

or Magic Wand tools.

2 Choose Selections > Float or press Ctrl + F.

To defloat a selection:

Choose Selections > Defloat or press Ctrl +Shift + F.

Vector and Art Media turned

raster—pay attention to the

defloat!

When you use one of the raster

selection tools (Selection,

Freehand, or Magic Wand) to

select vector objects or text or art

media content, the tool creates a

raster selection of the object or text

or painting. If you move the

selection, it becomes a floating

selection. When you try to perform

a new action, Paint Shop Pro

automatically promotes the floating

selection to a new layer.

219

Applying Effects

Paint Shop Pro has many special effects you can apply to your

images including: 3D, artistic, geometric, illumination, reflection,

and texture effects. Distort images to create subtle or dramatic

effects.

Note

To blur images, see “Blurring Images” on page 123.

Contents Choosing Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Using Effects Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Adding Noise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Adding Picture Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Creating Your Own Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Using the Displacement Map Effect . . . . . . . . . . . . . . . . . . . . . 228

Using the Radial Blur Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Mathematically Combining Two Images . . . . . . . . . . . . . . . . . . 231

CHAPTER 9

Chapter 9: Applying Effects

220

Choosing Effects

Choose Paint Shop Pro’s effects in one of two ways: through a menu

command or through the Effect Browser. Use the Effect Browser

when you want to try out multiple effects before applying them to

your image. The Effect Browser displays presets, both the defaults

and any that you create.

To choose an effect through a menu:

From the main menu, choose Effects, choose a sub-menu, and then

choose an effect. For example, choose Effects > Distortion Effects >

Twirl.

For most effects, a dialog with preview windows opens. Modify the

settings and click OK.

To choose an effect using the Effect Browser:

1 Choose Effects > Effect Browser to open the Effect Browser.

The left panel shows the Effects Presets folders, which are

located in the Presets folder of the Paint Shop Pro program

folder. Paint Shop Pro scans the folders and creates thumbnails of

your image with each effect applied to it.

2 To preview all effects on the image, click the Presets folder.

3 To preview types of effects, click one of the Effect folders (such

as 3D Effects, Artistic Effects, or Blur).

4 To select an effect preset, click the thumbnail image in the right

panel.

5 Do either of the following:

To apply the selected preset effect, click the Apply button.

To display a dialog where you can modify the selected preset

effect, click the Modify button. (If this button is greyed out,

the effect does not have adjustable settings.)

Paint Shop Pro applies the effect to your image.

Using Effects Dialogs

Most effects open a dialog in which you adjust settings to customize

the effect. These dialogs contain several common features:

Use the preview windows to view the original image and the

image with the effect applied to it.

About effects presets

To display the thumbnail previews

that you see in the Effect Browser,

Paint Shop Pro applies an effect’s

default preset and any presets you

have saved to the image. This

preset is a script file (.PspScript).

Chapter 9: Applying Effects 221

To reset settings to default values, in the Presets drop-list select

Reset to Default.

When you first open a dialog, Paint Shop Pro displays the last-

used settings. (The Presets drop-list is set to Last Used.) Use this

preset to apply the same effect to multiple images without having

to adjust the settings each time.

To save and load your own preset effects, see “Using and

Creating Presets” on page 420.

Applying 3D Effects

The 3D effects create images or selections that appear to have three

dimensions. These effects are particularly useful for creating images

for Web pages. To see the appropriate effect for the Buttonize,

Chisel, Cutout, Drop Shadow, Inner Bevel, and Outer Bevel effects,

first make a selection in the image.

To apply an effect, choose it from the Effects Browser or choose

Effects > 3D Effects and select an effect.

To apply these effects to an entire layer, increase the canvas size to

add pixels around the edges.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Applying Art Media Effects

Apply art media effects to make an image look like it was painted or

drawn using pencil, charcoal, or chalk. To limit an effect to a

specific area, make a selection before applying the effect.

To apply an effect, choose it from the Effects Browser or choose

Effects > Art Media Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Example of a 3D effect

Example of an Art Media effect

Chapter 9: Applying Effects

222

Applying Artistic Effects

Apply artistic effects to age a photograph or to create a variety of

artistic results. To limit an effect to a specific area, make a selection

before applying the effect.

To apply an effect, choose it from the Effects Browser or choose

Effects > Artistic Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Applying Edge Effects

Use Edge effects to clarify your image and to accentuate the edges

and contrast areas in your image.

To apply an effect, choose it from the Effects Browser or choose

Effects > Edge Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Applying Distortion Effects

Apply distortion effects to distort an image. To limit an effect to a

specific area, make a selection before applying the effect.

To apply an effect, choose it from the Effects Browser or choose

Effects > Distortion Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Example of an Artistic effect

Example of an Distortion effect

Chapter 9: Applying Effects 223

Applying Geometric Effects

The geometric effects include such effects as turning an image into a

sphere or cylinder, and altering an image’s perspective. To limit an

effect to a specific area, make a selection before applying the effect.

To apply an effect, choose it from the Effects Browser, or choose

Effects > Geometric Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Applying Illumination Effects

The illumination effects apply a sunburst or spotlights to images. To

limit an effect to a specific area, make a selection before applying

the effect.

To apply an effect, choose it from the Effects Browser, or choose

Effects > Illumination Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Applying Image Effects

The Image effects are Offset, Page Curl, and Seamless Tiling. To

limit an effect to a specific area, make a selection before applying

the effect.

To apply an effect, choose it from the Effects Browser, or choose

Effects > Image Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

Example of a Geometric effect

Example of an Illumination

effect

Example of an Image effect

Chapter 9: Applying Effects

224

For descriptions and visual examples of each effect, refer to the

Help system.

Applying Reflection Effects

The reflection effects include such effects as creating a kaleidoscope

or an intricate pattern. To limit an effect to a specific area, make a

selection before applying the effect.

To apply an effect, choose it from the Effects Browser, or choose

Effects > Reflection Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Example of a Reflection effect

Chapter 9: Applying Effects 225

Applying Texture Effects

The texture effects turn images into a variety of textures, such as

leather, mosaic tiles, and polished stone. To limit an effect to a

specific area, make a selection before applying the effect.

To apply an effect, choose it from the Effects Browser, or choose

Effects > Texture Effects and select an effect.

Note

These effects work on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

For descriptions and visual examples of each effect, refer to the

Help system.

Adding Noise

Use the Add Noise effect to reduce the detail in an image and add a

grainy texture. This effect can also be used for image correction. By

adding a small percentage of noise to an image, you can reduce the

appearance of small imperfections and scratches.

To use the Add Noise effect:

1 Choose Adjust > Add/ Remove Noise > Add Noise to open the Add

Noise dialog.

2 Choose the pattern of the noise: Random, Uniform, or Gaussian.

With Uniform noise, the color of the noise resembles the original

pixels. With Gaussian noise, the majority of the noise values are

even closer to the original.

3 In the Add Noise edit box, select the percentage of noise to add.

4 To use black and white noise pixels, mark the Monochrome check

box. To use colored pixels, clear the check box.

5 Click OK.

Example of a Texture effect

Adding noise to an image

Chapter 9: Applying Effects

226

Adding Picture Frames

Picture frames can provide an eye-catching final touch to your

images. Choose from square or oval frames, modern or classic

styles, stained glass or metal, or a variety of other styles. The frame

is applied on a separate layer. After adding the picture frame you can

edit it like any layer— move it with the Move tool, turn its visibility

on and off, change its opacity, color, etc.

Note

This effect works on greyscale and 16 million color (24-bit)

images only. To increase the color depth of an image, see

page 261.

To add a picture frame:

1 Choose Image > Picture Frame to open the Picture Frame dialog.

2 In the Picture Frame section of the dialog, select a frame from the

drop-list.

3 If the frame has transparent areas (for example, round or oval

frames), in the Transparency color section of the dialog choose

your options:

To have the transparent areas remain transparent, mark the

Keep Transparent check box.

To use a color for transparency areas, clear the Keep

Transparent check box and click the color box to select a

color.

Adding a picture frame

Chapter 9: Applying Effects 227

4 In the Orientation section of the dialog, select the frame

placement: Frame inside of the image or Frame outside of the

image.

If you select an inside frame, Paint Shop Pro resizes the frame

to fit within the image canvas.

If you select an outside frame, Paint Shop Pro increases the

canvas size to accommodate the frame. The added canvas uses

the current background color. However, the area will be

transparent if it is a layer and you mark the Keep Transparent

check box.

5 Choose other options in the Orientation section of the dialog:

Frame canvas When this layer option is chosen, the frame will

reside on a layer named "Picture Frame" in the Layers palette.

If you apply successive frames using this option, the frames

will reside on layers named "Picture Frame 1," "Picture Frame

2," etc.

Frame current layer When this layer option is chosen, the

frame will reside on a layer with the same name as the original

except with the words "Picture Frame" appended to it. For

example, if you append a frame to the Background layer, the

frame will reside on a layer named "Background Picture

Frame." If you apply successive frames using this option, the

frames will reside on layers named after the original but

appended with "Picture Frame 1," "Picture Frame 2," etc.

Flip frame Reverses the frame along its horizontal axis.

Mirror frame Reverses the frame along its vertical axis.

Rotate frame 90 CW Rotates the frame clockwise.

6 Click OK. Paint Shop Pro adds the frame to the image and creates

a new layer based on whether you selected Frame canvas or

Frame current layer (described above).

Note: If the width and height differ by a considerable amount, the

frame appears thicker along the shorter sides.

Note: After you add a picture frame, you can edit it as you can

any layer—move it with the Move tool, turns its visibility on and

off, or change its opacity, color, etc.

Picture frames with

transparency

If you apply a picture frame with

transparent areas to a background

layer and place the frame outside

the image, the transparent areas

are the current background color

rather than transparent. (The

background layer does not support

transparency.)

Loading picture frames

To change the folder to load picture

frames from, click the File

Locations button. By default,

picture frames are stored in the

Frames folder of the Paint Shop

Pro program folder.

Chapter 9: Applying Effects

228

Creating Your Own Effects

To create your own effects (also called filters), use the User Defined

command.

To create your own effects:

1 Choose Effects > User Defined to open the User Defined Filter

dialog.

The edit boxes in the Filter matrix group box show coefficients

that process pixels to create the effect.

2 In the Presets drop-down list, select a filter to use as a starting

point. Choose Default for default settings or select one of the

other filters.

3 Set the Matrix modifiers:

The Divisor number is used to divide the Filter matrix values.

It can reduce the effects of the filter matrix. Use the Compute

button to calculate a Divisor that will adjust the brightness of

the image back to no change.

The Bias number shifts each color value by a fixed amount.

The number is added to the color value produced by the filter

matrix.

4 In the Apply to group box, pick the which color values the effect

applies to.Choose Color Channels and mark the channels, or

choose Grey Values.

5 After you make changes, click OK. Paint Shop Pro applies the

effect to the image.

Using the Displacement Map Effect

This filter allows the user to warp, or displace, one image based on

the contents of another image. This can allow you to do such things

as:

Apply text to real world objects to make it look like the text was

there all along;

Create your own unique deformation type effects based on

images previously modified by Paint Shop Pro's Distortion or

Geometric effects;

By using the dialog's Gradient option, users can create effects

resembling morphing-type effects such as erosion and dilation;

An easy way to create your

own effects

On the User Defined Filter dialog,

click the Randomize button to

automatically adjust the

coefficients and create unusual

effects. Just keep clicking the

Randomize button until you find an

effect that you like.

Chapter 9: Applying Effects 229

By combining images such as gradients with line art this filter

can produce interesting embossing type effects;

Accessing and Using the Filter

1 Choose Effects > Distortion Effects > Displacement Map.

2 In the Displacement Map section of the dialog, click the image

drop-list and choose an image to use as the displacement map.

3 Because the map likely won't have the same dimensions as the

source image being transformed, choose either the Stretch map

to fit image option, or the Tile map to cover image option. If you

choose the Tile option, you can adjust the Size % setting to tile

the image to a size that covers the image being deformed.

4 Set the Blur value to the amount you wish to blur the

displacement map. Lower values produce jittery, pointillist

effects, while higher values produce smoother warping effects.

5 In the Displacement Properties section, choose one of these

options:

2D offsets using red and green: this option displaces the image

using the red and green channels.

3D surface using luminance: this option displaces pixels in

proportion to changes in light. Like a bump map, this option

treats the source image like it's a 3D surface in which pixel

luminance values determine height.

6 Use the Intensity setting to control the amount of displacement.

Lower values result in less change to the image, higher values

yield greater deformation.

7 Use the Rotation setting to determine the rotation of the

displacement data. For example, a setting of 180 changes

upward/left displacement to downward/right displacement.

8 Use the Edge mode setting to determine how "out of bounds"

displacement is handled:

Wrap: treats the image as if it were a tile repeating in each

direction.

Repeat: takes each side's edge pixel and repeats it outward

infinitely.

Color: allows you to choose a color from the Color box to

represent out of bounds pixels.

Chapter 9: Applying Effects

230

Transparent: (available only with layered images) results in out

of bounds pixels being transparent.

Using the Radial Blur Effect

This filter produces an image effect that simulates what you might

see if you took a picture while spinning a camera in circles, or by

zooming in quickly using a very slow shutter speed. You can also

choose a twirling effect.

Accessing and Using the Filter

1 Choose Adjust > Blur > Radial Blur.

2 In the Blur type section, choose one of these options:

Spin: blurs pixels circularly around the image center.

Zoom: blurs pixels away from the center.

Twirl: blurs pixels in a spiraling manner.

3 In the Blur section, choose a Strength value. Lower values lessen

the effect; higher values intensify the effect.

4 If you chose the Twirl option, you can then set the Twirl degrees

value, which ranges from -90 to 90.

5 Mark the Elliptical check box if the radius should be squeezed to

fit the image. If the image is square, this option will have no

effect. For rectangular images, this option produces elliptical

blurring; when turned off, the blurring will be circular.

6 In the Center section, choose the settings that affect the center of

the image:

Horizontal offset %: allows you to set the horizontal center point

of the blur.

Vertical offset %: allows you to set the vertical center point of the

blur.

Protect center %: allows you to determine how much to diminish

blurring at the image center. Higher values increase the radius of

the unblurred center area.

Chapter 9: Applying Effects 231

Mathematically Combining Two Images

Paint Shop Pro can create a variety of effects using the Arithmetic

effect, which combines two images to produce a third one based on

settings you select.

To combine images using the Arithmetic command:

1 Open the two images you want to combine.

2 Choose Image > Arithmetic to open the Image Arithmetic dialog.

3 In the Image #1 and Image #2 drop-down lists, select the images

to combine. The size of Image #1 determines the size of the new

image.

4 In the Function group box, select a method for combining the

images. The color data from the two images is combined on a

pixel-by-pixel basis according to the function.

5 From the Channel group box, select the color channels to

combine:

Mark the All channels check box to use all the color channels

in both images. This will produce a 24-bit image.

Select a specific color channel for each image to produce a

greyscale image.

Function New Color Value Equals

Add Image 1 Value + Image 2 Value

Subtract Image 1 Value - Image 2 Value

Multiply Image 1 Value x Image 2 Value

Difference Absolute Value of (Image 1 Value - Image 2

Value)

Lightest Maximum of (Image 1 Value, Image 2 Value)

Darkest Minimum of (Image 1 Value, Image 2

Value)

Average (Image 1 value + Image 2 Value) / 2

Or Binary Or

And Binary And

Chapter 9: Applying Effects

232

6 Set the Modifiers. The modifiers are applied to the color values

produced by the Formula and the Channel selections.

The Divisor number is used to divide the color values. It can

reduce the effects of the other selections.

The Bias number shifts each color value by a fixed amount.

The number is added to the color value produced by the

Formula, Channel, and Divisor selections.

7 Mark or clear the Clip color values check box to determine how

Paint Shop Pro handles final color values greater than 255 and

less than 0.

8 Click OK.

Check box

Setting If value is less

than 0 If Value is more

than 0

Selected value = 0 value = 255

Cleared value = 256 + value value = value - 256

233

Working with Colors and Materials

Whether you are applying color to an image or adjusting

photographic colors, it’s important to understand how Paint Shop

Pro works with color. This chapter describes how to choose colors

and materials that you can use to paint, draw, or fill. It also discusses

the basics of color—how it is displayed on screen and printed—as

well as image color depth.

Contents Basics of Using the Materials Palette . . . . . . . . . . . . . . . . . . . . 234

Using the Materials Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Choosing Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Choosing Gradients. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Choosing Patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Choosing Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Working with Swatches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Editing Gradients. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Understanding Color and Color Models. . . . . . . . . . . . . . . . . . . 256

How Monitor and Print Colors Differ . . . . . . . . . . . . . . . . . . . . . 258

Working with Color Channels . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Understanding Color Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Working with Image Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Making a Palette Color Transparent . . . . . . . . . . . . . . . . . . . . . 272

CHAPTER 10

Chapter 10: Working with Colors and Materials

234

Basics of Using the Materials Palette

The Materials palette offers a variety of ways to choose colors,

styles, and materials for the raster and vector tools. When using the

Art Media tools, however, you'll notice some functionality of the

Materials palette is disabled.

To display or hide the Materials palette:

Choose View > Materials palette or press F6. To close the palette you

can click the Close button located in the palette's title bar, or choose

View > Palettes > Materials again.

To choose a foreground or background solid color:

1 On the Materials palette, make sure the Foreground or Background

style is set to Color (not Gradient or Pattern), and the either the

Frame or Rainbow tab is active, then do one of the following:

To choose a foreground color, click the Foreground/Stroke

properties box. This will display the Material Properties

dialog.

To choose a background color, click the Background/Fill

properties box. This will display the Material Properties

dialog.

Note: You can also click the Foreground Material box or the

Background Material box to display the Material Properties

dialog, and then click the Color tab.

2 From the Material Properties dialog's Color tab, select the desired

color, and then click OK.

Materials palette tabs

Chapter 10: Working with Colors and Materials 235

To choose a foreground or background material (color, gradient,

pattern, or texture):

1 On the Materials palette, do one of the following:

To choose a foreground material, click the

Foreground Material box.

To choose a background material, click the

Background Material box.

The Material Properties dialog opens. In this dialog, you can

choose from all of Paint Shop Pro’s colors, gradients, patterns,

and textures.

2 To choose the style, click the Color, Gradient, or Pattern tab and

select the appropriate settings. For more information, see

“Choosing Colors” on page 239, “Choosing Gradients” on

page 244, or “Choosing Patterns” on page 246.

3 To choose a texture, mark the Texture check box and select a

texture. For more information, see “Choosing Textures” on

page 247.

4 Click OK.

To choose from recently used materials:

On the Materials palette, right-click a Color or Material box to

display the Recent Materials dialog, and then choose a material.

On the Recent Materials dialog you can click the Other button to

display the Material Properties dialog and choose or create a

material from all of Paint Shop Pro’s colors, gradients, patterns, and

textures.

To choose a color from the Frame tab:

1 On the Materials palette, click the Frame tab . It displays an outer

Hue rectangle and an inner Saturation rectangle, as well as a strip

containing white, three shades of grey, and black.

2 On the Saturation rectangle, click on the desired saturation:

Left-click to set the Foreground/Stroke color (hold down the

mouse button to display a tool tip with the cursor position's

RGB value)

Right-click to set the Background/Fill color (hold down the

mouse button to display a tool tip with the cursor position's

RGB value)

3 Drag the horizontal slider to further adjust the saturation.

The Material Properties dialog

Recent Materials dialog

Chapter 10: Working with Colors and Materials

236

4 Drag the vertical slider to adjust lightness.

To choose a color from the Rainbow tab's Available Colors

panel:

1 On the Materials palette, click the Rainbow tab .

2 Move the cursor over the Available Colors panel; its shape

changes to a dropper. As you move the dropper around the panel,

a ToolTip displays the color value beneath the dropper tip.

3 Do one of the following:

To choose the foreground color, left-click in the Available

Colors panel.

To choose the background color, right-click in the Available

Colors panel.

The Foreground or Background Color box displays the selected

color. If the Style button is set to Gradient or Pattern, change it to

Color so that the material is updated with the color.

To apply the current materials to all tools:

On the Materials palette, mark the All tools check box.

If you clear this check box, the current materials are applied to the

active tool only.

To reverse the foreground and background colors:

Click the Swap Colors icon .

To reverse the foreground and background materials:

Click the Swap Materials icon .

Using the Materials Palette

With Paint Shop Pro you can paint, draw, and fill with a variety of

colors, styles, and materials. A style is the color, gradient, or pattern.

A material is the style plus the optional texture. You select materials

on the Materials palette.

You can reverse the foreground

and background color or

material

wap Materials

Swap Colors

Color basics

For information on color—how it is

perceived, displayed, and printed—

see “Understanding Color and

Color Models” on page 256.

Chapter 10: Working with Colors and Materials 237

In general you use foreground materials for brush strokes and

background materials for fills. When you paint with a raster brush,

right-clicking the brush paints with the background material, and for

fill tools, left-clicking fills with the foreground material. When using

the Art Media tools, the current foreground color is used to apply

pigment in the Mixer palette. For text and vector shapes, the

foreground color is the stroke (or outline) of the text or shape and the

background color is the fill of the text or shape.

In general, it's best to select the tool you want to use, select the

color/material on the Materials palette, set the other tool options, and

then use the tool.

Note that when using the Art Media tools, some functionality of the

Materials palette is disabled.

The Materials palette is shown below.

Here are the main components of the Materials palette:

Frame tab This is the first tab across the top. It displays an outer Hue

rectangle and an inner Saturation rectangle, as well as a strip

containing white, three shades of grey, and black. You can drag the

vertical slider to adjust lightness, and drag the horizontal slider to

adjust saturation.

Rainbow tab This is the second tab across the top. It displays the

Available Colors panel, where you can click to select a color. At the

bottom of the tab you can click to select white, black, or three shades

of grey.

Swatches tab Displays swatches, which are materials you can save

to use again. For more information, see “Working with Swatches” on

page 249.

Foreground and Background Color boxes Display the current

foreground or background color.

About the relationship

between the Material and

Color boxes

Since you can select colors by

clicking the Material boxes, you

may wonder why the Materials

palette includes Color boxes too.

With the Foreground or

Background Property box, you can

select a new color even when the

Material box displays a gradient or

a pattern. The Color boxes provide

a quick way to change colors

without changing the other parts of

the material.

Chapter 10: Working with Colors and Materials

238

Foreground and Background Material boxes Display the current

foreground or background material (the style—color, gradient, or

pattern—plus the texture).

Style button Specifies which style is currently selected:

color , gradient , or pattern . To change between the most

recently selected color, gradient, or pattern: click the Style button

and select a new style. To define a new color, gradient, or pattern,

click a Material box.

Texture button Turns the current texture on or off. To choose a

new texture, click the Foreground Material or Background Material

boxes.

Transparency button Specifies whether the foreground or

background material is transparent (in other words, it has no style or

texture). You use a transparent material primarily with vector objects

and text—a transparent foreground has no outline (the objects or

letters are filled only) and a transparent background has no fill (the

objects or letters are outlined only). This button is unavailable for

tools that require a foreground or background color.

All Tools If the check box is marked, the selected foreground and

background materials apply to all tools. If the check box is cleared,

the selected materials apply only to the active tool (such as the

Paintbrush tool or the Preset Shapes tool).

Note

The All Tools check box does not apply to the Edit Text command.

You can reverse the foreground

and background color or

material

wap Materials

Swap Colors

Chapter 10: Working with Colors and Materials 239

Choosing Colors

When you edit images in Paint Shop Pro, you often need to choose a

color—before you paint, when making manual color corrections, or

when choosing a background for a new image. You choose colors as

follows:

For images with 16 million colors, choose from the Jasc Color

Picker. See “Choosing Colors from the Jasc Color Picker” on

page 239.

With images with 2 to 256 colors, choose from the image palette.

See “Choosing Colors from the Image Palette” on page 242.

For all images, you can choose a color from an open image or

from any displayed color. See “Choosing Colors from an Image

or the Desktop” on page 242.

Choose a color from the Frame tab or the Rainbow tab of the

Materials palette. Left-click to choose the foreground color or

right-click to choose the background color.

Choosing Colors from the Jasc Color Picker

The Jasc Color Picker displays when you click a Color or Material

box on the Materials palette. You also choose from this color picker

when you click a Color box in some Paint Shop Pro dialogs.

The Jasc Color Picker offers a variety of ways to select colors:

Select from the Color wheel and Saturation/Lightness box, which

offer a visual way to select a color based on its hue, saturation,

and lightness.

Select from the Basic Colors panel, which displays commonly

used colors.

Select RGB or HSL values to choose a color based on its red,

green, and blue values or its hue, saturation, and lightness values.

Enter an HTML color code.

Select a color from the active image.

Note

If the active image has a color depth less than 24-bit (16 million

colors), you must select colors from a palette rather than the Jasc

Color Picker. See “Choosing Colors from the Image Palette” on

page 242.

The Jasc Color Picker

Color whee

Saturation/

Lightness

box

Basic Colors

panel

Chapter 10: Working with Colors and Materials

240

To display the Jasc Color Picker:

On the Materials palette, do one of the following:

To choose the foreground color, click the Foreground Material

box or Foreground Color box.

To choose the background color, click the Background Material

box or Background Color box.

If you clicked a Material box, the Material Properties dialog opens

(here you can choose colors, gradients, patterns, and textures); click

the Color tab to display the Jasc Color Picker.

If you clicked a Color box, the Color dialog opens and displays the

Jasc Color Picker; here you can choose colors only.

To choose a color using the Color wheel:

1 On the Color wheel, click the approximate color or drag the

selection ring around the color wheel to select the color.

The Color wheel represents the hue—notice that the Hue edit box

updates with a value between 0 and 255 as you go around the

wheel.

2 On the Saturation/Lightness box, click to choose a color variation

or drag the selection ring. Move from left to right to increase the

saturation. Move from top to bottom to increase the lightness.

To choose a color from the Basic Colors panel:

1 Move the cursor over the Basic Colors panel. A ToolTip displays

the color value.

2 Click the color you want. Notice that the RGB and HSL values

update with the current color values and the selection rings on

the Color wheel and the Saturation/Lightness box move to the

selected color.

To choose a color using its RGB or HSL value:

For each value you want to change, do one of the following:

Click the slider button and drag the slider to a new position.

Drag the meter bar to a new position.

Click the edit box and type a new value.

To change the value by one, click the up or down arrows .

The selection rings show which

color is selected

Color wheel

Saturation/

Lightness

box

The Basic Colors panel displays

commonly used colors

Use the numeric edit controls to

choose a color using its

RGB or HSL value

Chapter 10: Working with Colors and Materials 241

Note: Clear the Link Colors check box to have the sliders visually

represent only their selected value (such as just the hue).

To choose a color from the active image:

1 Make sure the Jasc Color Picker is displayed. See “To display the

Jasc Color Picker:” on page 240.

2 Move the cursor over the active image. The cursor turns into a

dropper and a ToolTip displays the color values.

3 Click the part of the image that has the color you want. The Jasc

Color Picker updates with that color.

Note: You can also choose a color from an image using the

Dropper tool or a special feature of Color or Material boxes. See

“Choosing Colors from an Image or the Desktop” on page 242.

Specifying HTML Code for Colors

With the Jasc Color Picker, you can view the HTML (Hypertext

Markup Language) code for each color you select. You can also

specify a color by entering the HTML code.

Note

By default, Paint Shop Pro displays decimal (base 10) numbers in

the Jasc Color Picker. You can also display hexadecimal (base 16)

numbers—the format of HTML color codes. For more information,

see “Display and Caching Preferences” on page 61.

To specify or view HTML code for colors:

1 Display the Jasc Color Picker. See “To display the Jasc Color

Picker:” on page 240.

2 Do one of the following:

To specify a color using its HTML code, type the code in the

HTML edit box.

To view the HTML code of a particular color, choose a color

by other methods (such as entering RGB values or selecting

from the color wheel), and then view the number in HTML

edit box.

The HTML code for the color

true red (RGB 255, 0, 0) in the

Jasc Color Picker

Red

Green

Blue

Hexadecimal symbol

Chapter 10: Working with Colors and Materials

242

Choosing Colors from the Image Palette

Images that have a color depth less than 24-bit (16 million colors)

are called paletted images—the available colors are a subset of all

the colors your computer can display. The palette varies from 2 to

256 colors, depending upon the color depth of your image. With

these images, you must choose foreground and background colors

from the palette rather than from the Jasc Color Picker.

Note

If you select the Rainbow Picker as your preference setting, the

Available Colors panel of the Materials palette shows all colors for

both paletted and non-paletted (16 million color) images. For

paletted images, when you select a color on the Available Colors

panel Paint Shop Pro chooses the nearest color in the palette.

To choose colors from the palette:

1 On the Materials palette, do one of the following:

To choose the foreground color, click the Foreground Color or

Foreground Material box.

To choose the background color, click the Background Color

or Background Material box.

Clicking a Color box opens the Color dialog and displays the

palette. Clicking a Material box opens the Material Properties

dialog; click the Color tab to display the palette.

2 In the Sort order drop-down list, select the way the colors are

sorted: Palette (in order by the way the palette stores the colors),

Hue (in order by color) or Luminance (in order by lightness).

3 Click the desired color. The color’s index number within the

palette, color value (RGB or HSL), and HTML code are

displayed.

4 Click OK.

Choosing Colors from an Image or the Desktop

Use the Dropper tool to choose a foreground or background color

from any open image. Or use a special feature of Color and Material

boxes to select from any color within Paint Shop Pro (such as a color

on a toolbar). If you have Windows 2000 or later, you can choose a

color from other applications (such as a color displayed in a word

processor).

Selecting colors from the

image palette

When should I choose a

color from the desktop?

You can choose a foreground or

background color from the desktop

when you particularly like an icon

color, or when you want to match

the Windows desktop colors.

Chapter 10: Working with Colors and Materials 243

Note

You can also use the Jasc Color Picker to choose a color from any

open image. See “To choose a color from the active image:” on

page 241.

To use the Dropper tool to choose (or sample) a color:

1 On the Tools toolbar, choose the Dropper tool . The tool may be

hidden under the Color Replacer tool.

2 Position the cursor over the color in the image.

3 Left-click to make the color the foreground color or right-click to

make it the background color.

To choose a color from the active image:

1 Position the cursor over the active image.

Note: This applies to the Brush, Eraser, and Picture Tube tools.

2 Hold down the Ctrl key and left-click to choose the color as the

foreground color or right-click to choose the color as the

background color.

To choose a color from an image or the desktop:

1 Make sure the color you want to choose is displayed on the screen.

2 Position the cursor over a Color or Material box (on the Materials

palette or in a dialog).

Note: On the Materials palette, you must assign the foreground

and background color separately. Position the cursor over one or

the other, follow the steps, and then start over for the other color.

3 Hold down the Ctrl key and continue to hold it down until you’ve

completed the following steps.

4 Move the cursor over the area of the desktop that has the color

you want to choose. The cursor is a dropper over any area

that you can choose from. For Windows 2000 or later systems,

the cursor remains a dropper when you move off Paint Shop Pro

onto another application.

5 Left-click to select the color. The Color box or Material box

updates with the color.

6 To change the color selection, continue to hold the Ctrl key and

click on different parts of the desktop.

7 Release the Ctrl key.

Material and Color boxes on the

Materials palette (left) and a

Color box on a Paint Shop Pro

dialog (right).

Chapter 10: Working with Colors and Materials

244

Choosing Gradients

Gradients are gradual blends between two or more colors. You can

paint, draw, or fill with gradients to create interesting effects or

helpful color transitions. Use gradients to create Web buttons with

shadows and highlights, to make objects look shiny or glowing, or to

add dimension to objects. Use gradients to fade Web page graphics

into other content or use a black-to-white gradient as a mask.

You choose gradients on the Gradient tab of the Material Properties

dialog.

To choose a foreground or background gradient:

1 On the Materials palette, set the Foreground/Stroke or the

Background/Fill style to Gradient, and then click the associated

property box. This displays the Materials Properties dialog, and the

Gradient tab will be active.

2 Click the Gradient drop-list to view a thumbnail of the available

gradients. If necessary, choose a Category containing the desired

gradients.

3 Click the desired gradient. This closes the drop-list. The gradient

name will appear above the drop-list.

4 If desired, set the following options for the gradient:

Style The style for the gradient: Linear , Rectangular ,

Sunburst , and Radial .

Angle (Linear, rectangular, and radial gradients only) The angle

or direction of the gradient, from 0 to 359 degrees.

Repeats The number of times (from 0 to 100) to repeat the

gradient pattern.

Invert Mark to invert the colors of the gradient.

Center Point (Rectangular, sunburst, and radial gradients only)

The horizontal and vertical coordinates of the point from which

the gradient disperses or radiates. The distance is measured as a

percentage of the fill area’s width. Change the center point to

create fills in circles or other shapes where the center of the

gradient is not at the center of the object.

Color depth

Gradients are available for

greyscale and 16 million color

images only. To increase the color

depth of an image, see page 261.

Example applications of

gradients

The Gradient tab of the

Material Properties dialog

Gradient

drop-list

Chapter 10: Working with Colors and Materials 245

Focal Point (Rectangular and sunburst gradients only) The

horizontal and vertical coordinates of the point where the

foreground color of the gradient begins. The distance is measured

as a percentage of the fill area’s width. Change the focal point to

create fills in circles or other shapes where the effective light

source is not at the center of the object. This option is available

only when the Link Center and Focal Points check box is cleared.

The examples below show the effect of varying the center point

and the focal point.

Link center and focal points (Rectangular and sunburst

gradients) Mark this check box to have the center and focal

points be the same values. Clear the check box to edit the focal

point separately from the center point.

Note: You can also move the center point by dragging the control

needle or cross-hairs shown in the Gradient drop-list. If you clear

the Link Center and Focal Points check box, you can move the

focal point by dragging the cross-hairs on the gradient.

5 To edit the colors, transition points, and opacity of the gradient,

click the Edit button. For more information, see “Editing

Gradients” on page 251.

6 To save this gradient as a swatch that you can access later, click

the Add to swatches button, type a name, and press Enter.

7 Click OK.

Location of

coordinates

30, 30

50, 50

enter: 50, 50

ocal: 50, 50

enter: 50, 50

ocal: 30, 30

enter: 30, 30

ocal: 50, 50

enter: 30, 30

ocal: 30, 30

Chapter 10: Working with Colors and Materials

246

Choosing Patterns

You can paint, draw, or fill patterns to create interesting effects.

Paint Shop Pro includes many patterns (such as bricks and zebra

stripes). You can create your own as well. You can also use an entire

image or part of an image as a pattern.

Patterns are a great way to add creative flair to your images. You can

apply patterned brushstrokes, create objects with patterned fills or

edges, and create patterned text. You can use patterns to create

stationary to use when sending e-mail or to create tiled images for

Web pages. Patterns are especially helpful for projects that require

an interesting background—such as a CD covers, calendars, or

greeting cards.

You choose patterns on the Patterns tab of the Material Properties

dialog.

To choose a foreground or background pattern:

1 On the Materials palette, set the Foreground/Stroke or the

Background/Fill style to Pattern, and then click the associated

property box. This displays the Materials Properties dialog, and the

Pattern tab will be active.

2 Click the Pattern drop-list to view a thumbnail of the available

patterns. If necessary, choose a Category containing the desired

patterns.

3 Click the desired pattern. This closes the drop-list. The pattern

name will appear above the drop-list.

4 If desired, set the following options for the pattern:

Angle The angle (or direction) of the pattern, from 0 to 359

degrees. You can also click and drag the control needle on the

pattern to change the angle.

Scale The scale—from 10 to 250 percent of the image’s actual

size. At smaller values, the image is repeated more frequently

throughout the pattern. At larger values, the image may be

cropped and may lose detail and become blurry.

5 To save this pattern as a swatch that you can access later, click

the Add to Swatches button, type a name, and press Enter.

6 Click OK.

Example applications of

patterns

Color depth

Patterns are available for greyscale

and 16 million color images only.

To increase the color depth of an

image, see page 261.

The Pattern tab of the

Material Properties dialog

Patter

list

Chapter 10: Working with Colors and Materials 247

To use an image as a pattern:

1 Open the image you want to use.

2 To select a part of the image as the pattern, make a selection in

the image.

3 Follow the same steps as above for choosing a pattern and choose

the image from the Pattern Type drop-down list. If the image has

a selection, the selection rather than the entire image is available

as a pattern.

To create a new pattern:

1 Create an image (in Paint Shop Pro or another application).

2 Save the image as a file in the Patterns folder of the Paint Shop

Pro program folder.

Note: To change the default location of pattern files, on the

Material Properties dialog click the File Locations button in the

Pattern drop-list. See, “Editing File Locations” on page 68.

Choosing Textures

You can paint, draw, or fill with a texture to create interesting

effects. Textures give your images the effect of having a textured

canvas or paper. Paint Shop Pro includes many textures, such as

clouds, cracked cement, and old paper. You can create your own as

well. You use textures with the current style (solid color, gradient, or

pattern) for foreground and background strokes or fills. You can

apply strokes or fills multiple times to gradually darken and fill in

the texture.

To select the current texture for the foreground or

background material:

On the Materials palette, click the Texture style button on the

Foreground Material box or the Background Material box. The most

recently chosen texture becomes active.

To choose a new texture:

1 With the current style set to Texture, on the Materials palette do one

of the following:

To choose a foreground texture, click the

Foreground Material box.

Pattern versus texture

For a comparison of patterns and

textures, see “Understanding the

Difference Between Patterns and

Textures” on page 249.

Example of painting with

atexture

Chapter 10: Working with Colors and Materials

248

To choose a background texture, click the

Background Material box.

The Material Properties dialog opens.

2 Mark the Texture check box.

3 Click the Texture Type drop-list and select a type of texture.

4 Select the options for the texture:

Angle The angle (or direction) of the texture, from 0 to 359

degrees. You can also click and drag the control needle to change

the angle.

Scale The scale—from 10 to 250 percent of the image’s actual

size. At smaller values, the image is repeated more frequently

throughout the texture. At larger values, the image may be

cropped and may lose detail and become blurry.

As you modify the options, the Current color box displays the

resulting material (the style plus the texture).

5 To change the style of the material, click the Color, Gradient, or

Pattern tab and specify the options.

6 Click OK.

To create a new texture:

1 Create an image (in Paint Shop Pro or another application).

2 Save the image as a file in the Textures folder of the Paint Shop

Pro program folder.

Note: To change the default location of texture files, on the

Material Properties dialog click the File Locations button in the

Pattern drop-list. See, “Editing File Locations” on page 68.

The Texture panel of the

Material Properties dialog

Texture

Type

Where are texture files

stored?

The Texture Type drop-list displays

all the available files in the

Textures folder of the Paint Shop

Pro program folder. You can also

include .TEX files from previous

versions of Paint Shop Pro in this

folder.

Chapter 10: Working with Colors and Materials 249

Understanding the Difference Between

Patterns and Textures

On the Materials palette you can select both a pattern and a texture

as part of a material. What’s the difference between the two?

A pattern is an opaque, repeated image with specific colors and

details. A pattern is a style just like solid color or gradient. Thus,

patterns do not use the current foreground or background colors.

Let’s say you select the pattern called Bricks and then apply

brushstrokes with the Paintbrush tool. Each brush stroke paints the

brick pattern.

A texture gives the effect of having textured canvas or paper.

Textures use the current style (such as a solid color). Let’s say the

foreground color is yellow and you select the texture called

Crumpled Paper. When you apply a brush stroke, each brush stroke

paints yellow with the texture of crumpled paper.

Unlike patterns, textures can be applied at the same time as styles—

solid color, gradient, or pattern. That means you can have both a

pattern and a texture selected at the same time.

Working with Swatches

Swatches are materials that you can save to use again. For example,

if you create a material that is a certain shade of green with a fog

texture, you can save it as a swatch. Swatches are displayed on the

Swatches tab of the Materials palette.

To create a new swatch:

1 On the Materials palette, click the Swatches tab .

2 Click the Create New Swatch button . You can also click the

More Options button and choose New Swatch.

3 Type a name for the swatch. This name appears as a ToolTip

when you hold the cursor over the swatch on the Materials

palette.

4 Press OK to open the Material Properties dialog.

Painting with:

a pattern, a texture,

a pattern and a texture

An alternative way to create

aswatch

While you are selecting a material

on the Material Properties dialog,

click the Add to Swatches button

to create a new swatch of the

currently selected material.

Chapter 10: Working with Colors and Materials

250

5 Select the style (color, gradient, or pattern) and the texture for the

material.

6 Click OK.

To select a swatch:

1 On the Materials palette, click the Swatches tab .

2 Do one of the following:

To select a swatch as the foreground material, left-click the

swatch you want to use.

To select a swatch as the background material, right-click the

swatch you want to use.

To edit a swatch:

1 On the Materials palette, click the Swatches tab .

2 Double-click the swatch you want to edit. You can also click the

swatch, click the More Options button , and then choose Edit

Swatch. The Material Properties dialog opens.

3 Edit the style (color, gradient, or pattern) or the texture for the

material.

4 Click OK.

To delete a swatch:

1 On the Materials palette, click the Swatches tab .

2 Click the swatch you want to delete.

3 Click the Delete Swatch button or click the More Options

button and choose Delete Swatch.

To rename a swatch:

1 On the Materials palette, click the Swatches tab .

2 Click the swatch you want to rename.

3 Click the More Options button and choose Rename Swatch.

To change how swatches are displayed:

1 On the Materials palette, click the Swatches tab .

The Swatches tab of the

Materials palette

Swatches

More Options

button

View

button

New Swatch

button

Delete

button

Swatches

tab

Chapter 10: Working with Colors and Materials 251

2 Do one of the following:

To select which swatch types are displayed, click the View

button and choose All , Colors , Gradients , or

Patterns . You can also click the More Options button ,

choose View, and then choose the swatch type to display.

To change how swatches are sorted, click the More Options

button , choose Sort, and then choose By Style or By Name.

By default, the swatches are sorted by style.

To change between small and large thumbnails of the

swatches, click the More Options button and choose Small

Thumbnails or Large Thumbnails. By default, small

thumbnails are displayed.

Editing Gradients

You can change the colors, transition points, and transparency of

gradients in the Gradient Editor dialog. You can edit Paint Shop

Pro’s default gradients or create your own gradients. You can also

rename, delete, import, and export gradients.

The Gradient Editor dialog is shown below.

To specify the colors and transition points of the gradient, use

settings in the Gradient group box. To change the transition points,

edit the location of markers and midpoints on the gradient bar:

Markers indicate points of solid color.

Editing the default gradients

If you edit and save one of the

gradients that comes with Paint

Shop Pro, you are permanently

changing the gradient type. For

example, if you select the Green

Neon gradient type, change its

colors to orange and yellow, and

save it. The next time you select

the Green Neon gradient type, it is

no longer green.

To maintain Paint Shop Pro’s

default gradients, save changes to

a new gradient file. See “Saving

Edited Gradients” on page 254. Gradient bar

Transparency bar

Result shows

gradient settings plus

transparency settings

Chapter 10: Working with Colors and Materials

252

Midpoints indicate the positions where two colors are equally

blended. Each pair of markers has a midpoint that can be located

anywhere between the markers.

To specify the transparency of the gradient, including opacity values

and transition points, use the settings in the Transparency group box.

Markers and midpoints indicate the places where the transparency

changes. You change and add markers on the transparency bar,

which represents the transparency of the gradient across its width.

The following table shows example gradients that result from

different numbers of markers.

To display the Gradient Editor dialog:

1 On the Materials palette, click the Foreground Material box or the

Background Material box.

The Material Properties dialog opens.

2 Click the Gradient tab.

3 Choose the gradient you want to edit, then click the Edit button.

To change the location of markers and midpoints:

Do one of the following:

Click and drag the marker or midpoint to a new location.

How can I restore Paint

Shop Pro’s default

gradients?

Do a custom installation to

reinstall the gradients from the

Paint Shop Pro program disk.

For more information, see

“Installing the Software” on

page 6.

These Gradient Marker Locations Produce

this Linear

Gradient

Produce this

Rectangular

Gradient

Markers

Midpoint

Markers

Chapter 10: Working with Colors and Materials 253

Click the marker or midpoint to select it, then enter a value in the

Location field.

To add a new marker:

Click a position under the gradient bar or the transparency bar.

For the gradient bar, the marker’s initial color is determined by the

currently highlighted Fore, Back, or Custom button. Click another

color button to change the color.

For the transparency bar, the marker’s initial opacity is 100%.

Change this value in the Opacity edit box.

To delete a marker:

Click the marker and drag it away from the gradient bar or the

transparency bar.

To change the color for a marker:

1 Click the marker below the gradient bar to select it. The triangle at

the top of the marker turns black.

2 Choose a color by doing one of the following:

To use the foreground color, click the Fore button .

To use the background color, click the Back button .

To use the currently defined custom color, click the Custom

button .

To choose a new custom color, left-click the Custom color box

to select from the Color Picker or right-click to select from

recently used colors.

To select a color from within the gradient itself, click the

gradient bar.

To change marker transparency:

1 Click the marker below the transparency bar to select it. The

triangle at the top of the marker turns black.

2 Change the value in the Opacity edit box. Values range from 0%

(completely transparent) to 100% (opaque—the underlying

pixels are covered completely).

If a gradient uses

foreground or background

colors

If a gradient contains the

foreground or background color,

when you next apply the gradient it

uses the current foreground and

background colors of the image

(rather than the colors that you

used to define the gradient).

To create a gradient that always

contains the same colors, color all

markers with custom colors.

Chapter 10: Working with Colors and Materials

254

Saving Edited Gradients

After editing a gradient via the Gradient Editor dialog, you can save

the gradient as follows:

1 Click the Copy button. This displays the Copy Gradient dialog.

2 Enter a unique name for the gradient, and then click OK.

3 You'll see a message asking to confirm that you wish to save the

gradient. Click Yes.

Creating New Gradient Types

You can create a new gradient type that is selectable from the drop-

down list of the Gradient tab of the Material Properties dialog. If you

use the foreground and background colors to define the gradient, the

image’s current foreground and background colors are used when

you apply the gradient. To create a gradient type that always uses the

same colors, use custom colors for all markers.

To create a new gradient type:

1 Display the Gradient Editor dialog.

2 Click the New button.

3 Type a name for the new gradient.

4 Click OK.

The gradient is initially defined with two markers at 0 and 100% that

use the custom color. You can now edit the gradient.

Exporting Gradients

After creating a new gradient, you may want to export it to use in

another program. Although Paint Shop Pro’s default gradients are

stored in .PspGradient format, you export gradients as .GRD format,

which is commonly used in other applications.

To export a gradient:

1 Display the Gradient Editor dialog. See “To display the Gradient

Editor dialog:” on page 252.

2 If you have not already selected the gradient to export, choose it

from the Types box and edit its settings as desired.

3 Click the Export button.

How do I get my .GRD

format gradient to be

listed?

To have a .GRD format gradient be

listed as a gradient type, you must

import it. See “Importing Gradients”

on page 255.

Chapter 10: Working with Colors and Materials 255

4 Select the folder in which to save the gradient. Paint Shop Pro’s

default gradients are stored in the Gradients folder within the

Paint Shop Pro program folder.

5 In the File name edit box, type a name for the new gradient.

6 Click the Export button.

Importing Gradients

You can import gradients in the .GRD file format, which is a format

used in other applications.

To import a .GRD gradient:

1 Display the Gradient Editor dialog. See “To display the Gradient

Editor dialog:” on page 252.

2 Click the Import button.

3 Select the folder containing the gradient you want to import. All

.GRD files are listed.

4 Select the gradient’s file name.

5 Click OK.

Renaming and Deleting Gradients

You can rename or delete gradient types.

To rename a gradient:

1 Display the gradient you want to rename in the Gradient Editor

dialog.

2 Click the Rename button. This displays the Rename Gradient

dialog.

3 Type the new name.

4 Click OK.

To delete a gradient:

1 Click the gradient you want to delete in the Gradient Editor dialog.

2 Click the Delete button. You'll see a message asking to confirm

the deletion.

3 Click Yes.

Importing Jasc gradient

files

To import a gradient saved in Jasc

Gradient format (.PspGradient),

place the file in the Gradients

folder. All .PspGradient files in that

folder are automatically listed as

available gradient types.

How can I restore Paint

Shop Pro’s default

gradients?

Do a custom installation to reinstall

the gradients from the Paint Shop

Pro program disk. For more

information, see “Installing the

Software” on page 6.

Chapter 10: Working with Colors and Materials

256

Understanding Color and Color Models

We usually think of color as a quality inherent in an object—a red

car or a green frog. But color is really what we see as a result of

three factors interacting: light, the object, and the observer. As rays

of light hit the object, the object absorbs some light and reflects

some light. We see the reflected light and perceive it as color.

Different colors reflect light of different wavelengths. Human eyes

are able to perceive thousands of colors in the visible spectrum of

light.

When you apply ink to paper, the colors we see result from the light

that the ink reflects. Computer monitors use emitted light rather than

reflected light—the colors we see result from light emitted from the

screen.

To describe how color is produced or perceived, we use color

models. Computer monitors display colors by producing varying

amounts of red, green, and blue light—the RGB color model. Human

eyes perceive color by its hue, saturation, and lightness levels—the

HSL color model. With Paint Shop Pro you can select colors using

either the RGB or HSL color model. You can also output images

using the CMYK (Cyan, Magenta, Yellow, Black) model, which is

used for high-end printing applications.

