Copyright: Copyright © 1992-1997 SPG Inc.
Citation: Copyright © 1992-1997 SPG Inc.


Help Resources
SPG User Support Resources

SPG provides free technical support to all registered users for a period of 90 (ninety) days after product registration via the Internet and telephone. In addition, registered users receive information on product updates and additional services. Additional technical support can be purchased for use after the original 90 day period, see the SPG web-site for details.

Internet:

SPG web-site: http://www.spg-net.com

Telephone:

+01 (305) 362-6602, Available Monday-Friday 9am-5pm Eastern Standard Time (09:00-17:00 GMT-05:00)


Needed Windows OpenGL Components

Some features of ColorWorks require Windows’ OpenGL Version 1.1 system files (opengl32.dll and glu32.dll) that are not available on your computer. All Windows95 OSR2 and WindowsNT systems already have these files installed. However, you are running a version of Windows95 that is missing these system files or your OpenGL files are not Version 1.1 or higher. Use the following procedure to get the needed files installed on your computer.

To Direct FTP Download and Install the Needed Files

1.	Click on this link: ftp://ftp.spg-net.com/pub/winfiles/install_opengl95.exe and your Internet Browser will initiate an FTP file transfer of the needed install file to your computer from SPG. Save the file to your /colorworks program directory.

2.	Run install_opengl95.exe (the file you downloaded) in your /colorworks directory, and 2 files (opengl32.dll and glu32.dll) will be extracted into your ColorWorks program directory.

3.	All ColorWorks features requiring these OpenGL components will now be functional.

Note: The install_opengl95.exe file is available using any FTP software at ftp://ftp.spg-net.com/pub/winfiles/install_opengl95.exe, and is also available for download on the SPG web-site.


Needed Video Mode Change

ATTENTION

ColorWorks:WEB requires that your monitor is displaying 16-bit video (65K colors) or higher. Your Windows is only using 8-bit video (256 colors). You must increase your monitor’s number of on-screen colors for ColorWorks:WEB to operate properly.

To Increase Your Monitor's Number of On-Screen Colors

1.	Click Mouse Button 2 on the Windows desktop opening a pop-up menu.

2.	Select the Properties command opening the Display Properties notebook.

3.	Select the Settings Tab.

4.	Set the Color Palette box to 16-bit 65K Colors or higher.

5.	Select the OK button.


Trial Period Has Expired
Your Trial Period Has Expired

Your Trial Period for ColorWorks:WEB 3 has expired.

SPG thanks you for using the Trial Version of ColorWorks:WEB 3 and evaluating our software.

We hope you enjoyed your trial of our software and would like to purchase the genuine commercial version.  For details on the latest commercial version of ColorWorks:WEB and to purchase a copy go to the SPG web-site at http://www.spg-net.com.


Purchasing ColorWorks:WEB

For details on the latest commercial version of ColorWorks:WEB and to purchase a copy go to the SPG web-site at http://www.spg-net.com.


Keyboard and Button Guide
Keyboard and Button Guide for This Manual

Keyboard Short-Cuts:

Keyboard Key(s)	Function

[Ctrl + A]	Opens the Annotate dialog box.

[Ctrl + B]	Opens the Bookmark Define dialog box.

[Ctrl + C]	Copies topic text to the Clipboard.

[Ctrl + G]	Opens the Glossary.

[Esc]	Closes a topic window or exits the Manual.

[F1]	Opens the Windows Help on Help.

Task Bar Buttons:

Button	Function

Opens a list of How To topics for the current manual topic.

Opens the Bookmark Define dialog box.

Opens the Annotate dialog box.

Opens the Glossary.


Cover Page

On-Line MEGA-Manual


Quick-Link to Chapter

Welcome to ColorWorks:WEB 3

The ColorWorks:WEB 3 Interface

Working with Files

Painting with ColorWorks

Canvas Masking

Using the Painting Tools

Using Canvas Commands

Using Menu Commands

Using the Web Tools and Internet Features

Built-in Communication with SPG

Reference Information


Copyright and Trademark Notices

Copyright and Trademark Notices

This entire document is © Copyright 1998 SPG Inc. All Rights Reserved

ColorWorks:WEB, ColorWorks:WEB 3, SMP Smart Threading, On-Line Mega-Manual, the SPG Logo, the SPG Ultimate Webmaster graphics, the SPG Ultimate Webmistress graphics, the SPG Ultimate Web Team graphics, are all trademarks of SPG Inc. Windows, Windows95, and Windows NT are trademarks of Microsoft Corporation. All other trademarks are property of their respective owners.


Welcome to ColorWorks:WEB 3

About ColorWorks:WEB 3

Registering This Product

Contacting SPG Technical Support

User License Agreement for ColorWorks:WEB 3


About ColorWorks:WEB 3

Welcome

Welcome to SPG ColorWorks:WEB 3, the most powerful web graphics program in the world.

ColorWorks:WEB 3 is a Powerful Paint Program

ColorWorks:WEB 3 is a Complete Web Graphics Suite

To Our Customers

Thank you for your purchasing this SPG product. You have made an excellent investment in purchasing our software. We at SPG are committed to excellence and to you, our customer. Our mission is to the continued development of the most unique, exciting, and highest performance computer software in the world.


ColorWorks:WEB 3, Power as a Paint Program

32-Bit Multi-Threaded Application

ColorWorks is a 32-Bit dynamically multi-threaded application. This engineering provides you a multi-tasking graphics program with a core technology of unmatched power and speed. Say "good-bye" to the hourglass cursor sapping your productivity by telling you to Stop, Wait, and Watch a status indicator as it counts to 100% after every operation, as in older single-tasking programs. While painting with ColorWorks you can always fully operate the program. You can even continue to paint on canvases that have painting operations still executing on them!

User-Configurable Tools

In ColorWorks there is no notion of painting tools being dedicated to a single purpose. All painting tools can be configured to paint with a color, effects, plug-in filters, or define a selection area mask. This architecture yields many millions of possible painting tools and is the most flexible way to define selected image areas to edit.

Edit Images with a Unique Artist's Painting Method

ColorWorks paints on images using a unique artist's method or paradigm, where you draw or paint directly on a canvas image using any of the painting tools. The "paint" that the tool draws with can be any color, any effect, any plug-in filter, or any combination of multiple effects and plug-in filters applied simultaneously.

Professional Photo Retouching Effects

ColorWorks has a powerful set of professional Photo Retouching Effects including: Adjust Color Map, Gamma Correction, Color Balance, Advanced Color Balance, Tonal Compression, Brightness, Contrast, Dodge, Burn, Adjust Histogram, Hue, Saturation, Posterize, Solarize, Threshold, Invert, Greyscale Conversion, Noise, and JPEG Cleaner.

Filter Labs with Over 60 Filter Effects

ColorWorks' unique Filter Labs: Smoothing, Sharpen, Noise Reduction, Edge Detection, Special Filters, and Custom Filters Labs represent a huge battery of over 60 filters for application to your images.

Incredible Special Effects

Special Effects include Texturize, Pixel Displacement, 8 Bit Masking, Gradients, Channel Swap, Clone, Redo, Mosaic, Motion Blur, Waves, Water, Swirl, Ripples, Shatter, Crystallize, Pinch/Punch, Protection Masking, Channel Masking, and Drawing Merge Controls.

Unlimited Warping and Distortion Effects

ColorWorks' Free Form Distortion Mask Mapping, Elastic Image Warp, Coons Warp, and Point to Point Warp allow you to apply an unlimited number of distortions and warping effects to images.

Paint with Precise Control

All painting is filtered through the Drawing Merge Control, Gradients Effect, 8 Bit Mask Effect, Protection Mask, and the Channel Mask. For the ultimate in precision painting control, many effects can be applied to user-defined segments of the image tonal range and/or to image areas within user-defined brightness thresholds.

Create Spectacular Graphics State Plug-In Effects Without Programming

With ColorWorks' ability to create, test, save, and load Graphics States, you can become your own plug-in effects developer, without having to be a programmer! It's easy. Using the cumulative settings of all ColorWorks Effects at your disposal, create a cool effect combination, then save it as a Graphics State file. That's it. Graphics State files can be loaded at anytime for painting with that exact set of effects and settings. ColorWorks comes with many exciting Graphics State Plug-In Effects for use on your images and to help get you started on designing your own.

Paint with Millions of Different Effect Combinations

ColorWorks' unique Configurable Tools enables you to use any effect by itself or in combination with any number of other effects, yielding millions of different effects that can be painted using any tool!

Open Multiple Effect Dialogs at the Same Time

In ColorWorks you can open multiple copies of the same Effect dialog, and/or any number of different Effects dialogs at the same time. Launch several copies of the same Effect dialog for side-by-side comparisons of that effect at different settings. Then simply cancel the dialogs you do not want, and paint with the settings in the dialog box that you like. Adjust the settings of an Effects combination with all of its Effects dialog boxes open at the same time. The Preview boxes in any of the Effects dialogs can show the cumulative result on an image of all in-use Effects (stacked previews) while you adjust the settings in any of the open Effects dialogs.

255 Levels of Undo / Redo per Canvas

You can dynamically reconfigure individual canvases to hold up to 255 levels of Undo, per canvas. In addition, only the image areas edited are saved as undos, not whole canvas duplicates, conserving huge amounts of your RAM resources.

Interactively Zoom and Pan while Painting -- The Ultimate in Precision Editing

ColorWorks provides for ultra precise image editing by enabling you to change a canvas' magnification level at any time, even while in the middle of a painting operation.

Edit a Single Image in Multiple Windows

With ColorWorks’ multiprocessed editing you can use multiple canvas windows to simultaneously edit the data of a single image. For example, you could edit different areas of a large image in separate windows at the same time, without having to zoom back and forth within a single window. Another example would be to use one window with a zoomed-in view to do your detail editing, and see that editing occur simultaneously in a second window at a 100% view.

Photoshop™-compatible Plug-in Support

ColorWorks supports the use of Photoshop™-compatible (Standard) Import, Export, and Filter plug-ins. ColorWorks' unique ability to paint with a Plug-in Filter, multiple plug-ins, and plug-ins with ColorWorks’ Effects using any painting tool is extremely powerful.

TWAIN Enabled

ColorWorks supports the use of TWAIN-compliant image devices, such as scanners.

File Format Support

ColorWorks supports image files in the following formats: BMP, EPS (raster only), GIF, ICO, IFF, JPEG, Photo-CD, PCX, PNG, PSD, RAS, TGA, and TIFF. ColorWorks’ GIF Animators can also open AVI movie files.

In addition, ColorWorks can open image files in 37 additional formats using a drag-and-drop to the program or by typing the filename in a File Open dialog box. The additional file formats include: DCX, JFIF, Group3, Group4, Group3 2D, CALS, IOCA, ASCII, IGF, MD:DCA, WMF, PCT (raster only), ATT, BRK, CLP, LV, GX2, CUT, DIB, IMG (GEM), IMG (Xerox), IMT, KFX, RLE, MAC, MSP, NCR, PBM, PGM, SUN, PNM, PPM, SGI, WPG (raster only), XBM, XPM, and XWD.


ColorWorks:WEB 3, Power as a Web Graphics Suite

ColorWorks’ web graphics features are tightly woven into the program to form a seamless, completely integrated, totally multi-threaded Web Graphics Suite for webmasters and websurfers alike. For example: You could have painting operations executing on multiple images, be downloading images from the Internet with multiple Web Graphics Spiders, FTPing images back/forth to an Internet Server, e-mailing images straight from the program, snatching images from your Internet Browser to ColorWorks, using multiple Live Web Savers linked to the images you are editing, using the Live Tile Viewer linked to the images you are editing, working with the Image Mapper, working with multiple GIF Animators, working with multiple Animated GIF Players, all multi-threaded, all happening simultaneously.

Live Web Savers

The unique ColorWorks Web Savers enable you to balance file size, download time, and “look” of an image before saving it in a web image format. Any number of Web Savers can be open and in-use at the same time. The Web Savers are linked “live” to the current canvas, and automatically reflect any editing made to your canvas images. This allows you to use the Web Savers to preview how your images will look on the Web, at different GIF and JPEG settings if you like, even while you are still editing them! The Web Savers are completely integrated into ColorWorks. Images from the ColorWorks Image Browser, ColorWorks GIF Animators, Windows Explorer, and other Windows programs can be drag-and-dropped to a Web Saver.

A Powerful “Internet-Aware” Image Browser

ColorWorks’ Image Browser is an extremely capable image management tool, and the ultimate thumbnail browser. The Image Browser is used to visually manage all of your image files, be they on your local system or on a remote Internet Server(s). Once displayed in the Image Browser an image can do anything. Images in the Image Browser can be opened on the ColorWorks Desktop for editing, opened in a GIF Animator, opened in a Animated GIF Player, opened in a Web Saver, opened in the Image Mapper, can be zoomed, converted, deleted, renamed, resized, copied, moved, sent as e-mail, and can be sent via FTP to an Internet Server. The Image Browser is completely integrated into ColorWorks. Images from the ColorWorks Desktop, ColorWorks Web Savers, ColorWorks GIF Animators, Windows Explorer, and other Windows programs can be drag-and-dropped to the Image Browser.

Image Mapper

ColorWorks’ Image Mapper can create and edit both client-side HTML image maps, and server-side image maps in the NCSA and CERN formats. Map files can be saved to disk, and copied to the Windows clipboard for pasting into your HTML Editor. The Image Mapper is completely integrated into ColorWorks. Images from the ColorWorks Image Browser, Windows Explorer, and other Windows programs can be drag-and-dropped to the Image Mapper.

GIF Animators

ColorWorks’ GIF Animators can create and edit animated GIF files. Any number of GIF Animators can be open and in-use at the same time. The GIF Animators are completely integrated into ColorWorks. Individual frames in an animation can be drag-and-dropped to: the ColorWorks Desktop for editing; and to the ColorWorks Image Browser to be saved as a file on disk or on an Internet Server. Conversely, images from the ColorWorks Desktop, ColorWorks Image Browser, ColorWorks Web Savers, Windows Explorer, and other Windows programs can be drag-and-dropped to a GIF Animator and inserted as a frame(s) in an animation.

Animated GIF Players

ColorWorks' Animated GIF Players play Animated GIF files, and can be opened as stand-alone or linked to a particular GIF Animator. Any number of Animated GIF Players can be open and in-use at the same time.

3D Text Renderer

ColorWorks' 3D Text Renderer creates beautiful stand-alone 3D Text images and is excellent for adding 3D Text to existing images. All of this using the professional quality of OpenGL rendering.

3D Text Animator

ColorWorks' 3D Text Animator is build specifically for web graphics and enables you to easily create fantastic 3D Text web animations. The 3D Text Animator is uniquely implemented as an Effect of the GIF Animators. This extremely powerful design enables you to create stand-alone 3D Text web animations against a background color or image, or directly integrate 3D Text into existing GIF animation movies. All of this using the professional quality of OpenGL rendering.

3D Web Object Renderer

ColorWorks' 3D Web Object Renderer creates beautiful 3D buttons, bullets, separator bars, and objects for use on your web-site. In addition, the 3D Web Object Renderer is excellent for adding 3D objects to existing images. All of this using the professional quality of OpenGL rendering.

3D Web Object Animator

ColorWorks' 3D Web Object Animator enables you to easily create fantastic 3D buttons, bullets, separator bars, and object web animations. The 3D Web Object Animator is uniquely implemented as an Effect of the GIF Animators. This extremely powerful design enables you to create stand-alone 3D Object web animations against a background color or image, or directly integrate 3D Objects into existing GIF animation movies. All of this using the professional quality of OpenGL rendering.

Web Graphics Spiders

ColorWorks’ Web Graphics Spiders (also known as web robots) can automatically search out and download graphic files from the Internet to your computer. A spider starts reading HTML pages at a set Starting URL, from there it follows the page-links and snatches all graphics files it finds as it “crawls” the Internet. A spider can be to set to download the images on a single web-page, all of the images on an entire web-site, and to follow found links all over the Internet. Multiple Web Graphics Spiders can be running at the same time.

Automated Thumbnail Image Gallery Generation for Web-Sites

ColorWorks makes the creation of Thumbnail Image Galleries for your web-pages easy. With a single command you can generate and upload thumbnails of the images located on your Internet Server, and automatically generate the HTML table code that displays a Thumbnail Image Gallery of available images to your users. All you have to do is copy the generated HTML code into the web-page where you want the Thumbnail Image Gallery to appear.

Excellent Text Anti-Aliasing

ColorWorks’ Text Tool can paint using an advanced anti-aliasing method that yields character edges that are smooth as glass, even on very tiny text.

Web Background Renderer

The ColorWorks Web Background Renderer creates very cool patterned tiles that make great background images for your web-pages.

Live Background Image Tile Viewer

When designing web-page background images you need to be able to see how the images would tile when viewed by an Internet Browser. The Tile Viewer is linked “live” to the current canvas, and automatically presents a tiled view of your canvas images. This allows you to see how your web background images will look on the Web while you are designing or editing them!

JPEG Image Cleaner

While surfing and downloading images from the Internet you will run across JPEG images that have been compressed too much, making the images look “tiled," flat, and lacking detail. ColorWorks' JPEG Cleaner can be used to remove the tiled look of images that have been excessively JPEGed, and to restore some of the original image quality lost during the image compression.

e-mailing Images from ColorWorks

ColorWorks can send any image as e-mail from within the program.

FTPing Images from ColorWorks

ColorWorks can send any image via FTP to an Internet Server from within the program.

Snatching Images and Files from your Internet Browser to ColorWorks

ColorWorks will download anything drag-and-dropped to its Internet Connection from an Internet Browser. Image files in a format that ColorWorks understands will automatically be opened on the ColorWorks desktop. Animated GIF images will automatically be opened in a ColorWorks GIF Animator. For anything else, ColorWorks will ask you where you want to save the file and download it for you.

Internet Server Image Maintenance with the Image Browser

The ColorWorks Image Browser is an excellent tool for visually maintaining images on Internet Servers. The Image Browser can connect via FTP to any server, upload images, download images, rename images, delete images, add images, and copy images. Once displayed in the Internet Browser, images on the server can be copied to a local disk or drag-and-dropped to: the ColorWorks Desktop for editing; to a ColorWorks Web Saver; to a ColorWorks GIF Animator; to a ColorWorks Animated GIF Player; and to the ColorWorks Image Mapper. Conversely, images from other ColorWorks components can be drag-and-dropped to the Internet Browser for upload to an Internet Server.

Visually Surfing FTP Sites for Images with the Image Browser

The ColorWorks Image Browser can connect to any Internet Server that you have a valid login to. File directories on the server can be navigated, images can be previewed, previewed images can be snatched from the server to ColorWorks, and all or selected images within server directories can be downloaded to the Image Browser.

Save 1-bit Color Files

Saving a 1-bit file in ColorWorks does not mean a Black/White image only. ColorWorks allows you to assign a custom Foreground and Background Color to a 1-bit file. Sometimes you just want to add some color to a web-page but you do not want to make the page a "fat pig" to download. This is where 1-Bit Color GIF files are great, they allow you to add some color graphics to a web-page with the absolute smallest files and fastest downloads possible.

Read Image Colors in HEX

HTML colors for a web-page are defined in RGB Hex numbers, like BGCOLOR="#2A92FF" or FONT COLOR="#FFFFFF", not in RGB decimal values (0-255). The ColorWorks Color Picker tool can read or sample image colors in Hex as well as colorspace systems. This enables you to exactly match coloring of web-page elements defined in your HTML code to the colors in your images.

Open Windows Icon Files

There are huge libraries of Windows icons available that make great web images. ColorWorks allows you to open these .ico files, edit them if you like, and save them out in a web graphics format for use on your web-pages.

Built-in Internet Communication with SPG

ColorWorks has a very sophisticated communications ability between itself and SPG. Using its Auto-Update feature the program will connect to SPG and update itself to the Current Revision Number with a single command. You can connect to the SPG web-site with a single mouse click using the Internet Connection on the program Task Bar. In addition, you can drag-and-drop ColorWorks add-on program files (texture maps, displacement maps, color palettes, plug-ins, etc.) from the SPG web-site to the program's Internet Connection, and those files will be downloaded, de-compressed if necessary, and placed in the proper program sub-directory automatically for your immediate usage.


Registering This Product

SPG products come with a Single User License, and are enabled for your personal use on specific computers you own using an on-line registration process. This program will open with a Product Registration dialog until it is registered. You can choose to skip registering this product up to 15 times, after that the program will not run until it is registered. Use the below procedure to register this product.

To Register This Product

1.	Start-up ColorWorks opening the ColorWorks Product Registration dialog box.

2.	Note the Node Number given to you by the Product Registration dialog box.

3.	Connect to the SPG web-site at http://www.spg-net.com using your Internet Browser. Have your product Serial Number and your Node Number available in front of you.

4.	Select the Product Registration button on the SPG home page, linking you to the SPG Product Registration page.

5.	Follow the procedure on the Product Registration page to get your Registration Number.

6.	Enter your Registration Number into the required field in the Product Registration dialog box.

7.	Select the OK Button.

Notes:

•	Registration Numbers work on a single computer only. If / when you upgrade your computer, you will need to re-register the software and get a new Registration Number in order to run the software on your new computer.

•	If you format or change your boot drive after installing the software, you will need to re-register the software to get a new Registration Number.

•	If you re-install ColorWorks on the same computer without formatting or changing your boot drive, you will also need to re-register the software. However you can use the same Registration Number you used the last time you installed the program (you do not need to go to use the SPG Registration System to get another one).


ColorWorks Product Registration

This dialog box is used to register this software. The program opens with this dialog until the product is registered. You can choose to skip registering the product up to 15 times, after that the program will not run until it is registered.

Dialog Controls:

Control	Function

Registration Number	Inside this field you type the Registration Number provided to you by the SPG Registration System on the SPG web-site.

OK 	This buttons sets to register the product.

Skip 	This buttons sets to continue to use the program unregistered. You can only choose to skip registration 15 times.


Contacting SPG Technical Support

SPG provides free technical support to all registered users for a period of 90 (ninety) days after product registration via the Internet and telephone. In addition, registered users receive information on product updates and additional services. Additional technical support can be purchased for use after the original 90 day period, see the SPG web-site for details.

Internet:

SPG web-site: http://www.spg-net.com

Telephone:

+01 (305) 362-6602, Available Monday-Friday 9am-5pm Eastern Standard Time (09:00-17:00 GMT-05:00)


User License Agreement for ColorWorks:WEB 3

Single User License Agreement

ATTENTION:

CAREFULLY READ THIS LICENSE AGREEMENT BEFORE INSTALLING AND USING THIS PRODUCT. THIS SINGLE USER LICENSE AGREEMENT IS A LEGAL CONTRACT BETWEEN YOU (EITHER AN INDIVIDUAL OR A SINGLE ENTITY) AND SPG INC. USING THIS PRODUCT INDICATES YOUR ACKNOWLEDGEMENT THAT YOU HAVE READ THIS LICENSE AND AGREE TO ITS TERMS. THIS SOFTWARE PRODUCT IS LICENSED TO YOU, NOT SOLD. SPG MAINTAINS FULL AND COMPLETE OWNERSHIP OF THIS PROGRAM.

SINGLE USER LICENSE AGREEMENT

ColorWorks:WEB 3 (the "Software") is copyright 1992-97 by SPG Inc., and is protected by United States Copyright Law, International Copyright Treaty Provisions, and other intellectual property laws and treaties. All rights are reserved. The Original Purchaser ("You") is granted a License to use the software only, this product is not sold. This license is subject to the following restrictions and limitations.

1.	The License is to the original purchaser only.

2.	You may use the Software on a single computer at one time.

3.	You may make back-up (archival) copies of the Software for your own use only.

4.	You may not engage in, nor permit third parties to engage in, attempting to alter, disassemble, decompile, or reverse engineer the Software in any way.

5.	You may not rent or lease the Software.

SPG reserves the right to terminate this license if there is a violation of its terms or default by the Original Purchaser. Upon termination for any reason, the Original Purchaser shall be liable for any and all damages suffered as a result of the violation or default. Unauthorized reproduction and/or distribution of this Software, or any portion of it, may result in severe civil and criminal penalties, and will be prosecuted to the maximum extent possible under the law.

This agreement shall be construed, interpreted and governed by the laws of the State of Florida.

LIMITED WARRANTY

SPG warrants the disks in this package against defects is materials or workmanship for a period of 30 days after the original purchase. If, in this time period, the disks are found to be defective, they can be returned to us for a free replacement. SPG makes no representations or warranties as to the merchantability or fitness of this product for any particular purpose. There is no other warranty express or implied.

Some states do not allow limitations or exclusions of liability so the above limitations or exclusions may not apply to you.

U.S. GOVERNMENT RESTRICTED RIGHTS

This Software and Documentation are provided with RESTRICTED RIGHTS. Use, duplication, or disclosure by the Government is subject to restrictions as set forth in subdivision (b) (3) (ii) of the Rights in Technical Data and Computer Software clause at 252.227-7013. Contractor/Manufacturer: SPG, Inc. 15505 Bull Run Road Suite 303, Miami Lakes, FL 33014.


The SPG ColorWorks:WEB 3 Interface
The ColorWorks:WEB 3 Interface


The ColorWorks:WEB 3 Interface

Click on a hot spot (paw print) for information on a particular interface item.


About the Program Title Bar

The Program Title Bar identifies the program as ColorWorks:WEB 3.


About the Program Menu Bar

The Program Menu Bar contains the drop-down lists of commands for operating ColorWorks.

File Menu

Edit Menu

Mask Menu

Brushes Menu

Image Menu

Effects Menu

Web Tools Menu

Window Menu

Help Menu


About the Program Task Bar

The first row of the Program Task Bar contains a series of task buttons. The second row displays the Current Tool Settings, and the Floating Palette Dock. The animation playing in the far right on the Program Task Bar is the Internet Connection.

Program Task Bar Buttons:

Button	Command / Function

File | New command.

File | Open command.

File | Save command.

Edit | Cut command.

Edit | Copy command.

Edit | Paste command.

File | Print | Print command.

File | Acquire | TWAIN Acquire command.

Web Tools | Web Saver command.

Web Tools | Web Graphics Spider command.

Web Tools | Image Mapper command.

Web Tools | GIF Animator command.

Web Tools | Web Background Renderer command.

Web Tools | Tile Viewer command.

Web Tools | Animated GIF Player command.

Web Tools | 3D Text Renderer command.

Web Tools | 3D Web Object Renderer command.

Open the On-Line MEGA-Manual.

Tools Bar Dock.

Color Palette Dock.

Continuous Tone Palette Dock.

Effects Bar Dock.

Image Browser Dock.

Button 2 Properties and User Customizations:

Command	Function

Wallpaper	Shows the wallpaper in the Program Task Bar.

Dock All	Docks all floating palettes (Tools Bar, Effects Bar, Color Palette, Continuous Tone Palette, Image Browser) to the Floating Palette Docking Area.


About the Current Tool Settings

The Current Tool Settings part of the Program Task Bar displays the available optional settings of the currently selected tool on the Tools Bar.

Note: Clicking on the tool button on the Program Task Bar opens the help for that tool.


About the Floating Palette Dock

The Floating Palette Dock provides a useful method to hide some or all of the program floating palettes (Tools Bar, Color Palette, Continuous Tone Palette, Effects Bar, Image Browser), and still maintain fast access to those palettes.

To Dock a Floating Palette

1. 	Place the cursor over-top of the floating palette’s Title Bar.

2. 	Click and hold Button 1.

3. 	Drag the floating palette to the Task Bar and release Button 1.

4. 	The floating palette is docked and the Docking Button representing that particular floating palette becomes available.

To Show and Hide a Docked Floating Palette

1. 	Click Button 1 on the Docking Button representing the docked floating palette, or

2. 	Use the Window | Show commands.

To Un-Dock a Floating Palette

1. 	Place the cursor over-top of the Docking Button for the floating palette you want to un-dock.

2. 	Click and hold Button 1.

3. 	Drag the floating palette off the Dock.

4. 	The floating palette is un-docked.

Note: To access the Control menu of a floating palette while it is docked, Click Button 2 on the docking button belonging to the floating palette and the options will be revealed.


About the Internet Connection

The Internet Connection can download any image or file (either displayed or as a link on an HTML page) that is dragged-and-dropped to it from an Internet Browser. The Internet Connection also provides a rapid method to connect to the SPG web-site.

Button 2 Properties and User Customizations:

Command	Function

Play	Plays the set AVI file.

Pause	Pauses the play of the AVI file.

Load AVI	Opens the Load AVI dialog box used to load an AVI file from Disk to play, and sets that AVI file as the default to play.

Unload AVI	Unloads the playing AVI file and frees the memory used to the Operating System.

Set Browser	Opens the Internet Browser dialog box used to set the Internet Browser to launch when the Connect to the SPG Web-Site command is chosen.

Connect to the SPG Web-Site	Launches your set Internet Browser and automatically connects it to the SPG web-site.

Notes:

•	If you drag-and-drop an image file that ColorWorks can open from an Internet Browser to the Internet Connection, the file will be downloaded and opened as a canvas on the ColorWorks Desktop automatically. If the file is an animated GIF file it will be opened in a GIF Animator. If the file is not a file that ColorWorks can open, a File Save dialog box will be displayed for you to choose where you would like ColorWorks to download the file to.

•	ColorWorks comes with several different Internet Connection AVI files for you to choose from located in the /webavi directory. All of the SPG provided AVI files are sized to fit into the height of the Program Task Bar, 50 pixels. You can load any AVI file (uncompressed) you would like to run in the Internet Connection and it will be centered vertically within the Program Task Bar. If you use an AVI that is greater in height that the Program Task Bar, the top and bottom of the file will be clipped from view.

•	When ColorWorks is downloading or uploading files from the Internet or an FTP-Site it temporarily plays an FTP animation to give you feedback that Internet file transfer activity is occurring.


Rename File Dialog of the Internet Connection

This dialog box is used to rename a ColorWorks program file that was downloaded using the Internet Connection. This dialog box appears only if the downloaded file uses a file name that already exists in the target directory.

Note: ColorWorks program files are automatically saved to the correct directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


About the Program Desktop Area

The ColorWorks Desktop is the main application workspace that contains all of your open canvas image windows.

Button 2 Properties and User Customizations:

Command	Function

Color	Opens the Color Editor dialog box for selecting a background color for the Program Desktop Area.

Wallpaper	Opens the Load Background Wallpaper dialog box used to select a background image for the Program Desktop Area.

Notes:

•	To Tile the Selected Wallpaper Image: To tile the selected wallpaper image, select the Tile Wallpaper check box in the Load Background Wallpaper dialog box.

•	To Remove the Selected Wallpaper Image: To remove the selected wallpaper image, open the Load Background Wallpaper dialog box, the file name field defaults to “Remove Wallpaper”, and select the OK button.


About Canvas Windows

Canvases are the image windows you edit. You can create or open as many images as canvases for editing up to the limits of the Operating System or the maximum that your RAM and Virtual Memory will allow.

Control Menu Commands and Properties:

Command	Function

Undo / Redo	Opens the Undo / Redo dialog box, used to cancel and restore the effects of previous painting operations.

Undo Settings	Opens the Undo / Redo Settings dialog box, used to dynamically reset the number of undo/redo levels for the canvas.

Reapply - tool name	Automatically repaints to the same canvas area using the same tool that your last painting operation used.

Refresh	Causes a refresh or repaint of the canvas image.

Multiprocess	Sets to create a duplicate(s) of the current canvas for simultaneous editing of the same image data using more than one canvas window.

Show Rulers	Sets to show rulers on the canvas.

Show Task Bar	Sets to show the canvas Task Bar.

Show Cursor Guidelines	Sets to show cursor guidelines on the canvas.

Set Units of Measure	Opens the Set Units of Measure dialog box, used to dynamically reset the way in which the program measures the pixel resolution of the canvas.

Set Tonal Range	Opens the Set Tonal Range dialog box, used to set a canvas image's tonal range for use by the Shadows, Midtones, and Highlights boxes found in many of the Effects dialog boxes.

Image Information	Opens the Image Information dialog box.

Notes:

•	To aid in precision editing, the granularity of ruler tick marks is automatically increased when you zoom into a canvas. Conversely, when you zoom out the ruler tick marking granularity is decreased.

•	Multiprocessed Canvases share the same Canvas ID# in their Title Bars indicating that they point to the same image data.

Tips:

•	Reference Windows: The Multiprocess command is useful for creating a "reference window" to view while you work zoomed-in on another Canvas. You could keep one view of a canvas at 100% or a Fit in Window view, and do your zoomed editing in the other. This arrangement eliminates having to zoom in and out to see how your zoomed editing looks in relation to the entire canvas. The Multiprocess command is also very useful in editing different areas of a large image at the same time without having to zoom back and forth between separate canvas areas of interest.

•	Cursor Alignment: The cursor guidelines are very useful in aligning your painting operations to rulers or in relation to other elements on the same canvas.


About Canvas Title Bars

Each canvas window has its own Title Bar that displays the canvas image's name, the canvas ID#, and the current magnification level of the canvas window.

Notes:

•	Canvas ID#'s are assigned sequentially as canvases are created or opened each time you run the program. Since ColorWorks allows you to open the same image file multiple times, the ID# gives you a facility to identify individual canvases of the same file opened from disk. Remember, multiple canvases of the same disk file will overwrite each other when saved unless you use the File | Save as command and change their names.

•	Multiprocessed Canvases share the same Canvas ID# in their Title Bars indicating that they point to the same image data.

Tip: Opening multiple canvases of the same file from disk is an excellent way of comparing the effects of various techniques to separate canvases, and saving the one you like the best.


About Canvas Task Bars

Each open canvas has its own canvas Task Bar. The canvas Task Bar has a progress indicator and a series of task buttons.

Canvas Task Bar Buttons:

Button	Command / Function

Show Task Bar command.

Undo / Redo command.

Show Rulers command.

Reapply command.

Show Cursor Guidelines command.

Set Units of Measure command.

Image Information command.


About the Tools Bar

The Tools Bar is the floating window of painting tools and indicators. All painting on a canvas with a color, effect(s), or mask definition, is performed using the tools of the Tools Bar.

ColorWorks tools are completely configurable. There is no notion of tools that are dedicated to a single purpose, such as a blur, sharpen, dodge, burn, clone, redo ("magic eraser"), rectangular marquee, elliptical marquee, etc.

When painting, any tool can be configured to paint with a color, any effect, or a combination of effects. When defining a Mask, any tool can be used to define an area(s) of a canvas image to mask. This architecture yields many millions of possible painting tools, and the most flexible way to define image masks.

Tools Bar Buttons:

Button	Painting Tool / Function

Show the Title Bar of the Tools Bar.

Move the Tools Bar.

Circle Tool.

Ellipse Tool.

Curve Tool.

Parallelogram Tool.

Text Tool.

Line Tool.

Rectangle Tool.

Triangle Tool.

Polygon Tool.

Zoom Tool.

Fill Tool.

Color Picker Tool.

Full Canvas Tool.

Free Draw Tool.

Cropping Tool.

Current Painting Color Indicator.

Toggle Masking.

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Tools Bar to have auto-roll up behavior. When the cursor is not over-top of the Tools Bar only the Tools Bar Title Bar is shown. When the cursor moves back over-top of the Tools Bar Title Bar, the Tools Buttons are revealed.

Button 2 Properties and User Customizations:

Command	Function

Define Mask	Mask | Mask Edit Options | Define Mask command.

Undefine Mask	Mask | Mask Edit Options | Undefine Mask command.

Invert Mask	Mask | Mask Edit Options | Invert Mask command.

Clear Mask	Mask | Mask Edit Options | Clear Mask command.

Notes:

•	Resizing the Tools Bar: The floating Tools Bar is contained in a sizable window. This means you can grab and drag any border of the Tools Bar and change its size to your personal tastes. To resize the Tools Bar thinner than allowed when the Title Bar is showing, hide the Title Bar by selecting the Title Bar button.

•	To move the Tools Bar around when its Title Bar is hidden, use the Move button. Position the cursor over-top of the Move button, click and hold Button 1, drag the Tools Bar, and release Button 1.

Tips:

•	You may have noticed that there is no "eraser" tool per se, in ColorWorks. What is an eraser? If you wish to erase part of a canvas to a color, simply paint over it with that color using any tool. If you wish to erase any part of a canvas to a previous state, simply use the Undo/Redo command or paint over it with the Redo effect, using any tool. Using these definitions, ColorWorks' configurable tool design yields over 20 "eraser" tools, and a text eraser tool! In addition, you can use a soft brush and Redo effect combination for an airbrush eraser, and interactively Zoom and Pan for precision erasing. Smart filling with the Redo effect is often referred to as a "magic eraser" effect.

•	Lasso Tools: You may have noticed that there is no "lasso" selection tool per se, in ColorWorks. Lasso tools allow you to free hand draw around an area to make it a filled selection. ColorWorks' Curve tool is a much more powerful lasso because you can interactively add, delete, and reposition the points that define the filled canvas area before you commit to it.

•	Magic Wand Tools: You may have noticed that there is no "magic wand" selection tool per se, in ColorWorks. Magic wand tools allow you to select areas of a canvas of a similar color usually using a composite tolerance (the same tolerance percentage for all color components). ColorWorks' Fill tool is a much more powerful magic wand because you can fill using individual RGB or HLS component tolerances for significantly greater precision.


About the Effects Bar

The Effects Bar is the floating window of effects and indicators. The Effects Bar allows you to quickly configure effects to paint with, and quickly see what effects are turned on, all without having to use the Effects menu on the Menu Bar.

Effects Bar Buttons:

Button	Effect / Function

Show the Title Bar of the Effects Bar.

Move the Effects Bar.

Load Graphics State.

Save Graphics State.

Clear All Effects.

Drawing Merge Control.

Channel Mask.

Adjust Color Maps.

Gamma Correction.

Color Balance.

Advanced Color Balance.

Tonal Compression.

Brightness / Contrast.

Dodge / Burn.

Adjust Histogram.

Hue / Saturation.

Posterize.

Solarize.

Threshold.

Invert.

Grey Conversion.

Noise.

JPEG Cleaner.

Smoothing Lab.

Sharpen Lab.

Noise Reduction Lab.

Edge Detection Lab.

Special Filters Lab.

Custom Filters Lab.

Texturize.

Pixel Displacement.

8 Bit Mask.

Gradients.

Redo.

Channel Swap.

Clone.

Plug-in Filter Selector

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Effects Bar to have auto-roll up behavior. When the cursor is not over-top of the Effects Bar only the Effects Bar Title Bar is shown. When the cursor moves back over-top of the Effects Bar Title Bar, the Effects Buttons are revealed.

Notes:

•	Resizing the Effects Bar: The floating Effects Bar is contained in a sizable window. This means you can grab and drag any border of the Effects Bar and change its size to your personal tastes. To resize the Effects Bar thinner than allowed when the Title Bar is showing, hide the Title Bar by selecting the Title Bar button.

•	To move the Effects Bar around when its Title Bar is hidden, use the Move button. Position the cursor over-top of the Move button, click and hold Button 1, drag the Effects Bar, and release Button 1.


About the Image Browser

The ColorWorks Image Browser is an extremely capable image management tool. The Image Browser is used to visually manage all of your image files, be they on your local system or on a remote Internet Server(s). Once displayed in the Image Browser an image can do anything. Images in the Image Browser can be opened on the ColorWorks Desktop for editing, opened in a Web Saver, opened in a GIF Animator, opened in an Animated GIF Player, opened in the Image Mapper, can be zoomed, converted, deleted, renamed, resized, copied, moved, sent as e-mail, and can be sent via FTP to an Internet Server.

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Image Browser to have auto-roll up behavior. When the cursor is not over-top of the Image Browser only the Image Browser Title Bar is shown. When the cursor moves back over-top of the Image Browser Title Bar, the Image Browser is revealed.

Manual Roll-up	Sets the Image Browser to have manual-roll up behavior. A Double-click of Button 1 on the Title Bar of the Image Browser will alternatively roll the Image Browser up to show only its Title Bar, and roll the Image Browser back down.

Note: The Image Browser is completely integrated into ColorWorks. Images in the Image Browser can be drag-and-dropped to: the ColorWorks Desktop for editing; to a Web Saver; to a GIF Animator; to an Animated GIF Player; and to the Image Mapper. Conversely, images from other ColorWorks components can be drag-and-dropped to the Image Browser for saving. In addition, the Image Browser will accept a drag-and-drop of an image file(s) from outside ColorWorks.


About the Color Palette

The Color Palette is a floating palette of the 256 painting colors of the currently loaded palette file.