RGB Model

All colors on your computer screen are created by mixing red, green,

and blue light in varying proportions and intensities. Adding all the

colors together creates white.

Each primary color (red, green, and blue) is assigned a value from 0

(none of the color present) to 255 (the color at full strength). For

example, pure red is produced by combining a red value of 255, a

green value of 0, and a blue value of 0. Yellow is a combination of a

red value of 255, a green value of 255, and a blue value of 0. Setting

all three values to 255 produces white; setting all three values to 0

produces black. When all three colors are set to the same value (such

as 120, 120, 120), the result is grey.

HSL Model

The HSL model is based on how the human eye perceives color

using the characteristics of hue, saturation, and lightness. Each

characteristic is assigned a value from 0 to 255. The three

characteristics are described as follows:

Selecting the color model

RGB is the default color model. To

change your color model

preference, see “Display and

Caching Preferences” on page 61.

Paint Shop Pro uses your preferred

color model (RGB or HSL)

whenever color values are

displayed, such as with the

Dropper tool. When you select

colors from the Jasc Color Picker,

you are able to enter RGB or HSL

values regardless of your

preference setting.

The color model used to display

color values on-screen has no

effect on how colors are printed.

Choose a color model preference

that is easier for you to use.

Chapter 10: Working with Colors and Materials 257

Hue The color reflected from an object, such as red, yellow, or

orange. Each hue value is assigned based on its position on the color

wheel. On the Jasc Color Picker’s color wheel, colors are assigned

counterclockwise from the top. Red is at the top (value 0) and as you

move around the wheel the colors go through orange, yellow, green,

blue, purple, and back to red.

Saturation The purity or vividness of the color. Saturation represents

the amount of grey in the color, from 0 (entirely grey) to 255 (fully

saturated color).

Lightness The perceived amount or intensity of light in the color.

Lightness ranges from 0 (no light, or black) to 255 (total lightness,

or white). At 50 percent lightness, or a value of 128, a color is

considered pure. For example, pure red has a hue of 255, a saturation

of 255 (100 percent) and a lightness of 128 (50 percent). For pure

blue, the hue is 170, saturation is 255 and lightness is 128.

CMYK Model

The CMYK model is based on the fact that ink on paper both absorbs

and reflects light. As white light strikes the ink, part of the color

spectrum is absorbed and part is reflected back to your eyes

(resulting in the color you see).

In this model, the primary colors cyan (C), magenta (M), and yellow

(Y) combine in varying proportions to produce a variety of colors.

When the three colors are combined, they produce black. Because

impurities in the ink make it difficult to produce a true black, a

fourth color, black (K), is added.

Combining inks in this way is called four-color process printing. It is

used by printing services and high-end color printers.

Although you cannot create images in Paint Shop Pro using the

CMYK model, you can produce color separations that can be printed

on CMYK printers. There are two ways to do this: You can split the

images into CMYK channels or you can print color separation pages.

CMYK channels are simply four separate greyscale images that

represent the percentage and location of cyan, magenta, yellow, and

black in the image. For more information, see “Working with Color

Channels” on page 259.

When you print CMYK separations, Paint Shop Pro prints a separate

greyscale page for each primary color. You can then use these pages

as “color plates” to give to a printing service. For more information,

see “Printing with CMYK Color Separations” on page 452.

Chapter 10: Working with Colors and Materials

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How Monitor and Print Colors Differ

Computer monitor colors and printed colors may often be quite

different—which is a challenge when you are trying to match a

certain color. Colors can also appear different from monitor to

monitor.

Image colors on a monitor are influenced by a variety of factors: the

color range, called the color gamut, of the input device (such as the

scanner or camera), the manufacturer and age of the monitor, and the

monitor’s brightness and contrast settings.

When you print an image, you introduce other factors that influence

color: the quality and absorption properties of the paper, the color

gamut of the printer, and the conversion of RGB values from the

monitor to the CMYK values of the printer’s ink.

This conversion is a challenge because of the different approaches to

color between monitors and printers. Because monitors use light to

display color, they use additive colors—when you add them

together, they produce white. Conversely, when you remove all

monitor colors you produce black. Because printers use ink to

display color, they use subtractive colors—when you remove colors,

you produce white, and when you add all printer colors you produce

black. As a result, monitors and printers have different color gamuts.

Although they share many of the same colors, there are some colors

a monitor can display that a printer can’t print and some colors a

printer can print that a monitor can’t display.

Given all the factors that go into producing colors, how do you go

about making colors accurate and consistent? Try these options:

Calibrate your monitor every few months. See “Calibrating Your

Monitor” on page 84.

Get to know the typical differences between your monitor’s

colors and your printer’s colors so that you can adjust your

images as needed. Print out several photographs or other images

and compare them to the screen. Are there typical results? For

example, your printer may always print colors darker than your

monitor displays them. Knowing this, you can modify the

lightness of your images accordingly.

Consider using Windows Color Management, which helps to

improve color consistency across devices. See “Adjusting

Monitor Display Options” on page 84.

Additive

colors Subtractive

colors

Chapter 10: Working with Colors and Materials 259

Working with Color Channels

Image files store their color information in channels, or planes, of

colors. You can separate (or split) an image into RGB, HSL, or

CMYK color channels. An RGB image has three channels: red,

green, and blue. An HSL image has three channels: hue, saturation,

and lightness. Although you cannot create or edit an image using the

CMYK model, you can still split the image to four channels: cyan,

magenta, yellow, and black.

The Split Channel command creates a new greyscale image for each

color channel; the original image is not affected. For example, an

HSL image is split into separate greyscale images named “Hue,”

“Saturation,” and “Lightness.” Each greyscale image represents the

percentage and location of a color (such as red) or a characteristic

(such as lightness) within the image.

You can edit the greyscale images and use them to create interesting

effects or masks. You can combine them again using the Combine

Channel command. If you split an image into CMYK channels, you

can then send the four greyscale images to a printing service. (You

can also print CMYK separations directly; see “Printing with CMYK

Color Separations” on page 452.)

To split color channels:

1 Open the image.

2 Choose Image > Split Channel and choose RGB, HSL, or CMYK.

A new greyscale image opens for each color channel.

To combine color channels:

1 Open each color channel file.

2 Choose Image > Combine Channel and choose Combine from

RGB, Combine from HSL, or Combine from CMYK.

3 For each Channel source drop-down list, select the name of the

file that contains that channel. For example, in the Combine RGB

dialog, you might select the file Red1 as the red channel source.

Note: If you are combining channels that you split with the Split

Channels command, mark the Sync check box to have Paint

Shop Pro automatically fill in the Channel Source boxes with

matching file names.

4 Click OK. Paint Shop Pro displays a new image file that

combines the color channels you selected.

Does it matter what color

model is selected?

No. You can split images into RGB,

HSL, or CMYK color channels

regardless of the type of color

model (RGB or HSL) you chose as

a display preference.

Color channels are planes of

color. This RGB image has

three channels: red, green, and

blue.

Creative ideas for

color channels

Here are a few of the things you

can do with color channels:

Create a color shift by splitting an

image into HSL channels,

modifying the Hue channel, then

combining the channels.

Use a channel greyscale to

create a selection.

Chapter 10: Working with Colors and Materials

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Understanding Color Depth

Color depth, also called bit depth, refers to the number of colors

each pixel (and therefore its image) can display. As the color depth

increases, the number of colors an image can display increases. Each

pixel’s color information is stored in a certain number of computer

bits—from 1 bit to 24 bits. In a 1-bit image, each pixel can display

only one of two colors (black or white). In a 24-bit image, each pixel

can display one of 16 million colors (224 or 2 colors for each bit).

Images with a color depth of 16 million colors look best because

they contain the most colors, but they also require the most memory

to store and edit.

In Paint Shop Pro, you can create 2 color (1-bit), 16 color (4-bit),

greyscale (8-bit), 256 color (8-bit), and 16 million color (24-bit)

images. Many of Paint Shop Pro’s effect and correction commands

work on 16 million color images only. Therefore, it is best to create

most images using 16 million colors. After you finish working on an

image, you can decrease its color depth and save it in another format.

Computer monitors also have a color depth that is determined by the

monitor’s capabilities as well as the selected color setting. If you

display an image with a higher color depth than the monitor can

display, the image will have some color distortion. Some file formats

limit the number of supported colors so that images display correctly

on a variety of monitor types. For example, GIF images, a popular

format for the Web, contain up to 256 colors (8-bit depth).

The number of colors actually used in an image is usually less than

the color depth. For example, in a 16 million color image, the image

is capable of displaying that many colors but may only use 50,000

colors. You can use the Layers > Count Layer Colors command to

count the number of colors in a layer of the image.

To view the color depth of an image:

Do one of the following:

Look at the Status bar, which displays the active image’s pixel

dimensions (the first two numbers) and color depth (the third

number).

Press F9 to display the Overview palette, click the Info tab, and

then view the Color Depth field.

Choose Image > Image Information, then look at the Pixel Depth/

Color field.

The color depth is the third

number in the Status bar (here

16 million colors).

Chapter 10: Working with Colors and Materials 261

To view the color depth of a monitor:

1 Choose Help > About Paint Shop Pro.

2 Click the System Info button.

3 Scroll down to the Video Driver Information section and look at

the Number of Colors field.

To view the number of colors in a layer:

1 On the Layers palette, click the layer name that you want to check.

2 Choose Image > Count Image Colors.

Increasing the Color Depth of an Image

If an image has a color depth less than 24-bit, you may want to

increase the color depth while editing the image. Many of Paint Shop

Pro’s effect and correction commands work only on images with 16

million colors. Depending on the color depth of your image, you can

also increase an image to 16 colors (4-bit) or 256 colors (8-bit).

To increase the color depth of an image:

Choose Image > Increase Color Depth and choose the desired color

depth: 16 Colors (4-Bit), 256 Colors (8-Bit), or 16 Million Colors (24-

bit). Color depths not available for the active image are greyed out.

Decreasing the Color Depth of an Image

If you are creating an image for on-screen viewing, you may want to

decrease the number of colors to make sure most monitors can

display the image properly. Also, when you have finished editing an

image, you may want to decrease color depth to save memory space.

Note

If you are creating images for the Web, we recommend that you

work with 16 million colors (24-bit) images so that all Paint Shop

Pro commands are available. When you are ready to save the images,

use the GIF optimizer or JPEG optimizer, which automatically

decreases the color depth in the saved image but doesn’t change the

color depth or layers of your original .PspImage file.

Depending upon the current color depth of your image, you can

decrease its color depth to the following:

Viewing and adjusting

monitor settings

You can view the possible settings

for your monitor by following these

steps: click the Windows Start

button, choose Settings > Control

Panel, double-click the Display

icon, and then click the Settings

tab.

For information on adjusting your

monitor settings, see your

Windows documentation.

Quick color depth changes

If you are increasing or decreasing

several images to the same color

depth, you can add the color

depth’s button to the toolbar. For

more information, see

“Customizing Toolbars and Menus”

on page 56.

Limitations of decreasing

color depth

Keep in mind these limitations

when decreasing color depth:

Most Paint Shop Pro effect and

correction commands work on

16 million color and greyscale

images only.

When you decrease the color

depth, Paint Shop Pro first

flattens the image, merging the

data on all layers. However, you

can add vector layers to images

of any color depth.

Chapter 10: Working with Colors and Materials

262

2 colors (1-bit) Converts to a black and white image and drastically

reduces file size. See “Decreasing Color Depth to 2 Colors (1-bit)”

on page 262.

16 colors (4-bit) Converts to a color image with very limited colors.

Use this option if your image uses a small number of colors and you

want a smaller file size. See “Decreasing Color Depth to 16 Colors

(4-Bit)” on page 264.

256 colors (8-bit) Converts to a color image that works well for on-

screen viewing when your image will be viewed on a variety of

monitor types. This is a helpful color depth for images viewed on the

Web. See “Decreasing Color Depth to 256 Colors (8-Bit)” on

page 265.

32K or 64K colors (24-bit) Converts to 32,000 or 64,000 colors

within a 24-bit image. For images viewed on older monitors, this

color depth results in better refresh rates. See “Decreasing Color

Depth to 32K or 64K Colors (24-Bit)” on page 266.

X colors Converts to a color image with a number of colors that you

specify (from 2 to 256). This color depth can produce smaller file

sizes and faster download times for file formats such as GIF. See

“Decreasing Color Depth to a Selected Number of Colors” on

page 266.

Note

When you change the color depth, you permanently change the

colors of the image’s pixels. Before decreasing the color depth, do as

much editing as possible in your original image and save a backup

copy of the image that includes all layers.

Decreasing Color Depth to 2 Colors (1-bit)

To create a black-and-white image, you can decrease an image’s

color depth to 2 colors. If your image is already black and white

(perhaps it is a line drawing or a photograph to which you applied

the Threshold command), decreasing the color depth to 2 colors can

drastically reduce the file size.

When you decrease color depth to 2 colors, choosing from the

variety of options is not an exact science. Try out several different

combinations and see which produces your desired result.

Another way to create a

black-and-white image

You can use the Threshold

command to select the lightness

value threshold (from 1 to 255) at

which color pixels are changed to

black or white. With this command,

the color depth does not change.

For more information, see

“Creating Black-and-White Images”

on page 142.

Chapter 10: Working with Colors and Materials 263

To decrease the color depth to 2 colors:

1 Choose Image > Decrease Color Depth > 2 Colors (1-bit).

2 In the Palette component group box, choose the color channel to

use for the final image: Grey (the lightness values), Red, Green,

or Blue. Choosing Grey produces the best results in most cases.

However, if the image consists mostly of a single color, selecting

that color channel may produce the best results.

3 In the Reduction method group box, choose a color reduction

method. See “About Color Reduction Methods” on page 267.

Note: With the Error Diffusion method, you must also select the

Floyd-Steinberg, Burkes, or Stucki option, which are algorithms

for the dithering pattern. Try them out to see what result you like

best.

4 In the Palette weight group box, select an option:

Weighted A weighted palette produces less dithering and

produces sharper edges.

Non-weighted A non-weighted palette produces more dithering

and softer edges.

Note: Dithering places pixels of different colors or grey levels

next to each other to simulate missing colors or greys.

5 Click OK.

Ordered Dither reduction

method and Error Diffusion

reduction method

Original color image and

Nearest Color reduction method

Chapter 10: Working with Colors and Materials

264

Decreasing Color Depth to 16 Colors (4-Bit)

To reduce the file size of images with few colors, decrease the color

depth of an image to 16 colors (4-bit). This color depth is especially

useful for simple graphics on Web pages that you want to load

quickly.

To decrease the color depth to 16 colors:

1 To emphasize the importance of certain colors in the conversion,

select an area of your image (optional).

2 Choose Image > Decrease Color Depth > 16 Colors (4-bit).

3 In the Palette group box, choose a palette option. See “About

Palette Options” on page 268.

4 In the Reduction Method group box, choose a color reduction

method. See “About Color Reduction Methods” on page 267.

Note: The Ordered Dither option is available only for the

Windows color palette.

5 In the Options group box, mark or clear these check boxes:

Boost marked colors by If you selected an area of your image,

you can mark this check box to make the colors in the selection

more important by a factor of the value you enter. The selected

colors will stand out from the rest of the image.

Reduce color bleeding If you chose the Optimized Median Cut or

the Optimized Octree palette and the Error Diffusion reduction

method, you can mark this check box to make the left-to-right

bleed effect of colors less noticeable.

6 Click OK.

Edit the palette

When you decrease color depth to

16 colors, the resulting image has

an image palette that contains 16

specific colors. You can change

any of those colors (and create

interesting effects) by editing the

image palette. See “Working with

Image Palettes” on page 269.

Chapter 10: Working with Colors and Materials 265

Decreasing Color Depth to 256 Colors (8-Bit)

To limit your image to colors most monitors can display and to

reduce file size, decrease the color depth of the image to 256 colors

(8-bit). You can choose a Web-safe palette that assures your image

displays properly on a variety of computer monitors.

To decrease the color depth to 256 colors:

1 To emphasize the importance of certain colors in the conversion,

select an area of your image (optional).

2 Choose Image > Decrease Color Depth > 256 Colors (8-bit).

3 In the Palette group box, choose a palette option. See “About

Palette Options” on page 268.

4 In the Reduction method group box, choose a color reduction

method. See “About Color Reduction Methods” on page 267.

Note: The Ordered Dither option is available only for the

Standard/Web-safe color palette.

5 In the Options group box, mark or clear these check boxes:

Boost marked colors by If you selected an area of your image

and you are using the Optimized Median Cut method, mark this

check box to make the colors in the selection more important by

a factor from 1 to 10. The selected colors will stand out from the

rest of the image.

Include Windows’ colors If you chose the Optimized Median Cut

or the Optimized Octree palette, you can mark this check box if

you want the 16 standard Windows colors included in the

converted image’s palette.

Reduce color bleeding If you chose the Optimized Median Cut or

the Optimized Octree palette and the Error Diffusion reduction

method, you can mark this check box to make the left-to-right

bleed effect of colors less noticeable.

6 Click OK.

Greyscale versus 256-color

images

Greyscale images can have 256

shades of grey; 256-color images

can have 256 colors. Both types of

images are 8-bit depth. However,

the Color Depth commands apply

to color images only.

If you want to create a greyscale

image from a color image, see

“Creating Greyscale Images” on

page 143.

Chapter 10: Working with Colors and Materials

266

Decreasing Color Depth to 32K or 64K Colors

(24-Bit)

To reduce the number of colors used in a 24-bit image, decrease the

color depth of an image to 32K (32,000) or 64K (64,000) colors.

Displaying images with 32K or 64K colors on older monitors results

in better refresh rates than displaying 24-bit images with 16 million

colors.

To decrease the color depth to 32K or 64K colors:

1 Choose Image > Decrease Color Depth and then choose 32K

Colors or 64K Colors.

2 In the Reduction method group box, select the method. See

“About Color Reduction Methods” on page 267.

3 Click OK.

Decreasing Color Depth to a Selected

Number of Colors

To select the number of colors in an image, use the X Colors

command to decrease the color depth of an image and reduce the file

size. If you specify 16 or fewer colors, the image is saved as a 4-bit

image. If you specify 17 to 256 colors, the image is saved as an 8-bit

image. For some file formats, particularly GIF, file compression is

sensitive to the number of colors in the image. For example, using

100 colors instead of 256 colors produces a smaller file size (and

produces faster download times), even though both files are 8-bit

images.

To decrease the color depth to a selected number of colors:

1 To emphasize the importance of certain colors in the conversion,

select an area of your image (optional).

2 Choose Image > Decrease Color Depth > X Colors (4/8-bit).

3 In the Number of colors edit box, enter the number of colors

(from 2 to 256) for the converted image’s palette.

4 In the Palette group box, select the palette options. See “About

Palette Options” on page 268.

5 In the Reduction method group box, choose a color reduction

method. See “About Color Reduction Methods” on page 267.

Chapter 10: Working with Colors and Materials 267

6 In the Options group box, mark or clear these check boxes:

Boost marked colors by If you selected an area of your image

and you are using the Optimized Median Cut or Optimized

Octree methods, mark this check box to make the colors in the

selection more important by a factor from 1 to 10. The selected

colors will stand out from the rest of the image.

Include Windows’ colors Mark this check box if you want the 16

standard Windows colors included in the converted image’s

palette.

Reduce color bleeding If you chose the Error Diffusion reduction

method, you can mark this check box to make the left-to-right

bleed effect of colors less noticeable.

7 Click OK.

About Color Reduction Methods

When you decrease an image’s color depth, you must select a color

reduction method. Depending upon the color depth you select, two

or three of these methods are available:

Nearest Color Replaces the original color of a pixel with the color in

the newly generated palette that is closest to the original RGB value.

This method eliminates dithering and produces a high-contrast

image. Simple graphics may look better with this method.

Error Diffusion Replaces the original color of a pixel with the most

similar color in the palette, but spreads the discrepancy between the

original and new color to the surrounding pixels. As it replaces a

color (working from the top left to the bottom right of the image), it

adds the “error,” or discrepancy to the next pixel, before selecting

the most similar color. This method produces a natural looking

image and often works best for photographs or complex graphics.

Ordered Dither Adjusts adjacent pixels so that two colors give the

illusion of a third color and intermingles pixels to produce patterns

based on a known palette. Use this method to give the image the

appearance of containing more colors than it actually does. Images

may appear to be composed of cross-hatches and dots and may have

distinct patterns of light and dark areas.

Give it a try

When you decrease an image’s

color depth, don’t be intimidated

by the mathematical algorithms

that make up the color reduction

methods and the palette options.

Your best bet is to start with the

default settings, see if you like the

result, and then try out several

other combinations of settings.

Finding the right options is not an

exact science—it takes some

experimentation.

Chapter 10: Working with Colors and Materials

268

About Palette Options

When you decrease an image’s color depth, you must select a palette

option. Depending upon the color depth you select, two or three of

these methods are available:

Optimized Median Cut Measures and ranks each color by how

frequently it occurs in the image, then uses the most frequently

occurring colors to determine the new palette. Even if your image

contains fewer colors than the palette that is generated, this method

may not represent each color exactly. The method, therefore, is not

as accurate as the Optimized Octree method, but it is better at

weighting color importance.

Optimized Octree Creates an eight-level “tree” with eight branching

nodes totaling 256 individual “leaves” or colors to determine the

new palette. This method attempts to reproduce each color in the

original image, so if your image contains fewer colors than the

palette that is generated, every color in the image is represented.

This method is faster and more accurate than Optimized Median Cut,

but it is not as good at weighting color importance.

Windows Changes each pixel’s color to the nearest color in the

Windows palette.

Standard/Web-Safe Palette Changes each pixel’s color to the nearest

color in the standard Web-safe palette. Use this method to create

images for the Web that can be viewed without color distortion on

most monitors.

Chapter 10: Working with Colors and Materials 269

Working with Image Palettes

An image palette is a collection of colors that an image uses—

similar to a painter’s palette of paints. An image palette is a subset of

all the colors your monitor can display.

Images with color depths of 16 to 256 colors have an image palette

that contains those colors that are used in the image. You can edit

this palette to fine-tune colors or create interesting color effects.

Images with a color depth of 16 million colors do not have an image

palette because they can contain all the colors your computer can

display. For these images, you can load an image palette to decrease

the image’s color depth to 256 colors or 8-bit. Loading a palette

produces the same result as using the Decrease Color Depth

command, except that you are controlling which colors are used in

the converted image. For more information on color depth, see

“Understanding Color Depth” on page 260.

Paint Shop Pro also includes a Safety palette for creating Web

images that can be viewed without color distortion on most

monitors. Using this palette produces the same result as using the

Decrease Color Depth > 256 Colors (8-bit) command and selecting

the Standard/Web-safe palette option. For more information, see

“Using the Web-Safe Color Palette” on page 271.

You can also create and save your own palettes. Preset palettes are

located in the Palettes folder of the Paint Shop Pro program folder.

You can store your custom palettes there as well.

To edit an image palette of 16 to 256 color images:

1 Choose Image > Palette > Edit Palette.

Note: This command is not available for 16 million color images.

2 To change the sort order (or arrangement) of colors, select an

option from the Sort Order drop-down list: Palette Order (in

order by the way the palette stores the colors), By Luminance (in

order by lightness) or By Hue (in order by color).

3 To replace a color, double-click it. The Color dialog opens and

displays the Jasc Color Picker. (For more information, see

“Choosing Colors from the Jasc Color Picker” on page 239.)

Make your selection and click OK. Notice that the image updates

with the new color. To return the palette to its original colors, on

the Edit Palette dialog click the Revert button.

4 Click OK.

Should I load a Web-safe

palette for Web images?

Not necessarily. When you load an

image palette into 16 million color

images, you decrease the color

depth to 256 colors, which flattens

all layers and makes many effect

and correction commands

unavailable.

Except when you want to control

the specific colors in a palette,

keep your image at a color depth

of 16 million colors in .PspImage

format. When you finish editing the

image, export it to GIF or PNG

format using a Web-safe palette.

Your original .PspImage file

remains intact for later editing. See

“Saving Images for the Web” on

page 459.

Editing the palette of a

greyscale image

If you select the Edit Palette

command for a greyscale image,

you are prompted to change the

image to 8-bit indexed color. Doing

so allows you to add color to your

greyscale image, similar to the

Colorize command.

Chapter 10: Working with Colors and Materials

270

To save an image palette:

1 Choose Image > Palette > Save Palette.

2 Select the folder where you want to save the palette. It’s most

convenient to save it in the Palettes folder of the Paint Shop Pro

program folder, where the preset image palettes are saved.

3 In the File name field, type a name for the palette. Paint Shop Pro

automatically adds the .PspPalette extension when you save the

file.

4 In the Save palette as group box, select a palette format:

PSP palette (the default) or Microsoft palette (for use with other

applications).

5 Click Save.

To load an image palette:

1 Choose Image > Palette > Load Palette.

2 Select the folder which contains the palette you want to load.

Preset image palettes are stored in the Palettes folder of the Paint

Shop Pro program folder.

3 Select the palette.

4 In the Apply palette using group box, select an option:

Nearest color matching Changes each image color to the color in

the palette that is the closest match.

Error diffusion dithering Attempts to maintain the image’s

appearance by dithering colors that are not in the palette.

Dithering places pixels of different colors next to each other to

simulate missing colors.

Maintain indexes Assigns each color in the palette a sequential

index number and does the same for each color in the image, then

changes each color in the image to the like-numbered color in the

palette.

5 Click Open. The palette is loaded and the image’s colors are

updated.

Why should I save a

palette?

When you save a palette, you can

load it into other images—a good

way to achieve consistent colors

across several images. Saving a

palette is also useful if you are

making many color changes and

want to save a backup copy of the

palette.

If you are using a palette with the

current image only, you don’t need

to save it as a separate file

because the palette colors are

saved with the image itself.

Color depth changes

When you load a palette, the color

depth of the image decreases, if

necessary, to match the number of

colors in the palette. For example,

if you load a 256 color palette into

a 16 million (24-bit) color image,

the image decreases to a 256 color

(8-bit) image.

What if I change my mind?

If you loaded a palette and now

you want to change it back to the

original palette or color depth, click

the Undo button or press Ctrl + Z,

or undo the action in the History

palette.

Chapter 10: Working with Colors and Materials 271

Using the Web-Safe Color Palette

Paint Shop Pro includes a Safety palette with 256 colors that are

Web-safe—your images can be viewed without color distortion on

most computer monitors. There are three ways to use this palette on

an image:

Load the Safety palette into your image. For 16 million color

(24-bit) images, this flattens the layers, reduces the image’s color

depth to 256 colors (8-bit), and makes many of Paint Shop Pro’s

effect and correction commands unavailable.

Decrease the image’s color depth to 256 colors and select the

Standard/Web-Safe Palette option. Decreasing the color depth

also flattens layers and makes some Paint Shop Pro commands

unavailable. For more information, see “Decreasing Color Depth

to 256 Colors (8-Bit)” on page 265.

Edit the image in 16 million colors (saving it in .PspImage

format), then use the GIF or PNG optimizer to export a copy of

the image. These optimizers use the Web-safe palette by default

and decrease the color depth in the saved image. We recommend

this alternative because it does not change the color depth or

flatten the layers of your original .PspImage file and keeps all

Paint Shop Pro effect and commands available. For more

information, see “Saving Images for the Web” on page 459.

To load the Web-safe color palette:

1 Choose Image > Palette > Load Palette.

2 Select the Palettes folder of the Paint Shop Pro program folder.

3 Select the palette Safety.pal.

4 In the Apply palette using group box, select an option:

Nearest color matching Changes each image color to the color in

the palette that is the closest match.

Error diffusion dithering Attempts to maintain the image’s

appearance by dithering colors that are not in the palette.

Dithering places pixels of different colors next to each other to

simulate missing colors.

Maintain indexes Assigns each color in the palette a sequential

index number and does the same for each color in the image, then

changes each color in the image to the like-numbered color in the

palette. This option is not available for 16 million color images.

5 Click Open.

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272

Making a Palette Color Transparent

Paletted images (those with 256 or fewer colors, such as GIF or PNG

files) do not support transparent backgrounds, but you often need a

way to make part of your image transparent when displayed on a

Web page. For example, you may have a round logo and you want

the background of the Web page to display around the logo.

Most Web browsers can choose not to display one color, effectively

making it transparent. In Paint Shop Pro you have two ways to make

one color transparent:

Use the Set Palette Transparency command to make one color in

an image palette transparent. The color can be the background

color or any color from the image. To set a transparent color, the

image must have one layer only and must use an image palette,

which means the image must have a color depth less than 16

million colors (24-bit).

Edit the image in 16 million colors (saving it in .PspImage

format), then use the GIF or PNG optimizer to export a copy of

the image. With these optimizers you can set the transparency of

the image. We recommend this alternative because it does not

change the color depth or flatten the layers of your original

.PspImage file and keeps all Paint Shop Pro effect and commands

available. For more information, see “Saving Images for the

Web” on page 459.

If you decide to make one color transparent in your image, use the

Set Palette Transparency command to select the color, and then use

the View Palette Transparency command to display the transparent

color in your image. You can also use the Set Palette Transparency

command to change or undo the transparency of a color.

To make one image color transparent:

1 Choose Image > Palette > Set Palette Transparency.

2 If you are prompted to reduce the color depth and number of

layers, click Yes to continue and then choose the options for

decreasing color depth. For more information, see “Decreasing

Color Depth to 256 Colors (8-Bit)” on page 265.

Two logos displayed on a Web

page: without a transparent

color (top) and with a

transparent color (bottom)

Chapter 10: Working with Colors and Materials 273

3 On the Set Palette Transparency dialog, select an option:

To undo the transparency of a color, select No Transparency.

To make the background color transparent, select Set the

transparency value to the current background color.

To assign a specific color to be transparent, click the color on

the image itself, enter a value in the edit box of the Set the

transparency value to a palette entry option, or click the color

box to select from the current color picker.

4 To view the transparency on the image, click the Proof button.

5 Click OK. The color is now transparent; however, it may still be

displayed until you hide it.

To view or hide the transparency of a color:

Choose Image > Palette > View Palette Transparency.

Chapter 10: Working with Colors and Materials

274

275

Raster Painting

These tools give you endless options to get creative with your

images. Apply soft or hard-edged brush strokes of any color or

material, paint with another image as a source, retouch images to

correct colors or contrast, replace colors, or paint with picture tubes.

You can also erase pixels to transparency.

All painting tools (not to be confused with the Art Media tools,

which work on Art Media layers) work on raster layers only. The

raster painting tools are fully effective on greyscale or 16 million

color images, but can be applied with limited results to images of

other color depths.

You can also make a selection in an image and then use the painting

tool to change only the pixels within the selection. For more

information on selections, see “Using the Selection Tools” on

page 192.

Contents Setting Brush and Paint Options . . . . . . . . . . . . . . . . . . . . . . . 276

Painting with the Paint Brush or Airbrush . . . . . . . . . . . . . . . . . 278

Creating Brush Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Using the Brush Variance Palette . . . . . . . . . . . . . . . . . . . . . . 282

Filling Areas with Colors, Gradients, Patterns, or Textures . . . . 284

Warping Images With the Warp Brush . . . . . . . . . . . . . . . . . . . 286

Erasing Parts of an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Cloning Parts of Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Painting with Picture Tubes . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Replacing Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Retouching Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

CHAPTER 11

Chapter 11: Raster Painting

276

Setting Brush and Paint Options

The brush and paint options help you create hundreds of different

brush strokes when using the raster painting tools. Play with the

options until you get the effect you want.

Basic Brush Options

The following options are available on the Tool Options palette for

painting tools.

Shape The shape of the brush tip. Round and Square are the standard

brush tips. Choose Round to create curved strokes that look more

smooth or choose Square to create brush strokes with corners.

Choose the other shapes to create interesting effects. For information

on creating your own brush tips, see “Creating Brush Tips” on

page 280.

Size Determines the pixel size of the brush, from 1 to 500 pixels. If

the brush is asymmetrical (such as when the Thickness is set to

50%), the size is the brush height. Note that you can adjust the Size

value via the keyboard as well as through the Tool Options palette.

Refer to the Adjusting the Brush Size Via the Keyboard section on

the next page.

Hardness Determines how sharp the edges of the tool are. Setting

this to 100 gives you the sharpest, hardest edge; setting this to lower

values gives you an increasingly softer, fading edge.

Step Determines the distance placed between applications of paint

during a single (continuous) paint stroke. Lower Step values yield a

smoother, more continuous appearance; higher step values yield a

choppier appearance.

Density Determines the coverage of the paint step. (For the Eraser

tool, this setting determines the level of erasing.) Higher values yield

complete coverage; lower values yield spottier coverage as though

you're spraying the paint. Note that when using the Airbrush tool,

you should set Density to values lower than 100.

Thickness Determines how wide the brush is. Setting Thickness to

100 gives you a completely round or completely square brush

(depending on the Shape setting). As the Thickness setting

decreases, the brush becomes increasingly narrow.

Rotation The degrees of rotation of the brush tip, from 0 to 359.

Brush strokes with 75% and

25% densities

Brush strokes with 100% and

50% hardness

Brush strokes with

different thickness

Brush strokes with 0 and 45

degree rotation

Brush strokes with

different steps

Chapter 11: Raster Painting 277

Opacity How well the paint covers the image surface. At 100%

opac-ity, the paint covers everything. At 1% opacity, the paint is

almost transparent. For the Eraser tool, this setting determines the

level of erasing.

Blend mode How painted pixels are blended with pixels on

underlying layers. The blend modes are the same as layer blend

modes; for more information, see “About Blend Modes” on

page 373.

Continuous stroke Specifies whether paint builds up as you apply

multiple strokes of less than 100% opacity over the same area. If this

check box is marked, paint maintains a continuous color and

repaint-ing an area has no effect. If this check box is cleared (the

default), each brush stroke over the same area applies more paint;

the color darkens until it reaches 100% opacity.

Wet look paint Mimics wet paint, with soft color inside and a darker

ring near the edge. Decrease the Hardness setting from its maximum

of 100% to see the effect.

Adjusting the Brush Size Via the Keyboard

While using any Art Media tool, raster painting brush (with the

exception of the Warp brush), the Clone brush, the Color Replacer,

or the Eraser and Background Eraser, you can quickly adjust the

brush size without taking the cursor off the image and into the Tool

Options palette. To adjust the brush size via the keyboard:

Press Alt + X to decrease the brush size by one pixel.

Press Alt + C to increase the brush size by one pixel.

Hold down Alt and Shift and then press X to decrease the brush

size by 20 pixels.

Hold down Alt and Shift and then press C to increase the brush

size by 20 pixels.

Hold down the Alt key and drag (to drag, hold down the left

mouse button and then move the mouse) the left mouse button up

or down to rapidly change the brush size.

Hold down the Alt and Shift keys and drag the left mouse button;

the size will be set to its lowest value (3 pixels for the Art Media

tools, and 1 pixel for the raster painting tools) and then you can

drag to increase it from there.

What is an impression?

A brush impression is one click of

the painting tool. For example, if

you click once with the Paint Brush

tool using a round brush, the

impression is a circle. The same

round paint brush makes many

impressions as you drag the

cursor, which results in a stroke of

color.

Chapter 11: Raster Painting

278

Painting with the Paint Brush or Airbrush

The Paint Brush and the Airbrush tools work in similar ways. Both

create strokes of color in a selection or an image and have a variety

of options for changing the brush stroke.

The Paint Brush tool creates strokes of color that simulates an

artist’s paint brush. Brush strokes can have hard or soft edges. The

Airbrush simulates an airbrush or spray can, and is time-dependent,

meaning, the longer you hold the brush over an area, the more the

brush produces the effect.

To use the Paint Brush or Air Brush:

1 On the Tools toolbar, choose the tool: Paint Brush or Airbrush

. (One tool may be hidden under the other.)

2 Choose the foreground and background colors and materials. See

“Choosing Colors” on page 239.

3 On the Tool Options palette, choose a shape: round , or square

. For information on creating your own brush tips, see

“Creating Brush Tips” on page 280.

Note: To create rectangular, elliptical, or angled brush tips, start

with the round or square shape and modify it using the Thickness

and Rotation options.

4 Specify the brush options such as size, opacity, hardness,

thickness, and rotation. See “If you are sharing a Preset for a

custom brush (brushes created from selections) then you will

need to select both the .PspBrush file and the associated PSP

Script file.” on page 282.

5 For the Airbrush, in the Rate edit box select the rate at which the

brush applies paint (from 0 to 50). Use a value of 0 if want to

apply a consistent amount of paint. Use higher values if you want

more paint applied when you drag the mouse slowly or pause the

mouse.

6 For the Paint Brush, set the following options:

Transparent painting

If you want a transparent paint

brush, use the Eraser or

Background Eraser tool. These

tools erase pixels to transparency

on raster layers. For more

information, see “Erasing Parts of

an Image” on page 287.

Painting with the Paint Brush

and the Airbrush

Default brush options

To reset brush options to their

default values, on the Tool Options

palette click the Presets drop-

down window and click the

Reset to Defaults button.

Chapter 11: Raster Painting 279

Continuous Stroke Specifies whether paint builds up as you

apply multiple strokes of less than 100% opacity over the same

area. If this check box is marked, paint maintains a continuous

color and repainting an area has no effect.

If this check box is cleared (the default), each brush stroke over

the same area applies more paint; the color darkens until it

reaches 100% opacity. Click the New Stroke button to cancel the

effect for all previous brush strokes. Only new brush strokes will

darken if you paint over them.

Wet Look Paint Mimics wet paint, with soft color inside and a

darker ring near the edge. Decrease the Hardness setting from its

maximum of 100% to see the effect.

7 Drag in the image to paint as follows:

For all painting tools, to apply the foreground material, drag

with the left mouse button.

For all painting tools, to apply the background material, drag

with the right mouse button.

For all painting tools, to paint a straight line, click once at the

beginning point, then press Shift and click the end point. To

continue the straight line, move to the next point and press

Shift and click.

For the Airbrush, to build up color in one area click and hold

the mouse at one position.

Using Brush Tip Presets

Use the tool Presets to save creative brush effects. You can choose

from many artistic presets or create, save, and share your own.

Brush Presets work just like other tool Presets.

To reset brush options to their default values, on the Tool Options

palette click the Presets drop-down window and click the Reset to

Default button .

For more information on presets, see “Using and Creating Presets”

on page 420.

Note:

Undoing paint strokes

When you are applying paint

strokes, the Undo command can be

your best friend. To remove the

most recent stroke, click the Undo

button or press Ctrl + Z. To undo

multiple brush strokes, press

Ctrl + Z multiple times. If you

undo too many strokes, click the

Redo button or press

Ctrl+Alt+Z. You can also use

the History palette to undo and

redo your actions.

Chapter 11: Raster Painting

280

Creating Brush Tips

You can create your own brush tips to use with painting tools. Select

a brush, modify the brush options and variance settings, and then

save the brush tip in the Brushes folder of the Paint Shop Pro

program folder. The next time you want to paint with that brush tip,

simply select it from the Brush Tip drop-down list.

You can also make a selection, and then turn that selection into a

custom brush with a width and height up to 500 by 500 pixels.

To create a brush tip:

1 On the Tools toolbar, choose a painting tool such as the Paint

Brush, Airbrush, or Color Replacer.

2 Modify the settings for the brush in the Tool Options and Brush

Variance palettes.

3 On the Tool Options palette, click the Brush Tip drop-down

window . Current brush tips are displayed.

4 Click the Create Brush Tip button , or choose File > Export >

Brush Tip to open the Create Brush Tip dialog.

Note: To save the new brush in a folder other than the default

Brushes folder, click the File Locations button in the Tool’s

presets drop-list.

5 In the Name field, type a name for the brush tip.

6 Complete the Author, Copyright, and Description fields.

7 Mark the Save Variance check box to save the brush variance

settings with the brush tip.

8 Click OK. You can now use the brush tip with one of the painting

tools.

To create a brush tip from a selection:

1 Make a selection of the area you want to convert into a custom

brush. The selection must be on a raster layer. For more

information on selections, see “Using the Selection Tools” on

page 192.

2 On the Tools toolbar, choose a painting tool such as the Paint

Brush, Airbrush, or Color Replacer.

3 On the Tool Options palette, click the Brush Tip drop-down

window . Current brush tips are displayed.

Brush tips versus tool

Presets

When you create a brush tip, you

are saving all of the options

selected for the brush, including

the brush shape, step, density,

thickness, size, hardness, and

rotation settings. You can also

include the variance settings. The

brush tip settings that you save

can be applied to any tool that has

a brush tip control in the Tool

Options palette. When you create

a tool Preset, you are savings all

the settings that you specified for a

particular tool, including all of the

parameters and variance settings.

The tool Preset is available only

when you select that particular

tool.

Chapter 11: Raster Painting 281

4 Click the Create Brush Tip from Selection button , or choose

File > Export > Brush Tip. A preview of the new brush appears in

the Create Brush Tip dialog.

Note: To save the new brush in a folder other than the default

Brushes folder, click the File Locations button in the tool’s

presets drop-list.

5 To set a default step value, select a step value.

6 In the Name field, type a name for the brush tip.

7 Complete the Author, Copyright, and Description fields.

8 Mark the Save Variance check box to save the brush variance

settings with the brush tip.

9 Click OK. You can now use the brush tip with one of the painting

tools.

To delete a custom brush:

1 On the Tools toolbar, choose a painting tool such as the Paint

Brush, Airbrush, or Color Replacer.

2 On the Tool Options palette, click the Brush Tip drop-list.

Current brush tips are displayed.

3 In the list of brush tips, select the brush tip that you want to

delete, and then click the Resource Manager button.

4 In the Resource Manager dialog, click Delete.

Saving and Sharing Brush Tips

Once you create a Preset for a brush you can save it in the Brushes

folder in the Paint Shop Pro program folder. You can then share your

brush Presets with others by sending them the brush file. If the brush

uses a custom shape, you will have to share both the brush file and

the custom shape file for that brush.

To save brush tip settings as a preset:

1 Click the down-arrow on the Presets button, and then click the

Save preset button to open the Save Preset dialog.

Importing Brush Tips

To import custom brush tips,

choose File > Import > Custom

Brush to open the Open dialog.

Select the location of the brush tip

and click OK to import the custom

brush tip.

Chapter 11: Raster Painting

282

2 Type a name for the Preset.

Note: You cannot use the names “Default” or “Last Used”.

3 To enter additional Preset information, click the Options button,

and then enter information in the Author, Copyright, and

Description fields.

The Preset includes group box shows the data saved with this

Preset. To omit any of these items from the Preset, click the Save

icon (a red X will appear over it) associated with the data.

4 Click OK.

To share brush tip Presets:

1 Navigate to the brushes folder in the Paint Shop Pro program

directory.

2 Provide the brush file or files (brush files have a .PspBrush

extension) to the person with whom you want to share the brush

Preset. They should place the brush files in the Brushes folder in

the Paint Shop Pro program folder.

Note: If you are sharing a Preset for a custom brush (brushes

created from selections) then you will need to select both the

.PspBrush file and the associated PSP Script file.

Using the Brush Variance Palette

Use the Brush Variance palette to customize the brush settings in the

Tool Options palette. The variance settings modify the Tool Option

settings by applying adjustments to the settings for a particular tool

option. Adjustments can be randomized by increasing the Jitter

percentage.

Note

To reset brush variance options to their default values, click the

Reset to Default button on the Brush Variance palette.

To open the Brush Variance palette:

Choose View > Palettes > Brush Variance, or press F11.

To use the Brush Variance palette:

1 Choose a brush or eraser tool from the Tools toolbar.

2 Configure the brush options in the Tool Options palette.

Brush tips versus tool

Presets

When you create a brush tip, you

are saving all of the options

selected for the brush, including

the brush shape, step, density,

thickness, size, hardness, and

rotation settings. You can also

include the variance settings. The

brush tip settings that you save

can be applied to any tool that has

a brush tip control in the Tool

Options palette. When you create

a tool Preset, you are savings all

the settings that you specified for a

particular tool, including all of the

parameters and variance settings.

The tool Preset is available only

when you select that particular

tool.

The Brush Variance palette

Chapter 11: Raster Painting 283

3 On the Brush Variance palette, set the brush variance for each

available option:

Normal No variance applied.

Pressure The pressure applied from a tablet stylus.

Altitude The angle between the stylus and tablet.

Azimuth Determines the rotation angle of the tip.

Twist The rotation angle around the stylus (for 4D mouse

only).

Fingerwheel Applies to the wheel on an airbrush stylus.

Z-Wheel Used with a 4D mouse wheel with the wheel

configuration set to application defined behavior.

Direction The angle between consecutive mouse points on a

path.

Fade In Fades in the brush impression. For the Size option, the

brush size fades from small to large.

Repeating Fade In Repeatedly fades in the brush impression.

For the Size option, the brush size fades from small to large.

Fade Out Fades out the brush impression. For the Size option,

the brush size fades from large to small.

Oscillating Fade Repeatedly fades the brush impression in and

out. For the Size option, the brush size fades from small to

large to small.

Note: Options in the Variance palette marked with an asterisk

* apply only to users with a pressure sensitive tablet. The

options available will depend on the type of tablet being used.

4 Set the Jitter% for each available option. The higher the value,

the more randomly the option is applied.

5 For the Fade rate (pixels) select the number of pixels over which

the fade in and fade out will occur. Lower values produce a faster

fade, while higher values produce a slower fade.

6 For the Position Jitter (%) select a percentage for randomly

adjusting the brush impression location. Mark the Scale check

box if you want the jitter to scale with the brush size.

7 For Impressions per step indicate how many brush impressions

are made per step of the brush stroke.

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Filling Areas with Colors, Gradients, Patterns, or

Textures

Use the Flood Fill tool to fill a selection or a layer with the

foreground or background color and material. You can fill all pixels

or fill only those pixels that match options that you specify. When

you click in the image, the Flood Fill tool finds and fills all

contiguous (adjacent) pixels that match the pixel you select.

To use the Flood Fill tool:

1 On the Tools toolbar, choose the Flood Fill tool .

2 Choose the foreground or background color and material to fill

the area with. See “Choosing Colors” on page 239.

3 On the Tool Options palette, specify the Match Mode options:

Match Mode How pixels that match the pixel you click are chosen

and filled:

None has no matching criteria and so fills all pixels.

RGB fills contiguous pixels that match the red, green, and blue

values.

Color fills contiguous pixels that match the hue and saturation

values.

Hue fills contiguous pixels that match the hue value.

Brightness fills contiguous pixels that match the brightness.

All Opaque fills all pixels that are opaque (not transparent).

Opacity fills contiguous pixels that match the opacity.

Tolerance How closely the selected pixels must match the initial

pixel you click. The range is 0 to 200. At lower settings, only

pixels with very similar colors are filled. At higher settings, more

pixels are filled.

Sample Merged Mark this check box to choose pixels to fill

based on matching pixels from all layers merged together. Clear

this check box to choose matching pixels to fill in from the

current layer only.

What are contiguous

pixels?

Contiguous means “near, next, or

adjacent.” Contiguous pixels are

like continuous chains of matching

pixels radiating from the initial pixel

you click. When the Flood Fill tool

finds a pixel that doesn’t match, it

breaks the chain. Even if a pixel is

just one pixel away from a

matching pixel, it is discontiguous.

Flood Fill versus Color

Replacer

Because the Flood Fill tool can fill

pixels that match certain criteria

(such as RGB value), its effect is

similar to the Color Replacer tool.

Here are the differences:

The Flood Fill tool fills matching

pixels that are contiguous to the

initial pixel you click. The Color

Replacer changes pixels either

within its brush stroke or in the

entire layer.

The Color Replacer tool changes

colors based on their RGB value.

The Flood Fill tool changes

pixels based on RGB, hue,

brightness, or opacity values.

Chapter 11: Raster Painting 285

4 Select the Blend Mode options:

Blend Mode How filled pixels are blended with pixels of

underlying layers. The blend modes are the same as the Layer

blend modes; for more information, see “About Blend Modes” on

page 373.

Opacity The opacity for the fill. At 100% opacity, the paint

covers everything; at 1% opacity, the paint is almost transparent.

5 Position the cursor over the area of the selection or image that

you want to fill, and then do one of the following:

To fill with the foreground material, click the left mouse

button.

To fill with the background material, click the right mouse

button.

If the Match Mode is None, all pixels on the current layer are

filled. For all other Match Mode settings, the Flood Fill tool fills

matching pixels that are contiguous to the pixel you click.

Apply the tool only where

you want it

To limit the effects of this tool to a

specific area, first make a selection

in the image.

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286

Warping Images With the Warp Brush

The warp brushes create strokes that produce a warping effect on

image pixels. You can twirl areas of images, contract or expand parts

of images, and create many interesting effects.

To use the Warp Brush:

1 On the Tools toolbar, choose the Warp Brush . (It may be hidden

under the Paint Brush or Airbrush.)

2 Specify the brush options such as shape, size, and hardness. See

“If you are sharing a Preset for a custom brush (brushes created

from selections) then you will need to select both the .PspBrush

file and the associated PSP Script file.” on page 282.

3 For the Strength value, enter a percentage (0 to 100) that

specifies how strong the warping effect is. Full strength is 100%;

minimum strength is 1%.

4 Under Warp Modes, choose the type of warp:

Push pushes pixels in the direction of the stroke (similar to

smearing paint) in a time-independent way.

Expand pushes pixels away from the center of the brush in a

time-dependent way.

Contract pulls pixels into the center of the brush in a time-

dependent way.

Right Twirl rotates pixels clockwise around the center of the

brush in a time-dependent way.

Left Twirl rotates pixels counter-clockwise around the center

of the brush in a time-dependent way.

Noise causes random movements of pixels under the brush in

a time-dependent way.

Iron Out removes unapplied warps in a time-independent way.

Unwarp removes unapplied warps in a time-dependent way.

5 Select an Edge mode, a Draft mode quality, and Final apply mode

quality. See “Warping Images Using the Mesh Warp Tool” on

page 178.

6 Do one or both of the following to warp the image:

Click and drag in the image.

Before and after applying the

Warp Brush tool

Default brush options

To reset brush options to their

default values, on the Tool Options

palette click the Presets drop-down

window and choose Default, or

click the Reset to Default button

What are time-dependent

warp types?

Time-dependent means that the

longer you hold the brush over an

area, the more the brush produces

the effect.

Another way to warp

images

You can also use the Mesh Warp

tool to warp images. See “Warping

Images Using the Mesh Warp Tool”

on page 178.

Chapter 11: Raster Painting 287

For the time-dependent modes, place the cursor at one

position and hold down the mouse button to repeat the effect

at one area.

7 To unwarp an area, choose the Iron Out or Unwarp option under

Warp Mode, and then click over the area you want to restore.

Continue clicking or holding the mouse button down until the

original pixel position is restored.

Erasing Parts of an Image

Use the Eraser tool to erase areas of a layer to transparency or to the

background color. Use the Background Eraser tool to selectively

erase to transparency—with options that determine which pixels are

erased.

Using the Eraser Tool

When you use the Eraser tool to erase on a raster layer, all pixels in

the tool’s path become transparent. When you erase on the

background (which does not support transparency), the Eraser tool

acts like a paintbrush; all pixels in the tool’s path become the current

foreground or background color or material.

To use the Eraser tool:

1 On the Tools toolbar, choose the Eraser tool . (It may be hidden

under the Background Eraser tool.)

2 On the Tool Options palette, choose the brush tip, size, opacity,

and other options. (See “If you are sharing a Preset for a custom

brush (brushes created from selections) then you will need to

select both the .PspBrush file and the associated PSP Script file.”

on page 282.) For the opacity setting, 100% erases pixels to

complete transparency and a lower opacity erases pixels to

partial transparency.

3 Drag in the image to erase as follows:

To erase pixels, drag with the left mouse button.

To restore erased pixels, drag with the right mouse button.

To erase a straight line, click once at the beginning point, then

press Shift and click the end point. To continue the straight

line, move to the next point and press Shift and click.

Before and after applying the

Eraser tool

Undoing versus erasing

When should you undo paint

strokes and when should you

erase in the image?

Undo paint strokes when you made

a mistake with a stroke. Undoing a

paint stroke restores the image

detail under the stroke.

Erase paint when you want to

change certain pixels to

transparent (or a color if the

background is selected). Erase to

create an effect—such as one

layer showing through another

layer. Erasing does not restore the

image detail under the stroke.

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Note: If you erase on the background, the eraser strokes change

to the background color when you use the left mouse button or to

the foreground color when you use the right mouse button. To

erase to transparency, promote the background to a full layer.

Using the Background Eraser Tool

Use the Background Eraser tool to selectively erase pixels. For

example, in a photograph of a mountain range, you can erase the sky.

To use the Background Eraser tool:

1 On the Tools toolbar, choose the Background Eraser tool . (It

may be hidden under the Eraser tool.)

2 On the Tool Options palette, choose the brush tip, size, opacity,

hardness and other options. (See “If you are sharing a Preset for a

custom brush (brushes created from selections) then you will

need to select both the .PspBrush file and the associated PSP

Script file.” on page 282.) For the opacity setting, 100% erases

pixels to complete transparency and a lower opacity erases pixels

to partial transparency.

3 Choose from these additional options:

Tolerance How closely the selected pixels must match the

sampled pixel. The range is 0 to 200. At lower settings, only

pixels with very similar colors are erased. At higher settings,

more pixels are erased. (This edit box is unavailable if the

Auto Tolerance check box is marked.)

Sampling How the tool determines what pixels to erase:

Once samples at the center of the brush where you first click

and erases all matching pixels for the duration of the stroke.

Continuous samples at the center of the brush at every step

and erases all matching pixels.

BackSwatch erases all pixels that match the current

background color on the Materials palette rather than

sampling from the image.

ForeSwatch erases all pixels that match the current

foreground color on the Materials palette rather than sampling

from the image.

Before and after applying the

Background Eraser

Chapter 11: Raster Painting 289

Limits Whether erased pixels must be adjacent to each other:

Discontiguous erases all pixels in the tool’s path that match

the sampled pixels, even if they are discontiguous (non-

adjacent). Use this mode on images that show the background

through holes in the image.

Contiguous erases only contiguous pixels that match sampled

pixels. Use this mode when the background pixels are close in

color to the edges of the object you want to isolate.

Find Edges restricts the brush erasing according to the edge

information.

Auto Tolerance Mark this check box to have the tool

determine the tolerance based on the pixels in the Background

Eraser tool’s path; the tolerance may change continuously as

the tool moves over different parts of the layer. Clear this

check box to have the tool use the Tolerance setting that you

choose.

Sample merged Mark this check box to sample data from all

layers merged together; only pixels in the current layer are

erased. Clear the check box to sample data from the current

layer only.

Ignore lightness Mark this check box when the colors in the

object that you want to isolate are strongly saturated and the

background is unsaturated, or vice versa.

4 If the image has more than one layer, on the Layers palette click

the layer that has an object that you want to isolate by erasing the

background.

Note: The Background Eraser cannot be applied on the

background, which does not support transparency. If you apply

the tool to the background, you are prompted to promote it to a

full layer.

5 Drag on the layer, around the edges of the subject to erase the

background area as follows:

To erase pixels, drag with the left mouse button.

To erase a straight line, click once at the beginning point, then

press Shift and click the end point. To continue the straight

line, move to the next point and press Shift and click.

To restore erased pixels, drag with the right mouse button.

Sampling advice

For the Sampling option, choose

the Once setting to erase similar

colors while avoiding erasing areas

you want to keep. You can keep

clicking and dragging (in other

words, keep restarting the eraser

strokes) to erase similar areas.

If the area you want to erase is

quite variable, try using the

Continuous setting and set the step

value very low (even down to 1) so

that the area is sampled frequently

as you erase.

Auto or manual tolerance?

Start with the Auto Tolerance

check box marked. Begin erasing.

If too much or too little is erased,

clear the Auto Tolerance check

box. The Tolerance edit box

displays the automatically

determined tolerance. If too much

was erased, lower the tolerance. If

too little was erased, raise the

tolerance.

In addition, you can reduce the

step and increase the brush size.

To determine the automatic

tolerance, the Background Eraser

samples a larger area more

frequently.

Chapter 11: Raster Painting

290

Cloning Parts of Images

The Clone Brush tool is a fun and powerful way to edit your images

by using parts of an image as a paint source. You can remove

elements within your image by painting over them with another part

of the image. The paint source can be part of the same layer, another

layer in the image, a merged image, or a layer from another image.

To use the Clone Brush:

1 On the Tools toolbar, choose the Clone Brush tool .

2 On the Tool Options palette, choose the brush tip, size, opacity,

and other options. See “If you are sharing a Preset for a custom

brush (brushes created from selections) then you will need to

select both the .PspBrush file and the associated PSP Script file.”

on page 282.

3 Mark the Aligned mode check box to have the Clone Brush tool

paint from the point of the source area relative to the first point

you click on the target area each time you stop and start painting.

You can keep clicking and dragging over the target area to fill in

the source image.

Clear the check box to have every stroke copy the same data.

4 Mark the Sample merged check box to clone data from all layers

merged together. Clear the check box to clone data from the

current layer only.

5 On the source image, right-click or press Shift and click the

center point of the source area.

6 Click and drag on the image you want to change to paint the

cloned area.

Painting with Picture Tubes

Use the Picture Tube tool to paint with a collection of objects

without having to draw them. You can add butterflies and beetles to

a picnic setting, fill an aquarium with fish, or frame a picture with

holly. Use one of the picture tubes included with Paint Shop Pro or

create your own.

Original image and image after

cloning

Why does nothing happen

when I apply the Clone

Brush?

If nothing appears to be happening

when you apply the Clone Brush,

make sure you selected a source

area with data. If the selected layer

has no data at the source point, but

another layer does have data there,

it may appear that you selected a

source area.

On the Layers palette, click the

name of a raster layer before you

define the source area. Also, make

sure the layer doesn’t have a

selection or, if it does, make sure

you right-click within the selection.

Two examples of picture tubes

Chapter 11: Raster Painting 291

Picture tubes are .PspTube files. Each picture tube file is made up of

a series of images arranged in rows and columns that are called cells.

Picture tubes may have any number of cells. As you paint with the

Picture Tube tool, Paint Shop Pro paints one image of a picture tube

after another. Many picture tubes create discrete images (such as

traffic signs), while some create the effect of a continuous image

(such as crepe paper).

Note

To use Paint Shop Pro version 9 picture tubes with Paint Shop Pro

version 7, copy the version 9 tubes with the .PspTube extension to

the picture tube directory in version 7, and then re-name the files

with the .TUB extension.

To paint with a picture tube:

1 On the Tools toolbar, choose the Picture Tube tool .

2 On the Tool Options palette, click the Picture Tube drop-down

window and select a picture tube.

Note: Most picture tube previews show one image rather than all

images in the picture tube. To view all images, paint with the

picture tube, or open the .PspTube file with the Browser.

3 If necessary, adjust the following options:

Scale The percentage (10 to 250%) to reduce or enlarge each

image in the picture tube and scale the step.

Step The distance in pixels (1 to 500) between the centers of each

picture tube image that you paint.

Placement mode The way images are placed: Continuous evenly

spaced by step size or Random random spacing between 1 pixel

and the step size.

Selection mode How Paint Shop Pro selects images to paint from

the cells within the picture tube: Random selects images

randomly; Incremental selects images one by one from top left to

the bottom right; Angular selects images based on the direction

you drag the cursor as you paint; Pressure selects images based

on the pressure you apply on a pressure-sensitive tablet; Velocity

selects images based on the speed you drag the cursor as you

paint.

4 To paint one image of the picture tube, click once in the image.

To paint multiple images, drag in the image.

Raster only

The Picture Tube tool paints raster

objects on raster layers. You

cannot use the tool on vector

layers.

To make picture tube elements

easier to edit, it is helpful to paint

them on a separate layer.

Changing default values for

picture tubes

To change default values for a

picture tube, including the

placement mode, step size, and

selection mode, click the Settings

icon on the Tool Options palette.

You can also change the number of

cells in the picture tube.

After you change values, mark the

Save as Default for this Picture

Tube check box and click OK.

Chapter 11: Raster Painting

292

Creating Picture Tubes

To create your own picture tubes, create a grid of cells and then fill

each cell with an image. The cells can be any size, but picture tubes

with larger cells require more memory to use.

To create a picture tube:

1 Choose View > Change Grid, Guide, and Snap Properties, click

the Grid tab, set the current horizontal and vertical grids, then click

OK.

The grid positions are the value in pixels that the width and

height of cells will be. Images can be no larger than this cell size.

2 Choose File > New to open the New Image dialog.

3 Set the following options:

Image Dimensions Choose a width and height (in pixels) that are

multiples of the horizontal and vertical grid spacing. The width

and height of the image determine the total number of cells in the

image. For example, if the grid spacing is 100 pixels, create an

image of 400 pixels wide by 300 pixels high to have 12 cells

(four across and three down).

Image Characteristics Choose Raster Background as the layer

type and mark the Transparent check box.

4 Click OK.

5 If the grid is not visible, choose View > Grid.

6 Create one image in each grid square. These squares are the

picture tube cells.

Note: To change the size of cells, change the grid size and then

use the Canvas Size command to change the canvas size.

7 Choose File > Export > Picture Tube to open the Export Picture

Tube dialog.

8 Set the following options:

Cell arrangement Enter the number of cells across and down.

Placement options Choose the default options for this picture

tube. You can change these options when you apply the picture

tube. For more information, see the descriptions on page 291.

Color depth and layers

This tool works only on raster

layers in greyscale and 16 million

color images. To convert a vector

layer to a raster layer, choose

Layers >

Convert to Raster Layer. To

increase the color depth of an

image, see page 261.

Painting with one image

To use an entire image as a paint

brush, export the image as a

picture tube. Use a cell

arrangement of one cell across by

one cell down. The image must

contain one raster layer that is not

the background; to promote the

background to a layer, choose

Layers > Promote to Layer.

Then choose the Picture Tube tool

and select the new picture tube

you created.

Filling the cells of a picture tube

Chapter 11: Raster Painting 293

Tube name Enter the file name of the tube. The extension

.PspTube is automatically added to the file name.

Note: By default, picture tube files are stored in the Picture

Tubes folder of the Paint Shop Pro program folder.

9 Click OK. The picture tube is saved.

10 Close the image file. To edit it later, save it as a .PspImage or

other format file.

Replacing Colors

Use the Color Replacer tool to replace one color in a selection or

layer with another color. You can use brush strokes to replace only

those pixels that the brush touches or you can replace all pixels of a

certain color in a selection or a layer. You can set a tolerance value

so that the Color Replacer changes similar, not just identical, colors.

To use the Color Replacer tool:

1 On the Tools toolbar, choose the Color Replacer tool . The tool

may be hidden under the Eye Dropper tool.

2 Choose the color to replace as the foreground or background

color. See “Choosing Colors” on page 239 or “Choosing Colors

from an Image or the Desktop” on page 242.

3 Choose the color to substitute as the other color (foreground or

background).

4 To replace colors using brush strokes (rather than all colors in the

layer), on the Tool Options palette choose the brush tip, size,

opacity, and other options. See “If you are sharing a Preset for a

custom brush (brushes created from selections) then you will

need to select both the .PspBrush file and the associated PSP

Script file.” on page 282.

5 In the Tolerance edit box, specify a value that sets how closely

the selected pixels must match the initial pixel you click. The

range is 0 to 200. At lower settings, only pixels with very similar

colors are replaced. At higher settings, more pixels are replaced.

6 Position the cursor over the area of a selection or layer that

contains the color you want to replace, and then do one of the

following:

To replace all occurrences of a color, double-click.

To replace using brush strokes, drag in the image.

I want more picture tubes!

There are a variety of Web sites

that offer free picture tubes. Start

with Jasc.com and click Free

Downloads. Or search the Web for

“free picture tubes.”

Apply the tool only where

you want it

To limit the effects of this tool to a

specific area, first make a selection

in the image.

Nothing seems to happen

when you apply the Color

Replacer tool...

Make sure you have selected a

foreground or background color

that is in the image. If there are no

pixels that match, then no pixel

colors are replaced.

To pick a foreground or background

color directly from the image, see

“Choosing Colors from an Image or

the Desktop” on page 242.

Chapter 11: Raster Painting

294

For both options, use the left mouse button to replace the

background color with the foreground color and use the right

mouse button to replace the foreground color with the

background color.

Retouching Images

You can retouch images with Paint Shop Pro’s retouch brushes,

which apply changes with brush strokes. Some retouch brushes

mimic photographic effects while others change pixels based on

their lightness, saturation, hue, or color values. Some retouch

brushes create similar effects to Paint Shop Pro’s color correction

commands. The following table describes each of the retouch

brushes.

Before and after applying the

Emboss brush

Before and after applying the

Dodge brush

Before and after applying the

Smudge brush

Before and after applying the

Soften brush

Brush Effect

Dodge Lightens and brings out the details in areas that are

in shadow. This tool mimics the traditional

photographic darkroom technique of holding back

some of the light when printing photographs to

produce lighter areas. The Dodge tool is the opposite

of the Burn tool.

Burn Darkens areas of the image that are too light.

Smudge Spreads color and image details from the starting

point and picks up new color and image details as it

moves; the effect is similar to smearing paint.

Push Spreads color and image details from the starting

point but does not pick up any new color or image

details.

Soften Smooths edges and reduces contrast.

Sharpen Heightens edges and accentuates contrasts.

Emboss Causes the foreground to appear raised from the

background by suppressing color and tracing edges

in black.

Lighten/Darken Lightening increases brightness; darkening

decreases brightness. (Choose to affect the RGB or

Lightness value of pixels).

Saturation Up/Down Increases or decreases the saturation (affects the

HSL value of pixels).

Chapter 11: Raster Painting 295

To use a retouch brush:

1 On the Tools toolbar, choose the retouch brush: Dodge , Burn ,

Smudge , Push , Soften , Sharpen , Emboss , Lighten/

Darken , Saturation , Hue , or Change to Target .

2 On the Tool Options palette, choose the brush tip, size, opacity,

and other options. See “If you are sharing a Preset for a custom

brush (brushes created from selections) then you will need to

select both the .PspBrush file and the associated PSP Script file.”

on page 282.

3 Depending upon the tool, select from the following options:

Swap mouse buttons Mark this check box to swap the functions

of the left (up) and right (down) mouse buttons.

Sample merged (Smudge, Push, Soften, Sharpen, Emboss) Mark

this check box to retouch data from all layers merged together.

Clear this check box to retouch data on the current layer only.

Mode (Lighten/Darken) Choose what is lightened or darkened:

RGB values or Lightness values.

Mode (Change to Target) Choose the characteristic of the

foreground color to target: Color (RGB value; luminance is not

changed), Hue, Lightness, or Saturation.

Limit Choose which option you want to limit for the Dodge and

Burn tools: None, Shadows, Midtones, or Highlights.

Hue Up/Down Increases or decreases the hue (affects the HSL

value of pixels).

Change-to-Target Changes pixels based on a characteristic of the

current foreground color (on the Materials palette):

color, hue, saturation, or lightness.

If you choose the color as the target, the tool applies

the foreground color without affecting the

luminance.

If you choose the hue, saturation, or lightness as the

target, it applies the foreground color’s hue,

saturation, or lightness value without changing the

other values.

Brush Effect

Apply the brush only where

you want it

To limit the effects of this brush to a

specific area, first make a selection

in the image.

Using the mouse buttons

When using the retouch tools you

can retouch an image by

left-clicking, and apply the

opposite of the retouch by right-

clicking.

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296

4 Drag in the image to apply the brush. If the brush has two

functions (such as Hue Up/Down), drag with the left mouse to

apply the first function and drag with the right mouse button to

apply the second function.

297

Art Media Tools

Working in conjunction with the new Mixer palette, the new Art

Media tools let you create digital artwork that closely mimics real-

world media, pigments, paints, and artist's tools. The Oil Brush

creates realistic paint strokes, while the Chalk, Pastel, Crayon,

Colored Pencil, and Marker tools are used for making dry-pigment

works of art.

Contents Art Media Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Using the Mixer Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Using the Art Media Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Using the Oil Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Using the Chalk Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Using the Pastel Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Using the Crayon Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Using the Colored Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . 313

Using the Marker Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Using the Palette Knife Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Using the Smear Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Using the Art Eraser Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

CHAPTER 12

Chapter 12: Art Media Tools

298

Art Media Layers

Art Media layers are automatically created when you begin using

any of the Art Media tools. In this regard, the layer-creation

functionality is similar to the vector tools.

You can also create a new Art Media layer by doing any of the

following:

Choosing Layers > New Art Media layer; or

Clicking the New Art Media Layer button on the Layers

palette; or

Right-clicking on the Layers palette and choosing New Art

Media layer from the context menu.

In the Layers palette, Art Media

layers look like this:

Art Media layers can be converted

to Raster layers, but not Vector

layers.

Dry and Wet Art

Media Layers

Paint strokes applied by the Oil Brush and Palette Knife are, by

default, wet in terms of how strokes interact with other strokes by

smearing/mixing together. You can, however, choose to dry the Art

Media layer at any time. Conversely, you can choose to make a dry

Art Media layer wet again:

Choose Layers > Dry Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu)

to dry the strokes applied by the Oil Brush or Palette Knife.

Choose Layers > Wet Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu)

to make dried Oil Brush or Palette Knife strokes wet again.

Note: Note: Both the Dry Art Media layer command and the Wet

Art Media layer command can be selectively undone in the

History palette.

Chapter 12: Art Media Tools 299

Creating New Images with an Art Media

Layer

When creating a new image via the New Image dialog, you can

choose to create the image with an Art Media layer. To enhance the

realism, additional options include:

Setting a canvas texture on which Art Media pigment will be

applied.

Applying a fill color to the texture.

Modifying Art Media Layer Properties

After creating the new image, the texture and/or the fill color can be

changed. To do so:

1 Display the Layer Properties dialog by double-clicking the Art

Media layer in the Layers palette, or by highlighting the layer and

then choosing Layers > Properties.

2 Select the Canvas Texture tab.

3 Modify the texture and/or fill color setting.

Note: New textures applied after you've already applied Art

Media tool strokes will not affect these pre-existing strokes, but

instead just the strokes applied to the new canvas texture.

Using the Mixer Palette

The Mixer palette allows users to mix any number of colors into a

single paint swatch in a manner similar to a traditional artist's

palette. With this off-canvas palette, you can mix and experiment

with colors just like a real palette, and then use your Art Media

brushes to make realistic strokes simulating the rich, expressive

results you get with physical pigment media such as paint, pastel,

pencil, and chalk.

Chapter 12: Art Media Tools

300

Getting To Know the Palette

This illustration identifies the elements of the Mixer palette.

Painting with the Mixer Palette Materials

Here are the basics steps for painting with the Art Media tools and

the Mixer palette:

1 In the Materials palette, set the Foreground/Stroke property to

Color (the Mixer palette only works with the current Foreground/

Stroke solid color, not gradients, patterns, or textures), and then use

the Materials palette's Frame, Rainbow, or Swatch tab to choose the

color you want to start working with.

Note: Note: When any Art Media tool is active, the mode buttons

below the Foreground/Stroke and Background/Fill property

boxes will be inactive.

Note: In the Mixer palette, select the Mixer Tube tool .

2 In the Mixer area, lay down paint strokes by dragging the cursor.

The width of the stroke is determined by the Size setting for the

Tube tool.

Chapter 12: Art Media Tools 301

3 Optionally, you can set another Foreground/Stroke color in the

Materials palette like you did in Step 1, and again use paint

strokes in the Mixer area. Continue doing this as much as you

like. Use the Mixer area as you would a real-life painting palette.

Use the Unmix button to undo a Mixer Tube (or Mixer Knife)

action; use the Remix button to redo the undone action. You

can then save the Mixer area as a page as described in a section

below.

4 If you have multiple colors applied to the Mixer area, you'll

notice that strokes that pass over another color will mix the

colors just like a real-life palette. At this point you could also use

the Mixer Knife tool to smear Mixer area colors together. Use

the Unmix button to undo a Mixer Knife (or Mixer Tube)

action; use the Remix button to redo the undone action. Use

the Size setting to determine the stroke width for the Tube tool

and the Knife tool -- be aware that each tool's Size setting can be

unique.

Note: The Mixer Knife tool and the Mixer Tube tool exchange

functionality when dragging with the right mouse button. When

using the Tube tool, left-drag to apply paint, right-drag to mix

paint. When using the Knife tool, left drag to mix paint, right-

drag to apply paint.

5 When you're ready to begin painting, select the Mixer palette's

Mixer Dropper tool and then click the desired color in the

Mixer area. Notice that dragging the cursor around the Mixer

area updates the Materials palette's Foreground/Stroke property

in tandem with your current sampling position. Be aware of the

following points:

For the Oil Brush and Palette Knife tools, the Mixer palette's

Dropper tool's cursor size is determined by the Size setting in

the Tool Options palette.

For all the other Art Media tools (Chalk, Colored Pencil,

Marker, etc.), the sampling area is determined by the Mixer

palette's Size drop-list setting. The drop-list becomes active

when using any Art Media tool other than Oil Brush or Palette

Knife.

6 In the Art Media tools group in the Tools toolbar, select the

desired Art Media brush to use. The Oil Brush and Palette Knife,

by default, create wet paint strokes, while the other tools create

dry paint strokes. For details on each Art Media tool, see Using

the Art Media Brushes.

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Note: When using the Oil Brush or Palette Knife, you can choose

to "dry" the Art Media layer, or make it "wet" again by choosing

Layers > Dry Art Media layer or Wet Art Media layer. See the Dry

and Wet Art Media Layers section below for more details.

7 Place the Art Media brush cursor inside the image area and begin

making paint strokes. The strokes will be applied on an Art

Media layer. (If this layer type is not the active layer, one will be

created automatically once you begin using the Art Media tool.)

8 To get more paint, or choose another color, use the Mixer

palette's Dropper tool to click the desired color in the Mixer area.

Now go back to the image canvas and paint.

9 To clean the brush tip, click the Clean button in the Tool

Options palette, or mark the Auto Clean check box to

start with a clean brush tip for every stroke.

10 Experiment with the Tool Options palette settings to control

brush behavior.

Dry and Wet Art Media Layers

Paint strokes applied by the Oil Brush and Palette Knife are, by

default, wet in terms of how strokes interact with other strokes by

smearing/mixing together. You can, however, choose to dry the Art

Media layer at any time. Conversely, you can choose to make a dry

Art Media layer wet again:

Choose Layers > Dry Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu)

to dry the strokes applied by the Oil Brush or Palette Knife.

Choose Layers > Wet Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu)

to make dried Oil Brush or Palette Knife strokes wet again.

Note: Note: Both the Dry Art Media layer command and the Wet

Art Media layer command can be selectively undone in the

History palette.

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Navigating the Mixer Area

Use the Navigate button to pan around the Mixer area page:

1 Place the cursor over this button and then hold down the left mouse

button. This displays a small version of the entire 500 x 500 pixel

Mixer page, and a black outline box reflects the current view in the

Mixer area.

2 Drag the mouse to pan the page. Release the mouse button when

the desired portion of the page is enclosed in the outline box.

This feature works in a similar manner to the Overview palette.

Emptying the Mixer Area

To empty the mixer area (clean the page), do one of the following:

Choose Clean Page from the Mixer palette's menu access button

at the bottom right of the palette; or

Click the New Page button , and choose No when asked to

save the current page.

Saving Mixer Area Pages

To save the current Mixer area as a page, choose Save Page or Save

Page As in the Mixer palette's menu access button, and then enter a

name for the page.

Loading Mixer Area Pages

To load a previously saved Mixer area page, click the Load Mixer

Page button , or choose Load Page in the Mixer palette's menu

access button. Navigate to where the page resides to select it.

About the Unmix and Remix Buttons

The Mixer palette's Unmix and Remix buttons allow you to

undo Mixer Tube and Mixer Knife actions. Note the following points

about these buttons:

Unmix allows you to undo the 20 most recent Mixer Tube or

Mixer Knife actions.

The following page operations will clear the current history: New

Page, Load Page, Clean Page, and Delete Page.

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The Unmix/Remix functionality is limited to the current session

of Paint Shop Pro; if you exit the application, restart it, and open

the same image, the Unmix/Remix buttons are reinitiated.

Closing and opening the mixer palette will not reinitiate the

Unmix/Remix states.

Mixer Tube and Mixer Knife actions cannot be undon/redone by

choosing Edit > Undo / Redo, nor by clicking the Standard

toolbar's Undo and Redo buttons, nor by pressing Ctrl + Z or Ctrl

+ Alt + Z.

Creating a Custom Mixer Page

The Mixer pages you work on and save via the Mixer palette are 500

x 500 pixels. You can, however, create larger, custom mixer pages as

described below. (Note that Mixer pages cannot be smaller than 500

x 500 pixels.)

1 Create a new image by clicking the New button on the Standard

toolbar, or choose File > New. The New Image dialog appears.

2 In the Image Dimensions section, enter the desired dimensions

for the Mixer page. Remember that the Width and Height must be

at least 500 pixels.

3 In the Image Characteristics section:

Choose the Art Media Background option.

Choose a texture from the Texture drop list. The texture acts

like an invisible surface on which Art Media pigments are

applied.

4 Check the Enable fill color check box if you wish to fill the mixer

page with a color. Be aware, however, that you cannot sample

this color, nor will the Art Media tools affect the color.

5 If you marked the Enable fill color option, click the Color box

and choose a fill color.

6 Click OK to create the new image.

7 *Optional: At this point you can apply Art Media pigment to the

image.

8 Click the Save button on the Standard toolbar, or choose File

> Save. The Save As dialog appears.

9 Navigate to the current directory where your Mixer pages are

being read from this is set in the File Locations dialog. The

directory should either be:

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...My Documents\My PSP Files\Mixer Pages; or

...Program Files\Jasc Software Inc\Paint Shop Pro 9\Mixer

Pages

10 Save the new image in the .PspImage file format.

When you now choose to load another Mixer page, the custom page

will be available.

Using the Art Media Brushes

The Art Media brushes and tools in the

Tools toolbar are shown here:

Use these tools when working on Art Media

layers. Like any other tool, the Art Media

tools have their own settings in the Tool

Options palette to control their behavior on

the image.

The purpose of these tools is to simulate the

rich, expressive results you get when

working on physical pigment media such as

paint, chalk, pastel, and pencil. The tools

will appeal not only to creative graphic artists, but also to photo-

centric users looking for ways to touch up their images.

Note: Although the Art Media tools support Presets, they do not

support custom brush tips like the Paint Brush and other raster

painting tools.

The Wet Pigment Media Tools

The Oil Brush and Marker tools simulate painting with a wet

pigment media. The Oil Brush further simulates wet painting in that

it will run out of paint during the stroke. To "get more paint," simply

release the mouse button, then hold it down again and drag more

paint strokes. You can also get more paint from the Mixer palette's

Mixer area.

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Note that the Oil Brush and the Palette Knife are the only Art Media

tools capable of producing strokes with multiple colors on the brush

head. This simulates what you could get using a real-life painting

palette with multiple wet pigments on it. Additionally, when the Oil

Brush or Palette Knife is active, you can "dry" wet strokes by

choosing Layers > Dry Art Media layer; conversely you can make

dried strokes "wet" by choosing Layers > Wet Art Media layer.

(These commands are also available in the Layers palette's context

menu.)

Note

Both the Dry Art Media layer command and the Wet Art Media layer

command can be selectively undone in the History palette.

The Dry Pigment Media Tools

The Chalk, Pastel, Crayon, and Colored Pencil tools simulate

artwork created with dry pigment media. Unlike the Oil and Acrylic

brushes, these dry tools don't "run out" of their respective pigment

media. Additionally, the pigment applied with these tools has less

volume than what is applied via the Oil Brush or Acrylic Brush.

The Palette Knife, Smear, and Art Eraser

Tools

The Palette Knife can be used to smear art media pigments with a

hard, knife-like edge, or it can be used to apply the pigments.

The Smear tool is to smear art media pigments as though you were

using a finger or cloth.

The Art Eraser tool is used to erase pigment from the Art Media

layer. When using the Art Eraser over areas covered with multiple

paint strokes (such as those applied by the Oil or Acrylic brushes),

you'll find that it may take multiple strokes with the Art Eraser tool

to clean the area. Conversely, using this tool on strokes applied with

the Chalk or Colored Pencil tool will yield quicker results.

For more details on each of these tools, click its associated link

below.

Chapter 12: Art Media Tools 307

Adjusting the Brush Size Via the Keyboard

While using any Art Media tool, raster painting brush (with the

exception of the Warp brush), the Clone brush, the Color Replacer,

or the Eraser and Background Eraser, you can quickly adjust the

brush size without taking the cursor off the image and into the Tool

Options palette. To adjust the brush size via the keyboard:

Press Alt + X to decrease the brush size by one pixel.

Press Alt + C to increase the brush size by one pixel.

Hold down Alt and Shift and then press X to decrease the brush

size by 20 pixels.

Hold down Alt and Shift and then press C to increase the brush

size by 20 pixels.

Hold down the Alt key and drag (to drag, hold down the left

mouse button and then move the mouse) the left mouse button up

or down to rapidly change the brush size.

Hold down the Alt and Shift keys and drag the left mouse button;

the size will be set to its lowest value (3 pixels for the Art Media

tools, and 1 pixel for the raster painting tools) and then you can

drag to increase it from there.

About the Trace Check Box

One particular Tool Options setting to be aware of is the Trace check

box. When this check box is marked, the current Art Media tool will

select the pigment/paint color by sampling the data below the center

of the brush regardless of the layer type. (This feature works much

the same way the Clone Brush's Sample Merged tool option works).

When you hold down the mouse button to begin the stroke, note that

a single sample is performed, and the resulting color is used for the

duration of the stroke.

This feature allows you to, for example, use the Art Media tools to

trace over a photo residing on the Background layer, using colors in

the photo as the pigment media source. With careful, detailed use of

this feature you could create an impressionistic effect similar to what

you can get with some of Paint Shop Pro's own effects or even third

party plug-ins such as Virtual Painter.

Be aware that when tracing over elements such as an eye or other

small, fine features, you'll get better results if you set your zoom

level appropriately as well as the brush size setting in the Tool

Options palette.

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308

Using the Oil Brush

Oils present a dense medium that blends color by mixing thick

medium rather than through an overlay function. The Oil Brush

can potentially be loaded with multiple colors across the head.

Mixing with oil already on the canvas results in smearing and

blending. Shininess is important, as well as the existence of texture

from the mass of medium on the canvas interacting with the bristles

of the brush, as well as the texture of the canvas.

There are a number of options for managing the reloading of the

Oil Brush tool head between strokes:

Reload with solid color from the materials palette

Reload with Art Media material from the Materials palette

Not loaded at all, but instead relying on the user to dip into the

palettes or canvas manually after each stroke.

These options helps to mimic real world paint tools while also

allowing the digital user to take a more convenient approach to

applying new paint strokes.

Dry and Wet Art Media Layers

Paint strokes applied by the Oil Brush and Palette Knife are, by

default, wet in terms of how strokes interact with other strokes by

smearing/mixing together. You can, however, choose to dry the Art

Media layer at any time. Conversely, you can choose to make a dry

Art Media layer wet again:

Choose Layers > Dry Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu) to

dry the strokes applied by the Oil Brush or Palette Knife.

Choose Layers > Wet Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu) to

make dried Oil Brush or Palette Knife strokes wet again.

Note: Both the Dry Art Media layer command and the Wet Art

Media layer command can be selectively undone in the History

palette.

Oil Brush Tool Options

Oil Brush tool options include:

Shape: Choices include Round or Square.

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

Chapter 12: Art Media Tools 309

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head. Note that this

setting is only active when the Fixed angle Head Tracking option is

chosen.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Choose Track path to have the brush head bend

around the path of the stroke, or choose Fixed angle to have the

brush head remain at a fixed angle.

Head Loading: Defines (in percentage) the amount of material on the

brush at the start of the stroke.

Viscosity: Defines the rate at which the material on the brush is

applied, and thus the length of the stroke before your paint runs out.

Firmness: Defines the amount of splay in the brush, how the

rendered line gets wider with more pressure, and how well it

penetrates the surface on to which it is painting.

Bristle size: Defines the bristle size affects the underlying noise

function for texture and application of paint.

Reloading: the method by which the brush is reloaded after a stroke.

As noted above this could involve requiring the user to "pick up"

paint from the canvas or mixer, automatically reloading, cleaning

and reloading the brush, or other options.

Auto Clean check box: When marked, this check box simulates

cleaning the brush and dipping it in fresh paint at the start of a new

stroke. When unchecked, the brush head is not cleaned at the start of

the stroke. Instead, the "dirty" head has a small amount of the current

color added to whatever dirty head state exists from the previous

stroke.

Clean button: Click this button to clean the head and start the next

stroke with fresh paint/pigment. Note that this button is only active

when the Auto Clean check box is not marked.

Trace check box: When marked, the current Art Media tool will

select the pigment/paint color by sampling the data below the center

of the brush regardless of the layer type. (This feature works much

the same way the Clone Brush's Sample Merged tool option works).

When you hold down the mouse button to begin the stroke, note that

a single sample is performed, and the resulting color is used for the

duration of the stroke.

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310

Note:

The Auto Clean check box and the Clean button are only available

with the Oil Brush and Palette Knife tools.

Using the Chalk Tool

Chalk presents a dry media with infinite head loading, meaning the

media does not "run out" over the course of a stroke like it does with

the Oil Brush. As applied by the Chalk tool , its dry pigment

tends to penetrate the canvas texture proportional to the pressure at

which you apply it. This is due to Paint Shop Pro mimicking a solid

tool head, combined with the chalk having a fixed viscosity. Chalk

does not have a bristle component to the stroke, but is instead

applied via the tool's flat or angled surface. The stroke edges tend to

have a fall-off and break up affected strongly by the current canvas

texture.

Chalk is a matte and powdery medium, so it doesn't tend to smear

itself much, though it does sink in to the dents in the canvas.

Because it is a hard pigment medium, chalk does not apply volume

to the surface of the canvas.

Chalk Tool Options

Chalk tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Controls whether the tool head bends around the

path of the user’s stroke, or remains at a fixed angle.

Trace check box: When marked, the Chalk tool will select the

pigment color by sampling the data below the center of the tool

regardless of the layer type. (This feature works much the same way

the Clone Brush's Sample Merged tool option works). When you

hold down the mouse button to begin the stroke, note that a single

sample is performed, and the resulting color is used for the duration

of the stroke.

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

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Using the Pastel Tool

Pastel is a dry media, softer than chalk, but like chalk it has infinite

brush loading. Applied with the Pastel tool , its dry pigment tends

to penetrate the canvas texture proportional to the pressure at which

you apply it. Pastel pigments have a fixed viscosity slightly less than

chalk, meaning the strokes you apply leave some volume on the

canvas as they break from the pigment stick. Pastels do not have a

bristle component to the stroke, instead presenting a flat or angled

surface of the stick. The stroke edges tend to have a fall-off and

break up affected strongly by the canvas texture.

Pastel is slightly shiny, interacts with itself by smearing slightly, and

dirtying the tool head slightly when applied with light pressure. It

loads the canvas more than chalk, breaking up more when applied,

and this give the appearance of volume to the surface.

Pastel Tool Options

Pastel tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Controls whether the tool head bends around the

path of the user’s stroke, or remains at a fixed angle.

Trace check box: When marked, the Pastel tool will select the

pigment color by sampling the data below the center of the tool

regardless of the layer type. (This feature works much the same way

the Clone Brush's Sample Merged tool option works). When you

hold down the mouse button to begin the stroke, note that a single

sample is performed, and the resulting color is used for the duration

of the stroke.

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

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312

Using the Crayon Tool

Crayon is a dry media similar to chalk though with a "wetter" feel

that prevents powdering, and the tool has infinite pigment loading.

As applied by the Crayon tool , its dry pigment tends to penetrate

the canvas texture proportional to the pressure at which you apply it.

This is due to Paint Shop Pro mimicking a solid tool head. The

pigment leaves a slightly waxy volume that can smear for a short

distance as it is painted over. Crayons do not have a bristle

component to the stroke, instead presenting a flat or angled tool

surface. The body of the stroke tends to have a fall-off and break up

affected strongly by the canvas texture, but although crayon pigment

is less transparent than chalk, it does not does not powder.

Crayon is a little more shiny than pastel, smears itself slightly less,

but does apply a tiny amount of matter to the canvas and can smooth

over bumps if used repeatedly. This is because the volume that is

laid down is viscous enough to fill dents but also dense enough to

prevent large-range smearing.

Crayon Tool Options

Crayon tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Controls whether the tool head bends around the

path of the user’s stroke, or remains at a fixed angle.

Trace check box: When marked, the Crayon tool will select the

pigment color by sampling the data below the center of the tool

regardless of the layer type. (This feature works much the same way

the Clone Brush's Sample Merged tool option works). When you

hold down the mouse button to begin the stroke, note that a single

sample is performed, and the resulting color is used for the duration

of the stroke.

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

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Using the Colored Pencil Tool

Colored Pencils present a dry medium that doesn't tend to break up

but does apply solidly to the canvas. As applied by the Colored

Pencil tool , its pigment has a very strong interaction between

pressure and the canvas. The tool size is small compared to other

tools. Head-loading is infinite, and viscosity is very high. Pencil

doesn't apply bump to the surface, and will only smear when

pressure is applied with a less smooth tipped tool. To smear colored

pencil strokes, you would use the Smear tool.

Pencil strokes tend to blend with a multiply mode when used lightly,

but overlay when used with firm pressure. This can be used to

simulate a wide range of color blends, using the tool softly to apply a

hint of color, or firmly to cover over what’s underneath.

Colored Pencil Tool Options

Colored Pencil tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Controls whether the tool head bends around the

path of the user’s stroke, or remains at a fixed angle.

Style: If you're using a stylus, you can choose Tilt to change the

style through a linear progression based upon the stylus tilt. Choose

Tip to mimic using the very tip of a pencil. Choose Edge to mimic

using the pencil's edge.

Softness: Defines the softness of the pencil lead, controlling how

easily pressure or velocity break up the lead and cause it to powder

into the canvas dents, or to smudge when applied.

Trace check box: When marked, the Colored Pencil tool will select

the pigment color by sampling the data below the center of the tool

regardless of the layer type. (This feature works much the same way

the Clone Brush's Sample Merged tool option works). When you

hold down the mouse button to begin the stroke, note that a single

sample is performed, and the resulting color is used for the duration

of the stroke.

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

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314

Using the Marker Tool

Marker pens are a slightly wet medium, though generally not wet

enough to interact with other wet media. As applied by the Marker

tool , its pigment goes on the canvas with a multiply function

when using pens, simulating the interaction of using a pen

repeatedly on the same spot. An imperfect hue will tend towards a

different color, very similar to the behavior of standard markers.

Marker ink tends to be semi-transparent, and can get darker when

applied with more pressure. Bristling generally does not occur since

pen tips tend to be firm or solid even if soft. Pens generally have a

very sharp fall-off at the stroke edge, and generally there is full

canvas penetration even at light pressure.

Marker Tool Options

Marker tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Controls whether the tool head bends around the

path of the user’s stroke, or remains at a fixed angle.

Trace check box: When marked, the Marker tool will select the

pigment color by sampling the data below the center of the tool

regardless of the layer type. (This feature works much the same way

the Clone Brush's Sample Merged tool option works). When you

hold down the mouse button to begin the stroke, note that a single

sample is performed, and the resulting color is used for the duration

of the stroke.

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

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Using the Palette Knife Tool

The Palette Knife interacts with the mass of medium on the

canvas. Generally it would only interact with strokes placed by the

Oil Brush given that it is the only tools that apply large amounts of

its medium. As the mass of the medium reduces in a spot, there is

less to smear and using the Palette Knife has less effect. This means

that Crayon, which applies very little medium, will only be slightly

affected by the Palette Knife.

The method of loading or cleaning the Palette Knife mirrors the Oil

Brush in some ways. You can clean it automatically after each

stroke, retain the color picked up from the canvas, or allow manual

cleaning. The Palette Knife can be used to apply pigment or smear it,

depending on user preference.

Dry and Wet Art Media Layers

Paint strokes applied by the Oil Brush and Palette Knife are, by

default, wet in terms of how strokes interact with other strokes by

smearing/mixing together. You can, however, choose to dry the

Art Media layer at any time. Conversely, you can choose to make

a dry Art Media layer wet again:

Choose Layers > Dry Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu) to

dry the strokes applied by the Oil Brush or Palette Knife.

Choose Layers > Wet Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu) to

make dried Oil Brush or Palette Knife strokes wet again.

Note: Both the Dry Art Media layer command and the Wet Art

Media layer command can be selectively undone in the History

palette.

Palette Knife Tool Options

Palette Knife tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head. Note that this

setting is only active when the Fixed angle Head Tracking option is

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

Chapter 12: Art Media Tools

316

chosen.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Choose Track path to have the brush head bend

around the path of the stroke, or choose Fixed angle to have the

brush head remain at a fixed angle.

Head Loading: Defines (in percentage) the amount of material on the

brush at the start of the stroke.

Auto Clean check box: When marked, this check box simulates

cleaning the tool and dipping it in fresh paint at the start of a new

stroke. When unchecked, the tool head is not cleaned at the start of

the stroke. Instead, the "dirty" head has a small amount of the current

color added to whatever dirty head state exists from the previous

stroke.

Clean button: Click this button to clean the head and start the next

stroke with fresh paint/pigment. Note that this button is only active

when the Auto Clean check box is not marked.

Trace check box: When marked, the Palette Knife tool will select the

pigment/paint color by sampling the data below the center of the tool

regardless of the layer type. (This feature works much the same way

the Clone Brush's Sample Merged tool option works). When you

hold down the mouse button to begin the stroke, note that a single

sample is performed, and the resulting color is used for the duration

of the stroke.

Using the Smear Tool

Unlike the Palette Knife, the purpose of the Smear tool is to

smear existing pigment, including pigment that has no volume on the

canvas, such as pencil. This simulates using a cloth or finger to

softening out chalk or pencil strokes on a real-life canvas.

The Smear tool only interacts with pigment already on the canvas,

and has no loading of its own. When used on dry pigment, it will

have a smudge effect. When used on wet pigment, it will have a

smear effect.

This tool's functionality differs from real-life smearing in that its

operation changes based on the pigment type you're trying to smear.

But it does mimic the various real-life methods used to distort color

masses such as fingers on pencil, rags on oil, etc.

Chapter 12: Art Media Tools 317

Smear Tool Options

Smear tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Controls whether the tool head bends around the

path of the user’s stroke, or remains at a fixed angle.

Using the Art Eraser Tool

The Art Eraser tool lets you erase art media from the image.

Specifically, it erases mass where there is some, and color where

there is not mass. While this tool is not strictly realistic, it does

provide important flexibility to the Art Media tool set, allowing you

to erase mistakes progressively rather than requiring an entire stroke

to be undone.

Art Eraser Tool Options

Art Eraser tool options include:

Shape: Choices include Round or Square.

Size: Defines the size of the tool head in pixels. Note that you can

also adjust the Size setting via the keyboard. Refer to the Adjusting

the Brush Size Via the Keyboard section earlier in this chapter.

Thickness: Defines the aspect ratio of the tool head.

Rotation: Defines the angle of head rotation in degrees

Head Tracking: Controls whether the brush head bends around the

path of the user’s stroke, or remains at a fixed angle.

Art Media Brush Presets

Like other Paint Shop Pro tools,

the Art Media Brushes comes with

presets.

To use a preset:

In the Tool Options palette, click

the Presets button. This displays a

list of preset styles.

From the list, choose the desired

brush preset.

Chapter 12: Art Media Tools

318

319

Drawing and Editing Objects

Use Paint Shop Pro’s drawing tools to create objects in a variety of

styles. Draw anything from simple lines, rectangles, ellipses, and

shapes to complex illustrations.

Contents Drawing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Drawing Lines with the Pen Tool . . . . . . . . . . . . . . . . . . . . . . . 321

Drawing Bezier Curves with the Pen Tool . . . . . . . . . . . . . . . . . 325

Drawing Freehand Curves with the Pen Tool. . . . . . . . . . . . . . . 326

Using the Rectangle Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Using the Ellipse Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Using the Symmetric Shape Tool . . . . . . . . . . . . . . . . . . . . . . . 330

Using the Preset Shape Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Creating Custom Line Styles . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Editing Vector Object Properties. . . . . . . . . . . . . . . . . . . . . . . . 336

Adding and Closing Contours. . . . . . . . . . . . . . . . . . . . . . . . . . 338

Aligning and Arranging Vector Objects . . . . . . . . . . . . . . . . . . . 343

Resizing and Reshaping Vector Objects . . . . . . . . . . . . . . . . . . 347

Editing Paths and Contours . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Editing Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

CHAPTER 13

Chapter 13: Drawing and Editing Objects

320

Drawing Objects

Vector objects are created with the Pen, Rectangle, Ellipse,

Symmetric Shape, and Preset Shape tools. The Text tool can also

create vector objects.

Use the Pen tool to draw single lines and polylines, Bezier (point to

point) curves, and freehand lines. Use the Rectangle tool to create

rectangles and squares. Use the Ellipse tool to create ellipses and

circles. Use the Symmetric Shape tool to create polygons and star

shapes. Use the Preset Shape tool to place already-created shapes

(such as arrows, starbursts, flowers, callouts, etc.) on the image.

Each of the tools has the "Create as vector" check box in the Tool

Options palette. When marked, this option places the object on a

vector layer, giving you the most editing flexibility. When this

option is not marked, the object will be placed on a raster layer.

Raster Objects When creating objects on raster layers, you are really

painting on the raster layer. Even though you create a raster object in

the same way as a vector object, your finished shape is not a vector

object. Once the shape is complete, it becomes pixels on a layer. You

can only edit the pixels with raster editing tools.

Note: You can only draw raster objects on raster layers. If you

try to draw a raster object on a vector layer, Paint Shop Pro

will create a new raster layer for your object.

Vector Objects When you create objects on vector layers, you are

creating objects that can be edited later. A vector object’s properties

(outline color, fill color, size, location and more) can all be easily

changed over and over. You can also edit the paths, contours, line

segments, and nodes that make up vector objects.

Note: You can only draw vector objects on vector layers. If

you try to draw a vector object on a raster layer, Paint Shop

Pro will create a new vector layer for your object.

To draw objects:

1 On the Tools toolbar, choose the Pen tool , Rectangle tool ,

Ellipse tool , Symmetric Shape tool , or the Preset Shape

tool . (Note that the Rectangle, Ellipse, Symmetric Shape, and

Preset Shape tools are grouped together.)

2 In the Materials palette, set the desired color/materials for the

object's stroke and fill.

3 In the Tool Options palette, set the desired options.

For more about Raster vs.