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Color Palette to have auto-roll up behavior. When the cursor is not over-top of the Color Palette only the Color Palette Title Bar is shown. When the cursor moves back over-top of the Color Palette Title Bar, the Color Palette is revealed.

Palette Editor	Opens the Palette Editor dialog box.

Load Palette	Opens the Load Palette dialog box for opening a palette file from disk.

Save Palette	Opens the Save Palette dialog box for saving the current Color Palette to a file on disk.

Notes:

•	To select a Color Palette location as your current painting color, click Button 1 on top of that color.

•	To select a Color Palette location as your current painting color and open the Color Editor, double-click Button 1 on-top of that color location. If you double-click Button 1 on a Color Palette location to select it as your current painting color and open the Color Editor, when you select the Apply button of the Color Editor your painting color as shown in the Current Color Indicator and the Color Palette location will change.

•	Painting colors are edited with either the Windows Color Editor or the ColorWorks Color Editor, as set by the File | Preferences command.

•	The locations on the Color Palette are identified from bottom-to-top and left-to-right. Hence, the “first color” on the Color Palette is the lower-left location, and the “last color” is the upper-right location.

Tip: Resizing the Color Palette: The floating Color Palette is contained in a sizable window. This means you can grab and drag any border of the Color Palette and change its size to your personal tastes.


About the Continuous Tone Palette

The Continuous Tone floating palette allows you to quickly choose painting colors from a huge palette of 18,000 different HLS or HSB colors.

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Continuous Tone Palette to have auto-roll up behavior. When the cursor is not over-top of the Continuous Tone Palette only the Continuous Tone Palette Title Bar is shown. When the cursor moves back over-top of the Continuous Tone Palette Title Bar, the Continuous Tone Palette is revealed.

HLS	Sets the Continuous Tone Palette to display an HLS colors palette.

HSB	Sets the Continuous Tone Palette to display an HSB colors palette.


About the Program Status Bar

The Status Bar has three parts; the Cursor Area, the Current Cursor Color display, and the Message Area. The Cursor Area gives you feedback as to the image co-ordinates location of your cursor, and the color component values of image pixels when using the Color Picker tool. The Current Cursor Color displays the image color directly under the cursor, and can also open and close the Used Color Well. The Message Area gives you usage information as to the choices your cursor is over, and feedback as to your operations.

Note: When using the Color Picker tool, the Cursor Area of the Status Bar will report pixel colors in either the RGB, CMY, HLS, HSV, or the HTML (Hex) color model as set by the File | Preferences command.


About the Used Color Well

The Used Color Well displays the last 25 painting colors picked for usage.

To Open the Used Color Well

Click Button 1 on the Current Cursor Color display on the Program Status Bar.

To Close the Used Color Well

•	Click Button 1 on the Current Cursor Color display on the Program Status Bar, or

•	Click Button 2 on the Used Color Well and choose the Close command.

Button 2 Properties and User Customizations:

Command	Function

Close	Closes the Used Color Well.


Working with Files

ColorWorks' File Handling Abilities

Creating a New Image File

Using the Image Browser

Snatching a File From Your Internet Browser

Using the TWAIN Driver Interface

Printing


ColorWorks' File Handling Abilities

ColorWorks has a very robust, visual, and extremely “Internet-Aware” file handling capability.

Image Files

Image files can be opened for editing in ColorWorks by using the File | Open command (local disk), the Image Browser (local disk and Internet Server), or with a drag-and-drop to ColorWorks. ColorWorks can accept a drag-and-drop from virtually anything that is either part of or that can be connected to your system; including the Windows desktop, other Windows programs, and your Internet Browser.

ColorWorks canvases can be saved as image files to local disk or to an Internet Server. Images can be saved using the File | Save, File | Save as, with a Web Saver, and by a drag-and-drop to the Image Browser.

ColorWorks supports image files in the BMP, EPS (raster only), GIF (1-8 bits, Transparency, Interlaced, Animated), ICO, IFF, JPG (Normal, Greyscale, and Progressive), PCD (Photo-CD), PCX, PNG, PSD, RAS, TGA, and TIF format.

Note: Additional Open Image File Format Support: In addition to the 13 popular formats supported in its various File Open dialog boxes and Image Browser, ColorWorks can open image files in 37 additional formats using a drag-and-drop to the program or by typing the filename in a File Open dialog box. The additional file formats include: DCX, JFIF, Group3, Group4, Group3 2D, CALS, IOCA, ASCII, IGF, MD:DCA, WMF, PCT (raster only), ATT, BRK, CLP, LV, GX2, CUT, DIB, IMG (GEM), IMG (Xerox), IMT, KFX, RLE, MAC, MSP, NCR, PBM, PGM, SUN, PNM, PPM, SGI, WPG (raster only), XBM, XPM, and XWD.

Animated GIF Files

The GIF Animators can open and save animated (multi-page) GIF files, and the Animated GIF Players can play animated GIF files.

AVI Movie Files

The GIF Animators can open AVI movie files for use in creating animations and/or for conversion to animated GIF files.

Image Map Files

The Image Mapper can open and save both client-side HTML image maps, and server-side image maps in the NCSA and CERN formats.

3D Model Files

The 3D Web Object Renderer and 3D Web Object Animator both can read .3DS Model files. SPG only supports the use of .3DS models provided by SPG with these features. SPG models are designed to open at a location and size that can be seen, to open centered and facing forward, are of a low polygon count for reasonable performance, and all polygon normals are correct so the models render correctly. Although not a supported feature, the Web Object Renderer will use most .3DS models you create yourself in a Rendering program or download from the Internet.


Creating a New Image File

To Create a New Image File

1.	Choose the File | New command to open the Create New Canvas dialog box.

2.	Enter a Size and Resolution for the canvas to be created using the provided controls.

3.	Select the OK button. A canvas window will be opened onto the ColorWorks desktop to your specifications. The Title Bar of the canvas window will indicate the name of the file as "untitled" until the canvas is saved, and given a name. The current canvas window magnification is also shown in the Title Bar for your reference.

Tip: Setting Canvas Resolution: You should set the resolution of a canvas based on what you want to do with the finished image. When printing a canvas image, higher resolutions yield prints with greater clarity. If the canvas image is to be used for an on-screen computer presentation or as a web image, the resolution should be set to screen resolution, typically 72 pixels per inch.


Using the Image Browser

The Image Browser is used to open, save, and manage image files on your local disks and Internet Servers. In addition, any image within the Image Browser can be sent as e-mail or sent via FTP to an Internet Server.

To Open a Disk Directory in the Image Browser

1.	Choose the File | Directory command of the Image Browser to open the Change Browser Directory dialog box.

2.	Navigate to the disk directory you want to open in the Image Browser, and select the Open button.

To Open an Internet Server Directory in the Image Browser

1.	Choose the File | FTP Directory command of the Image Browser, opening the FTP Directory (login)  dialog box.

2.	Type in a Server name, User Name, Password, and Select the OK button.

3.	The FTP Directory dialog box will open after your login is complete.

4.	Navigate to the disk directory you want to open in the Image Browser, and select the OK button.


To Set the Image Browser Display View

To Set the Image Browser Colors

To Set the Thumbnail Format, Size and Colors

To Get a Zoomed View of a File

To Zoom Slide Show the Files within the Image Browser

To Select Images in the Image Browser

To Open a File on the ColorWorks Desktop

To Open a File in a Web Saver, GIF Animator, GIF Player, or Image Mapper

To Save Images and Animations to the Image Browser

To Rename a File

To Convert a File

To Resize a File

To Delete a File

To Copy a File

To Move a File

To Send a File as e-mail

To FTP a File to an Internet Server

To Open Selected Files of an Internet Server Directory

To Preview Images on an Internet Server

To Snatch a Previewed Internet Server Image to ColorWorks

To Upload/Save Changes Made to Internet Server Directories or Files

To Refresh and Rebuild the Image Browser

To Drag-and-Drop to the Image Browser from Outside of ColorWorks

To View Which Images Within the Image Browser are Animated (Multi-Page)


To Set the Image Browser Display View

The Image Browser has several different types of views available.

To Set the Image Browser Display View

Choose either the Large Icon, Small Icon, List, List - No Thumbnails, or Details command of View menu of the Image Browser.

View Menu Display Commands:

Command	Function

Large Icon	Sets to display thumbnails of the size set in the View | Thumbnail Size command.

Small Icon	Sets to display thumbnails ½ of the size set in the View | Thumbnail Size command.

List	Sets to display small icon thumbnails in a List view.

List - No Thumbnails	Sets to display a List view without thumbnails.

Details	Sets to display small icon thumbnails with columns for Image Name, Width, Height, and Special. The Special column may display the words “Multi-page” for files that are multi-page (for example: an animated GIF file), and/or “Compressed” if a file is in a compressed state on disk.


To Set the Image Browser Colors

Both the background color and file name color of the Image Browser can be set to your personal tastes.

To Set the Image Browser Background Color

1.	Choose the View | Background Color command of the Image Browser, opening the Color dialog box.

2.	Select a color.

3.	Select the OK button.

To Set the File Name Text Color

1.	Choose the View | Text Color command of the Image Browser, opening the Color dialog box.

2.	Select a color.

3.	Select the OK button.


To Set the Thumbnail Format, Size, and Colors

To Set the Thumbnail Format

1.	Choose the File | Preferences command of the Image Browser, opening the Preferences dialog box.

2.	Select to use the BMP, JPEG, or TIFF button for use as the Thumbnail Format.

Tip: Choosing a Thumbnail Format: ColorWorks provides three different 24-bit formats to choose from for the saving of thumbnails. BMP is provided for 24-bit uncompressed thumbnails, TIF for 24-bit lossless compressed thumbnails, and JPEG for 24-bit lossy compressed thumbnails. If you want the fastest-loading thumbnails choose BMP. If you are sensitive to the amount of disk space your thumbnail images use and you want thumbnails of the smallest possible file size, choose JPEG. If you are sensitive to the amount of disk space your thumbnail images use, but you do not want the thumbnail images to be reduced in quality in order to compress them, choose TIFF.

To Set the Thumbnail Size

1.	Choose the View | Thumbnail Size command of the Image Browser, opening the Thumbnail Size dialog box.

2.	Set the size of the thumbnail images from 32 to 256 pixels square.

To Set the Thumbnail Viewing Colors

•	Choose the View | Thumbnail Colors | 16M Colors, or

•	Choose the View | Thumbnail Colors | 65,536 Colors, or

•	Choose the View | Thumbnail Colors | 256 Colors, or

•	Choose the View | Thumbnail Colors | 16 Colors command of the Image Browser.

Notes:

•	The Thumbnail Viewing Colors commands set the Image Browser view of the saved 24-bit thumbnails on disk, and have no effect on the actual 24-bit thumbnail images.

•	The thumbnails in the Image Browser are automatically rebuilt when you choose a different Thumbnail Viewing Colors command.

Tip: Choosing the Thumbnail Viewing Colors: ColorWorks provides four different Thumbnail Viewing Colors settings to choose from. Your choice depends on the quality of the thumbnail images you want to view, the amount of RAM you want the thumbnails to take when displayed, and the speed at which you want the thumbnails to display. All of the thumbnail images currently displayed within the Image Browser must reside in RAM. The number of images within a directory and the Number of Viewing Colors you set to view thumbnails of those images, determines how much RAM is required to display thumbnails for that directory. If you want the fastest-loading and highest-quality thumbnails, choose 16M Colors. Every Thumbnail Viewing Colors setting below 16M Colors progressively saves RAM by reducing the viewing quality of the thumbnail images. In addition, Thumbnail Viewing Colors settings below 16M increase the time to load the thumbnails, because the thumbnails need to be reduced down from their native 16.7M color/24-bit format for display within the Image Browser.


To Get a Zoomed View of a File

To Get a Zoomed View of a File

1.	Click Button 2 on the image you want to zoom.

2.	Choose the Zoom command.

or

1.	Select the image you want to zoom.

2.	Choose the File | Zoom command of the Image Browser.

Note: The size of the zoom window can be up to 450 pixels square, and is set with the File | Preferences command of the Image Browser.


To Zoom Slide Show the Files within the Image Browser

To Zoom Slide Show the Files within the Image Browser

1.	Click Button 2 on the image you want to start zooming on.

2.	Choose the Zoom command.

3.	Use the [left-arrow] and [right-arrow] keys to get a zoomed view of a different file within the Image Browser. The screen location of the zoom window is controlled by the location of your cursor. Moving your cursor moves the location where the zoom window will appear next.

or

1.	Select the image you want to zoom.

2.	Choose the File | Zoom command of the Image Browser.

3.	Use the [left-arrow] and [right-arrow] keys to get a zoomed view of a different file within the Image Browser. The screen location of the zoom window is controlled by the location of your cursor. Moving your cursor moves the location where the zoom window will appear next.


To Select Images in the Image Browser

Images can be selected in the Image Browser using standard Windows behavior.

To Select a Single File

Click Button 1 on the image.

To Select Multiple Files

•	Hold the [Ctrl] key while clicking Button 1 on images to add them to your selection, or

•	Hold the [Ctrl] key while clicking Button 1 on a selected image to remove it from your selection, or

•	To select a range of images, click Button 1 on the image to be the start of the range, hold the [Shift] key, and click Button 1 on the image to be the last image in the range.

Note: The Edit | Select All, Edit | Deselect All, and Edit | Invert All commands of the Image Browser can also be used to select images.


To Open a File on the ColorWorks Desktop

To Open a Single File

•	Perform a drag-and-drop of the image to the ColorWorks Desktop, or

•	Click Button 2 on the image you want to open, and choose the Open command, or

•	Select the image you want to open, and choose the File | Open command of the Image Browser.

To Open Multiple Files

•	Select the images you want to open, and perform a drag-and-drop of images to the ColorWorks Desktop, or

•	Select the images you want to open, click Button 2 on any of the selected images, and choose the Open command, or

•	Select the images you want open, and choose the File | Open command of the Image Browser.


To Open a File in a Web Saver, GIF Animator, GIF Player, or Image Mapper

To Open a File in a Web Saver, GIF Animator, GIF Player, or Image Mapper

1.	Select the image you want.

2.	Perform a drag-and-drop of image to a Web Saver, a GIF Animator, a GIF Player, or the Image Mapper.


To Save Images and Animations to the Image Browser

To Save a Canvas Image to the Image Browser

Perform a Button 2 drag-and-drop of the Canvas Image to the Image Browser:

1.	Position your cursor over-top of the canvas image (not over-top of any invalid area shown as a hatch pattern) you want to save.

2.	Click and hold down Button 2. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor off the canvas and over-top of the Image Browser, and release Button 2.

4.	A pop-up menu appears with two choices for saving the image, File Save (Save Image dialog box) or Web Save (Web Saver). Choose the command for the type of save you want to use.

5.	Save the image using your chosen method.

Notes:

•	Both the Save Image dialog box and the Web Saver will default to the current Image Browser directory (Disk or FTP) to save the image to.

•	The cursor must be positioned over-top of the canvas image when you click Button 2 to initiate a drag-and-drop. Clicking Button 2 over-top of any hatch patterned region of the canvas window or parts of the canvas window that are not part of the image, will not initiate a drag-and-drop of the canvas image.

To Save a Web Saver Image to the Image Browser

Perform a Button 2 drag-and-drop of the Web Saver Image to the Image Browser:

1.	Position your cursor over-top of the Web Saver image you want to save.

2.	Click and hold down Button 2. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor off the Web Saver and over-top of the Image Browser, and release Button 2.

4.	The Web Save dialog box will open for you to save the image.

5.	Save the image.

Note: The Web Save dialog box will default to the current Image Browser directory (Disk or FTP) to save the image to.

To Save A GIF Animation to the Image Browser

Perform a Button 1 drag-and-drop of any frame within the GIF Animator to the Image Browser:

1.	Position your cursor over-top of any frame within the GIF Animator.

2.	Click and hold down Button 1. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor off the GIF Animator and over-top of the Image Browser, and release Button 1.

4.	A pop-up menu opens.

5.	Choose the Animation command, opening the Save GIF Animation dialog box.

6.	Save the animation.

Note: The Save GIF Animation dialog box will default to the current Image Browser directory (Disk or FTP) to save the animation to.


To Rename a File

To Rename a File

1.	Click Button 2 on the image you want to rename.

2.	Choose the Rename command, and rename the file.

or

1.	Select the image you want to rename.

2.	Choose the File | Rename command, and rename the file.


To Convert a File

To Convert a Single Image

1.	Click Button 2 on the image you want to convert.

2.	Choose the Convert command, opening the Save as dialog box.

3.	Select a new format for the file, and select the OK button.

or

1.	Select the image you want to convert.

2.	Choose the File | Convert command of the Image Browser, opening the Save as dialog box.

3.	Select a new format for the file, and select the OK button.

To Convert Multiple Images (Batch Conversion)

1.	Select the images you want to convert.

2.	Click Button 2 on any of the selected images.

3.	Choose the Convert command, opening the Save as dialog box.

4.	Select a new format for the files, and select the OK button.

or

1.	Select the images you want to convert.

2.	Choose the File | Convert command of the Image Browser, opening the Save as dialog box.

3.	Select a new format for the files, and select the OK button.


To Resize a File

To Resize a Single Image

1.	Click Button 2 on the image you want to resize.

2.	Choose the Resize command, opening the Resize dialog box.

3.	Select a new size for the file, and select the OK button.

or

1.	Select the image you want to resize.

2.	Choose the File | Resize command of the Image Browser, opening the Resize dialog box.

3.	Select a new size for the file, and select the OK button.

To Resize Multiple Images (Batch Resize)

1.	Select the images you want to resize.

2.	Click Button 2 on any of the selected images.

3.	Choose the Resize command, opening the Resize dialog box.

4.	Select a new size for the files, and select the OK button.

or

1.	Select the images you want to resize.

2.	Choose the File | Resize command of the Image Browser, opening the Resize dialog box.

3.	Select a new size for the files, and select the OK button.


To Delete a File

To Delete a Single Image

1.	Click Button 2 on the image you want to delete.

2.	Choose the Delete command.

or

1.	Select the image you want to delete.

2.	Choose the File | Delete command of the Image Browser.

To Delete Multiple Images

1.	Select the images you want to delete.

2.	Click Button 2 on any of the selected images.

3.	Choose the Delete command.

or

1.	Select the images you want to delete.

2.	Choose the File | Delete command of the Image Browser.


To Copy a File

To Copy a Single Image

1.	Click Button 2 on the image you want to copy.

2.	Choose the Copy command, opening the Select Destination for Copy dialog box.

3.	Select a destination Drive and Directory, and select the OK button.

or

1.	Select the image you want to copy.

2.	Choose the File | Copy command of the Image Browser, opening the Select Destination for Copy dialog box.

3.	Select a destination Drive and Directory, and select the OK button.

To Copy Multiple Images

1.	Select the images you want to copy.

2.	Click Button 2 on any of the selected images.

3.	Choose the Copy command, opening the Select Destination for Copy dialog box.

4.	Select a destination Drive and Directory, and select the OK button.

or

1.	Select the images you want to copy.

2.	Choose the File | Copy command of the Image Browser, opening the Select Destination for Copy dialog box.

3.	Select a destination Drive and Directory, and select the OK button.


To Move a File

To Move a Single Image

1.	Click Button 2 on the image you want to move.

2.	Choose the Move command, opening the Select Destination for Move dialog box.

3.	Select a destination Drive and Directory, and select the OK button.

or

1.	Select the image you want to move.

2.	Choose the File | Move command of the Image Browser, opening the Select Destination for Move dialog box.

3.	Select a destination Drive and Directory, and select the OK button.

To Move Multiple Images

1.	Select the images you want to move.

2.	Click Button 2 on any of the selected images.

3.	Choose the Move command, opening the Select Destination for Move dialog box.

4.	Select a destination Drive and Directory, and select the OK button.

or

1.	Select the images you want to move.

2.	Choose the File | Move command of the Image Browser, opening the Select Destination for Move dialog box.

3.	Select a destination Drive and Directory, and select the OK button.


To Send a File as e-mail

To Send a Single Image as e-mail

1.	Click Button 2 on the image you want to e-mail.

2.	Choose the Send to Mail command, opening your default Send to Mail Recipient program to send the image as e-mail.

or

1.	Select the image you want to e-mail.

2.	Choose the File | Send to Mail command of the Image Browser, opening your default Send to Mail Recipient program to send the image as e-mail.

To Send Multiple Images as e-mail

1.	Select the images you want to e-mail.

2.	Click Button 2 on any of the selected images.

3.	Choose the Send to Mail command, opening your default Send to Mail Recipient program to send the images as e-mail.

or

1.	Select the images you want to e-mail.

2.	Choose the File | Send to Mail command of the Image Browser, opening your default Send to Mail Recipient program to send the images as e-mail.


To FTP a File to an Internet Server

To FTP a Single Image to an Internet Server

1.	Click Button 2 on the image you want to send to an Internet Server.

2.	Choose the Send to FTP command, opening the FTP Directory (login)  dialog box.

3.	Type in a Server Name, User ID, and Password.

4.	Select the OK button.

5.	The FTP Directory dialog box will open after your login is completed.

6.	Navigate to the destination Internet Server directory that you want to upload the image to, and select the OK button.

or

1.	Select the image you want to send to an Internet Server.

2.	Choose the File | Send to FTP command of the Image Browser, opening the FTP Directory (login)  dialog box.

3.	Type in a Server Name, User ID, and Password.

4.	Select the OK button.

5.	The FTP Directory dialog box will open after your login is completed.

6.	Navigate to the destination Internet Server directory that you want to upload the image to, and select the OK button.

To FTP Multiple Images to an Internet Server

1.	Select the images you want to send to an Internet Server.

2.	Click Button 2 on any of the selected images.

3.	Choose the Send to FTP command, opening the FTP Directory (login)  dialog box.

4.	Type in a Server Name, User ID, and Password.

5.	Select the OK button.

6.	The FTP Directory dialog box will open after your login is completed.

7.	Navigate to the destination Internet Server directory that you want to upload the images to, and select the OK button.

or

1.	Select the images you want to send to an Internet Server.

2.	Choose the File | Send to FTP command of the Image Browser, opening the FTP Directory (login)  dialog box.

3.	Type in a Server Name, User ID, and Password.

4.	Select the OK button.

5.	The FTP Directory dialog box will open after your login is completed.

6.	Navigate to the destination Internet Server directory that you want to upload the images to, and select the OK button.


To Open Selected Files of an Internet Server Directory

To Open Selected Files of an Internet Server Directory

1.	Choose the File | FTP Directory command of the Image Browser, opening the FTP Directory (login)  dialog box.

2.	Type in a Server Name, User ID, and Password.

3.	Select the OK button.

4.	The FTP Directory dialog box will open after your login is completed.

5.	Navigate to the disk directory that contains the image(s) you want to open in the Image Browser.

6.	Select the images you want from the Files: list, and select the OK button.


To Preview Images on an Internet Server

To Preview Images on an Internet Server

After connecting to an Internet Server with the Image Browser, use the Preview Box in the FTP Directory dialog box to select an image you want to preview.


To Snatch a Previewed Internet Server Image to ColorWorks

To Snatch a Previewed Internet Server Image to ColorWorks

1.	Point the cursor over-top of the preview image displayed in the FTP Directory dialog box.

2.	Click and hold down Button 1. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor to ColorWorks, and release Button 1.


To Upload/Save Changes Made to Internet Server Directories or Files

To Upload/Save Changes Made to Internet Server Directories or Files

1.	Choose the File | Upload Edits to FTP Site(s) command of the Image Browser, opening the FTP Upload Confirmation dialog box.

2.	Select the Yes or Yes to All button.


To Refresh and Rebuild the Image Browser

The Image Browser can refresh or rebuild the thumbnails for the current directory viewed.

Refreshing the Image Browser

When the View | Refresh Browser command is chosen, all thumbnail images belonging to the file directory currently displayed in the Image Browser are reloaded.

Rebuilding the Image Browser

When the View | Rebuild Browser command is chosen, all thumbnail images belonging to the file directory currently displayed in the Image Browser are destroyed, new thumbnails for all images in the directory are rebuilt, and the new thumbnails displayed.


To Drag-and-Drop to the Image Browser from Outside of ColorWorks

To Drag-and-Drop to the Image Browser from Outside of ColorWorks

The Image Browser will accept a file drag-and-drop from outside ColorWorks. When dropped, you will be prompted to select to Copy or Move the file to the current directory of the Image Browser.

Note: You will need to choose the View | Refresh Browser command of the Image Browser to see the thumbnail of the drag-and-dropped image file(s) within the Image Browser.


To View Which Images Within the Image Browser are Animated (Multi-Page)

To View Which Images Within the Image Browser are Animated (Multi-Page)

Simply choose the View | Details command of the Image Browser. The Special column of the Details view will indicate “Multi-page” when a file is an animated or multi-page type.


Snatching a File From Your Internet Browser

ColorWorks will download anything drag-and-dropped to its Internet Connection from an Internet Browser. Image files in a format that ColorWorks understands will automatically be opened on the ColorWorks desktop. Animated GIF images will automatically be opened in a GIF Animator. For anything else, ColorWorks will ask you where you want to save the file and download it for you.

To Open a File Displayed in an Internet Browser

1.	Display the image you want to open (viewed image or a link to an image file) in your Internet Browser.

2.	Perform a drag-and-drop of the image or link from your Internet Browser to the Internet Connection on the Program Task Bar.

Note: The Internet Connection can download multiple files at a time. You do not need to wait for the download of one file to finish before drag-and-dropping another file to the Internet Connection for downloading.


Using the TWAIN Driver Interface

ColorWorks supports the use of TWAIN-compliant image devices, such as scanners. TWAIN is an industry standard that allows applications to talk to the software that controls an image device. The manufacturer of the TWAIN device must provide a Source Manager and TWAIN Data Source for your device to work with ColorWorks, and activate the TWAIN related commands and Program Task Bar button.

Notes:

•	The interface between ColorWorks and an image device's software is handled by a file named TWAIN.DLL. When you install the software for an image device, a copy of TWAIN.DLL is copied to your Windows directory. If ColorWorks finds a TWAIN.DLL on program startup, the File | Acquire | Select Source command, the File | Acquire | TWAIN Acquire command, and the Acquire Image Button on the Program Task Bar are made available for your usage. If a TWAIN.DLL is not found, the TWAIN related menu commands and Program Task Bar button are not made available to you.

•	ColorWorks supports the use of TWAIN version 1.6 or higher. Use of a TWAIN.DLL that is less than version 1.6 may cause unpredictable behavior.

To TWAIN Acquire an Image

1. 	Choose the File | Acquire | Select Source command. Your installed TWAIN.DLL will open its Select Source dialog box.

2. 	Select the device you want to use from the list of available TWAIN devices. You do not need to repeat this step for subsequent use of the TWAIN Acquire, unless you switch devices.

3. 	Select the File | Acquire | TWAIN Acquire command or the Acquire Image button on the Program Task Bar. Your installed TWAIN.DLL will open the device software's Acquire dialog box. For help using the dialog box, consult its on-line help or the device software manual. When the device finishes acquiring the image, it will be sent to ColorWorks.

4. 	ColorWorks will open the acquired image as a canvas on the ColorWorks Desktop.


Printing

ColorWorks can print images to any printer device installed on your system.

To Print a Canvas Image

1.	Choose the File | Print | Page Setup command, and setup the printed page.

2.	Choose the File | Print | Print command, and send the canvas image to the printer.


Painting with SPG ColorWorks
Painting with ColorWorks

Painting With ColorWorks

User Exercises, Painting


Painting With ColorWorks

ColorWorks is a pure painting program and uses a unique artist's method of operation that vastly expands your personal creativity by offering millions more possible painting/creativity tools than traditional selection-based paint programs. In ColorWorks, effects are "paint". ColorWorks' Tools can paint with any color, any effect, any Standard Plug-in Filter, or any combination of multiple effects and plug-in filters applied simultaneously.

To Paint on a Canvas Image with a Color

1.	Select a painting tool to use from the Tools Bar.

2.	Adjust the Tool’s settings in the Program Task Bar.

3.	Select a color for the tool to paint with from the Color Palette, the Continuous Tone Palette, the Used Color Well, or from an image with the Color Picker tool.

4.	Paint with the selected tool on a canvas image.

To Paint on a Canvas Image with an Effect(s)

1.	Select a painting tool to use from the Tools Bar.

2.	Adjust the Tool’s settings in the Program Task Bar.

3.	Select an effect(s) for the tool to paint with from the Effects Bar and/or the Effects menu.

4.	Paint with the selected tool on a canvas image.

Notes:

•	ColorWorks' use of an artist's method to edit images is unique to ColorWorks and is a very different method of operation than that used by other programs. Traditionally, image editing programs operate using a “selection method” in combination with a few fixed function pen tools (clone tool, dodge/burn tool, redo tool, sharpen tool, etc.).

•	ColorWorks’ painting operations are asynchronous, meaning the program is wide-open for you to virtually do anything to any canvas at any time, no matter what operations are still executing. The only exceptions are the use of the Image | Transforms | Map to Distortion Mask, Image | Resize Canvas, Image | ColorWorks Plug-in Effects, Image | Standard Plug-in Filters commands, and the Effects | Plug-in Filter Selector command. These commands are synchronous operations, meaning you have to wait until the command has finished its operation before moving on with the program.

Tips:

•	Painting with “Browser Safe” Colors: To paint with “Browser-Safe” colors use colors picked from the Netscape 666 palette file loaded into the Color Palette. If you are creating images specifically for use on the Web by Unix based Browsers, paint using the colors of the Netscape 555 palette file. See the “Browser-Safe” (Hex, Decimal) reference for more details on these colors.

•	Painting with a Particular RGB Hex Color Number: To paint with a particular Hex color number you need to convert the Hex number to the RGB decimal values that the Color Editor uses, and then edit the Current Color using those RGB decimal values. An RGB Hexadecimal number is a composite of three pairs of numbers, the first two numbers are for the Red color component, the second pair is for the Green component, and the last pair is for the Blue component. You can use the Windows Calculator to do the Hexadecimal to Decimal conversion. For example: To determine the RGB decimal conversion of the RGB Hex value #7FFFD4: 1. Start the Windows Calculator. 2. Put the Calculator into its scientific mode by choosing the View | Scientific command. 3.  Select the Hex button. 4. Enter 7F (the Red component of the Hex number) using the keypad buttons. 5 Select the Dec button to display the decimal equivalent of the Hex number 7F, which is 127. 6. Repeat the procedure for the next two pairs of color components. You will find that the RGB decimal values of #7FFFD4 are R=127, G=255, B=212.


To Select a Color to Paint With

To Select Effects to Paint With

To Open the Dialog of an In Use Effect

To Open The Same Effects Dialog Multiple Times

To Open Multiple Effects Dialogs At the Same Time

To Paint with Filled Tools

To Paint with Unfilled Tools

To Smooth Painted Edges with Anti-Aliasing and Edge Blending

To Automatically Repaint to the Same Canvas Area

To Undo Painting Operations

To Interactively Zoom and Pan While Painting

To Multiprocess Edit an Image


To Select a Color to Paint With

To Select a Color to Paint With

Painting colors can be selected with a Button 1 click from the Color Palette, the Continuous Tone Palette, the Used Color Well, or from a canvas image by use of the Color Picker tool.

Tip: Using ColorWorks' Color Picker key [F6] you can pick canvas colors at anytime, never needing to use the Color Picker tool. Simply point your cursor at the location of a canvas image that has the color you want to paint with and press the [F6] key. Use the Current Cursor Color display on the Status Bar for feedback as to the color your cursor is currently pointing at.


To Select Effects to Paint With

Effects are put in use to paint with using the Effects menu and/or the Effects Bar.

To Put an Effect In Use with the Effects Menu

1.	Choose the Effect menu command you desire, opening its dialog box.

2.	Adjust any optional settings.

3.	Select the OK button.

To Put an Effect In Use with the Effects Bar

1.	Click Button 1 on the Effect button you desire, opening its dialog box.

2.	Adjust any optional settings.

3.	Select the OK button.

To Take an Effect Out Of Use with the Effects Menu

Choose the Effect’s command again or choose the Effects | Clear All Effects command.

To Take an Effect Out Of Use with the Effects Bar

Click Button 1 on the Effect’s button again or on the Clear All Effects button.


To Open the Dialog of an In Use Effect

To Open the Dialog of an In Use Effect

Often you may want to keep an effect in use and at the same time open its dialog box to change settings, without having to choose its Effects menu command or Effect Bar button twice (once to take it out of use and a second time to open the dialog box). Holding the [Shift] key when choosing an in use Effect menu command or Effects Bar button will open its dialog box.


To Open The Same Effects Dialog Multiple Times

Using the Effect Bar you can open the same effect dialog multiple times. Opening more than one copy of the same effect dialog allows for side-by-side comparisons of that effect on an image at different settings.

To Open The Same Effects Dialog Multiple Times

1.	Click Button 1 on the Effect button you desire, opening its dialog box.

2.	Hold the [Shift] key and click Button 1 on the same Effect button, opening another copy of its dialog box.

3.	Adjust any optional settings in either copy of the dialog box.

4.	Select the Cancel button in all of the dialog boxes you want to discard.

5.	Select the OK button in the dialog box with the setting you want to use.


To Open Multiple Effects Dialogs At the Same Time

Using the Effect Bar you can open multiple effect dialogs at the same time. Opening more than one effect dialog at the same time offers you tremendous control in adjusting the settings of an effects combination.

To Open Multiple Effects Dialogs At the Same Time

1.	Click Button 1 on the Effect buttons you desire, opening all of those Effect dialog boxes.

2.	Adjust any optional settings in any of the open dialog boxes.

3.	Select the Cancel button in any of the dialog boxes you want to discard.

4.	Select the OK button in the dialog boxes with the setting you want to use.

Note: The Preview boxes in any of the effects dialogs can show the cumulative result on an image of all in-use Effects (using the Stack Preview buttons) while you adjust the settings in any of the open effects dialogs.

Tip: Comparing the Results of Different Effects: Opening more than one Effects dialog at a time is very useful in comparing the results of various effects on the same image. For example: You have an image that appears to need a brightness adjustment. ColorWorks offers many different effects that can alter an image’s brightness and you do not know whether an adjustment using the Adjust Color Maps, Gamma Correction, Color Balance, Advanced Color Balance, Brightness / Contrast, Dodge / Burn, Adjust Histogram, or the Hue / Saturation Effect would do the best job. What you could do is: 1. Open all of the Effect dialogs that you want to preview. 2. Turn off the Stack Preview buttons in all of the dialogs. 3. Make adjustments in each dialog box to correct the image. 4. Select the Cancel button in the dialogs that you do not want. 4. Select the OK button in the dialog box that offers the best solution to the image’s brightness problem.


To Paint with Filled Tools

To Paint with Filled Tools

When the Filled box is selected within the settings of a painting tool, that tool will paint a filled object.

Note: All painting with the Text and Fill tools are considered to be filled tools by default.


To Paint with Unfilled Tools

To Paint with Unfilled Tools

When the Filled box is not selected within the settings of a painting tool, that tool will paint an unfilled object. The size, shape, and softness of the unfilled border around the painted object are determined by the currently selected brush of the Brushes menu.

Note: All painting with the Line tool is considered to be an unfilled tool by default.


To Smooth Painted Edges with Anti-Aliasing and Edge Blending

Often the edges of painting operations may have a "stair steps" or "jaggie" appearance that you would like to blend or smooth. ColorWorks can automatically smooth the edges of your painting operations with an Anti-Aliasing method, or an Anti-Aliasing and Blending combination method. The Anti-Alias method smoothes edges by inserting intermediate colors between the "stair steps" of the painted edges. The Anti-Alias w/Edge Blending method works by first anti-aliasing the painting operation, and then smoothes it with the underlying canvas image.

To Use Anti-Aliasing when Painting with Filled Tools (includes the Text tool)

1.	Choose the Effects | Drawing Merge Control command

2.	Select the Anti-Aliasing box or set the Anti-Aliasing w/ Edge Blending slider, and select the OK button.

3.	Paint on a canvas image. All painting will continue to be anti-aliased until you turn anti-aliasing off in the Effects | Drawing Merge Control command.

Note: All painting with the Text and Fill tools are considered to be filled tools by default.

To Use Anti-Aliasing when Painting with Unfilled Tools (tool not set to Filled)

1.	Choose the Effects | Drawing Merge Control command

2.	Select the Anti-Aliasing box or set the Anti-Aliasing w/ Edge Blending slider, and select the OK button.

3.	Paint on a canvas image. All painting will continue to be anti-aliased until you turn anti-aliasing off in the Effects | Drawing Merge Control command.

Notes:

•	All painting with the Line tool is considered to be an unfilled tool by default.

•	Since unfilled tools paint with the current brush set in the Brushes menu, the Softness controls in Brushes | Settings command will also affect the blending of edges of unfilled tools painting.

To Use Anti-Aliasing when Painting with the Free Draw Tool

1.	Choose the Brushes | Settings command.

2.	Select to use a Light or Heavy softness method, set the Softness slider to the desired strength, and select the OK button.

3.	Paint on a canvas image. All Free Draw tool painting will continue to be anti-aliased until you set the Softness slider in the Brushes | Settings command back to 0.


To Automatically Repaint to the Same Canvas Area

To Automatically Repaint to the Same Canvas Area

With ColorWorks you do not necessarily have to make a floated image or use a Protection Mask to repaint repeatedly to the same canvas area.

When Painting, ColorWorks can not only apply multiple effects during the same painting operation, but it can repaint to the same canvas area in subsequent operations by use of the Reapply command of a Canvas. The Reapply command automatically repaints to the same canvas area you last painted to, with the now currently in use color or effect(s).

Note: When working with a floated image, effects are by definition applied to the same exact area, the floated image.


To Undo Painting Operations

Undo and Redo operations cancel and restore the effects of previous painting on a canvas image. When painting, ColorWorks allows for a user-defined number of available undo levels up to 255. All undos are saved in a queue on a per-canvas basis. This means each canvas has its own undo queue.

To Undo and Redo Painting Operations

1.	Choose the Undo / Redo command of a canvas to open the Undo/Redo dialog box.

2.	Manipulate the Undo slider to undo and redo previous painting operations. Manipulating the slider to the right will sequentially undo previous painting operations. When the Undo field indicates "0" there are no more operations to undo. Manipulating the slider to the left will sequentially redo prior undo commands. When the Redo field indicates "0" there are no more undo commands to redo.

3.	Select the OK button.

Notes:

•	Although ColorWorks allows for a virtually unlimited number of undo and redo operations, you must be realistic as to the number of levels you want to maintain per canvas. Undo buffers can occupy huge amounts of RAM, depending on the size of your painting operations and number of saved undo levels.

•	ColorWorks also has a selective or "local" undo capability using the Effects | Redo command. Similar in function to a single operation Undo, painting with the Effect | Redo command in use will undo the last operation on the current canvas. However, whereas the Undo / Redo command of a Canvas operates on an entire canvas at once, when the Effect | Redo command is in use, only the canvas areas you paint over with the Tools will undo.


To Interactively Zoom and Pan While Painting

To Interactively Zoom and Pan While Painting

In ColorWorks, painting and zooming are completely interactive events. If you want to change the canvas view level while in the middle of painting, you simply press the Keyboard Zoom keys, [F2] (zoom-in) and [F3] (zoom-out). The canvas will zoom at the exact point where your cursor is positioned. ColorWorks offers 40 different magnification levels.

In addition, ColorWorks will automatically pan (scroll) a canvas if you are painting and the cursor touches the edge of a canvas window that has more image to display in that direction.

Notes:

•	The keyboard zoom increments and panning speed are set with the File | Preferences command.

•	You can also use the Keyboard Zoom keys between painting operations by pressing them while pointing to the canvas location you want to zoom on, similar to using the Zoom tool.

•	If your cursor is not over the current canvas and you press a Keyboard Zoom key to change the canvas view, ColorWorks will zoom on the center point of the current canvas.

Tips:

•	In addition to using the [F2] and [F3] keys, you can also use the [F4] (Actual View 100%) and the [F5] (Fit / Size to Largest) keys to interactively change your canvas view at any time.

•	You may find it desirable to increase the Pan Speed if you do a lot of work zoomed-in.


To Multiprocess Edit an Image

With ColorWorks’ multiprocessed editing you can use multiple canvas windows to simultaneously edit the data of a single image. For example, you could edit different areas of a large image in separate windows at the same time, without having to zoom back and forth within a single window. Another example would be to use one window with a zoomed-in view to do your detail editing, and see that editing occur simultaneously in a second window at a 100% view.

To Multiprocess Edit an Image

1.	Choose the Control menu of Title Bar on the canvas image you want to multiprocess.

2.	Choose the Multiprocess command, and an additional canvas window into that image data will open.

Notes:

•	Multiprocessed canvases have the same Canvas ID# in their Canvas Title Bars. This allows you to easily determine if more than one canvas window on your ColorWorks Desktop is pointing to the same image data.

•	Editing the same exact image area location at the same time on multiprocessed canvases may cause unexpected results. Since drawing operations from multiprocessed canvases are executed simultaneously, not sequentially, their results may be intertwined. For example: Without using multiprocessing, you draw on a canvas with a filled rectangle using the Solarize effect and then draw over the same area of that canvas with a filled rectangle using the Posterize effect. The common area of the canvas would be Solarized then Posterized as expected. However, if you use an additional canvas for editing the same image data and draw on the original canvas with a filled rectangle using the Solarize effect and on the second canvas draw to the same area with a filled rectangle using the Posterize effect, the resulting common area of the image edited by both drawing operations will most likely be intertwined with alternating areas of Solarizing and Posterizing.


User Exercises, Painting

Exercise 1. Painting with a Color

Exercise 2. Painting with Effects


Exercise 1. Painting with a Color

1.	Select the Free Draw tool, choose a brush from the Brushes menu, and choose a color to paint with from the Color Palette.

2.	Open the racecar.tif image found in the \lesson_images directory off your main ColorWorks directory using the File | Open command.

3.	Move the cursor over-top of the image, click and hold Button 1 to start painting on the image. Release Button 1 when you are finished painting.

4.	Select the Circle tool.

5.	Place the cursor at a position on the canvas where you want to start your circle and click Button 1. You will notice a rubberbanding circle that spins, shrinks, and grows based on the movement of your cursor.

6.	When the circle assumes the size and orientation you desire, click Button 1 and the circle will be drawn with the Current Color.

7.	You can continue to paint with colors on the image using any tool you choose.

Note: When Painting, all tools will paint with the Current Color until you put an Effect (except for the Drawing Merge Control, Channel Mask, 8 Bit Mask, or the Gradients) in use.


Exercise 2. Painting with Effects

1.	Select the Rectangle tool.

2.	Open the racecar.tif image found in your \lesson_images directory off your main ColorWorks directory using the File | Open command.

3.	Choose the Effects | Tune Image Colors | Invert command, opening the Invert dialog box.

4.	Select the OK button. The Invert effect is now in use.

5.	Place the cursor at a position on the canvas where you want to start your rectangle and click Button 1. You will notice a rubberbanding rectangle that shrinks and grows based on the movement of your cursor.

6.	When the rectangle assumes the size and orientation you desire, click Button 1 and the rectangle will be drawn with the Invert effect.

7.	Choose the Effects | Pixel Displacement command, opening the Pixel Displacement dialog box.

8.	Select the OK button. The Pixel Displacement effect is now also in use (along with the Invert effect).

9.	Select the Circle tool.

10.	Place the cursor at a position on the canvas where you want to start your circle and click Button 1. You will notice a rubberbanding circle that spins, shrinks, and grows based on the movement of your cursor.

11.	When the circle assumes the size and orientation you desire, click Button 1 and the circle will be drawn with the Invert and Pixel Displacement effects.

12.	Select the Free Draw tool and a brush from the Brushes menu, and paint on the image using the combination of the Invert and Pixel Displacement effects.

You can continue turning effects on and off and use any tool to paint to the image. All tools will paint with all in use effects until you take all effects out of use.


Canvas Masking

Using Canvas Masks

Additional Methods of Masking

User Exercises, Masking


Using Canvas Masks

Canvas masks are areas of a canvas you define for use in a specific purpose. A canvas mask can be used as an Image Mask for the creation of floated images, a Protection Mask, and/or a Distortion Mask.

To Paint a Canvas Mask Definition

1.	Click Button 1 on the Toggle Masking button on the Tools Bar to select it. This switches the tools to defining masks. The tools will no longer be painting with colors and effects as long as the Toggle Masking button is selected. When defining a mask, all tool painting operations relate to the current mask definition and do not affect canvas image data. Mask definitions can be defined and/or undefined (erased) using any painting tool.

2.	Begin painting with any tool over areas of the current canvas you wish to include in a mask definition. All areas painted over will be tinted with a magenta color to show that they have been included in the mask definition. Overlapping your definition painting is allowed and will not adversely affect the definition.

3.	When you are satisfied with your mask definition, you can save it as an Image Mask, and/or a Protection Mask, and/or a Distortion Mask using the Mask menu.

Canvas Image Masks

Image Masks are used to create floated images with either the Mask | Save and Float Image Mask or the Mask | Float Saved Image Mask commands. Floated images can be moved within the same canvas, moved to another canvas, used to create a new canvas, and have Image and Effects menu commands applied directly to them.

Canvas Protection Masking

Protection Masks, also know as shape masks, are used with the Mask | Use Protection Masks command to protect all canvas areas defined by the mask from overwriting.

Canvas Distortion Masks

Distortion Masks are used with the Image | Transforms | Map to Distortion Mask command to distort images.

Notes:

•	Saved canvas masks are associated with the currently selected canvas. Each canvas can have its own Image Mask, Protection Mask, and Distortion Mask.

•	When the Toggle Masking button is selected, all painting on a canvas image will define or undefine (erase) mask definitions. The Toggle Masking button either displays a plus sign (+) or a minus sign (-), and the Title Bar of the Tools Bar displays either the word “Define” or “Undefine” to indicate the current setting. To switch between defining and undefining masks, click Button 2 on the Tools Bar and select the Define Mask or Undefine Mask command, or press the [Insert] key.

•	The current definitions remain intact until you specifically clear it using the Mask | Mask Edit Options | Clear Mask command, or select the Toggle Masking button on the Tools Bar to go back to painting. This feature allows you to add to and/or erase the current mask definition, in whole or in part, and to create an Image, Protection, and/or Distortion Mask from the current state of the definition as many times as you like.

•	When you select the Toggle Masking button to turn it off and to go back to painting, all unsaved mask definitions that you were working on at that time will be lost and a floated image will be discarded if one exists.


To Partially Erase a Mask Definition

To Clear a Mask Definition

To Invert a Mask Definition

To Create a Floated Image

To Apply Effects to Floated Images

To Smooth Floated Image Edges with Anti-Aliasing and Edge Blending

To Paste a Floated Image to a Canvas Image

To Discard a Floated Image

To Undo Floated Image Operations

To Move a Floated Image Within a Canvas

To Nudge a Floated Image Using the Arrow Keys

To Move a Floated Image to Another Canvas, Overlaying Images

To Move a Floated Image to Create a New Canvas

To Use a Canvas Protection Mask

To Use a Canvas Distortion Mask


To Partially Erase a Mask Definition

To Partially Erase a Mask Definition

1.	Click Button 2 on the Tools Bar and select the Undefine Mask command. The Toggle Masking button will show a minus sign on it, and the Task Bar of the Tools Bar will display the word “Undefine”.

2.	Paint over those areas of a mask definition you want to undefine or erase.


To Clear a Mask Definition

To Clear a Mask Definition

•	Click Button 2 on the Toggle Masking button and select the Clear Mask command. The mask definition of the current canvas will be cleared, erased in its entirety, or

•	Choose the Mask | Mask Edit Options | Clear Mask command.


To Invert a Mask Definition

To Invert a Mask Definition

•	Click Button 2 on the Toggle Masking button and select the Invert Mask command. The mask definition will be inverted (reversed), or

•	Choose the Mask | Mask Edit Options | Invert Mask command.


To Create a Floated Image

To Create a Floated Image

1.	Paint a canvas mask definition.

2.	Choose the Mask | Save and Float Image Mask command or press the [Ctrl + F] keys. A bounding box border surrounding all of the definition appears on the canvas. You can now move, manipulate, and paste the floated image using commands of the Mask menu, and apply commands of the Image and Effects menu to it.

3.	You will remain working with the floated image until you choose the Mask | Discard Floating command, or press the [Esc] key.

Notes:

•	When working with a Floated Image, ColorWorks’ operations are synchronous, meaning you have to wait until an operation is finished before moving on with the program.

•	Floated selections have no continuing relationship to the Selection Mask that they were made from. Hence, discarding a floated selection does not clear or otherwise alter the Selection Mask it was made from. You could for instance, float, manipulate, and/or discard the same Selection Mask multiple times if you like.

Tip: Since you never lose an Image Mask's definition after you float it, you could return defining masks by choosing the Mask | Discard Floating command and float the same definition multiple times. This is useful if your floated image is not exactly what you wanted, you can simply clean up the definition by additional drawing and/or erasing, and float it again.


To Apply Effects to Floated Images

To Apply Effects to Floated Images

Effects are applied to the floated image immediately upon selecting the OK button in an effect dialog. Then the floated image is merged with the canvas image underneath it using the settings of the Mask | Float Merge Control and the Mask | Use Protection Masks commands.

Notes:

•	The painting behaviors of putting an effect in and taking it out of use, and painting with all in use effects at once, do not exist when working with a floated image. The only exception is the Effects | Drawing Merge Control command, which can be in-use when working with floated images.

•	Some Effect menu commands and Effect Bar buttons may be greyed-out and not available while working with a floated image.


To Smooth Floated Image Edges with Anti-Aliasing and Edge Blending

Often the edges of floated images may have a "stair steps" or "jaggie" appearance that you would like to blend or smooth. ColorWorks can automatically smooth the edges of your floated images with an Anti-Aliasing method, or an Edge Blending method. The Anti-Alias method smoothes edges by inserting intermediate colors between the "stair steps" of the painted edges. The Edge Blending method smoothes the floated image edges with the underlying canvas image.

To Use Anti-Aliasing or Edge Blending with Floated Images

1.	Choose the Mask | Float Merge Control command.

2.	Select the Anti-Alias box and/or set Edge Blending slider, and select the OK button.

3.	The edges of floated images will continue to be anti-aliased and/or blended until you turn those options off in the Mask | Float Merge Control command.

Tip: An Edge Blending setting of 1 is usually all that is needed to smoothly blend floated image edges.


To Paste a Floated Image to a Canvas Image

To Paste a Floated Image to a Canvas Image

Choosing the Mask | Paste Floating command pastes the floated image to a canvas image. The floated image will remain floating for moving, further manipulation, and/or additional pasting.


To Discard a Floating Image

To Discard a Floated Image

•	Press the [Esc] key, or

•	Choose the Mask | Discard Floating command, or

•	Select the Toggle Masking button to go back to painting.


To Undo Floated Image Operations

Undo and Redo operations cancel and restore the effects of previous operations on a floated image. ColorWorks has a single-level undo / redo for floated image operations. This single-level undo is separate from the 255 levels of available painting undos.

To Undo and Redo Floated Image Operations

Choose the Undo / Redo command of a canvas. The floated image operation is undone or redone. Since there is only one level of Undo / Redo available when working with a floated image, choosing this command causes the undo or redo to occur immediately. The Undo / Redo dialog box will not open as it does when you are painting.

Note: Moving a floated image with either the cursor or the nudge keys are not undoable operations. If you want to re-position a floated image to a previous position simply move it back.


To Move a Floated Image Within a Canvas

To Move a Floated Image Within a Canvas

1.	Position your cursor on the canvas with the floated image. You will notice the cursor assume the shape of the move arrow cursor. Click and hold down Button 1.

2.	By moving the mouse you can move the outline of the floated image around the canvas. When you are done moving release Button 1, and the floated image will be redrawn in the new location.

Note: The canvas image will automatically pan, if necessary, while you move the floated image within the current canvas window.

Tips:

•	You do not have to put the move arrow cursor within the bounds of the floated image in order to move it. The floated image always moves relative to the movements of the move cursor when Button 1 is depressed within the canvas window.

•	Use the Keyboard Zoom keys ([F2], [F3], [F4], [F5]) to interactively change canvas magnification while you move a floated image for more precise placement if necessary.


To Nudge a Floated Image Using the Arrow Keys

To Nudge a Floated Image Using the Arrow Keys

For ease of precision placement, floated images can be also be moved one pixel at a time using the arrow keys. The [up-arrow] key moves the floated image up by one pixel, the [down-arrow] key moves it down by one pixel, the [left-arrow] key moves it to the left by one pixel, and the [right-arrow] key moves it to the right by one pixel.


To Move a Floated Image to Another Canvas, Overlaying Images

ColorWorks does not exchange images between canvases with the traditional method of using a series of Edit menu commands to first copy an image to the clipboard, and then paste the clipboard image on top of another canvas. With ColorWorks you simply drag-and-drop floated images between canvases.

To Move a Floated Image to Another Canvas

Perform a drag-and-drop to another canvas:

1.	Position your cursor onto the canvas with the floated image. You will notice the cursor assume the shape of the move arrow cursor. Click and hold down Button 2.

2.	Move the cursor and it will change to the drag-and-drop icon cursor, indicating a drag-and drop operation. You can move the drag-and-drop icon cursor off the current canvas and onto another canvas. When you are done positioning over the second canvas, release Button 2. The second canvas becomes the current canvas and the floated image is redrawn over-top of it.

Notes:

•	The cursor will change to a not symbol (a circle with a line through it) when it is over any invalid area of the Windows and/or ColorWorks desktops that cannot accept the drop of your drag-and-drop operation.

•	You can move, resize, zoom, anything but paint on other canvases, to ready them for the drop of your drag-and drop-operation. If you move the cursor over-top of the image area of other canvases, as if to paint, the cursor will change to a not symbol (a circle with a line through it).

•	At any time while holding down Button 2 to perform a drag-and-drop, you can end the operation with nothing happening by dropping to an invalid area.


To Move a Floated Image to Create a New Canvas

To Move a Floated Image to Create a New Canvas

Perform a drag-and-drop to an open spot on the ColorWorks Desktop:

1.	Position your cursor onto the canvas with the floated image. You will notice the cursor assume the shape of the move arrow cursor. Click and hold down Button 2.

2.	Move the cursor and it will change to the drag-and-drop icon cursor, indicating a drag-and drop operation. Move the drag-and-drop icon cursor off the current canvas and onto any open spot on the ColorWorks Desktop, and release Button 2.

Tip: If there is no open space on the ColorWorks Desktop to drag-and-drop of a floated image to create a new canvas out of it, the same result can be achieved by first choosing the Edit | Cut or Edit | Copy command and then choosing the Edit | Paste command.


To Use a Canvas Protection Mask

Protection Masks, also know as shape masks, are used to protect all canvas areas defined by the mask from overwriting by painting operations.

To Use a Canvas Protection Mask

1.	Paint a canvas mask definition.

2.	Choose the Mask | Save Mask | Protection Mask command.

3.	Choose the Mask | Use Protection Masks command, and all Protection Masks defined on all canvases will be put in use.

4.	When you want to dis-engage or turn-off the Protection Mask(s), choose the Mask | Use Protection Masks command a second time.


To Use a Canvas Distortion Mask

To Use a Canvas Distortion Mask

1.	Paint a canvas mask definition.

2.	Choose the Mask | Save Mask | Distortion Mask command.

3.	Click Button 1 on the Toggle Masking button to switch the tools back to painting.

4.	Choose the Image | Transforms | Map to Distortion Mask command. The canvas image will be distorted to fit the shape of the saved Distortion Mask.

Note: Floated images can also be mapped to a canvas’ Distortion Mask.


Additional Methods of Masking

When Painting, ColorWorks has several additional methods of canvas masking (isolating your painting, and controlling painting opacity or strength), which can be used independently or simultaneously.

Channel Masking

When painting, the Effects | Channel Mask command can be used to protect canvas areas based on color channels. This effect protects certain canvas color channels or ranges of values within those channels.

Masking Canvases Using the 8 Bit Mask Effect

When Painting, the Effects | 8 Bit Mask command allows you to control the opacity of painting operations to an image by use of an 8-Bit mask file. An image referred to as an 8-Bit mask is in effect laid over-top of the canvas image. The brightness values of the 8-Bit mask determine which pixels of the canvas image to affect, and how much to allow painting operations to change those image pixels.

Masking Canvases Using the Gradients Effect

When Painting, the Effects | Gradients command, in addition to painting gradients of colors, allows you to control the opacity of painting operations to an image across a gradient. The brightness values of the generated gradient determines which pixels of the canvas image to affect and how much to allow painting operations to change those image pixels.

Note: 8-Bit Masking is traditionally used for adding 3-D effects to text or objects, and for applying effects to images across gradients. Exercise 10. demonstrates a basic technique for adding 3-D effects to text or objects. Concerning applying effects across a gradient, you can create an 8-Bit mask file that is a gradient used to filter effects through. However, ColorWorks offers a much easier and significantly more capable method of applying effects through a gradient using the Effects | Gradients command.


User Exercises, Masking

Exercise 3. Painting on a Canvas to Define a Mask

Exercise 4. Creating a Floated Image

Exercise 5. Applying Transforms and Effects to Floated Images

Exercise 6. Creating and Using a Canvas Distortion Mask

Exercise 7. Creating and Using a Canvas Protection Mask

Exercise 8. Using a Channel Mask

Exercise 9. Varying Painting Opacity Using an 8-Bit Mask

Exercise 10. Varying Painting Opacity Using a Gradient


Exercise 3. Painting on a Canvas to Define a Mask

1.	Select the Toggle Masking button.

2.	Select the Rectangle tool.

3.	Open the clown.tif image found in your \lesson_images directory off your main ColorWorks directory using the File | Open command.

4.	Paint a rectangle as shown. You will notice that the canvas area drawn over is tinted with a magenta color.


Exercise 4. Creating a Floated Image

1.	Using the Mask Definition drawn in Exercise 3.

2.	Choose the Mask | Save and Float Image Mask command.

A bounding box border surrounding all of the definition appears on the canvas. You can now move, manipulate, and paste the floated image using commands of the Mask menu and apply effects to it from the Image and Effects menus.


Exercise 5. Applying Transforms and Effects to Floated Images

1.	Using the floated image created in Exercise 4.

2.	Choose the Image | Transforms | Coons Warp command, opening the Coons Warp dialog box.

3.	Select the Hangover1.cwc from the Load Controls list box.

4.	Select the Apply button and the warp is applied to the floated image.

5.	Choose the Effects | Tune Image Colors | Hue / Saturation command, opening the Hue / Saturation dialog box.

6.	Move the Hue slider bar to 70 degrees, and select the OK button. The Hue/Saturation effect is applied to the floated image.

7.	You can now move, manipulate, use commands of the Image and/or the Effects menus, and paste the floated image.

8.	If you want to create a new canvas out of the floated image, position your cursor on the canvas with the floated image. You will notice the cursor assume the shape of the move arrow cursor. Click and hold down Button 2. Move the cursor and it will change to the drag-and-drop icon cursor, indicating a drag-and drop operation. Move the cursor off the current canvas and onto any open spot on the ColorWorks desktop. When you are done moving the cursor release Button 2, and a new canvas will be created on the ColorWorks desktop with the floated image as its contents. The new canvas will become the current canvas.


Exercise 6. Creating and Using a Canvas Distortion Mask

1.	Using the mask definition drawn in Exercise 3.

2.	Choose the Mask | Save Mask | Image Mask command, saving this mask definition as the canvas' Image Mask.

3.	Choose the Mask | Mask Edit Options | Clear Mask command, clearing the mask definition.

4.	Select the Triangle tool and paint two triangles as shown.

5.	Choose the Mask | Save Mask | Distortion Mask command, saving this mask definition as the canvas' Distortion Mask.

6.	Choose the Mask | Float Saved Image Mask command, creating a floated image from the canvas' saved Image Mask definition.

7.	Choose the Image | Transforms | Map to Distortion Mask command, mapping the floated image to the canvas’ Distortion Mask.

8.	You can now move, manipulate, and paste the floated image using commands of the Mask menu, and apply effects to it from the Image and Effects menus.

9.	If you want to create a new canvas out of the floated image, position your cursor on the canvas with the floated image. You will notice the cursor assume the shape of the move arrow cursor. Click and hold down Button 2. Move the cursor and it will change to the drag-and-drop icon cursor, indicating a drag-and drop operation. Move the cursor off the current canvas and onto any open spot on the ColorWorks desktop. When you are done moving the cursor release Button 2, and a new canvas will be created on the ColorWorks desktop with the floated image as its contents. The new canvas will become the current canvas.


Exercise 7. Creating and Using a Canvas Protection Mask

1.	Open the clown.tif image found in your \lesson_images directory off your main ColorWorks directory using the File | Open command.

2.	Select the Toggle Masking button.

3.	Select the Curve tool.

4.	We are going to use the Curve tool to outline the clown's face. Position the cursor on the canvas where you want the curve to start and click Button 1. You will notice a cross was placed at the selected location indicating a control point. Continue to enter control points around the clown's face. You will start to see a rubberbanding curve after you enter a 2nd control point.

5.	When you have finished entering curve points around the clown's face press the [Enter] key and the curve will be drawn.

6.	Choose the Mask | Save Mask | Protection Mask command, saving this mask definition as the canvas' Protection Mask.

7.	Select the Toggle Masking button.

8.	Choose the Mask | Use Protection Masks command to put the saved Protection Mask in use.

9.	Choose the Effects | Tune Image Colors | Dodge / Burn command, opening the Dodge / Burn dialog box.

10.	Set the Exposure slider to -25 and select the OK button.

11.	Select the Full Canvas tool.

12.	Place the cursor over-top of the canvas and click Button 1. The canvas will be drawn to, in its entirety, with the Dodge / Burn effect. Image areas that are part of the Protection Mask will not be drawn to.

13.	Select the Toggle Masking button.

14.	Choose the Mask | Show Mask | Protection Mask command, showing the canvas' saved Protection Mask.

15.	Choose the Mask | Mask Edit Options | Invert Mask command to invert the mask definition.

16.	Choose the Mask | Save Mask | Protection Mask command, saving this mask definition as the canvas' Protection Mask.

17.	Select the Toggle Masking button.

18.	Take the Dodge / Burn effect out of use by choosing its command again or by choosing the Effects | Clear All Effects command.

19.	Choose the Effects | Texturize command, opening the Texturize dialog box.

20.	Choose the concrete.txr from the Load Texture list box and select the OK button.

21.	Choose the Effects | Drawing Merge Control command, opening the Drawing Merge Control dialog box.

22.	Set the Drawing Color Opacity to 128 to reduce the strength of the texturizing, and select the OK button.

23.	Select the Full Canvas tool and paint to the canvas with the Texturize effect. Only the clown's face will be drawn to. The background image area that is part of the Protection Mask will not be drawn to.


Exercise 8. Using a Channel Mask

1.	Open the racecar.tif image found in your \lesson_images directory off your main ColorWorks directory using the File | Open command.

2.	Choose the Effects | Channel Mask command, opening the Channel Mask dialog box.

3.	Select the RGB channel and the Protect masking method buttons, and select the Mask boxes for the Red and Blue channels.

4.	Select the OK button. The set Channel Mask is now in use.

5.	Choose the Effects | Filter Labs | Edge Detection Lab command, opening the Edge Detection Lab dialog box.

6.	Select the OK button. The Edge Detection Lab effect is now also in use.

7.	Select the Full Canvas tool and paint to the canvas. Only the Green image channel will be drawn to with the Edge Detection Lab effect.

8.	Press and Hold the [Shift] key and choose the Effects | Channel Mask command, opening the Channel Mask dialog box again.

9.	Select to mask only the Green and Blue channels, and select the OK button. The Channel Mask is still in use with the new settings.

10.	Take the Edge Detection Lab effect out of use by choosing its command again or by choosing the Effects | Clear All Effects command.

11.	Choose the Effects | Texturize command, opening the Texturize dialog box.

12.	Choose the sand.txr from the Load Texture list box and select the OK button. The Texturize effect is now in use.

13.	Paint to the canvas with the Full Canvas tool or choose the Reapply command of the canvas. Only the Green image channel will be drawn to with the Texturize effect.

Note: Holding the [Shift] key and choosing an in use Effect menu command or Effects Bar button will open its dialog box. This feature allows you to open the effect’s dialog box when it is already in use without having to choose its command or button twice (once to take it out of use and a second time to open the dialog box).


Exercise 9. Varying Painting Opacity Using an 8-Bit Mask

1.	Open the spg.tif image found in your \lesson_images directory off your main ColorWorks directory using the File | Open command.

2.	Choose the Effects | Tune Image Colors | Invert command, opening the Invert dialog box.

3.	Select the OK button. The Invert effect is now in use.

4.	Paint to the canvas with the Full Canvas tool to invert the image.

5.	Take the Invert effect out of use by choosing its command again or by choosing the Effects | Clear All Effects command.

6.	Choose the Effects | Filter Labs | Special Filters Lab command, opening the Special Filter Lab dialog box.

7.	Choose the Emboss effect from the Effects list box and select the OK button. The Special Filters Lab (Emboss) effect is now in use.

8.	Paint to the canvas with the Full Canvas tool or choose the Reapply command of the canvas, embossing the image.

9.	Take the Special Filters Lab (Emboss) effect out of use by choosing its command again or by choosing the Effects | Clear All Effects command.

10.	Choose the Effects | 8 Bit Mask command, opening the 8 Bit Mask dialog box.

11.	Choose the spg_thin.txr from the Load Mask list box and select the OK button. The 8 Bit Mask effect is now in use.

12.	Choose a red color from the Color Palette.

13.	Paint to the canvas with the Full Canvas tool or choose the Reapply command of the canvas, painting the red color through the mask.

14.	Press and Hold the [Shift] key and choose the Effects | 8 Bit Mask command, opening the 8 Bit Mask dialog box.

15.	Choose the spg_fat.txr from the Load Mask list box and select the OK button. The 8 Bit Mask effect is still in use with the new settings.

16.	Choose the Effects | Texturize command, opening the Texturize dialog box.

17.	Choose the cloud.txr from the Load Texture list box and select the OK button. The Texturize effect is now also in use.

18.	Paint to the canvas with the Full Canvas tool or select the Reapply button on the Canvas Task Bar, painting the Texturize effect through the mask.

Note: Holding the [Shift] key and choosing an in use Effect menu command or Effects Bar button will open its dialog box. This feature allows you to open the effect’s dialog box when it is already in use without having to choose its command or button twice (once to take it out of use and a second time to open the dialog box).

Tips:

•	How the "spg_thin.txr" 8-Bit mask file was created: 1. Open the spg.tif image. 2. Paint on the image with the Full Canvas tool using the Effects | Tune Image Colors | Invert command. 3. Paint on the image with the Full Canvas tool using the Effects | Filter Labs | Noise Reduction Lab (Minimum) command, twice to thin out or erode the SPG logo. 4. Paint on the image with the Full Canvas tool using the Effects | Filter Labs | Smoothing Lab (Gaussian Distribution) command, twice to smooth the logo edges. 5. Save the edited image as an 8-Bit mask file using the File | Save Resource | 8 Bit Mask command.

•	How the "spg_fat.txr" 8-Bit mask file was created: 1. Open the spg.tif image. 2. Paint on the image with the Full Canvas tool using the Effects | Filter Labs | Noise Reduction Lab (Minimum) command, twice to fatten or dilate the SPG logo. 3. Paint on the image using the Effects | Filter Labs | Smoothing Lab (Gaussian Distribution) command, twice to smooth the logo edges. 4. Save the edited image as an 8-Bit mask file using the File | Save Resource | 8 Bit Mask command.


Exercise 10. Varying Painting Opacity Using a Gradient

1.	For the first part of this exercise, open the racecar.tif image found in your \lesson_images directory off your main ColorWorks directory using the File | Open command.

2.	Choose the Effects | Gradients command, opening the Gradients dialog box.

3.	Select the Horizontal button and set the Noise slider to 6%. Select the Preview button to see a preview of how the set gradient will be generated.

4.	Select the OK button. The Gradients effect is now in use.

5.	Choose the Effects | Tune Image Colors | Solarize command, opening the Solarize dialog box.

6.	Select the Lower button and select the OK button. The Solarize effect is also now in use.

7.	Choose the Effects | Pixel Displacement command, opening the Pixel Displacement dialog box.

8.	Choose the streaks.txr from the Load Displacement list box and select the OK button. The Pixel Displacement effect is now the third effect in use.

9.	Paint to the canvas with the Full Canvas tool. The solarize and pixel displacement combination of effects is applied to the image across a horizontal gradient.

10.	Choose the Effects | Clear All Effects command to prepare for the second part of this exercise.

11.	Open the clown.tif image found in your \lesson_images directory off your main ColorWorks directory using the File | Open command.

12.	Choose the Effects | Gradients command, opening the Gradients dialog box.

13.	Select the Radial button and set the Noise slider to 6%. Select the Preview button to see a preview of how the set gradient will be generated.

14.	Select the OK button. The Gradients effect is now in use.

15.	Choose the Effects | Filter Labs | Special Filters Lab command, opening the Special Filters Lab dialog box.

16.	Choose the Entity effect from the Effects list box and select the OK button. The Special Filters Lab (Entity) effect is also now in use.

17.	Paint to the canvas with the Full Canvas tool, the Special Filter (Entity) effect is drawn across the set gradient.


Using The Painting Tools

Using the Free Draw Tool

Using the Line Tool

Using the Curve Tool

Using the Rectangle Tool

Using the Parallelogram Tool

Using the Triangle Tool

Using the Polygon Tool

Using the Circle Tool

Using the Ellipse Tool

Using the Fill Tool

Using the Text Tool

Using the Full Canvas Tool

Using the Color Picker Tool

Using the Zoom Tool

Using the Cropping Tool


Using the Free Draw Tool

 This tool paints on a canvas as if using a pencil, pen, or airbrush.

Note: By design, the Free Draw tool is the only tool in ColorWorks that can only be used when a canvas does not have painting operations occurring on it. Free Draw painting occurs immediately and is not submitted to the multi-threaded painting queue of a canvas. The reasoning is that user feedback as to the result of a Free Draw brush stroke is normally expected to occur as quickly as possible, so as to allow you to determine whether or not to continue applying strokes. This timeliness of feedback requirement requires Free Draw painting not be a multi-threaded operation and a canvas needs to be free of operations painting to it, in order to use the tool.

Tips:

•	Pencil or Pen Painting: For a pencil or pen brush tip behavior, use a hard Softness setting of 0 in the Brushes | Settings command.

•	Paintbrush Painting: For a paintbrush brush tip behavior, a solid brush shape with a small ring of blended edge, use a Softness setting a little less than hard (like 5) in the Brushes | Settings command.

•	Airbrush Painting: For an airbrush brush tip behavior use a very soft Softness setting (like 13 or 14) in the Brushes | Settings command.. For an even better airbrush tool effect, try this in combination with a low Drawing Color Opacity setting in the Effects | Drawing Merge Control command.


To "One-Time" Free Draw


To "One-Time" Free Draw

To “One-Time” Free Draw

Normally the Free Draw tool paints to a canvas image without regard to what image areas had be drawn to by a previous free drawing operation. This results in the canvas image being drawn to twice in any image areas that were overlapped or part of both painting operations.

Sometimes you may want to draw only once or "one-time" draw to any overlapped areas. After using the Free Draw tool once, you "one-time" draw by momentarily pressing and holding the [Shift] key when you initially press Button 1 to start free drawing a second time (you can release the [Shift] key after you start to draw again). This causes your painting not to affect image areas previously drawn to by the first free draw operation.

Note: This feature also makes consecutive free draw operations part of the same undo.

Tips:

•	This feature allows you to free draw with effects like the Effects | Tune Image Colors | Invert command, and not re-invert areas of the canvas with consecutive free drawing operations.

•	This feature is very useful if you are Free Drawing using a Drawing Color Opacity setting of less than 255 in the Effects | Drawing Merge Control command, and do not want a compounded effect on any overlapping image areas during consecutive free drawing operations.


Using the Line Tool

 This tool paints lines on a canvas.

Dialog Controls:

Control	Function

End Points	This button sets lines to be drawn from starting endpoint to the end endpoint.

Center	This button sets lines to be drawn from their center out to their endpoints.

No Linkage	This button sets subsequent lines to have no relationship with each other.

Chained	This button sets the end endpoint of a line to be the start endpoint for the next line to be drawn. Chained lines are also known as polylines.

Same Start	This button sets the start endpoint for the first line drawn to be the start endpoint for all subsequent lines.

T-Square	This box sets all lines to be drawn perfectly vertical or horizontal, depending on which orientation the rubberbanding line is closest to.


To Paint Lines From Center

To Paint Lines From End Points

To Paint Unlinked Lines

To Paint Chained Lines

To Paint Same Start Lines

To Paint T-Square Lines


To Paint Lines From Center

To Paint Lines From Center

1.	Select to use the Line tool and the Center painting method.

2.	Place the cursor at a position on the canvas where you want to start your line and click Button 1. You will notice a rubberbanding line that spins, shrinks, and grows based on the movement of your cursor.

3.	When the line assumes the size and orientation you desire, click Button 1 and the line will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Lines From End Points

To Paint Lines From End Points

1.	Select to use the Line tool and the End Points painting method.

2.	Place the cursor at a position on the canvas where you want to start your line and click Button 1. Again the line spins, shrinks, and grows based on the movement of your cursor, but this time the growth is from the endpoints rather than the center.

3.	When the line assumes the size and orientation you desire, click Button 1 and the line will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Unlinked Lines

To Paint Unlinked Lines

1.	Select to use the Line tool and the No Linkage painting method.

2.	Draw the line as you normally would.

3.	After painting the cursor will remain present, waiting for you to start another line.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Chained Lines

To Paint Chained Lines

1.	Select to use the Line tool and the Chained painting method.

2.	Place the cursor at a position on a canvas where you want to start your line. Draw a line as you normally would. You will notice another rubberbanding line that begins at the location where the last one ended.

3.	Move your cursor and click Button 1 again. The line will be drawn and you will get another rubberbanded line. You could move the cursor and continue painting chained lines or you can end the chain by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Same Start Lines

To Paint Same Start Lines

1.	Select to use the Line tool and the Same Start painting method.

2.	Draw the line as you normally would. You will notice another rubberbanding line that begins at the same start location as the first one.

3.	Move your cursor and click Button 1 again. The line will be painted and you will get another rubberbanded line. You can move the cursor and continue painting same start lines, or you can end the same start by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint T-Square Lines

To Paint T-Square Lines

1.	Select to use the Line tool and the T-Square option.

2.	Place the cursor at a position on the canvas where you want to start your line and click Button 1.

3.	When the line assumes the size and orientation you desire, click Button 1 and the line will be painted, in a perfectly vertical or horizontal orientation, with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


Using the Curve Tool

 This tool paints curves or paths on a canvas.

Dialog Controls:

Control	Function

Curve Type	Inside this box is a list of available curve types.

Smooth	This button sets the smoothness of the curve.

Tension	This button sets the tension of the curve.

Filled	This box sets curves to be drawn filled.

Note: When using the Bezier or BetaSpline curve types you will not begin to see a rubberbanding curve appear until you enter the forth curve point.

Tips:

•	Setting the Tension: A tension setting to 10 is the default tension for the selected curve type. The lower the tension, the closer the curve lies to the control points. Conversely, the higher the tension the farther away the curve lies from the control points.

•	Irregular Polygon Tool: Setting the Smooth and/or the Tension controls to 1 forces a curve to paint as line segments. The best settings for an irregular polygon tool is to use a TauSpline curve with a Smooth setting of 1, because the curve (line segments) falls exactly on the control points.

•	Lasso Tools and Painting to Irregular Filled Shapes: ColorWorks has no Lasso tool. To paint an irregular filled shape use the Curve tool set to Filled.

Editing Curves

You can move, add, and delete points on a curve at any time prior to pressing the [Enter] key to paint the curve.


To Paint Curves

To Edit Curves

To Paint Filled Curves


To Paint Curves

To Paint Curves

1.	Select to use the Curve tool.

2.	Position the cursor on a canvas where you want the curve to start and click Button 1. You will notice a marker was placed at the location you selected. Continue to enter curve points. You will start to see a rubberbanding curve.

3.	When you have finished entering curve points press the [Enter] key, and the curve will be painted with the current brush (if set to unfilled), color, or effect(s).

Notes:

•	When using the Bezier or BetaSpline curve types you will not begin to see a rubberbanding curve appear until you enter the forth curve point.

•	At any time during the rubberbanding you could have aborted the painting operation by pressing the [Esc] key.

•	Curve painting is the only rubberbanding tool that can only be aborted by pressing the [Esc] key (and not a click of Button 2 as well). This is done because curve points are deleted by a click of Button 2 and you may inadvertently abort the curve when you only wanted to delete a point.


To Edit Curves

You can move, add, and delete points on a curve at any time prior to pressing the [Enter] key to paint the curve.

To Move a Point on a Curve

Clicking and holding Button 1 while the cursor is over-top of a curve point allows you to drag the selected point to a new location.

Note: When you move the cursor over-top of an existing point, the cursor changes to a circle to indicate you are over a point and can manipulate it.

Tip: Making Angles and Line Segments: When two adjacent curve points are close to each other the path of the curve at that location turns into straight lines. This feature allows you to use the Curve tool to create any complex shape consisting of portions of curves and line segments.

To Add a Point to a Curve

Clicking Button 1, at any time, on top of any canvas area other than on a curve point adds a point to the end of the curve.

To Add a Segment Between Two Points

Holding down the [Shift] key and clicking Button 1, while the cursor is over-top of a curve point, adds a curve point after the selected point.

To Delete a Point on a Curve

Clicking Button 2 while the cursor is over-top of a curve point deletes a  curve point.


To Paint Filled Curves

To Paint Filled Curves

1.	Select to use the Curve tool and the Filled option.

2.	Define the curve as you normally would and it will be filled with the current color or effect(s).


Using the Rectangle Tool

 This tool paints rectangles on a canvas.

Dialog Controls:

Control	Function

End Points	This button sets rectangles to be drawn from one endpoint to an opposing endpoint.

Center	This button sets rectangles to be drawn from their center out to their endpoints.

No Linkage	This button sets subsequent rectangles to have no relationship with each other.

Chained	This button sets the end endpoint of a rectangle to be the start endpoint for the next rectangle to be drawn.

Same Start	This button sets the start endpoint for the first rectangle drawn to be the start endpoint for all subsequent rectangles.

Filled	This box sets rectangles to be drawn filled.

Tip: You will notice there is no "square" tool in ColorWorks. In addition to using the Rectangle tool to paint squares, since a square is a 4-sided polygon, simply paint using the Polygon tool set to 4 sides. If you use the Polygon tool, rather than the Rectangle tool to paint squares, you gain the added ability to rotate your square into a diamond or another orientation before painting it.


To Paint Rectangles From Center

To Paint Rectangles From End Points

To Paint Unlinked Rectangles

To Paint Chained Rectangles

To Paint Same Start Rectangles

To Paint Filled Rectangles


To Paint Rectangles From Center

To Paint Rectangles From Center

1.	Select to use the Rectangle tool and the Center painting method.

2.	Place the cursor at a position on the canvas where you want to start your rectangle and click Button 1. You will notice a rubberbanding rectangle that shrinks and grows based on the movement of your cursor.

3.	When the rectangle assumes the size and orientation you desire, click Button 1 and the rectangle will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Rectangles From End Points

To Paint Rectangles From End Points

1.	Select to use the Rectangle tool and the End Points painting method.

2.	Place the cursor at a position on the canvas where you want to start your rectangle and click Button 1. Again the rectangle shrinks and grows based on the movement of your cursor, but this time the growth is from the endpoints rather than the center.

3.	When the rectangle assumes the size and orientation you desire, click Button 1 and the rectangle will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Unlinked Rectangles

To Paint Unlinked Rectangles

1.	Select to use the Rectangle tool and the No Linkage painting method.

2.	Draw the rectangle as you normally would.

3.	After painting the cursor will remain present, waiting for you to start another rectangle.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Chained Rectangles

To Paint Chained Rectangles

1.	Select to use the Rectangle tool and the Chained painting method.

2.	Place the cursor at a position on a canvas where you want to start your rectangle. Draw a rectangle as you normally would. You will notice another rubberbanding rectangle that begins at the location where the last one ended.

3.	Move your cursor and click Button 1 again. The rectangle will be painted and you will get another rubberbanded rectangle. You can move the cursor and continue painting chained rectangles or you can end the chain by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Same Start Rectangles

To Paint Same Start Rectangles

1.	Select to use the Rectangle tool and the Same Start painting method.

2.	Draw the rectangle as you normally would. You will notice another rubberbanding rectangle that begins at the same start location as the first one.