Vector Objects

For overview information on vector

and raster data, see “About Raster

and Vector Graphics” on page 35.

Chapter 13: Drawing and Editing Objects 321

4 Depending on the tool, click and drag, or hold down the left

mouse button and drag to create the object.

5 In the Tool Options palette, click Apply to complete the

creation of the shape and deselect it.

The Anatomy of a Vector Object

Object An object is anything you create with a vector tool. Each

object is represented by its own bounding box. An object has

properties you can control such as line style and fill color. Each

object contains one path made up of contours and nodes.

Path An object contains one path. The path is all the contours in an

object. The properties of the path are controlled by the object’s

properties. A path’s direction flows from its start to end point. Some

paths are closed (their start and end points are the same).

Contour A path contains at least one contour. A contour contains at

least one line segment. A contour’s direction flows from its start to

end point. A contour can also be open or closed. The contours in a

path do not need to be connected. Some of a contour’s properties are

controlled by its object’s properties (e.g. line style, fill color, anti-

aliasing). The shape of a contour is controlled by the type and

location of its nodes.

Node A contour contains at least two nodes. A node is a point on a

contour that define the contour’s shape at that point. For instructions

on editing nodes, see, “Editing Nodes” on page 351.

Line Segment The straight or curved line between two nodes is a line

segment.

Drawing Lines with the Pen Tool

One of the functions of the Pen tool is to draw line segments as well

as connected line segments.

Closed object selected with

Object Selection tool

Open object selected with

Pen tool

Contour selected with

Pen tool

Path

Bounding Box

Path

Contour

Node

Line Segments

Start

End

Corner Join Types

Chapter 13: Drawing and Editing Objects

322

To draw an unconnected line segment:

1 From the Tools toolbar, choose the Pen tool .

2 In the Materials palette, set the desired Foreground/Stroke

property. (Note that for single, unconnected line segments, you

do not need to bother with the Background/Fill color.)

3 In the Tool Options palette's Mode section, click the Draw Lines

and Polylines button .

4 Set other tool options:

Connect Segments: Mark this check box to automatically

connect each line segment.

Show Nodes: Mark this check box to display the objects nodes

during creation.

Create on Vector: Mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object. If this option is not checked, the

line will be placed on a raster layer (making it more difficult to

subsequently edit).

Line Style: From the drop-list, choose the style to use for the line.

For a plain, standard line, choose +Solid.

Width: Set the desired line width in pixels.

Anti-alias: Mark this check box to apply anti-aliasing to the

object, giving the edges a smoother appearance.

5 Place the cursor at the starting point, hold down the left mouse

button and then drag the mouse. Release the mouse button when

the line reaches the desired length.

Note: To create a vertical, horizontal, or 45-degree line, hold

down the Shift key while you drag the mouse.

6 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

7 To edit the line, click the Edit button in the Tool Options

palette's Mode section, and then click the line. Edit mode allows

for a variety of ways to modify the line. Note that you can also

choose the Object Selection tool and modify the line in other

ways (such as move, rotate, stretch, etc.).

To draw connected line segments:

1 From the Tools toolbar, choose the Pen tool .

Pen tool line segment

Chapter 13: Drawing and Editing Objects 323

2 In the Materials palette, set the desired Foreground/Stroke

property. If you want the connected segments to have a fill, you'll

also need to set the Background/Fill property. If you do not want

the line segments to have a fill, set the Background/Fill property

to Transparent.

3 In the Tool Options palette's Mode section, click the Draw Lines

and Polylines button .

4 Set other tool options:

Connect Segments: Mark this check box to automatically

connect each line segment.

Show Nodes: Mark this check box to display the objects nodes

during creation.

Create on Vector: Mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object. If this option is not checked, the

line will be placed on a raster layer (making it more difficult to

subsequently edit).

Line Style: From the drop-list, choose the style to use for the line.

For a plain, standard line, choose +Solid.

Width: Set the desired line width in pixels.

Anti-alias: Mark this check box to apply anti-aliasing to the

object, giving the edges a smoother appearance.

Join: Choose from one of three Join types. Miter Join (this setting

makes the Miter limit setting available) produces more pointed

joins; Round Join rounds off the joins; and Beveled Join

produces a sloped join.

Miter limit: (This is only available when Miter Join is chosen.)

This sets the degree of pointedness for Miter joins. Lower values

create less pointed joins; higher values created more pointed

joins.

5 Place the cursor at the starting point, hold down the left mouse

button and then drag the mouse. Release the mouse button when

the first line reaches the desired length.

6 To create the next segment, drag the mouse again, and release the

button to complete the next line segment.

7 Repeat step 6 to create as many connected line segments as you

wish.

8 You can complete the shape in two different ways:

Corner Join types

Round Line Bevel

Miter

Chapter 13: Drawing and Editing Objects

324

For an open shape (where the first and last segment are not

connected), click the Create New Contour button in the Tool

Options palette.

For a closed shape (where the first and last segments are

connected), click the Close Contour button in the Tool

Options palette.

Note: To create a vertical, horizontal, or 45-degree line, hold

down the Shift key while you drag the mouse.

9 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

10 To edit the line, click the Edit button in the Tool Options

palette's Mode section, and then click the line. Edit mode allows

for a variety of ways to modify the line. Note that you can also

choose the Object Selection tool and modify the line in other

ways (such as move, rotate, stretch, etc.).

Saving a Preset

Save an often-used set of Tool Options palette settings for

subsequent use as follows:

1 Set the Tool Options to the desired settings.

2 Click the Presets drop-list, and then click the Save preset button

. The Save Preset dialog appears.

3 In the Preset Name field, enter a name for the preset.

4 Optionally, you can click the Options button to enter more

information about the preset, such as the Author, Copyright, and

Description. You can also choose to exclude particular preset

properties by clicking the associated button (a red "x" will appear

over excluded properties).

5 Click OK to save the preset and close the Save Preset dialog.

Loading a Preset

To load a preset, click the Presets drop-list and then click the desired

preset from the list.

Resetting tool options

To reset the Tool Options palette

to the default values, click the

Presets drop-list and then click the

Reset to default button .

Chapter 13: Drawing and Editing Objects 325

Drawing Bezier Curves with the Pen Tool

One of the functions of the Pen tool is to draw Bezier (point to point)

curves.

To draw a Bezier curve object:

1 From the Tools toolbar, choose the Pen tool .

2 In the Materials palette, set the desired Foreground/Stroke

property. This determines the color/material used for the object's

stroke. If you want the curve to have a fill, you'll also need to set

the Background/Fill property. If you do not want the curve to

have a fill, set the Background/Fill property to Transparent.

3 In the Tool Options palette's Mode section, click the Draw Point

to Point - Bezier Curve button .

4 Set other tool options:

Connect Segments: Mark this check box to automatically

connect each curve segment. If you do not mark this check box,

the curve will end after you've placed the second segment.

Show Nodes: Mark this check box to display the objects nodes

during creation.

Create on Vector: Mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object. If this option is not checked, the

line will be placed on a raster layer (making it more difficult to

subsequently edit).

Line Style: From the drop-list, choose the style to use for the line.

For a plain, standard line, choose +Solid.

Width: Set the desired line width in pixels.

Anti-alias: Mark this check box to apply anti-aliasing to the

object, giving the edges a smoother appearance.

5 Place the cursor where you want the first node, hold down the left

mouse button and then drag the mouse. As you drag you'll see the

node's control arm handles with the arrow-end of the handle

pointing in the direction you dragged the mouse. Release the

mouse button when the first control arm reaches the desired

length.

6 Place the cursor where you want the second node, and drag the

mouse. As you drag, you'll see the curve segment on the image

canvas.

Pen tool Bezier curve

Chapter 13: Drawing and Editing Objects

326

7 If you checked the Connect Segments option, you can continue

adding segments in this manner.

8 You can complete the Bezier curve object in two different ways:

For an open shape (where the first and last segment are not

connected), click the Create New Contour button in the Tool

Options palette.

For a closed shape (where the first and last segments are

connected), click the Close Contour button in the Tool

Options palette.

9 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

10 To edit the shape, click the Edit button in the Tool Options

palette's Mode section, and then click the shape. Edit mode

allows for a variety of ways to modify the Bezier curve. Note that

you can also choose the Object Selection tool and modify the

shape in other ways (such as move, rotate, stretch, etc.).

Drawing Freehand Curves with the Pen Tool

One of the functions of the Pen tool is to draw Freehand curves.

To draw a Freehand curve object:

1 From the Tools toolbar, choose the Pen tool .

2 In the Materials palette, set the desired Foreground/Stroke

property. This determines the color/material used for the object's

stroke. If you want the curve to have a fill, you'll also need to set

the Background/Fill property. If you do not want the curve to

have a fill, set the Background/Fill property to Transparent.

3 In the Tool Options palette's Mode section, click the Draw

Freehand button .

4 Set other tool options:

Chapter 13: Drawing and Editing Objects 327

Tracking: (This setting is only available for Freehand mode.)

Tracking sets the distance in pixels between the nodes of a

Freehand curve object. A higher value will create smoother, less

precise lines with fewer nodes. A lower value will create more

segmented, precise lines with more nodes.

Connect Segments: Mark this check box to automatically

connect each Freehand curve object. If you do not mark this

check box, Freehand objects will not be connected.

Show Nodes: Mark this check box to display the objects nodes

during creation.

Create on Vector: Mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object. If this option is not checked, the

line will be placed on a raster layer (making it more difficult to

subsequently edit).

Line Style: From the drop-list, choose the style to use for the line.

For a plain, standard line, choose +Solid.

Width: Set the desired line width in pixels.

Anti-alias: Mark this check box to apply anti-aliasing to the

object, giving the edges a smoother appearance.

Join: Choose from one of three Join types. Miter Join (this setting

makes the Miter limit setting available) produces more pointed

joins; Round Join rounds off the joins; and Beveled Join

produces a sloped join.

Miter limit: (This is only available when Miter Join is chosen.)

This sets the degree of pointedness for Miter joins. Lower values

create less pointed joins; higher values created more pointed

joins.

Pen tool Freehand curve

Chapter 13: Drawing and Editing Objects

328

5 Place the cursor where you want to begin the curve, hold down

the left mouse button and then drag the mouse. As you drag

you'll see the curve following the cursor path. Release the mouse

button when you've completed the freehand curve.

6 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

7 To edit the shape, click the Edit button in the Tool Options

palette's Mode section, and then click the shape. Edit mode

allows for a variety of ways to modify the Freehand curve. Note

that you can also choose the Object Selection tool and

modify the shape in other ways (such as move, rotate, stretch,

etc.).

Using the Rectangle Tool

This tool allows you to create squares, rectangles, and rounded

rectangles. To use the tool:

1 Select the Rectangle tool in the Tools toolbar. It's grouped with

the Ellipse, Symmetric Shapes, and Preset Shape tools.

2 In the Materials palette, set your Foreground/Stroke and

Background/Fill properties.

3 In the Tool Options palette's Mode section, choose either Draw

Rectangle or Draw Square .

4 Set the remaining Tool Options:

Show Nodes: mark this check box to display the objects nodes

during creation.

Create on Vector: mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object.

Roundness X and Y Radius: sets the radii for the object's corners.

Left, Top, Width, and Height: When the Show Nodes check box is

marked, these settings allow you to determine the object's pixel

coordinates. When Show Nodes is off, these settings become

active when you choose Edit mode after drawing the object.

Line Style options: set the type of line, it's stroke width, anti-alias

setting, as well as Join and Miter Limit settings.

5 Drag the cursor to draw the symmetric object.

6 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

Chapter 13: Drawing and Editing Objects 329

7 To edit the shape, click the Edit button in the Tool Options

palette's Mode section, and then click the shape. Edit mode

allows for a variety of ways to modify the shape. For example,

you can hold down Shift and drag one of the selected rectangle’s

corner handles to maintain equal radii (X and Y will remain the

same). Note that you can also choose the Object Selection tool

and modify the shape in other ways (such as move, rotate,

stretch, etc.).

Using the Ellipse Tool

This tool allows you to create circles and ellipses. To use the tool:

1 Select the Ellipse tool in the Tools toolbar. It's grouped with the

Rectangle, Symmetric Shapes, and Preset Shape tools.

2 In the Materials palette, set your Foreground/Stroke and

Background/Fill properties.

3 In the Tool Options palette's Mode section, choose either Draw

Ellipse or Draw Circle .

4 Set the remaining Tool Options:

Show Nodes: mark this check box to display the objects nodes

during creation.

Create on Vector: mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object.

Radius X and Radius Y: When the Show Nodes check box is

marked, these options allow you to set the radii for the object.

When Show Nodes is off, these settings become active when you

choose Edit mode after drawing the object.

Center X and Center Y: When the Show Nodes check box is

marked, these options allow you to determine the object center's

horizontal (Center X) and vertical (Center Y) position. When

Show Nodes is off, these settings become active when you

choose Edit mode after drawing the object.

5 Drag the cursor to draw the ellipse.

6 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

Chapter 13: Drawing and Editing Objects

330

7 To edit the shape, click the Edit button in the Tool Options

palette's Mode section, and then click the shape. Edit mode

allows for a variety of ways to modify the shape. Note that you

can also choose the Object Selection tool and modify the

shape in other ways (such as move, rotate, stretch, etc.).

Using the Symmetric Shape Tool

This tool allows you to create polygons and star shapes. To use the

tool:

1 Select the Symmetric Shape tool in the Tools toolbar. It's

grouped with the Rectangle, Ellipse, and Preset Shape tools.

2 In the Materials palette, set your Foreground/Stroke and

Background/Fill properties.

3 In the Tool Options palette's Mode section, choose either Draw

Polygon or Draw Stellated .

4 Set the remaining Tool Options:

Show Nodes: mark this check box to display the objects nodes

during creation.

Create on Vector: mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object.

Number of Sides: sets the number of sides for the object.

Radius: (available only for the Stellated objects) sets the object's

radius.

Rounded Inner: (available only for the Stellated objects) mark

this check box to apply rounded inner corners to the object.

Rounded Outer: mark this check box to apply rounded outer

corners to the object.

Line Style options: set the type of line, it's stroke width, anti-alias

setting, as well as Join and Miter Limit settings.

5 Drag the cursor to draw the symmetric object.

6 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

Chapter 13: Drawing and Editing Objects 331

7 To edit the object (assuming you created it as a vector object),

choose Edit in the Tool Options palette's Mode section. Note

that the Symmetric Shape tool's Edit mode functionality is much

like that of the Pen tool's Edit mode functionality. For example,

to add a node to a Symmetric Shape while using the tool's Edit

mode, hold down Ctrl and click on the path. Note that you can

also choose the Object Selection tool and modify the object

in other ways (such as move, rotate, stretch, etc.).

Using the Preset Shape Tool

This tool allows you to place pre-made shapes on the image. The

Shapes drop-list in the Tool Options palette has shape categories.

You can choose to display All shapes, or choose categories such as

Arrows, Basic Shapes, Callouts, and Preset Shapes.

To use the tool:

1 Select the Preset Shape tool in the Tools toolbar. It's grouped

with the Ellipse, Symmetric Shapes, and Preset Shape tools.

Chapter 13: Drawing and Editing Objects

332

2 In the Tool Options palette's Shapes drop-list (shown above),

choose the desired preset shape. To control what appears in the

drop list, select the appropriate category (All, Arrows, Basic

Shapes, Callouts, or Preset Shapes).

3 To define how the preset shape will appear, choose one of the

following options:

Do not mark the Retain style check box in the Tool Options

palette if you want to define the preset shape's stroke and fill

properties. By having this option unchecked, the preset shape

will be drawn using the current Foreground/Stroke and/or

Backgound/Fill property settings in the Materials palette. If

you do not want to have either a Foreground/Stroke or a

Background/Fill, set the appropriate property to Transparent.

To have the preset shape look just like it does in the Shape list,

mark the Retain style check box. Having this option checked

will ignore the Materials palette settings.

4 Set other tool options:

Create on Vector: Mark this check box to place the object on the

current vector layer. If no vector layer exists, this option will

create a new one for the object. If this option is not checked, the

preset shape will be placed on a raster layer (making it more

difficult to subsequently edit).

Line Style: From the drop-list, choose the style to use for the

preset shape's stroke. For a plain, standard line, choose +Solid.

Width: Set the desired stroke width in pixels.

Anti-alias: Mark this check box to apply anti-aliasing to the

object, giving the edges a smoother appearance.

Join: Choose from one of three Join types. Miter Join (this setting

makes the Miter limit setting available) produces more pointed

joins; Round Join rounds off the joins; and Beveled Join

produces a sloped join.

Miter limit: (This is only available when Miter Join is chosen.)

This sets the degree of pointedness for Miter joins. Lower values

create less pointed joins; higher values created more pointed

joins.

5 Place the cursor on the image canvas, hold down the left mouse

button and then drag to create the shape. Release the mouse

button when the shape reaches the desired size.

Sample preset shapes

Chapter 13: Drawing and Editing Objects 333

Note: To create the shape with the same aspect ratio as that

shown in the Shapes list, hold down Shift while dragging the

mouse. To place the centerpoint of the shape at the position

where you clicked, hold down the right mouse button while

dragging out the shape.

6 In the Tool Options palette, click Apply to complete the creation

of the shape and deselect it.

7 To edit the object (assuming you created it as a vector object),

click the Edit button in the Tool Options palette's Mode

section, and then click the object. Edit mode allows for a variety

of ways to modify the object. Note that you can also choose the

Object Selection tool and modify the object in other ways

(such as move, rotate, stretch, etc.).

Creating New Preset Shapes

You can create your own preset shape by saving any vector object

(lines, shapes, or text) and exporting it for subsequent use with the

Preset Shape tool.

Preset shapes are stored in files called shape libraries, which contain

one or more vector objects. Paint Shop Pro’s default shape libraries

are located in the Preset Shapes folder of the Paint Shop Pro program

folder. By default, your custom preset shapes are saved in the Preset

Shapes folder of your My PSP9 Files folder in your My Documents

folder.

To create a new preset shape:

1 Create an image with one or more vector objects that you want to

save as preset shapes.

2 Give each object a unique name that will help you identify it. You

cannot export multiple objects with the same name. To name

objects, refer to the section Editing Vector Object Properties later

in this chapter.

3 Use the Object Selection tool to select one or more objects to

save as preset shapes. To export all objects, make sure none are

selected.

4 To open the Export Shape Library dialog, do one of the

following:

Choose File > Export > Shape; or

Chapter 13: Drawing and Editing Objects

334

Right-click and choose Export > Shape from the Object

Selection tool's context menu.

5 Type a name for the library file and click OK.

The library file (.PspShape extension) saves to the default Preset

Shapes folder.

To modify a library:

1 Use File > Open to open the library file in Paint Shop Pro.

2 Modify, add, or delete objects in the file.

3 Save and close the library file.

Note: You will have to restart Paint Shop Pro to use the

modified preset objects.

To delete an entire library:

Delete the library file from the Preset Shapes folder.

Creating Custom Line Styles

You can edit the default line styles or design your own line styles.

Saved styles appear in the Line Style drop-down window on the Tool

Options palette for the Pen, Rectangle, Ellipse, Symmetric Shape,

Preset Shape, and Text tools.

To create and save a customized line style:

1 Choose the Pen, Rectangle, Ellipse, Symmetric Shape, Preset

Shape, or Text tool.

2 On the Tool Options palette, click the Line Style drop-down

window.

Note: If you want to copy an existing line style to create a new

style, or if you want to edit or delete an existing line style, select

that style in the Line Style drop-down window.

3 Click the Custom button to open the Styled Lines dialog.

4 In the Caps group box, choose end cap settings for the line

segments. For details, see “End Cap Styles” on page 335.

5 In the Style group box, choose dash and gap lengths. For details,

see “Dash Segment Style” on page 335.

6 When you are finished, do one of the following:

Chapter 13: Drawing and Editing Objects 335

If you are creating a new line, click Save As New. Type a

unique name in the Styled Line Name field. Click OK.

If you are editing an existing line, click Save.

To close the dialog without saving changes, click Cancel.

Note: To reset the dialog back to the style you started with,

click the Reset button .

End Cap Styles

The Caps group box in the Styled Lines dialog controls the end cap

style of each segment in the line style. The settings are:

First Cap From the drop-down list, pick the style for the first

segment in the line.

Size Click this button to open the Cap Size dialog and adjust the size

of the end cap. To set and adjust height and width equally, select the

Link axes check box.

Last Cap From the drop-down list, pick the style for the last segment

in the line.

Different Segment Caps Mark this check box to create separate end

caps for all the middle segments (dashes) in the line. Clear the check

box to use the First Cap and Last Cap settings for each dash.

Segment Start From the drop-down list, pick the style for the

beginning of each dash.

Segment End From the drop-down list, pick the style for the end of

each dash.

Dash Segment Style

The Style group box in the Styled Lines dialog controls the length of

dashes and gaps in the line style.

Preview

Area

Edit

Area

Slider

First Cap Last CapSegment Start Segment End

Chapter 13: Drawing and Editing Objects

336

The Preview Area at the bottom of the Styled Lines dialog displays

the changes you make to the line. The Edit Area has a ruler (in

pixels) to help you to size dashes and gaps. Each dash or gap can be

selected and adjusted with its Slider.

The Style settings are:

Add Adds dashes or gaps. Set the length of the dashes or gaps with

the numeric edit control or by clicking and dragging the sliders.

Delete Deletes the selected dash or gap. Select a dash or gap by

clicking on its slider in the edit area.

Clear Removes all dashes and gaps.

Zoom Buttons Click to zoom the view of the edit area in or

out.

Undo Click to undo previous changes made in the Style group

box.

Editing Vector Object Properties

Drawing lines and shapes as vector objects gives you the flexibility

of editing them after they are drawn.

Note

All of the commands in the Objects menu appear in a context menu

that opens when you right-click on objects, contours, or nodes.

To delete a vector object:

1 Select the vector object to delete.

Note: To delete one object within a group, you must click its

name on the Layers palette.

2 Press the Delete key or choose Edit > Clear.

To edit the colors and materials of vector objects:

1 Select the vector object(s) you want to edit.

2 On the Materials palette, choose a new foreground or background

color or material. The background color controls an object’s fill

color. The foreground color controls an object’s line color.

Selecting vector objects

Use the Object Selection tool to

select vector objects. Press Shift

and to select multiple vector

objects.

Chapter 13: Drawing and Editing Objects 337

Editing Vector Object Properties

Vector properties include the basics of vector objects such as line

width, line style, and anti-aliasing. You can also change the name of

the object (as it appears on the Layers palette) and change whether

the object is visible or not.

To edit vector properties:

1 Select the vector object(s) you want to edit.

2 Click Properties on the Tool Options palette or choose

Objects > Properties to open the Property dialog.

Note: You can also open the dialog by double-clicking the

object’s name on the Layers palette.

3 Choose the line options (stroke width, join, miter, line style, and

anti-alias).

4 Choose stroke (line) and fill settings:

Stroke Clear the check box to choose no line. Mark the check

box and pick a color from the color box to choose line color.

Fill Clear the check box to choose no fill. Mark the check box and

pick a color from the color box to choose fill color.

5 In the Name field, change the name of the object as it appears on

the Layers palette. If more than one object is selected, you must

change their names using the Layers palette.

6 To make the selected object(s) invisible or visible, clear or mark

the Visible check box. (You can also do this by clicking the

Visibility Toggle on the Layers palette.) Invisible objects are

often used as paths for text.

7 Click OK.

Object editing tip

You can also edit a vector object’s

properties by selecting the object

and choosing the Pen tool.

Changing the settings in the Tool

Options palette will modify the

selected object.

Change object names from

the Layers palette

On the Layers palette, right-click

the object name and choose

Rename from the context menu.

Chapter 13: Drawing and Editing Objects

338

Adding and Closing Contours

You can add new contours to any existing object, even objects you

created with the Preset Shapes tool. The new contour will have the

same properties (including color, material, line style, and so on) as

the selected object.

To add nodes to a contour, see “Adding or Removing Nodes on a

Contour” on page 354.

To add a contour to an object:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette’s Mode section, click Edit .

3 Click on an object to select it.

4 From the Tool Options palette's Mode section, click the desired

drawing tool (Line, Bezier, or Freehand), and then create the

contour.

5 When you finish drawing the contour, do one of the following:

To continue editing the contour, select Edit Mode from the

Tool Options palette.

To finish this object, choose another tool.

To close a contour:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette’s Mode section, click Edit .

3 Click on an contour to select it.

4 Do one of the following:

Choose Objects > Edit > Close (Ctrl+Shift+C).

Right-click on the contour and select Edit > Close from the

context menu

On the Tool Options palette, click

Close Selected open contours .

Note: When you close a contour, Paint Shop Pro draws a segment

from the contour’s start to its end node.

Adding a contour

to a preset shape

Another way to add

contours to an object:

You can paste a contour into a

selected contour.

Chapter 13: Drawing and Editing Objects 339

To duplicate a contour:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette’s Mode section, click Edit .

3 Select one node on the contour.

4 From Objects > Edit choose:

Duplicate (Ctrl+D) Copies the selected contour and pastes it

directly on top of the original contour.

Note: The overlapping nodes will all show node-on-node

indicators.

Duplicate & Offset (Ctrl+Shift+D) Copies the selected contour and

pastes it at an offset from the original contour. The default offset

is 10 pixels in the X and Y directions.

Note: To adjust the number of pixels contours are offset, type

new settings in the Duplication X and Duplication Y fields of the

Tool Options palette.

Reversing the Direction of Contours or Paths

The direction of a contour flows from the start node to the end node.

When you place the cursor over the start node, “START” displays

next to the cursor. When you place the cursor over the end node,

“END” displays. If the object has an closed path, “CLOSE” displays.

For vector objects, you can reverse an entire path (all the contours in

the object) or reverse one contour within a path. The direction of a

contour or a path affects two important things:

Text flow along a contour. Reverse direction to change how text

aligns on a contour.

Fill properties of overlapping contours. When contours with

different directions overlap, the resulting fill is transparent.

Reverse one contour overlapping another contour to create cutout

objects.

To reverse a path or contour:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette’s Mode section, click Edit .

3 Click on a contour or path, and then select one node on the

contour.

Duplicating a contour

Before

Duplicate

with

Offset

Duplicate

Offset

Node on

Node

Reversing a path with text

Reversing a contour to create a

hollow shape

Chapter 13: Drawing and Editing Objects

340

Note: To reverse multiple contours, select one node from each

contour.

4 Right-click on the path or contour, choose Edit from the context

menu, and choose:

Reverse Path (Ctrl + Shift + R) or Reverse Contour (Ctrl+R).

Note: You can also access these commands by choosing

Objects > Edit.

Joining Contours

You can join two contours by connecting their end points.You can

manually drag nodes together to join them, or you can have Paint

Shop Pro automatically join two nodes.

To join two contours:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette’s Mode section, click Edit .

3 Select one of the contours to show all nodes in the object.

4 Select the start or end node of the first contour you want to join.

Note: You can only join contours in the same object.

5 Do one of the following:

To have Paint Shop Pro draw a contour between the points:

Press Shift and select the start or end node of the other

contour. Press Ctrl + J, or right-click and choose Edit > Join

from the context menu.

To join contours manually:

Click and drag the node over the other contour’s start or end

node. When the cursor displays “JOIN,” release the mouse

button.

To avoid joining contours

when moving nodes:

Hold down Ctrl while you drag.

Chapter 13: Drawing and Editing Objects 341

Breaking Contours

You can break a contour at any node. When you break a closed path

or contour, you open it. When you break an open path or contour,

you create two separate contours.

There are two ways to break contours: at a node or with the Pen tool.

To break a contour at a node:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette’s Mode section, click Edit .

3 Select the node you want to break the contour at.

4 Do one of the following:

Choose Objects > Edit > Break (Ctrl+K).

Right-click the node and choose Edit > Break from the context

menu.

The path or contour breaks and a new node is added on top of the

current node. The node square changes to a node-on-node

indicator. Drag one node away to separate them.

Breaking a contour at a node

Before

After Break

One node

dragged

away

Chapter 13: Drawing and Editing Objects

342

To break a contour with the Pen tool:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette’s Mode section, click Knife Mode

3 Select the contour you want to break.

4 Click and drag across the contour where you want it to break.

Note

The Knife Mode of the Pen tool will cut through all selected

contours in an object.

Breaking contours

with the Pen tool

Breaking multiple contours

with the Pen tool

Cutting in

Knife Mode

After

removing cut

sections

Chapter 13: Drawing and Editing Objects 343

Aligning and Arranging Vector Objects

Align and arrange vector objects in a variety of ways: align their

edges, distribute them evenly, center them on the image canvas, and

arrange their order (from top to bottom) on a layer.

Note

All of the commands in the Objects menu appear in a context menu

that opens when you right-click on objects, contours, or nodes.

To move a vector object:

1 Select the object(s) you want to move.

2 Do any of the following:

Click inside a bounding box and drag the object or objects to a

new position.

To move one pixel at a time, press Shift or Ctrl and press the

Up, Down, Left, or Right arrow keys.

To move 10 pixels at a time, press Ctrl + Shift and press the

Up, Down, Left, or Right arrow keys.

Grouping and Ungrouping Vector Objects

To edit several objects in similar ways, group them together. When

objects are grouped, you can move, resize, reshape, and change their

lines and materials all at once. You can also group several groups of

vector objects.

When you group objects on different layers, Paint Shop Pro

automatically moves them all to the layer of the first object you

selected.

Each group has a label on the Layers palette and all the objects in the

group are shown as components. Click the plus sign in front of the

group name to show the group’s components.

Note

Even if an object belongs to a group, you can still select it on the

Layers palette and edit it individually.

There are two ways to group objects: Use the Object Selection tool

or use the Layers palette.

Copying, and pasting vector

objects

Cut, copy, and paste vector objects

just like any other data. Select the

object and from the Edit menu,

select Cut or Copy.

To paste vector objects within the

same layer, choose Edit > Paste >

As New Vector Selection.

To paste vector objects as a new

layer, choose Edit > Paste >

As New Layer.

To paste vector objects as a new

image, choose Edit > Paste >

As New Image.

Chapter 13: Drawing and Editing Objects

344

To group vector objects using the Object Selection tool:

1 Use the Object Selection tool to select each object you want in

the group.

2 On the Tool Options palette, click Group or choose Objects >

Group.

To group objects using the Layers palette:

1 On the Layers palette, click the name of the first object you want

to group.

2 Press Shift and click each object you want to add to group.

3 Right-click one of the object names and choose Group from the

context menu.

Note: If you group objects from several layers, Paint Shop Pro

moves them all to the layer of the first object you selected.

To ungroup all objects in a group:

1 Select the group.

2 Do one of the following:

Choose Objects > Ungroup.

On the Object Selection tool’s Tool Options palette, click the

Ungroup button .

On the Layers palette, right-click the group name and select

Ungroup from the context menu.

To remove a single object from a group:

On the Layers palette, drag the object from the group into another

group or layer.

How to edit one object

within a group

When you have a group of objects,

most Paint Shop Pro commands

apply to the entire group. However,

there are several ways to edit one

object within the group. First, click

the object name on the Layers

palette (the name becomes bold),

then you can:

Right-click the object name and

choose a command from the

context menu.

Move the object using the arrow

keys.

Chapter 13: Drawing and Editing Objects 345

Aligning Vector Objects

You can align objects in relation to each other. For example, align

their top edges.

To align vector objects:

1 On the Tools toolbar, choose the Object Selection tool .

2 Select the first vector object. All other objects selected will align

to this object.

3 Press the Shift key and select each additional object you want to

align.

4 On the Tool Options palette, click one of the Object Alignment

buttons:

Top , Bottom , Left , Right , Vertical Center , or

Horizontal Center .

Note: You can also choose Objects > Align and select a

command.

Distributing Vector Objects

You can evenly distribute vector objects in relation to each other. For

example, distribute three objects so that their top edges are evenly

spaced from each other. To distribute objects in relation to the

canvas, see “Positioning Vector Objects on the Canvas” on page 346.

To evenly distribute objects:

1 On the Tools toolbar, choose the Object Selection tool .

2 Select one object to select it. Press Shift and select the other

objects.

Note: You must have three or more objects selected to distribute

them in relation to each other.

3 Choose from the following:

To distribute objects in relation to each other:

On the Tool Options palette click one of the Object

Distribution buttons:

Vertical Top , Vertical Center , Vertical Bottom ,

Horizontal Right , Horizontal Center , or

Horizontal Left .

Align Tops

Before After

Distribute Vertical Tops

Before After

Another way to distribute

With your objects selected, right-

click on an object. From the

context menu, select a distribution

method from Distribute Object.

Chapter 13: Drawing and Editing Objects

346

Positioning Vector Objects on the

Canvas

To align vector objects to the canvas:

1 On the Tools toolbar, choose the Object Selection tool .

2 Click an object to select it.

3 On the Tool Options palette, click one of the Position on Canvas

buttons:

Center in Canvas , Horizontal Center in Canvas , or

Vertical Center in Canvas .

Note: All these commands are also available by choosing

Object > Align.

To distribute vector objects on the canvas:

1 On the Tools toolbar, choose the Object Selection tool .

2 Click an object to select it.

3 On the Tool Options palette, click one of the Position on Canvas

buttons:

Space Evenly Horizontal or Space Evenly Vertical .

Note: All these commands are also available by choosing

Object > Distribute.

Arranging Vector Objects

Each object you draw on a layer is stacked on top of the next (even if

they don’t overlap). If you draw 50 objects on a layer, the 50th is at

the top and the 1st in on the bottom. When you have overlapping

objects, you can move objects up or down the stack of objects.

To arrange vector objects:

1 On the Tools toolbar, choose the Object Selection tool .

2 Click an object to select it.

Center on Canvas

Before After

Bringing the circle to the top

Chapter 13: Drawing and Editing Objects 347

3 Do one of the following:

To move an object to the top:

On the Tool Options palette, click Bring to Top .

To move an object to the bottom: Click Send to Bottom .

To move an object up or down one position:

Click Move Up or Move Down .

Note: All these commands are also available by choosing

Objects > Arrange.

Resizing and Reshaping Vector Objects

The Object Selection tool gives you the power to transform vector

objects and vector text interactively. Select an object and drag the

handles on the bounding box to resize, rotate, shear, distort, or apply

perspective. You can also resize and reshape a vector object by

editing its nodes and contours using the Pen tool. For instructions,

see “Editing Paths and Contours” on page 349.

Note

All of the commands in the Objects menu appear in a context menu

that opens when you right-click on objects, contours, or nodes.

To resize and reshape vector objects:

1 Use the Object Selection, Preset Shape, or Text tool to select an

object.

2 Do one or more of the following:

To resize, click and drag one of the corner or edge handles.

To resize while keeping the current proportions, right-click

and drag a corner handle.

To change perspective symmetrically, press Ctrl and drag a

corner handle horizontally or vertically.

To change perspective asymmetrically, press Shift and drag a

corner handle.

To shear, press Shift while dragging a side handle.

To distort, press Ctrl and Shift while dragging a handle.

Using the Layers palette to

arrange vector objects

To change an object’s position on a

layer: select the object name in the

Layers palette, click and drag the

object up or down in the list of

objects.

Quick steps for

proportional scaling

To resize a vector object and keep

the same proportions, select the

object with the Object Selection

tool and right-click and drag a

corner handle of the bounding box.

Reshaping Objects

Before

Shear Distort

Symmetric

Perspective Asymmetric

Perspective

Chapter 13: Drawing and Editing Objects

348

To rotate vector objects:

1 Use the Object Selection tool to select an object.

2 Click and drag the rotation handle.

Note: To change the center of rotation, press Ctrl while clicking

and dragging the rotation pivot point to a new location.

Making Vector Objects the Same Size

You can make all objects you select the same height, width, or both.

The dimensions of the first object selected are used for resizing.

To make vector objects the same size:

1 On the Tools toolbar, choose the Object Selection tool .

2 Click the first vector object. The first object controls how all the

other selections will be resized.

3 Press the Shift key and click the objects that you want to resize.

4 On the Tool Options palette, choose a Make Same Size option:

Make Same Height

Make Same Width

Make Same Width and Height

Note: All these commands are also available by choosing

Objects > Make Same Size.

Rotation Controls

Same Size Both

Rotation Pivot

Point

Rotation Handle

Before

After

Chapter 13: Drawing and Editing Objects 349

Editing Paths and Contours

To fine-tune or completely transform vector objects, edit their nodes,

contours, and paths. For more detail on paths and contours see, “The

Anatomy of a Vector Object” on page 321. For more detail on types

of nodes, see “Editing Nodes” on page 351.

Note

All of the commands in the Objects menu appear in a context menu

that opens when you right-click on objects, contours, or nodes.

To edit a contour:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 Click on a contour, then double-click one node to select all

nodes.

4 Choose Objects > Edit and select a command:

Cut Removes the selected contour to the Windows clipboard. If

the object has only one contour, the command removes the entire

object.

Copy Copies the selected contour to the Windows clipboard.

Paste Pastes a cut or copied contour into the current object.

Delete Deletes the selected contour.

Select All (Ctrl+A) Selects all nodes in the path.

Select None (Ctrl+Shift+A) Deselects any selected nodes.

Invert Selection (Ctrl+I) Selects all deselected nodes and

deselects all selected nodes.

To delete a contour:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 Click on a contour, then double-click one node to select all

nodes.

4 Press Delete or choose Edit > Clear.

Note: You cannot delete a path. A path is deleted with its object

or when all its contours are deleted.

Chapter 13: Drawing and Editing Objects

350

To move a path:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 To select the path, click on any contour in the path.

4 To move all the contours in the object (the path), click and drag

any contour.

To move a contour:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 Do one of the following:

Hold down Shift and move the cursor over the contour. The

cursor will display “SUB.” Click and drag the contour.

Click on a contour or path, then double-click one node to

select all nodes. Click and drag one of the nodes.

Chapter 13: Drawing and Editing Objects 351

Editing Nodes

The Anatomy of a Node

A node is a point on a contour that defines the contour’s shape at that

point. The Nodes have zero, one, or two control arms extending from

them. The length and direction of the control arms determine the

shape of the contour at the node. Click on the control handles to

adjust control arms. The straight or curved line between two nodes is

a line segment.

Node Types

Symmetrical Choose this type to create a smooth flowing curve from

one side of the node to the other. Any adjustments to one control arm

are mirrored by the other.

Asymmetrical Choose this type to obtain a different amount of curve

on each side of the node, but still keep a smooth flow through the

node. You can independently adjust the length of each control arm,

but the not the direction.

Cusp Choose this type for nodes that have extreme changes in

direction. You can adjust the length and direction of each control

arm independently.

Smooth Choose this type of node to create a smooth transition

between straight and curved line segments.

Selecting Nodes

To select one or more nodes:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 Click a vector object. The object becomes an outline with nodes.

4 Do any of the following:

To select one node, click the node.

To deselect a node, press shift click the node.

To select multiple nodes, press Shift and click each node. Or,

click and drag a rectangle over the nodes.

Components of a Node

Symmetrical Node

Asymmetrical Node

Cusp Node

Smooth Node

Selected Node

Deselected

Node

Control

arm

Control

Handle

Direction

Chapter 13: Drawing and Editing Objects

352

To select all nodes on a contour, double-click one node. If the

object has only one contour, this selects all nodes in the path.

To select all nodes in a path (all nodes in the object), press

Ctrl + A or right-click and choose Edit > Select All from the

context menu.

To select the next or previous node on a contour, press Shift

and press an arrow key.

Note: Start or end nodes are easy to find. The cursor will display

“START,” “END” when it is over the node. If the shape is closed,

the cursor will display “CLOSE.”

Moving Nodes

Moving a node alters the shape of a vector object. If an object has

more than one contour, move a contour by moving all of its nodes.

Move the path to move the entire object.

To move a node:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 Click and drag a node to a new position or press the arrow keys.

Note: To move multiple nodes, select them and click and drag a

selected node.

Changing Curves and Lines

You can adjust the shape of the contour at a node by changing the

node type, adjusting the node’s control arms or changing the line

segments.

Node moving tips:

While you drag a node you can

constrain its line segments to 45

degree increments.

Hold down Shift to constrain the

previous segment.

Chapter 13: Drawing and Editing Objects 353

Changing Node Types

For example, to soften a sharp corner, change a cusp node to a

symmetrical node.

To adjust a curve by changing the node type:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 Select a node.

4 Do one of the following:

Choose Objects > Node Type and select a node type:

Asymmetrical (Ctrl+Shift+S)

Symmetrical (Ctrl+S)

Cusp (Ctrl+U)

Smooth

Right-click on the node, choose a Node Type from the context

menu.

Adjusting Nodes with Control Arms

The length and direction of a nodes control arms determines the

shape of the contour at the node. The arrow control handle indicates

the direction of the contour.

To adjust a curve using control arms:

1 Select a node to display its control arms.

Note: Cusp nodes may have no control arms.

2 Move the cursor over a control handle until the cursor changes to

two rotating arrows, and then click and drag the handle.

Note: To constrain the control arms to fixed angles (45 degree

increments), press and hold Shift as you drag.

Changing Line Segments

Instead of changing node types, you can simply tell Paint Shop Pro

what type of line segment you want on each side of the node. You

can also convert line segments from curved to straight. The line

segment type and node type work together. For example, when you

add a straight line before or after a symmetrical curve, the node type

changes to asymmetrical.

From Cusp to Symmetrical

Adjusting Control Arms

Chapter 13: Drawing and Editing Objects

354

To change the line segment before or after a node:

1 Select a node.

2 Do one of the following:

Choose Objects > Node Type and select an option:

To straighten the segment before and after a node, choose

Convert to Line. (Ctrl+L).

To straighten the segment before or after a node, choose Line

Before (Ctrl+B) or Line After (Ctrl+F).

To curve the segment before or after a node, choose Curve

Before (Ctrl+1) or Curve After (Ctrl+2).

Right-click the node and choose a Node Type from the context

menu.

3 Make a selection:

Note: You can also access these commands by choosing

Objects > Node Type.

To straighten a curve between two nodes:

1 Select two consecutive nodes.

2 Right-click one node and choose Node Type >Convert to Line

from the context menu.

Adding or Removing Nodes on a

Contour

To create more options for editing the shape of a vector object, add,

delete, or merge nodes anywhere along the path of a vector object.

Adding Nodes

You can add nodes in all three modes of the Pen tool.

To add nodes on a contour (Drawing and Edit Modes):

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

3 Click the contour you want modify.

4 Press and hold Ctrl as you move the cursor over the contour to

where you want to add a node. The cursor displays “+ADD.”

Changing Line Segments

Original

Line Before

Line After

Convert to Line

Adding Nodes in

Drawing or Edit Modes

Chapter 13: Drawing and Editing Objects 355

5 While continuing to press Ctrl, click the line. A symmetric node

is added.

To add nodes on a contour (Knife Mode):

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Knife .

3 Click the contour you want modify.

4 Press and hold Ctrl. The cursor changes from “CUT” to “ADD.”

5 Click and drag the cursor across the contour where you want to

add nodes.

To add a new start or end node:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette, select the egment type you want

to use (Line, Bezier, or Freehand).

3 Select the start or end node of the contour.

4 Click to draw another node, the contour automatically connects

to the new node.

5 Do one of the following:

Continue drawing new nodes.

To edit the nodes or contour, select Edit .

To finish the changes, choose another tool.

Adding nodes in Knife Mode

Click and

drag to add

nodes

After

Chapter 13: Drawing and Editing Objects

356

Deleting or Merging Nodes

Merging nodes on a contour removes the nodes from the contour, but

retains the line segments on each side. The line segments are

combined into one line segment between remaining nodes. If the

contour is curved at the node, Paint Shop Pro attempts to retain the

curve.

Deleting a node on a contour removes the node and line segments on

each side. If you delete a node in the middle of an open contour, the

vector object becomes two separate contours. If you delete a node in

a closed contour, the contour opens.

To merge one or more nodes:.

1 Select the node you want to merge.

2 Merge the node in one of these ways:.

Choose Objects > Edit > Merge (Ctrl + M).

Right-click on the node and choose Edit > Merge from the

context menu.

Press Ctrl, move the cursor over the node until “MERGE”

displays, and then click the node.

To delete a node and its line segments:

1 Select the node you want to delete.

2 Do one of the following:

Press Delete.

Right-click and choose Edit > Delete from the context menu.

Choose Objects > Edit > Delete.

Note: To delete one line segment, break the path at one node of

the line segment, and then delete the new node that is created.

For information on breaking paths, see “Breaking Contours” on

page 341.

Deleting vs. Merging

Node

Deleted Merged

Chapter 13: Drawing and Editing Objects 357

Transforming Nodes

You can change the shape of a contour by manipulating its nodes in a

variety of ways, such as flipping, mirroring, and rotating.

Transform nodes using the Object menu commands or the Tool

Options palette.

Using the Object Menu to Transform Nodes

The Objects menu will transform selected nodes using the current

settings for each transformation command.

To transform nodes with the current settings:

1 Select the nodes you want to transform.

2 Choose Objects > Transform Selected Nodes and choose a

command:

Flip (Ctrl+Shift+F) Moves selected nodes along the vertical

axis—those on top go the bottom and vice versa. Applied to a

single node, the control arms (if any) will flip.

Mirror (Ctrl+Shift+M) Moves selected nodes along the horizontal

axis—those on the left go to the right and vice versa. Applied to a

single node, the control arms (if any) will mirror.

Rotate Rotates the selected nodes by the current rotation setting.

Applied to a single node, the control arms (if any) will rotate.

Skew X Moves selected nodes to the left or right (along the

horizontal axis) using the current skew setting.

Skew Y Moves selected nodes to the left or right (along the

vertical axis) using the current skew setting.

Contract (F8) Moves the selected nodes closer to each other by

the current contraction setting. Cannot be applied to a single

node.

Expand (F9) Moves the selected nodes away from each other by

the current expansion setting. Cannot be applied to a single node.

Transforming Nodes

Mirror

Flip

Expand

Contract

Skew Y

Chapter 13: Drawing and Editing Objects

358

Using the Tool Options Palette to Transform

Nodes

You can set and apply transformations to selected nodes from the

Pen tool’s Tool Options palette.

To adjust and apply transformation settings:

1 From the Tools toolbar, select the Pen tool .

2 From the Tool Options palette's Mode section, select Edit .

Note: You may need to click the More button to view all the

options in the Tool Options palette.

3 Select the node(s) to transform.

4 From the Tool Options palette select a transform function:

Expand Sets the number of pixels to expand nodes.

Contract Sets the number of pixels to contract nodes.

Skew X Sets the number of pixels to skew nodes on the

horizontal axis.

Skew Y Sets the number of pixels to skew nodes on the

vertical axis.

Rotate Sets the degrees nodes will rotate.

5 Type a value for the selected transformation setting.

6 Click Apply .

359

Working with Layers

Layers are fundamental to creating and editing images in

Paint Shop Pro. Use layers to add elements to your images, create

artistic effects and illustrations, and make editing images easier. You

can add or delete layers, rearrange their stacking order (the order

from top to bottom), and blend their pixels in a variety of ways.

Unless you merge the layers, each layer remains independent; you

can edit it without affecting the others.

Contents About Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Adding New Layers to Images . . . . . . . . . . . . . . . . . . . . . . . . . 366

Editing Layer Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Modifying Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Using Adjustment Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Using the Layers palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

CHAPTER 14

Chapter 14: Working with Layers

360

About Layers

When you create or import an image in Paint Shop Pro, the image

has a single layer. Depending on the type of image you created or

imported, you'll see in the Layers palette that the single layer may be

labeled Background (this is case when opening images such as

photos or screen captures), Raster, Vector, or Art Media.

For most simple image retouches and corrections, you do not have to

add any layers. However, it's generally a good habit to simply

duplicate the layer (by clicking the Duplicate Layer button in the

Layers palette toolbar) before applying actions such as the photo

correction commands. By applying any changes to the duplicated

layer, you'll always preserve the original image on its own layer.

And when you intend to do more complex work such as add

elements to the image, create photo compassions, add text and other

effects, etc., it's highly encouraged that you utilize layers for these

tasks.

Each layer that you add begins as a transparent sheet over the

background. As you add brush strokes, vector objects, or text, you

cover up parts of the Background layer. Transparent parts allow you

to see through to underlying layers. You can stack up multiple layers

to create whatever effect you’d like—such as artistic compositions,

photo collages, or complex illustrations.

In the following illustration, each image is on a separate layer. The

background layer is transparent.

Ways to use layers

For descriptions of the many tasks

you can accomplish with layers,

check out these sections:

“Using Layers with Photographic

Images” on page 364

“Using Layers with Illustrations”

on page 365

Creating image compositions with layers

Chapter 14: Working with Layers 361

Types of Layers

There are six types of layers: Background, Raster, Vector, Art

Media, Mask, and Adjustment. The icon before the layer name on

the Layers palette shows the type of layer. In addition, you can

create layer groups, and promote selections to layers. Paint Shop Pro

supports up to 500 layers. The actual number of layers allowed in an

image may be limited by the amount of memory in your computer

Note: Only greyscale and 16 million color images can have

multiple raster layers. Images of any color depth can include

multiple vector layers.

Background Layer

The background layer is the bottom layer of an image. It is

named “Background” on the Layers palette and cannot be renamed.

When you import file formats such as JPEG, GIF, or PNG into

Paint Shop Pro, they are one layer—the background layer.