3.	Move your cursor and click Button 1 again. The rectangle will be painted and you will get another rubberbanded rectangle. You could move the cursor and continue painting same start rectangles, or you can end the same start by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Filled Rectangles

To Paint Filled Rectangles

1.	Select to use the Rectangle tool and the Filled option.

2.	Draw the rectangle as you normally would and it will be filled with the current color or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


Using the Parallelogram Tool

 This tool paints parallelograms on a canvas.

Dialog Controls:

Control	Function

End Points	This button sets parallelograms to be drawn from one endpoint to an opposing endpoint.

Center	This button sets parallelograms to be drawn from their center out to their endpoints.

No Linkage	This button sets subsequent parallelograms to have no relationship with each other.

Chained	This button sets the end endpoint of a parallelogram to be the start endpoint for the next parallelogram to be drawn.

Same Start	This button sets the start endpoint for the first parallelogram drawn to be the start endpoint for all subsequent parallelograms.

Filled	This box sets parallelograms to be drawn filled.


To Paint Parallelograms From Center

To Paint Parallelograms From End Points

To Paint Unlinked Parallelograms

To Paint Chained Parallelograms

To Paint Same Start Parallelograms

To Paint Filled Parallelograms


To Paint Parallelograms From Center

To Paint Parallelograms From Center

1.	Select to use the Parallelogram tool and the Center painting method.

2.	Place the cursor at a position on the canvas where you want to start your parallelogram and click Button 1. You will notice a rubberbanding parallelogram that shrinks and grows based on the movement of your cursor.

3.	When the parallelogram assumes the size and orientation you desire, click Button 1 and the parallelogram will be painted with the current brush, color or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Parallelograms From End Points

To Paint Parallelograms From End Points

1.	Select to use the Parallelogram tool and the End Points painting method.

2.	Place the cursor at a position on the canvas where you want to start your parallelogram and click Button 1. Again the parallelogram shrinks and grows based on the movement of your cursor, but this time the growth is from the endpoints rather than the center.

3.	When the parallelogram assumes the size and orientation you desire, click Button 1 and the parallelogram will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Unlinked Parallelograms

To Paint Unlinked Parallelograms

1.	Select to use the Parallelogram tool and the No Linkage painting method.

2.	Draw the parallelogram as you normally would.

3.	After painting the cursor will remain present, waiting for you to start another parallelogram.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Chained Parallelograms

To Paint Chained Parallelograms

1.	Select to use the Parallelogram tool and the Chained painting method.

2.	Place the cursor at a position on a canvas where you want to start your parallelogram. Draw a parallelogram as you normally would. You will notice another rubberbanding parallelogram that begins at the location where the last one ended.

3.	Move your cursor and click Button 1 again. The parallelogram will be painted and you will get another rubberbanded parallelogram. You could move the cursor and continue painting chained parallelograms or you can end the chain by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Same Start Parallelograms

To Paint Same Start Parallelograms

1.	Select to use the Parallelogram tool and the Same Start painting method.

2.	Draw the parallelogram as you normally would. You will notice another rubberbanding parallelogram that begins at the same start location as the first one.

3.	Move your cursor and click Button 1 again. The parallelogram will be painted and you will get another rubberbanded parallelogram. You could move the cursor and continue painting same start parallelograms or you can end the same start by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Filled Parallelograms

To Paint Filled Parallelograms

1.	Select to use the Parallelogram tool and the Filled option.

2.	Draw the parallelogram as you normally would and it will be filled with the current color or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


Using the Triangle Tool

 This tool paints triangles on a canvas.

Dialog Controls:

Control	Function

End Points	This button sets triangles to be drawn from one endpoint to an opposing endpoint.

Center	This button sets triangles to be drawn from their center out to their endpoints.

No Linkage	This button sets subsequent triangles to have no relationship with each other.

Chained	This button sets the end endpoint of a triangle to be the start endpoint for the next triangle to be drawn.

Same Start	This button sets the start endpoint for the first triangle drawn to be the start endpoint for all subsequent triangles.

Filled	This box sets triangles to be drawn filled.

Tip: To quickly paint a triangle with 3 equal sides try painting using a 3-sided polygon with the Polygon tool, instead of using the Triangle tool.


To Paint Triangles From Center

To Paint Triangles From End Points

To Paint Unlinked Triangles

To Paint Chained Triangles

To Paint Same Start Triangles

To Paint Filled Triangles


To Paint Triangles From Center

To Paint Triangles From Center

1.	Select to use the Triangle tool and the Center painting method.

2.	Place the cursor at a position on the canvas where you want to start your triangle and click Button 1. You will notice a rubberbanding triangle that spins, shrinks, and grows based on the movement of your cursor.

3.	When the triangle assumes the size and orientation you desire, click Button 1 and the triangle will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Triangles From End Points

To Paint Triangles From End Points

1.	Select to use the Triangle tool and the End Points painting method.

2.	Place the cursor at a position on the canvas where you want to start your triangle and click Button 1. Again the triangle spins, shrinks, and grows based on the movement of your cursor, but this time the growth is from the endpoints rather than the center.

3.	When the triangle assumes the size and orientation you desire, click Button 1 and the triangle will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Unlinked Triangles

To Paint Unlinked Triangles

1.	Select to use the Triangle tool and the No Linkage painting method.

2.	Draw the triangle as you normally would.

3.	After painting the cursor will remain present, waiting for you to start another triangle.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Chained Triangles

To Paint Chained Triangles

1.	Select to use the Triangle tool and the Chained painting method.

2.	Place the cursor at a position on a canvas where you want to start your triangle. Draw a triangle as you normally would. You will notice another rubberbanding triangle that begins at the location where the last one ended.

3.	Move your cursor and click Button 1 again. The triangle will be drawn and you will get another rubberbanded triangle. You could move the cursor and continue painting chained triangles or you can end the chain by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Same Start Triangles

To Paint Same Start Triangles

1.	Select to use the Triangle tool and the Same Start painting method.

2.	Draw the triangle as you normally would. You will notice another rubberbanding triangle that begins at the same start location as the first one.

3.	Move your cursor and click Button 1 again. The triangle will be painted and you will get another rubberbanded triangle. You could move the cursor and continue painting same start triangles or you can end the same start by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Filled Triangles

To Paint Filled Triangles

1.	Select to use the Triangle tool and the Filled option.

2.	Draw the triangle as you normally would and it will be filled with the current color or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


Using the Polygon Tool

 This tool paints regular polygons, between 2 and 17 sides, on a canvas.

Dialog Controls:

Control	Function

End Points	This button sets polygons to be drawn from one endpoint to an opposing endpoint.

Center	This button sets polygons to be drawn from their center out to their endpoints.

No Linkage	This button sets subsequent polygons to have no relationship with each other.

Chained	This button sets the end endpoint of a polygon to be the start endpoint for the next polygon to be drawn.

Same Start	This button sets the start endpoint for the first polygon drawn to be the start endpoint for all subsequent polygons.

Filled	This box sets polygons to be drawn filled.

Sides	This button sets the number of sides that the drawn polygons will have.

Tips:

•	Painting Squares: You will notice there is no "square" tool in ColorWorks. In addition to using the Rectangle tool to paint squares, since a square is a 4-sided polygon, simply paint a polygon with 4 sides. If you use the Polygon tool, rather than the Rectangle tool to paint squares, you gain the added ability to rotate your square into a diamond or another orientation before painting it.

•	Painting Triangles: To quickly paint a triangle with 3 equal sides try painting using a 3-sided polygon, instead of using the Triangle tool.


To Paint Polygons From Center

To Paint Polygons From End Points

To Paint Unlinked Polygons

To Paint Chained Polygons

To Paint Same Start Polygons

To Paint Filled Polygons


To Paint Polygons From Center

To Paint Polygons From Center

1.	Select to use the Polygon tool and the Center painting method.

2.	Place the cursor at a position on the canvas where you want to start your polygon and click Button 1. You will notice a rubberbanding polygon that spins, shrinks, and grows based on the movement of your cursor.

3.	When the polygon assumes the size and orientation you desire, click Button 1 and the polygon will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Polygons From End Points

To Paint Polygons From End Points

1.	Select to use the Polygon tool and the End Points painting method.

2.	Place the cursor at a position on the canvas where you want to start your polygon and click Button 1. Again the polygon spins, shrinks, and grows based on the movement of your cursor, but this time the growth is from the endpoints rather than the center.

3.	When the polygon assumes the size and orientation you desire, click Button 1 and the polygon will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Unlinked Polygons

To Paint Unlinked Polygons

1.	Select to use the Polygon tool and the No Linkage painting method.

2.	Draw the polygon as you normally would.

3.	After painting the cursor will remain present, waiting for you to start another polygon.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Chained Polygons

To Paint Chained Polygons

1.	Select to use the Polygon tool and the Chained painting method.

2.	Place the cursor at a position on a canvas where you want to start your polygon. Draw a polygon as you normally would. You will notice another rubberbanding polygon that begins at the location where the last one ended.

3.	Move your cursor and click Button 1 again. The polygon will be painted and you will get another rubberbanded polygon. You could move the cursor and continue painting chained polygons or you can end the chain by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Same Start Polygons

To Paint Same Start Polygons

1.	Select to use the Polygon tool and the Same Start painting method.

2.	Draw the polygon as you normally would. You will notice another rubberbanding polygon that begins at the same start location as the first one.

3.	Move your cursor to and click Button 1 again. The polygon will be painted and you will get another rubberbanded polygon. You could move the cursor and continue painting same start polygons or you can end the same start by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Filled Polygons

To Paint Filled Polygons

1.	Select to use the Polygon tool and the Filled option.

2.	Draw the polygon as you normally would and it will be filled with the current color or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


Using the Circle Tool

 This tool paints circles on a canvas.

Dialog Controls:

Control	Function

End Points	This button sets circles to be drawn from a start point of their perimeter to an opposite point of their perimeter.

Center	This button sets circles to be drawn from their center point to a point of their perimeter.

No Linkage	This button sets subsequent circles to have no relationship with each other.

Chained	This button sets the end endpoint of a circle to be the start point for the next circle to be drawn.

Same Start	This button sets the start point for the first circle drawn to be the start point for all subsequent circles.

Filled	This box sets circles to be drawn filled.


To Paint Circles From End Points

To Paint Circles From Center

To Paint Unlinked Circles

To Paint Chained Circles

To Paint Filled Circles


To Paint Circles From End Points

To Paint Circles From End Points

1.	Select to use the Circle tool and the End Points painting method.

2.	Place the cursor at a position on the canvas where you want to start your circle and click Button 1. You will notice a rubberbanding circle that spins, shrinks, and grows based on the movement of your cursor.

3.	When the circle assumes the size and orientation you desire, click Button 1 and the circle will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Circles From Center

To Paint Circles From Center

1.	Select to use the Circle tool and the Center painting method.

2.	Place the cursor at a position on the canvas where you want to start your circle and click Button 1. Again the circle spins, shrinks, and grows based on the movement of your cursor, but this time the growth is from the center rather than the edge of the circle.

3.	When the circle assumes the size and orientation you desire, click Button 1 and the circle will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Unlinked Circles

To Paint Unlinked Circles

1.	Select to use the Circle tool and the No Linkage painting method.

2.	Draw the circle as you normally would.

3.	After painting the cursor will remain present, waiting for you to start another circle.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Chained Circles

To Paint Chained Circles

1.	Select to use the Circle tool and the Chained painting method.

2.	Place the cursor at a position on a canvas where you want to start your circle. Draw a circle as you normally would. You will notice another rubberbanding circle that begins at the location where the last one ended.

3.	Move your cursor and click Button 1 again. The circle will be painted and you will get another rubberbanded circle. You could move the cursor and continue painting chained circles or you can end the chain by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Same Start Circles

To Paint Same Start Circles

1.	Select to use the Circle tool and the Same Start painting method.

2.	Draw the circle as you normally would. You will notice another rubberbanding circle that begins at the same start location as the first one.

3.	Move your cursor and click Button 1 again. The circle will be drawn and you will get another rubberbanded circle. You could move the cursor and continue painting same start circles or you can end the same start by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Filled Circles

To Paint Filled Circles

1.	Select to use the Circle tool and the Filled option.

2.	Draw the circle as you normally would and it will be filled with the current color or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


Using the Ellipse Tool

 This tool paints ellipses on a canvas.

Dialog Controls:

Control	Function

End Points	This button sets ellipses to be drawn from a start point of their perimeter to an opposite point of their perimeter.

Center	This button sets ellipses to be drawn from their center point to a point of their perimeter.

No Linkage	This button sets subsequent ellipse to have no relationship with each other.

Chained	This button sets the end endpoint of an ellipse to be the start point for the next ellipse to be drawn.

Same Start	This button sets the start point for the first ellipse drawn to be the start point for all subsequent ellipses.

Filled	This box sets ellipses to be drawn filled.


To Paint Ellipses From End Points

To Paint Ellipses From Center

To Paint Unlinked Ellipses

To Paint Chained Ellipses

To Paint Filled Ellipses


To Paint Ellipses From End Points

To Paint Ellipses From End Points

1.	Select to use the Ellipse tool and the End Points painting method.

2.	Place the cursor at a position on the canvas where you want to start your ellipse and click Button 1. You will notice a rubberbanding ellipse that spins, shrinks, and grows based on the movement of your cursor.

3.	When the ellipse assumes the size and orientation you desire, click Button 1 and the ellipse will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Ellipses From Center

To Paint Ellipses From Center

1.	Select to use the Ellipse tool and the Center painting method.

2.	Place the cursor at a position on the canvas where you want to start your ellipse and click Button 1. Again the ellipse spins, shrinks, and grows based on the movement of your cursor, but this time the growth is from the center rather than the edge of the ellipse.

3.	When the ellipse assumes the size and orientation you desire, click Button 1 and the ellipse will be painted with the current brush, color, or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Unlinked Ellipses

To Paint Unlinked Ellipses

1.	Select to use the Ellipse tool and the No Linkage painting method.

2.	Draw the ellipse as you normally would.

3.	After painting the cursor will remain present, waiting for you to start another ellipse.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Chained Ellipses

To Paint Chained Ellipses

1.	Select to use the Ellipse tool and the Chained painting method.

2.	Place the cursor at a position on a canvas where you want to start your ellipse. Draw an ellipse as you normally would. You will notice another rubberbanding ellipse that begins at the location where the last one ended.

3.	Move your cursor and click Button 1 again. The ellipse will be painted and you will get another rubberbanded ellipse. You could move the cursor and continue painting chained ellipses, or you can end the chain by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Same Start Ellipses

To Paint Same Start Ellipses

1.	Select to use the Ellipse tool and the Same Start painting method.

2.	Draw the ellipse as you normally would. You will notice another rubberbanding ellipse that begins at the same start location as the first one.

3.	Move your cursor and click Button 1 again. The ellipse will be drawn and you will get another rubberbanded ellipse. You could move and continue painting same start ellipses, or you can end the same start by clicking Button 2 or by pressing the [Esc] key.

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


To Paint Filled Ellipses

To Paint Filled Ellipses

1.	Select to use the Ellipse tool and the Filled option.

2.	Draw the ellipse as you normally would and it will be filled with the current color or effect(s).

Note: At any time during the rubberbanding you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.


Using the Fill Tool

 This tool is used to paint on similar areas of a canvas.

Dialog Controls:

Control	Function

RGB	This button sets the Fill Tolerance buttons to the separate Red, Green, and Blue channels.

HLS	This button sets the Fill Tolerance buttons to the separate Hue, Lightness, and Saturation channels.

Fill Tolerance	These buttons set the amount of tolerance percentage or variance allowed for a smart fill.

Fill Methods

ColorWorks can perform fills as smart or "soft," based on either separate RGB or HLS value similarity to the starting pixel, within specified tolerance percentages.

All fills are based on the starting pixel’s color. Normally your fills are hard fills, meaning that you will only fill those adjacent pixels to the starting pixel that are the same exact color. A hard fill has a tolerance of zero. Sometimes it may be desirable to fill an area smart or soft. To soft fill means to fill all adjacent pixels to the starting pixel that are within a specified tolerance or range of the starting pixel.

Note: Magic Wand tools: Smart Fills are often referred to as "magic wand" tools in other programs. However magic wands usually can only select pixels using a composite tolerance (the same tolerance percentage for all color components).

Tip: Smart Effects: When Painting, ColorWorks' powerful configurable tool design and smart fill capability make all of your effects "smart". With Smart Filters, smart Redo, smart Dodging and Burning, etc., every effect is "smart." Smart fills are excellent for quickly defining complex mask definitions.

RGB Smart Fills

When the RGB button is selected, you set the degree of similarity to the starting pixel color using the Red, Green, and Blue Fill Tolerance buttons.

HLS Smart Fills

When the HLS button is selected, you set the degree of similarity to the starting pixel color using the Hue, Luminosity, and Saturation Fill Tolerance buttons.

Tips:

•	Hue Smart Fills: Smart fills based mostly on hue would be used, for example: To fill the sky in an image that has many different shades of blue. You could do this job with multitudes of hard fills if you wanted. However you could probably do the same job with far fewer smart fills with the appropriate hue tolerance.

•	Luminosity Smart Fills: Smart fills based mostly on luminosity would be used, for example, to fill a darker background made up of a large number of different colors surrounding a brighter object in the foreground. Because of the large number of different colors, a smart fill based on hue will not work. A smart fill based on luminosity within the appropriate tolerance will fill the background based on the brightness of the pixels. The brighter object in the foreground will be untouched because its luminosity is not within the tolerance of your smart fill. A smart fill based on luminosity will usually fill a greater area of a canvas than one based on hue or saturation.


To Fill a Canvas Area


To Fill a Canvas Area

To Fill a Canvas Area

1.	Select to use the Fill tool.

2.	Place the cursor over-top of the current canvas, point to the canvas area to fill and click Button 1. The Fill tool will fill the area common to the starting pixel with the selected color or effect(s).


Using the Text Tool

 This tool is used to paint on a canvas with TrueType fonts. The ColorWorks text tools allows you to interactively adjust the text’s position, width, height, size, and inter-character spacing prior to painting the text. In addition, the text’s width and height can be independently adjusted for precise placement of text within a given canvas area.

Dialog Controls:

Control	Function

Font	This button opens the Font dialog box. Within this dialog box you can set the font type, style, and size used for the text.

Angle	This field displays the current text angle setting.

Text	Inside this field you can type the text in which you want to paint with, up to 256 characters.

Note: Painting with Anti-Aliased Text: The Text tool is like any other painting tool in ColorWorks, use the Anti-Alias or the Anti-Alias W/ Edge Blending controls in the Effects | Drawing Merge Control command to anti-alias text characters.


To Paint with Text

To Interactively Adjust Text


To Paint with Text

To Paint with Text

1.	Select to use the Text tool.

2.	Select the Font button, opening the Font dialog box.

3.	Select a Font, Style, and Size using the provided controls.

4.	Select the OK button.

5.	Type the text into the Text field that you want to paint with.

6.	Position the cursor over-top of the current canvas to the location where you want to paint with text and click Button 1. The text from the Text field will be displayed on the canvas.

7.	The text is now movable to any location on the canvas based on the movement of your cursor.

8.	When you are finished positioning the text, click Button 1.

9.	The text will be painted to the canvas using the selected color, or effect(s). After the text is painted the text cursor will return and waits for you to begin entering text again.

Notes:

•	At any time while you are placing text, you could have aborted the painting operation by clicking Button 2 or by pressing the [Esc] key.

•	Text size, spacing, and/or rotation angle can be interactively adjusted while positioning text prior to painting it.

Tips:

•	Drop Shadows: Traditional drop shadows for your text are created by first painting with the Text tool using a color, usually black, and then painting the foreground text slightly offset from the black text. ColorWorks' configurable tool design allows you to easily create more interesting drop shadows by painting the drop shadow text with an effect or a combination of effects in use.

•	Character Masks: Character masks are as easy to create as simply painting a mask definition with the Text tool.

•	Anti-Aliased or Blending Text Edges: To anti-alias or blend text edges use the Anti-Alias or the Anti-Alias w/ Edge Blending controls in Effects | Drawing Merge Control command.


To Interactively Adjust Text

You can increase or decrease text size, spacing, and/or rotation angle at any time while positioning text on a canvas image, prior to clicking Button 1 the second time to paint the text.

To Adjust Text Size

A text’s size can be adjusted while you are positioning it by pressing the [up-arrow] key to increase text size and by pressing the [down-arrow] key to decrease text size.

To Independently Adjust Text Width and Height

1. 	Select the Independent Width/Height Adjustment button in the Font dialog.

2. 	While positioning the text hold the [Shift] key while pressing the [up-arrow], [down-arrow], [left-arrow], or [right-arrow] key to adjust only the width or height of the text.

To Adjust Text Spacing

A text’s inter-character spacing, the spacing between characters, can be adjusted while you are positioning it by pressing the [right-arrow] key to increase text spacing and by pressing the [left-arrow] key to decrease text spacing.

To Adjust Text Rotation Angle

A text’s rotation angle, can be adjusted while you are positioning it by pressing the [+] key to increase the rotation angle and by pressing the [-] key to decrease the rotation angle.


Font Dialog

This dialog box sets the font attributes for text painted with the Text tool.

Dialog Controls:

Control	Function

Font	Inside this box is a list of all available fonts.

Font Style	Inside this box is a list of all available font styles.

Size	This button sets the font size.

Sample	This display provides a sample of your text using the current font settings.

Independent Width/Height Adjustment 	This box sets to enable independent height and width text adjustment.

Notes:

•	The Size button sets a text string’s initial size prior to painting it. While positioning text on a canvas, its size can be adjusted by pressing the [up-arrow] key to increase text size and by pressing the [down-arrow] key to decrease text size.

•	If the Independent Width/Height Adjustment box is selected, the text string can also be adjusted by holding the [Shift] key while pressing the [up-arrow], [down-arrow], [left-arrow], or [right-arrow] key to adjust only the width or height of the text.

•	A text’s inter-character spacing, the spacing between characters, can be adjusted while you are positioning it by pressing the [right-arrow] key to increase text spacing and by pressing the [left-arrow] key to decrease text spacing.

•	A text’s rotation angle, can be adjusted while you are positioning it by pressing the [+] key to increase the rotation angle and by pressing the [-] key to decrease the rotation angle.


Using the Full Canvas Tool

 This tool paints to an entire canvas image at once.


To Paint to an Entire Canvas


To Paint to an Entire Canvas

To Paint to an Entire Canvas

1.	Select the color or effect(s) you want to apply to the entire canvas as you normally would.

2.	Select to use the Full Canvas tool.

3.	Place the cursor over-top of a canvas that you want to paint to and click Button 1. The canvas will be drawn to, in its entirety, with the current color or effect(s).

Note: This results of this tool is analogous to painting with a filled rectangle that encompasses the entire canvas image.


Using the Color Picker Tool

 This tool is used as a densitometer to sample or read canvas colors, and to select painting colors from a canvas.

Dialog Controls:

Control	Function

Radius	Inside this box is a list of all available color picker grid sizes. You can set the color picker to pick a single pixel or an averaged radius (box) of pixels up to a 10x10 pixel radius.

Note: The Cursor Area of the Status Bar reports sampled image pixels in either the RGB, CMY, HLS, HSV, or the HTML (Hex) color model, as set by the File | Preferences command.

Tip: Using ColorWorks' Color Picker key [F6] you can pick canvas colors at anytime, never needing to use this Color Picker tool. Simply point your cursor at the location of a canvas image that has the color you want to paint with and press the [F6] key. Use the Current Cursor Color display on the Status Bar for feedback as to the color your cursor is currently pointing at.


To Pick a Canvas Color as the Current Color


To Pick a Canvas Color as the Current Color

To Pick a Canvas Color as the Current Color

1.	Select to use the Color Picker tool.

2.	Make any desired changes to the Radius setting.

3.	Place the tip of the eyedropper cursor over-top of the canvas location that has the color you want to paint with and click Button 1. You will notice the picked color fill the Current Color Indicator.

Tip: A box filled with the canvas pixel color currently under the eyedropper cursor will appear in the Message Area of the Status Bar. This feature allows you to view pixel colors in a magnified view before selecting one as your current color.


Using the Zoom Tool

 This tool is used to zoom in or out on a specific point of a canvas.

Dialog Controls:

Control	Function

Zoom Increments	This button sets the number of levels to zoom for each use of the Zoom tool.

Tip: Using ColorWorks' Keyboard Zoom keys ([F2], [F3], [F4], [F5]) you can zoom in and out of canvas at anytime, never needing to use this Zoom tool. Simply point your cursor at the image area to zoom at and use a Keyboard Zoom key to change the canvas magnification.


To Zoom In

To Zoom Out


To Zoom In

To Zoom In

1.	Select to use the Zoom tool.

2.	Move the cursor to the current canvas and the zoom cursor will appear.

3.	Place the cursor at a position on a canvas where you want to zoom in and click Button 1. The canvas will zoom in on that exact location the specified number of levels as set by the Zoom Increments button. After the canvas view changes, the zoom cursor returns and waits for the command to begin zooming again. You can zoom again or end Zoom tool operations by selecting another tool.


To Zoom Out

To Zoom Out

1.	Select to use the Zoom tool.

2.	Move the cursor to the current canvas and the zoom cursor will appear.

3.	Place the cursor at a position on a canvas where you want to zoom out and click Button 2. The canvas will zoom out on that exact location the specified number of levels as set by the Zoom Increments button. After the canvas view changes, the zoom cursor returns and waits for the command to begin zooming again. You can zoom again or end Zoom tool operations by selecting another tool.


Using the Cropping Tool

 This tool is used to crop a canvas image to a smaller rectangular region.


To Crop a Canvas Image


To Crop a Canvas Image

To Crop a Canvas Image

1.	Select to use the Cropping tool.

2.	Place the cursor at a position on the canvas where you want to start defining the cropping region and click Button 1. You will notice a rubberbanding rectangle that shrinks and grows based on the movement of your cursor.

3.	When the rectangle assumes the size and orientation you desire, click Button 1 and the cropping region will be surrounded by a bounding box with eight handles on it. The corner handles allow you to shrink and grow the cropping region in the horizontal and/or vertical orientation. The middle handles shrink and grow the cropping region in only one orientation.

4.	Position your cursor over-top of any handle you want to move, click and hold down Button 1. Drag the handle to shrink and grow the bounding box to the desired size and release Button 1.

5.	When you are finished interactively resizing the cropping region, place the cursor over-top of the cropping region itself, the cursor will assume the shape of the cropping tool, and click Button 1. A new canvas will open on the ColorWorks Desktop with the cropping region as its contents.

Notes:

•	At any time while you are cropping, you could have aborted the operation by clicking Button 2 or by pressing the [Esc] key.

•	You can zoom and pan while you are interactively defining the cropping region; however you must release your hold on any handle you may be dragging if you want to use the Keyboard Zoom keys to zoom the canvas.


Using Canvas Commands


Canvas Commands

All canvas windows have their own set of canvas-specific commands in their Control menus. Many of these commands are also made available on a canvas’ Task Bar.

Undo / Redo

Undo Settings

Reapply - tool name

Refresh

Multiprocess

Show Rulers

Show Task Bar

Show Cursor Guidelines

Set Units of Measure

Set Tonal Range

Image Information


Undo / Redo Command of a Canvas

 This command cancels and restores the effects of previously completed painting and floated image operations on the canvas. Each canvas can have up to 255 levels of undo for painting operations, and has 1 level of undo for floated image operations. The number of undo levels per canvas for painting operations is initially set by the File | Preferences command. The number of painting Undo/Redo levels of existing canvases can be dynamically reset using the Undo Settings command of a canvas.

Dialog Controls:

Control	Function

Redo	This field indicates the number of Redos available.

Undo	This field indicated the number of Undos available.

Undo/Redo	This slider will sequentially Undo or Redo your previous painting operations for the current canvas.

Note: Undoing Operations on Floated Images: ColorWorks holds a single-level undo for floated image operations that is separate from the 255 levels of available painting undos. Since there is only one level of Undo / Redo available when working with a floated image, choosing this command causes the undo or redo to occur immediately. The Undo / Redo dialog box will not open as it does when you are painting.


Undo Settings Command of a Canvas

This command allows you to dynamically reset the number of painting undo/redo levels held for the canvas. If you reduce the number of available undo/redo levels below the number already held for current canvas, the held undos are discarded (starting with the oldest), and the RAM occupied by them is released to the Operating System.

Dialog Controls:

Control	Function

Number of undo/redo available for this canvas	This display shows the current number of available undo/redo levels set for the current canvas.

Number of undo/redo in use by this canvas	This display shows the current number of in use undo/redo levels out of the total number available.

Memory needed for undos/redos currently in use	This display shows the current RAM usage of the currently in use undos.

Undo/Redo	This button resets the number of available undo levels between 0 and 255 for the current canvas.

Delete in use undos/redos	This button deletes all current undos in use, and releases the RAM occupied by them to the operating system.


Reapply - tool name Command of a Canvas

 This command automatically repaints to the same canvas area that your last painting operation used. This command gives you the opportunity to adjust the current color, any and all effects, and reapply the last painting operation to the canvas.

Tips:

•	This command is a big time saver if you did not like the results of your last painting operation and want to adjust your settings, and paint again to the same exact canvas area. You would simply, undo the last painting operation using the Undo/Redo command of a Canvas, adjust your settings, and choose this command.

•	This command can also be used to incrementally paint with various effect(s) repeatedly to the same canvas area until the desired result is achieved.

•	This command is great for painting different effects to the same canvas area sequentially without having to operate on a floated image.


Refresh Command of a Canvas

This command causes a refresh or repaint of the canvas image.


Multiprocess Command of a Canvas

This command creates a duplicate of the current canvas for simultaneous (multiprocessed) editing of the same image data using more than one canvas window.

Note: Multiprocessed canvases have the same Canvas ID# in their Canvas Title Bars. This allows you to easily determine if more than one canvas window on your ColorWorks Desktop is pointing to the same image data.

Tip: Reference Windows: This Multiprocess command is useful for creating a "reference window" to view while you work zoomed-in. You could keep one view of a canvas at 100% or a Fit in Window view, and do your zoomed editing in the other. This arrangement eliminates having to zoom in and out to see how your zoomed editing looks in relation to the entire canvas. The Multiprocess command is also very useful in editing different areas of a large image at the same time without having to zoom back and forth between separate canvas areas of interest.


Show Rulers Command of a Canvas

 This command is a toggle for either showing or hiding rulers on the canvas.

Notes:

•	The units of measure used by rulers are set with the Set Units of Measure command of a canvas.

•	To aid in precision editing, the granularity of ruler tick marks is automatically increased when you zoom into a canvas. Conversely, when you zoom out the ruler tick marking granularity is decreased.


Show Task Bar Command of a Canvas

 This command is a toggle for either showing or hiding the canvas Task Bar.


Show Cursor Guidelines Command of a Canvas

 This command is a toggle for either showing or hiding cursor guidelines on the canvas. Cursor guidelines are lines that extend from the cursor tip to the edges of the canvas.

Tip: Cursor Alignment: The cursor guidelines are very useful in aligning your painting operations to rulers or in relation to other elements on the same canvas.


Set Units of Measure Command of a Canvas

 This command dynamically resets the way in which the program measures the pixel resolution of the canvas.

Dialog Controls:

Control	Function

Width	Inside this field you type the desired width pixel resolution per selected unit of measure.

Height	Inside this field you type the desired height pixel resolution per selected unit of measure.

Internet	This button sets the Width and Height resolution to the equivalent of 72 pixels per inch in the selected units of measure.

Pixels	This button sets the canvas units of measure to pixels.

Inches	This button sets the canvas units of measure to inches.

Centimeters	This button sets the canvas units of measure to centimeters.

Millimeters	This button sets the canvas units of measure to millimeters.

Note: The settings of this command are used by the File | Print | Page Setup command, the Show Rulers command, the Image | Transforms | Resize command, the Image | Resize Canvas command. In addition, this command sets the units of measure for the reporting of the cursor coordinates location in the Cursor Area of the Status Bar.


Set Tonal Range Command of a Canvas

This command sets a canvas image's tonal range for use by the Shadows, Midtones, and Highlights boxes found in many of the Effects dialog boxes.

Dialog Controls:

Control	Function

Histogram box	 Inside this box is a histogram chart of the brightness values of the pixels of the current canvas.

Shadow / Midtone marker	This marker (the left-most marker under the histogram box) sets the highest brightness value considered a shadow and the lowest value considered a midtone.

Midtone / Highlight marker	This marker (the right-most marker under the histogram box) sets the highest brightness value considered a midtone and the lowest value considered a highlight.

Preview Shadows	This button tints all canvas areas in the Preview box that are within the set range for shadows (brightness values between 0 and the Shadow / Midtone marker) with a magenta color.

Preview Midtones	This button tints all canvas areas in the Preview box that are within the set range for midtones (brightness values between the Shadow / Midtone marker and the Midtone / Highlight marker) with a magenta color.

Preview Highlights	This button tints all canvas areas in the Preview box that are within the set range for highlights (brightness values between the Midtone / Highlight marker and 255) with a magenta color.

Shadows Values	This field gives you numerical feedback as to the range of brightness values set for shadows.

Midtones Values	This field gives you numerical feedback as to the range of brightness values set for midtones.

Highlights Values	This field gives you numerical feedback as to the range of brightness values set for highlights.

Zoom In	This button zooms in the histogram displayed in the Histogram box.

Zoom Out	This button zooms out the histogram displayed in the Histogram box.

The Value field: 	This field gives you numerical feedback as to the image brightness value under your cursor if you move it over-top of the Preview box.

Note: A floated image inherits the tonal range settings of the canvas image that it is currently over-top.

Tips:

•	Use the preview buttons often as you manipulate the tonal range. The tinting of preview areas provides excellent feedback as to which canvas areas will be considered a shadow, midtone, or a highlight by the Effects menu commands that use this command's settings.

•	For the Effect menu commands that use these tonal range settings, adjusting a canvas' tonal range is an excellent way of controlling exactly which canvas areas will be affected relative to their brightness values.

•	Often a canvas' background can be distinguished from a foreground image by its brightness. In these cases, set the tonal range so that the background falls within a particular range (shadows, midtones or highlight). Now, all Effect menu commands that use this command's settings can be set to only effect or ignore the tonal range belonging to the image background. For example: You would use this technique to only dodge or burn shadow areas of a canvas image, and leave midtones and highlights untouched.

•	Sampling the brightness values of an image from the Preview box is an excellent way to gather image information necessary in setting the tonal range.


To Set a Canvas' Tonal Range

To Sample a Value from the Preview Box


To Set a Canvas' Tonal Range

To Set a Canvas’ Tonal Range

1.	Position the cursor over-top of either the Shadow / Midtone or the Midtone / Highlight marker, click and hold Button 1.

2.	Drag the marker to a new position and release Button 1. The Shadows, Midtones, and Highlights fields will provide you numeric feedback as you move the markers.

3.	Select the OK button.


To Sample a Value from the Preview Box - Set Tonal Range
To Sample a Value from the Preview Box

To Sample a Value from the Preview Box

Position the cursor over-top of the Preview box, the cursor will change to a crosshair shape and the Value field will display the brightness value of the image underneath the cursor.


Image Information Command of a Canvas

 This command displays information on the canvas image.

Dialog Controls:

Control	Function

Name	This field displays the canvas image name.

Width Pixels	This field displays the width of the image in pixels.

Height Pixels	This field displays the height of the image in pixels.

Size	This field displays the Kb size of the image.

Undos	This field displays the canvas’ set maximum number of undos.

Units of Measure	This field displays the canvas’ set units of measure.

Width	This field displays the width of the image in the set units of measure.

Height	This field displays the height of the image in the set units of measure.

Colors in Image	This field displays the number of unique colors in the image.


Using Menu Commands

File Menu

Edit Menu

Mask Menu

Brushes Menu

Image Menu

Effects Menu

Web Tools Menu

Window Menu

Help Menu


File Menu

New

Open

Save

Save as

Acquire | Select Source

Acquire | TWAIN Acquire

Import

Export

Close

Open Resource | Texture Map

Open Resource | Displacement Map

Open Resource | 8 Bit Mask Command

Save Resource | Texture Map

Save Resource | Displacement Map

Save Resource | 8-Bit Mask

Print | Print

Print | Page Setup

Preferences

1-4 filename

Exit


File | New Command

 This command is used to create a new canvas.

Dialog Controls:

Control	Function

Canvas Width	Inside this field you can type the new canvas width in the selected units of measure.

Canvas Height	Inside this field you can type the new canvas height in the selected units of measure.

Pixels	This button sets the canvas units of measure to pixels.

Inches	This button sets the canvas units of measure to inches.

Centimeters	This button sets the canvas units of measure to centimeters.

Millimeters	This button sets the canvas units of measure to millimeters.

Pixels Per Wide	Inside this field you can type the new canvas width resolution in the selected units of measure.

Pixels Per High 	Inside this field you can type the new canvas height resolution in the selected units of measure.

Note: The setting of the units of measure in this dialog box initializes how image dimensions of the new canvas are reported. To change the units of measure of a new canvas, as with any canvas image, use the Set Units of Measure command of a canvas.

Tip: Setting Canvas Resolution: You should set the resolution of a canvas based on what you want to do with the finished image. When printing a canvas image, higher resolutions yield prints with greater clarity. If you intend to output the image on a printing press, the typical relationship of screen pixels to halftone dots is 2 to 1 (two screen pixels for each halftone dot or two times the screen lines per inch). If the canvas image is to be used for an on-screen computer presentation or as a web image, the resolution should be set to screen resolution, typically 72 pixels per inch.


File | Open Command

 This command is used to open an existing image file from disk to the ColorWorks desktop as a canvas for editing. ColorWorks can open images in the BMP, EPS (embedded TIF), GIF, ICO, IFF, JPG, PCD, PSD, PCX, PNG, RAS, TGA, and TIF image file formats. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

Page	This slider is used with multiple-page files. It sets which file page to display in the preview window, and which file page to open for editing.

Enable Preview	This box sets to display a preview image.

Notes:

•	When opening a Photo-CD file, the Photo-CD File Settings dialog box will open to allow you to select a resolution for the image.

•	EPS files can have both a PostScript image and an embedded TIF image within them. ColorWorks can only open an embedded TIF image within an EPS file if one exists, it does not have the ability to open or rasterize the PostScript image within an EPS file.

•	Additional Open Image File Format Support: In addition to the 13 popular formats supported in its various File Open dialog boxes and Image Browser, ColorWorks can open image files in 37 additional formats using a drag-and-drop to the program or by typing the filename in a File Open dialog box. The additional file formats include: DCX, JFIF, Group3, Group4, Group3 2D, CALS, IOCA, ASCII, IGF, MD:DCA, WMF, PCT (raster only), ATT, BRK, CLP, LV, GX2, CUT, DIB, IMG (GEM), IMG (Xerox), IMT, KFX, RLE, MAC, MSP, NCR, PBM, PGM, SUN, PNM, PPM, SGI, WPG (raster only), XBM, XPM, and XWD.

•	The Load Image dialog box can handle multiple file selections. Multiple files are selected to open in a similar fashion as using the ColorWorks Image Browser or the Windows Explorer. To select a range of images, click Button 1 on the image to be the start of the range, hold the [Shift] key, and click Button 1 on the image to be the last image in the range. Hold the [Ctrl] key while clicking Button 1 on images to add them to your selection. Hold the [Ctrl] key while clicking Button 1 on a selected image to remove it from your selection.

Tips:

•	Opening CMYK TIFF Files: A CMYK TIFF image's intended destination is to be imported into a pre-press application, such as a page layout program. CMYK TIFF is not an interchange file format meant to be opened up in ColorWorks or any similar program for additional editing. Due to the myriad of separation techniques, no program can reliably reverse the exact process used by all other programs, especially if tonal compression was used (making precise reverse separation impossible) and restore the image back to the original RGB data. If you must open a CMYK TIFF file for additional editing, ColorWorks performs a basic reverse-separation on the image by performing a straight add-back of the K (black) to the CMY. You should go back to the original RGB file if additional image editing is necessary. However, as a practical matter, sometimes you may only have the CMYK version of the image and it needs additional editing. Remember, the reverse-separation is an approximation, it will often be close, but it will not get the image back to its original RGB state with 100% accuracy. Another solution may be to convert a CMYK TIFF file back to RGB in the program that created it in the first place.

•	Opening Sun Raster Files: A Sun Raster image file can have any file extension. RAS is the most popular naming convention. ColorWorks can read any Sun Raster image regardless of its file extension. To open a Sun Raster image that does not have a RAS extension, either rename the image with the RAS extension and open it as usual, or type in the complete file name as it is into the Image Filename field and select the OK button.


Photo-CD File Settings

This dialog allows you to set format specific optional settings for use in opening Photo-CD files.

Dialog Controls:

Control	Function

192 x 128	This button sets to open Photo-CD images at a size of 192 by 128 pixels, a 70Kb image. This size is also know as Wallet or Base / 16 size.

384 x 256	This button sets to open Photo-CD images at a size of 384 by 256 pixels, a 280Kb image. This size is also know as Snapshot or Base / 4 size.

768 x 512	This button sets to open Photo-CD images at a size of 768 by 512 pixels, a 1.12Mb image. This size is also know as Standard or Base size.

1536 x 1024	This button sets to open Photo-CD images at a size of 1536 by 1024 pixels, a 4.5Mb image. This size is also know as Large or Base x 4 size.

3072 x 2048	This button sets to open Photo-CD images at a size of 3072 by 2048 pixels, an 18Mb image. This size is also know as Poster or Base x 16 size.


File | Save Command

 This command automatically saves the current canvas image using the current file name and file type. If the canvas was created by the File | New command and never saved, the Save Image dialog box will open.

Note: Depending on the bits-per-pixel of a file when first opened, ColorWorks will save a 1,4, 8, or 24-bit file when this command is chosen. All 1-bit files will be saved as 1-bit files using a Closest Match dither. All 2, 3, and 4-bit files will be saved as 4-bit files using a Closest Match dither and Custom palette. All 5, 6, 7, and 8-bit files will be saved as 8-bit files using a Closest Match dither and Octree custom palette. All 15, 16, and 24-bit files will be saved as 24-bit files. If you want additional control over the dithering method and palette generation used for 1, 4, and 8-bit file saves, use the File | Save as command. If you want complete control over saving images destined for use on the Web (1-8 bits-per-pixel, interlacing, transparency, palette, dither), use the Web Tools | Web Saver command.


File | Save as Command

This command saves a canvas image to a file. ColorWorks can save canvases in the BMP, GIF, IFF, JPG, PCX, PNG, PSD, RAS, TGA, and TIF image file formats. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

1 Bit - 2	This buttons sets to save a 1-bit / 2 color image file.

4 Bit - 16 	This buttons sets to save a 4-bit / 16 color image file.

8 Bit - 256 	This buttons sets to save an 8-bit / 256 color image file.

24 Bit - 16.7 Million 	This buttons sets to save a 24-bit / 16.7 million color image file.

LZW Compress	This box sets to save to a compressed TIFF file when the Image File Format box is set to TIF.

Dither	Inside this box is a list of all available dithering techniques for 1, 4 and 8-bit file saves.

JPEG Quality	This button sets the quality factor for use by the JPEG compression scheme in saving the canvas to disk as a JPEG file type. A high quality factor setting equals a lower image compression ratio. A low quality factor setting equals a high compression ratio. If you choose a high level of compression there will be a noticeable degree of image degradation or quality loss.

Palette	Inside this box is a list of all available Palettes for 4 and 8-bit file saves.

Background	This button opens the Color Editor dialog box for setting the color to use as the Background color (normally the white color) of a 1-bit file save.

Foreground	This button opens the Color Editor dialog box for setting the color to use as the Foreground color (normally the black color) of a 1-bit file save.

Note: Canvas Images can also be saved with a Button 2 drag-and-drop to the Image Browser.

Tips:

•	JPEG, as like all lossy compression schemes works well on continuous tone image and not very well on computer generated images like line art. If you need to save a line art image compressed, use a lossless compression scheme by saving your work in an LZW TIFF format.

•	Using JPEG: Although very useful as a compressed interchange format, because of its cumulative compression effects, we recommend using JPEG sparingly and at best only once on an image after all editing has been performed. If you must compress a continuous tone image regularly we recommend you save your image as a compressed Tiff image. If you absolutely must use JPEG often, we recommend using it at a high-quality setting.

Dithering and Palettes

When images are saved in an 8-bit format or less, they are saved with a color palette as part of the file. This color palette represents all of the colors found within the image data. Often the number of colors within a canvas image will be greater than that allowed by a given bits-per-pixel, and/or the colors within the canvas image are not found on the palette that you wish to save the image with. Dithering methods are used to reduce the number of colors within an image to those of a given palette, using a pattern of adjacent pixels to simulate the appearance of colors not found on the palette. Dithering allows you to significantly reduce an image’s file size while still maintaining a reasonably good-looking image when compared to the original.

Dithering Options for 1, 4 and 8-Bit Saves:

Method	About

Closest Match	This dithering method (often referred to as “no dithering”) replaces the colors of the image with a color of the palette that is the closest match of the original canvas image color. Since this method does not use a pattern to reduce image colors to those of a given palette, the appearance of colors outside the palette is not generated.

Error Diffusion	This high-performance dithering method uses a pattern that produces a “grainy” looking image and yields great results.

Ordered Dither	This high-performance dithering method uses a pattern that produces a “silk-screen” look and yields great results.

Palette Options for 4 and 8-Bit Saves:

Palette	About

Median Cut	This is a method of generating an adaptive or optimized color palette based on the colors of the image itself. This very high-performance method of palette generation is considered to be the highest quality method known.

Octree	This is a method of generating an adaptive or optimized color palette based on the colors of the image itself. This is also a very high-performance method that yields great results.

Popularity	This is a method of generating an adaptive or optimized color palette based on the colors of the image itself. The most frequently occurring colors within the image are used for the palette.

Windows	This is the fixed 16 color Windows Palette.

6 7 6 	This is a fixed 252 color palette created using all combinations of 6 shades of red, 7 shades of green, and 6 shades of blue.

6 6 6 (Internet)	This is a fixed 216 color palette created using all combinations of 6 shades of red, 6 shades of green, and 6 shades of blue. It is know as the Netscape or “Browser-Safe” palette.

5 5 5	This is a fixed 125 color palette created using all combinations of 5 shades of red, 5 shades of green, and 5 shades of blue. It is a palette often used by the Netscape Navigator running under Unix.

8 8 4 	This is a fixed 256 color palette created using all combinations of 8 shades of red, 8 shades of green, and 4 shades of blue.

4 8 8 	This is a fixed 256 color palette created using all combinations of 4 shades of red, 8 shades of green, and 8 shades of blue.

Grey	This is a fixed greyscale palette.

Current Palette	This is a method for you to specify a user-defined or custom 16 or 256 color palette to be used for the image, using the colors of the current state of the Color Palette on the ColorWorks Desktop. The first 16 colors (first column) of the Color Palette are used for 4-bit saves, and all 256 colors are used for 8-bit saves.

Note: For complete control over saving images destined for use on the Internet (1-8 bits-per-pixel, interlacing, transparency, palette, dither), use the Web Tools | Web Saver command.

Tips:

•	Saving 1-bit Color Files: ColorWorks also offers you control of the 2-color palette saved with 1-bit files. Use the Background and Foreground buttons to set the palette of a 1-bit file save to any 2 colors that you want.

•	Saving an 8-Bit Image File for Use on an Internet Web-Page: Use the 6 6 6 (internet) Palette option if you are saving an image for use on the Internet and you want to make sure the colors of the image will remain the same when viewed using an 8-bit only video system. The 6 6 6 palette, also known as the Netscape or “Browser-Safe” palette, has the exact same colors that nearly all PC and Macintosh Internet Browsers use to display images if they are running in an 8-bit / 256 color video mode.

•	Saving an 8-Bit Image File Using the 5 5 5 Palette: Use the 5 5 5 Palette option if you are saving an image for use on the Internet and/or a Unix-based company Intranet, and you want to make sure the colors of the image will remain the same for viewing using any Unix based 8-bit only video system. Although Netscape Navigator under Unix can use a 6 6 6 palette if allowed by a particular system, the 5 5 5 palette is the one most often used by the Netscape Navigator when running in an 8-bit / 256 color video mode under Unix.

•	When to Use the Error Diffusion or Ordered Dither Dithering Options: Use the Error Diffusion or Ordered Dither option on continuous tone images (like photographs). In addition, you want to use one of these two dithering options on images that have smooth gradients or use anti-aliasing (also considered a gradient).

•	When to Use the Closest Match Dithering Option: Use the Closest Match dither option on images consisting of flat areas of color or line art, and on images where you specifically do not want the illusion of non-palette colors generated on the image (for example: saving 4-bit files with the Windows palette).


File | Acquire | Select Source Command

This command instructs your installed TWAIN.DLL to open its Select Source dialog box.

Notes:

•	If a TWAIN.DLL is not found this command is not made available.

•	ColorWorks supports the use of TWAIN version 1.6 or higher. Use of a TWAIN.DLL that is less than version 1.6 may cause unpredictable behavior.


File | Acquire | TWAIN Acquire Command

 This command instructs your installed TWAIN.DLL to open the device software's Acquire dialog box.

Notes:

•	If a TWAIN.DLL is not found this command is not made available.

•	ColorWorks supports the use of TWAIN version 1.6 or higher. Use of a TWAIN.DLL that is less than version 1.6 may cause unpredictable behavior.


Using the TWAIN Driver Interface


File | Import Command

This command opens a menu of all loaded Standard Import Plug-ins.

Notes:

•	This command is greyed-out and unavailable when you have no Standard Import Plug-ins loaded.

•	The path from where ColorWorks loads Standard Plug-ins is set using the Plug-in Directory control of the File | Preferences command.

•	ColorWorks can load up to 3,000 Standard Plug-ins.


File | Export Command

This command opens a menu of all loaded Standard Export Plug-ins.

Notes:

•	This command is greyed-out and unavailable when you have no Standard Export Plug-ins loaded.

•	The path from where ColorWorks loads Standard Plug-ins is set using the Plug-in Directory control of the File | Preferences command.

•	ColorWorks can load up to 3,000 Standard Plug-ins.


File | Close Command

This command closes the current canvas window. If the image has unsaved edits you will be prompted to save or abort them.


File | Open Resource | Texture Map Command

This command is used to open a texture map file used by the Effects | Texturize command from disk to the ColorWorks desktop as a canvas for editing.

Note: This command only recognizes texture map files in the \texture directory off your main ColorWorks directory.


File | Open Resource | Displacement Map Command

This command is used to open a displacement map file used by the Effects | Pixel Displacement command from disk to the ColorWorks desktop as a canvas for editing.

Note: This command only recognizes displacement map files in the \displace directory off your main ColorWorks directory.


File | Open Resource | 8-Bit Mask Command

This command is used to open an 8-Bit mask file used by the Effects | 8 Bit Mask command from disk to the ColorWorks desktop as a canvas for editing.

Note: This command only recognizes 8-Bit mask files in the \density directory off your main ColorWorks directory.


File | Save Resource | Texture Map Command

This command saves the current canvas as a texture map file to disk for use with the Effects | Texturize command.

Notes:

•	This command automatically saves all texture map files to the \texture directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name in the Texture Name field.

•	The Effects | Texturize command works using brightness values. Even if the canvas being saved has color information, all color information is discarded when a canvas is saved as a .txr file.


File | Save Resource | Displacement Map Command

This command saves the current canvas as a displacement map file to disk for use with the Effects | Pixel Displacement command.

Notes:

•	This command automatically saves all displacement map files to the \displace directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name in the Map Name field.

•	The Effects | Pixel Displacement command works using brightness values. Even if the canvas being saved has color information, all color information is discarded when a canvas is saved as a .txr file.


File | Save Resource | 8-Bit Mask Command

This command saves the current canvas as an 8-Bit mask file to disk for use with the Effects | 8 Bit Mask command.

Notes:

•	This command automatically saves all 8-Bit mask files to the \density directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name in the Mask Name field.

•	The Effects | 8 Bit Mask command works using greyscale values. Even if the canvas being saved has color information, all color information is discarded when a canvas is saved as a .txr file.


File | Print | Print Command

 This command is used to print the current canvas. Choosing this command opens the standard Windows Print dialog box.


File | Print | Page Setup Command

This command is used to setup the printed page prior to printing. Choosing this command opens the standard Windows Page Setup dialog box, with the addition of the following controls.

Dialog Controls:

Control	Function

Width	Inside this field you can type the width of the canvas image for printing in the canvas' set units of measure. This value defaults to a canvas' actual width size.

Height	Inside this field you can type the height of the canvas image for printing in the canvas' set units of measure. This value defaults to a canvas' actual height size.

Fixed Aspect Ratio	This box sets the values of the Width and Height fields to maintain the aspect ratio of the original image size.

Center Horizontal	This box sets the canvas to print horizontally centered.

Center Vertical	This box sets the canvas to print vertically centered.

Notes:

•	The units of measure used by this command is set on a per canvas basis by the Set Units of Measure command of a canvas.

•	Changing the Width and Height fields does not change the size of the image on disk or in memory, only the printed dimensions are affected.


File | Preferences Command

This command sets default program settings and user preferences.

Dialog Controls:

Control	Function

Pan Speed	This button sets the speed of canvas panning and scrolling from 1 to 30 pixels. For example:  A setting of 5 means that your canvas will scroll/pan either 5 rows or columns at a time within its window, when you come to a window edge while painting and there is more canvas to display in that direction.

Enable Panning	This box sets to enable canvas panning while painting. When this box is selected, all tools will automatically pan when they touch a canvas border while they are rubberbanding. Since the Free Draw tool does not rubberband, it does not cause an automatic pan when using it.

Hi-Speed Panning	This box sets the canvas image to repaint only when the cursor is not moving while panning.

Interpolation	This box sets the way in which the program adds or subtracts pixels of an image when the image is resized, rotated, warped, or distorted. The program can be set to interpolate using either a bicubic, bilinear, or a nearest neighbor (pixel replication) method.

Color Model	This box sets how the Status Bar reports the color underneath the pointer when using the Color Picker tool. The Status Bar can be set to report color components as either RGB, CMY, HLS, HSV, or HTML (Hex) color model values.

Pointer Location	This box sets how the Status Bar reports your pointer location on a canvas. The Status Bar can be set to report either your pointer's actual or relative coordinate location. The actual location is measured from the 0,0 point or upper-left corner of the image. The relative coordinates are measured from the upper-left corner of the current canvas window (regardless to where the actual 0,0 point of the image is).

Repaint Mode	This box sets when a canvas image will be changed by the results of your painting operations, if you are still painting on that canvas. The program can be set to wait (Synchronous) until the current canvas is not in use before repainting it, or to interrupt your painting and to immediately repaint the current canvas when necessary (Asynchronous).

Color Editor	This box sets to use either the Windows Color Editor or the ColorWorks Color Editor when editing painting colors.

Marker Style	This box sets the marker style or shape used by the program. The program can use Diamond, Square, or Circle shaped markers.

Keyboard Zoom Increments	This button sets the number of zoom levels zoomed for a single use of a Keyboard Zoom key, [F2] to zoom-in and [F3] to zoom-out.

Number of Undo/Redo	This button sets the number of available undo levels a canvas starts-up with. This setting sets the default number of desired undo and hence potential redo levels used by the Undo / Redo command of a canvas. All canvases assume the maximum number of available undo/redo levels as set by this control at the time they are created or opened.

Ctrl-Z = Undo Only	This box sets the Ctrl-Z shortcut key combination to immediately undo a canvas’ last painting operation without opening the Undo/Redo dialog box. This box only changes the use of the [Ctrl-Z] shortcut. The Undo/Redo button on the canvas Task Bar always opens the Undo/Redo dialog box.

Drawing Cursor	These buttons set the cursor style used by the program when painting.

Flat Style Taskbar	This box sets the display of buttons on the program Task Bar to a flat style. ColorWorks needs to be restarted for a change in this setting to take effect.

Plug-in Directory	Inside this field you type the desired file path to the directory that contains your Standard Plug-ins. This control is for setting the path to your Standard Plug-ins only. ColorWorks Plug-in Effects are always loaded from the \plugins directory under your main ColorWorks directory.

Browse	This button opens the Browser dialog box, used for selecting a Plug-in Directory path.

Notes:

•	Keyboard Zoom keys are used to change the current canvas view, zoom in and out at anytime, including while you are painting.

•	ColorWorks' undos are very intelligent. Only bounded boxes around your painting operations are saved for undo operations, rather than full canvas duplicates, potentially conserving huge amounts of RAM resources in providing multiple levels of undo. For example: If you paint a small box of 5x5 pixels on a 100Mb canvas, ColorWorks would require only 3Kb of RAM to save that undo.

Tips:

•	Choosing an Interpolation Method: The Bicubic is the highest quality method and takes the most time to execute. The Nearest Neighbor is the fastest but the least exact interpolation method. The Bilinear falls between the other two methods in quality and speed.

•	Using the HTML (Hex) Color Model: HTML colors for a web-page are defined in RGB Hex numbers, like BGCOLOR="#2A92FF" or FONT COLOR="#FFFFFF", not in RGB decimal numbers (0-255). Reading the RGB image values as Hex enables you to exactly match coloring of web-page elements defined in your HTML code to the colors in your images. For example: The Color Picker reads an image color you want to match in your HTML page as R=3b G=ff B=92, you would use the color #3bff92 in your HTML code.

•	Managing RAM Resources: Holding multiple levels of undo for multiple canvases can potentially occupy a lot or RAM. If for any reason you see the need to free some RAM, reducing the current levels of undo on a canvas(es) will work. Reducing the current level of undos will dynamically free-up the RAM occupied by the older undos you discarded. To change the number of undo/redo levels of a particular canvas use the Undo Settings command of that canvas.

•	Using the Ctrl-Z = Undo Only box: Use the Undo Only method of undo when you are sure that you do not need the Redo capability offered by the Undo/Redo command.


The ColorWorks Color Editor

The ColorWorks Color Editor combines a traditional numerical based color picking method and a visual color picking method in a single easy-to-use interface. If you are used to setting numerical values in a particular color model to select your colors, those controls are provided. If you are more visually oriented, palettes representing the different color components’ values of the chosen color model are presented for you to pick their values visually.

Dialog Controls:

Control	Function

Component 1	This displays the values of the first color component of the selected color model.

Component 2	This displays the values of the second color component of the selected color model.

Component 3	This displays the values of the third color component of the selected color model.

RGB	This button sets the Component displays and sliders to show values using the RGB color model.

CMY	This button sets the Component displays and sliders to show values using the CMY color model.

HSB	This button sets the Component displays and sliders to show values using the HSB color model.

HLS	This button sets the Component displays and sliders to show values using the HLS color model.

New	This display shows the effects of your changes to color being edited.

Old	This display shows the state of the color before you opened the Color Editor.

Note: The Apply button allows you to apply changes to the color being edited without closing down the Color Editor dialog box. This is useful if you want to edit several colors of a Palette or other structure without having to open the Color Editor multiple times.

Color Models

Color models are conceptual systems for defining color values and how one color relates to another. ColorWorks allows you to define colors in four different color models, RGB, CMY, HSB, and HLS. Each color model has different uses and limitations and is represented in a different way.

Note: Whenever you are using a computer to manipulate graphics images that will be printed, you must realize that there is a big difference in the way you perceive color through emitted light on a computer monitor and the way you perceive color on a printed page as reflected light through printed inks. Due to this difference you may notice differences in the way canvas colors look on-screen compared to when it is printed. You usually lose the vivid or brightest colors of a canvas image when it is printed in full-color.

The RGB Color Model

The RGB (Red, Green, Blue) color model was developed around the same fundamental properties of emitted light that occur in nature and the internal mechanisms of televisions. It is compromised of three primary colors, red, green, and blue, each of which can vary between 256 levels of intensity or brightness. This color model is called the additive color model because light is added from a red, green and/or blue electromagnetic gun to create color.

Even if you specify colors in a color model other than RGB, since a computer monitor is an RGB device, ColorWorks converts them to RGB to make them displayable on your monitor. This model is also called the additive primary color model, because a color becomes lighter as you add higher levels of red, blue, and green.

RGB is the ideal model for image editing because it provides access to the entire range of 24-Bit (16 million) colors. Setting the three RGB electron guns to zero produces black or the color of your monitor phosphor without illumination from the guns. Setting the three guns to fire at their maximum, produces bright white.

Notes:

•	When the RGB button is selected the Component displays contain the 256 possible values of Red, Green, and Blue.

•	To create white with the RGB model set Red, Green, and Blue to 256. To create black with the RGB model set Red, Green, and Blue to 0.

The CMY Color Model

CMY (Cyan, Magenta, Yellow) is the color model of absorbed light and of a printed page. CMY is also known as the subtractive primary color model because colored inks are used to block the reflection of light on a white colored page.

Notes:

•	When the CMY button is selected the Component displays contain the 256 possible values of Cyan, Magenta, and Yellow.

•	ColorWorks does not adjust colors in CMYK. CMYK (K is for the printer’s word for black “key”) is not a color model; it is a color gamut, and method used to reduce the amount of ink required when printing an image on-press. Since K can be generated using various methods and settings within these methods, the same color may have different CMYK values between applications or within the same application using different settings for black generation. Because of these variables, CMYK is not a suitable way to consistently reproduce a particular color by setting its component CMYK percentages to the same values.

•	To create white with the CMY model set Cyan, Magenta, and Yellow to 0. To create black with the CMY model set Cyan, Magenta, and Yellow to 256.

The HSB Color Model

The HSB (Hue, Saturation, Brightness), also known as HSV (the “V” is for Value), and the HLS color models are usually preferred by graphic artists and photographers who are used to defining colors in a visual perception model rather than a technical model like RGB. The HSB and HLS model color theory of choosing and mixing colors is similar to that of mixing paint. Rather than adjusting the amount of light emitted by each of the three color guns in your monitor as in the RGB model, the HSB model works by adjusting the following:

Hue

Hue is pure color and is measured on a 360 degree circle called a color wheel. Red is located at 0 degrees, yellow at 60 degrees, green at 120 degrees, cyan at 180 degrees, blue at 240 degrees, and magenta at 300 degrees. This color model is a sort of pie shaped version of the RGB model at full-intensity.

Saturation

Saturation represents the purity of the color and is measured from 0 to 100 percent. The perimeter of the color wheel shows all hues at full saturation, the purest version of the hue. The center of the wheel represents lowest saturation, a grey color.

Brightness

Brightness represents the lightness or darkness of a color and is measured from 0 to 100 percent. A zero brightness value is black. Full brightness combined with full saturation is the most vivid color of any hue.

Notes:

•	When the HSB button is selected, the Component displays contain the 360 possible values of Hue, and the 100 possible values of Saturation and Brightness levels for the selected Hue shown as greyscale values.

•	ColorWorks adheres to the precise HSB model definition. In the HSB model, when Saturation is zero you are working with greyscale values and Hue is technically irrelevant or undefined. Hence, when Saturation is zero, ColorWorks reports Hue = UNDF on the Info Bar and selecting different Hues has no effect on the color being edited.

•	To create white and black with the HSB model the Hue setting does not matter. For white set Saturation to 0% and Brightness to 100%. For black set Saturation to 0% and Brightness to 0%.

The HLS Color Model

The HLS (Hue, Luminosity, Saturation) color model works by adjusting the following:

Hue

Hue is pure color and is measured on a 360 degree circle called a color wheel. Red is located at 0 degrees, yellow at 60 degrees, green at 120 degrees, cyan at 180 degrees, blue at 240 degrees, and magenta at 300 degrees.

Luminosity

Luminosity represents the lightness or darkness of a color and is measured from 0 to 100 percent. A zero luminosity value is black. Full luminosity of any hue, regardless of saturation, is white. Therefore, a medium luminosity value of 50 is needed to produce the most vivid version of a hue in the HLS model.

Saturation

Saturation represents the purity of the color and is measured from 0 to 100 percent. The perimeter of the color wheel shows all hues at full saturation, the purest version of the hue. The center of the wheel represents lowest saturation, a grey color.

Notes:

•	When the HLS button is selected, the Component displays contain the 360 possible values of Hue, and the 100 possible values of Lightness and Saturation levels for the selected Hue shown as greyscale values.

•	ColorWorks adheres to the precise HLS model definition. In the HLS model, when Saturation is zero you are working with greyscale values and Hue is technically irrelevant or undefined. Hence, when Saturation is zero, ColorWorks reports Hue = UNDF. on the Info Bar and selecting different Hues has no effect on the color being edited.

•	To create white and black with the HLS model the Hue and Saturation setting does not matter. For white set Lightness to 100%. For black set Lightness to 0%.


To Edit a Color Numerically

To Edit a Color Visually


To Edit a Color Numerically

1.	Select the color model you want to edit in by selecting its button.

2.	Set the Component sliders to the desired values.

3.	Select the Apply button.

4.	Select the Close button when you have finished editing colors and want to close the Color Editor dialog box.


To Edit a Color Visually

1.	Select the color model you want to edit in by selecting its button. The Component displays will show the possible values of each color component of your selected color model.

2.	Select the desired value for each color component from their displays.

3.	Select the Apply button.

4.	Select the Close button when you have finished editing colors and want to close the Color Editor dialog box.


File | 1-4 filename Commands

These commands are a listing of the last four image files you opened with ColorWorks available for recall. Simply choose the file name you want to recall and it will be opened as a canvas automatically.

Note: These commands will remember which page of a multi-page file you had previously opened.


File | Exit Command

This command is used to exit or close the ColorWorks program. After requesting to exit the program, if any open canvas has unsaved edits you will be prompted to save or abort them.


Edit Menu

Cut

Copy

Paste

Clear


Edit | Cut Command

 This command copies a floated image to the Windows Clipboard and discards the floated image.

Note: The Windows Clipboard can only hold rectangular shaped images and is not aware of transparent areas around irregular shaped floated images. Therefore the clipboard image saved using this command will have a white color in any transparent areas of a floated image.


Edit | Copy Command

 This command copies an image to the Windows Clipboard.

Note: Using this command when working with a floated image: The Windows Clipboard can only hold rectangular shaped images and is not aware of transparent areas around irregular shaped floated images. Therefore the clipboard image saved using this command will have a white color in any transparent areas of a floated image.


Edit | Paste Command

 This command creates a new canvas on your ColorWorks desktop using the image held in the Windows Clipboard.


Edit | Clear Command

This command clears or removes the contents of the Windows Clipboard.

Tip: This command is useful if you need to free up some RAM space.


Mask Menu

Save and Float Image Mask

Float Saved Image Mask

Discard Floating

Paste Floating

Float Merge Control

Show Mask | Image Mask

Show Mask | Protection Mask

Show Mask | Distortion Mask

Save Mask | Image Mask

Save Mask | Protection Mask

Save Mask | Distortion Mask

Mask Edit Options | Define Mask

Mask Edit Options | Undefine Mask

Mask Edit Options | Invert Mask

Mask Edit Options | Clear Mask

Use Protection Masks


Mask | Save and Float Image Mask Command

This command saves the current mask definition as the Image Mask belonging to the current canvas and creates a floated image using a copy of the underlying canvas image.


Mask | Float Saved Image Mask Command

This command creates a floated image using a copy of the underlying canvas image defined by the saved Image Mask definition of the current canvas (any current mask definition drawn on the canvas is ignored).


Mask | Discard Floating Command

This command discards the floated image and re-displays the current mask definition for further editing.

Notes:

•	A floated image can also be discarded by pressing the [Esc] key.

•	Floated images have no continuing relationship to the Image Mask that they were made from. Hence, discarding a floated image does not clear or otherwise alter the Image Mask it was made from. You could for instance, float, discard, and edit the same Image Mask multiple times if you like.


Mask | Paste Floating Command

This command pastes the floated image to a canvas at its current location. The floated image will remain floating for moving, further manipulation, and/or additional pasting.

Tip: Motion Blur or Drag Effects: Pasting a series of floated images slightly offset from one another with a relatively low Floated Image Opacity setting in the Mask | Float Merge Control command, creates a motion blur effect. Increasing or decreasing opacity of consecutive pastes creates a fade in or fade out motion blur.


Mask | Float Merge Control Command

This command sets how a floated image is merged or combined with a canvas image.

Dialog Controls:

Control	Function

Use Floating Image	Inside this box is a list of merge techniques available to apply in combining the floated and canvas images.

Floating Image Opacity	This button sets the opacity or transparency of the floated image.

Anti-Alias	This button sets to anti-alias the floated image’s edges.

Channels Merged	These boxes set which R, G, B color channel of the floated image should be displayed.

Edge Blending	This slider sets the strength of edge blending of the floated image.

Reset	This button resets the controls in this dialog box to their default settings, taking the command out of use.

Note: This command remains checked in use if any of the optional settings are set. This gives you constant feedback that this command is affecting your float operations. This command is taken out of use by selecting the Reset button or putting all of its settings back to their defaults.

Tip: An Edge Blending setting of 1 is usually all that is needed to smoothly blend floated image edges.

Image Merge Techniques

Always: This setting merges the floated image unchanged with a canvas image. No additional effect using the pixel color values of the images are applied.

If Darker [A,B]: This merge technique compares the luminescence of the floated image with that of the canvas image underneath it. Only the parts of the floated image that are darker than the canvas will be displayed.

If Lighter [A,B]: This merge technique compares the luminescence of the floated image with that of the canvas image underneath it. Only the parts of the floated image that are lighter than the canvas will be displayed.

Add [A+B]: This merge technique adds the color values of the floated image with that of the canvas image underneath it. The floated image will be displayed with the new calculated color values.

Subtract [A-B]: This merge technique subtracts the color values of the floated image with that of the canvas image underneath it. The floated image will be displayed with the new calculated color values.

Multiply [AxB]: This merge technique multiples the color values of the floated image with that of the canvas image underneath it. The floated image will be displayed with the new calculated color values.

Hue: This merge technique merges only the hue component of the floated and canvas images.

Lightness: This merge technique merges only the lightness component of the floated and canvas images.

Saturation: This merge technique merges only the saturation component of the floated and canvas images.

Tint: This merge technique merges only the hue and saturation component of the floated and canvas images.

Floating Image Opacity

The Floating Image Opacity button sets the transparency of the floated image. A setting of 100% opacity means that the none of the canvas image will show through the floated image. The lower the setting, the more transparent the floated image becomes and the more a canvas image will show through the floated image.

Note: Superimpose effects: Combining two images with the Floating Image Opacity button set at less than 100% is often referred to as a Superimpose effect.


Mask | Show Mask | Image Mask Command

This command displays the saved Image Mask definition belonging to the current canvas for editing as the current mask definition.


Mask | Show Mask | Protection Mask Command

This command displays the saved Protection Mask definition belonging to the current canvas for editing as the current mask definition.


Mask | Show Mask | Distortion Mask Command

This command displays the saved Distortion Mask definition belonging to the current canvas for editing as the current mask definition.


Mask | Save Mask | Image Mask Command

This command saves the current mask definition as the Image Mask belonging to the current canvas.


Mask | Save Mask | Protection Mask Command

This command saves the current mask definition as the Protection Mask belonging to the current canvas.


Mask | Save Mask | Distortion Mask Command

This command saves the current mask definition as the Distortion Mask belonging to the current canvas.


Mask | Mask Edit Options | Define Mask Command

This command switches the tools on the Tools Bar to draw or define mask definitions.

Notes:

•	This command is also available by clicking Button 2 on-top of the Tools Bar, when the Toggle Masking button is selected.

•	Pressing the [Insert] key will also switch the tools on the Tools Bar between defining and undefining masks, when the Toggle Masking button is selected.


Mask | Mask Edit Options | Undefine Mask Command

This command switches the tools on the Tools Bar to undefine or erase mask definitions.

Notes:

•	This command is also available by clicking Button 2 on-top of the Tools Bar, when the Toggle Masking button is selected.

•	Pressing the [Insert] key will also switch the tools on the Tools Bar between defining and undefining masks, when the Toggle Masking button is selected.


Mask | Mask Edit Options | Invert Mask Command

This command inverts the current mask definition. All defined areas become undefined and all previously undefined areas become included in the mask definition.

Note: This command is also available by clicking Button 2 on-top of the Tools Bar, when the Toggle Masking button is selected.


Mask | Mask Edit Options | Clear Mask Command

This command clears the current mask definition.

Note: This command is also available by clicking Button 2 on-top of the Tools Bar, when the Toggle Masking button is selected.


Mask | Use Protection Masks Command

This command enables all saved Protection Masks. Protection Masks protect all canvas areas that are included in their definitions from being overdrawn.


Brushes Menu

Settings

Notes:

•	There is always a brush in use. Selecting on the currently in use brush does not take it out of use.

•	The Free Draw, Line, and any geometric tool set to Unfilled (Filled not selected) paints with the current brush.


To Select a Brush


To Select a Brush

To Select a Brush

1.	Choose the Brushes command of the Menu Bar and the Brushes menu opens. The Brushes menu consists of the Settings command and 12 different size brushes of the currently selected brush shape and softness as set by the Settings command of the Brushes menu.

2.	The currently selected brush in use is checked. The next painting operation to take place that uses a brush will use the checked brush. To select a different brush, place the cursor over-top of the desired brush and select it.


Brushes | Settings Command

This command is used to set the shape and softness of the brushes displayed in the Brushes menu and to specifically set the current brush to use.

Dialog Controls:

Control	Function

Shape	These buttons set the shape of the brush displayed in the Preview box and the brush shape used by all brushes displayed in the Brushes menu.

Size	This slider sets the size of the brush displayed in the Preview box and the brush size that will be put in use when you select the OK button to exit this dialog.

Softness	This slider sets the softness of the brush displayed in the Preview box and the softness of all of the brushes displayed in the Brushes menu. Softness can be set from hard to soft.

Light	This button sets the method used by the Softness slider to soften brushes using a light blending method.

Heavy	This button sets the method used by the Softness slider to soften brushes using a heavy blending method.

Notes:

•	After selecting the OK button, ColorWorks may be unavailable briefly while it recalculates its brushes with your settings.

•	A soft brush setting will override the Anti-Alias w/ Edge Blending and the Anti-Alias settings in the Effects | Drawing Merge command if you are painting with the Free Draw tool or an Unfilled (Filled not selected) painting tool.

Tips:

•	Pencil or Pen Brush Tips: For a pencil or pen brush tip behavior, use a hard Softness setting of 0.

•	Paintbrush Brush Tips: For a paintbrush brush tip behavior, a solid brush shape with a small ring of blended edge, use a Softness setting a little less than hard, like 5.

•	Airbrush Brush Tips: For an airbrush brush tip behavior use a very soft Softness setting like 13 or 14. For an even better airbrush tool effect, try this in combination with a low Drawing Color Opacity setting in the Effects | Drawing Merge Control command.

•	Neon Effects: Painting with a color using the Line or Curve (not set at Filled) tool with a soft brush can give you a neon-like effect.

•	Airbrushing one image into another with the Effects | Redo command is a tremendous effect for image merging.

•	Airbrushing with the Free Draw tool is often a good brush/tool configuration to use for dodging and burning.


To Set the Brushes Menu

To Specifically Set the Brush to Use


To Set the Brushes Menu

To Set the Brushes Menu

1.	Select a brush shape using the Brush Shape buttons.

2.	Set the brush softness using the Softness slider.

3.	Select the OK button. All of the brushes available in the Brushes menu will assume your brush shape and softness settings. The brush on the Brushes menu that represents the setting of the Size slider will be checked in use.

Note: After selecting the OK button, ColorWorks may be unavailable briefly while it recalculates its brushes with your settings.


To Specifically Set the Brush to Use

To Specifically Set the Brush to Use

1.	Select a brush shape using the Brush Shape buttons.

2.	Set the brush size using the Size slider.

3.	Set the brush softness using the Softness slider.

4.	Select the OK button. All of the brushes available in the Brushes menu will assume your brush shape and softness settings. The brush on the Brushes menu that represents the setting of the Size slider will be checked in use.


Image Menu

Examine Edges

Transforms | Flip Left - Right

Transforms | Flip Top - Bottom

Transforms | Resize

Transforms | Interactive Resize

Transforms | Rotate 90 degrees

Transforms | Rotate 180 degrees

Transforms | Rotate 270 degrees

Transforms | Arbitrary Rotate

Transforms | Map to Distortion Mask

Transforms | Elastic Image

Transforms | Coons Warp

Transforms | Point to Point Warp

Resize Canvas

Offset Image

Flare FX Renderer

ColorWorks Plug-in Effects | Crystallize

ColorWorks Plug-in Effects | Mosaic

ColorWorks Plug-in Effects | Motion Blur

ColorWorks Plug-in Effects | Pinch/Punch

ColorWorks Plug-in Effects | Ripples

ColorWorks Plug-in Effects | Shatter

ColorWorks Plug-in Effects | Swirl

ColorWorks Plug-in Effects | Water

ColorWorks Plug-in Effects | Waves

Standard Plug-in Filters | Plug-in Filter Navigator


Image | Examine Edges Command

This command examines a canvas image's edges to assist you in setting the Threshold, Edges below threshold, and Edges above threshold controls in some of the Effects menu commands.

Dialog Controls:

Control	Function

Threshold	This button sets the brightness value difference in which a pixel in the Preview display will be tinted if it is equal to or above.

Understanding Image Edges

Image edges are simply a measurement of the change in brightness between neighboring pixels on an image. An edge of 0 between neighboring pixels means that the pixels share the same brightness value. The maximum edge possible is where neighboring image pixels are at opposite ends of the brightness range and are 255 values apart.


Image | Transforms | Flip Left - Right Command

This command flips an image horizontally.


Image | Transforms | Flip Top - Bottom Command

This command flips an image vertically.


Image | Transforms | Resize Command

This command allows you to explicitly resize an image.

Dialog Controls:

Control	Function

Original Size Width	This field displays the width of the image in the canvas’ set units of measure.

Original Size Height	This field displays the height of the image in the canvas’ set units of measure.

Pixels Per Wide	This field displays the canvas' set units of measure for width.

Pixels Per High	This field displays the canvas' set units of measure for height.

New Size Width	Inside this field you can type the width to size the image to in your set units of measure.

New Size Height	Inside this field you can type the width to size the image to in your set units of measure.

New Width %	Inside this field you can type the width to size the image to as a percentage of its original width.

New Height %	Inside this field you can type the height to size the image to as a percentage of its original height.

Fixed Aspect Ratio	This box sets the values of the New Size fields to maintain the aspect ratio of the original image size.

Notes:

•	The units of measure used by this command is set on a per canvas basis by the Set Units of Measure command of a canvas.

•	If you want to add additional canvas area around an image by resizing a canvas without resizing the image within that canvas use the Image | Resize Canvas command.


Image | Transforms | Interactive Resize Command

This command is for interactively resizing a floated image while it is over-top of a canvas.


To Interactively Resize a Floated Image


To Interactively Resize a Floated Image

To Interactively Resize a Floated Image

1.	Choose the Image | Transform | Interactive Resize command and the floated image will be surrounded by a bounding box with eight handles on it. The corner handles allow you to shrink and grow the floated image in the horizontal and/or vertical orientation. The middle handles shrink and grow the floated image in only one orientation.

2.	Position your cursor over-top of any handle you want to move, click and hold down Button 1. Drag the handle to shrink and grow the bounding box to the desired size and release Button 1.

3.	When you are finished interactively resizing the floated image, take the Interactive Resize out of use by either clicking Button 2 or by choosing the Image | Transforms | Interactive Resize command again.

Notes:

•	You can zoom and pan while you are interactively resizing a floated image; however you must release your hold on any handle you may be dragging if you want to use the Keyboard Zoom keys to zoom the canvas.

•	While interactively resizing a floated image you can choose to drag-and-drop it to another canvas and remain in resize mode on the other canvas. Likewise, you can drag-and-drop a floated image to the ColorWorks desktop to create a new canvas while interactively resizing it.


Image | Transforms | Rotate 90 degrees Command

This command rotates an image 90 degrees clockwise.


Image | Transforms | Rotate 180 degrees Command

This command rotates an image 180 degrees clockwise.


Image | Transforms | Rotate 270 degrees Command

This command rotates an image 270 degrees clockwise.


Image | Transforms | Arbitrary Rotate Command

This command rotates an image clockwise at any angle.

Dialog Controls:

Control	Function

Angle, Clockwise	This button sets the angle to rotate the image in degrees.

Anti-Alias Image Border	This box sets to anti-alias or smooth the edges of the rotated image.

Notes:

•	The Angle control defaults to operating on hundreds of degrees. However, you can type in an angle with as many significant digits as will fit in the control, and the program will rotate the image with that degree of precision.

•	Any additional canvas area generated with the command is filled with the Current Painting Color.

•	The Anti-Alias Image Border box anti-aliases an image’s border to the Current Painting Color.