The background layer contains raster data but cannot display

transparency. You cannot change its order in the stack, its blend

mode, or its opacity.

To move a background layer higher in the stacking order, promote it

to a regular raster layer; see “Promoting a Background Layer to a

Regular Raster Layer” on page 367.

If you create a new image with a transparent background, it does not

have a background layer and its bottom layer is a raster layer named

“Raster Layer 1”. You may move this layer anywhere within the

stacking order, or change its opacity or blend mode.

Raster Layers

Raster layers are layers with raster data only. Raster data is

composed of individual elements, called pixels, arranged in a grid.

Each pixel has a specific location and color. Photographic images

are composed of raster data. If you magnify raster data, you can see

the individual pixels as squares of colors.

Use raster layers for displaying subtle changes in tones and colors.

Or, use raster layers for objects and raster text on which you want to

apply raster-only commands and tools. The effects commands, the

painting tools, and many other tools apply only to raster layers.

Raster and vector data

For more information on raster and

vector data, see “About Raster and

Vector Graphics” on page 35.

Background layer or not?

Paint Shop Pro supports

transparency on layers other than

the background. To create an

image without transparent areas,

choose a solid colored background.

The image will contain a

background layer as the bottom

layer.

To create a new image with

transparent areas, choose a

transparent background. The

image will contain a raster layer as

the bottom layer.

For more information on creating

new images, see “Creating Images”

on page 35.

How many layers?

Paint Shop Pro supports up to 500

layers. The actual number of layers

allowed in an image may be limited

by the amount of memory in your

computer.

Chapter 14: Working with Layers

362

Raster data must be on raster layers (a regular raster layer or the

background layer). If you try to use a raster tool while a vector layer

is selected, Paint Shop Pro prompts you to convert the vector layer

into a raster layer.

Vector Layers

Vector layers are layers with only vector objects (lines and

shapes), vector text, or vector groups. Vector objects and text are

composed of geometric characteristics—lines, curves, and their

locations. When you edit vector objects and text, you edit these lines

and curves, rather than editing individual pixels. Vector graphics and

vector text maintain their clarity and detail when scaled to any size

or printed at any resolution.

Use vector layers to create objects or text that you can easily edit. To

display the names of vector objects on a vector layer, click the plus

Vector objects must be on vector layers. If you create a vector object

while a raster layer is selected, Paint Shop Pro creates a vector layer

just above the current layer. In addition, you cannot move a vector

layer to a non-vector layer.

Art Media Layers

Art Media layers are automatically created when you begin using

any of the Art Media tools. In this regard, the layer-creation

functionality is similar to the vector tools.

You can also create a new Art Media layer by choosing Layers >

New Art Media layer.

Art Media layers can be converted to Raster layers, but not Vector

layers.

Dry and Wet Art Media Layers

Paint strokes applied by the Oil Brush and Palette Knife are, by

default, wet in terms of how strokes interact with other strokes by

smearing/mixing together. You can, however, choose to dry the Art

Media layer at any time. Conversely, you can choose to make a dry

Art Media layer wet again:

Choose Layers > Dry Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu) to

dry the strokes applied by the Oil Brush or Palette Knife.

Color depth

Only greyscale and 16 million color

images can have multiple raster

layers. Images of any color depth

can include multiple vector layers.

Chapter 14: Working with Layers 363

Choose Layers > Wet Art Media layer (or right click on the Layers

palette and choose Dry Art Media layer from the context menu) to

make dried Oil Brush or Palette Knife strokes wet again.

Note: Both the Dry Art Media layer command and the Wet Art

Media layer command can be selectively undone in the

History palette.

New Images with an Art Media Layer

When creating a new image via the New Image dialog, you can

choose to create the image with an Art Media layer. Choose the Art

Media Background option in the New Image dialog's Image

Characteristics section.

Adjustment Layers

Adjustment layers are correction layers that adjust the color or tone

of underlying layers. Each adjustment layer makes the same

correction as an equivalent command on the Adjust menu, but does

not change image pixels like the command does.

Adjustment layers cannot be the bottom layer. You will not be able

to delete other layers if deleting them causes an adjustment layer to

become the bottom layer. For more information, see “Using

Adjustment Layers” on page 382.

Mask Layers

Mask layers show or hide portions of underlying layers. A mask

is basically an adjustment layer that modifies opacity. Use masks to

create sophisticated effects. For example, mask all details around the

main subject in a photograph, or use a mask to create a picture frame

that fades away at the center to reveal the subject.

Mask layers cannot be the bottom layer. You will not be able to

delete other layers if deleting them causes a mask layer to become

the bottom layer. For more information, see Chapter 15, Working

with Masks.

Saving multi-layer images

When you create multi-layer

images, you must save them i

PspImage format (Paint Shop Pro’s

native format) to maintain all layer

information.

When you save to most other

formats, all layers are merged into

one background layer. When you

save to .PSD (PhotoShop) format,

the image maintains raster and

adjustment layers, but vector

layers are converted to raster

layers.

Chapter 14: Working with Layers

364

Using Layers with Photographic Images

When you open a digital photograph or scanned image in Paint Shop

Pro, the image is on the background layer. For most photographic

enhancements, such as cropping, correcting colors, or retouching,

you can work on this background layer without ever adding another

layer.

However, there are many ways to use layers with your photographic

images to make changes easier and create interesting effects:

Original photographs and the

resulting photo collage

Task How to Do It with Layers

Preserve the original

image before

making changes.

Make a duplicate copy of the background layer

(choose Layers > Duplicate). Turn off the visibility

of the background layer (click the layer’s Visibility

button ) and make all changes to the duplicate

layer.

Make color and

tonal corrections.

Use adjustment layers instead of changing the image

directly. For more information, see “Using

Adjustment Layers” on page 382.

Add text or

graphics.

Add them as vector objects to a new vector layer. (If

you add them to the raster layer with the image, you

must add them as raster data and they’ll be difficult

to edit.)

Create interesting

effects.

Duplicate the background layer, apply an effect to

the duplicate, and then change the opacity or blend

range of the modified layer to blend the two layers.

Create a photo

collage.

Place each photograph on a separate layer. (For each

image, choose Edit > Copy to copy the image, select

the collage image, and choose Edit >

Paste as New Layer. Position each layer with the

Move tool.

Use each layer’s opacity setting and blend mode to

control how much of each layer shows through. Use

a mask to hide parts of a layer or create soft edges

around a layer.

Chapter 14: Working with Layers 365

Using Layers with Illustrations

Layers are invaluable for illustrations. Here are some of the many

ways to use layers:

Create a panoramic

photograph.

Take a series of photographs with overlapping

subject matter, then stitch the photographs together

using layers.

Create an image with a canvas large enough to

display the panorama, then copy each photograph

onto a separate layer. Decrease the opacity of one

layer to see though it as you use the Move tool to

match up the edges of the other photograph. Do this

with each layer, then return the layers to 100 percent

opacity.

Task How to Do It with Layers

Individual layers and the final

illustration

Task How to Do It with Layers

Make changes

easier.

Create individual components on separate layers to

make them easy to edit together. For example, if

you have an illustration of a car speeding down a

highway in the mountains, create the car, the driver,

the highway, and the mountains on separate layers.

Move multiple

layers together

on the image

canvas.

Link or group layers that need to move together.

For example, link the car and the driver in this

example so that when you move the car to the left,

the driver moves too.

Edit graphical

elements.

Create objects you need to fine-tune or edit as

vector objects on vector layers.

Apply raster-

only commands

and effects to

vector objects.

Create a new layer with raster copies of the vector

objects. To do this, duplicate the vector layer and

then convert it to a raster layer. Turn off the

visibility of the vector layer.

Experiment with

changes.

Make a copy of a layer and try out changes. Turn

the visibility of a layer off and on to see which

works best in the overall image.

Save work-in-

progress.

Keep a copy of the intermediate steps of

transformations, then turn off the visibility of those

layers. If you need to go back a few steps at a later

date, you’ve got the data.

Chapter 14: Working with Layers

366

Adding New Layers to Images

There are many ways to add layers to images. Create a new layer,

promote the background to a regular layer, duplicate an existing

layer, or make a selection and turn it into a layer.

Creating New Layers

Create new layers to use for placing new elements in your images.

To create a new layer:

1 On the Layers palette, click the layer which you want to add a layer

above.

2 Do one of the following:

To create a new raster layer, click the New Raster Layer

button or choose Layers > New Raster Layer.

To create a new vector layer, click the New Vector Layer

button or choose Layers > New Vector Layer.

To create a new Art Media layer, click the New Art Media

Layer button or choose Layers > New Art Media layer.

To create a new mask layer, click the New Mask Layer button

or choose Layers > New Mask Layer > Show or Hide. For

information on mask show or hide layers, see “Creating New

Mask Layers” on page 392.

To create a new adjustment layer, choose Layers >

New Adjustment Layer and choose a type of adjustment layer.

For information on adjustment layers, see “Using Adjustment

Layers” on page 382.

3 Edit the layer properties as desired and click OK. For more

information, see “Editing Layer Properties” on page 368.

The new layer is added above the active layer. It is named with the

type of layer and a number, such as “Vector Layer 1.” To rename the

layer, see “Renaming Layers” on page 368.

Color depth

An image must be greyscale or 16

million color to create adjustment

layers or more than one raster

layer. If you have an image of

another color depth, Paint Shop

Pro prompts you to convert it to 16

million colors when you try to add a

new adjustment or raster layer.

Alternative ways to create

new layers

For all layer types, place the cursor

over a layer name on the Layers

palette, and then right-click and

select the new layer type from the

context menu.

To create a layer with default layer

properties, press Shift and click

one of the new layer buttons on the

Layers palette: New Raster Layer,

New Vector Layer, New Art

Media Layer, or New Mask Layer.

Chapter 14: Working with Layers 367

Promoting a Background Layer to a

Regular Raster Layer

When you want the background layer to function like a regular raster

layer, promote it to a layer. Unlike the background layer, raster

layers support transparency and can be moved anywhere within the

stacking order.

To promote a background layer:

Choose Layers > Promote Background Layer, or right-click on the

layer and select Promote Background Layer from the Layers context

menu.

Duplicating Layers

Duplicate a layer within an image to use as a starting point for a new

layer, or to try out edits and effects while keeping the original layer

intact. Or, copy a layer to another image.

To duplicate a layer within the same image:

Do one of the following:

Click its name on the Layers palette, then choose Layers >

Duplicate.

Right-click its name on the Layers palette, then choose Duplicate

from the context menu.

Click its name on the Layers palette, choose Edit > Copy to copy

the layer, and then choose Edit > Paste > As New Layer.

The duplicated layer is added just above the current layer.

To copy a layer to another image:

Do either of the following:

On the Layers palette, click and drag the name of the layer or

layer group onto an open image, and then release the mouse

button. Paint Shop Pro adds the layer above the selected layer of

the second image.

On the Layers palette, click the name of the layer or layer group

that you want to copy, choose Edit > Copy, select the image to

copy to, and then choose Edit > Paste > As New Layer. The layer

is pasted to the center of the canvas.

More about background

layers

For more information, see

“Background Layer” on page 361.

Copying all layers to

another image

Use the Browse window to copy all

layers of an image into another

image.

For more information, see “Copying

One Image into Another Using the

Browser” on page 162.

Chapter 14: Working with Layers

368

Creating Raster Layers from Selections

Use the Selection menu’s Promote Selection to Layer command to

promote a selection to a layer. Use the Selection, Freehand

Selection, or Magic Wand tool to make a raster selection of raster or

vector data. The new layer is always a raster layer.

You can also copy a raster selection and paste it as a new layer.

To create a raster layer from a selection:

1 Use the Selection, Freehand Selection, or Magic Wand tool to make

a selection on the image.

2 Do one of the following:

Choose Selections > Promote Selection to Layer. The new

layer is named Promoted Selection.

Choose Edit > Copy to copy the selection, and then choose

Edit > Paste > As New Layer. The new layer is named Raster

plus a number (Raster 1).

Editing Layer Properties

Layer properties are everything you see on the Layers palette: the

name, layer grouping and linking, layer opacity, blending,

transparency protection, and layer icon highlight colors. To change

properties, double-click a layer name to display the Layer Properties

dialog or make changes in the right panel of the Layers palette. For

information about editing an adjustment layer, see “Editing an

Adjustment Layer” on page 384.

Renaming Layers

As you add layers to an image, you may find it convenient to rename

the layers so they are easy to identify on the Layers palette.

How to start a new vector

layer with a vector selection

Use the Object Selection tool to

select one or more vector objects,

choose Edit > Copy to copy the

object(s), and then choose Edit >

Paste > As New Layer.

Cleaning up selection edges

When you promote a selection,

some of the pixels surrounding the

selection border may be included,

especially when the selection is

anti-aliased or feathered. Use the

Matting commands to clean up the

border by removing these pixels.

To clean up a selection before you

copy or promote it, see “Cleaning

Up the Edges of a Selection” on

page 209.

To clean up a layer created from a

selection, see “Cleaning up the

Edges of Layers Created from

Selections” on page 381.

Chapter 14: Working with Layers 369

To rename a layer:

1 On the Layers palette, right-click the name of the layer and choose

Rename from the context menu.

2 Type the name and press Enter.

Showing and Hiding Layers, Groups,

and Vector Objects

Use the Visibility toggles on the Layers palette to make layers, layer

groups, or vector objects visible or invisible in the image. These

items remain in the image but are hidden. When a layer is visible, the

Visibility toggle displays . When a layer is hidden, the Visibility

toggle displays .

To show or hide individual layers and layer groups:

Do one of the following on the Layers palette:

Click the Visibility toggle for each layer or Layer Group you

want to show or hide.

Note: Hiding a layer group hides all of the layers within that

group.

To show one layer only, right-click a layer name and choose

View > Current Only from the context menu.

To show all layers:

Choose Layers > View > All, or right-click a layer name and choose

View > All from the context menu.

To invert which layers are shown or hidden:

Right-click a layer name and choose View > Invert from the

context menu. All previously visible items become invisible and

all invisible items become visible.

Right-click the layer name of a linked group and choose

View > Invert from the context menu.

To show or hide vector objects:

On the Layers palette, click the Visibility toggle for each vector

object you want to show or hide.

Alternative way to rename

Double-click the layer name to

display the Layer Properties dialog

and enter a new name in the Name

edit box.

Original image, and image with

all layers but one made invisible

Chapter 14: Working with Layers

370

Grouping Layers

Create layer groups to group multiple layers together. Layer groups

allow you to do the following:

Organize the Layers palette.

Set layer properties, such as opacity and blend mode, for the

whole group.

Limit the effect of adjustment layers to layers below them in a

group rather than in the entire image.

Move all grouped layers in the stacking order by clicking and

dragging the layer group name.

Move layers together on the image canvas—if the group is

linked. (Otherwise grouped layers move independently.) For

more information, see “Linking Layers and Layer Groups” on

page 371.

Layer groups can contain raster, vector, mask, and adjustment layers,

and must contain at least one layer. Layer groups can also contain

other layer groups (called nested groups). If you move all of the

layers out of a layer group, Paint Shop Pro deletes the layer group.

Note

Adjustment and mask layers cannot be the bottom layer.

Vector objects cannot be moved from their layer group.

To create a layer group:

1 On the Layers palette, click the first layer to be in the layer group.

2 Do one of the following:

On the Layers palette, click the Layer Group button .

Choose Layers > New Layer Group. The Layer Properties

dialog opens. Make changes as necessary and click OK.

Choose Layers > Arrange > Move Into Group.

The layer group is created, and the selected layer becomes part of

the layer group. By default, the layer group is named Group with

a number (for example, Group 1).

3 To add a layer to the layer group, click its name and drag it into

the layer group. A black line shows the position until you release

the mouse button.

Note: You can also add a layer group within a layer group (called

a nested group).

Modify that layer group

Here are some of the possible

ways to modify a layer group:

Edit its layer properties, such as

its opacity and blend mode. See

“Editing Layer Properties” on

page 368.

Drag it to a new position in the

image’s stacking order. All of its

layers move too.

Rename it. See “Renaming

Layers” on page 368.

Delete it—Paint Shop Pro

deletes all of its layers too. See

“Deleting Layers or their

Contents” on page 381.

How to add a layer to the

bottom of a layer group

Drag the layer to the second-to-

bottom position. Then drag the

bottom layer up.

Chapter 14: Working with Layers 371

To remove a layer from the group:

Drag the layer to a new position outside the layer group, or choose

Layers > Arrange > Move Out of Group.

To ungroup layers:

Select the layer group that you want to ungroup, and then choose

Layers > Ungroup Layers.

Linking Layers and Layer Groups

Use layer linking to have layers move together on the image canvas

when you move one layer with the Move tool. To link individual

layers, use the Layer Link button on the Layers palette. By default,

this button says “None.” Change each layer that you want to link to

the same number, say “1” or “2.” Left-click to increase the number;

right-click to decrease it.

Use group linking to have all layers within a layer group move

together on the image canvas. The Group Link button on the Layers

palette displays a blue icon when the group is linked or a grey

icon when the group is not linked.

Layer links take precedence over group links. For example, Layer

Group 1 is linked and contains Layer1, Layer2, and Layer3. Layer1

is set to link number 1. Layer4 (outside of the layer group) is also set

to link number 1. If you move Layer4, Layer1 will move. If you

move Layer2, Layer1 will not move.

To link layers:

For each layer you want to link, change its link set number to the

same number. Do either of the following on the Layers palette:

Left-click the Layer Link button to increase the number.

Right-click the Layer Link button to decrease the number.

Double-click each layer name to display the Layer Properties

dialog, change the Link Set number, and then click OK.

An image with a linked group

and linked layers

Layer Link

button

Group Link

button

Chapter 14: Working with Layers

372

To unlink layers:

For each layer you want to remove from the link set, do either of the

following on the Layers palette:

Left-click or right-click the Layer Link button until it displays

None.

Double-click the layer name to display the Layer Properties

dialog, change the Link Set number to 0, and then click OK.

To link or unlink layer groups:

Do either of the following on the Layers palette:

Click the Group Link button . A grey button means the group is

unlinked.

Double-click the layer name to display the Layer Properties

dialog, mark or clear the Group is Linked check box, and then

click OK.

Changing Opacity of Layers

To create interesting effects, vary the opacity of a layer from the

default of 100 percent (fully opaque) down to 0 percent

(transparent). When a layer is partially transparent, layers below it

show through.

To change the opacity of all layers within a layer group, set the

opacity of the layer group.

The Opacity setting of the Layers palette displays the opacity of each

layer. The overall opacity of a layer and the opacity of individual

pixels are independent of each other. For example, if a pixel starts at

50% opacity and the layer is set to 50% opacity, the pixel will appear

25% opaque. If the layer is also in a layer group that is set to 50%

opacity, then the pixel opacity will be 12.5% opaque.

To set the opacity of a layer or layer group:

1 On the Layers palette, click the name of the layer.

2 Do one of the following:

Drag the Opacity slider to the desired percentage.

Double-click the layer name to display the Layer Properties

dialog, change the Opacity setting, and click OK.

Does linking affect the

stacking order?

No. Linking affects only

movements within the image

canvas using the Move tool.

The only way to move layers

together in the stacking order is to

group them. When you move a

group layer in the stacking order,

all layers move (regardless of

whether the group is linked or not).

Chapter 14: Working with Layers 373

Blending Layers

Create interesting effects by changing the way pixels of one layer

blend with pixels of underlying layers. Paint Shop Pro contains a

variety of blend modes that specify how it blends pixels. The image

displays the blended pixels, but layers are not actually combined.

By default, each layer has a blend mode of Normal, which blends

pixels based on the opacity of the selected layer. The pixels of the

selected layer are blended with the combination of all underlying

layers, not just the layer directly beneath it.

To limit the pixels that the blend mode affects, set the blend range.

See “Setting Blend Ranges” on page 376.

To set the blend mode of a layer:

On the Layers palette, click the Blend Mode drop-down list of the

layer you want to set and select the blend mode from the list. For

descriptions of the blend modes, see “About Blend Modes” below.

About Blend Modes

The table describes each of the blend modes. In the table, “selected

layer” refers to the layer for which you are setting the blend mode.

Note

Several of the blend modes have been enhanced, the transfer of color

channels has been improved. These blend modes may not be

compatible with other applications. Use the Legacy blend modes for

compatibility with other applications.

Blend modes: Normal, Darken,

Luminance, and Dissolve

Color depth and layers

The Hue, Saturation, Color, and

Luminance blend modes are

available only for 16 million color

images.

The Multiply, Screen, Difference,

and Exclusion blend modes

produce the same result no matter

how layers are ordered within the

Layers palette. Blend Mode Result

Normal Displays pixels of underlying layers based on the opacity

of pixels on the selected layer. If data is fully opaque, no

pixels show through. As the opacity decreases, more

pixels from underlying layers show through.

Darken Displays pixels in the selected layer that are darker than

the underlying layers. Pixels lighter than the underlying

layers disappear.

Lighten Displays pixels in the selected layer that are lighter than

the underlying layers. Pixels darker than the underlying

layers disappear.

Chapter 14: Working with Layers

374

Hue Applies the hue of the selected layer to the underlying

layers (without changing the saturation or lightness). This

blend mode was introduced in Paint Shop Pro 8, and is an

improvement on the original Hue blend mode (Hue

(Legacy)).

Hue (Legacy) This blend mode was first introduced in version 5 of Paint

Shop Pro, and functions similarly to the Hue blend mode.

It is retained for the sake of compatibility with older

versions of Paint Shop Pro.

Saturation Applies the saturation of the selected layer to the

underlying layers (without affecting the hue or lightness).

This blend mode was introduced in Paint Shop Pro 8, and

is an improvement on the original Hue blend mode

(Saturation (Legacy)).

Saturation

(Legacy)

This blend mode was first introduced in version 5 of Paint

Shop Pro, and functions similarly to the Saturation blend

mode. It is retained for the sake of compatibility with

older versions of Paint Shop Pro.

Color Applies the hue and saturation of the selected layer to the

underlying layers (without affecting the lightness). This

blend mode was introduced in Paint Shop Pro 8, and is an

improvement on the original Color blend mode (Color

(Legacy)).

Color

(Legacy)

This blend mode was first introduced in version 5 of Paint

Shop Pro, and functions similarly to the Color blend

mode. It is retained for the sake of compatibility with

older versions of Paint Shop Pro.

Luminance Applies the luminance (or lightness) of the selected layer

to the underlying layers (without affecting the hue or

saturation). This blend mode was introduced in Paint

Shop Pro 8, and is an improvement on the original

Luminance blend mode (Luminance (Legacy)).

Luminance

(Legacy)

This blend mode was first introduced in version 5 of Paint

Shop Pro, and functions similarly to the Luminance blend

mode. It is retained for the sake of compatibility with

older versions of Paint Shop Pro.

Multiply Combines the colors of the selected layer with the

underlying layers to produce a darker color. Multiplying

any color with black produces black. Multiplying any

color with white leaves the color unchanged.

Blend Mode Result

Chapter 14: Working with Layers 375

Screen Lightens the colors of underlying layers by multiplying

the inverse of the selected and underlying layers. The

result is a color that is the same or a lightened version of

the selected layer.

Dissolve Randomly replaces the colors of some pixels on the

selected layer with those of the underlying layers to create

a speckled effect. The selected layer’s opacity determines

the number of pixels replaced; the lower the opacity, the

more pixels that are replaced.

Overlay Combines the Multiply and Screen blend modes. If the

color channel value of underlying layers is less than half

the maximum value, the Multiply blend mode is used. If

the color channel value is greater than or equal to half the

value, the Screen blend mode is used. The Overlay blend

mode shows patterns or colors of the selected layer while

preserving the shadows and highlights of underlying

layers.

Hard Light Combines the Multiply and Screen blend modes. If the

color channel value of the selected layer is less than 128,

the Multiply blend mode is used. If the color channel

value is greater than or equal to 128, the Screen blend

mode is used. In general, use the Hard Light blend mode

to add highlights or shadows.

Soft Light Combines the Burn and Dodge blend modes. If the color

channel value of the selected layer is less than 128, the

Burn blend mode is used. If the color channel value is

greater than or equal to 128, the Dodge blend mode is

used. In general, use the Soft Light blend mode to add soft

highlights or shadows.

Difference Subtracts the selected layer’s color from the color of the

underlying layers.

Dodge Lightens the image by having the lightness values of the

colors in the selected layer lighten the colors of

underlying layers. Light colors produce the most

lightening; black has no effect.

Burn Darkens the image by having the lightness values of the

selected layer reduce the lightness of underlying layers.

Exclusion Creates an effect similar to but softer than the Difference

blend mode.

Blend Mode Result

Chapter 14: Working with Layers

376

Setting Blend Ranges

In addition to setting the blend mode of a layer, you can set the blend

range. This range limits the pixels that the blend mode affects. By

default, the blend mode applies to all pixels. Blend ranges set the

opacity based on brightness or color channel to drop colors out of the

selected layer and make other colors show through.

To set the blend range:

1 On the Layers palette, select a layer and set its blend mode. (See

“Blending Layers” on page 373.)

2 Double-click the layer name to open the Layer Properties dialog.

3 Click the Blend Ranges tab.

4 In the Blend Channel drop-down list, select a channel to use

when blending layers. Select Grey Channel to have the lightness

values of layers determine opacity. Select Red Channel, Green

Channel, or Blue Channel to have the respective color values

determine opacity.

5 Set the opacity ramp for the channel as follows:

First, drag the upper arrows to indicate the values at which the

opacity is 100 percent.

Next, drag the lower arrows to indicate the values at which the

opacity is 0 percent.

Note that the values on the left side indicate the ramp up values,

while the values on the right side indicate the ramp down values.

For example, in the graphic in the left column, the selected

layer’s opacity is 100 percent between lightness values of 43 and

126, and falls off at the lightest and darkest areas.

6 Click OK.

Paint Shop Pro applies the blend only to the pixels that fall within

the range you selected. The right panel of the Layers palette displays

the Blend Range icon to indicate that a blend range is being used.

Protecting Transparent Areas

To apply tools and effects only to areas of a raster layer with data,

use the Lock Transparency feature on the Layers palette. Transparent

areas remain protected when you paint, apply effects, paste

selections, or perform other edits.

Blend ranges: normal, 50%,

60%, and 75%

Setting the blend ranges

Chapter 14: Working with Layers 377

Note

This feature applies to raster layers only. You cannot lock the

transparency of vector, adjustment, mask, or group layers. Also,

background layers do not support transparency.

When transparency is locked, the Lock Transparency button displays

. When a transparency is not locked, the Lock Transparency

button is grey .

To lock or unlock the transparency:

Do one of the following:

On the Layers palette, click the Lock transparency button of the

appropriate raster layer.

Double-click the layer name to display the Layer Properties

dialog, mark or clear the Lock transparency check box, and click

OK.

Setting Icon Highlight Colors

To organize the Layers palette visually, specify the highlight colors

for layers and layer groups. The highlight color displays as the

background of the icon to the left of the layer or group name. It has

no effect on the image itself.

In a layer group, layers that have not been assigned individual

highlight colors inherit the color of the parent layer. As an example,

use the same highlight color for all layers in layer group and use a

different color to highlight other layers or layer groups.

To set the highlight color of an icon:

1 On the Layers palette, double-click the name of the layer to open

the Layer Properties dialog.

2 Mark the Highlight in Layers palette check box.

3 Do one of the following:

To select a new color, click the color box next to the check

box. Choose a color and click OK.

To choose from recently used colors, right-click the color box

and click a color.

4 At the Layer Properties dialog, click OK. The icon now displays

the highlight color.

Chapter 14: Working with Layers

378

Modifying Layers

Modify layers to change the look of your image. Arrange the

stacking order, move layers within the image canvas, merge layers,

clean up edges of layers created from selections, or delete layers.

Arranging the Stacking Order of Layers

The arrangement of layers within your image is critical to what the

image looks like. If one layer is above another one, that layer’s data

can cover data below it.

To change the stacking order of layers—which changes the resulting

image—move layers on the Layers palette. If a layer or a layer group

has components, such as vector objects or grouped layers, all the

components move with it.

To move one layer, layer group, or vector object:

On the Layers palette, click the name of the layer, layer group, or

vector object and drag it to a new position. A black line shows the

position until you release the mouse button.

When you drag an item, the cursor changes into a hand . If it

displays a null symbol , you cannot move the selected item to a

particular position. For example: The background layer cannot be

moved. There can never be a layer below the background layer. A

vector object cannot be moved into a raster layer. Mask and

Adjustment layers cannot be at the bottom of an image or a layer

group.

To move multiple vector objects:

1 On the Layers palette, click the first vector object.

2 Press Shift and click each additional vector object, or right-click

and choose Select all.

3 Drag the selected objects to a new position. A black line shows

the position until you release the mouse button.

Moving the background

layer

The background layer is always the

bottom layer—it cannot be moved.

To change its position, promote it

to a raster layer first. See

“Promoting a Background Layer to

a Regular Raster Layer” on

page 367.

Chapter 14: Working with Layers 379

Moving Layers within the Image Canvas

Use the Move tool to move the contents of an entire layer anywhere

within the image canvas. If you move part of a layer off the canvas,

Paint Shop Pro does not crop it. You can move it back to the canvas,

or increase the canvas size to show the additional data.

Note

You cannot use the Move tool on the background layer. To move the

contents of the background layer, promote it to a regular raster layer

first. See “Promoting a Background Layer to a Regular Raster

Layer” on page 367.

To move a layer within the image canvas:

1 On the Layers palette, select the layer you want to move.

2 On the Tools toolbar, click the Move tool .

3 Click and drag in the image to move the layer to a new position.

4 To limit the Mover tool to the current layer, press and hold the

Shift key while you click the image and drag the layer.

Merging Layers

Merging layers is also called flattening. You can merge selected

layers, or all of the layers in an image. Merging layers decreases the

memory requirements for the image. Paint Shop Pro merges layers

based on the blend modes, converts vector data and vector text to

raster data, and replaces transparent areas of the background layer

with white.

Always make a backup copy of the original .PspImage image before

you merge layers. Once you merge layers, you cannot edit the layers

separately. Unless you are certain you have finished editing the

image, it’s best not to merge layers.

To merge two layers together:

1 Make sure one layer is located directly above the other on the

Layers palette.

2 Click the name of the layer above the one you want to merge it

with.

Original image, and with one

layer moved to the right

Where’s the layer?

If you move a layer off the image

canvas, you can no longer see it.

To get the data back, press the

Shift key while dragging it with the

Mover tool. Or, increase the canvas

size enough so that the layer

appears, move it to where you

want, then decrease the canvas

size again.

Saving flattened images

Many file formats, such as JPEG,

GIF, and TIF, do not support multi-

layered images. When you save to

these formats, Paint Shop Pro

merges all layers into a single

background layer.

Chapter 14: Working with Layers

380

3 Choose Layers > Merge > Merge Down to merge the two layers.

The following table describes how layer types are merged:

To merge all layers:

Choose Layers > Merge > Merge All (Flatten) to merge the layers into

one background layer.

To merge all visible layers:

1 On the Layers palette, click the Visibility toggle for each layer that

you do not want to merge.

2 Choose Layers > Merge > Merge Visible to merge all visible

layers into a raster layer named Merged. Invisible layers are not

affected. The new raster layer, which maintains the transparency

information of the original layers, is the active layer.

Note: If a visible layer is in a layer group, only the visible layers

in that group will be merged. If the layer group is marked

invisible (making all layers within the group invisible), none of

the layers within the group will be merged.

To merge all layers in a layer group:

1 On the Layers palette, click the layer group, or a layer within the

group, that you want to merge.

2 Choose Layers > Merge > Merge Group to merge all layers in the

group into one raster layer.

Top Layer Any layer Vector Art Media Mask Any Layer Any Layer

Merged with Raster Vector Background Mask Background Mask /

Adjustment

Creates Raster Vector Background Mask Background Not Permitted

Chapter 14: Working with Layers 381

Cleaning up the Edges of Layers Created

from Selections

When you promote or paste a selection to create a layer, some of the

pixels surrounding the selection border are included, especially

when the selection is anti-aliased or feathered. The Layers > Matting

commands clean up the border by removing these pixels.

There are three Matting commands: Remove Black Matte, Remove

White Matte, and Defringe.

Use the Remove Black Matte or Remove White Matte command

when the selection came from an image with a black or white

background. These commands remove the black or white pixels at

the layer edges.

Use the Defringe command when the selection came from an image

with a colored background. Defringing bleeds non-feathered pixels

in the layer edges outward and over the “jaggies” in the feathered

part of the layer.

To use a Matting command:

1 On the Layers palette, click the name of the layer that was created

from a selection.

2 Do one of the following:

To remove the black matte, choose Layers > Matting >

Remove Black Matte.

To remove the white matte, choose Layers > Matting >

Remove White Matte.

To remove a colored matte, choose Layers > Matting >

Defringe to open the Defringe dialog. Enter the number of

pixels to defringe and press Enter.

Deleting Layers or their Contents

To remove a layer from an image, delete the entire layer. Or, delete

the contents of a layer to keep the layer within the image; raster and

vector layers become transparent and the background layer is filled

with the current background color and material.

To delete a layer:

1 Make sure nothing is selected outside the layer you wish to delete.

Color depth

These commands work on 16

million color and greyscale images

only. To increase the color depth of

an image, see page 261.

Using matting on a

selection

To clean up the edges of a

selection before you promote or

copy it, use the Selections >

Matting commands. See “Cleaning

Up the Edges of a Selection” on

page 209.

Chapter 14: Working with Layers

382

2 On the Layers palette, click the name of the layer you want to

delete.

3 Click the Delete Layer button on the Layers palette toolbar, right-

click and choose Delete from the context menu, or drag the layer

to the Delete Layer button .

To delete the contents of a layer:

1 Make sure nothing is selected outside the layer you wish to delete.

2 On the Layers palette, click the name of the layer.

3 Press the Delete key or choose Edit > Clear.

Using Adjustment Layers

Adjustment layers are correction layers that adjust the color or tone

of underlying layers, without modifying their pixels directly. Choose

from these types of adjustment layers: Brightness/Contrast, Channel

Mixer, Color Balance, Curves, Hue/Saturation/Lightness, Invert,

Levels, Posterize, and Threshold.

All adjustment levels have equivalent commands on the Adjust

menu. The advantage of an adjustment layer is that you do not

modify the image layers themselves, so it’s easier to make quick

changes to the color and tonal adjustments. Add adjustment layers to

test various color corrections or to see how several corrections look

when you combine them. Hide, delete, or edit adjustment layers.

An adjustment layer applies to all layers below it that are at the same

level, as follows:

If the adjustment layer is at the main level (rather than in a layer

group), it applies to all layers below it in the stacking order.

If an adjustment layer is in a layer group, it applies only to layers

within the group that are lower in the stacking order.

To add an adjustment layer:

1 On the Layers palette, click the layer which you want to create an

adjustment layer above.

2 To apply the adjustment layer to a selection, make a selection.

3 Choose Layers > New Adjustment Layer and select the type of

adjustment layer.

How to create an

adjustment layer that

applies to one layer only

Create a layer group with the one

layer, and then add the adjustment

layer above the layer in the layer

group.

Chapter 14: Working with Layers 383

A dialog with the name of the adjustment layer opens. The

preview windows show the image before and after changes. The

Adjustment tab shows the color and tonal correction settings to

change.

Note: The General tab includes layer properties such as layer

name, blend mode, and opacity. Change these properties here or

on the Layers palette. For more information, see “Editing Layer

Properties” on page 368.

4 To reset values to default settings, in the Presets drop-down list

choose Default. Or, double-click the adjustment layer to open the

Properties dialog, and click the Reset to Default button .

5 Modify the settings on the Adjustment tab, and then click OK.

The adjustment layer is added just above the previously selected

layer.

About Adjustment Layer Types

Chapter 6, Making Color and Tonal Corrections describes in detail

each type of adjustment layer. The table shows specific sections to

refer to within that chapter.

Type of

Correction Adjustment

Layer For More Information

Adjust color

balance

Color Balance See “Changing the Color Balance of

Shadows, Midtones, and Highlights” on

page 129.

Hue/Saturation/

Lightness

See “Adjusting the Hue, Saturation, and

Lightness in Unison” on page 130.

Channel Mixer See “Adjusting the Color Channels” on

page 133.

Adjust

brightness

and contrast

Brightness/

Contrast

See “Manually Adjusting Brightness

and Contrast” on page 135.

Curves See “Adjusting Individual Brightness

Values” on page 136.

Levels See “Adjusting the Lightness Levels” on

page 139.

Chapter 14: Working with Layers

384

Editing an Adjustment Layer

Edit an adjustment layer to change the color or tonal correction. Or,

change the layer properties such as layer name and opacity.

To edit an adjustment layer:

1 On the Layers palette, double-click the name of the adjustment

layer that you want to edit. Or, select the layer and choose Layers >

Properties.

The Layer Properties dialog opens.

2 On the Adjustment tab, modify the color or tonal correction

settings. For detailed information, refer to the appropriate section

as listed in “About Adjustment Layer Types” on page 383.

3 Click the General tab to modify the general layer properties such

as layer name, blend mode, and opacity. Change these properties

here or on the Layers palette. For more information, see “Editing

Layer Properties” on page 368.

4 Click OK.

Modifying Portions of Adjustment

Layers

Sometimes most of an adjustment layer correction works well, but

one part of an image doesn’t need all of the correction. One way to

solve this challenge is to make a selection in the image and create an

adjustment layer for that selection. However, if the image has

multiple areas that need different levels of correction, use a more

flexible approach of creating one adjustment layer and modifying

portions of it.

Reduce or

remove

colors

Invert See “Creating Negative Images” on

page 144.

Threshhold See “Creating Black-and-White Images”

on page 142.

Posterize See “Reducing the Number of Lightness

Levels” on page 143.

Type of

Correction Adjustment

Layer For More Information

How to delete an

adjustment layer

Delete an adjustment layer just as

you do any other type of layer.

Click the layer name and then click

the Delete Layer button on the

Layers palette toolbar.

To undo a deletion, click the Undo

button or press Ctrl + Z, or use the

History palette.

Chapter 14: Working with Layers 385

Adjustment layers are greyscale layers. Use the painting tools to

selectively change which parts of the image get the full correction

and which parts get partial or no correction.

Adjustment layers contain pixels that can display 256 shades of grey.

These grey levels indicate the amount of correction.

White pixels mean Paint Shop Pro applies the full correction that

you specify.

Black pixels mean Paint Shop Pro applies no correction.

Grey pixels vary the correction. For lighter greys, Paint Shop Pro

applies close to the full correction. For darker greys, Paint Shop

Pro applies close to no correction. Middle grey means Paint Shop

Pro applies the correction at half strength.

Here are the basics of selectively modifying adjustment layers:

When you first create an adjustment layer, all pixels in the layer

are white (full strength correction).

If you create an adjustment layer when there is an active

selection, all pixels in the selection are white (full strength

correction) and all other pixels are black (no correction).

When you select an adjustment layer, the Material palette

displays black, white, and 254 shades of grey as available colors.

To modify portions of the adjustment layer, use the painting tools

to paint with shades of grey.

To see what the pixels of an adjustment layer look like, click the

Mask Overlay button . Or, position the cursor over the layer

name. The layer thumbnail displays the greyscale adjustment

layer.

Using the Layers palette

The Layers palette lists all layers in an image. The order of layers on

the palette is the order of layers in the image. The top layer is listed

first and the bottom layer is listed last. Change this stacking order by

dragging a layer to a new position on the Layers palette.

Note

Adjustment and mask layers cannot be the bottom layer.

Vector objects cannot be moved from their layer group.

Create layer groups to organize the Layers palette. Link layers or

groups so they move together when you use the Move tool in the

image.

Chapter 14: Working with Layers

386

The left panel of the Layers palette displays the names of layers and

layer groups. The icon to the left of each name indicates the type of

layer (background, raster, vector, mask, adjustment, group, or

floating selection). When there are more layers than the palette can

display, use the scroll bars on the right side to move the list of layers

up or down.

The right panel of the Layers palette displays options for the layer,

including visibility, opacity, blend mode, link set, and lock

transparency.

The Layers palette toolbar includes buttons for command tasks, such

as adding a new raster or vector layer.

Displaying the Layers palette

Display or hide the Layers palette, or move it anywhere on the

screen. For information on moving, docking, and undocking the

Layers palette, see “Using Palettes” on page 15.

To display or hide the Layers palette:

Choose View > Layers palette or press F8.

Viewing the Contents of Layers

The image window shows all visible layers in the image. To view a

thumbnail of a layer’s contents, use the Layers palette.

To turn off or on the visibility of layers in the image window, see

“Showing and Hiding Layers, Groups, and Vector Objects” on

page 369.

Seeing layer contents

Chapter 14: Working with Layers 387

To view the contents of one layer:

On the Layers palette, move the cursor over a layer name to display

a thumbnail of the layer contents.

To set the size of the layer thumbnail:

1 Choose File > Preferences > General Program Preferences.

2 Click the Display and Caching tab.

3 Set the desired thumbnail size by adjusting the Thumbnail /

Preview size setting in the upper right corner of the tab.

Selecting Layers

When an image has more than one layer, you must select the layer

you want to work on. Changes to the image affect only the selected

layer (also called the active layer). You can select only one layer at a

time.

To select a layer:

On the Layers palette, click the name of the layer to highlight the

selected layer.

Expanding and Contracting Layers and

Layer Groups

The Layers palette displays its components like the “tree” of folders

and directories in Windows Explorer. Items that have sub-

components have a minus sign in front of them when expanded or a

plus sign when contracted.

Expand a vector layer or layer group to see the names of its sub-

components. Contract a vector layer or layer group to make the

Layers palette easier to navigate.

To expand a layer or layer group:

On the Layers palette, click the plus sign in front of the vector

layer or layer group name.

To contract a layer or layer group:

On the Layers palette, click the minus sign in front of the vector

layer or layer group name.

Selecting a layer

Chapter 14: Working with Layers

388

389

Working with Masks

A mask is a greyscale image that is applied to a layer. Use mask

layers hide and show parts of a layer, fade between layers, and create

other special effects. A mask can be created from a selection, from

an alpha channel, or an existing image. Masks can completely cover

a layer, or cover a layer with varying levels of opacity.

Contents About Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Creating Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Deleting Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Editing Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Loading Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Saving Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

CHAPTER 15

Chapter 15: Working with Masks

390

About Masks

A mask layer covers parts of another layer completely or with

varying levels of opacity. Use masks to fade between layers or to

create special effects with precision. For example, mask all details

around the main subject in a photograph, or use a mask to create a

Web page navigation bar that fades away.

You can create a new mask layer that you can paint on which hides

or shows underlying layers. You can also create a mask layer from

an image, a selection, or the luminance of an image. In addition, use

the sample masks (stored in the Masks folder of the Paint Shop Pro

program folder) and apply them as is, or customize them.

Mask layers function similar to other types of layers. Turn the

visibility of the mask layer on or off, change the overall opacity of

the mask layer, or link the mask layer to other layers. For more

information, see “Editing Layer Properties” on page 368.

Mask layers are automatically saved with the image in the .PspImage

format. You can also save a mask to an alpha channel or as a separate

image file on a disk. For more information, see “Loading Masks” on

page 399.

How Masks Affect Underlying Layers

A mask layer applies to all layers below it that are at the same level,

as follows:

If a mask layer is in a layer group, it applies only to layers within

the group that are lower in the stacking order.

If the mask layer is at the main level (rather than in a layer

group), it applies to all layers below it in the stacking order.

To change which underlying layers the mask applies to, on the

Layers palette drag the mask layer to a new position in the stacking

order. For more information, see “Arranging the Stacking Order of

Layers” on page 378.

Mask layers can never be the bottom layer in the image or in a layer

group.

Original and masked images

Color depth

Masks work with greyscale with

transparency and 16 million color

images only. To increase the color

depth of an image, see page 261.

Chapter 15: Working with Masks 391

Mask Layers as Greyscale Raster Layers

Masks are greyscale raster layers—they contain pixels that can

display 256 shades of grey. Rather than applying grey paint to the

image, however, the levels of grey correspond to levels of opacity, or

masking. White pixels show underlying layers, black pixels hide

underlying layers, and grey pixels show varying amounts of

underlying layers. The darker the grey, the more the underlying

pixels are masked.

Even though masks are raster layers, you can create masks that hide

or show portions of vector layers.

When you select a mask layer, the Materials palette displays black,

white, and 254 shades of grey as available colors. Paint on the mask

layer to change the visibility of underlying pixels. All tools and

commands that work on greyscale raster layers work on masks. For

the Pen, Preset Shapes, and Text tools (which can create raster or

vector objects), create raster objects on mask layers.

Creating Masks

There are several ways to add a mask to an image. You can create a

new mask layer completely showing or hiding the underlying layers.

You can also create a mask from an image or a selection.

Note

Because background layers do not support transparency, you cannot

apply a mask to them. When the background layer is selected when

you create a new mask, you are prompted to promote the background

to a full layer.

See the contents of the

mask layer

To see what the mask layer looks

like, position the cursor over the

layer name on the Layers palette.

A thumbnail displays the greyscale

mask layer.

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392

Creating New Mask Layers

To show or hide the underlying layers completely with the new

mask, choose from the Show All or Hide All Layer menu commands.

To create a new mask layer:

1 On the Layers palette, click the layer you want to mask.

2 Choose Layers > New Mask Layer and then choose the type of

mask:

Show All Shows all underlying pixels. All pixels of the mask are

white. The underlying layer will appear unchanged. Paint the

mask with greys or black to hide portions of the underlying

layers.

Hide All Hides all underlying pixels. All pixels of the mask are

black. The underlying layer will be completely hidden. Paint the

mask with white or greys to show portions of underlying layers.

The mask layer and the selected layer are added to a new layer

group. The mask layer applies to the selected layer only. To apply it

to all underlying layers, drag it from the layer group to the main

level.

To view the mask on the image, on the Layers palette click the Mask

Overlay toggle .

For more information on editing the mask, see “Editing Masks” on

page 397.

Other ways to create a new

mask layer

On the Layers palette, right-click

the layer to which you want to add

a mask and choose New Mask

Layer > Show All to show all

underlying pixels or Hide All to

hide all underlying pixels. Or, click

the Show All button on the Layers

palette.

Hint for editing masks

Display the Overview palette

(choose View > Palettes >

Overview) while editing a mask so

that you can see the image as it

will print or display (without the

transparency grid or the mask

overlay).

Chapter 15: Working with Masks 393

Creating Masks from Images

Use any image as a mask for another image. Paint Shop Pro converts

the image into greyscale raster data and uses it for the mask. The

original, or source, image is not altered.

Note

Another way to create a mask from an image is to load the image file

from disk; see “Loading Masks from Disk” on page 399.

To create a mask from an image:

1 Open the image that you want to use for the mask.

2 Select the image in which you want to create the mask layer.

3 On the Layers palette, click the layer you want to mask.

4 Choose Layers > New Mask Layer > From Image to open the Add

Mask From Image dialog.

5 In the Source window drop-down list, select the image to use for

the mask.

6 In the Create mask from group box, select an option:

Source luminance The luminance value of the pixel color

determines the degree of masking. Lighter colors produce less

masking; darker colors produce more masking. Transparent areas

completely mask the layer.

Any non-zero value Transparent areas completely mask the layer.

There is no gradation to the masking. Pixels with data (opacity of

1-255) become white pixels in the mask; transparent pixels

become black in the mask.

Source opacity The opacity of the image determines the degree

of masking. Fully opaque pixels produce no masking; partially

transparent pixels create more masking; transparent pixels

produce full masking.

7 To reverse the transparency of the mask data, mark the Invert

mask data check box. Black pixels become white, white pixels

become black, and greys are assigned their mirror value.

8 Click OK.

The mask layer and the selected layer are added to a new layer

group. The mask layer applies to the selected layer only. To apply it

to all underlying layers, drag it from the layer group to the main

level.

Using an image as a mask

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394

For information on editing the mask, see “Editing Masks” on

page 397.

To view the mask on the image, on the Layers palette click the Mask

Overlay toggle .

Creating Masks from Selections

Use a raster selection to create a mask that shows or hides the

selection.

To create masks from selections on vector layers, use the Selection,

Freehand Selection, and Magic Wand tools. You cannot use the

Object Selection tool.

To create a mask from a selection:

1 Use the Selection, Freehand Selection, or Magic Wand tool to make

a selection on a raster or vector layer in the image.

2 Do either of the following:

To mask the selection, choose Layers > New Mask

Layer > Hide Selection.

To mask everything except the selection, choose Layers > New

Mask Layer > Show Selection.

The mask layer and the selected layer are added to a new layer

group. The mask layer applies to the selected layer only. To apply it

to all underlying layers, drag it from the layer group to the main

level.

For information on editing the mask, see “Editing Masks” on

page 397.

To view the mask on the image, on the Layers palette click the Mask

Overlay toggle .

Using a selection as a mask

Chapter 15: Working with Masks 395

Creating Masks from Channels

When you split an image into its RGB, HSL, or CMYK channels,

Paint Shop Pro creates a greyscale image for each channel. Use one

of these channel images to create a mask for the original image or

another image.

To create a mask from a channel:

1 Split the image into channels using one of the Image > Split

Channel commands, and leave the resulting greyscale images open

in the workspace. For more information, see “Working with Color

Channels” on page 259.

2 Select the image where you want to create the mask layer.

3 Choose Layers > New Mask Layer > From Image to open the Add

Mask From Image dialog.

4 In the Source window drop-down list, select which channel

image to use for the mask.