Tip: Unsharp Masking Images After an Arbitrary Rotation: Images can lose some sharpness when rotated at an angle other than a 90 degree increment, due to the interpolation that occurs. Drawing on the image using the Effects | Filter Labs | Sharpen Lab command (with the Unsharp Mask effect and a Strength setting of about 50%) will bring back the rotated image's sharpness.


Image | Transforms | Map to Distortion Mask Command

This command maps or warps an image into a canvas' saved Distortion Mask. The image will be distorted to assume the shape(s) that compromises the Distortion Mask.

Combining Images using Distortion Mapping

The creative possibilities of mapping an image to a Distortion Mask that can be compromised of any shape, or numbers of shapes are endless. For example: You could use this technique to map a face (a floated image) to a car hood shape (previously saved Distortion Mask defined using the Curve tool), and then paste the floated image to make the face look like part of the car’s paint job.

Multiple Shape Distortion Mapping

Since the source image (when a floated image) and the target shape (the Distortion Mask) can be compromised of multiple irregular shapes, any conceivable image can be distortion mapped to any other shape or combination of shapes.

Unlimited Distortions

Using a Distortion Mask is more work than the traditional distortion box. However, ColorWorks' use of a Distortion Mask is much more powerful, because you can distort a floated image to any simple, complex, or multiple shaped mask.


Image | Transforms | Elastic Image Command

This command warps an image based on warping boxes and control points that you draw, allowing for precise local warping. ColorWorks allows for up to 35 warping control points to be used at a time.

Dialog Controls:

Control	Function

Warp Preview box	Inside this window is where you enter and manipulate the warping boxes and control points that warp the image.

Clear Controls	This button clears all warping controls in the Warp Preview box.


To Elastic Image Warp an Image


To Elastic Image Warp an Image

To Elastic Image Warp an Image

1.	Choose the Image | Transforms | Elastic Image command to open the Elastic Image dialog box.

2.	Draw a box over-top of the image in the Warp Preview box defining the image area to be affected by a warping control point. This is done by first pressing and holding Button 1 to define the center point to the desired box, dragging the cursor while the box rubberbands to the desired size and orientation, and releasing Button 1. You will notice a warping control point was placed at the center point of the box.

3.	Click and hold down Button 1 over-top of the control point, pull the point to a new location within the box, and release Button 1. The image area within the box will warp based on the movement of the warping control point.

4.	Repeat steps 2 and 3 for up to a total of 35 separate warping control points.

5.	Select the Apply button.

Notes:

•	Deleting Warping Controls: To delete a warping point click Button 2 on top of the point you want to delete and the warp will rebuild itself without that point.

•	Editing Warping Controls: To edit a warping point after it has been set and moved, click button 1 on top of the point; its warping box will reappear and the point can be repositioned.

•	Sometimes this warp can cause "tears" in the image. This is not an error; it is just how this warping algorithm sometimes works on severe movement of the warping control point.

Unlimited Precision Warping

With an understanding on how warping boxes and points cause changes in an image, you will find that you can stretch, shrink, squeeze, squash, and skew different areas of a floated image at the same time, allowing you to warp an image in an unlimited number of ways.


Image | Transforms | Coons Warp Command

This command warps an image using four arbitrary boundary lines or curves.

Dialog Controls:

Control	Function

Warp Controls box	Inside this window is where you manipulate the four boundary controls that define the application of the Coons Warp to an image. Control 1, 2, 3, and 4 manipulates the top, right, bottom, and left of the image boundary respectively.

Warp Preview box	 Inside this window is shown a preview of the warping effect on the image based on your current warp control settings.

Load Controls	Inside this box is a list of all Coons Warp files within the \cwarp directory of your main ColorWorks directory.

Line	This button sets the boundary controls to be lines.

Curve	This button sets the boundary controls to be curves.

Top Offset	This button sets the offset of the top boundary control.

Right Offset	This button sets the offset of the right boundary control.

Bottom Offset	This button sets the offset of the bottom boundary control.

Left Offset	This button sets the offset of the left boundary control.

Save Warp Controls	This button opens the Save Warp Controls dialog box, used to save your current Coons Warp settings to a file.


To Coons Warp an Image


To Coons Warp an Image

To Coons Warp an Image

1.	Choose the Image | Transforms | Coons Warp command to open the Coons Warp dialog box.

2.	Manipulate any boundary control, by clicking and holding Button 1 over-top of any of its control points, dragging it to a new location, and releasing Button 1. The Coons warp is a very flexible transform. The boundary controls can be any shape, and can cross each other and themselves. Use the Preview button at any time to see a preview of your settings in the Warp Preview box.

3.	Set the four Offset buttons to your desired settings. These buttons allow you to offset the Coons Warp function as it pertains to a particular boundary control. Each increment increase in an offset value represents a 25% increase in how a particular boundary control affects the Coons Warp calculation, up to an offset setting of 10 or a 250% increase.

4.	Select the Apply button.

Tips:

•	To better understand how the boundary controls affect the warp of an image, open the testgrid.tif file provided with the program, manipulate the boundary controls, and observe the results.

•	Tiling and Skewing Effects: You can generate effects by simply adjusting the Offset buttons and leaving the boundary controls alone. Tiling, skewing, and some warping effects can be achieved by manipulating just the offsets.

•	Warping Character Masks: Using any of ColorWorks' warping commands to warp a floated image that was defined with the Text tool (also known as a character mask) is an excellent effect.

•	A normal Coons Warp uses curves as the boundary controls. However, using the Line controls setting definitely opens up an additional world of possibilities and seems to yield warps that are more abrupt and less smooth.

Warping Boundary Control Behavior

Each of the four boundary controls exerts influence on image areas closest to their default positions. Hence, the top control, bottom control, left control, and the right control exert influence over the top, bottom, left, and right side of an image respectively.

Warping or image perturbation is caused by moving the control points of the four boundary controls. The basic warp generated by moving a control point forces an inverse perpetuation in the image.

Image Rotation and Flipping

Rotation of an image can be caused by rotating the location of all of the boundary controls. Flipping of an image can be caused by swapping the location of two opposite boundary controls.

Image Twisting

Twisting of an image can be caused by overlapping a single boundary control onto itself, one boundary control over-top of another, and by swapping the endpoint locations of a boundary control (reversing its ordering).

Tip: Load the twistee1.cwc or twistee2.cwc coons warp control files for examples of twisting an image.

Spherize, Punch, Pinch, Cylinder, and Wave Effects

With an understanding on how manipulating the boundary controls cause changes in an image, you will find that many traditional distortion effects can be reproduced using this command.

Using the boundary controls of a Coons warp to do a spherize, punch, pinch, cylinder, and wave effect is more work than the traditional pre-canned effects. However, ColorWorks allows you to perform those effects very regular, like the pre-canned effects, and to any degree of irregularity, which can often be a more interesting effect.

Tip: ColorWorks comes with many of those traditional distortions already defined for you and loadable using the Load Controls box:

•	Spherize or Punch Effects: Load the punch.cwc coons warp control file for an example of a punch effect.

•	Pinch Effects: Load the pinch.cwc coons warp control file for an example of a pinch effect.

•	Cylinder Effects: Load the cylinder.cwc coons warp control file for an example of a cylinder effect.

•	Wave Effects: Load the waves_h.cwc or the wave_v.cwc coons warp control file for examples of wave effects.

Unlimited Warping

The Coons warp boundary controls allow you to warp an image in a nearly unlimited number of ways. But, compared to the precision provided to you with the Image | Transforms | Elastic Image and the Image | Transforms | Point to Point Warp commands, warping with the bounding controls of a Coons Warp can be somewhat unpredictable. That unpredictably is also this command's strength if you want to uniquely warp an image beyond what can be generated with a precision warping command.


Save Warp Controls

This dialog box is used to save the current Coons Warp Controls to a file on disk.

Note: Coon Warp Control files are automatically saved to the \cwarp directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


Image | Transforms | Point to Point Warp Command

This command warps an image based on source and destination lines that you draw, allowing for precise local and non-local warping. ColorWorks allows for up to 26 source and destination line pairs to be used at a time.

Dialog Controls:

Control	Function

Source Controls box	Inside this window you can draw, edit, and delete source warping lines.

Destination Controls box	Inside this window you can draw, edit, and delete destination warping lines.

Warp Preview box	Inside this window is shown a preview of the warping effect on the image based on your current source and destination lines.

Anchor Border	This box sets to anchor the border of the image so its shape will not change due to your warping lines.

Clear Controls	This button clears all warping controls in the Source Controls and Destination Controls boxes.


To Point to Point Warp an Image


To Point to Point Warp an Image

To Point to Point Warp an Image

1.	Choose the Image | Transforms Point to Point Warp command to open the Point to Point Warp dialog box

2.	Draw a source warping line or a series of lines in the Source Controls box by clicking and holding Button 1 to set the start control point of a line, dragging the cursor while the line rubberbands to the desired location for the end control point, and releasing Button 1. You will notice a corresponding line was drawn in the Destination Controls box. A source line specifies a string of image points to be remapped by manipulating its associated destination line.

3.	Edit the destination line(s) in the Destination Controls box by selecting on either of the line’s control points with Button 1, the line will blink twice to indicate it has been selected, click and hold down Button 1, pull the endpoint to the desired location, and release Button 1. Manipulation of a destination line will cause a remapping of the points defined by its associated source line to the new locations defined by the destination line. Hence, moving, rotating, shrinking, and stretching destination lines causes the image to be moved, rotated, shrunk, and stretched, to follow the path of the destination line.

4.	Select the Apply button.

Notes:

•	Actually, line pairs can be added and/or deleted in either the Source Controls or Destination Controls box. Source lines are edited using the same procedure as stated above for destination lines.

•	Deleting Warping Line Pairs: To delete a line pair, click Button 2 on any endpoint belonging to the source line or destination line of the pair.

•	So you do not lose track of which source and destination lines go together, both lines blink twice when you move the cursor over-top of a control point belonging to either one.

•	Since the ordering of the points defined by the source and destination lines matter, the end control point of all source and destination lines are filled to distinguish them from the unfilled start control points.

Warping Line Pair Behavior

Single warping line pairs can flip, rotate, shear, twist, stretch, shrink, or anchor image areas. When there is more than one pair of source and destination warping lines, they compete for influence over the image and the effect of each control line becomes more local.

Image Flipping

Swapping the relative start and end control points between a source and destination line pair will flip an image, providing the Anchor Border box is not selected.

Image Rotation and Shearing

Rotating the relative start and end control points between a source and destination control line rotates an image, providing the Anchor Border box is not selected. Rotating to other than 90 degree orientations produces a shearing or skew effect.

Image Twisting

Using a control line pair to flip, rotate or shear an image with the Anchor Border box selected produces twisting effects. Twisting effects also occur when you twist multiple lines around relative points.

Image Stretching and Shrinking

Stretching is produced by a source line that is shorter than its paired destination line. Shrinking is produced by a source line that is longer than its paired destination line.

Warping Lines with Multiple Behaviors

A single warping line pair can have multiple behaviors. For example: A destination line that is rotated as well as shortened will rotate and shrink an image and a destination line that is rotated, lengthened, and has its control points swapped will rotate, stretch, and flip an image.

Image Anchoring

Line pairs where the source and destination lines are the same, tend to influence an anchoring, or protection effect to the image areas where they lie.

Unlimited Precision Warping

With an understanding on how warping lines cause changes in an image, you will find that you can stretch, shrink, squeeze, squash, skew, rotate, twist, and anchor different areas of an image at the same time, allowing you to warp an image in an unlimited number of ways.


Image | Resize Canvas Command

This command allows you to resize a canvas using the set units of measure of the canvas.

Dialog Controls:

Control	Function

Original Size Width	This field displays the width of the canvas in the canvas' set units of measure.

Original Size Height	This field displays the height of the canvas in the canvas' set units of measure.

New Size Width	Inside this field you can type in the width to size the canvas to in your set units of measure.

New Size Height	Inside this field you can type the width to size the canvas to in your set units of measure.

Image Position boxes	These boxes set the position of the image within the new canvas. The box that is black represents the set image position.

Fixed Aspect Ratio	This box sets the values of the New Size fields to maintain the aspect ratio of the original image size.

Notes:

•	The units of measure used by this command are set on a per canvas basis by the Set Units of Measure command of a canvas.

•	This command is used to add additional canvas area around an image by resizing a canvas without resizing the image within that canvas. If you want to resize the canvas and its image use the Image | Transforms | Resize command.

•	Any additional canvas area generated with the command is filled with the Current Painting Color.


Image | Offset Image Command

This command shifts a canvas image in a horizontal and/or vertical direction while wrapping its edges around to their opposite sides.

Dialog Controls:

Control	Function

X	This button sets the X or horizontal offset in pixels.

Y	This button sets the Y or vertical offset pixels.

Center	This button sets the X and Y controls to offset all image edges to the center of the image.

Note: This command defaults to an X and Y offset settings that moves all image edges to the center of the image.


Image | Flare FX Renderer Command

This command renders a Flare scene (lens flares, stars and space effects, explosions, lightning and electricity, smoke and gas clouds, glows, and more) over-top of canvas images. The Flare scene elements include the Flare and its Refractions.

Note: SPG offers a growing library of Flares for use with the Flare FX Renderer available for download from the SPG web-site.

Flare FX Renderer Menu Commands

File Menu

Reset

Exit

Task Bar Buttons:

Button	Function

Render.

Location Tool.

Orientation Tool.

Size Tool.

Flare Controls:

Control	Function

Location	These buttons set the X,Y position of the Flare’s center-point.

Orientation	These buttons set the X,Y orientation of the Flare’s controlling refraction. A Flare’s controlling refraction is that refraction that is farthest from the center-point of the overall flare in the positive direction.

Size	This button sets the size of the Flare.

Angle	This button sets the rotation angle of the Flare.

Intensity	This button sets the overall intensity or strength of the Flare.

Flare	This button opens the Load Flare dialog box, used to preview and select a flare file for use.

Preview Current Refraction Only	This box sets to preview only the selected Refraction.

Refraction Controls:

Control	Function

Refraction #	This button sets which refraction to edit.

Size	This button sets the size of the selected Refraction.

Color	This button opens the Color Editor dialog box for setting the color of the selected Refraction.

Intensity	This button sets the intensity of the selected Refraction.

Angle	This button sets the rotation angle of the selected Refraction.

Notes:

•	Previewing Flares: When a flare file name is selected in the Load Flare dialog box, the Flare will be rendered in the Flare FX Renderer as a preview. This feature allows you to preview different flares prior to opening a particular file.

•	The Orientation Tool and Orientation buttons will be greyed-out and unavailable when a flare file is loaded where a change in its Orientation would produce the same result as a change in the overall flare Angle.

Tip: Previewing and Viewing Flare Effects: Flares are a series of light refractions and have the most visual impact against a black background, a black colored canvas image. Conversely, you will see no flare effect at all when previewing or rendering flares to white colored images.


Using the Flare FX Renderer


Using the Flare FX Renderer

The Flare FX Renderer renders a Flare scene (lens flares, stars and space effects, explosions, lightning and electricity, smoke and gas clouds, glows, and more) directly over-top of canvas images.

Understanding Flares

Flares are a connected series of independently adjustable light refractions that can also be manipulated as a single entity. The Flare FX Renderer provides control of the overall Flare and the individual Refractions properties. The Flare properties include Location, Orientation, Size, Angle, and Intensity. The Refraction properties include Size, Color, Intensity, and Angle.

Note: The relative locations between the Refractions are preset in the flare’s definition, and change as the flare’s Orientation is manipulated. If all of a flare’s refractions are center-aligned on the same point, manipulating the flare’s Orientation simply rotates the flare.

Tip: Previewing and Viewing Flare Effects: Flares are a series of light refractions and have the most visual impact against a black background, a black colored canvas image. Conversely, you will see no flare effect at all when previewing or rendering flares to white colored images.

Rendering Flares

1.	Choose the Image | Flare FX Renderer command, opening the Flare FX Renderer.

2.	Select the Flare button, opening the Load Flare dialog box.

3.	Select a Flare using the provided controls.

4.	Select the OK button.

5.	Set the flare’s Location, Orientation, Size, Angle, and Intensity.

6.	Set the flare’s Refractions options.

7.	Select the Render button and the flare will output to the canvas image. After output to the canvas image, the Flare FX Renderer will remain open for additional use.

8.	Choose the File | Exit command of the Flare FX Renderer to close it when you are finished rendering flares.

Notes:

•	The Orientation Tool and Orientation buttons will be greyed-out and unavailable when a flare file is loaded where a change in its Orientation would produce the same result as a change in the overall flare Angle.

•	A dotted line is displayed from the flare’s center-point to the center-point of the Controlling Refraction (the refraction furthest from the flare’s center-point in the positive direction) when you directly manipulate the flare with your cursor using any of the Tools (Location, Orientation, Size). You will not see a dotted-line when directly manipulating the flare if all of a flare’s Refractions are center-aligned or located very close together.

Tip: To not render or hide a particular Refraction, simply set its Intensity to 0.


File | Reset Command of the Flare FX Renderer

This command resets the Flare FX Renderer and the currently loaded Flare to their default settings.


File | Exit Command of the Flare FX Renderer

This command closes the Flare FX Renderer.


Image | ColorWorks Plug-in Effects | Crystallize Command

This command tiles an image into irregular shaped nuggets or crystals.

Dialog Controls:

Control	Function

Horizontal Block Size	This button sets the width of the blocks used by this effect as measured in pixels.

Vertical Block Size	This button sets the width of the blocks used by this effect as measured in pixels.

Tip: Watercolor, Palette Knife, or Pointillist Effects: Use of varying Block Size settings can cause an effect similar to a watercolor, palette knife, or a Pointalist effect.


Image | ColorWorks Plug-in Effects | Mosaic Command

This command creates mosaic patterns on an image. These patterns form a "pixelated" look.

Dialog Controls:

Control	Function

From	These buttons set the start width and height of the tiles as measured in pixels.

To	These buttons set the end width and height of the tiles as measured in pixels.

Build Horizontally	This box sets to tile the image starting from the left side and ending on the right. Normally images are tiled starting from bottom of the image and ending on top.

Blend Tile	This box sets each tile color to be an average value of all pixels in the box of pixels defined by the size buttons. When this box is not selected, each tile color assumes the color value belonging to the lower-left pixel of the box of pixels defined by the size buttons.

Tips:

•	Stripping Effects: Setting the From and To buttons to a low setting, such as 1 to 3, for either the Width or Height, and set the other orientation to a high setting, such as 50 or higher, for a stripping effect.

•	Breaking into Pieces Effects: Setting the From and To buttons the same for either the Width or Height, and setting the other orientation with a larger From and a smaller To setting, makes an image look as if it is breaking into pieces in that direction.


Image | ColorWorks Plug-in Effects | Motion Blur Command

This command blurs an image in a straight line to create the illusion that either the image or the camera that shot the image was moving. This command simulates the traditional photographic technique of photographing a moving object using a timed exposure.

Dialog Controls:

Control	Function

Horizontal Movement	These buttons set the horizontal direction of the motion blur.

Vertical Movement	These buttons set the vertical direction of the motion blur.

Velocity	This button sets the distance of the motion blur measured in pixels.


Image | ColorWorks Plug-in Effects | Pinch/Punch Command

This command applies a pinch or punch distortion to an image. Pinching squeezes an image inward and punching creates a rounded bubble or spherical lump in an image. This command gives you extraordinary control over the resulting distortion by allowing you to adjust the origin of the effect. The origin of the effect is the point on the image where the effect is the strongest.

Dialog Controls:

Control	Function

Pinch	This button sets the effect generated by this command to a pinch.

Punch	This button sets the effect generated by this command to a punch.

Strength	This button sets the strength of the resulting image distortion.


To Set the Effect Origin Point in the Preview Box


To Set the Effect Origin Point in the Preview Box

To Set the Effect Origin Point in the Preview Box

Position the cursor over-top of the Preview box. The cursor will change to a crosshair shape. Click Button 1 to set the desired position of the origin point.


Image | ColorWorks Plug-in Effects | Ripples Command

This command distorts an image in circular concentric waves.

Dialog Controls:

Control	Function

Number of Waves	This button sets the number of waves generated.

Position	This button sets the positioning of the waves generated.

Amplitude	This button sets the amplitude or height of the waves generated.

Note: This ColorWorks Plug-in Effect was made available after the original ColorWorks:WEB 3 CD’s were produced. If your copy of the program does not have this effect, it is available for download from the SPG web-site at http://www.spg-net.com.


Image | ColorWorks Plug-in Effects | Shatter Command

This command tiles an image in an interesting way by rotating individual tiles at different degrees.

Dialog Controls:

Control	Function

90 Degrees	This button sets to rotate tiles 90 degrees more than the tile next to it.

180 Degrees	This button sets to rotate tiles 180 degrees more than the tile next to it.

270 Degrees	This button sets to rotate tiles 270 degrees more than the tile next to it.

Random	This button sets to rotate tiles randomly at either 90, 180, or 270 degrees more than the tile next to it.

Block Size	This button sets the size of the tiles as measured in pixels.


Image | ColorWorks Plug-in Effects | Swirl Command

This command distorts an image for a swirling or whirlpool-like effect.

Dialog Controls:

Control	Function

Angle	This button sets the angle of the swirl.

Transparent Background	This button sets the background of the swirl to transparent.

Note: This ColorWorks Plug-in Effect was made available after the original ColorWorks:WEB 3 CD’s were produced. If your copy of the program does not have this effect, it is available for download from the SPG web-site at http://www.spg-net.com.


Image | ColorWorks Plug-in Effects | Water Command

This command distorts an image in water-like waves.

Dialog Controls:

Control	Function

Number of Waves	This button sets the number of waves generated.

Position	This button sets the positioning of the waves generated.

Amplitude	This button sets the amplitude or height of the waves generated.

Horizontal Waves	This box sets to generate horizontal waves. When this box is not selected, vertical waves are generated.


Image | ColorWorks Plug-in Effects | Waves Command

This command distorts an image in parallel waves.

Dialog Controls:

Control	Function

Amplitude	This button sets the amplitude or height of the waves generated.

Period	This button sets the period or length of the waves generated.

Horizontal	This box sets to apply horizontal waves.

Vertical	This box sets to apply vertical waves.


Image | Standard Plug-in Filters | Plug-in Filter Navigator Command

This command applies a Standard Plug-in Filter to an image. Standard Plug-in Filters can be applied to images from the Image menu by either choosing the plug-in’s menu command or by use of the Plug-in Filter Navigator. The Plug-in Filter Navigator is especially useful when you have more plug-ins than ColorWorks’ Image menu can hold. Windows limits the number of commands a menu can have to those that can fit on-screen. Menu commands that can not fit on-screen are hidden from view and are inaccessible using the Image menu. The Plug-in Filter Navigator provides complete access to all of your Standard Plug-in Filters, regardless of the number of plug-ins loaded.

Dialog Controls:

Control	Function

Category	Inside this box is a list of all available plug-in filter categories.

Filter Name	Inside this box is a list of all available plug-in filters for the selected Category.

Notes:

•	This command is greyed-out and unavailable when you have no Standard Plug-ins Filters loaded.

•	The path from where ColorWorks loads Standard Plug-ins is set using the Plug-in Directory control of the File | Preferences command.

•	The Plug-in Filter Navigator can handle up to 3,000 Standard Plug-ins.

•	Standard Plug-in Filters appear under both the Image and Effects menus: The Image menu is used to apply Standard Plug-in Filters to entire images in a single step. The Effects menu is used to paint on images with Standard Plug-in Filters using ColorWorks’ painting tools.

Tip: Some filters may display a dialog box when chosen indicating that they require a “selection” to run. In ColorWorks, these filters need to be painted with using the Effects | Plug-in Filter Selector command.


Effects Menu

Load Graphics State

Save Graphics State

Clear All Effects

Drawing Merge Control

Channel Mask

Plug-in Filter Selector

Tune Image Colors | Adjust Color Maps

Tune Image Colors | Gamma Correction

Tune Image Colors | Color Balance

Tune Image Colors | Advanced Color Balance

Tune Image Colors | Tonal Compression

Tune Image Colors | Brightness / Contrast

Tune Image Colors | Dodge / Burn

Tune Image Colors | Adjust Histogram

Tune Image Colors | Hue / Saturation

Tune Image Colors | Posterize

Tune Image Colors | Solarize

Tune Image Colors | Threshold

Tune Image Colors | Invert

Tune Image Colors | Grey Conversion

Tune Image Colors | Noise

Tune Image Colors | JPEG Cleaner

Filter Labs | Smoothing Lab

Filter Labs | Sharpen Lab

Filter Labs | Noise Reduction Lab

Filter Labs | Edge Detection Lab

Filter Labs | Special Filters Lab

Filter Labs | Custom Filters Lab

Texturize

Pixel Displacement

8 Bit Mask

Gradients

Redo

Channel Swap

Clone


Effects | Load Graphics State Command

 This command is used to load a graphics state file from disk. ColorWorks current Graphics State will be flushed and reset to the settings contained in the loaded file.

Dialog Controls:

Control	Function

Filename	Inside this box is a list of all .grs files within the \grstate directory off your main ColorWorks directory.

Description	Inside this box is the associated description entry for the current graphics state file in the Filename box.

Notes:

•	A Graphics State file includes all of the settings and in use status of all Effects menu commands (except for the Clone and Redo effect).

•	This command only recognizes Graphics State files in the \grstate directory off your main ColorWorks directory.

•	Since the Effects | Clone and the Effects | Redo commands are not considered part of the Graphics State, those commands are automatically taken out of use when you load a Graphics State file.

Designing Custom "Plug-in" Effects

ColorWorks' ability to save and paint with loaded Graphics States means that any user can become a "Plug-in" Effects developer, without having to be a programmer! ColorWorks can be used as a giant custom effects lab to create, test, and save custom effects, using the cumulative settings of the commands that make up the program Graphics State.

Tips:

•	ColorWorks' large number of effects, its ability to apply multiple effects at the same time, and its effects "engines" allow you to replicate the results of many third-party plug-in filters. You will find that many plug-in filters are basically multiple effects applied at once, a texture map, a pixel displacement map, a convolution filter, or a combination thereof. In addition, you can create many other effect combinations never before seen.

•	The Graphics State commands are excellent for saving and loading the combination of effects that color correct images from a particular source. For example: You may find that the same gamma correction, tonal range adjustment, and hue shift, correct all images from a particular scanner. You could save the necessary setting of the Effects | Tune Image Colors | Gamma Correction, Effects | Tune Image Colors | Adjust Histogram, and the Effects | Tune Image Colors | Hue / Saturation commands to a graphics state to later load and paint to those image with that exact effects combination.

•	Keep in mind when designing custom effects, that some effects cancel each other out in whole or in part. For example: Smoothing used in combination with sharpening, or inversion used in combination with solarization.


To Paint with a Saved Graphics State


To Paint with a Saved Graphics State

To Paint with a Saved Graphics State

1.	Choose the Effects | Load Graphics State command.

2.	Select a saved Graphics State from the Filename box.

3.	Select the OK button and all settings of the saved Graphics State will be loaded.

4.	Paint on a canvas.


Effects | Save Graphics State Command

 This command is used to save ColorWorks current Graphics State to a file on disk.

Dialog Controls:

Control	Function

Filename	Inside this field you type the desired name for the graphics state file for saving to disk.

Description	Inside this field you type the desired description for the graphics state file to save, up to 256 characters.

Notes:

•	This command automatically saves all Graphics State files to the \grstate directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name in the Filename field.

•	Graphics State files are "self contained": In addition to the settings and in use status of the commands that define a Graphics State, everything pertaining to the current Graphics State, including any external files such as an in use color map file, custom filter file, texture map file, and/or pixel displacement map file will be saved with the graphics state file. This ensures that you can load and use any graphics state file without potential failure due to a deleted or moved external file. In addition, this self containment allows you to share your custom effects with other ColorWorks users without having to also give them all external files that were part of the Graphics State you saved.


Effects | Clear All Effects Command

 This command is used to take all currently in use effects out of use. If you have several effects in use at the same time and want to take them all out of use, this command can do it in a single step.

Notes:

•	When working with a floated image this command is always greyed-out. When painting this command is greyed-out when there are no effects in use.

•	This command takes all currently in use Effects menu commands out of use, except for the Effects | Drawing Merge Control command.


Effects | Drawing Merge Control Command

 This command controls how painting colors and effects are merged or drawn to an image.

Dialog Controls:

Control	Function

Use Drawing Color	Inside this box is a list of merge techniques available.

Drawing Color Opacity	This button sets the opacity or strength, of painting on an image.

Anti-Alias w/ Edge Blending	This slider sets to anti-alias and blend edges when painting.

Anti-Alias	This box sets to anti-alias edges when painting.

Reset	This button resets the controls in this dialog box to their default settings, taking the command out of use.

Note: This command remains checked in use if any of its controls are not set to the defaults in order to give you constant feedback that this command is affecting your painting operations. This command is taken out of use by selecting the Reset button, or putting all of its settings back to their defaults.

Drawing Merge Techniques

Always: This setting merges the painting operation unchanged to an image.

If Darker [A,B]: This merge technique compares the luminescence of the painting operation with that of the image it is to paint to. Only the parts of the painting operation that are darker will be drawn.

If Lighter [A,B]: This merge technique compares the luminescence of the painting operation with that of the image it is to paint to. Only the parts of the painting operation that are lighter will be drawn.

Add [A+B]: This merge technique adds the color values of the painting operation with that of the image it is to paint to.

Subtract [A-B]: This merge technique subtracts the color values of the painting operation with that of the image it is to paint to.

Multiply [AxB]: This merge technique multiples the color values of the painting operation with that of the image it is to paint to.

Hue: This merge technique merges only the hue component of the painting operation and the image.

Lightness: This merge technique merges only the lightness component of the painting operation and the image.

Saturation: This merge technique merges only the saturation component of the painting operation and the image.

Tint: This merge technique merges only the hue and saturation component of the painting operation and the image.

Drawing Opacity

The setting of the Drawing Color Opacity button sets the transparency of the painting operation. A setting of 255 opacity means that the painting operation will be applied at full strength or 100%. The lower the setting of the Drawing Color Opacity button, the lower the strength of the painting on the image.

Notes:

•	The Drawing Color Opacity button is, in effect, the master strength setting for painting with colors and effect(s).

•	The Drawing Color Opacity setting will be overridden by the settings of the Effects | Gradients command if that command is in use and you are painting with a filled tool.

Tip: The Drawing Color Opacity button is excellent for fine tuning the strength of effect combinations. For example: If you applied a combination of 3 effects and found the result to be too strong, rather than lowering the strength of all 3 effects independently, use this button to globally reduce the strength of the effect combination without changing the relative mix of effects.

Anti-Aliasing and Blending Edges

Often the edges of painting operations may have a "stair steps" or "jaggie" appearance that you would like to blend or smooth. ColorWorks can automatically smooth the edges of your painting operations with an Anti-Aliasing method, or an Anti-Aliasing and Blending combination method. The Anti-Alias method smoothes edges by inserting intermediate colors between the "stair steps" of the painted edges. The Anti-Alias w/Edge Blending method works by first anti-aliasing the painting operation, and then smoothes it with the underlying canvas image.

Tips:

•	A setting of 2 or 3 of the Anti-Alias w/Edge Blending slider is usually all that is needed to smoothly blend painted edges.

•	Anti-Aliasing w/ Edge Blending Versus Anti-Aliasing: Anti-Aliasing w/ Edge Blending can be a much more powerful edge smoothing option compared to Anti-Aliasing. It is important to note that blending eats-away at or erodes the edges of the painting operation in order to smooth it with the canvas image. Because of this, blending tends to wipe out painting with small text characters. Anti-aliasing is generally a better choice for smoothing the edges of Text painting, because it does not eat-away at the painting operation in order to smooth its edges.


Effects | Channel Mask Command

 This command is used to protect canvas areas based on color channels. This command protects certain canvas color channels or ranges of values within those channels when you are painting.

Dialog Controls:

Control	Function

HLS	This button sets the Color Channel display boxes to the separate Hue, Lightness, and Saturation channels.

RGB	This button sets the Color Channel display boxes to the separate Red, Green, and Blue channels.

CMY	This button sets the Color Channel display boxes to the separate Cyan, Magenta, and Yellow channels.

Protect	This button sets to mask the range of values between the Lower Channel and Upper Channel markers.

Select	This button sets to mask the color values not between the Lower Channel and Upper Channel markers.

Mask	These boxes set which color channels to mask.

Color Channel bars	These bars are a display of all possible values of a particular color channel.

Lower Channel markers	These markers (the left-most marker under each of the Color Channel bars) set the start of the range of channel values that you want this command to effect.

Upper Channel markers	These markers (the right-most marker under each of the Color Channel bars) set the end of the range of channel values that you want this command to effect.

Lower Channel	These fields give you numerical feedback as to the location of a particular Lower Channel marker belonging to a Color Channel display.

Upper Channel	These fields give you numerical feedback as to the location of a particular Upper Channel marker belonging to a Color Channel display.

Channel	Located below the Preview box, these fields give you numerical feedback as to the image channel values under your cursor if you move it over-top of the Preview box.

Note: This command is only active when painting and gives you similar channel control for your painting operations that floated images get using the Mask | Float Merge Control command.

Tips:

•	Hue Protected, Saturation Protected, and Lightness Protected Effects: Any effect or combination of effects can be applied "hue protected" by simply masking the Hue channel of the canvas. The same holds true for applying a saturation and/or lightness protected effect.

•	Color Replacer Effects: To replace a single image color with a different color: Use the Color Picker tool to sample the exact RGB values of the image color to replace; select the RGB button; set the individual Red, Green, and Blue channel markers to just below and above the color values of color to replace; select the Select button; select the OK button to turn on the Channel Mask; select a new color as the Current Color, and paint to the image. The Current Color will be drawn only on image areas where the masked color exists. To add a tolerance to this scenario, simply expand the masked range above and below the RGB color values originally masked.

•	Chroma-Key Mask Effects: Some foreground images come overlaid on a single background color. In order to paint only to the image and ignore the background color, use the same Channel Masking procedure as instructed above to mask the background color, and deselect the Protect button. All painting to the image will not affect the masked background color. Another technique to mask a background would be to use a Protection Mask.


Effects | Plug-in Filter Selector Command

 This command selects Standard Plug-in Filters to paint with.

Dialog Controls:

Control	Function

Category	Inside this box is a list of all available plug-in filter categories.

Filter Name	Inside this box is a list of all available plug-in filters for the selected Category.

Selected Filters	Inside this box is a list of all plug-in filters selected for use.

Remove	This button removes a selected filter from the Selected Filters list.

Remove All	This button removes all filters from the Selected Filters list.

Settings	This button opens the dialog box of a selected filter in the Selected List.

Order	This button moves a selected filter in the Selected Filters list up/down the list (painting stack).

Preview Box Selector	This box defines the rectangular image area or Preview Box that plug-in filters will use for their previews.

Stack Previews	This box sets a plug-in filter’s preview image to take into account the cumulative effects of all other Plug-in Filters selected before it in the Selected Filters (painting stack) list.

Simulate Selection	This box creates a rectangular selection within the set Preview Box. The selection generated is 50% the size of the Preview Box and centered on the preview image.

Notes:

•	This command is greyed-out and unavailable when you have no Standard Plug-ins Filters loaded.

•	The path from where ColorWorks loads Standard Plug-ins is set using the Plug-in Directory control of the File | Preferences command.

•	The Plug-in Filter Selector can handle up to 3,000 Standard Plug-ins.

•	ColorWorks allows you to have up to 50 plug-in filters selected to paint with at a time.

•	A plug-in filter will perform properly in the Plug-in Filter Selector and you will be able to paint with it, provided it adheres to published standards and methods of communications between itself and the plug-in host (ColorWorks).

•	Standard Plug-in Filters appear under both the Image and Effects menus: The Image menu is used to apply Standard Plug-in Filters to entire images in a single step. The Effects menu is used to paint on images with Standard Plug-in Filters using ColorWorks’ painting tools.

•	All standard plug-in filters loaded are displayed in the Plug-in Selector, including “filters” that do not make sense to paint with. A plug-in vendor may offer plug-in “filters” (.8bf files) that perform a task that is not an image filter of effect at all, like saving a file in a particular file format or reading a digital watermark. Filters that do not make sense to paint with should be run from the Image menu.

•	How Plug-in Filters are Stacked with ColorWorks Effects during a Painting Operation: Standard Plug-in Filters are applied before the in-use ColorWorks Effects during a painting operation.

•	The Plug-in Filter Selector dialog box is movable when a plug-in filter dialog box is also open. This is very useful when using a plug-in filter than has an interface that needs to be positioned directly over-top of the canvas image itself.

•	In-use plug-in filters are ignored when painting with the Free Draw tool. Although technically possible to pass each Free Draw brush stroke through the selected plug-in filters, due to the way in which Standard Plug-in Filters are constructed, it would be an extremely slow process which would make the Free Draw tool impractical to use.

Tips:

•	Re-ordering the Application of Multiple Plug-in Filters: In-use plug-in filters are applied to an image in the same order (painting stack) as they appear in the Selected Filters box. Use the Order button to re-order the plug-in filters within the Selected Filters list.

•	Some filters may display a dialog box when chosen indicating that they require a “selection” to run. In these circumstances select the Simulate Selection box and use the plug-in. A plug-in filter may require a selection because they generate effects outside of your painting operation and can not preview that effect properly without a selection.

•	The Preview Box Selector is excellent for reducing the time it takes to calculate stack previews when working with large canvas images and/or a large number of selected filters, by focusing the processing of the stack preview to a smaller user-defined area of the image.


To Select a Filter to Use

To Set the Preview Box Size and Location

To Stack a Plug-in Filter's Preview Image

To Move a Selected Filter Up/Down the Painting Stack

To Open the Settings of a Selected Filter

To Remove a Selected Filter from the Selected List


To Select a Filter to Use

To Select a Filter to Use

1.	Select a filter category from the Category box, and the filters within that category will appear in the Filter Name box.

2.	Select a filter to use from the Filter Name box, and the filter’s dialog box will open. Make any desired settings adjustments, select the dialog’s OK button, and the filter’s name will appear in the Selected Filters box. If the filter has no dialog box it will immediately appear in the Selected Filters box.

Note: ColorWorks allows you to have up to 50 plug-in filters selected to paint with at a time.


To Set the Preview Box Size and Location

The Preview Box Selector defines the rectangular image area or Preview Box that plug-in filters will use for their previews.

Tip: The Preview Box Selector is excellent for reducing the time it takes to calculate stack previews when working with large canvas images and/or a large number of selected filters, by focusing the processing of the stack preview to a smaller user-defined area of the image.

To Move the Preview Box

1.	Position the cursor over-top of the Preview Box, click and hold Button 1.

2.	Drag the Preview Box to a new location and release Button 1.

or

Position the cursor over-top of any point within the Preview Box Selector and click button 1. The Preview Box will be moved and centered on that selected point.

To Resize the Preview Box

1.	Position the cursor over-top of the handle at the lower-right corner of the Preview Box, click and hold Button 1.

2.	Drag the cursor and resize the Preview Box to a new size, and release Button 1.

Note: The Preview Box can not be resized below its minimum size of 150 x150 pixels.


To Stack a Plug-in Filter's Preview Image
To Stack a Plug-in Filter’s Preview Image

ColorWorks can make a plug-in filter take into account the cumulative effects of all other plug-in filters selected before it in the Selected Filters (painting stack) list when rendering its own preview image.

To Stack a Plug-in Filter’s Preview Image

Selecting the Stack Previews button makes plug-in filters stack their previews.

Tip: The Preview Box Selector is excellent for reducing the time it takes to calculate stack previews when working with large canvas images and/or a large number of selected filters, by focusing the processing of the stack preview to a smaller user-defined area of the image.


To Move a Selected Filter Up/Down the Painting Stack

Selected filters are applied to an image in the same order (painting stack) as they appear in the Selected Filters box.

To Move a Selected Filter Up/Down the Painting Stack

1.	Select the filter that you want to move up/down the painting stack in the Selected Filters box.

2.	Use the Order button to change the filter’s position within the painting stack.


To Open the Settings of a Selected Filter

To Open the Settings of a Selected Filter

1.	Select the filter that you want to adjust in the Selected Filters box.

2.	Select the Settings button.

Note: Selecting the Settings button is ignored if the selected filter has no settings dialog box.


To Remove a Selected Filter from the Selected List

To Remove a Selected Filter from the Selected List

1.	Select the filter that you want to remove in the Selected Filters box.

2.	Select the Remove button.


Effects | Tune Image Colors | Adjust Color Maps Command

 This command allows you to precisely adjust an image's brightness, contrast, hues, saturations, and lightness by remapping their values.