5 In the Create mask from group box, select the Source opacity

option.

6 To reverse the transparency of the mask data, mark the Invert

mask data check box.

7 Click OK.

The mask layer and the selected layer are added to a new layer

group. The mask layer applies to the selected layer only. To apply it

to all underlying layers, drag it from the layer group to the main

level.

For information on editing the mask, see “Editing Masks” on

page 397.

To view the mask on the image, on the Layers palette click the Mask

Overlay toggle .

Using the greyscale channel as

a mask

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396

Displaying the Mask Overlay

When you create a mask, the image window shows the effect of the

mask, but does not display the mask automatically. Use the Mask

Overlay toggle on the Layers palette to display the mask overlay.

By default, the overlay is a 50 percent opacity red color for

completely masked pixels and lower opacity red for partially masked

pixels. When you paint or modify the mask, this overlay shows what

is painted or changed. To change the color and opacity of the mask

overlay, see “Changing the Mask Overlay Color” on page 398.

When the mask overlay is displayed, the Mask Overlay toggle

displays . When the overlay is hidden, the Mask Overlay toggle

displays .

To display or hide the mask overlay:

Click the Mask Overlay toggle , or choose Layers > View Overlay.

Deleting Masks

Delete a mask entirely from an image, or merge the mask with the

underlying layer and then delete the mask layer. If you merge the

mask, you can no longer edit it independently.

A mask saved to an alpha channel is not deleted when you delete the

mask layer.

To delete a mask:

1 Delete the mask in either of these ways:

On the Layers palette, right-click the name of the mask layer

and choose Delete.

On the Layers palette, click the name of the mask layer, and

then choose Layers > Delete, or click the Delete button .

Paint Shop Pro displays a message asking if you want to merge

the mask with the underlying layer.

2 Do either of the following:

To merge the mask with the layer, click Yes. Paint Shop Pro

merges the layers and deletes the mask layer.

To remove the mask from the image without affecting the

underlying layer, click No. Paint Shop Pro deletes the mask

layer.

Masked image with and without

overlay

Hiding masks

To turn off the visibility of a mask,

but keep it in the image, click the

Visibility toggle on the Layers

palette.

Chapter 15: Working with Masks 397

Deleting Masks from Alpha Channels

If you saved selections to alpha channels that you no longer need,

you can delete them. Delete alpha channels from the current image

only.

To delete an alpha channel:

1 Choose Image > Delete Alpha Channel to open the Delete Alpha

Channel dialog.

2 Select the alpha channel that you want to delete, or mark the

Delete all alpha channels check box.

3 Click Delete.

Editing Masks

Edit a mask the same way you edit any greyscale raster layer. Select

a mask layer on the Layers palette, and then use the painting tools or

the effects commands to modify the mask. When you edit a mask,

you change either the areas or the degree of masking. For example,

painting over an object to mask it changes the area, while applying a

gradient fill edits the degree of masking.

Remember that a mask layer is a greyscale layer with 256 levels of

grey that correspond to levels of masking. When you select a mask

layer, the Materials palette displays the greyscale palette. Apply

black or white to mask or erase the mask at 100 percent. Apply greys

to vary the level of masking.

Edit the layer properties of a mask, such as the name, visibility, or

opacity, in the same way you do any type of layer. For more

information, see “Editing Layer Properties” on page 368.

To create a gradient or textured mask, invert the mask, or change the

overlay color, refer to the following sections.

How do I view the

alpha channels?

To see what masks and selections

are saved to alpha channels in an

image, choose Image > Delete

Alpha Channel. Click the Alpha

Channel drop-down list to list all

alpha channels in the current

image. When you finish, click

Cancel.

Ways to modify masks

Use the painting tools. See

Chapter 11, Raster Painting.

Paint with gradients, textures, or

patterns. See “Creating Gradient,

Pattern or Texture Masks” on

page 399.

Apply effects commands. See

Chapter 9, Applying Effects.

Create a shape in one image, then

use it as a mask in another image.

See “Loading Masks” on page 399.

Use the Move tool to move the

mask layer within the image

canvas.

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398

Changing the Mask Overlay Color

By default, the mask overlay displays red semi-transparent pixels to

show the mask on the image. Change the color or opacity for the

mask layer to make it easier to see on your image.

To change the mask overlay color and opacity:

1 Do one of the following to open the Layer Properties dialog:

On the Layers palette, double-click the mask layer button or

right-click the mask layer button and choose Properties.

Choose Layers > Properties.

2 Click the Overlay tab and change the following:

Overlay Color The default overlay color is pure red

(RGB 255, 0, 0). Click the color box and choose a new color.

Opacity The opacity of the overlay. The default is 50 percent.

3 Click OK.

Inverting Masks

To reverse the transparency of a mask, invert it. Black pixels become

white and white pixels become black. Greys become their mirror

value—the maximum value (255) minus the current value.

To invert a mask:

1 On the Layers palette, select the name of the mask layer.

2 Choose Layers > Invert Mask/Adjustment.

Displaying the Mask

Overlay

For more information on the mask

overlay, see “Creating Masks” on

page 391.

Chapter 15: Working with Masks 399

Creating Gradient, Pattern or Texture

Masks

Use a gradient, pattern, or texture mask to create interesting effects.

A gradient mask varies the opacity of an image from fully hidden to

fully shown. Use a gradient mask to fade an image in or out. A

pattern or texture mask varies the image opacity in a repeated pattern

throughout the image.

To create any of these masks, on the Materials palette select the

material (gradient, pattern, or texture) and then fill the mask layer

with it. When you choose a colored material, Paint Shop Pro

converts it to greyscale before applying it.

To create a gradient, pattern, or texture mask:

1 Create a new mask. See “Creating Masks” on page 391.

2 Click the Mask Overlay toggle on the Layers palette to display

the mask overlay.

3 On the Tools toolbar, click the Flood Fill tool .

Note: To fill all pixels in the mask, on the Tool Options palette

set the Match Mode to None.

On the Materials palette, select a gradient, texture, or pattern. See

“Choosing Gradients” on page 244, “Choosing Patterns” on

page 246, or “Choosing Textures” on page 247.

4 Left-click the mask to apply the foreground material; right-click

the mask to apply the background material.

Loading Masks

Once you have saved a mask to a hard disk or a removable disk, you

can load the mask into images without opening the original image.

Loading Masks from Disk

Load a mask file that you have saved or load one of the sample

masks that come with Paint Shop Pro. Mask files have a .PspMask

extension. Use the Layers > Load/Save Mask > From Disk command

to load mask files or load image files as masks.

Using a gradient mask

Using a pattern mask

Paint Shop Pro masks

The Masks folder of the Paint Shop

Pro program folder contains

sample masks, such as gradients

and several types of circles and

squares that frame images.

Chapter 15: Working with Masks

400

To load a mask from disk:

1 On the Layers palette, click the layer you want to mask.

2 Choose Layers > Load/Save Masks > Load Mask From Disk to

open the Load Mask From Disk dialog.

The Mask group box shows all masks in all directories listed in

your file locations for masks. To change the default directory,

click the Edit Paths button. For more information, see “Setting

File Format Associations” on page 79.

3 In the Mask group box, click the drop-down list to choose from

mask and image files.

The Preview group box displays the selected mask on the image

canvas.

4 In the Orientation group box, select from the following options:

Fit to canvas Adjusts the mask to fit the current image canvas

(stretching or contracting as needed).

Fit to layer Adjusts the mask to fit the current layer’s data

(stretching or contracting as needed). If the layer has not been

shifted beyond the edges of the canvas, this option is identical to

the Fit to Canvas option.

As is Places the mask starting in the top left corner of the current

layer; this option does not change the mask proportions. If the

mask image is smaller than the current layer, Paint Shop Pro by

default masks all pixels outside of the mask image boundaries.

5 In the Options group box, choose whether Paint Shop Pro shows

or hides pixels surrounding the loaded mask data (if there are

any). These options affect the mask only if the Orientation option

is As Is and the loaded mask is smaller than the current image

canvas.

Invert transparency To invert the transparency of the mask

image.

Hide all mask Makes surrounding pixels black to hide underlying

pixels.

Show all mask Makes surrounding pixels white to show

underlying pixels.

Use image value Makes surrounding pixels white or black

depending upon whether the original mask was a show all mask

or a hide all mask.

6 Click Load.

Chapter 15: Working with Masks 401

Paint Shop Pro adds the mask layer and the selected layer to a new

layer group. The mask layer applies to the selected layer only. To

apply it to all underlying layers, drag it from the layer group to the

top of the main level.

To view the mask on the image, on the Layers palette click the Mask

Overlay toggle .

Loading Masks from Alpha Channels

When you save a mask to an alpha channel within a .PspImage

image, you can load that mask from the alpha channel into the same

image or into any other image.

To load a mask from an alpha channel:

1 On the Layers palette, click the layer you want to mask.

2 Choose Layers > Load/Save Mask > Load Mask From Alpha

Channel to open the Load Mask from Alpha dialog.

3 In the Document drop-down list, select the image which contains

the alpha channel you want to load. (Choose from open images

with existing alpha channels only.)

4 In the drop-down list below the document name, choose the alpha

channel which contains the mask you want to load.

5 In the Orientation group box, select from the following options:

Fit to canvas, Fit to layer, or As is. For descriptions, see

page 400.

6 In the Options group box, select whether Paint Shop Pro hides or

shows pixels surrounding a loaded mask that is smaller than the

current image canvas. Choose a Hide all or Show all mask. To

invert the transparency of the mask image, mark the Invert

transparency check box. For detailed descriptions, see page 400.

7 Click Load.

Paint Shop Pro adds the mask layer and the selected layer to a new

layer group. The mask layer applies to the selected layer only. To

apply it to all underlying layers, drag it from the layer group to the

main level.

To view the mask on the image, on the Layers palette click the Mask

Overlay toggle .

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402

Saving Masks

Paint Shop Pro automatically saves mask layers in the .PspImage

format. When you want to share a mask with others, or use a mask in

another image, save the mask to your hard drive or to an alpha

channel.

Saving Masks to Disk

When you save a mask to a hard disk or a removable disk,

Paint Shop Pro saves the mask as a separate file with a .PspMask

extension. You can then load this mask into other images without

opening the original image.

To save a mask to disk:

1 On the Layers palette, click the name of the mask layer.

2 Choose Layers > Load/Save Mask > Save Mask to Disk to open

the Save Mask To Disk dialog.

The Mask files group box displays the current masks in the

default Masks directory. The New mask group box displays the

current mask.

3 To change the folder where the mask file is saved, click the Edit

Paths button. By default, mask files are stored in the Masks

folder of the Paint Shop Pro program folder. For more

information, see “Setting File Format Associations” on page 79.

4 In the File name edit box, type a name for the mask file.

5 Click Save.

Saving Masks to Alpha Channels

Save a mask to an alpha channel within the current image or within

another image. An alpha channel is a data storage area in an image

which stores masks and selections. Alpha channels are like secret

compartments within a suitcase—use them to store things you may

need later. Masks and selections stored in alpha channels have no

effect on the look of an image. To use the stored masks or selections,

load them into the same image or another image.

Chapter 15: Working with Masks 403

When you save the image to a file format other than .PspImage

format, the alpha channels are not saved. Always keep a master copy

of your image in .PspImage format.

To save a mask to an alpha channel:

1 On the Layers palette, click the name of the mask layer.

2 Choose Layers > Load/Save Mask > Save Mask To Alpha Channel

to open the Save Mask to Alpha dialog.

The Add to document drop-down list displays all open

documents and below it are the alpha channels in the image (if

any).

3 To save a mask to an image’s alpha channel, select the image

name in the Add to document drop-down list. The image must be

open in Paint Shop Pro.

4 To edit the default name for the new alpha channel, type a new

name in the Name field.

5 Click Save.

Selections in alpha

channels

For information on saving or

loading selections in alpha

channels, see “Saving Selections

to Alpha Channels” on page 215.

Chapter 15: Working with Masks

404

405

Working with Text

The Text tool lets you place vector text objects (although you can

choose to create text on raster layers) on your image and set a variety

of options, including text direction. Afterward you can apply any of

Paint Shop Pro’s effects making text in your images stand out.

Contents Creating Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Formatting Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Editing Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Moving Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Applying Effects to Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Converting Text to Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Creating Text on Object Paths . . . . . . . . . . . . . . . . . . . . . . . . . 414

Creating Text with Image Patterns . . . . . . . . . . . . . . . . . . . . . . 418

Scaling and Transforming Text. . . . . . . . . . . . . . . . . . . . . . . . . 418

CHAPTER 16

Chapter 16: Working with Text

406

Creating Text

Use the Text tool to create text on an image. Choose text colors on

the Materials palette and text options on the Tool Options palette,

then click in the image and enter text in the Text Entry dialog.

Be aware that if you have vector objects in your image (objects

created with the Pen, Ellipse, Rectangle, Symmetric Shape, or Preset

Shape tools), the behavior of the Text tool will be as follows:

To place text on the image (text not fit to a vector path), do not

click near a path.

To place text on a vector object or path without attaching to the

object or path, hold down the Alt key and click.

To place text on a vector object or path, place the Text tool cursor

on top of the object or path (the cursor shape will change to )

and click. See Creating Text on Object Paths for more

information.

To create text:

1 On the Tools toolbar, choose the Text tool .

2 On the Materials palette, make the desired Foreground/Stroke

property and Background/Fill property settings. The foreground

setting determines the text outline, while the background setting

determines the text fill (the area within characters).

For standard text with no outline, set the Stroke width on the

Tool Options palette to 0, or click the Foreground/Stroke

property's Transparent button.

For hollow text, click the Background/Fill property's

Transparent button.

3 On the Tool Options palette's Create as drop-list, choose the type

of text:

Vector creates vector text that resides on a vector layer. This is

the most editable form of text.

Selection creates a selection marquee in the shape of the text

characters. You can treat the selection as you would any made

from the Selection tools in that it can be moved, copied, filled,

etc. This form of text is not vector-based.

Floating creates raster text that is a floating selection. Ideally you

should place this type of text on it's own raster layer, otherwise it

is merged with the current layer and would be difficult to edit.

Text in images

Chapter 16: Working with Text 407

4 Choose a text direction in the Direction drop-list:

Horizontal and Down : this creates "normal" text where

subsequent lines are placed below the top text line.

Vertical and Left : this places each character vertically, but

subsequent lines are placed to the left of the top line.

Vertical and Right : this places each character vertically, but

subsequent lines are placed to the right of the top line.

5 Choose the basic text formatting options, including Font, Size,

Stroke width (if you're using a Foreground/Stroke in the

Materials palette), Font style, and Alignment. See “Formatting

Text” on page 410.

6 Choose an Anti-alias option from the Anti-alias drop list:

Off applies no anti-aliasing.

Sharp applies a slight edge enhancement to the text.

Smooth applies a slight filtering effect similar to removing a

moire pattern.

7 Optionally, you can choose a Line Style (affects only the stroke)

as well as Join and Miter settings. Normal text uses the default

line style labeled +Solid in the Line Style drop list.

8 The Warp check box affects text fit to a path. When marked, the

text will "warp" around the curves of the path (if the path is not

curved, you won't see the effect). Also, be aware that warping is

set on a per-character basis, so part of a text block can be warped

and part will appear unwarped. When this option is not marked,

the text fits on the path in a more straight manner.

9 When creating text fit to a path, the Offset setting allows you to

define the distance between the text and the path it is fit to. This

setting will have no effect for text not fit to a path.

Text direction examples

What’s the real text size?

For the Size setting, the only way

to guarantee true WYSIWYG text

is if your image resolution is equal

to your printing resolution.

Note: Use negative

Offset values to

place text below the

path.

Chapter 16: Working with Text

408

10 The last Text tool options include:

Leading: Sets the vertical space between text lines.

Kerning: Sets the horizontal space between characters. Kerning

values are expressed as 1.000 being equal to one EM.

Auto kern check box: Mark this option to factor in the font's

built-in kerning values.

Tracking: Lets you set an equal amount of space across selected

characters.

11 Once all your Tool Options are ready, click in the image where

you want to place the text. The Text Entry dialog opens. Note the

following points regarding where you click to place the text:

To place text on the image (text not fit to a vector path), do not

click near a path.

To place text on a vector object or path without attaching to

the object or path, hold down the Alt key and click.

To place text on a vector object or path, place the Text tool

cursor on top of the object or path (the cursor shape will

change to ) and click.

12 Type the text. As you type in the dialog, the text displays on the

image. To add a line break, press Enter.

13 To change any of the text formatting options, in the Text Entry

dialog, highlight the words or characters that you want to change,

and then make changes on the Tool Options palette. For more

information about editing, see “Applying Effects to Text” on

page 413.

14 Mark the Remember Text check box to display the entered text

the next time you open the Text Entry dialog.

15 Click Apply. The text displays on the image. If you've added

vector text, note also that this will be reflected in the Layers

palette.

A Note About the Text Size Setting

The Text tool's Size setting in the Tool Options palette is expressed

in points where the calculation is relative to the pixel per inch

resolution of your monitor. Most monitors today are designed to be

96 pixels to the inch. Points are a unit of measurement where 72.27

points are equal to one inch. However, the computer world has

changed the measurement to 72 points per inch. Thus a 24-point font

is roughly equivalent to 1/3 of an inch.

Chapter 16: Working with Text 409

Be aware that this is relative to the number of pixels per inch. The

calculation to go from size to display fontsize is :

fontsize = (Size x Monitor-pixels-per-inch) / 72

Using the above example of Size set to 24-point:

fontsize = (24 x 96) / 72 = 2304 / 72 = 32

since 32 / 96 = 1/3 then relative to the monitor specifications, the

fontsize is 1/3 of an inch.

But since our images also carry a resolution, (for example 200 pixels

per inch) and printers may have yet a different (usually higher)

resolution, a typical printer resolution is 300 dpi or 600 dpi or

greater.

In order for a 1/3 inch size font on a 300 dpi image, then the value

should be 100. Which means to correctly calculate the appropriate

size for points, the above algorithm should replace monitor pixels

per inch with image pixels per inch or image resolution.

For example, if your image dimensions were one inch wide by one

inch high, and the image resolution were 100 dpi, printing this image

on a 300 x 300 dpi printer will produce an image roughly one-third

of an inch square.

About Vector, Floating, and Selection

Text

The Text tool creates vector text, a text selection, or floating (raster)

text. Choose an option from the Create As drop-down list:

Vector Creates vector text, which is the only type of text you can edit

by changing the words, font type, style, and alignment. Use this

setting in most cases. When you want to apply raster-only tools

(such as the Paint Brush) or commands (such as applying a

3D effect), merge the vector layer to a raster layer.

If you create vector text while a raster layer is active, Paint Shop Pro

adds a new vector layer with the text.

Selection Creates a selection marquee in the shape of text, rather

than creating text as a painted object. Move, copy, fill, or otherwise

edit it just like any other selection. For example, use the Paint Brush

to paint the selection with a texture. You can also use a text selection

to create special effects. Delete the text selection to create words that

are cut out of the image. Or, create a text selection on a photographic

image, and then copy and paste the selection to a new image; the

result is text filled with the image.

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Floating (Raster) Creates raster text that is a floating selection. You

cannot exit raster text, so use this type when you know that the

words and formatting will not change. Use raster text when you want

to apply raster-only tools (such as the Paint Brush) or commands

(such as applying a 3D effect).

It’s best to create raster text on a new raster layer. That way, you can

easily select the text and make changes such as stretching it with the

Deform tool.

When Paint Shop Pro defloats the raster text selection (such as when

you click another tool), the raster text is merged with the underlying

raster layer. If a vector layer is active, Paint Shop Pro creates a new

raster layer.

Formatting Text

When you enter or edit text with the Text tool, select from the

following formatting options on the Tool Options palette:

Font A set of characters (letters, numbers, and symbols) that share a

common look. Click the Font drop-down list to see the font family

name (such as Arial or Times New Roman) displayed in the font

itself.

Size The point size of the text. How small or large a font looks in the

image depends upon the image’s resolution. 72-point text is

approximately 1 inch high in a 72-dpi image, but will be smaller in

images with higher resolution. For more information on text size,

refer to the section A Note About the Text Size Setting found earlier

in this chapter.

Stroke Width The text outline pixel width. Choose 0 pixels to have

no outline.

Anti-alias Anti-aliasing smooths the jagged edges of text by

softening the color transition between edge pixels and background

pixels. Anti-aliasing greatly increases the number of colors in the

image. This makes it challenging to reduce the number of colors and

thus reduce file size. Anti-aliasing may cause stray colors to appear

along the edges of text.

Alignment How text is aligned in relation to the initial cursor

position—where you clicked in the image to insert the text.

 Aligns the left edge of each text line to the initial cursor

position.

Text with several formatting

options

Chapter 16: Working with Text 411

 Aligns the center of each text line to the initial cursor

position.

 Aligns the right edge of each text line to the initial cursor

position.

Type Style The style of text; choose bold, italic, or both.

Underline or Strikethrough Click to underline text. Click to

place a horizontal line through text.

Line Options Define the look of the text outline (stroke). Options

include Line Style (such as solid or dashed), Join, and Miter Limit.

For details, see “Drawing Objects” on page 320. For information on

Custom line styles, see “Creating Custom Line Styles” on page 334.

Offset Sets the distance between the text and the path it is fit to. This

setting will have no effect for text not fit to a path

Leading: Sets the vertical space between text lines.

Kerning: Sets the horizontal space between characters. Kerning

values are expressed as 1.000 being equal to one EM.

Auto kern check box: Mark this option to factor in the font's built-in

kerning values.

Tracking: Lets you set an equal amount of space across selected

characters.

Editing Text

Use the Text tool to edit vector text. You can edit the characters and

their appearance.

Note: You cannot edit the characters or formatting of raster

text. To modify Raster text, use the Deform tool.

To edit vector text:

1 To open the Text Entry dialog, do one of the following:

On the Tools toolbar, click the Text tool, position the cursor

over the text in the image until the cursor turns to , then

click; or

Right-click the text and select Edit Text; or

On the Layers palette, double-click the text object; or

On the Layers palette, right-click on the text object and select

Edit Text from the context menu.

Chapter 16: Working with Text

412

The Text Entry dialog opens with the text highlighted.

In this dialog, you can only change highlighted text. If no text is

highlighted when you choose options, the options affect new text

you type at the cursor position.

2 Edit the text in any of these ways:

To format all text, keep it all highlighted and choose options

on the Tool Options palette or choose new colors or materials

on the Materials palette.

To format one or more characters, click and drag to highlight

the text you want to change, and choose options on the Tool

Options or Materials palette.

To add new text, click where you want to insert it and begin

typing.

To delete text, highlight the text and press Delete.

Moving Text

To move or position vector text on a layer, use the Object Selection

tool. To move raster text, use a selection tool like the Magic Wand

tool to select and move it.

To move vector text:

1 On the Tools toolbar, click the Object Selection tool .

2 Select the text you want to move. A bounding box surrounds the

text.

3 Move the cursor inside the bounding box, the cursor changes

to .

4 Click and drag the text anywhere within the image.

To move raster text:

1 On the Tools toolbar, select one of the Selection tools. For details,

see “Using the Selection Tools” on page 192.

2 Select the text you want to move.

3 Move the cursor inside the selection marquee, the cursor changes

to .

4 Click and drag the text anywhere within the image.

How to move text to

another layer

To move text to another layer,

select the text, then cut and paste

it to another layer.

Chapter 16: Working with Text 413

Applying Effects to Text

Apply any of Paint Shop Pro’s effects to raster text to create an

endless variety of looks. Apply a drop shadow or a beveled edge,

turn text into brush strokes or colored chalk. For vector text, convert

it into a raster selection, and then apply effects.

Converting Text to Curves

To edit vector text as a vector object, convert it to curves. You can

then move or add nodes, change the angles of line segments, and

perform other edits using the Pen tool's Edit mode. Use this feature

to create interesting text.

Convert each letter into its own object, or convert the entire text into

one object with each letter as a separate contour within the object

path.

After you convert text to curves, it is no longer text—so you cannot

change the characters, their font or leading, or do any other text

edits.

To convert text to curves:

1 Use the Object Selection tool to select the text.

2 Do one of the following:

To convert the entire text object into one vector object, choose

Objects > Convert Text to Curves > As Single Shape. This

produces one path containing a contour for each letter.

Text with buttonize effect and

drop shadow effect

Type of Text How to Apply Effects

Raster Create the raster text on a transparent layer, separate

from other raster data in the image. Select the text on

the layer using the Magic Wand tool, and then apply

any of the commands on the Effects menu.

Vector Use the Object Selection tool to select the text.

Choose Selections > From Vector Object to create a

raster selection of the text, then choose Paste > As

New Layer. Follow the steps above for raster text.

Turn off the visibility of the vector text, but keep the

vector text in case you want to edit it.

Regular text, and text converted

to curves and modified with the

Pen tool

Chapter 16: Working with Text

414

To convert each letter into a separate vector object with its

own path, choose Objects > Convert Text to Curves > As

Character Shapes. To edit the nodes of the text, you must

select the letters individually.

3 To edit the nodes, choose the Pen tool and then choose Edit mode

in the Tool Options palette.

Creating Text on Object Paths

You can easily create text that fits any vector object. Every vector

object in Paint Shop Pro has a path (or outline) that defines its shape.

Fitting text to these paths can create fun and interesting effects.

Note: You cannot create deformed text on a path, Paint Shop

Pro will remove the deformation when placing the text on the

path.

There are two ways to create text on a path:

Create the path (a line or shape) first, and then create new text on

the path.

Create the path and the text as separate objects, and then fit the

text to the path.

To create new text on a path:

1 Use the vector drawing tools to create a vector shape.

2 Click the Text tool.

3 In the Tool Options palette's Create as drop-list, choose Vector

4 Select other options (font, size, alignment, offset, and so on) as

desired. Use the Materials palette to set the text's Background/

Fill property as well as its Foreground/Stroke property.

5 Move the cursor over the line or shape until the cursor changes to

, and then click. The Text Entry dialog displays.

Put some distance between

text and path

To change the distance between

the text and the object path,

change the Offset value in the Tool

Options palette.

Chapter 16: Working with Text 415

Note: To place text on a vector object or path without attaching

to the object or path, hold down the Alt key and click.

6 Enter the text and click OK. The text displays along the path of

the shape

Fitting Existing Text to a Path

To attach a previously unattached text object to a previously

unattached path object:

1 Choose the Object Selection tool .

2 Select the text.

3 Hold down Shift and click the vector object to select it also.

4 Choose Objects > Fit Text to Path. The text aligns along the

object.

Detaching Text from its Path

To detach text from its associated vector object:

1 Choose the Object Selection tool .

2 Select the text or the vector object.

3 Choose Objects > Detach Object from Path.

Moving Text Along Its Path

To move text along the path it is attached to:

1 Choose the Object Selection tool .

2 Select the attached text.

3 Place the cursor over any part of the text (or over the selected

text's bounding box Centerpoint icon) so that the cursor shape

changes to this:

4 Drag the mouse to move the text. Note that as you drag you'll see

a small circular icon move in tandem with the text. This icon will

indicate the starting point of the text once you release the mouse

button.

Make the object disappear

After you align text to a vector

object, you can make the object

invisible. On the Layers palette,

click the Visibility toggle of the

object.

Chapter 16: Working with Text

416

5 Release the mouse button to place the text at the desired position.

Chapter 16: Working with Text 417

Aligning and Spacing Text on Object

Paths

When you create text along a path, the text placement depends upon

features of the text and the path.

Aligning Text on a path

Text is aligned based on

the insertion point Feature How it affects text on a path

Text alignment

(left, center, or

right).

For new text on a path:

Paint Shop Pro aligns the text using the position

where you clicked to insert the text. Left-aligned text

begins at that position. Center-aligned text is centered

on that position. Right-aligned text ends at that

position.

For existing text fit to a path:

Paint Shop Pro aligns the text using the start and end

nodes of the path. Left-aligned text begins at the start

node. Center-aligned text is placed midway between

the start and end nodes. Right-aligned text ends at the

end node.

Direction of path The text goes in the direction from the start node to

the end node. The direction determines whether the

text aligns right-side-up above the path or upside-

down below the path.

Reverse the path to change the direction. See

“Reversing the Direction of Contours or Paths” on

page 339.

Spacing between

text and path

The Offset value of the text determines the spacing

between the text and the path. Use positive values to

position the text above the path and negative values to

position the text below the path.

Open or closed

path

On open paths, text that is longer than the path hangs

from the end. The angle of the last line segment

determines the direction it hangs.

On closed paths, text that is longer than the path wraps

around itself.

Chapter 16: Working with Text

418

Creating Text with Image Patterns

There are several ways to create text that is filled with an image:

Scaling and Transforming Text

To scale (resize) and transform text:

For vector text, use the Object Selection tool to scale, rotate,

shear, distort, or apply perspective to text. For more information,

see “Resizing and Reshaping Vector Objects” on page 347.

For raster text, use the Deform tool to scale, rotate, shear, distort,

or apply perspective to a raster selection or a layer. For more

information, see “Scaling and Transforming Images” on

page 171.

Text filled with a pattern

Effect How to do it

Fill text with a

repeated image

Open the image you want to use to fill the text, click

the Background Material box on the Materials

palette, click the Pattern tab, and select the image

from the drop-down list. Use this background

material to create new vector or raster text, or to edit

existing vector text.

For existing raster text, paint or fill the text with the

background material.

Fill text with one

image

Open a copy of the image. Create new text as a

selection on the image (on the Text tool’s Tool

Options palette, in the Create As drop-down list

choose Selection). Then copy the selection to a new

image.

419

Automating Tasks

Automating a lengthy task or set of tasks is one of the many exciting

benefits of Paint Shop Pro. This chapter describes important time-

saving features:

Automated Productivity Scripts let you automate an action or set

of actions that you apply to images.

Binding scripts to icons that can be placed in toolbars or menus

for more convenient access.

Presets allow you to save dialog or tool settings for later use.

The Batch Process feature lets you, among other things, convert

multiple files from one file format to another.

The Batch Rename feature lets you rename multiple files at once.

Contents Using and Creating Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Processing Multiple Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Renaming Multiple Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Scripting Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Running a Saved Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Stopping or Undoing a Script . . . . . . . . . . . . . . . . . . . . . . . . . . 427

About Restricted Script Mode. . . . . . . . . . . . . . . . . . . . . . . . . . 428

Recording and Saving a Script . . . . . . . . . . . . . . . . . . . . . . . . . 429

Editing Scripts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Binding Scripts to Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

CHAPTER 17

Chapter 17: Automating Tasks

420

Using and Creating Presets

Presets are essentially scripts that define the behavior, properties, or

settings of a dialog or tool. Many dialogs and tools come with

predefined, ready to use Presets. You can also design and save your

own Presets.

When you find yourself frequently using particular settings for a

dialog or tool, saving these settings as a Preset saves you the time

needed to define each dialog or tool setting each time you use it.

Simply save the settings and they'll appear in the Presets drop-list for

that tool or dialog

Examples of Presets

Shown below are two examples of Presets, one from the Crop tool,

and one from the New Image dialog.

Chapter 17: Automating Tasks 421

Most Paint Shop Pro dialogs and the Tool Options palette have the

following default presets:

Last Applied These are the settings last used in this dialog. Each

time the dialog opens, Paint Shop Pro displays the Last Used

preset settings.

Default These are the default program settings for this dialog or

tool. The default settings can provide a good starting point for

your work.

To choose a preset:

In the Presets drop-list, select the desired Preset from the list.

To reset values to default settings:

In the Presets drop-list, click the Reset to default button . To

reset a dialog to the settings that displayed when you opened the

dialog, hold down Shift and then click the Reset to default button.

To save settings as a preset:

1 Modify the dialog or tool settings.

2 Click the Save preset button . to open the Save Preset dialog.

3 Type a name for the Preset.

Note: You cannot use the names “Default” or “Last Applied”.

4 To enter additional Preset information, click the Options button,

and then enter information in the Author, Copyright, and

Description fields.

The Preset includes group box shows the data saved with this

Preset. To omit any of these items from the Preset, click the Save

button associated with the item (a red X will appear over it).

5 Click OK.

To delete a preset:

1 In the Presets drop-list, click the Resource Manager button .

2 In the Resource Manager dialog, select the preset you want to

delete.

3 Click Delete, and when prompted to confirm deletion, click Yes.

How do I edit a preset?

To edit a Preset, select it, modify

the dialog or tool settings, click the

Save Preset button, and type the

same preset name. When you are

prompted to replace the current

Preset, choose Yes.

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Processing Multiple Files

To process multiple files use the Batch Process feature. Depending

on your settings in the Batch Process dialog, Paint Shop Pro can

make copies of original files, convert and then save the copies in the

output folder you select.

To use the Batch Process feature:

1 Open the Batch Process dialog by choosing

File > Batch > Process.

2 Navigate to the folder containing the source (original) files.

3 In the Save Mode group box, choose one of the following

options:

New Type This is the most basic option, requiring only that a new

output type be set in the Type field of the Save Options group

box. You can also choose to run a script with this Save Mode.

This option will: a) read in the file, b) run the script (if defined)

against the file, c) save the file to its new location and/or name,

and d) convert it to the new file format.

Copy This option requires that a script is defined in the Script

group box. This option will: a) read in the file, b) run the script

against the file, and c) save the file to a new location and/or

name. With this option selected, the Type field and Options

button of the Save Options group box will be disabled.

Overwrite This option requires that a script is defined in the

Script group box. This option will: a) read in the file, b) run the

script against the file, and c) save the file to its original location

(the original file is overwritten). With this option selected, all

Save Options group box settings are inactive.

Obey Script This option requires that a script is defined in the

Script group box. This option will: a) read in the file, and b) run

the script against the file. With this option selected, all Save

Options group box settings are inactive.

Note: Since no save is performed, you should only use this

option when you know the script performs a save. If not, this

option will not have any effect.

4 In the Save Options group box, set the following (the Save Mode

settings affects what is available in this group box):

Chapter 17: Automating Tasks 423

Click the Type drop-list to select a new file format. If a format

has save options, the Options button is accessible. Click it to

open the Save Options dialog. Select the format options and

click OK to return to the Batch Process dialog.

Designate another output (destination) folder for the new files

by typing a path in the Folder field, or by clicking the Browse

button next to this field and navigating to another folder.

Unless you specify another output folder, Paint Shop Pro

saves the converted files in the same folder as the source files.

You also have the option of renaming the converted files. To

do so, click Modify to open the Modify Filename Format

dialog. The Rename Options list displays the choices for

renaming your files. Select an option and click Add to move it

into the Included list. Choose from the following options:

Custom Text When you choose this option, the program

displays a Custom text field below the Included list. Type

the text you want inserted into the filename.

Date The current date is added to the name.

Document Name Includes the original name in the new

name, but also allows for case changes (upper, lower).

Sequence The position of a file in the renaming process is

added to each file.

Time The current time is added to the name.

A preview of the new file naming scheme appears at the bottom

of the dialog. Click OK to go back to the Batch Process dialog.

5 To stop the conversion process if Paint Shop Pro encounters an

error, mark the Stop on error check box. If you do not mark it,

the program processes all the images without stopping. The error

messages appear in a Batch Conversion Status dialog.

Note: If you are overwriting files during processing, particularly

many files, you may want to leave this box unchecked to avoid

having to confirm the overwriting of each file.

6 Use the Script group box to run a script on all the files before

converting them. In the text entry box, enter the path for the

script, or click Browse and then navigate to where the script

resides. Mark the Run script in silent mode check box to ensure

the script runs in this mode.

7 If you have already selected files to process, click Start. If you

have not already selected the files to process, do one of the

following:

Chapter 17: Automating Tasks

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To process specific files, press Shift while selecting

contiguous files or Ctrl while selecting non-contiguous files,

and then click Start.

To process all files displayed, click Select All.

The Batch Progress dialog opens, and the batch conversion starts.

The Current Step pane displays each filename and whether it is

converted, while the Job Progress bar indicates the conversion

progress. To stop the conversion, click Abort.

During the conversion, Paint Shop Pro might open other dialogs

requesting more information if you have selected Meta, PostScript,

Photo-CD, or RAW files.

8 After the files have been converted, either click OK to close the

dialog, or click Save Log to save the progress messages to a text

file. Clicking Save Log opens the Save As dialog. Type a name

for the file and click Save. Paint Shop Pro saves the information

with a .log file extension.

Renaming Multiple Files

To use the Batch Rename feature:

1 Open the Batch Rename dialog by choosing

File > Batch > Rename.

2 Navigate to the folder containing the source (original) files.

If necessary, use the Files of type field to display particular file

formats. Choose All Files to display the folder’s entire contents.

3 To define a new name for the files, click Modify to open the

Modify Filename Format dialog. The Rename Options list

displays the choices for renaming your files. Select an option and

click Add to move it into the Included list. Choose from the

following options:

Custom Text When you choose this option, the program

displays a Custom text field below the Included list. Type the

name you want applied to the converted files.

Date The current date is added to the name.

Document Name Includes the original name in the new name,

but also allows for case changes (upper, lower).

Sequence The position of a file in the renaming process is

added to each file.

Chapter 17: Automating Tasks 425

Time The current time is added to the name.

A preview of the new file naming scheme appears at the bottom

of the dialog. Click OK to go back to the Batch Rename dialog.

4 To stop the rename process if Paint Shop Pro encounters an error,

mark the Stop on error check box. If you do not mark it, the

program processes all the images without stopping.

5 If you have already selected files to rename, click Start. If you

have not already selected the files to rename, do one of the

following:

To rename specific files, press Shift while selecting

contiguous files or Ctrl while selecting non-contiguous files,

and then click Start.

To rename all files displayed, click Select All.

Scripting Basics

One of the more powerful features in Paint Shop Pro is Scripting.

Paint Shop Pro has a full-featured scripting engine based on the

Python programming language (see http://www.python.org/ for more

information on this language). Although you can write your own

scripts using Python syntax, Paint Shop Pro’s built-in script recorder

can do this work for you, allowing you to script almost any action

within the application.

If, however, you choose to write a script in the Python language,

note that Python uses indentation to determine scoping, thus you

must be very careful about mixing spaces and tabs. We recommend

that you use a Python-aware editor such as PythonWin or Idle if you

choose to write your own scripts.

Displaying the Script Toolbar

You will find it much easier and faster working with scripts via the

Script toolbar. If it is not already displayed, choose

View > Toolbars > Script. The Script toolbar looks like this:

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426

About the Script Toolbar Buttons

Note

Most of the Script toolbar buttons have equivalent menu commands

accessed by choosing File > Script.

The items in the Script toolbar are:

Select Script By default, this drop-list shows

the scripts saved in Paint Shop Pro 9’s Scripts-Trusted and

Scripts-Restricted folders. Using the File Locations dialog, you

can add any folder to the list of folders that this drop-list displays

scripts from.

Run Selected Script Click this button to run the script

displayed in the Select Script drop-list.

Edit Selected Script Click this button to edit the script

displayed in the Select Script drop-list.

Interactive Script Playback Toggle Click this button to switch

between Silent and Interactive mode when running scripts. When

the button shows a border, it is set to Interactive mode.

Run Script Click this button to display the Run Script dialog.

Navigate (if necessary) to and select the script you wish to load,

and then click Open.

Stop Script Click this button to stop the running script.

Note: This button will only be active while the script is

running.

Start Script Recording Click this button to begin recording

actions that will comprise a script.

Pause Script Recording Click this button to pause the

recording of a script. Click this button again to resume recording.

Cancel Script Recording Click this button to cancel script

recording.

Save Script Recording Click this button to save the actions

you have recorded.

Note: This button is only active if you have completed a

“scriptable” action.

Chapter 17: Automating Tasks 427

About the Script Output Palette

To display this palette, choose View > Palettes > Script Output. This

palette may automatically appear to display information such as

script error information, including details on Python syntax errors or

runtime errors.

To clear the Script Output palette:

Choose File > Script > Clear Output Window or right-click the

window and choose Clear from the context menu.

Running a Saved Script

To run a script listed in the Select Script drop-list:

1 Select the script that you want to run from the drop-list.

2 Click Run Selected Script .

To run a script not listed in the Select Script drop-list:

1 Click Run Script to display the Run Script dialog.

2 Navigate to the folder containing the script that you want to run.

3 Select the script and click Open to execute the script.

Stopping or Undoing a Script

To stop a running script:

Click Stop Script .

Note: The Stop Script button is only active while the script is

running. Depending on the script, this may only be a few

seconds.

To undo an applied script:

Like any other action applied to an image, you can always undo an

applied script by clicking Undo on the Standard toolbar. You can

also undo actions via the History palette.

Script Output tip

Text in the Script Output window

can be selected and copied to the

clipboard. This can be helpful if

you need to report error

information.

To run a script on all open

images:

Using one of the methods on the

right, run the script on the first

image. Make another image active,

and then press Ctrl + Y. Repeat

this for each open image. You

could also drag the script action

from the History palette and drop it

onto another open image.

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About Restricted Script Mode

The scripts in Paint Shop Pro 9 are created in the Python

programming language, which can unfortunately be used to create

and execute malicious scripts. Because of this potential danger, Paint

Shop Pro includes two explicit directory sets:

Scripts - Restricted Scripts residing here are restricted, as are any

scripts not in the Trusted folder (see Restriction information

below).

Scripts - Trusted Scripts residing here are trusted.

What is Restricted?

Some general notes about Restricted scripts:

When the application searches for scripts, Restricted scripts are

searched before Trusted scripts. In the Script toolbar’s Select

Script drop-list, the two sets of scripts are intermingled and listed

alphabetically.

When saving a script, the path defaults to the Restricted directory

for the first time this is done with the application. After that, it

defaults to the most recently used directory.

If a script is run from an unconfigured path, it is treated as

Restricted.

If a path appears in both the Restricted and Trusted lists, it is

treated as Restricted.

Presets, Material palette Swatches, and Print Layout Templates

(which are essentially scripts) are treated as Restricted.

Additionally, the following commands are not allowed when run

from a Restricted script:

File: Save, Save As, Save Copy As, Close, Close All, Send, Exit

File > Export: GIF Optimizer, PNG Optimizer, JPEG Optimizer,

Image Mapper, Image Slicer

File > Preferences: File Locations

File > Batch: Process, Rename

Chapter 17: Automating Tasks 429

Toggling Interactive Script Playback

Mode

When you have scripted actions that involve dialogs, you can choose

to run the script so the dialogs will not appear (this is Silent mode)

for user interaction, or the dialogs will appear (this is Interactive

mode) for user interaction. To toggle between Interactive and Silent

script playback mode, simply click the Interactive Script Playback

Toggle button on the Script toolbar. When the button has a

border around it, it is in Interactive mode.

Note: If you’ve edited the script and set part or all of it to run in

either Silent or Interactive mode, this button will not override

that setting. If all or part of a script is set to Default mode, the

state of this button will override the Default setting.

Recording and Saving a Script

Before you begin recording a script, be aware of these general rules

as to which actions can be recorded within Paint Shop Pro 9:

You cannot script user interface customizations, CMYK profile

creation/editing, operations inside the Browser, operations inside

of Print Layout, gradient creation, or the floating/docking/

arranging of toolbars, palettes and windows.

Materials palette and Mixer palette operations as well as Tool

Palette selections can be scripted but are not recorded — these

actions need to be written via a text editor application. Plug-ins

are scriptable, but plug-ins that do not support scripting cannot

be scripted.

Outside of the above restrictions, most actions you perform in

Paint Shop Pro are scriptable.

To record and save a script:

1 Make a note of or write down the specific actions you wish to

record. Ideally, your actions should be as efficient as possible.

2 To begin recording, click Start Script Recording .

3 Perform the actions that comprise the script.

4 Click Save Script Recording . In the Save As dialog, do the

following:

Scripting rules of thumb:

The longer a task takes to

complete, the more desirable it is

to have a script for it. However, if a

task only takes two or three mouse

clicks to complete, creating and

running a script for those few

actions may not save you any time.

Chapter 17: Automating Tasks

430

If you chose to undo any actions while recording the script,

you can choose to retain (by not marking) or remove (by

marking) undone commands via the Remove Undone

Commands check box located toward the bottom of the Save

As dialog.

Mark the Save Materials check box if you wish to save the

Materials palette settings used by the scripted actions. If you

do not mark this option, affected commands will use the

current Materials palette settings.

Mark the Save Dialog Positions check box to display

interactive dialogs in their position during recording.

Optionally, you can click the Description button to enter

Author, Copyright, and Description information. The

information you enter will be seen if you chose to edit the

script.

5 Navigate (if necessary) to where the script will reside, enter a

name for the script, and then click Save.

Editing Scripts

Scripts can be edited via the Paint Shop Pro user interface, or by

editing the script’s Python code with a text editor application.

Editing Scripts Using Paint Shop Pro

To edit the currently selected script:

1 Click the Edit Selected Script button . The Script Editor dialog

will appear, listing the actions that comprise the script, as well as

some basic information. Shown below is a portion of the dialog.

Note: If the script you wish to edit is not in the Select Script

drop-list, choose File > Script > Edit to display the Open dialog.

Navigate to where the script resides. When you open the script,

its information will appear in the Script Editor dialog.

Mark to use

command Select a Mode for

the command actions Click the command or feature

to modify its settings

Chapter 17: Automating Tasks 431

Note: If the Script Editor cannot open the script (e.g. the format

is unreadable, or perhaps the script was created or edited

manually in a text editor), the script will open in the default text

editor application set in the File Locations dialog. Refer to the

section “Editing Via a Text Editor” below.

2 In the Scripts Commands section, you can do the following:

Mark the check box to use that portion of the script.

Use the Mode drop-list to set a mode for the script’s actions:

Silent Skip all dialogs. The command in the script is executed

without providing the user dialog interaction.

Interactive Allows for user interaction with dialogs and other

settings.

Default Executes the command based on what the execution

environment has set for its preference.

To display and/or modify a command’s settings, select the

command and then click Edit, or double-click the command.

Be aware that command names show in italics with the words

“NOT editable” cannot be selected for editing.

Note: There are a small number of commands that can only be

edited when an image is open in the workspace.

To remove commands from the script, select the command

and click Delete. To select multiple commands, use the

standard Shift-click (to select adjacent items) or Ctrl-click (to

select non-adjacent items) methods.

3 To view and/or edit the Python code associated with the script,

click the Text Editor button. The default text editor will open the

script. Until you specify another application, the default editor is

Notepad. To change the default text editor, see “Editing Scripts

with a Text Editor” below.

4 To save your edits, click Save, and then click Close.

Editing Scripts with a Text Editor

With the Script Editor dialog displayed, you can edit the Python

code for your script by clicking the Text Editor button. (If you have

already modified the script in the Script Editor dialog, you will be

prompted to save or discard changes prior to switching to the text

editor application.) The editor application designated for script

editing will open.

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To change the script editing application:

1 Choose File > Preferences > File Locations (or click the File

Locations button in the Select Script drop list) to open the File

Locations dialog.

2 In the File Types list, choose Python Source Editor.

3 On the right side of the dialog, enter the path for the editor

application you wish to use. Click Browse if you need to navigate

for the correct path.

Trouble Shooting a Script

The Single Step command (accessed by choosing File > Script >

Single Step) provides a way to sequentially step through a script's

actions, allowing you to selectively apply actions to the current

image.

Single Step can be thought of as a mode or a toggle: once you choose

this menu item, scripts you run will be put through the Single Step

"filter" until you toggle off the mode by choosing the menu item

again.

To use this command:

1 Choose File > Script > Single Step. This puts Paint Shop Pro in

Script Single Step mode. Note that the Step Script dialog will not

appear until you choose to run a script.

2 Run the desired script.

3 The Step Script dialog appears, listing the script's name and first

action. Use the dialog's buttons as follows:

Click Continue to apply the command to the image and move

on to the next command in the script.

Click Skip Command to not apply this particular command to

the image, and instead move on to the next command in the

script.

Click Stop Scripts to cancel this operation and close the Step

Script dialog. Note, however, that Paint Shop Pro remains in

Script Single Step mode until you toggle off this command.

4 To turn off Single Step mode, choose File > Script > Single Step

again.

Access Single Step quicker

If you find yourself using the Single

Step command often, you may

want to add it to a toolbar for

quicker access. Refer to Chapter 4

for more information on

customizing toolbars.

Chapter 17: Automating Tasks 433

Binding Scripts to Icons

You can quickly and easily bind a script to any of 50 icons, and then

drag the icon to a custom or existing toolbar, or to a menu. By

dragging the icon onto a toolbar or menu you can have easier,

quicker access to your favorite scripts, and can execute them with a

single click.

Be aware that you can use an icon for any number of scripts. This

gives you a virtually limitless ability to bind scripts to icons. For

example, you could assign a script to the red light bulb icon and

drag it to the Photo toolbar. You could then assign a different script

to the same icon and drag it to the Adjust menu.

Assigning a Script to an Icon

1 Choose View > Customize. This displays the Customize dialog.

2 Click the Scripts tab.

3 Click the Scripts drop-list, and then click the script you want to

assign to an icon. (Note that the scripts displayed in this list

match those in the Script toolbar's Select Script drop list.)

4 Shown below the Scripts drop-list are the 50 icons. To assign the

displayed script to an icon, click the desired icon, and then click

the Bind button in the upper right portion of the Scripts tab.

Notice in the Bound Scripts area below, the icon and its

associated script appear in the list.

Assigning a keyboard

shortcut to a Bound Script

Once you’ve created a bound

script, you could assign a keyboard

shortcut to it as another way to

quickly run the script. Refer to

Chapter 4 for information on

assigning keyboard shortcuts.