Dialog Controls:

Control	Function

Color Map box	Inside this box is where you manipulate the mapping line for the color component set by the Channel list box.

Mapping Line	The line inside the Color Map box represents the relationship between the range of input and output values for the color component set by the Channel list box.

Up/Down	This double-arrowed control shifts all points on the mapping line up or down.

Expand/Compress	This double-arrowed control spins all points on the mapping line about the center point, resulting in an expansion or compression of the dynamic range of color component channel being mapped.

Channel	Inside this box is a list of all color component channels you can apply a mapping curve to. The different color components that you can adjust are a composite RGB and CMY, and the individual Red, Green, Blue, Cyan, Magenta, Yellow, Hue, Saturation, and Lightness channels.

Load Map	Inside this box is a list of all Color Map files within the \cmaps directory off your main ColorWorks directory. The Color Maps command comes with some predefined mapping lines for you to load and apply.

In	This field gives you numerical feedback as to the input value of any point on the mapping line.

Out	This field gives you numerical feedback as to the output value of any point on the mapping line.

Stack Previews	This box sets to display a stacked preview image.

Save Map	This button opens the Save Color Map Controls dialog box, used to save your current mapping line points to a file.

Reset	This button resets the mapping line belonging to the current color component channel to the default diagonal line.

Note: All adjusted channel mapping lines are applied when this effect is used. Hence, if you adjust every channels’ mapping line, this effect will remap image data 11 times.

Tips:

•	Since this command allows you to adjust the individual dark, mid range, and light values, it is useful for correcting scans with inadequate contrast within the extremely dark and very light areas of an image. It is also good for repairing images where the midtones are too light or dark, by adjusting the image's grey balance.

•	This command can be used to replicate several effects in the Tune Image Colors menu, sometimes with more precision. Adjustments to the Mapping Line can create many effects and make gamma, contrast, and color balance adjustments in any color channels you choose to map.

•	Inversion Effects: Load the invert.cmc mapping line file. This mapping line, which is the reverse of the default diagonal line, maps all input values to their exact opposites. Inverting the RGB, Red, Green, Blue, CMY, Cyan, Magenta, or Yellow mapping lines is considered the standard technique. Inverting an image’s Hue, Lightness, and/or Saturation can create far more interesting effects.

•	Shifting Effects: A mapping line that remains diagonal, and is offset higher or lower from its default position yields a linear shift of values. Use the Up/Down control to shift all points on the any mapping line up or down.

•	Solarization Effects: The solar1.cmc and solar2.cmc mapping line files produce a solarization effect, a half negative / half positive image when applied to the RGB channel. In fact, any mapping line that is a V or an inverted V in shape yields a solarization effect. Solarizing individual color component channels, especially the Hue, yields additional interesting effects.

•	Hue Equalization, Colorization, or Colorized Monochrome Effects: Load the equalize.cmc mapping line file for the Hue channel. Then use the Up/Down control to move the mapping line to the hue you want to equalize to, or colorize with.

•	Saturation Equalization Effects: Load the equalize.cmc mapping line file for the Saturation channel. Then use the Up/Down control to move the mapping line to the saturation level you want to equalize to. Mapping all saturations to 100% is an interesting effect. Mapping all saturations to 0% creates a monochrome effect as stated below.

•	Monochrome Effects: Mapping all input saturations to 0 using a mapping line that is horizontally flat, generates a monochrome effect. Load the equalize.cmc mapping line file for the Saturation channel, and use the Up/Down controls to move it to 0%.

•	Gamma Adjustments: Adjusting the middle segment of the RGB, Red, Green, Blue, CMY, Cyan, Magenta, or Yellow mapping lines is considered midtone or Gamma adjustment.

•	Contrast Adjustments: Spinning the RGB, Red, Green, Blue, CMY, Cyan, Magenta, or Yellow mapping lines about their center points using the Expand/Compress control, increases and decreases image contrast.

•	Brightness Adjustments: Using the Up/Down control to shift all points up or down on the RGB or CMY mapping line, increases and decreases image brightness.

•	Color Balance Adjustments: Any manipulation of the individual Red, Green, Blue, or the Cyan, Magenta, Yellow mapping lines can be considered image color balancing. For precisely adding or reducing color content in a particular part of the tonal range, manipulate that color's mapping line by dragging on the points on the line. To add or reduce color content by a linear shift of values, use the Up/Down control to manipulate the mapping line. Shifting the mapping line down reduces the image content of that color, and shifting the mapping line up increases the amount of that color. In color theory, reducing image content of a primary color increases the content of a complimentary color. Hence, decreasing red adds cyan, decreasing green adds magenta, and decreasing blue adds yellow, and vice versa.


To Read the Mapping Line

To Adjust the Mapping Line


To Read the Mapping Line - Adjust Color Maps
To Read the Mapping Line

To Read the Mapping Line

The X (horizontal) axis of the Color Map display box represents the input values and the Y (vertical) axis represents the output values of the color component channel set by the Channel box. The line itself represents the relationship between the range of input and output values. Hence, the default line (a diagonal line) represents no change in image colors, because every value on the X axis (inputs) is mapped to the exact same value on the Y axis (outputs).

When mapping the RGB, Red, Green, Blue, CMY, Cyan, Magenta, or Yellow channel, the input and output values are a measure of color value from 0 to 255. When mapping the Hue the input and output values are a measure of degrees of the color wheel from 0 to 360. When mapping the Saturation or Lightness, the input and output values are a measure of percentage from 0 to 100.

Note: Since a color's saturation is a function of a particular hue, when editing the saturation channel a green hue is used for the Channel In Values and Channel Out Values bars. A green hue is used because the human eye is most sensitive to changes in greens.


To Adjust the Mapping Line - Adjust Color Maps
To Adjust the Mapping Line

To Adjust the Mapping Line

1.	Position the cursor over-top of any control point on the line, click and hold Button 1.

2.	Drag that point of the line to a new position and release Button 1. The In and Out fields and the Channel In Values and Channel Out Values bars will provide you with numeric feedback as you move the control point.

3.	The same procedure can be used to edit any number of points on the mapping line.

4.	Select the OK button.


Save Color Map Controls

This dialog box is used to save the current Color Map Controls to a file on disk.

Note: Color Map Control files are automatically saved to the \cmap directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


Effects | Tune Image Colors | Gamma Correction Command

 This command adjusts the brightness and contrast of an image's midtones based on a non-linear gamma curve rather than a linear shift of values.

Dialog Controls:

Control	Function

Red	This slider sets the gamma correction for the red channel.

Green	This slider sets the gamma correction for the green channel.

Blue	This slider sets the gamma correction for the blue channel.

Stack Previews	This box sets to display a stacked preview image.

Note: The default Gamma value of 1.0 has no effect on an image.

Tip: Decrease in gamma darkens midtones and enhances detail in the lighter or highlight areas of an image. Increase in gamma lightens midtones and enhances detail in the shadow or darker areas of an image.


Effects | Tune Image Colors | Color Balance Command

 This command adjusts the color balance of an image using a linear shift of color channel values. In a properly color balanced image, all the colors appear natural.

Note: The slider bars in this command represent the relationship between primary and complimentary colors. In color theory, reducing image content of a primary color increases the content of a complimentary color. Hence, decreasing red adds cyan, decreasing green adds magenta, and decreasing blue adds yellow, and vice versa.

Dialog Controls:

Control	Function

Cyan - Red	This slider sets the amount of cyan and red to add to, or subtract from the image.

Magenta - Green	This slider sets the amount of magenta and green to add to, or subtract from the image.

Yellow - Blue	This slider sets the amount of yellow and blue to add to, or subtract from the image.

Stack Previews	This box sets to display a stacked preview image.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.


Effects | Tune Image Colors | Advanced Color Balance Command

 This command is used to make precise color balance and color correction adjustments using a remapping of color channel values across the tonal range. Unlike the Effects | Tune Image Colors | Color Balance command that uses an absolute shift of all tonal values of a particular color channel, this command allows you to add or subtract color at any point of the tonal range in percentage units of change.

Dialog Controls:

Control	Function

Channel Map boxes	Inside these three boxes is where you manipulate the mapping line for red, green, and blue color channel.

Mapping Lines	The line inside each of the Channel Map boxes represent the relationship between the tonal range values and the amount of color to add of subtract at that point along the range.

Tonal Range bars	These three horizontal bars, located underneath each Channel Map box, give you visual feedback as to the tonal range value of any point on the mapping lines.

Mapping Line Points	Inside these nine fields, underneath each Tonal Range bar, you can enter a value for each of the nine points on a Mapping Line. These fields also provide visual feedback as to point values if you manipulate the Mapping Line directly.

Shift	These double-arrowed controls, located to the right of each Channel Map box, shift all points on a Mapping Line up or down.

RGB	These buttons set which of the Channel Maps to be affected when you select either the Reset or Power button.

Stack Previews	This box sets to display a stacked preview image.

Reset	This button resets the mapping line belonging to the particular Channel Map as set by the RGB buttons.

Power	This button and its associated entry field allow you to apply a power curve to the mapping line belonging to the particular Channel Map set by the RGB buttons.

Notes:

•	After typing a value in the Power field you need to press the Power button to register a change in the set Channel Map.

•	Absolute Shift of Color Values Versus Percentage Changes: An absolute shift of image color values increases all values along the tonal range by the same number of units. A percentage change of image color values affects values along the tonal range the number of units equaling a percentage relative to the original image color value. Each method yields a different result in the image for the same unit of change requested. For example: You request a painting operation to execute with a +5 shift of all color values of the image along the tonal range, the operation would change pixels with a value of 0 to 5 [0 + 5 = 5], values of 100 to 105 [100 + 5 = 105] and values of 200 to 205 [200 + 5 = 205]. The same 5 units of change yields a much different result if the units are percentages rather than absolute values. A painting operation with a 5 percent change of all color values of the image along the tonal range would result in pixels with a value of 0 remaining 0 [0 + (0 * 5%) = 0], values of 100 become 105 [100+ (100 * 5%) = 105], and values of 200 become 210 [200 + (200 * 5%) = 210].


To Read the Mapping Lines

To Adjust a Mapping Line


To Read the Mapping Lines - Advanced Color Balance
To Read the Mapping Lines

To Read the Mapping Lines

The X (horizontal) axis of the Channel Map display boxes represents tonal range values, and the Y (vertical) axis represents the possible change in color values. The line itself represents the relationship between the tonal range values and the percentage color value change to apply to a given tonal range value.

The tonal range values are a measure of tone from 0 to 255. The color value change values are a measure of percentage from -50% to 50%.

Note: The mapping lines in this command represent the relationship between primary and complimentary colors. In color theory, reducing image content of a primary color increases the content of a complimentary color. Hence, decreasing red adds cyan, decreasing green adds magenta, and decreasing blue adds yellow, and vice versa.


To Adjust a Mapping Line - Advanced Color Balance
To Adjust a Mapping Line

To Adjust the Mapping Line

1.	Position the cursor over-top of any control point on the line, click and hold Button 1.

2.	Drag that point of the line to a new position and release Button 1. The Mapping Line Point fields, the Tonal Range bar, and the Color Balance bar will provide you with numeric feedback as you move the control point.

3.	The same procedure can be used to edit any of the nine points on the mapping line.

4.	Select the OK button.

Note: Mapping lines can also be altered by directly typing values in the Mapping Line Point entry fields.


Effects | Tune Image Colors | Tonal Compression Command

 This command is used to compress an image's tonal range in order to achieve the maximum reproduction quality on devices other than computer monitors. Many output destinations for your images may not have the same tonal range or color gamut that can be reproduced by a computer display sub-system.

Dialog Controls:

Control	Function

Tonal Range box	Inside this box is a display of the potential tonal range values.

Shadow Point marker	This marker (the left-most marker under the tonal range box) sets the minimum tonal range value your output device can produce.

Highlight Point marker	This marker (the right-most marker under the tonal range box) sets the highest tonal range value your output device can produce.

Minimum Shadow	This field gives you numerical feedback as to the location of the Shadow Point marker.

Maximum Highlight	This field gives you numerical feedback as to the location of the Highlight Point marker.

Stack Previews	This box sets to display a stacked preview image.

The highlight and shadow points set in this dialog determines where detail and tone will reproduce on the destination device. Between the highlight and shadow points are the color values that create tone, color, detail, and control contrast in the reproduced image.

The highlight point is where the maximum color value is found in whites or colors. The highlight point controls the appearance of the brightest part of an image and any details in these bright areas. Since the human eye can see the most detail in bright areas, the selection of the highlight point is the single most important step in the tonal compression process. The shadow point is where the minimum color value is found.

Note: If an image has color values outside the output destination's gamut and you do not compress the image's tonal range, those color values above the highlight point of the destination will be clipped (not reproduced), those color values below the black point will produce as pure black, you will lose all image detail in both areas, image colors will not have the same relationships between themselves, and the overall contrast of the image will be different from that of the original screen image.


To Compress an Image's Tonal Range


To Compress an Image's Tonal Range

To Compress an Image’s Tonal Range

1.	Position the cursor over-top of the Shadow Point or the Highlight Point marker, click and hold Button 1.

2.	Drag the marker to a new position and release Button 1. The Minimum Shadow and the Maximum Highlight fields will provide you numeric feedback as you move the markers.

3.	Select the OK button.


Effects | Tune Image Colors | Brightness / Contrast Command

 This command adjusts an image's brightness and contrast levels by shifting their values. Brightness is an image's overall range from light to dark. Contrast is the difference in brightness between elements in an image.

Dialog Controls:

Control	Function

Brightness	This slider sets the shift of image brightness from -100 to 100 percent.

Contrast	This slider sets the shift of image contrast from -100 to 100 percent.

Stack Previews	This box sets to display a stacked preview image.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Tips:

•	Shifting brightness is good for adjusting an image that is too light or washed out, and those that are too dark and have areas of shadow that reproduce completely black. However, areas of an image where the detail has blended into the shadows or bright white cannot be corrected using this command.

•	Since this command is an overall shift of values, images that are mostly dark with a few bright areas are better adjusted with the Effects | Tune Image Colors | Adjust Color Maps command.

•	Increasing contrast also helps effects that are triggered by changes in contrast perform better, such as sharpening, edge detection, and embossing.

•	Extreme contrast also helps maintain detail when printing on inexpensive papers such as newsprint.


Effects | Tune Image Colors | Dodge / Burn Command

 This command adjusts brightness of an image by shifting luminosity values. This command simulates the traditional darkroom technique of enhancing image definition by blocking out or adding light to a negative.

Dialog Controls:

Control	Function

Exposure	This slider sets the shift of image luminosity from -100 to 100 percent.

Stack Previews	This box sets to display a stacked preview image.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Tip: In traditional photography, dodging is usually used to lighten underexposed image shadow areas, and burning is used to darken overexposed image highlights.


Effects | Tune Image Colors | Adjust Histogram Command

 This command gives you control of an image's brightness and contrast by allowing you to dynamically expand or contract the individual color channels' tonal range.

Dialog Controls:

Control	Function

The Histogram box	Inside this box is a histogram chart of the brightness values of the pixels of the current canvas.

Shadows marker	This marker (the left-most marker under the histogram box) sets the shadows brightness value to expand from or compress to.

Highlights marker	This marker (the right-most marker under the histogram box) sets the highlights brightness value to expand from or compress to.

Shadows	This field gives you numerical feedback as to the location of the Shadows marker.

Highlights	This field gives you numerical feedback as to the location of the Highlights marker.

Shadows Expand	This button sets the histogram to be expanded from the Shadows marker to 0.

Shadows Compress	This button sets the histogram to be compressed from 0 to the Shadows marker.

Highlights Expand	This button sets the histogram to be expanded from the Highlights marker to 255.

Highlights Compress	This button sets the histogram to be compressed from 255 to the Highlights marker.

Channel	Inside this box is a list of all color component channels you can adjust with this command. The different color components that you can adjust are a composite RGB, and the individual Red, Green and Blue channels.

Stack Previews	This box sets to display a stacked preview image.

Zoom In	This button zooms in the histogram displayed in the Histogram box.

Zoom Out	This button zooms out the histogram displayed in the Histogram box.

Tips:

•	During the scanning process an image's tonal range can become compressed, especially on low end scanners that cannot produce a full range of tones. A histogram with values that fail to expand the entire tonal range is considered compressed.

•	Scanning, imaging, and printing an image tends to move its brightness and contrast toward the middle grey region. Images tend to lose their brightness, detail, and contrast while they are processed. Ideal brightness is achieved when the darkest elements are nearly black and the brightest elements are nearly white.

•	Adjusting Image Brightness: Expanding highlights and/or compressing shadows increases image brightness. Conversely, expanding shadows and/or compressing highlights decreases image brightness.

•	Adjusting Image Contrast: Expanding a histogram, increases tonal range and image contrast. Conversely, compressing a histogram, decreasing tonal range and image contrast.

•	Histogram Equalization: To balance an image's greys so that they are more evenly distributed from light to dark, set the Shadows marker to the lowest brightness value showing on the histogram, the Highlights marker to the highest brightness value showing on the histogram, and select both the Shadows Expand and the Highlights Expand buttons. This will balance image brightness and contrast, mapping the lightest color to white, the darkest to black, and remap the remaining colors to other brightness levels in order to distribute image pixels over the entire tonal spectrum.


To Read the Histogram

To Adjust an Image's Tonal Range


To Read the Histogram

To Read the Histogram

The X or horizontal axis represents all potential brightness values of the tonal range from 0 to 255. The Y or vertical axis represents the number of pixels in an image that exist for a particular brightness value. Hence, the height of the vertical line for a particular color value represents the number of pixels with that value. The lower, middle, and upper ranges of brightness values are traditionally referred to as shadows, midtones, and highlights respectively.

Tip: A histogram of a full-color continuous tone image with large gaps between the lines means that colors are missing, usually due to poor quality scans or image compression. If the histogram is weighted predominately to the right, towards highlights, the image is probably too light. Conversely, if the histogram is weighted predominately to the left, towards shadows, the image is probably too dark. A histogram that is predominately weighted in the middle of the tonal range, midtones, usually indicates a lack of contrast in the image. Normally, a "well balanced" image has a histogram with values spread over the entire tonal range.


To Adjust an Image's Tonal Range

To Adjust an Image’s Tonal Range

1.	Position the cursor over-top of the Shadows or the Highlights marker, click and hold Button 1.

2.	Drag the marker to a new position and release Button 1. The Shadows and Highlights fields will provide you feedback as to changes in marker locations.

3.	Select to either compress or expand an image's shadows and highlights using the Shadows Expand, Shadows Compress, Highlights Expand, and the Highlights Compress buttons.

4.	Select the OK button.


Effects | Tune Image Colors | Hue / Saturation Command

 This command adjusts an image's hues and saturation levels by shifting their values while maintaining the original brightness information. Hues are pure colors and are measured on a 360 degree circle called a color wheel. Saturation is the purity of a color or the degree of color richness. This command can be set to shift hue and saturation values of an entire image or only those pixels within in a specified range.

Dialog Controls:

Control	Function

Hue	This slider sets the shift of hues within the range of values defined by the Lower Hue and Upper Hue markers, around the color wheel. All colors change to an equal degree as specified in the slider indicator. The hue slider is adjustable from -180 to 180 degrees, the default is no hue shift or zero.

Saturation	This slider sets to add or subtract saturation in all hues within the range defined by the Lower Hue and Upper Hue markers.

Hues box	Inside this box is a display of all 360 possible hues.

Lower Hue marker	This marker (the left-most marker under the Hues box) sets the start of the range of original canvas hues that you want this command to effect.

Upper Hue marker	This marker (the right-most marker under the Hues box) sets the end of the range of original canvas hues that you want this command to effect.

Lower Hue	This field gives you numerical feedback as to the location of the Lower Hue marker.

Upper Hue	This field gives you numerical feedback as to the location of the Upper Hue marker.

Stack Previews	This box sets to display a stacked preview image.

Hue	This field gives you numerical feedback as to the image hue value under your cursor if you move it over-top of the Preview box.

Notes:

•	The Lower Hue and Upper Hue markers are used to isolate this command to only affect a specific range of original image hues.

•	Setting the Hue slider in a positive direction shifts image hues clockwise around the color wheel (reds shift towards orange, oranges shift towards yellow, yellows shift towards green, greens shift towards blue, blues shift towards violet, and violets shift towards red). Setting the Hue slider in a negative direction shifts image hues counter-clockwise around the color wheel (reds shift towards violet, violets shift towards blue, blues shift towards green, greens shift towards yellow, yellows shift towards orange, and oranges shift towards red.

•	Sponge Tools: Adjusting image saturation using a pen tool dedicated to that single task, is often referred to as a "sponge" tool in other programs. In ColorWorks, any tool can be used for "sponging."

Tips:

•	Shifting image hues is excellent for correcting and countering hue shifts introduced into the image by a poor scan, mis-calibrated scanner, or image processing. Images with hue shifts usually have color casts. Cast is the tendency of the almost white and almost black areas of an image to take on a color, giving an unnatural appearance to the image. Since highlights are the areas first seen in an image, casts there are most noticeable. Usually color shifts towards red, blue, or yellow.

•	Low color saturation can invoke a mood or tone down a "screaming" image.

•	Monochrome Effects: Due to the way in which the HLS color model works, when the Saturation slider is set to - 100%, an image is reduced to only Lightness values or greyscale. Try setting the Saturation slider to -100 within a specific hue range for a partial monochrome / partial full-color image.


To Set the Hue Range

To Sample a Hue from the Preview Box


To Set the Hue Range

To Set the Hue Range

1.	Position the cursor over-top of the Lower Hue or the Upper Hue marker, click and hold Button 1.

2.	Drag the marker to a new position and release Button 1. The Lower Hue and the Upper Hue fields will provide you feedback as to changes in hue range setting as you move the markers.

3.	Select the OK button.


To Sample a Hue from the Preview Box

To Sample a Hue from the Preview Box

Position the cursor over-top of the Preview box, the cursor will change to a crosshair shape, and the Hue field will display the hue value of the pixel underneath the cursor.

Tip: Sampling the hues of an image from the Preview box is an excellent way to gather image information necessary in setting the Lower Hue and Upper Hue markers to only effect certain image areas.


Effects | Tune Image Colors | Posterize Command

 This command reduces the number of colors of an image down to a user-defined number of colors per color channel.

Dialog Controls:

Control	Function

Red	This button sets the number of red channel levels.

Green	This button sets the number of green channel levels.

Blue	This button sets the number of blue channel levels.

Stack Previews	This box sets to display a stacked preview image.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Tips:

•	Only posterizing a single channel or different channels at different numbers of colors yields interesting results.

•	Posterizing a Color Channel to a Particular Bit Depth: 256 levels = 8-bit, 128 levels = 7-bit, 64 levels = 6-bit, 32 levels = 5-bit, 16 levels = 4-bit, 8 levels = 3-bit, 4 levels = 2-bit, and 2 levels = 1-bit.


Effects | Tune Image Colors | Solarize Command

 This command produces an image that is blended half negative / half positive. This command simulates the traditional photographic technique of partially reversing a film negative to a positive, by a brief exposure to light during development.

Dialog Controls:

Control	Function

Upper Range	This button sets to solarize pixels with color values between 128 and 255.

Lower Range	This button sets to solarize pixels with color values between 0 and 127.

Stack Previews	This box sets to display a stacked preview image.


Effects | Tune Image Colors | Threshold Command

 This command converts some or all of an image to either black or white depending on brightness values. Producing a black and white image or one that is a blend of black, white, and original color image.

Dialog Controls:

Control	Function

Histogram box	Inside this box is a histogram chart of image brightness values.

Lower Threshold	This marker (the left-most marker under the histogram box) sets the brightness value in which all pixels that have its value or lower will turn to black.

Upper Threshold	This marker (the right-most marker under the histogram box) sets the brightness value in which all pixels that have its value or higher will turn to white.

Stack Previews	This box sets to display a stacked preview image.

Value	This field gives you numerical feedback as to the image brightness value under your cursor if you move it over-top of the Preview box.

Zoom In	This button zooms in the histogram displayed in the Histogram box.

Zoom Out	This button zooms out the histogram displayed in the Histogram box.


To Set the Threshold Ranges

To Sample a Value from the Preview Box


To Set the Threshold Ranges

To Set the Threshold Ranges

1.	Position the cursor over-top of the Lower Threshold or the Upper Threshold marker, click and hold Button 1.

2.	Drag the marker to a new position and release Button 1. The Lower Threshold and the Upper Threshold fields will provide you feedback as to changes in brightness range settings as you move the markers.

3.	Select the OK button.

When this effect is applied, all pixels with brightness values below the Lower Threshold marker will turn black, all pixels above the Upper Threshold marker will turn white, and all pixels with brightness values between the two markers, in the middle, will be unchanged.

Tips:

•	Silhouette Effects: For the traditional black and white threshold effect (no untouched brightness values) set the markers next to each other.

•	Partial Black/White - Partial Full-Color Effects: An image that has had its shadows turned black, highlights turned white, and its midtones left unchanged is a great looking effect.


To Sample a Value from the Preview Box

To Sample a Value from the Preview Box

Position the cursor over-top of the Preview box, the cursor will change to a crosshair shape, and the Value field will display the brightness value of the pixel underneath the cursor.

Tip: Sampling the brightness values of an image from the Preview box is an excellent way to gather image information necessary in setting the Lower Threshold and Upper Threshold markers.


Effects | Tune Image Colors | Invert Command

 This command changes an image to its negative color values at a variable amount or exposure.

Dialog Controls:

Control	Function

Exposure	This slider sets the percentage of inversion of an image to its negative value. A setting of 100 percent equals inverting the image to its exact negative value.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Stack Previews	This box sets to display a stacked preview image.


Effects | Tune Image Colors | Grey Conversion Command

 This command changes image colors to greyscale values.

Dialog Controls:

Control	Function

Shades of Grey	This button sets the number of levels of grey for the image.

Average	This button sets to change image colors to greyscale by averaging the values of the red, green, and blue channels.

NTSC	This button sets to change image colors to greyscale using the same NTSC method black/white televisions (in the U.S.) use to decode a broadcast signal.

Green Component	This button sets to change image colors to greyscale using its green channel values.

Strength	This slider sets the strength of the selected greyscale conversion method on an image.

Stack Previews	This box sets to display a stacked preview image.

Note: Even though the Average and NTSC conversion methods are the standards, the Green Component conversion method can often provide a realistic greyscale image. This is due to the facts that an image's luminosity values are often found in its green channel, and the human eye is most sensitive to greens.

Tips:

•	Color Stripping Effects: Using the Strength slider to set the greyscale conversion to less than 100% is considered a color stripping effect.

•	Setting the Shades of Grey to a Particular Bit Depth: 256 shades = 8-bit, 128 shades = 7-bit, 64 shades = 6-bit, 32 shades = 5-bit, 16 shades = 4-bit, 8 shades = 3-bit, 4 shades = 2-bit, and 2 shades = 1-bit or black and white only.


Effects | Tune Image Colors | Noise Command

 This command generates noise on an image. Noise effects randomly vary pixel colors to add grit and texture to an image.

Dialog Controls:

Control	Function

Strength	This slider sets the strength of the noise effect on an image.

Monochrome Noise	This button sets to vary all color channels an equal amount, yielding a noise that is basically a variance of lightness.

Color Noise	This button sets to vary the RGB color channels independently, yielding a noise of randomly colored pixels.

Absolute	This button sets the Strength slider to define the range of potential variance of image pixels in absolute units of color value relative to the original pixel color value.

Percentage	This button sets the Strength slider to define the range of potential variance of image pixels as a percentage of the original pixel color value.

Stack Previews	This box sets to display a stacked preview image.

Tips:

•	Hue Protected, Lightness Protected, Saturation Protected, Special Red, Special Green, and Special Blue Noise Effects: These are all a noise effect simply applied to a single or two of the three color channels of a particular color model. For example: For a Hue Protected Noise effect apply noise only to the Lightness and Saturation channels using the Effects | Channel Mask command. For a Special Red Noise effect apply noise only to the Red channel using the Effects | Channel Mask command.

•	Creating Noisy Texture and Displacement Maps: Applying noise effects to blank canvases are excellent for creating maps for use by the Effects | Texturize or the Effects | Pixel Displacement commands. Noisy texture maps produce a rough paper or sand effect on an image. Noisy displacement maps produce a diffusion effect on an image.

•	Enhanced Edge Blending of Overlaid Images: Often images can be blended together nicely by first painting on where the images' border one another using the Effects | Filter Labs | Smoothing Lab command, and then painting on the same border areas with a mild noise effect.

•	High Speed Film Effects: Adding noise to an image can simulate the traditional photographic effect of shooting pictures on high speed film.

•	More "Realistic" Images: Sometimes images created with programs like ColorWorks are said to be look too computer generated, too perfect. Noise allows you to add some imperfection to an image, often resulting in a more "real" looking image.


Effects | Tune Image Colors | JPEG Cleaner Command

 This command is used to clean up the destruction of an image caused by it being excessively compressed with a JPEG compression scheme.

Dialog Controls:

Control	Function

Upper Left	This button sets this command to consider the upper-left corner of the image to be the origin.

Lower Left	This button sets this command to consider the lower-left corner of the image to be the origin.

Randomize	This box sets this effect to apply a randomization technique to the image after the cleaner has been used.

Sharpen	This box sets this effect to apply a sharpening technique to the image after the cleaner has been used.

Tip: If you open and edit JPEG images you should always determine if they need to be cleaned prior to working with them. If a given image has obvious tiling, it should be cleaned prior to working on it.


Using the JPEG Cleaner Effect


Effects | Filter Labs | Smoothing Lab Command

 The effects in this lab are used to smooth or blur an image. These effects lesson image contrast to achieve their effects and are considered the opposite of sharpening.

Dialog Controls:

Control	Function

Effects	Inside this box is a list of all available smoothing effects.

Strength	This slider sets the strength of the selected smoothing effect on an image.

All pixels	This button sets the effect to process all image pixels.

Edges below threshold	This button sets the effect to process image pixels with edges at or below the setting of the Threshold button.

Edges above threshold	This button sets the effect to process image pixels with edges at or above the setting of the Threshold button.

Threshold	This button sets a brightness value difference in which a pixel may or may not be processed if either the Edges above threshold or Edges below threshold button is selected. If so, ColorWorks calculates the numerical difference of each pixel with its neighboring pixels and processes only those pixels that fall within the set threshold.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Stack Previews	This box sets to display a stacked preview image.

Smoothing Lab Effects:

Effect	Description

Average	This effect smoothes an image by processing each pixel using an average value of surrounding pixels.

4 Neighbor Plus Average	This effect smoothes an image by processing each pixel using an average value of surrounding pixels in a plus shaped area around the pixel to be processed.

Horizontal Neighbor Average	This effect smoothes an image by processing each pixel using an average value of surrounding pixels horizontally above and below the pixel to be processed.

Vertical Neighbor Average	This effect smoothes an image by processing each pixel using an average value of surrounding pixels vertically left and right of the pixel to be processed.

Gaussian Distribution	This effect smoothes an image by processing each pixel following the bell shaped Gaussian distribution curve, yielding feathered clusters of blurs.

Tips:

•	Soft Focus Lens Effects: The average smoothing effect produces effects similar to using a soft focus lens in traditional photography.

•	Eliminating Moiré Patterns: You can often eliminate unwanted moiré patterns in scanned images with a Gaussian Distribution blur.

•	Washed or Watercolor Effects: Heavier or repeated smoothing on some images can create a "washed" or watercolor effect. The heavier the blurring the more ColorWorks decreases the contrast of the selected pixels.


Effects | Filter Labs | Sharpen Lab Command

 The effects in this lab are used to sharpen images.

Dialog Controls:

Control	Function

Effects	Inside this box is a list of all available sharpen effects.

Strength	This slider sets the strength of the selected effect on an image.

All pixels	This button sets the effect to process all image pixels.

Edges below threshold	This button sets the effect to process image pixels with edges at or below the setting of the Threshold button.

Edges above threshold	This button sets the effect to process image pixels with edges at or above the setting of the Threshold button.

Threshold	This button sets a brightness value difference in which a pixel may or may not be processed if either the Edges above threshold or Edges below threshold button is selected. If so, ColorWorks calculates the numerical difference of each pixel with its neighboring pixels and processes only those pixels that fall within the set threshold.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Stack Previews	This box sets to display a stacked preview image.

Sharpen Lab Effects:

Effect	Description

Sharpen	This effect sharpens an image by processing each pixel with a traditional sharpening method using the values of a box of surrounding pixels.

Sharpen Horizontal Neighbor	This effect sharpens an image by processing each pixel using the values of surrounding pixels horizontally above and below the pixel to be processed.

Sharpen Vertical Neighbor	This effect sharpens an image by processing each pixel using the values of surrounding pixels vertically left and right of the pixel to be processed.

High Pass	This effect sharpens an image by processing each pixel with another traditional sharpening method using the values of a box of surrounding pixels.

High Pass - 4 Neighbor Plus	This effect sharpens an image by processing each pixel using the values of surrounding pixels in a plus shaped area around the pixel to be processed.

Unsharp Mask	This effect sharpens an image by simultaneously sharpening and blurring image edges. This effect simulates the traditional photographic technique of combining a blurred film negative with the original film positive to highlight image edges.

Tips:

•	Often images lose their focus during the scanning process and look flat. In addition, photography and the scanning process tend to remove subtle details and definition from images. These effects enhance changes in color and brightness and restore these parts of an image back to looking crisp and in focus. Too much sharpening will make images look grainy.

•	Sharpening edges is usually all that is needed on an image. It is usually the edges of an image that determine whether it looks crisp and in focus or soft and flat.

•	Use of any sharpening effects is particularly useful prior to using the Effects | Tune Image Colors | Threshold command.

•	The process of printing an image tends to soften or slightly blur it. Sharpening can be useful prior to printing an image to help compensate for that softening.

•	Glitter Effects: A high Strength slider setting, especially with the Sharpen effect and/or repeated sharpening, produces a glitter effect on images.


Effects | Filter Labs | Noise Reduction Lab Command

 The effects in this lab are used to remove noise or spots from an image.

Dialog Controls:

Control	Function

Effects	Inside this box is a list of all available noise reduction effects.

Strength	This slider sets the strength of the selected effect on an image.

All pixels	This button sets the effect to process all image pixels.

Edges below threshold	This button sets the effect to process image pixels with edges at or below the setting of the Threshold button.

Edges above threshold	This button sets the effect to process image pixels with edges at or above the setting of the Threshold button.

Threshold	This button sets a brightness value difference in which a pixel may or may not be processed if either the Edges above threshold or Edges below threshold button is selected. If so, ColorWorks calculates the numerical difference of each pixel with its neighboring pixels and processes only those pixels that fall within the set threshold.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Stack Previews	This box sets to display a stacked preview image.

Noise Reduction Lab Effects:

Effect	Description

Median	This effect reduces noise by replacing processed pixels with the middle value of the pixel to be processed and surrounding pixels.

Weighted	MedianThis effect reduces noise using the same algorithm as the Median effect but weighs the pixel to be processed more heavily in the calculation.

Mean	This effect reduces noise by replacing processed pixels with the mean value of the pixel to be processed and surrounding pixels.

Weighted Mean	This effect reduces noise using the same algorithm as the Mean effect but weighs the pixel to be processed more heavily in the calculation.

Minimum	This effect reduces noise by replacing processed pixels with the minimum value of the pixel to be processed and surrounding pixels.

Weighted Minimum	This effect reduces noise using the same algorithm as the Minimum effect but weighs the pixel to be processed more heavily in the calculation.

Maximum	This effect reduces noise by replacing processed pixels with the maximum value of the pixel to be processed and surrounding pixels.

Weighted Maximum	This effect reduces noise using the same algorithm as the Maximum effect but weighs the pixel to be processed more heavily in the calculation.

Tips:

•	Despeckle Effects: The traditional "despeckle" noise reduction effect is a Median filter.

•	Erode Effects: The Minimum effect enhances an image's dark areas, spreading them outward into other pixels, and is referred to as an erosion or softening filter.

•	Dilate Effects: The Maximum filter tends to enhance the light areas of an image, and is referred to as a dilation or softening filter.

•	Using the Weighted Effects: The Weighted effects are useful in toning-down the results of an effect. Toning-down an effect using a weighted effect is different from using the unweighted effect with a lower strength setting. This is because the weighting affects how a pixel’s new value is calculated, and lowering the Strength slider reduces the difference between the original pixel and its new computed value.


Effects | Filter Labs | Edge Detection Lab Command

 The effects in this lab detect image edges.

Dialog Controls:

Control	Function

Effects	Inside this box is a list of all available edge detection effects.

Strength	This slider sets the strength of the selected effect on an image.

Invert edge detection	This box sets to invert the results of the set effect on an image.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Stack Previews	This box sets to display a stacked preview image.

Edge Detection Lab Effects:

Effect	Description

Multi-Pass Sobel	This effect finds image edges in all directions.

Horizontal Sobel	This effect finds horizontal image edges.

Vertical Sobel	This effect finds vertical image edges.

Diagonal Sobel	This effect finds diagonal image edges.

Laplacian 1	This effect finds image edges in all directions and is more sensitive than the other Laplacian effects.

Laplacian 2	This effect finds image edges in all directions and is less sensitive than the Laplacian 1 effect.

Laplacian 3	This effect finds image edges in all directions and is less sensitive than the Laplacian 1 effect, especially on horizontal edges.

Tips:

•	The Sobel based effects tend to create thicker, sometimes neon-like edges, compared to the Laplacian-based effects.

•	Glowing Edges Effects: A Sobel type of edge detection is sometimes referred to as a Glowing Edges effect.

•	Trace Contour and Pencil Drawing Effects: An inverted edge detection effect is sometimes referred to as a Trace Contour or a Pencil Drawing effect.


Effects | Filter Labs | Special Filters Lab Command

 The effects in this lab apply special filters to images.

Dialog Controls:

Control	Function

Effects	Inside this box is a list of all available special filter effects.

Strength	This slider sets the strength of the selected effect on an image.

Chroma	This slider sets the colorization of the selected effect on an image from Gray to Color.

Rotate Filter, Degrees	These buttons set to rotate the selected special filter. Zero (0) degree is the filter's default orientation.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Stack Previews	This box sets to display a stacked preview image.

Special Filters Lab Effects:

Effect	Description

Emboss	This effect makes an image look as if it was carved in relief by finding edges and coloring surfaces a midtone grey.

Emboss Light	This effect is similar to the Emboss effect with lighter surfaces.

Emboss Heavy	This effect is similar to the Emboss effect with darker surfaces.

Slate Light	This effect makes an image look as if it was carved lightly in slate.

Slate Heavy	This effect makes an image look as if it was carved heavy in slate.

Stone	This effect makes an image look as if it was carved in stone.

Vibrate	This effect makes an image look as if it is vibrating.

Vibrate Harder	This effect is similar to the Vibrate effect with the image appearing to vibrate harder.

Shake Blurry	This effect makes an image look as if it was shaken very fast and photographed with a long exposure time.

Shake Focused	This effect makes an image look as if it was shaken very fast and photographed with a fast exposure time.

Draw Light Pastel	This effect makes an image look as if it was drawn lightly with colored pastels.

Draw Dark Pastel	This effect makes an image look as if it was drawn heavy or dark with colored pastels.

Draw Light Pastel on Parchment	This effect makes an image look as if it was drawn lightly with colored pastels on textured paper.

Draw Dark Pastel on Parchment	This effect makes an image look as if it was drawn heavy or dark with colored pastels on textured paper.

Draw Dark Pastel on Rag	This effect makes an image look as if it was drawn heavy or dark with colored pastels on heavily textured paper.

Draw Light Sketch on Weave	This effect makes an image look as if it was drawn lightly with colored pastels on a weave textured paper.

Diagonal Sketch	This effect makes an image look as if it was drawn with colored pencils using diagonal strokes.

Light Sketch	This effect makes an image look as if it was drawn lightly with colored pencils.

Light Sketch on Parchment	This effect makes an image look as if it was drawn lightly with colored pencils on textured paper.

Sketch on Parchment	This effect makes an image look as if it was drawn with colored pencils on textured paper.

Dark Sketch on Rag	This effect makes an image look as if it was drawn heavy or dark with colored pencils on heavily textured paper.

Sketch on Weave	This effect makes an image look as if it was drawn with colored pencils on a weave textured paper.

Specter	This effect makes an image look ghostly.