Chapter 17: Automating Tasks

434

5 To place the icon in a menu or toolbar:

In the Bound Script area, place the cursor over the icon or the

script.

Drag the mouse into the menu or toolbar where you want to

place the bound script icon.

Release the mouse button when the button is in the desired

location.

When you hold the cursor over the toolbar's script icon, you'll see

the path name and file name associated with the script. If you've

dragged the script icon into a menu, the menu will display the

script's name, and the script's path will appear in the status bar

located along the bottom the main Paint Shop Pro window.

Using the Same Icon for Multiple Scripts

Although there are 50 icons available for script assignments, be

aware that you can use the same icon for multiple scripts. This

essentially gives you an unlimited ability to assign scripts to icons.

Removing a Script from an Icon

To un-bind a script from an icon:

1 In the Bound Script area of the Customize dialog's Scripts tab, click

the icon or script name.

2 Click the Remove button located below the Bound Scripts list.

Note: Unbinding a script from an icon will also remove it from

the user interface and from any keyboard shortcut assigned to it.

Removing a Bound Script from a Menu or Toolbar

To remove a bound script icon from a menu or toolbar, place the

cursor over the icon, drag the icon into the Paint Shop Pro

workspace, and then release the mouse button.

435

Printing Images

With Paint Shop Pro you can print one image on a page, print several

images on a page, or print selected images within a folder. You can

also create templates that save the size and placement of images, and

add text captions to the template.

There are several ways to print in Paint Shop Pro:

Print a single image. For more information, see “Printing

Multiple Images on a Page” on page 439.

Print multiple images on one page. Arrange and size images in

any way you like. Choose from over 100 templates, or create

your own custom template. For more information, see “Printing a

Single Image” on page 446.

Print images from the Browser as thumbnails or in any

arrangement. For more information, see “Printing with CMYK

Color Separations” on page 452.

Contents About Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

About Printing Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Printing Multiple Images on a Page . . . . . . . . . . . . . . . . . . . . . 439

Printing a Single Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Printing Images from the Browser. . . . . . . . . . . . . . . . . . . . . . . 446

Printing Images Using a Template . . . . . . . . . . . . . . . . . . . . . . 448

Placing Text Captions on the Layout. . . . . . . . . . . . . . . . . . . . . 451

Printing with CMYK Color Separations . . . . . . . . . . . . . . . . . . . 452

Saving Images for Printing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 456

CHAPTER 18

Chapter 18: Printing Images

436

About Printing

Before you print, you should understand how image resolution, color

and lightness, paper quality, and the file type of the image effect the

quality of the printed image.

Image Resolution

Laser and ink-jet printers work by applying dots of black or colored

ink to paper. While the image resolution is measured in pixels per

inch (ppi), the printer resolution is measured in dots per inch (dpi).

To determine the printed image size in inches, the printer divides the

image size in pixels by the pixels per inch. An image with a high

resolution appears smaller when printed at its original size than an

image with a low resolution.

You can scale images when you use Print Layout to print multiple

images. However, this can lower the quality of the print, as it

enlarges each pixel. You will get better results if you create the

image using a resolution that is appropriate for the printer. Use the

following guidelines to determine the image size for printing:

For a 300 dpi printer, use a 72 to 120 ppi image.

For a 600 dpi printer, use a 125 to 170 ppi image.

For a 1200 dpi printer, use a 150 to 200 ppi image.

Image Color and Lightness

Computer monitors display color by combining red, green, and blue

light on the screen. Color printers, however, use a combination of

cyan, magenta, yellow, and black inks. The difference in these two

color modes can cause images to appear darker on paper than on the

screen. As you become familiar with how your printer handles color,

adjust your images to compensate. If the printed image appears too

dark, use the Brightness/Contrast command to adjust it.

Paper Quality

The texture and color of the paper affects the quality of the printed

image. Porous paper can cause colors to bleed into each other;

colored paper can alter the image colors; off-white paper can reduce

the contrast and vibrancy of colors. For the best results, refer to your

printer’s owner manual for paper recommendations.

Chapter 18: Printing Images 437

Saving Images for Printing

If you are printing your image on a personal printer, save it in the

.PspImage format. This gives you the most flexibility. Paint Shop

Pro prints all the layers in an image, so you don’t need to flatten it

(merge all layers). If you are using a black-and-white printer, choose

the Greyscale option in the Print dialog.

If you are sending the image to a printing service, flatten the image

before saving it. When you save an image in most formats other than

.PspImage, Paint Shop Pro automatically flattens the image. Ask

your printer about the requirements for file format, resolution, and

color depth. If you need CMYK color separations, choose that

option in the Print dialog.

About Printing Options

To open the Print Setup dialog, from the main Paint Shop Pro

workspace, choose File > Print, or press Ctrl + P. From the Print

Layout window, choose File > Print Setup, or click the Print Setup

button.

Note: Note: You can script most print options. However, all

printer settings may not be scriptable due to variations in printer

drivers.

The following printing options are available when printing a single

image. Most of the options are also available when printing multiple

images from the Print Layout window.

Choosing print setup options:

1 In the Printer group box, choose the printer to send the image to.

Click the Printer button to select a different printer. Click the

Properties button to view or change printer properties. For more

information, refer to your printer documentation.

2 Print to File Mark this check box to save the image to a file

instead of sending it to a printer. When you click the Print button

to print the image, Paint Shop Pro prompts you for a file name.

3 Enter the number of copies to print in the Number of Copies field.

4 In the Orientation group box choose either the portrait or

landscape orientation.

How to access Print options

From the main Paint Shop Pro

workspace, choose File > Print, or

press Ctrl + P.

From the Print Layout window,

choose File > Print Setup, or click

the Print Setup button.

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438

5 In the Print Output group box, choose the type of output: Color,

Greyscale, or CMYK Separations. For more information on

printing CMYK color separations, see “Printing with CMYK

Color Separations” on page 452.

6 In the Color options group box, choose an option:

Negative Mark this check box to print a negative of the image.

Background Mark this check box to print a color background

around the image, and then click the color box to choose the

background color.

7 In the Print Marks group box, choose from the following options:

Corner Crop Marks Mark this check box to print crop marks at

the corners of the image.

Center Crop Marks Mark this check box to print crop marks at

the center of the image edges.

Registration Marks Mark this check box to print registration

marks at the corners of the image.

CMYK Plate Labels Mark this check box to print labels (Cyan,

Magenta, Yellow, or Black) on each color plate (or page). This

check box is available only when you select the CMYK

Separations option.

Image Name Mark this check box to print the image file name

below the image.

8 Mark the Header check box to include header text at the top of

the page, and then type the text in the edit box.

9 Mark the Footer check box to include footer text at the bottom of

the page, and then type the text in the edit box.

10 Click Close to apply the settings and close the Print Setup dialog.

Scripting print options

You can script most print options.

However, all printer settings may

not be scriptable due to variations

in printer drivers.

Chapter 18: Printing Images 439

Select Template (Print dialog only) Click this button to open the

Templates dialog and choose a template. For more information on

choosing templates, see “Printing a Single Image” on page 446.

Fill the template with the current image (Print dialog only) Choose

this option to fill the selected template with the current image.

Print the selected template with saved images (Print dialog only) If

you select a template that contains links to images, the current image

will be ignored and the template and all its images will be printed.

Header (Print Layout window only) Mark the check box to include

header text at the top of the page, and then type the text in the edit

box.

Footer (Print Layout window only) Mark the check box to include

footer text at the bottom of the page, and then type the text in the edit

box.

Printing Multiple Images on a Page

Use Paint Shop Pro’s Print Layout window to print multiple images

in a variety of ways. For example, print multiple 4” x 6” copies of

the same image, print two different images on the same page, or

arrange an image to print on labels. You can even add text captions

onto the print layout, and place images in rectangular or elliptical

cells.

Note

After you arrange a layout, save the layout as a template that you can

use later. For more information, see “Saving a Page Layout” on

page 445. Paint Shop Pro includes many templates to use or modify.

For more information, see “Printing a Single Image” on page 446.

How to change the

paper size

The paper size (such as letter or

legal) is a printer property. At the

Print window or the Page Setup

window, click the Properties

button, then the Paper tab.

Template printing is

scriptable.

The Print command and the

Template tab settings can be

recorded in a script.

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440

About the Print Layout Window

To print images using the Print Layout Window:

1 Open the Print Layout window:

From the Paint Shop Pro workspace, open each of the images

you want to print, and then choose File > Print Layout.

From the Paint Shop Pro Browser, select the thumbnail of

each image you want to print, and then choose File > Print

Layout.

Thumbnails of all open images display on the left side. The page

layout to be printed displays in the center of a gray area (the print

layout workspace).

Note: To select more images from the Print Layout window,

choose File > Open Image or click the Open an Image button .

2 Drag the thumbnails of the images you want to print into the print

layout. If an image is larger than the page, Paint Shop Pro asks

whether you want to scale the image. Click Yes to scale the

image to fit, or click No to place the image at its current size.

Thumbnails Layout

Print Layout Window

Where did the image go?

The print layout workspace

extends under the thumbnail list.

Zoom out or use the scroll bars to

see if your image is hidden under

the thumbnail list.

Chapter 18: Printing Images 441

Note: To locate an image that is out of view in the Print Layout

window, use the scrollbars to scroll through the workspace and

locate the image, or choose Preferences > Auto Arrange. Paint

Shop Pro arranges all images in the workspace onto the page. If

the image is still out of view, choose Zoom > Zoom to Page.

3 Choose File > Print, or press Ctrl + P to open the Print dialog, or

click Print to print the page with the current print settings.

Note: To adjust print settings, choose File > Print Setup or click

the Print Setup . For more details, see “About Printing

Options” on page 437.

4 To close the Print Layout window, choose File > Close or click

the Close button .

Note

To remove an image from a print layout, click the image to select it,

and then press Delete, or choose Image > Remove.

Arranging and Sizing Images in a Layout

Once you have images open in the Print Layout window, you can

automatically or manually arrange images in a layout.

Automatically Arranging Images in a Layout

Use the Auto Arrange command to automatically size and position

images on the page of the Print Layout window. Paint Shop Pro

divides the page into sections of equal size and places each image in

a section. Only images on the page or in the workspace are used.

Before automatically arranging images, specify these preferences:

To include borders between arranged images, choose View >

Options to set up border options width (the default is 0.5 inches

or 1.27 centimeters). If you do not use borders, Paint Shop Pro

may arrange images with touching edges.

To have Paint Shop Pro enlarge (stretch) images to fit their

sections of the page layout, choose View > Stretch to Fit or click

the Stretch to fit button . If you do not choose this option,

when Paint Shop Pro automatically arranges photos, it keeps

them the same size or, if necessary, makes them smaller to fit.

Manually Arranging and sizing Images in a Layout

Use rotate, resize, position, or zoom the images. Display the grid if

you want to precisely position image in the window.

Using the Zoom tools:

To zoom in on a specific area,

click the Zoom to Rectangle

button . Then click and drag

within the page layout to choose

an area to zoom in on (make

sure you click on a blank part of

the page to begin).

To zoom in, click Zoom In 10% .

To zoom out, click Zoom Out

10%.

To make the page layout fill the

workspace, click

Zoom to Page .

You can also choose any of these

commands from the Zoom menu.

Save layouts

You can save layouts as templates

to make page layout easier. Paint

Shop Pro also includes many

templates with common layouts.

For more information, see “Saving

a Page Layout” on page 445 and

“Printing a Single Image” on

page 446.

Chapter 18: Printing Images

442

To automatically arrange images:

1 Drag each image that you want to arrange onto the page or the

workspace.

2 Choose Preferences > Auto Arrange, or click the Auto Arrange

button .

To rotate an image:

1 Click the image to select it. To select multiple images, press Shift

and click each additional image.

2 On the toolbar, click Rotate Clockwise 90 or Rotate

Counterclockwise 90 . Or, select the same commands from

the Edit menu.

To resize an image:

1 Click the image to select it.

2 Resize manually or via the Resize dialog:

To resize manually, drag a corner handle until the image is the

size you want it. The image maintains its aspect ratio.

Click the Resize button on the toolbar, or choose Edit >

Resize. Use the Resize dialog options to set the desired size.

To position an image:

Click and drag the image to a new position on the page. You can also

temporarily place images in the workspace around the page.

You can also position an image by clicking one of the command

buttons. These buttons align the selected image to the layout page.

Position image at X,Y Click this button to open the Place Image

dialog. Enter values to set the position of the image’s top left corner.

Using the Grid in a Layout

Use the grid to align images evenly on the page.

Notes on resizing

Resizing an image for printing can

result in poor image quality. When

you enlarge an image, the image

loses detail and sharpness. As a

general rule, don’t enlarge or

reduce an image more that about

25 percent. If you need more than

a 25 percent change, scan or

create the image at a different

resolution.

Center image

Place lower left

Place lower right

Place upper left

Position image at X,Y

Place upper right

Chapter 18: Printing Images 443

To display or hide the grid:

Choose View > Show Grid.

To snap images to the grid:

1 Display the grid.

2 Choose View > Snap to Grid.

When you click and drag an image to position it, Paint Shop Pro

snaps it to the nearest grid line when you release the mouse.

To change the grid settings:

1 Choose View > Options to open the Print Layout Options dialog.

2 Set the grid options on the right side of the dialog. For more

information see “In the Grid settings group box, set the following

options:” on page 444.

3 Click OK.

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444

Changing Print Layout Window Options

Use the options in the Print Layout dialog to set auto arrange

options, units of measurement, grid settings and template options.

To change Print Layout window settings:

1 In the Print Layout window, choose View > Options to open the

Print Layout Options dialog.

2 Choose the Units, either inches or centimeters from the drop

down list. The dialog’s measurements will change to match.

3 Mar the Center to full page check box to have Paint Shop Pro

calculate the page center based on the actual size of the page.

Clear this check box to have the page center calculated based on

the printer’s margins.

4 In the Auto Arrange group box, choose from the following:

Use borders Mark this box to have the Auto Arrange function

leave a specified border around all images. Enter values for

the horizontal and vertical border sizes.

Stretch to fit Mark this box to have the auto arrange function

enlarge images as much as possible (while keeping their

aspect ratios).

Horizontal and Vertical border size Sets the size of the border

using the units option chosen above.

5 In the Template options group box:

Choose the Default Placement to determine how images will

be placed in template cells by default.

Mark the Apply to current template check box to apply the

new default placement option to all the cells of the open

template.

6 In the Grid settings group box, set the following options:

Show Grid Mark the check box to show the grid, or clear it to

hide the grid.

Dot Grid Mark the check box to use a dotted-line grid, or clear

it to use a solid line grid.

Grid Color Click the color box to choose another color for grid

lines.

Horizontal Spacing Sets spacing between horizontal grid

lines.

Chapter 18: Printing Images 445

Vertical Spacing Sets spacing between vertical grid lines.

Snap-to-Grid Mark the check box to snap images to grid lines

when you position them. Clear the check box to position

images freely on the page.

Saving a Page Layout

After you set up a page layout, you can save it. You can also save

just the formatting of your layout to use with other images. Paint

Shop Pro saves the layout as a template.

By default, templates you save are stored in the Print Templates

folder of the My Documents\My PSP Files folder.

You can save your layouts in two ways: as a template or as a

template with images.

Templates

By default, Paint Shop Pro saves your layout as a template. When

you save your layout, Paint Shop Pro uses the size and position of

the images in your layout to create blank cells for new images to be

placed in. When you open the template later, you must place new

images into the blank cells.

Templates with Images

For a layout with certain images that you want to print repeatedly,

save the layout as a template with links to the images. Every time

you open the template, it will open and display the images you

placed in your layout. If you modify images linked to a template, the

modified images will appear the next time you open the template.

To save a layout:

1 Choose File > Save Template or click the Save Template button

to open the Save dialog.

2 Enter a name for the new template in the Name field.

3 Choose a save option:

Mark the Save with Images check box to save image links

with the template. When you open the template the images

currently on the page will appear. Clear this check box to

create a blank template.

Chapter 18: Printing Images

446

4 Click OK.

Note

To delete a print layout, use Windows Explorer to navigate to where

the template resides, and then delete the layout from the folder.

Printing a Single Image

To print the active image:

1 Choose File > Print, click Print , or press Ctrl + P to open the

Print dialog.

2 Do any or all of the following:

In the Printer group box, select the printer and whether to

print to file.

On the Placement tab, choose the number of copies, the page

orientation, and the size and position of the image.

On the Options tab, choose the print output, color options, and

print marks.

On the Template tab, choose to print a template with images

or fill a template with the current image.

Selected options display on the image preview. For more

information on the options, see “Printing a Single Image” on

page 446.

3 Click the Print button to print the image. Or, click the Close

button to save the print options without printing the image.

Printing Images from the Browser

Use the Paint Shop Pro Browser to print all images within a folder,

or only selected images. Print the images as thumbnails, or print

them any size using a template.

When you print from the Browser, Paint Shop Pro automatically

includes the file name under each image, as well as the folder name

at the top of the page, and a page number at the bottom.

To print images from the Browser:

1 Choose File > Browse or press Ctrl + B.

The Browse window opens and the main menu updates with

Browse commands.

Quick steps for printing

Press Ctrl + P to open the Print

dialog, then press Enter.

Chapter 18: Printing Images 447

2 Navigate to the folder that contains the files you want to print.

3 Select files using one of these methods:

Click the file’s thumbnail.

To select more than one file, press Ctrl and click each file.

To select sequential files, click the first file, then press Shift

and click the last file.

Note: To deselect a file, press Ctrl and click its thumbnail.

4 Choose File > Print to open the Browser Print dialog.

5 Choose options from the Printer and Copies group boxes.

For more information, see “Printing a Single Image” on

page 446.

6 Choose a thumbnail option:

Use Thumbnails Mark the check box to use thumbnail images,

which print faster but are lower resolution and fuzzy. Clear the

check box to print the images at normal resolution.

7 Choose template options:

Use the standard template

Mark this box to print all the images at thumbnail size.

Clear this box to choose a template from the drop down list.

The Browser will use the template to format your images for

printing. To change the folder where Paint Shop Pro loads

templates from, click the Edit Paths button. For more

information, see Chapter 4, Setting File Format Associations.

8 Choose a Print Range option:

All Prints all the pages the Browser has created for printing.

Pages Prints only the page range you enter in the from and to

fields.

Selection Prints only the images you selected in the Browser

window instead of all the images in the current folder.

9 Click the Print button to print. Or, click the Close button to save

the print options without printing the images.

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448

Printing Images Using a Template

Use templates to simplify image placement and sizing. Templates,

by default, do not contain any specific images. However, Paint Shop

Pro can save templates with links to images.

Save your own templates (created from page layouts) or use any of

Paint Shop Pro’s many templates.

By default, sample templates are stored in the Print Templates folder

of Paint Shop Pro program folder. To change where Paint Shop Pro

stores and searches for templates, click the Edit template file

locations button or choose File > Template locations. For more

information, see Chapter 4, Setting File Format Associations.

To print images using a template:

1 Open the Print Layout window:

From the Paint Shop Pro workspace, open each of the images

you want to print, and then choose File > Print Layout.

From the Paint Shop Pro Browser, select the thumbnail of

each image you want to print, and then choose File > Print

Layout.

Each open file is displayed in the thumbnail list on the left side.

A blank layout is displayed.

2 In the Print Layout window, choose File > Open Template or

click Open Template to open the Templates dialog.

3 Choose a category from the Select a category list. Thumbnails of

the templates in each category are shown in the window to the

left. Templates that have images saved with them will show

colored template cells.

Note: When you save custom templates, they will appear under

the User Defined category.

4 Select the thumbnail of the template you want to open.

5 Click OK. Paint Shop Pro displays the template in the Print

Layout window.

Note: If you saved images with the template, the images will

appear in the template cells and in the thumbnail list. Templates

that have images missing will display a greyed out cell in the

template thumbnail.

6 In the Print Layout window, choose File > Open Template or

click Open Template to open the Templates dialog.

To open the Print Layout

window

At the Paint Shop Pro main menu,

choose File > Print Layout.

This command is only available

when at least one image is open in

Paint Shop Pro.

A quick way to print with

templates from the

main workspace

The Template tab of the

File > Print command allows you

to fill templates with the current

image and print templates with

saved images. These actions are

also scriptable. For more

information on the Print to

Template option, see “Printing a

Single Image” on page 446.

Template Hint

You can also open a template by

double clicking its thumbnail.

Chapter 18: Printing Images 449

7 Choose a category from the Select a category list.

8 Select the thumbnail of the template you want to delete. Click

Delete.

9 Place images into the cells in the template:

Place multiple images by dragging each thumbnail into a

template cell.

Fill the template with copies of the same image, by dragging

one image thumbnail onto any cell and then choosing Edit >

Fill Template with Image or clicking the Fill template with

image button .

Paint Shop Pro fills all cells with the image.

Note: By default, Paint Shop Pro centers the image within the

cell and scales the image to fit the cell. To change the default

placement method, see “In the Template options group box:” on

page 444.

10 Choose a cell placement method from the Print Layout window

toolbar or from Edit > Cell Placement.

Note: You can select the image placement method of a cell before

or after you place an image.

Free format Allows you to freely resize and position the

image in the cell.

Size and Center The image size is not changed to match the

cell. You can resize the image and the image will always stay

centered in the cell.

Fill Cell with the image Centers the image in the cell and

scales the image to fill the cell. The image aspect ratio is

maintained, but parts of the image may not be visible.

Fit and center Scales the image to fit entirely inside the cell

and centers the image in the cell. The image aspect ratio is

maintained.

Fit and adjust left Scales the image to fit entirely inside the

cell and aligns the image to the left side of the cell. The image

aspect ratio is maintained.

Fit and adjust right Scales the image to fit entirely inside the

cell and aligns the image to the right side of the cell. The image

aspect ratio is maintained.

Fit and adjust top Scales the image to fit entirely inside the

cell and aligns the image to the top of the cell. The image aspect

ratio is maintained.

Quick steps to printing

multiple copies of the

same image

Open a template, drag one image

into any cell of the template, then

choose Templates > Fill

Template with Image. Paint Shop

Pro places the same image in

every cell. Now choose File >

Print.

Chapter 18: Printing Images

450

Fit and adjust bottom Scales the image to fit entirely inside

the cell and aligns the image to the bottom of the cell. The image

aspect ratio is maintained.

To move, rotate, and resize images in cells:

Follow the instructions in “Choose Preferences > Auto Arrange, or

click the Auto Arrange button .” on page 442.

To remove an image from a template:

1 Click the image to select it.

2 Press Delete, or choose Edit > Remove.

Editing Template Cells

You cannot move or resize cells in a template. A cell’s position and

size is locked when a layout is saved as a template.

However, if you saved images with a template, you can revert the

template back to a layout.

To revert a template (with images) to a layout:

1 Open the template you want to edit. For more information, see

“Printing a Single Image” on page 446.

2 Choose File > New Template or click the New Template button

. A dialog will open asking, “Do you want to keep the current

images in the new template?”

3 Click Yes.

The Print Layout window will display a new layout that contains

all the images that were in the template.

Editing Multiple Cells Simultaneously

Print Layout allows you to apply modifications to multiple cells at

the same time. To do so:

1 Select the desired cells. Drag the cursor to enclose the cells in a

bounding box, or hold down Ctrl and click the cells you want to

select. When selected, the cell border will turn red.

2 Apply the desired edit to the cells. Use the commands in the Edit

menu or those in the Print Layout toolbar.

Placing images from the

thumbnail list

To control how Paint Shop Pro

places an image when you drag it

from the thumbnail list, change the

template options. For more

information see, “In the Template

options group box:” on page 444.

Chapter 18: Printing Images 451

Creating an Elliptical Image Cell

To change a cell from rectangular to elliptical:

1 In Print Layout, load a template containing at least one cell.

2 Click the cell you want to make elliptical, and then click the

Make cell elliptical button on the Print Layout toolbar, or

choose Edit > Set selected cells elliptical. The cell's image will

then appear through the ellipse.

Note: To make the cell rectangular again, click the Make cell

rectangular button , or choose Edit > Set selected cells

rectangular.

Placing Text Captions on the Layout

To place a box containing custom text onto your print layout:

1 In the main Paint Shop Pro workspace, open the image(s) you wish

to print.

2 Choose File > Print Layout. This puts Paint Shop Pro in Print

Layout mode. Your open images will appear along the left side of

the window.

3 Drag the images into the layout area on the right, or load an

existing template and drag your images into the template's cells.

4 In the Print Layout toolbar, click the Text tool .

5 Position the cursor where you want the text to appear, and then

drag the cursor to create the text box. When you release the

mouse button, the Text Field dialog will appear.

6 Enter the text you want to appear on the printed page.

7 Set your options for font, size, style, color, and alignment. Note

that if you want to continue using these settings, mark the Retain

text settings check box at the bottom of the Text Field dialog.

8 Click OK to place your text on the layout.

9 If necessary, drag the sides of the text box to fit the text it

contains. Drag the text box to move it.

10 To rotate the text, select the text box (if it isn't already selected),

then choose Edit > Rotate Clockwise 90 / Rotate

Counterclockwise 90. You could also click these buttons on the

toolbar, or right-click and choose either rotation command from

the context menu.

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452

Printing with CMYK Color Separations

When you print using CMYK separations, Paint Shop Pro prints four

pages representing the levels of Cyan, Magenta, Yellow, and Black

in the image.

Note

Printing CMYK separations is the opposite of the Colors > Split

Channels > Split to CMYK command. When you split channels

Paint Shop Pro treats white as full color and black as no color

(brighter equals more color). When you print CMYK separations,

Paint Shop Pro treats black as full color and white as no color

(darker equals more color).

To modify the default CMYK conversion preferences, see “Defining

CMYK Profiles” on page 452

To print CMYK color separations:

1 Choose File > Print to open the Print dialog.

2 Click the Options tab.

3 In the Print Output group box, choose CMYK Separations.

4 Choose other print options as desired. For more information, see

“Printing a Single Image” on page 446.

5 Click the Print button.

Defining CMYK Profiles

In a CMYK (Cyan, Magenta, Yellow, and Black) conversion, Paint

Shop Pro replaces the RGB (Red, Green, and Blue) colors you see on

the monitor with the CMYK colors used in printing. You can then

print a separate page for each CMYK color by selecting the CMYK

Separations option in the Page Setup dialog box. This is useful if you

are using a pre press shop and doing high-end printing.

Before printing the separations, configure the CMYK preferences to

determine how Paint Shop Pro handles the conversion from RGB to

CMYK. Save these preferences in a file called a profile.

To set the current profile:

1 Choose File > Preferences CMYK Conversion Preferences to

open the CMYK Conversion Preferences dialog.

Chapter 18: Printing Images 453

2 Choose the name of the profile from the Current Profile drop

down list.

3 Click OK.

To create a new profile:

Note

Paint Shop Pro uses the program’s default settings until you create a

profile.

1 Choose File > Preferences > CMYK Conversion Preferences to

open the CMYK Conversion Preferences dialog.

2 Do one of the following:

Choose the name of a profile from the Current Profile drop

down list and click New. This will base the new profile on the

settings of the selected profile.

Click New. This will base the new profile on the program’s

defaults.

The New CMYK Profile dialog will open.

3 Type a name for the new profile in the Enter profile name field.

4 Choose the initial setting:

Reset to defaults Base the new profile on the program’s defaults.

Use current settings Base the new profile on the settings in the

current profile.

5 Click OK.

To remove a profile:

1 Choose File > Preferences > CMYK Conversion Preferences to

open the CMYK Conversion Preferences dialog.

2 Choose the name of the profile from the Current Profile drop

down list.

3 Click OK.

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454

Modifying a CMYK Profile

Use the tabs on the CMYK Profile dialog to configure the CMYK

black generation, transfer and components, and to adjust the for

color shifts.

To open the CMYK Profile dialog:

1 Choose File > Preferences > CMYK Conversion Preferences to

open the CMYK Conversion Preferences dialog.

2 Choose the name of the profile from the Current Profile drop

down list.

3 Click Modify to open the CMYK Profile dialog

Note

Clicking Default in any of the profile tabs will reset the tab to the

program’s default settings.

To configure the Black Generation tab:

1 In the CMYK Profile dialog click the Black Generation tab.

2 In the Method group box, choose from the following options:

UCR - Undercolor Removal Replaces some of the cyan, magenta,

and yellow components of neutral grey and shadow areas with

black. This helps compensate for some of the trapping problems

that occur in multi-color printing.

GCR - Grey Component Replacement Replaces grey components

in colored areas with black. The least prominent color is reduced

or removed completely, along with proportional amounts of the

other two colors, to define a grey component, which is then

replaced with black ink.

3 In the Parameters group box, configure the following settings:

Chapter 18: Printing Images 455

Total coverage limit This can range from 200 to 400%

Blank ink coverage limit This can range from 0 to 200%

Black starts at This can range from 0 to 100%

GCR Black Gamma This can range from 1 to 4. This option is

inactive unless the GCR option is selected.

Note: The black line in the graph represents the black value and

updates as you change the settings.

To configure the Transfer and Components tab:

1 In the CMYK Profile dialog click the Transfer and Components

tab.

The left panel of the Transfer and Components tab displays a graph

of the transfer curves for cyan, magenta, yellow, and black. The

right panels display parameters for grey and color components.

2 In the Transfer Curves group box, adjust the transfer curves by

highlighting the name of a curve in the Transfer Curves drop-

down list, and then dragging the points of the curve up or down.

Each transfer curve contains five adjustable points that define the

curve based on its zero-tone, quarter-tone, mid-tone, three-

quarter-tone, and full-tone percentages. The default curve is a

straight line from 0 to 100%. A curve that slopes above this 45°

line produces darker tones.

3 In the Grey Component group box, set the percentages by typing

values into the corresponding fields. Values can range from 0 to

100%.

4 In the Color Component group box, set the percentages by typing

values into the corresponding fields. Values can range from 0 to

100%.

Chapter 18: Printing Images

456

To configure the Ink Calibration tab:

1 In the CMYK Profile dialog click the Ink Calibration tab.

2 In the Hue and Greyness group box, click in the color box of the

color you want to change to open the Color dialog. Adjust the

color settings and click OK.

3 In the Grey Balance group box , type values in the text fields to

adjust the individual CMY percentages.

Saving Images for Printing

If you are printing your image on a personal printer, save it in the

.PspImage format. This gives you the most flexibility. Paint Shop

Pro prints all the layers in an image, so you don’t need to flatten it

(merge all layers). If you are using a black-and-white printer, choose

the Greyscale option in the Print dialog.

If you are sending the image to a printing service, flatten the image

before saving it. When you save an image in most formats other than

.PspImage, Paint Shop Pro automatically flattens the image. Ask

your printer about the requirements for file format, resolution, and

color depth. If you need CMYK color separations, choose that

option in the Print dialog.

457

Sharing and Creating Images for the

Web

Use the Web tools to create backgrounds for your Web pages, map

and slice images to create hotspots or rollovers. Optimize images for

the Web to reduce the image file size and make images load more

quickly. Share your images by sending them via e-mail. Protect your

images by adding a watermark with creator and copyright

information.

Contents Sending Images via E-Mail . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Uploading Images to a Photo Sharing Service . . . . . . . . . . . . . 458

Saving Images for the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . 459

Saving Images for Use In Animation Shop . . . . . . . . . . . . . . . . 470

Previewing Images in a Web Browser . . . . . . . . . . . . . . . . . . . 470

Creating Image Rollovers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Mapping Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Slicing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Using Digital Watermarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

CHAPTER 19

Chapter 19: Sharing and Creating Images for the Web

458

Sending Images via E-Mail

Use Paint Shop Pro to e-mail any open image to friends, family, or

colleague using an e-mail program. The image is in its current file

format whenever possible.

Note

In order to send images via e-mail your computer must have a

default e-mail application that supports the MAPI standard such as

Microsoft Outlook, or Outlook Express

To send the image via e-mail:

Choose File > Send or click the Send Mail button on the toolbar.

Your current mail program opens with the file attached. Enter the

recipient, type a message, and then send it.

Uploading Images to a Photo Sharing Service

Use Paint Shop Pro to easily upload your images to a photo sharing

service. Photo sharing services allow you to upload and store your

images online, order high-quality prints and greeting cards, and

share your images online.

Before you can add, share, and print pictures at a photo sharing

service, you must enroll. Signing up is free and gives you space to

store, print, and share your images. Visit the Web site for the photo

sharing to obtain your user name and password.

Uploading Images a Photo Sharing

Service

You can use Paint Shop Pro to upload images to a photo sharing

service.

To upload images to a photo sharing service:

1 Choose File > Browse or click the Browse button on the toolbar

to open the Paint Shop Pro Browser.

2 Select the images that you want to upload to a photo sharing

service.

Using other photo sharing

services

As Paint Shop Pro is updated,

support for additional photo

sharing services may be included.

To find out if support for additional

photo sharing services is available,

be sure your computer is

connected to the Internet, and then

choose Help > Check for Updates.

To change your service choose

File > Preferences > General

Program Preferences, click the

PhotoSharing tab, and then

choose the photo sharing service

from the list of available services.

Chapter 19: Sharing and Creating Images for the Web 459

3 To open the PhotoSharing dialog:

Click the PhotoSharing button on the Browser toolbar.

Choose File > Export > PhotoSharing.

Right-click to display a context menu and select

PhotoSharing.

4 The Upload Album field displays the name of the album where the

images will be stored on the PhotoSharing site. By default the

album is named with the current date, but you can enter a

different name for the album.

5 In the Connection Info group box, enter the user name (e-mail

address) and password for the photo sharing service.

Note: Mark the Remember Password check box if you want the

system to remember the login information.

6 Click the Upload button to upload the images to the photo sharing

site.

7 Once the images are uploaded, you will be prompted to visit the

photo sharing site, click Yes to automatically access the web site

for the photo sharing service.

Notes about Uploading

If you are unable to log-in to a photo sharing service, first make sure

that your computer is connected to the Internet, and that you have

entered the correct e-mail address and password on the login screen.

If you are unable to log-in and are using Paint Shop Pro in a

corporate environment, you may need to modify the Proxy Server

settings. Check with your Network Administrator to get the Proxy

Server information for your corporate network.

Saving Images for the Web

Because the majority of Web browsers recognize GIF and JPEG

images, these two formats are used most often for saving Web

images. Newer versions of the Web browsers can also recognize the

more recent PNG format, and many Web browsers also support

Windows Wireless Bitmap (WBMP) and iMode formats, which are

popular to display when using wireless devices.

When you save images for the Web, there are three major issues to

consider: layers, color depth, and file size.

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460

Layers

Because none of the current Web browsers can display layered

images, you need to flatten an image before saving it for the Web.

Flatten it by choosing Layers > Merge > Merge All (Flatten).

Color Depth

Some computers are only capable of displaying up to 256 colors. If

an image on a Web page contains more colors, the Web browser uses

its own dithering method to display the image. This can produce

color distortion. If you reduce the color depth of the image to 8 bits

(256 colors) before placing it on your Web page, its appearance will

be more consistent.

File Size

File size affects the majority of users accessing a Web page. As the

size of an image file increases, it takes more time to download, so

viewers have a longer wait. Use a file format that reduces the image

size most efficiently while keeping the quality as high as possible.

Web File Formats

Choose from the following file formats when saving image for use

on the Web:

GIF Use this format to compress line art and images with areas of

similar colors. It supports 8-bit (256) color. There are two

versions of GIF: 89a, which can save transparency and animation

information, and 87a, which cannot. Both are recognized by most

browsers and use lossless compression.

JPEG Use this format to compress photographic images. It

supports 24-bit (16 million) color, uses lossy compression, and is

recognized by most browsers.

PNG This format compresses most images efficiently. It supports

up to 24-bit (16 million) color and uses lossless compression. It

is recognized by most browsers, however many features of this

format are not available.

Wireless Bitmap (WBMP) This format is used with many wireless

devices. The images are black and white and have lossless

compression.

Lossy vs. Lossless

compression

Lossy compression is a

compression method that

eliminates data to reduce the file

size, while lossless compression

retains all of the original image

data and reduces the file size by

storing patterns of pixels in the

image.

Chapter 19: Sharing and Creating Images for the Web 461

Optimizing GIF Files

Use the Paint Shop Pro GIF Optimizer feature to save GIF files that

maximize quality while minimizing file size. You can save images

with or without transparency, depending on how you want to display

them on your Web pages.

Paletted images (those with 256 or fewer colors, such as GIF or PNG

files) do not support transparent backgrounds, but you often need to

make part of your image transparent when displayed on a Web page.

For example, you may have a round logo and you want the

background of the Web page to display around the logo.

Most Web browsers can choose not to display one color, effectively

making that color transparent. Use the GIF optimizer to choose the

color to make transparent.

To optimize and save a GIF file:

1 Choose File > Export > GIF Optimizer to open the GIF Optimizer

dialog. The preview windows show the current image on the left

and the resulting GIF file on the right.

2 Do one of the following:

Configure the settings on the Transparency, Partial

Transparency, Colors, and Format tabs. For more information,

see “Choosing GIF Optimizer Settings” below.

Click the Use Wizard button to let Paint Shop Pro guide you

through the process.

Choosing GIF Optimizer Settings

The GIF Optimizer dialog contains four tabs where you configure

the transparency, color, and format options for the file. The fifth tab

displays estimated download times of the image at various modem

speeds.

GIF Optimizer Transparency Tab

The option you choose in this tab determines which area of the

image becomes transparent:

None Produces a GIF file that does not contain one color set to

transparency.

Existing Image or Layer Transparency Uses the current transparency

information from the image.

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462

Inside the Current Selection For images with a selection, this option

makes everything within the selection transparent.

Outside the Current Selection For images with a selection, this

option makes everything outside the selection transparent.

Areas that Match this Color Click the color box to select any color.

Or, to choose a color from the image, move the cursor over the

image, and click the color. In the Tolerance edit box, set a tolerance

factor that indicates how closely colors must match the selected

color before they become transparent.

GIF Optimizer Partial Transparency Tab

A GIF file cannot contain partially transparent pixels. All pixels

must be either transparent or opaque (visible). Original images may

contain partially transparent pixels if the image does not have a

background layer, and you have reduced the opacity of a layer, added

a mask, feathered a selection, or used a brush at a reduced opacity

setting. Use the options in the Partial Transparency tab to determine

whether the partially transparent pixels become transparent or

opaque, and whether they are blended with another color. If you

chose the None option in the Transparency tab, the options in this tab

are unavailable.

To determine how Paint Shop Pro represents partially transparent

pixels, choose from these options:

Use Full Transparency for Pixels Below x% Opacity Pixels below

the opacity value you enter become transparent. Pixels above the

opacity value become opaque. As you lower the value, you

reduce the number of transparent pixels.

Use a 50% Dither Pattern Paint Shop Pro makes partially

transparent pixels opaque using either the color chosen for

blending or the image color (depending on the blending option),

then applies a 50% dither pattern to make colors look more

natural.

Use Error Diffusion Dither Paint Shop Pro makes partially

transparent pixels opaque using either the color chosen for

blending or the image color (depending on the blending option),

then applies an error diffusion dither to make colors look more

natural.

To determine how partially transparent pixels are blended,

choose one of these options:

Chapter 19: Sharing and Creating Images for the Web 463

Yes Blends the partially transparent pixels with the color in the

Blend color box. To choose a new color, click in the color box to

choose from the Color dialog. Partially transparent pixels below

the value you entered above are blended with this color.

No Uses the existing image color at 100% opacity.

GIF Optimizer Colors Tab

GIF images have an 8-bit color depth, which means they can display

up to 256 colors. Because these colors are stored in a palette, an

image containing 256 or fewer colors is called a paletted image. To

reduce file size, you can have fewer than 256 colors. Use the options

in this tab to select the colors and type of palette used.

1 Choose how many colors you want the saved image to contain. As

you remove colors, the size of the file decreases, but so does the

quality of the image. Use the preview windows to help you

determine the best balance between file size and image quality.

2 Choose the amount of dithering, which refers to the way Paint

Shop Pro arranges pixels in an image to compensate for missing

colors in the adjacent pixels.

3 Choose a method of color selection for the palette that will be

used for the image:

Choose the Existing Palette option if your image is already

paletted and you want to use its palette.

Choose the Standard/Web-safe option if your image will be

used on the Web.

Choose the Optimized Median Cut option if you need to

reduce the image to only a few colors.

Choose the Optimized Octree option if your original image

contains only a few colors.

Note: Depending on your needs, you may want to try both

“Optimized” options and choose the one that gives you the

best looking result or the smallest file size.

4 In the Options group box:

Mark Boost selected colors to give selected colors more

weight by a factor of the value you enter. Use this if you have

made a selection in the image and you want its colors stand

out from the rest of the image. After marking the check box,

and set the value to determine the amount of color boosting.

Chapter 19: Sharing and Creating Images for the Web

464

Mark the Include Windows’ colors check box to include the

16 standard Windows colors in the palette. If the image will

be used on the Web, mark this check box.

GIF Optimizer Format Tab

1 Choose a type of file, to determine how the image is displayed as it

downloads:

Non-interlaced The image downloads one line at a time,

starting from the top.

Interlaced The image is displayed incrementally in several

passes, and detail is added each time. Use this option with

larger images so that the viewer can get an idea of how the

image looks while waiting for it to download.

2 Choose a version for the file. Choose Version 89a to save

transparency information. It is selected automatically if the

image contains transparent pixels. Version 87a is available only

if the image does not contain a transparency.

GIF Optimizer Download Times Tab

This tab displays the size of the compressed file and an estimate of

the download time at four Internet speeds. If the file size is too large,

decrease it by clicking the Colors tab and reducing the number of

colors.

Saving the GIF File

After you have selected the options, click OK to open the Save As

dialog. Navigate to the folder in which you want to save the new

image and type a name for the file. When you click Save, Paint Shop

Pro saves a copy of the image as a GIF file.

Optimizing JPEG Files

Paint Shop Pro provides a JPEG Optimizer feature to assist you in

saving JPEG files that maximize quality while minimizing file size.

To optimize and save a JPEG file:

1 Choose File > Export > JPEG Optimizer to open the JPEG

Optimizer dialog. The preview windows show the current image on

the left and the resulting JPEG file on the right.

2 Do one of the following:

Chapter 19: Sharing and Creating Images for the Web 465

Configure the settings on the Quality and Format tabs, and

view estimated download times on the Download Times tab.

Click the Use Wizard button to let Paint Shop Pro guide you

through the process.

Choosing JPEG Optimizer Settings

The JPEG Optimizer dialog contains two tabs where you configure

the settings and a third that displays estimated download times of the

image at various Internet speeds.

JPEG Optimizer Quality Tab

Use this tab to set a compression value and chroma subsampling for

the file.

The compression value reduces the file size by deleting image

information. This means that as you increase the compression,

you lower the quality of the image. Use the image preview

window to help you find the best balance between the two.

With Chroma subsampling the file size of the JPEG is reduced

by averaging the color information for every 2 x 2 square of

pixels. You can change this setting to have a larger area of color

information averaged.

JPEG Optimizer Format Tab

The options on this tab determine how an image appears as it is

being loaded:

Standard The image downloads one line a time, starting from the

top.

Progressive The image is displayed incrementally in several passes,

and detail is added each time. Use this option with larger images so

that the viewer can get an idea of how the image looks while waiting

for it to download.

JPEG Optimizer Download Times Tab

This tab displays the size of the compressed file and an estimate of

the download time at four modem speeds. To change the file size,

click the Quality tab and increase or reduce the compression value.

Don’t lose more data

Each time you open and save a

JPEG, image data is discarded. It

is a good idea to keep a copy of

the original image.

Lossy vs. Lossless

compression

Lossy Compression is a

compression method that

eliminates data to reduce the file

size, while lossless compression

retains all of the original image

data and reduces the file size by

storing patterns of pixels in the

image.

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466

Saving the JPEG File

After you have selected the options, click OK to open the Save As

dialog. Navigate to the folder in which you want to save the new

image, and type a name for the file. When you click Save, Paint

Shop Pro saves the image in the JPEG format.

Optimizing PNG Files

Paint Shop Pro provides a PNG Optimizer feature to assist you in

saving PNG files that maximize quality while minimizing file size.

To optimize and save a PNG file:

1 Choose File > Export > PNG Optimizer to open the PNG Optimizer

dialog. The preview windows show the current image on the left

and the resulting PNG file on the right.

2 Do one of the following:

Configure the settings on the Colors, Transparency, and

Format tabs, and view estimated download times on the

Download Times tab. For more information, see “Choosing

PNG Optimizer Settings” below.

Click the Use Wizard button to let Paint Shop Pro guide you

through the process.

Choosing PNG Optimizer Settings

The PNG Optimizer dialog contains three tabs where you configure

the color, transparency, and format options of the file. The fourth

page displays estimated download times of the image at various

modem speeds.

PNG Optimizer Colors Tab

Use this tab to select a color depth for your PNG image and, for

paletted images, the method of color reduction, number of colors,

and amount of dithering.

1 Select the image type to determine whether the saved image is

Palette-Based (256 colors or less), Greyscale (8-bit), or 16 million

color (24-bit). Remember that a 24-bit image is larger and takes

more time to download than an 8-bit image. If you want to use the

Alpha Transparency option (on the Transparency tab) with your

image, you must choose either the Greyscale or 24-bit color option.

Paletted images cannot display alpha transparency.

Chapter 19: Sharing and Creating Images for the Web 467

Note: When you choose to create a Palette-Based image, the

other options on this tab become available.

2 Choose how many colors you want the image to contain. As

mentioned, a paletted image contains 256 or fewer colors. As you

remove colors, the size of the file decreases, but so does the

quality of the image. Use the preview windows to help you

determine how small you can make the image without

compromising quality.

3 Choose how much dithering you want in the image. This refers to

the way the program arranges pixels to compensate for missing

colors in the adjacent pixels. Use the preview windows to help

you determine the best setting.

4 Select a method of color selection to determine how Paint Shop

Pro reduces the number of colors in the image:

Select Existing Palette if your image is paletted and you want

to use its palette.

Select Standard/Web-safe if your image will be used on the

Web.

Select Optimized Median Cut if you need to reduce the image

to only a few colors.

Select Optimized Octree if your original image contains only a

few colors.

Note: Depending on your needs, try both “Optimized” options

and select the one that produces the better-looking image or the

smaller file size.

5 In the Options group box:

Mark Boost selected colors to give selected colors more

weight by a factor of the value you enter. Use this if you have

made a selection in the image and you want its colors stand

out from the rest of the image. After marking the check box,

and set the value to determine the amount of color boosting.

Mark the Include Windows’ colors check box to include the

16 standard Windows colors in the palette. If the image will

be used on the Web, mark this check box.

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PNG Optimizer Transparency Tab

The option you choose in this tab determines which area of the

image becomes transparent. To create a transparency from a

selection, make the selection before opening the PNG Optimizer

dialog.

1 For the type of transparency, choose from these options:

No transparency Saves the image without transparency.

Single color transparency Makes one color transparent. If the

image contains transparency, then you can then select the

Existing Image or Layer Transparency option (described

below). If the image does not contain a transparency, then

select the Areas that Match this Color option. The Single

Color Transparency option usually creates a smaller file than

the Alpha Channel Transparency option, but selecting it

causes the image to lose existing alpha channel transparency.

Alpha channel transparency Uses the image’s alpha channel

transparency. Because paletted images cannot contain alpha

channels, this option is available only when you select

Greyscale or 16 million color option on the Colors tab.

2 For the areas of the image to be transparent, choose from these

options:

Existing image or layer transparency Uses the current

transparency information. For paletted transparency and alpha

transparency images, the alpha channel is used to create

transparency

Inside the current selection For images with a selection, this

option makes transparent everything within the selection.

Outside the current selection For images with a selection, this

option makes transparent everything outside the selection.

Areas that match this color Click the color box to select any

color. Or, to choose a color from the image, move the cursor

over the image, and click the color. In the Tolerance edit box,

set a tolerance factor that indicates how closely colors must

match the selected color before they become transparent.

Chapter 19: Sharing and Creating Images for the Web 469

PNG Optimizer Format Tab

Use this tab to determine how an image appears as it is downloaded:

Non-interlaced The image downloads one line at a time, starting

from the top.

Interlaced The image is displayed incrementally in several passes,

and detail is added each time. Use this option with larger images so

that the viewer can get an idea of how the image looks while waiting

for it to download.

PNG Optimizer Download Times Tab

This tab displays the size of the compressed file and an estimate of

the download time at four modem speeds. If the file size is too large,

decrease it by clicking the Colors tab and reducing the number of

colors.

Saving the PNG File

After you have selected the options, click OK to open the Save As

dialog. Navigate to the folder in which you want to save the new

image, and type a name for the file. When you click Save, Paint

Shop Pro saves a copy of the image and leaves the original image

unchanged.

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470

Saving Images for Use In Animation Shop

If you want to save an image for use in Animation Shop, you must be

aware of the following:

Animation Shop can only open .PspImage format images saved

with the PSP 7 or earlier compatibility option. In the Save As

dialog, choose either of these file formats:

Choose the Animation Shop format; or

Choose the Paint Shop Pro Image format, click Options, and then

choose an earlier Paint Shop Pro version compatibility option.

Animation Shop also supports popular file formats such as GIF

and JPG. Note that JPEG 2000 is not supported by Animation

Shop.

Previewing Images in a Web Browser

If you have a Web browser installed on your computer, you can use

the Web Browser feature to see how your active image will look on

the Web. Paint Shop Pro creates an HTML page that displays your

image in Windows Bitmap, GIF, JPEG, or PNG format.

To preview image files in Web browsers:

1 Choose View > Preview in Web Browser to open the Preview in

Web Browser dialog.

2 To change or add Web browsers, click the Edit Web Browsers

button. For more information, see “Setting File Format

Associations” on page 79. You can select up to three browsers.

3 In the Select image formats list, click each format in which you

want to preview your image.

4 To select a background color for the Web page, left-click the

Background color box to choose from the Color dialog or right-

click it to choose a recently used color.

5 In the Image size group box:

Mark the Use default check box to keep the original image

dimension. Clear the check box to enter new image

dimensions (in pixels) in the Width and Height edit boxes.

The resizing is done using HTML and not by Paint Shop Pro.

Mark the Lock Aspect Ratio check box to keep the image’s

current height to width ratio when it is resized.

Chapter 19: Sharing and Creating Images for the Web 471

6 Click the Preview button.

If you selected to preview only the Bitmap format, the

program launches the Web Browser and displays the image.

If you selected any other format, the program opens the

appropriate Optimization dialog (see “Saving Images for the

Web” on page 459). Select your choices for optimizing the

image and click OK.

The Web browser or browsers display your image in the selected

formats. You may need to scroll to see them. For each format, the

browser displays the file size, color depth, and approximate

download times at different modem speeds.

Creating Image Rollovers

A rollover is an image or section of an image that changes

appearance when the user activates it. Web designers frequently

create rollovers for the buttons of a navigation bar. When a user

clicks a button, the browser displays the linked Web page (or file),

and the rollover area displays a different button.

You can assign a rollover to both sliced and mapped images by

choosing a file for the slice or area to display when the user performs

a specific mouse action.

To create image rollovers:

1 Create the image that will be used as the rollover image. Often this

second image is a duplicate of the original, but modified to appear

differently when the mouse rolls over the original image.

2 Choose File > Export > Image Mapper or Image Slicer to open the

Image Mapper or Image Slicer dialog.

3 If necessary, navigate to an image region, and then use the

appropriate tool (rectangle, ellipse, polygon) to specify the

region where you want to add a rollover.

4 Click the Rollover Creator button to open the Rollover Creator

dialog.

5 Select the check box of the action you want used to activate the

rollover: Mouse over, Mouse out, Mouse click, Mouse

double-click, Mouse up, Mouse down, and then click the Open

button to open the Select Rollover dialog.

6 Navigate to and select the graphics file you want to use as the

rollover image.

Viewing a Preview

Click the Preview button to

view your work in a Web browser

window.

Chapter 19: Sharing and Creating Images for the Web

472

7 Click Open. On the Rollover Creator dialog, the File box displays

the file path.

8 For each action you want associated with a rollover, mark the

check box and choose a rollover file.

Note: If you do not select a file, then the original file is used.

9 Click Close to return to the Image Mapper or Image Slicer

dialog.

Mapping Images

Use the Image Mapper dialog to create image maps for your Web

pages. An image map is a graphic that contains a mapped areas

(called cells), that link to URLs. Cells can be circles, rectangles, or

irregular shapes. When user moves the mouse over a cell, the cursor

changes to a hand indicating that you can click that area to jump to

another Web page.

To map an image, first create the map areas (cells), then assign the

URLs, set cell properties, and then save the map file as GIF, JPEG,

or PNG file. When you save the file, a HTML page is automatically

generated and copied to the clipboard, so all you have to do is paste

it into the source files for the Web page.

Creating Map Areas

On the Image Mapper dialog, use the tools in the Tools group box to

create and edit the mapped areas.

To create a map area:

1 Choose File > Export > Image Mapper to open the Image Mapper

dialog.

2 Choose the shape of a mapped area.

The Rectangle tool creates square or rectangular map areas, the

Circle tool creates circular map areas, and the Polygon tool

creates map areas enclosed with multiple straight line segments.

3 Do either of the following:

With the Rectangle or Circle tool, click the image in the

preview window (not the original image) and drag the cursor

until the area you want map is enclosed.

Tips:

Use the Pan tool drag the image

in the preview to view hidden

areas of the image.

Increase the size of the dialog to

view more of the image in the

preview area.

Use the Zoom buttons to

magnify a specific area of the

image.

Chapter 19: Sharing and Creating Images for the Web 473

With the Polygon tool, click the image in the preview window

to set the starting point, move the cursor to where you want

the line to change directions, and click the image. Continue

clicking new positions in the image to change the direction of

the line. To complete the polygon, left-click on or near the

starting point, or right-click the image.

To change the shape of a map area:

Select the Pan tool , and then:

Click and drag any point on a rectangle or a polygon.

Click and drag a circle by the dot at its upper left or lower right.

To move the entire map area:

Select the Move tool , click inside the map area, and then drag it

to a new position.

To remove a map area from the image:

Select the Eraser tool , and then click inside the map area.

To remove all of the map areas:

Click the Clear button.

Assigning Map Area Properties

After you have created the map areas (or cells), use the settings in

the Cell Properties group box to assign URLs, alternate text, and

targets.

To assign map area properties:

1 Make a map area active by clicking inside it with the Pan or Move

tool. Its boundaries are displayed in the lower portion of the Cell

Properties group box.

2 In the URL field, type the address of the Web page that you want

to link to (example: http//www.jasc.com), or select an recently

used address from the drop-down list. If you do not want to link

to a Web page, type #.

Viewing a Preview

Click the Preview button to

view your work in a Web browser

window.

Chapter 19: Sharing and Creating Images for the Web

474

3 In the Alt text field, type the text that displays if image doesn't

load or if the user has images disabled in their Web browser. This

text also appears as a ToolTip in some versions of Internet

Explorer. You can also select recently typed text from the

drop-down list.

4 In the Target box, select the target frame in which to open the

linked page:

_blank Loads the linked page in a new browser window.

_parent Loads the linked page in the parent frameset of the link.

If the link is not in a nested frame, the image loads in the full

browser window.

_self Loads the linked page in the same frame as the link.

_top Loads the linked page in the full browser window and

removes all frames.

5 To assign a rollover to a map area, click the Rollover Creator

button, see “Slicing Images” on page 476.

Setting Map Preferences

Using the Map Preferences dialog to select new colors for the border

lines of the active and inactive map areas and enter the number of

entries that the URL and Alt text drop-down lists display.

1 In the Image Mapper dialog, click the Preferences button to open

the Map Preferences dialog.

2 For the Active map border color, click the color box and choose a

color.

3 For the Inactive map border color, click the color box and choose

a color.

4 For the Maximum history list, enter the number of entries stored

in the URL and Alt text drop-down lists.

5 Click OK.

URL and Alt text tip

The recent information typed in the

URL and Alt text fields is

remembered by the program. To

adjust how much information is

remembered, see “Setting Map

Preferences” on page 474.

Chapter 19: Sharing and Creating Images for the Web 475

Saving and Loading the Map Settings

When you save the map settings, you save the map area arrangement

and the information you entered in the Image Mapper dialog. You

can then re-load the settings into the same image, or use the settings

with a different image.

To save the map settings:

1 In the Image Mapper dialog, click the Save Settings As button to

open the Save Map Settings dialog.

2 Navigate to the folder in which you want to save the settings file.

The file is saved in the .JMD format.

3 Type a name for the file and click Save.

To load the map settings:

1 Open the image in which you want to load map settings.

2 Choose File > Export > Image Mapper to open the Image Mapper

dialog.

3 Click the Load Settings button to open the Load Map Settings

dialog.

4 Navigate to and select the .JMD file you want to load.

5 Click Open.

Saving an Image Map to the Clipboard

Save map settings to the clipboard so you can paste them into the

HTML code.

To save an image map to the clipboard:

1 In the Image Mapper dialog, click the Save to Clipboard button to

open the HTML Destination Folder dialog.

2 Navigate to the folder where the HTML file is saved, and click

OK to open the Image Map Save as dialog.

3 Navigate to the folder where the image file is saved, and click

Save.

4 Open the HTML file, place the cursor where you want to insert

the HTML map code, and press Ctrl + P.

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476

Saving Image Maps

Save image maps to a directory on your hard drive so you can use or

edit them.

To save image maps:

1 In the Image Mapper dialog, click the Save or Save as button to

open the HTML Save As dialog.

2 Navigate to the folder where you want to save the HTML code

and click OK.

Slicing Images

When you slice an image, you divide it into several smaller images

that you can save in different formats or at different levels of

optimization. Because these optimized images can take less time to

download than one large image, your Web pages may load more

quickly.

Slicing an image also can reduce the number of graphics you need to

save. If your Web site displays the same logo or other graphic in

more than one image, you only need to save that section once if you

slice the images; you reload the same logo or graphic section into all

the images.

The Imager Slicer works by creating a table from the image, saving

the location of each sliced section as a region in the table, and

generating the HTML code for the column and cells. Copy this code

into your source files so that the image can be reassembled when the

user downloads the Web page.

The Image Slicer can also create rollovers, which are areas that

display secondary images when the user clicks or moves a mouse

over them.

Creating and Editing Cells

In the Image Slicer dialog, use the tools in the Tools group box to

divide the image into cells and to edit the cell boundaries. The Grid

tool creates a grid of evenly spaced cells, either over the entire image

or within another cell. The Line tool creates a horizontal or vertical

line.

Chapter 19: Sharing and Creating Images for the Web 477

To create the cells:

1 Choose File > Export > Image Slicer to open the Image Slicer

dialog.

2 Do either of the following:

To create evenly spaced and sized cells, click the Grid

tool . Click in the image. The Grid Size dialog opens. Set

the number of Rows and Columns.

To isolate a specific area, such as a logo, click the Slice tool

. Click and drag in the image where you want a line to

appear. To create a vertical line, click and drag vertically; to

create a horizontal line, click and drag horizontally.

To move a line or grid border:

1 Choose either the Pan tool or Slice tool .

2 Move the cursor over a line.

3 When the cursor changes to the double-sided arrow , click and

drag the line to a new position. To move only the segment within

the current cell, press the Shift key before clicking the line.

Note: You can move lines up, but not across adjacent parallel

lines. You can move individual lines and lines that are part of a

grid. As you drag a line, Paint Shop Pro moves the longest

segment that can be repositioned without creating a

non-rectangular cell.

To delete a line or grid border:

1 Select the Eraser tool and move the cursor over the line.

2 When the cursor changes to the Eraser, click to delete the line. If

deleting the line would create an invalid area, Paint Shop Pro

displays an icon to indicate that you cannot erase the line.

Assigning Slice Cell Properties

After you have created sliced cells, use the settings in the Cell

Properties group box to assign URLs, alternate text, and targets to

each cell. You also set whether the cell should appear in the

downloaded image. By omitting cells, you can add cells from other

images (such as logos or text) and create images in non-rectangular

shapes.

Tips:

Use the Pan tool drag the image

in the preview to view hidden

areas of the image.

Increase the size of the dialog to

view more of the image in the

preview area.

Use the Zoom buttons to

magnify a specific area of the

image.

Chapter 19: Sharing and Creating Images for the Web

478

To assign cell properties:

1 Choose the Pan tool , then click inside the cell to make it active.

The cell boundary information displays in the lower portion of the

Cell Properties group box.

2 In the URL drop-down list, type the address of the Web page

where you want the cell to appear. Click the arrow in the box to

display and select recently used addresses.

3 In the Alt text box, type alternate text that the browser can

display while the cell is downloading, if the cell doesn't

download, or if the user has images disabled in the Web browser.

This text also appears as a ToolTip in some versions of Internet

Explorer.

4 In the Target box, select the target frame or window in which you

want the image to open:

_blank Loads the linked page in a new browser window.

_parent Loads the linked page in the parent window or frameset

of the link. If the link is not in a nested frame, the image loads in

the full browser window.

_self Loads the linked page in the same window or frame as the

link.

_top Loads the linked page in the full browser window and

removes all frames.

5 To omit the cell from the downloaded image, clear the Include

cell in table check box. No image will be saved for that cell.

By default, this check box is marked and the cell appears in the

image.

6 To assign a rollover to a map area, click the Rollover Creator

button. For more information, see “Slicing Images” on page 476.

Setting Slice Preferences

In the Slice Preferences dialog, select new colors for the border lines

of the active and inactive areas and enter the number of entries URL

and Alt text drop-down lists display.

1 In the Image Mapper dialog, click the Preferences button to open

the Slice Preferences dialog.

2 For the Active tile border color, click the color box and choose a

color.

Chapter 19: Sharing and Creating Images for the Web 479

3 For the Inactive tile border color, click the color box and choose

a color.

4 For the Maximum history list, enter the number of entries stored

in the URL and Alt text drop-down lists.

5 Mark the Prompt for image folder on Save or Save As check box

to indicate that you want to be prompted for a file location and

name for your slices when you save the HTML code.

6 Click OK.

Saving and Loading Slice Settings

When you save the slice settings, you save the cell arrangement and

the information you entered in the Image Slicer dialog. You can then

re-load the settings into the same image or use them with a different

image.

To save the slice settings:

1 In the Image Mapper dialog, click the Save Settings button to open

the Save Slice Settings dialog.

2 Navigate to the folder in which you want to save the settings file.

The file is saved in the .JSD format.

3 Type a name for the file and click Save.

To load the slice settings:

1 In the Image Mapper dialog, click the Load Settings button to open

the Load Slice Settings dialog.

2 Select the JSD file you want to load and click Open.

If you are loading a grid to a different image, Paint Shop Pro

automatically adjusts the grid size if the dimensions of the image are

not the same.

Saving Image Slices to the Clipboard

Save slice settings to the clipboard so you can paste them into your

HTML code.

To save Image Slices to the clipboard:

1 In the Image Slicer dialog, click the Save to Clipboard button to

open the HTML Destination Folder dialog.

Chapter 19: Sharing and Creating Images for the Web

480

2 Navigate to the folder where the HTML file is saved, and click

OK save the slice settings.

3 Open the HTML file, place the cursor where you want to insert

the HTML slice code, and press Ctrl + P.

Saving Slices

Save slices to a directory on your hard drive so you can use or edit

them.

To save slices:

1 In the Image Slicer dialog, click the Save or Save as button to

open the HTML Save As dialog.

2 Navigate to the folder where you want to save the HTML code

and click OK.

Using Digital Watermarks

A digital watermark is a permanent proof of authenticity for an

image. While a computer can detect it, it is invisible to the viewer. A

watermark contains information about the creator, the copyright, and

the image. When a viewer chooses to see this information, the

program opens a dialog that contains a link to the Digimarc® Web

page, which displays contact information for the artist.

Note

A layer can contain only one watermark. You cannot embed a new

watermark in a layer that already contains one.

Chapter 19: Sharing and Creating Images for the Web 481

Embedding a Digital Watermark

A digital watermark can only be embedded on a layer once since this

prevents its quality from being degraded by further changes to the

layer. If you try to embed a watermark in a layered image, Paint

Shop Pro displays a message recommending that you flatten the

image before proceeding.

When you embed a watermark, you can select the following options:

creator ID, image copyright dates, image attributes and restrictions

on use, and watermark durability. You can change the copyright date,

image attributes, and durability each time you embed a watermark.

You only need to configure the creator ID the first time you embed a

watermark.

To embed a watermark:

1 Choose Image > Watermarking > Embed Watermark to open the

Embed Watermark dialog.

2 Choose the information you want the watermark to contain:

Creator ID The identification of the creator of the image. Initially

set to “Jasc Watermark Demo.” To receive your own Creator ID,

“Personalizing the Creator ID” on page 482.

boxes. Digimarc accepts years from 1922 to the present.

Image Attributes The Image Attributes are the restrictions shown

when the program displays the watermark information. Mark the

check boxes of the attributes you want to apply to the image:

Restricted Use, Do Not Copy, or Adult Content.

Watermark Durability The durability indicates how visible

watermarks are on the image. For more information, see “Setting

the Watermark Durability” below.

3 Click OK.

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Setting the Watermark Durability

The watermark durability indicates how visible watermarks are on

the image. For images to be printed, use stronger watermarks. For

images to be displayed on a monitor, use weaker watermarks

because they are not as visible. While stronger watermarks are easier

to detect, and harder to remove, they are also more visible in the

image. You can make two copies of the image and apply a stronger

watermark to the copy you are printing and a weaker one to the copy

you are displaying electronically.

To set the watermark durability:

1 From the Target Output drop-down list, choose how the image will

be displayed: Monitor or Print. If you select the Print option for an

image with a resolution under 300 dpi, Paint Shop Pro displays a

message recommending that you increase the image resolution

before embedding the watermark.

2 To set the watermark strength, in the Watermark Durability field

type a number from 1 to 16, drag the slider below it, or use the

default values. The default Monitor option is 8; the default Print

option is 12.

3 To verify that the watermark information is embedded correctly,

mark the Verify check box. The program checks that the

watermark has been applied and displays its attributes and

durability.

Personalizing the Creator ID

Initially, Paint Shop Pro’s watermark Creator ID is set to “Jasc

Watermark Demo.” Customizing the watermark with your own

identification number is a two-step process:

First, register with Digimarc to obtain your own ID number.

Second, enter the information in the Personalize Creator ID

dialog.

To personalize the Creator ID:

1 Display the Embed Watermark dialog. See “Embedding a Digital

Watermark” on page 481.

2 Click the Personalize button to open the Personalize Creator ID

dialog.

Chapter 19: Sharing and Creating Images for the Web 483

3 To register with Digimarc, do one of the following:

If your computer has Web access, click Register. Your Web

browser opens and navigates to the Digimarc Web page.

Follow the on-screen instructions to receive a Creator ID

number, a PIN number, and a password. You should write

them down for later use. Close the browser to return to the

Personalize Creator ID dialog.

If your computer does not have Web access, phone Digimarc

using the toll-free number to register and receive your Creator

ID number, a PIN number, and a password.

4 Type the PIN and Creator ID numbers in the appropriate fields.

5 Click OK. The Embed Watermark dialog opens.

6 Click OK.

If the “Verify” check box is selected, the Embed Watermark:

Verify dialog opens. It lets you know that the watermark has been

embedded and displays the creator, copyright, image attribute,

and durability information from the Embed Watermark dialog.

Reading a Digital Watermark

Whenever Paint Shop Pro opens an image, it automatically checks

for a digital watermark. If one is detected, the program displays a

watermark information by choosing Image > Image Information, and

then clicking the Watermark Information tab.

While most watermarks are detected, some may be too weak to read.

To do a more thorough search, use the Read Watermark command by

choosing Image > Watermarking > Read Watermark. If Paint Shop

Pro does not detect a watermark, it displays a message stating that no

watermark was found. If it detects a watermark, it opens the

Watermark Information dialog.

If your computer is connected to the Web, click the Web Lookup

button to open your browser and view the Digimarc Web page that

displays information about the creator.

Chapter 19: Sharing and Creating Images for the Web

484

485

Index

Symbols

* in title bar, 22

Numerics

3D effects, 221

About, 303

about

color channels, 259

color depth, 260

color models, 256

dialogs, 19

image resolution, 37

image size, 36

making color and tonal corrections, 126

raster images, 35

vector graphics, 35

acquiring images

from digital camera or scanner, 30

from mounted drive, 31

screen capture, 41

using TWAIN, 32

using Windows XP, 31

adding contours, 338

additive colors, 258

Adjust menu

Add/Remove Noise

Add Noise, 225

Automatic Scratch Removal, 122

Deinterlace, 115

Despeckle, 110

Edge Preserving Smooth, 112

JPEG Artifact Removal, 115

Median Filter, 112

Moiré Pattern Removal, 116

Salt and Pepper Filter, 111

Texture Preserving Smooth, 113

Blur

Average, 123

Blur, 123

Blur More, 123

Gaussian, 123

Motion Blur, 123

Brightness and Contrast

Brightness/Contrast, 135

Channel Mixer, 133

Clarify, 107

Curves, 136

Gamma Correction, 137

Highlights/Midtones/Shadows, 138

Histogram Adjustment, 149

Histogram Equalize, 135

Histogram Stretch, 135

Levels, 139

Threshold, 142

Color Balance

Automatic Color Balance, 100

Black and White Points, 132

Color Balance, 129

Fade Correction, 105

Manual Color Correction, 101, 103

Red/Green/Blue, 128

Grey World Color Balance, 104

Hue and Saturation

Colorize, 141

Hue Map, 140

Hue/Saturation/Lightness, 130

Index

486

Lens Correction

Barrel Distortion Correction, 98

Fisheye Distortion Correction, 98

Pincushion Distortion Correction, 99

Negative Image, 144

Red-Eye Removal, 117

Sharpness

Sharpen, 108

Sharpen More, 108

Unsharp Mask, 108

Softness

Soft Focus, 113

Soften, 113

Soften More, 113

Adjustment layers

about, 382

adding, 382

editing, 384

modification basics, 384

types of, 383

Airbrush, 278

align vector objects, 345

alpha channels

loading masks from, 401

saving mask to, 403

alpha channels, deleting masks from, 397

Animation Shop, opening frames into Paint Shop Pro,

anti-aliasing

text, 410

Art Eraser tool

using, 317

Art Media

brushes, 305

Mixer palette, 299

Art Media Brushes, 305

Art Media effects, 221

Art Media Layers

creating a new image from, 299

dry and wet, 298, 302

Art Media tools, 297

Art Media Layers, 298

Artistic effects, 222

Auto Action preferences, 65

Auto Kern, 411

Automated Productivity Scripts, see Scripting

Automatic Color Balance, 100

Automatic Color Balance command, 100

Automatic Contrast Enhancement command, 106

Automatic Saturation Enhancement command, 109

automating tasks, 419

batch processing, 422

creating presets, 420

scripting, 425

Autosave

settings, 67

using, 49

Average blur, 123

background color, 238

Background eraser, 288

Barrel Distortion Correction command, 98

Batch Process command, 422

Bezier curve drawing, 325

Binding scripts to icons, 433

black & white printers, 437

black and white images, 142

Black and White Points command, 132

blend

modes, 373

ranges, 376

Blur command, 123

Blur more, 123

borders

adding to an image, 152

modifying in selection, 212

breaking contours, 341

brightness and contrast

adjusting, 134

adjusting gamma, 137

adjusting individual values, 136

adjusting manually, 135

Index 487

Browser

Edit menu

Invert Selection, 45

Select None, 45

File menu

Select, 45

Sort, 45

Update Thumbnails, 48

Image File menu

Open, 33

preferences, 62

printing, 446

printing with templates, 447

using to copy images, 162

brush size, adjusting, 277, 307

brush tip

creating, 280

deleting, 281

resetting defaults, 279

saving, 281

saving as a Preset, 282

Brush Variance palette

opening, 282

using, 282

brushes

Art Media, 305

Clone, 290

erasers, 287

options, 276

Paint Brush or Airbrush, 278

painting, 278

Retouch, 294

Warp, 286

Burn brush, 294

cells

in image maps

in sliced images, 476

Chalk tool, 310

using, 310

Change-to-Target brush, 295

changing canvas size, 152

changing curves and lines, 352

Channel Mixer command, 133

choosing colors, 239

by sampling, 243

for the Web, 241

from an image, 241

from the desktop, 242

from the image palette, 242

using the dropper, 243

choosing gradients, 244

choosing patterns, from an image, 247

Clear Output Window command, 427

Clip to canvas command, 212

Clipboard, emptying, 163

Clone brush, 290

Closing a file, 52

closing contours, 338

CMYK, 259

color separations, 452

profiles

defining, 452

modifying, 454

color balance, 128

black and white points, 132

Grey World, 104

highlights/midtones/shadows, 129

hue/saturation/lightness, 130

manual correction, 101

overall balance, 128

color box, 21

color cast, removing, 100

color channels, working with, 259

color correction

automatic, 100

Grey World, 104

manual, 101, 103

color categories in, 102

color depth

about, 260

Color Management

about, 85

using, 86

Index

488

color model

CMYK, 257

HSL, 256

RGB, 256

color palette, 236

making transparent, 272

Color Picker, Windows, 61

color reduction, 267

Color Replacer tool, 293

Colored Pencil tool, 313

using, 313

colorizing images, 141

colors

color values, 240

correcting by setting black and white points, 132

GIF files, 463

how to approach adjustments, 96

improving in photographs, 105

in print, 258

manually correcting, 101

overview of correction options, 100

PNG files, 467

viewing on a monitor, 258

Colors menu

Combine Channel, 259

Increase Color Depth, 261

Split Channel, 259

combining images, 231

commands, moving, 57

compressing images, 49

context menus, 19

customizing, 59

contiguous pixels, definition of, 284

contours

adding, 338

break with Pen tool, 342

breaking, 341

closing, 338

definition of, 321

editing, 349

joining, 340

reversing, 339

contrast

enhancing automatically, 106

how to approach adjustments, 96

improving in photographs, 106, 107

overview of correction options, 106

control arms, 353

convert to line, 354

Copy command, 160

Copy Merged command, 160

copying images

into other applications, 163

parts of an image, 290

using the Browser, 162

correcting eyes, 118

correcting image angle, 170

correcting perspective, 155

Crayon tool, 312

using, 312

creating

a custom Mixer Page, 304

brush tip from selection, 280

brush tips, 280

hollow shapes, 339

images, 35

new image, 38

raster images, 35

vector graphics, 35

creator IDs, registering, 482

Crop tool shading preferences, 64

cropping, 157

a selection, 159

to opaque areas, 160

Curves command, 136

curves, adjusting, 353

custom line styles, 334

dash segment style, 335

end cap styles, in vector objects, 335

customizing

context menus, 59

menu and toolbar appearance, 83

Paint Shop Pro, 53

the workspace, 56

toolbars, 56

Index 489

Cut command, 160

dash segment style, 335

defects

removing noise in images, 110, 113

removing source, 114, 117

Deform tool, 155, 169, 171

options, 172

deformation maps, 179

deinterlace command, 114

deleting

a selection, 200

brush tips, 281

images, 164

masks, 396

nodes, 356

vector objects, 336

Deleting gradients, 255

Despeckle command, 110

dialogs

about, 19

color box, 21

editing values, 21

presets, 21

preview windows, 20

proofing, 20

Digimarc

registering, 482

digital camera, importing images from, 30

digital watermark

using, 480

Displacement Map effect, 228

Display and Caching preferences, 61

distort, 347

Distortion effects, 222

distortions

correcting in photographs, 97, 99

overview of correction options, 97

Dodge brush, 294

downloading images

from a digital camera, 30

mounted drive, 31

Windows XP, 31

drawing

custom line styles, 334

Drawing Bezier curves, 325

Drawing Freehand curves, 326

Drawing line segments, 321

Drawing preset shapes, 331

Drawing rectangles, 328

Drawing squares, 328

Drawing symmetric shapes, 330

dry art media layers, 298, 302

duotone images, 141

Duplicate an image window, 23

Edge Preserving Smooth command, 112

Edge Seeker, 195

Edit menu

Copy, 40, 161

Copy Merged, 40, 161

Empty Clipboard, 163

Paste

As New Image, 40

As New Selection, 218

Paste As New Image, 161

Paste As New Layer, 161

Paste As New Selection, 162

Paste As Transparent Selection, 162

Paste Into Selection, 162

Select All, 45

edit mode, 349

Edit print layout template cells, 450

Edit Selection command, 201

Index

490

editing

contours, 349

gradients, 251

masks, 397

nodes, 351

paths, 349

scripts, 430

template cells, 450

text, 411

vector objects, 336

Effect Browser, 220

effects

adding to text, 413

choosing, 220

creating your own, 228

Effect Browser, 220

using dialogs, 220

Effects menu

3D Effects, 221

Artistic Effects

Posterize, 143

Solarize, 145

Distortion Effects, 222

Edge Effects, 222

Geometric Effects, 223

Illumination Effects, 223

Image Effects, 223

Seamless Tiling, 205

Reflection Effects, 224

Texture Effects, 225

User Defined, 228

Elliptical print layout cells, 451

embedding watermarks, 481

Emboss brush, 294

end cap styles, 335

Eraser tool, 287, 317

erasing

image background, 288

parts of images, 287

EXIF, 28

EXIF image information, 28

exporting

GIF files, 461

JPEG files, 464

PNG files, 466

Exporting preset shapes, 333

feathering selections, 208

File Format Associations

about, 79

adding or removing, 79

changing, 79

File Format Preferences

PCD tab, 76

PostScript tab, 76

RAW tab, 77

WMF tab, 78

File Format Preferences, setting, 73

File Locations

editing, 68

Web browsers, 72

File Locations, setting, 67

File menu

Browse, 33

Import

From Scanner or Camera, 31

Screen Capture, 41

TWAIN, 32

New, 38

Open, 33

Print, 446

Print Layout

print layout window, 440

Recent Files, 34

Revert, 178

Save, 50

Save As, 32, 49

Script, 426

filter, soft focus, 113

Find tab in Browser, 47

Fisheye distortion, 98

Flip command, 164

floating selections, 218

Index 491

floating text, 410

Flood Fill tool, 284

font style, text, 410

footer, 439

foreground color, 237

Frame tab of Materials palette, 237

frames, see picture frames

Free Rotate, 168

Freehand, 195

Freehand curve drawing, 326

Freehand Selection too

using, 195

Freehand Selection tool

about, 192

full screen

editing in, 27

preview, 27

function keys, 11

Gamma Correction command, 137

Gaussian blur, 123

General Program Preferences

accessing, 59

Auto Action tab, 65

Browser tab, 62

Display and Caching tab, 61

Miscellaneous tab, 66

Palettes tab, 62

Photo Sharing tab, 65

Transparency and Shading tab, 64

Undo tab, 59

Units tab, 63

View tab, 60

Warnings tab, 65

Geometric effects, 223

GIF files

exporting, 461

optimizing, 461

saving, 461

using the Wizard, 464

GIF optimizer settings, 461

Gradient Editor, 252

gradients, 244

changing color, 253

changing markers, 252

changing midpoints, 252

deleting marker, 253

editing, 251

exporting, 254

importing, 255

marker color, 253

marker transparency, 253

new marker, 253

new types, 254

saving, 254

gradients, renaming, 255

graininess, reducing, 123

Grey World correction, 104

greyscale images, 142, 143

grid

snapping to, 177

using, 174

grouping, vector objects, 344

guides

changing color, 175

deleting, 176

modifying settings, 176

moving, 175

placing, 175

snapping to, 177

using, 175

halos in JPEG images, 115

Help system, using, 7

highlights/midtones/shadows, adjusting, 138

Histogram, 134

correcting images, using, 148

displaying, 145

guidelines for analyzing, 147

understanding values, 147

using to analyze images, 145

Histogram Stretch command, 135

Historgram Equalize command, 135

Index

492

History palette, Quickscript, 188

History palette, selective undo/redo feature, 182

History palette, using, 181

holes and specks, removing from a selection, 210

hollow shapes, creating, 339

HSL, 259

hue and saturation

adjusting using Hue Map, 140

colorizing, 141

Hue Map command, 140

Hue Up/Down brush, 295

Illumination effects, 223

image

adding borders, 152

adding effects, 219

changing resolution, 167

color and lightness, 436

color palette, 269

correcting faded, 105

correcting perspective, 155

cropping, 157

decreasing color depth, 263

deforming, 171

deleting, 164

effects, 223

embedding a digital watermark, 481

increasing color depth, 261

information, 28

previewing in Web browsers, 470

resizing, 166

rotating, 168

saving, 50

saving a copy, 51

saving for printing, 437

saving with new format, 51

warping, 178

Image menu

Add Borders, 152

Arithmetic, 153, 231

Count Colors Used, 260

Count Image Colors, 261

Delete Alpha Channel, 217

Flip, 164

Greyscale, 143

Image Information, 260

Palette

Edit Palette, 269

Load Palette, 270

Save Palette, 270

Set Palette Transparency, 272

Picture Frame, 226

Resize, 166

image negatives, 144

image perspective, correcting, 155

image problems, JPEG images, 115

images

automatically arranging in layouts, 441

combining, 153, 231

mapping, 472

positioning in layouts, 442

slicing, 476

importing gradients, 255

importing images

from a digital camera or scanner, 30

using TWAIN, 32

Info tab in Browser, 47

installing, 6

Invert command, 144

inverting

masks, 398

selections, 204

Jasc Color Picker, 239

Basic Colors panel, 240

color wheel, 240

displaying the, 240

joining contours, 340

JPEG images, removing artifacts in, 115

JPEG optimizer settings, 465

Index 493

keyboard shortcuts, 11

Keyboard shortcuts, assigning and viewing, 81

Kodak PhotoCD file format preferences, 76

Layers palette

displaying, 386

highlighting icons, 377

using, 385

viewing layer content, 386

Layers

adding new, 366

Adjustment layers, 363, 382

Art Media, 298

Background layers, 361

Blend modes, 373

Blend ranges, 376

changing opacity, 372

copying to another image, 367

creating from selections, 368

deleting, 381

duplicating, 367

editing properties, 368

grouping, 370

highlight colors, 377

layer groups, 387

Layers palette, using, 385

linking layers and groups, 371

Load/Save Mask

load mask from alpha channel, 401

Lock Transparency setting, 376

Mask layers, 363

Matting commands, 381

merging, 379

modifying, 378

modifying art media layer properties, 299

moving vector objects, 378

promoting Background layers, 367

Raster layers, 361

renaming, 368

selecting, 387

stacking order, 378

unlinking layers and groups, 372

using Move tool, 379

using with illustrations, 365

using with photos, 364

Vector layers, 362

visibility options, 369

Layers menu

Invert Mask/Adjustment, 398

Load Mask

From Disk, 399

Load/Save Mask

save mask to alpha channel, 403

Save Mask to Disk, 402

Matting

Defringe, 209

Remove Black Matte, 209

Remove White Matte, 209

New Adjustment Layer

Brightness/Contrast, 135

Channel Mixer, 133

Curves, 136

Hue/Saturation/Lightness, 130

Invert, 144

Levels, 139

Threshold, 142

New Mask Layer

From Image, 393

Hide All, 392

Hide Selection, 394

Show All, 392

Show Selection, 394

View Overlay, 396

layouts

automatically arranging images, 441

grids, 442

positioning images, 442

resizing images, 442

rotating images, 442

saving, 445

learning tools, 7

Quick Guides, 7

lens correction

barrel distortions, 98

fisheye distortion, 98

pincushion distortion, 99

Levels command

brightness and contrast

adjusting using levels, 139

Lighten/Darken brush, 294

Index

494

Lightness, 257

Line drawing, 321

line segments

changing, 353

Link Colors check box, 241

deformation map, 180

masks, 399

Load/Save Mask

saving masks to alpha channels, 402

Magic Wand tool, 192

Magnifier tool, 26

magnifying an image, 26

making selections, 191

Manual Color Correction, 101

Mapping images, 472

Marker tool, 314

using, 314

marquee

applying effects to, 202

definition of, 191

hiding, 203

moving, 203

masks

about, 390

as greyscale layers, 391

changing overlay color, 398

creating from channels, 395

creating from images, 393

creating from selections, 394

creating new, 392

deleting, 396

deleting from alpha channels, 397

displaying overlay, 396

editing, 397

gradient, 399

inverting, 398

layers, 390

loading from alpha channels, 401

loading from disk, 399

pattern, 399

saving to alpha channel, 402

saving to disk, 402

see contents, 391

texture, 399

Match mode, 197

Materials palette, 236

choosing colors, 234

choosing texture, 235

using, 234

Media tools

Chalk, 310

Colored Pencil, 313

Crayon, 312

dry pigment, 306

Eraser, 317

Marker, 314

Oil brush, 308

Palette Knife, 315

Pastel, 311

Smear, 316

wet pigment, 305

Median Filter command, 112

Menu bars

displaying, 56

resetting, 57

merging images, 153

merging nodes, 356

Mesh Warp tool, 178

Mirror command, 164

Mixer Area

emptying, 303

loading pages, 303

navigating, 303

saving, 303

Mixer Dropper tool, 299

Mixer Knife tool, 299

Mixer Page, creating, 304

Mixer Pages, 299

creating custom, 299

creating new, 299

deleting, 299

loading, 299

saving, 299

Index 495

Mixer palette, 299

painting with, 300

Mixer Tube tool, 299

moiré patterns, removing, 116

monitor

interaction with Windows Color Management, 85

Monitor adjustments, 84

Monitor Gamma command, 85

Motion blur, 123

Mounted Drive, 30

moving

commands, 57

Moving selections, 213

multiple image printing, see print layout

Negative Image command, 144

negative, creating positive image from, 144

new features, 2

new image, 38, 39

characteristics, 38

dimensions, 38

duplicating existing image, 39

from clipboard, 40

from layer, 40

with an art media layer, 299

node-on-node indicator, 341

nodes

adding, 354

adding with knife mode, 355

adjusting control arms, 353

anatomy of, 351

changing types, 353

definition of, 321

deleting, 356

editing, 351

merging, 356

moving, 352

new start or end, 355

selecting, 351

transform with Objects menu, 357

transform with tool options, 358

types, 351

asymmetrical, 351

cusp, 351

smooth, 351

symmetrical, 351

types of, 351

noise

adding, 225

overview of removal options, 110

removing, 110, 113

removing specks, 110, 111

removing while keeping texture, 113

removing while perserving edges, 112

removing with Blur commands, 123

object distribution, 345

Object Selection tool, 192

objects

alignment, 345

definition, 321

selecting, 192

Objects menu

Align, 345

Arrange, 346

Distribute, 346

Edit

Break, 341

Close, 338

Join, 340

Merge, 356

Reverse Contour, 339

Reverse Path, 339

Edit commands, 349

copy, 349

cut, 349

delete, 349

invert selection, 349

Paste, 349

select all, 349

select none, 349

Group, 344

Node Type, 351

Convert to Line, 354

Curve After, 354

Curve Before, 354

Line After, 354

Line Before, 354

Index

496

Transform Selected Nodes

Contract, 357

Expand, 357

Flip, 357

Mirror, 357

Rotate, 357

Skew, 357

Ungroup, 344

Oil Brush, 308

using, 308

opening images

existing images, 33

recently used, 34

using the Browser, 33

Optimized Median Cut, 268

Optimized Octree, 268

options, for printing, 437

Overview palette, 18

Paint Brush, 278

Paint Shop Pro

customizing, 53

exiting, 10

installing Paint Shop Pro, 6

starting, 10

user interface, 10

painting

brush options, 276

with brushes, 278

with Picture Tubes, 290

with the Mixer palette, 300

palette

docking, 16

hiding and displaying, 16

Materials, 236

Mixer, 299

options, 268

resizing, 16

using, 15

weighted, 263

Palette Knife tool, 315

using, 315

paper quality, and printing, 436

Paste command, 160

Pastel tool, 311

using, 311

paths

definition of, 321

editing, 349

reversing, 339

patterns

choosing, 246

creating new, 247

making from selections, 205

undesirable in images, 116

PCD file format preferences, 76

Pen tool

edit mode, 349

knife mode, 342, 355

Pen tool Bezier curve drawing, 325

Pen tool Freehand curve drawing, 326

Pen tool line drawing, 321

Perspective Correction tool, 156

Photo Sharing command, 65

Photo Sharing preferences, 65

photo sharing service

uploading images, 458

photographs

basic steps in improving, 88

correcting distortions, 97, 99

correcting faded, 105

improving, 87

improving colors, 100, 105, 106, 109

retouching, 117

picking colors, 21

picture frames, 226

Picture Tubes, 290

creating, 292

downloading more, 293

Plug-ins

about, 71

adding, 71

in File Locations, 71

Index 497

PNG files

exporting, 466

number of colors, 467

PNG optimizer settings, 466

PNG preferences, setting, 78

Point to Point selection tool, 195

position on canvas, 346

Posterize command

reducing lightness levels, 143

PostScript file format preferences, 76

Precise cursors, setting, 61

Preferences

Autosave Settings, 67

CMYK conversion, 453

resetting, 79

setting, 59

Preset Shape drawing, 331

Preset shapes, custom, 333

Presets

about, 420

brushes, 279

choosing, 421

deleting, 421

editing, 421

examples of, 420

resetting default, 421

saving, 421

previewing images in Web browsers, 470

print layout

printing, 440

selecting images, 440

window options, 444

Print layout text captions, 451

Print layout, elliptical cells, 451

print template

placing cells, 445

printing

CMYK color separations, 452

from the Browser, 446

greyscale, 437

header text, 439

image resolution, 436

multiple images on a page

options, 437

page size, 439

paper quality, 436

paper size, 439

print layout, 440

saving images for, 437

single image, 446

using templates, 448

Pure Colors category, 103

Push brush, 294

Python programming language, 425

Quick Guides, 7

Quickscripts from the History palette, 188

Radial Blur effect, 230

Rainbow tab of Materials palette, 237

randomizing parameters, 22

raster text, moving, 412

Raw Camera Data dialog, using, 75

Raw camera data preferences, setting, 73

RAW graphics file preferences, 77

reading Watermarks, 483

recently used materials, 235

Rectangle drawing, 328

red-eye correction, 117

fine tuning, 119

Redo command, 178

Redo selective History palette actions, 182

reducing colors to black and white, 142

Reflection effects, 224

regions, see cells

registering with Digimarc, 482

Remember Text option, 408

Remix, 303

Remix button on Mixer palette, 299

removing

Index

498

scratches, 120, 122

specks, 110

Renaming gradients, 255

replacing colors, 140, 293

using the Hue Map, 140

resampling, 166

Reset Preferences command, 80

Resetting settings, 421

Resetting tool options, 324

resetting tool options, 17

reshaping vector objects, 347

resizing images, 166

resizing vector objects, 347

resolution, changing, 167

Resource Manager dialog, using, 69

retouch brushes, 294

reversing contours, 339

reversing paths, 339

Revert command, 178

RGB, 256, 259

adjusting, 128

adjusting color channels, 133

rotating images, 168

Deform tool, 169

Free Rotate, 168

Straighten tool, 170

rotating vector objects, 348

rotation handle, 348

rotation pivot point, 348

rulers

displaying, 173

using, 173

Salt and Pepper Filter, 111

sampling colors, 243

saturation, 257

enhancing automatically, 109

how to approach adjustments, 96

improving in photographs, 109

overview of correction options, 109

Saturation Up/Down brush, 294

Saturation, improving, 109

Saving, 51

saving

an image, 50

an image in a different file format, 51

brush tip, 281

copy of image, 51

deformation map, 179

gradients, 254

images for printing, 437

layouts, 445

masks, 402

PNG files, 466

Save As dialog, 50

Save Copy As command, 51

using Autosave, 49

scanning images, 30

photos with undesirable patterns, 116

scan line problems, 114

Scratch Removal tool, 120

scratches, removing automatically, 122

screen capture, 41

area, 43

capturing a screen, 42

object, 43

setting options, 41

Script Output palette, 427

Scripting

basics, 425

binding scripts to icons, 433

changing Python Source editors, 432

displaying Script toolbar, 425

editing, 430

Python programming language, 425

recording, 429

Restricted Script Mode, 428

running a script, 427

saving, 429

Scripts-Restricted folder, 428

Scripts-Trusted folder, 428

undoing an applied script, 427

seamless tiling, 205

Index 499

selecting

layers, 387

nodes, 351

non-masked areas, 200

pixels, 201

text, 199

vector objects, 199

selecting vector objects

from the Layers palette, 199

Selection tool, 192

custom selection, 194

using, 193

selection tools

about, 192

Freehand Selection, 192

Magic Wand, 192

Object (Vector) Selection, 192

Selection, 192

Text, 192

selection types, 195

Edge Seeker, 195

Selection, clipping to the canvas, 212

Selections

Modify

Select Color Range, 208

selections

adding to, 205

adding/removing color, 208

anti-alias based on shape, 211

applying effects to marquee, 202

create selection from, 194

creating brush tip from, 280

cropping to, 159

expanding based on color value, 206

expanding by pixels, 206

feathering, 207

fixing edges, 209

floating, 218

inverting, 204

loading, 215

loading from alpha channel, 216

modifying borders, 212

modifying the feathering, 208

moving in images, 213

promoting to layer, 204

recovering anti-alias, 211

removing, 200

removing specks and holes, 210

saving to alpha channel, 215

saving to disk, 214

smoothing the boundary, 210

subtracting from, 207

subtracting from in pixels, 207

unfeathering, 208

using Edit Selection, 202

Selections menu

Defloat, 218

Edit Selections, 202

Float, 218

From Mask, 201

From Vector Object, 201

Hide Marquee, 203

Invert, 204

Load/Save Selection

Load Selection from Alpha Channel, 216

Save Selection to Disk, 214

Load/Save Selections

Load Selection from Disk, 215

Save Selection to Alpha Channel, 215

Modify

Contract, 207

Expand, 206

Feather, 207

Inside/Outside Feather, 208

Remove Specks and Holes, 210

Select Selection Borders, 212

Select Similar, 206

Shape-Based Anti-alias, 211

Smooth, 210

Unfeather, 208

Promote to Layer, 204

Recover Anti-alias, 211

Select All, 201

Select None, 200

Selective undo/redo in History palette, 182

sepia tone images, 143

Setting File Locations, 67

shape-based anti-alias, 211

sharing

brush Presets, 282

images using a photo sharing service, 458

images via e-mail, 458

Index

500

Sharpen brush, 294

Sharpen command, 108

Sharpen More command, 108

shear, 347

Shortcut keys, 11

customizing, 11

Shortcut keys, assigning and viewing, 81

Single Step command, 432

slicing an image, 476

Smart Edge, 195

Smear tool, 316

using, 316

Smudge brush, 294

snapping, to grids and guides, 177

Soft Focus command, 113

Soften brush, 294

Soften command, 113

Soften More command, 113

Solarize command, 145

source colors, 101

source defects

removing, 117

source defects, removing, 114

specks and holes, 210

spray can, 278

Square drawing, 328

Stacking order, 385

Stacking order for layers, 359

standard colors

using for manual color correction, 103

Standard Colors category, 103

Standard palette, 268

Straighten tool, 170

Stroke Width, 410

style buttons, 238

swatches, 249

changing display of, 250

creating new, 249

deleting, 250

editing, 250

renaming, 250

selecting, 250

Swatches tab, 237

symmetric perspective, 347

Symmetric Shape drawing, 330

system requirements, 6

Tabbed image windows, 24

target colors, 101

template cells, editing, 450

templates

editing cells, 450

fill template with image, 449

new template, 450

opening, 448

printing, 448

remove image, 450

revert to layout, 450

saving with images, 445

text

adding to images, 406

align on path, 417

alignment, 410

anti-alias, 410

applying effects, 413

auto kern, 411

convert to curves, 413

creating, 406

editing, 411

floating (raster), 410

formatting, 410

make path invisible, 415

moving, 412

on a path, 414

remember text, 408

scale, 418

selection, 409

size, 410

stroke width, 410

transform, 418

type style, 411

types of, 409

Index 501

vector, 409

with patterns, 418

Text caption in print layout, 451

Text tool, 192, 200, 406

texture button, 238

Texture effects, 225

Texture Perserving Smooth command, 113

textures

choosing, 247

creating new, 248

Threshold command, 142

Tool, 329

Tool options, resetting, 17

Tool options, resetting to default values, 324

Toolbars

adding a separator to, 58

adding commands or tools, 57

creating custom, 58

customizing, 56

deleting custom, 59

displaying, 56

executing commands, 15

hiding and displaying, 15

removing a separator from, 58

removing commands or tools from, 57

resetting all, 57

resetting specific, 57

using, 14

Tools

setting options, 17

using, 17

transparency button, 238

transparent

GIF files, 461

PNG files, 468

TWAIN, 30

Undo command, 178

Undo preferences tab, 59

Undo selective History palette actions, 182

unfeathering selections, 208

ungroup, 344

Unmix, 303

Unmix button on Mixer palette, 299

Unsharp Mask command, 108

user colors, defining, 102

user defined effects, 228

User interface, about, 10

using

Autosave, 49

vector objects

align, 345

anatomy, 321

arrange, 346

converting to raster, 201

deleting, 336

distort, 347

distribute, 345

distribute on canvas, 346

editing, 336

grouping, 344

make same size, 348

perspective, 347

position on canvas, 346

resize and reshape, 347

rotate, 348

selecting, 199

shear, 347

ungroup, 344

vector text, 409

moving, 412

video images

fixing line problems, 114

viewing

creator information, 28

EXIF information, 28

image information, 28

watermark information, 28

Viewing images

copy an image window, 23

tabbed image windows, 24

viewing images, 22

arranging multiple, 23

Index

502

closing image, 23

fit to window, 25

moving an image window, 22

multiple images, 23

panning, 25

resizing an image window, 22

zooming, 25

Warning messages, 65

Warnings preferences, 65

Warp brush, 286

warp modes, 286

warping images, 178

Watermarks

embedding, 481

reading, 483

Web

Web safe color palette, 271

Web safe colors, 241

Web browser

adding a browser, 72

deleting or editing a browser, 72

previewing an image in, 470

Web image

Mapping, 472

previewing in browsers, 470

slicing, 476

wet art media layers, 298, 302

WIA, 30

Window menu

Duplicate, 39

Windows Color Management

Interaction with monitor gamma, 85

Windows Color Picker, 61

Windows palette, 268

WMF file format preferences, 78

Workspaces

about, 54

deleting, 55

loading, 55

saving, 54

Zoom tool, 25

Zooming in and out, 25

Corel PSP8 User Guide Paint Shop Pro 9.0 Manual Psp9enug

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