Entity	This effect makes an image look ghostly.

Spirit	This effect makes an image look ghostly.

Haze	This effect makes an image look as if it was viewed through a haze or a slightly frosted glass.

Radioactive	This effect makes an image look as if it was radioactive.

Hot Flash	This effect makes an image look as if it was photographed with a much too hot, bright, flash bulb.

Grainy Hot Flash	This effect makes an image look grainy and as if it was photographed with a much too hot, bright, flash bulb.

Sunset	This effect makes an image look as if it was illuminated by a sunset.

Sunrise	This effect makes an image look as if it was illuminated by a sunrise.

Tips:

•	Bas Relief Effects: The traditional Bas Relief effect is an inverted Emboss.

•	Chalk and Charcoal Effects: Chalk and charcoal effects are created by choosing a Pastel effect and moving the Chroma slider to Gray.

•	Graphic Pen and Pencil Effects: Graphics pen and pencil effects are created by choosing a Sketch effect and moving the Chroma slider to Gray.

•	Halo Effects: The result of the Vibrate effect is often referred to as a halo effect.

•	Stronger Filtering: Some images may require a stronger application of a filter to achieve the desired result. This is done by simply applying the filter multiple times to the image.

•	Changing the "Lightsource" Direction of an Emboss Effects: Use the Rotate Filter, Degrees buttons to change the relative highlight and shadow areas of an emboss effect.


Effects | Filter Labs | Custom Filters Lab Command

 This command is used to apply user-defined custom convolution filters to an image.

Dialog Controls:

Control	Function

Kernel Pixels	These buttons represent a box of 25 pixels that are used to filter process images.

Load Filter	Inside this box is a list of all Custom Filter files within the \cusfltr directory off your main ColorWorks directory. This command comes with several predefined files for you to load and use.

Strength	This slider sets the strength of the set filter on an image.

Invert	This box sets to invert the results of the set filter on an image.

Offset	This button sets an offset value to be used for calculating the new color value for the target pixel.

Shadows	This box sets this effect to be applied to image areas considered shadows set by the Set Tonal Range command of a canvas.

Midtones	This box sets this effect to be applied to image areas considered midtones set by the Set Tonal Range command of a canvas.

Highlights	This box sets this effect to be applied to image areas considered highlights set by the Set Tonal Range command of a canvas.

Stack Previews	This box sets to display a stacked preview image.

Save Filter	This button opens the Save Custom Filter dialog box, used to save your current filter matrix settings to a file.

Custom Filters Lab Effects:

Effect	Description

Emboss	This file is an example of an emboss filter effect.

Findedge	This file is an example of an edge detect filter effect.

Sharpen	This file is an example of a sharpen filter effect.

Sharp_h	This file is an example of a horizontal direction sharpening filter effect.

Sharp_v	This file is an example of a vertical direction sharpening filter effect.

Smooth	This file is an example of a smoothing filter effect.

Smooth_h	This file is an example of a horizontal direction smoothing filter effect.

Smooth_v	This file is an example of a vertical direction smoothing filter effect.

Convolution Filtering

Convolution filtering is the method of image processing where a selected area of an image is changed based on the definition of a kernel. A kernel is a matrix or box of pixels, with the center of the matrix representing the pixel to be changed or the target pixel. ColorWorks uses a 5x5 pixel custom filter kernel. The 25 pixel values in the kernel matrix are used in a mathematical formula to calculate the new color of the target pixel. The formula is: (the color values of each pixel in the kernel multiplied by its corresponding value in the matrix) divided by the sum of all of the color values in the kernel, and the offset value is then added. The resulting "filtered" color value for the target pixel is drawn to the image. This process is repeated for every pixel within the image to process.

Note: Because of their potential to be very compute-intensive when many values are entered into the kernel, filtering can take a considerable amount of time to execute. For example: If you entered a value into every matrix field, and asked to filter a relatively small 1000 by 1000 pixel image area, it would take over 25 million calculations to perform that filtering effect.


To Define a Custom Filter


To Define a Custom Filter

To Define a Custom Filter

1.	Select the Kernel Pixel field you want to edit, and type a number between 999 and -999. The center button represents the target pixel’s position in the kernel.

2.	Repeat the above procedure for any other kernel pixel fields you want to set or edit.

3.	Use the same procedure to edit the Offset value. The offset value can also be set between 999 and -999. A positive offset value increases the brightness of the target pixel, while a negative value decreases its brightness or darkens it.

Tip: Since the kernel controls are spin buttons, you can enter values with the keyboard like an entry field when defining a new filter, or use the spin arrows to quickly fine tune a filter definition as you preview it.

Designing Custom Filters

Custom filter definitions usually generate a variation of sharpening, smoothing, edge detection, or embossing.

Sharpening

Sharpening is produced by a positive target pixel value surrounded by symmetrical negative values.

Tip: Load the sharpen.flt Custom Filter file as an example of a sharpening filter.

Directional Sharpening

Directional sharpening is produced by organizing positive and negative values into row or columns.

Tip: Load the sharpen_h.flt or the sharpen_v.flt Custom Filter file as an example of a directional sharpening filter.

Smoothing

Smoothing or blurring is produced by a positive target pixel value surrounded by symmetrical positive.

Tip: Load the smooth.flt Custom Filter file as an example of a smoothing filter.

Directional Smoothing

Directional smoothing is produced by keeping the target pixel the lowest of all values with higher values toward the edges and corners.

Tip: Load the smooth_h.flt or the smooth_v.flt Custom Filter file as an example of a directional smoothing filter.

Edge Detection

Edge detection is produced by a negative target pixel value surrounded by symmetrical positive values.

Tip: Load the findedge.flt Custom Filter file as an example of an edge detection filter.

Embossing

Embossing is produced by positive and negative matrix values positioned on opposite sides of the target pixel.

Tip: Load the emboss.flt Custom Filter file as an example of an embossing filter.

Other Effects

As outlined above, traditional custom filter definitions are usually a variation of sharpening, smoothing, edge detection, and/or embossing. Do not let that fact limit your custom filter designs. You can often generate great effects just by experimenting with different matrix definitions. If your design ends up not being based in traditional filtering theory, but it generates a good-looking effect, that's all that matters.


Save Custom Filter

This dialog box is used to save the current Custom Filter to a file on disk.

Note: Custom Filter files are automatically saved to the \cusfltr directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


Effects | Texturize Command

 This command adds texture to a canvas image by using a separate image known as a texture map. ColorWorks comes with many Texture Map files already defined for you to use with this command.

Dialog Controls:

Control	Function

Load Textures	Inside this box is a list of all Texture Map files within the \texture directory off your main ColorWorks directory.

Tile Texture	button sets to tile the texture map.

Scale Texture	This button sets to stretch or shrink the texture map to fit the dimensions of the image.

Stack Previews	This box sets to display a stacked preview image.

Tips:

•	The highlighting technique used by the Frame2 texture is an example of how you can use changes in opacity to simulate a 3-D button type of look used to highlight objects like text.

•	The Vignette texture is an example of using textures to create a vignette frame effect. Since this particular vignette sample is not a very large file, the elliptical edge of the frame may get a little ragged looking when the texture is resized significantly large. You could paint on the elliptical edge using the Effects | Filter Labs | Smoothing Lab command if you desire a smoother edge. You could also create a larger vignette texture map file yourself.

•	After using the vignette texture on an image, try distorting the elliptical frame edge of the vignette by painting on it using the Effects | Pixel Displacement command. It is a nice looking effect.

•	Use the If Darker or If Lighter settings in the Effects | Drawing Merge Control command to force only the dark or light areas of textures to be used.

Brightness Displacement

Brightness displacement is a technique for adding texture to an image. An image referred to as a texture map is in effect laid underneath the image. The brightness values of the texture map determine which pixels of the image to affect and how much to change the brightness of those image pixels.

Medium grey areas of a texture map, such as a 50% brightness value, cause no change in the image pixels.

Darker areas of the texture map reduce image pixel brightness one level for each brightness level darker than medium grey, down to a maximum reduction of 128 levels for pure black. Lighter areas of the texture map increase image pixel brightness one level for each level brighter than medium grey, up to a maximum increase of 128 levels for pure white.

Tip: Natural Media Painting Effects: Brightness Displacement is the same technique that "natural media" graphics programs use to simulate textured painting canvases.


To Create and Save a Texture Map File

To Edit a Texture Map File


To Create and Save a Texture Map File

Any canvas image can be saved as a texture map file using the File | Save Resource | Texture Map command. However, you can use the following procedure to optimize or control the amount of texturing you get out of any given image.

To Create and Save a Texture Map File

1.	Use the Effects | Tune Image Colors | Brightness / Contrast command to increase image contrast. Increasing contrast helps embossing filters work better at finding edges.

2.	If you want to give the image more depth, use the Effects | Filter Labs | Special Filters Lab (Emboss Dark) command on the image.

3.	Use the Effects | Tune Image Colors | Adjust Histogram command to make the shadows blacker and the highlights whiter. Move the Shadows Marker and Highlights Marker inward towards the middle of the histogram, with both the Expand Shadows and Expand Highlights buttons selected.

4.	Use the Effects | Tune Image Colors | Adjust Color Maps command to set the amount of image areas defined as 50% brightness or 128 (un-textured areas). This is done by flattening the middle segment of the mapping line at a common value of 128.

5.	Choose the File | Save Resource | Texture Map command to save the canvas as a texture map. The saved map can now be used by the Effects | Texturize command.


To Edit a Texture Map File

To Edit a Texture Map File

1.	Choose the File | Open Resource | Texture Map command, opening the Open Texture Map dialog box.

2.	Choose the texture map file you want to open for editing from the list of available texture map files.

3.	Select the OK button to open the file as a canvas for editing on the ColorWorks desktop.

4.	Edit the canvas.

5.	Choose the File | Save Resource | Texture Map command to save the canvas as a texture map.

Tips:

•	Use any Effect menu command or Image menu transformation, distortion and/or warping effect to edit texture maps for creating very interesting textures. Using warped textures is an incredible effect.

•	Natural Media Effects: First use an effect from the Special Filters Lab that generates a painting effect (such as the Draw Dark Pastel effect), then texturize the image. In addition, all kinds of effects such as an image looking spray painted onto a brick wall can be achieved using this technique.

•	Texture Map, and Displacement Map files can be used in pairs. You could displace particular areas of an image using the Effects | Pixel Displacement command, then add shadows and highlights around the displaced areas with the Effects | Texturize command.

•	Using a texture file created by simply saving a canvas image as a texture map file without optimizing it as a texture as stated above, is an interesting way of superimposing two images together. The technique is basically a lightness merge of the two images.

•	The strokes.txr texture file demonstrates how other effects such as pencil painting can be achieved with brightness displacement. This texture file was created without regard to enhancing shadows and highlights to simulate a lightsource and texture.


Effects | Pixel Displacement Command

 This command distorts canvas images by using a separate image known as a pixel displacement map. ColorWorks comes with several Displacement Map files already defined for you to use with this command.

Dialog Controls:

Control	Function

Load Displacement	Inside this box is a list of all Displacement Map files within the \displace directory off your main ColorWorks directory.

Black Movement Right	This button sets black pixels of the displacement map to displace image pixels in the right direction, the maximum distance set by the Displace Horizontal button.

Black Movement Down	This button sets black pixels of the displacement map to displace image pixels in the down direction, the maximum distance set by the Vertical Strength button.

Black Movement Right and Down	This button sets black pixels of the displacement map to displace image pixels in the right and down directions, the maximum distances set by the Horizontal Strength and Vertical Strength buttons.

Black Movement None	This button sets black pixels of the displacement map to not displace image pixels.

White Movement Left	This button sets white pixels of the displacement map to displace image pixels in the left direction, the maximum distance set by the Horizontal Strength button.

White Movement Up	This button sets white pixels of the displacement map to displace image pixels in the up direction, the maximum distance set by the Vertical Strength button.

White Movement Left and Up	This button sets white pixels of the displacement map to displace image pixels in the left and up directions, the maximum distances set by the Horizontal Strength and Vertical Strength buttons.

White Movement None	This button sets white pixels of the displacement map to not displace image pixels.

Tiled	This button sets to tile the displacement map.

Scale	This button sets to stretch or shrink the displacement map to fit the dimensions of the image.

Vertical Strength	This button sets the degree to which image colors move in the vertical direction.

Horizontal Strength	This button sets the degree to which image colors move in the horizontal direction.

Stack Previews	This box sets to display a stacked preview image.

Pixel Displacement

Pixel Displacement allows you to distort and add texture to an image by moving certain pixels. An image referred to as a displacement map is in effect laid underneath the image. The brightness values of the displacement map determine which pixels of the image to affect and how far to move the pixels of the image.

Medium grey areas of a displacement map, such as a 50% brightness value, cause no movement in the image pixels.

Darker areas of the displacement map moves image pixels to the right and/or down. The darker the displacement map area, the greater the movement, up to a maximum movement for pure black areas.

Lighter areas of the displacement map moves image pixels to the left and/or up. The lighter the displacement map area, the greater the movement, up to a maximum movement for pure white areas.

When the Vertical Strength and Horizontal Strength buttons are set at 100%, they have the effect of moving image pixels up to a maximum distance of 128 pixels, one pixel for each brightness value over or under medium grey to pure black and pure white.


To Create and Save a Displacement Map File

To Edit a Displacement Map File


To Create and Save a Displacement Map File

To Create and Save a Displacement Map File

Any canvas image can be saved as a displacement map file using the File | Save Resource | Displacement Map command.

Tips:

•	Fine Tuning your Displacement Map: Use the File | Tune Image Colors | Adjust Color Maps command to tune the amount of displacement map image areas defined as 50% brightness or 128 (un-displaced areas). This is done by flattening the middle segment of the mapping line at a common value of 128.

•	Regardless of the displacement map image, pure horizontal distortions can be forced by only selecting the Black Movement Right and/or the White Movement Left buttons. Conversely, pure vertical distortions can be forced by only selecting the Black Movement Down and/or the White Movement Up buttons.


To Edit a Displacement Map File

To Edit a Displacement Map File

1.	Choose the File | Open Resource | Displacement Map command, opening the Open Displacement Map dialog box.

2.	Choose the displacement map file you want to open for editing from the list of available displacement map files.

3.	Select the OK button to open the file as a canvas for editing on the ColorWorks desktop.

4.	Edit the canvas.

5.	Choose the File | Save Resource | Displacement Map command to save the canvas as a displacement map. The saved map can now be used by the Effects | Pixel Displacement command.

Tips:

•	Use any Effect menu command or Image menu transformation, distortion and/or warping effect, to edit displacement maps for creating very interesting effects. Using warped displacement maps is an incredible effect.

•	Texture Map and Displacement Map files can be used in pairs. You could displace particular areas of an image using the Effects | Pixel Displacement command; then add shadows and highlights around the displaced areas with the Effects | Texturize command.

•	Frayed Edges or Crumbling Edges Effects: Drawing with pixel displacement around the edges of a canvas image element will make that element's edges looked frayed or crumbling.


Effects | 8 Bit Mask Command

 This command controls the opacity of your painting operations to a canvas image by using a separate image known as an 8-Bit Mask.

Note: Unlike other programs, ColorWorks 8-Bit masks are independent files, and are not stored in the alpha channel of a specific image file. Storing 8-Bit masks in alpha channels limits their usage to only canvases that are of the same exact pixel width and height as the image that the mask is embedded in. ColorWorks independent implementation of 8-Bit masking, allows any 8-Bit mask file to be used on any image.

Dialog Controls:

Control	Function

Load Mask	Inside this box is a list of all 8-Bit Mask files within the \density directory off your main ColorWorks directory.

Tile Mask	This button sets to tile the 8-Bit mask.

Scale Mask	This button sets to stretch or shrink the 8-Bit mask to fit the dimensions of the image.

Tips:

•	How the "spg_thin.txr" 8-Bit mask file was created: 1. Open the spg.tif image. 2. Paint on the image with the Full Canvas tool using the Effects | Tune Image Colors | Invert command. 3. Paint on the image with the Full Canvas tool using the Effects | Filter Labs | Noise Reduction Lab ( Minimum) command, twice to thin out or erode the SPG logo. 4. Paint on the image with the Full Canvas tool using the Effects | Filter Labs | Smoothing Lab (Gaussian Distribution) command, twice to smooth the logo edges. 5. Save the edited image as an 8-Bit mask file using the File | Save Resource | 8 Bit Mask command.

•	How the "spg_fat.txr" 8-Bit mask file was created: 1. Open the spg.tif image. 2. Paint on the image with the Full Canvas tool using the Effects | Filter Labs | Noise Reduction Lab (Minimum) command, twice to fatten or dilate the SPG logo. 3. Paint on the image using the Effects | Filter Labs | Smoothing Lab (Gaussian Distribution) command, twice to smooth the logo edges. 4. Save the edited image as an 8-Bit mask file using the File | Save Resource | 8 Bit Mask command.

8-Bit Masking

8-Bit Masking, also known as Density Masking, is a technique for controlling the opacity of painting operations to an image by use of an 8-Bit mask file. An image referred to as an 8-Bit mask is in effect laid over-top of the image. The brightness values of the 8-Bit mask determine which pixels of the canvas image to affect, and how much to allow painting operations to change those image pixels.

Varying Drawing Opacity Using an 8-Bit Mask

The brightness values of the 8-Bit mask determine the relative opacity (strength) on a particular canvas pixel within a painting operation.

Pure white areas of the 8-Bit mask equal 100% opacity, 100% strength. Conversely, pure black areas of the 8-Bit mask equal 0% opacity, no effect. Grey areas of the 8-Bit mask determine painting opacities between 0% and 100%.

Tip: Embossed, Stamped, and Carved Text Effects: 8-Bit Masks can be used to create all kinds of Embossed, Stamped, and Carved Text effects.


To Create and Save an 8-Bit Mask File

To Edit an 8-Bit Mask File


To Create and Save an 8-Bit Mask File

To Create and Save an 8-Bit Mask File

Any canvas image can be saved as an 8-Bit mask file using the File | Save Resource | 8 Bit Mask command.


To Edit an 8-Bit Mask File

To Edit an 8-Bit Mask File

1.	Choose the File | Open Resource | 8 Bit Mask command, opening the Open 8 Bit Mask dialog box.

2.	Choose the 8-Bit mask file you want to open for editing from the list of available 8-Bit mask files.

3.	Select the OK button to open the file as a canvas for editing on the ColorWorks desktop.

4.	Edit the canvas.

5.	Choose the File | Save Resource | 8 Bit Mask command to save the canvas as an 8-Bit mask. The saved mask can now be used by the Effects | 8 Bit Mask command.

Tip: Use any Effect menu command or Image menu transformation, distortion and/or warping effect to edit 8-Bit masks for creating very interesting masks.


Effects | Gradients Command

 This command allows you to apply your filled painting operations using a gradient pattern fill. A gradient is a linear or radial pattern (ramp or transition) of varying color and/or opacity.

ColorWorks unique implementation of a gradient fill enables you to paint to canvas images with a gradient of a color, multiple colors, effect, or any combination of multiple effects. In addition, this command allows you to remap how the gradient is generated for creating gradients with multiple and/or custom ramps.

Dialog Controls:

Control	Function

Horizontal	This button sets the gradient to be built from left to right.

Vertical	This button sets the gradient to be built from bottom to top.

Diagonal	This button sets the gradient to be built on a 45 degree angle from bottom-left to upper-right.

Star	This button sets the gradient to be built in a star shape.

Radial	This button sets the gradient to be built from center, in a circular pattern.

Vary Opacity	This box sets this command to use the gradient to vary the opacity of your painting operations.

Vary Palette Colors	This box sets this command to use the gradient to vary the painting color of your painting operations.

Noise	This slider sets the level of noise to add to the gradient.

Invert Gradient	This box sets to invert the gradient.

Load Palette	This button opens the Load Palette dialog box. Within this dialog you can load a palette file to replace the currently loaded Color Palette.

Edit Palette	This button opens the Palette Editor dialog box. Within this dialog box you can edit the current Color Palette.

Adjust Map	This button opens the Adjust Gradients Map dialog box. Within this dialog box you can remap how the gradient is built.

Rotation Angle	This button sets the angle of rotation of the gradient.

Notes:

•	Only painting tools set at Filled and the Text tool use this command's settings. Unfilled (Filled not selected) painting tools ignore this command.

•	While in use with the Vary Opacity box selected, this command overrides your Drawing Color Opacity setting in the Effects | Drawing Merge Control command.

•	When using the Radial Gradient Style setting, the center of a bounding box around the painting operation will be the origin, or start of the gradient.

•	The Vary Opacity and Vary Palette Colors can be used at the same time. The resulting filled painting operations would yield a gradient of colors from the Color Palette applied across a similar gradient of opacity.

Tips:

•	Square Gradients: A Star gradient is also referred to as a square gradient.

•	Adding Noise: The Noise slider does not yield the same effect as using this command in combination with the Effects | Tune Image Colors | Noise command. The Noise slider adds noise to the generated gradient prior to the gradient being used to vary opacity and/or painting color. The Effects | Tune Image Colors | Noise command varies image colors. Noise is normally added to make gradients look less computer generated, and to smooth color banding that may occur. Normally a Noise slider setting of 6% yields the desired result.

•	Gradient Between Two Colors: For this traditional gradient, use the Edit Palette button to open the Palette Editor dialog box, set the first and last color locations on the Color Palette to the desired colors, perform a spread between the two colors, and paint using the Vary Palette Colors box selected.


To Vary Painting Opacity Using a Gradient

To Vary Painting Colors Using a Gradient


To Vary Painting Opacity Using a Gradient

To Vary Painting Opacity Using a Gradient

The Vary Opacity box allows any filled painting with a color, effect, or combination of effects to be applied across the gradient. When the Vary Opacity box is checked, ColorWorks uses the gradient to determine the relative opacity (strength) on a particular canvas pixel within a filled painting operation.

Pure white areas of the gradient equal 0% opacity, no effect. Conversely, pure black areas of the gradient equal 100% opacity, full strength. Grey areas of the gradient determine painting opacities between 0% and 100%.


To Vary Painting Colors Using a Gradient

To Vary Painting Colors Using a Gradient

The Vary Palette Colors box allows any filled painting to be applied across the gradient consisting of the 256 colors of the Color Palette. When the Vary Palette Colors box is checked, ColorWorks uses the gradient to determine the relative color from the Color Palette for coloring a particular canvas pixel within a filled painting operation.

Pure white areas of the gradient set to use the first color on the Color Palette. Conversely, pure black areas of the gradient set to use the last color on the Color Palette. Grey areas of the gradient set to use a painting color located between the first and last color on the Color Palette.

Note: The locations on the Color Palette are identified from bottom-to-top and left-to-right. Hence, the “first color” on the Color Palette is the lower-left location, and the “last color” is the upper-right location.


Adjust Gradients Map

This dialog allows you to remap the way in which ColorWorks generates the transition of values within the gradient.

Normally, a gradient is a single smooth transition or ramp from start to finish. This dialog allows you to completely remap the transition of the gradient to include any number of ramps up and/or down, posterized or equalized segments, anything.

Dialog Controls:

Control	Function

Load Map	Inside this box is a list of all Gradient Map files within the \gradmap directory off your main ColorWorks directory. The Gradient Maps command comes with some predefined mapping lines for you to load and apply.

Gradient Map box	Inside this box is where you manipulate the mapping line.

Mapping Line	The line inside the Gradient Map box represents the relationship between the range of input and output values.

Shift	This double-arrowed control, located in between the two Gradient display bars, shifts all points on the mapping line up or down.

Input Gradient	This field gives you numerical feedback as to the input value of any point on the mapping line.

Output Gradient	This field gives you numerical feedback as to the output value of any point on the mapping line.

Save Map	This button opens the Save Gradient Map dialog box, used to save your current mapping line points to a file.

Reset	This button resets the mapping line to the default diagonal line.

Tips:

•	Pond Ripples Effects: Load the Sawtooth.grm file while painting with the Radial Gradient Style to produce a pond ripple effect.

•	Light Source Effects: Load the decel.grm file, use the Vary Opacity setting and paint a gradient with the Full Canvas tool. For the traditional light source effect, paint the gradient in combination with a brightness increase using the Effects | Tune Image Colors | Brightness / Contrast command. For more interesting effects use Vary Opacity to paint with a gradient of a color (use a black color for a white light effect), combination of colors (also with the Vary Palette Colors setting), or other effects for a much more interesting "light."

•	Lens Flare Effects: Load the flare.grm file, use the Vary Opacity and the Radial or Star gradient style settings, and paint a gradient with the Circle tool. For the traditional lens flare effect, paint the gradient in combination with a brightness increase using the Effects | Tune Image Colors | Brightness / Contrast command. Try painting the gradient using other effects for a much more interesting "flare."


To Read the Mapping Line

To Adjust the Mapping Line


To Read the Mapping Line - Gradient Maps
To Read the Mapping Line

The X (horizontal) axis of the Gradient Map display box represents the input values and the Y (vertical) axis represents the output values of the set gradient. The line itself represents the relationship between the range of input and output values.


To Adjust the Mapping Line - Gradient Maps
To Adjust the Mapping Line

1.	Position the cursor over-top of any control point on the line, click and hold Button 1.

2.	Drag that point of the line to a new position and release Button 1. The Input Gradient and Output Gradient fields and the Input Gradient and Output Gradient bars will provide you with numeric feedback as you move the control point.

3.	The same procedure can be used to edit any number of points on the mapping line.

4.	Select the OK button.


Save Gradient Map

This dialog box is used to save the current Gradient Map to a file on disk.

Note: Gradient Map files are automatically saved to the \gradmap directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


Effects | Redo Command

 This command is ColorWorks' selective or "local" undo effect. Similar to a single operation undo, this command will undo the last operation on the current canvas. However, whereas undo functions operates on the entire last painting operation at once, this effect will only undo the areas of a canvas image that you paint on.

Notes:

•	The Undo / Redo command of a canvas is greyed-out when this command is in use.

•	Magic Eraser Effects: The traditional "magic eraser" is a fixed function pen tool that performs a redo effect. With ColorWorks you can use any painting tool to redo with.

•	If you start using the Redo effect and decide you would rather remove all of the previous operation after all, take this effect out of use and use the Undo / Redo command of a canvas to remove anything you had not yet undone.

•	The Redo effect paints from a canvas' current undo buffer. If you start using the Redo effect and use the Undo / Redo command of a canvas to remove anything you had not yet undone, the Redo effect will undo from the now current Undo buffer (assuming that you have set the canvas to have multiple level of undos available and had performed a second previous painting operation).

•	This command is available only if you have a painting operation to redo from. If you put this command in use on a canvas that has an undo buffer, and then make a second canvas the current canvas that has no undo buffer(s) to redo from, this effect will automatically take itself out of use.

Tip: Effects such as combining and merging images can be achieved by pasting floating images over-top of a canvas and using the Redo effect to selectively mix them. Redoing images together with a soft brush tip is an excellent effect.


Effects | Channel Swap Command

 This command swaps the color values of two color channels in an image.

Dialog Controls:

Control	Function

RGB	This button sets the Color Channels boxes to the swap between the Red, Green, and Blue channels.

CMY	This button sets the Color Channels boxes to the swap between the Cyan, Magenta, and Yellow channels.

Color Channels	These buttons set which color channels to swap.

Stack Previews	This box sets to display a stacked preview image.


Effects | Clone Command

 This command replaces canvas image pixels when painting with those from a source image. The source image is the canvas image that had the focus when this command was chosen, and is displayed in the Source Image box.

Dialog Controls:

Control	Function

Aligned	This button sets all painting to sample the source image relative to the first point of cloning in the target canvas.

Non Aligned	This button sets all painting to begin sampling from the set source point of the source image for each consecutive painting operation.

Source Image box	Inside this box you can set the source point for cloning.

About Cloning

To clone or duplicate is to paint to a target image using the pixels from a source image. In ColorWorks the source and target images are open canvases. Once the source point is set, your painting to any target canvas image, including the canvas used as the source, will be sampled from the source image. Pixels from the source image will replace those you paint over. Cloning is very useful for retouching small areas or for copying objects within the same or between different canvas images.

The Aligned button paints a single duplicate of the source image irrespective of the number of painting operations performed.

The Non Aligned button automatically snaps sampling from the source image back to the original source point for each painting operation and is useful for cloning the source image to multiple areas.

Note: Source images are automatically tiled or pattern repeated when your cloning requires source pixel data beyond the bounds of the source image.

Tips:

•	The automatic tiling feature is an excellent way of applying repeating patterns to any canvas by cloning from a source canvas that is a seamlessly tileable image.

•	Cloning is very effective for touching up scanned images by fixing scratches, blemishes, and imperfections. Cloning allows you to quickly copy undamaged areas of the image over-top of bad spots and cover them up.

•	As with any other effect, use this command in combination with the Effects | Drawing Merge Control command for merging or controlling the opacity of the source image with a canvas image.

•	Using ColorWorks' Clone Source Point key [F7] you can reset the clone source point at anytime, never needing to open the Clone Effect dialog again to reset the source point. While the Clone Effect is in use you can simply point your cursor at the location on the source image that you want to use as the new source point and press the [F7] key.


To Set the Source Point in the Source Image Box

To Set the Source Point on the Source Canvas

To Reset the Source Point Without Opening the Clone Dialog


To Set the Source Point in the Source Image Box

To Set the Source Point in the Source Image Box

Position the cursor over-top of the Source Image box. The cursor will change to a crosshair shape. Click Button 1 to set the desired source point.

Note: The position of the source point is indicated by a filled box marker and defaults to the upper-left corner of the source image.


To Set the Source Point on the Source Canvas

To Set the Source Point on the Source Canvas

Position the cursor off the Clone dialog box and over-top of the source canvas image (the cursor will change to a crosshair shape), and click Button 1 to set the desired source point.

Note: You will only be able to set the source point in the canvas image that was the current canvas when you opened the Clone dialog box.


To Reset the Source Point Without Opening the Clone Dialog

While the Clone Effect is in use you do not have to re-open its dialog box to reset the source point on the current source image.

To Reset the Source Point Without Opening the Clone Dialog

1.	Position the cursor over the source image that the Clone Effect is currently using, and over-top of the point you want to use as the clone source point.

2.	Press the Clone Source Point key [F7].

Note: To set the clone source point to a different source image you need to make that canvas image the current canvas, and choose the Effects | Clone command.


Web Tools Menu

Web Saver

Web Graphics Spider

Image Mapper

3D Text Renderer

3D Web Object Renderer

GIF Animator

Web Background Renderer

Tile Viewer

Animated GIF Player


Web Tools | Web Saver Command

 This command opens a ColorWorks Web Saver. The ColorWorks Web Savers enable you to balance file size, download time, and “look” of an image before saving it in a web image format. Any number of Web Savers can be open and in-use at the same time. The Web Savers are linked “live” to the current canvas, and automatically reflect any editing made to your canvas images. This allows you to use the Web Savers to preview how your images will look on the Web, at different GIF and JPEG settings if you like, even while you are still editing them.

Web Saver Menu Commands

File Menu

Open

Save Image

Exit

View Menu

Hatch Pattern

Color

Wallpaper

100%

200%

400%

Download Speed Menu

14.4

28.8

33.6

64.0

128.0

Dialog Controls:

Control	Function

Format	Inside this box is a list of available Web file formats (GIF, JPEG).

Bit-Per-Pixel / Colors	Inside this box is a list of available Bits Per Pixel / Number of Colors for GIF saves.

Palette	Inside this box is a list of all available Palettes for GIF saves.

Dither	Inside this box is a list of all available dithering techniques for GIF saves.

Interlaced	This box sets to save a GIF file as interlaced. An interlaced GIF file renders in an Internet Browser as a sequence of overlays, with each overlay becoming progressively higher in quality.

Save Transparency	This box sets to save a GIF file with a transparent color. The transparent color used is set by the Transparent Color button.

1 Bit Background	This button opens the Color Editor dialog box for setting the color to use as the Background color (normally the white color) of a 1-bit file save when the Swatches option is selected in the Palette box.

1 Bit Foreground	This button opens the Color Editor dialog box for setting the color to use as the Foreground color (normally the black color) of a 1-bit file save when the Swatches option is selected in the Palette box.

Transparent	This box displays the color to use as the Transparent color for GIF saves. This color is selected directly from the image in the Web Saver with the Color Picker tool.

Quality Factor	This button sets the quality factor for JPEG saves. A high quality factor setting equals a lower image compression ratio. A low quality factor setting equals a high compression ratio. If you choose a high level of compression there will be a noticeable degree of image degradation or quality loss.

Smoothing Factor	This button sets the smoothing factor for JPEG saves. Smoothing an image during the JPEG compression process often results in smaller JPEG files. However, if you choose a high level of smoothness there will may a noticeable degree of smoothing/softening and quality loss in the resulting JPEG image.

Progressive	This box sets to save a JPEG file as a progressive (interlaced) type. A progressive JPEG file renders in an Internet Browser as a sequence of overlays, with each overlay becoming progressively higher in quality.

Greyscale	This box sets to save a JPEG file as an 8-bit greyscale type.

Color Picker Tool	This button sets the cursor to select transparent colors for GIF saves when the cursor moves over the preview image.

Move Image Tool	This button sets the cursor to move a zoomed-in preview image within its window when the cursor moves over the preview image area.

Original #Colors	This field displays the original number of unique colors of the image within the saver.

New #Colors	This field displays the new number of unique colors of the image within the saver using the current settings of the Web Saver.

Size	This field displays the size (in bytes) of the image within the saver using the current settings of the Web Saver. A compression ratio is displayed after the size.

Download Time	This field displays the estimated download time of the image within the saver using the current settings of the Web Saver.

Notes:

•	The compression ratio displayed in the Size field represents the yield you are getting by saving the image with the given compression used for the file type selected (LZW compression for GIF saves, JPG compression for JPG saves) compared to saving the image with no compression. For GIF saves, the size of the palette is removed from the compression ratio calculation to more accurately reflect the true compression of the image data itself.

•	Running Multiple Web Savers: More than one Web Saver can be open at the same time. If a Web Saver is currently open, simply choose this command again to open another one.

•	The Web Savers will accept a file drag-and-drop from outside ColorWorks. When dropped, the file will be opened on the ColorWorks Desktop and appear in the Web Saver(s).

Button 2 Properties and User Customizations:

Command	Function

Hatch Pattern	Sets the background of the Web Saver to a hatch pattern.

Color	Opens the Color Editor dialog box for selecting a background color for the Web Saver.

Wallpaper	Opens the Load Background Wallpaper dialog box used to select a background image for the Web Saver.

100%	Sets the view of the preview image to 100%.

200%	Sets the view of the preview image to 200%.

400%	Sets the view of the preview image to 400%.


File | Open Command of the Web Saver

This command of the Web Saver opens an image file into the saver. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls. When this command is chosen the selected image is opened on the ColorWorks Desktop and displayed within the saver.

Dialog Controls:

Control	Function

Page	This slider is used with multiple-page files. It sets the file page to display in the preview window and to open.

Enable Preview	This box sets to display a preview image.

Note: When opening a Photo-CD file, the Photo-CD File Settings dialog box will open to allow you to select a resolution for the image.


File | Save Image Command of the Web Saver

This command of the Web Saver saves an image to disk. This command’s dialog box is the standard Windows File dialog box.

Note: The image within the Web Saver can also be saved with a Button 2 drag-and-drop to the Image Browser.


File | Exit Command of the Web Saver

This command closes the Web Saver.


View | Hatch Pattern of the Web Saver

This command sets the background of the Web Saver to a hatch pattern.


View | Color of the Web Saver

This command opens the Color Editor dialog box for selecting a background color for the Web Saver.


View | Wallpaper of the Web Saver

This command opens the Load Background Wallpaper dialog box used to select a background image for the Web Saver.


View | 100% of the Web Saver

This command sets the view of the preview image to 100%.


View | 200% of the Web Saver

This command sets the view of the preview image to 200%.


View | 400% of the Web Saver

This command sets the view of the preview image to 300%.


Download Speed | 14.4 Command of the Web Saver

This command sets to use a speed of 14.4 to estimate the Download Time displayed in the Status Bar of the Web Saver.


Download Speed | 28.8 Command of the Web Saver

This command sets to use a speed of 28.8 to estimate the Download Time displayed in the Status Bar of the Web Saver.


Download Speed | 33.6 Command of the Web Saver

This command sets to use a speed of 33.6 to estimate the Download Time displayed in the Status Bar of the Web Saver.


Download Speed | 64.0 Command of the Web Saver

This command sets to use a speed of 64.0 to estimate the Download Time displayed in the Status Bar of the Web Saver.


Download Speed | 128.0 Command of the Web Saver

This command sets to use a speed of 128.0 to estimate the Download Time displayed in the Status Bar of the Web Saver.


Using the Web Saver


Web Tools | Web Graphics Spider Command

 This command opens a ColorWorks Web Graphics Spider. Web Graphics Spiders are used to automatically search out and download graphic files from the Internet to your computer. A spider starts reading HTML pages at a set Starting URL, from there it follows the page-links and snatches all graphics files it finds as it “crawls” the Internet. A spider can be to set to download the images on a single web-page, all of the images on an entire web-site, and to follow found links all over the Internet. Any number of Web Graphics Spiders can be running at the same time.

Dialog Controls:

Control	Function

Maximum Running Time, Minutes	This button sets the maximum download in minutes of task execution.

Maximum Number of Pages to Visit	This button sets the maximum download in number of HTML pages read by the spider.

Maximum Page Depth	This button sets the maximum download in levels of page depth or recursion, that the spider travels away from the Starting URL Address.

Maximum Number of Files to Download	This button sets the maximum download in number of files downloaded.

Maximum Amount of Data to Download	This button sets the maximum download by the total amount of data downloaded.

File Format Filter	This button opens the Spider File Format Filter dialog box.

Stay on Starting Site	This box sets to instruct the spider to stay on the web-site belonging to the Starting URL Address.

Skip Duplicate File Names	This box sets the spider to skip duplicate files.

Starting URL Address	Inside this field you type the desired starting URL address for the spider to begin its task.

Save File Path	Inside this field you type the desired file path to save all files downloaded by the spider.

Browse	This button opens the Browser dialog box, used for selecting a Save File path.

Notes:

•	Many of these settings are quite useful in keeping a spider’s tasks focused, and controlling it from crawling the Internet and downloading huge amounts of images, unless you really wanted it to do that.

•	Setting the Maximum Page Depth: All HTML Anchor elements (<A HREF=”page.html”></A>) followed by a spider are considered a page, including Anchor elements followed from within a Frameset element (<FRAMESET></FRAMESET>) and same page Named Anchor elements (<A HREF=”#here”></A>). Hence, if you want to download the images on a single web-page that is constructed using frames, you will need to set the Maximum Page Depth to 2.

•	The Skip Duplicate File Names box is used if you have selected the Stay on Starting Site box, and want to save the time the spider takes to compare the contents of duplicate file names it finds. Although possible, it is rare the that a single web-site would have multiple files with different contents, all sharing the same file name.

•	Running Multiple Spiders: More than one Web Graphics Spider can be running at the same time. If a spider is currently running, simply choose this command again to start another one.


Using the Web Graphics Spider


Spider File Format Filter

This dialog box of the Web Graphics Spider sets the file formats to download.


Web Tools | Image Mapper Command

 This command is a toggle for either showing or hiding the ColorWorks Image Mapper. Choosing this command will cause it to change to the alternate setting. The Image Mapper is used to create and edit image map files for use with hyper-graphic images on web-pages. The Image Mapper can work with both client-side HTML image maps, and server-side image maps in the NCSA and CERN formats.

Image Mapper Menu Commands

File Menu

Open Image

Close Image

Open Map

Save Map

Exit

Edit Menu

Clear Map

Default Hot Spot

Copy Client Side HTML

Copy Server Side CERN

Copy Server Side NCSA

Task Bar Buttons:

Button	Function

Rectangle Hot Spot Tool.

Circle Hot Spot Tool.

Polygon Hot Spot Tool.

Object Picker Tool.


Using the Image Mapper


File | Open Image Command of the Image Mapper

This command of the Image Mapper opens an image file into the mapper. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

Page	This slider is used with multiple-page files. It sets the file page to display in the preview window and to open.

Enable Preview	This box sets to display a preview image.

Note: When opening a Photo-CD file, the Photo-CD File Settings dialog box will open to allow you to select a resolution for the image.


File | Close Image Command of the Image Mapper

This command of the Image Mapper closes the image file currently opened in the mapper.


File | Open Map Command of the Image Mapper

This command of the Image Mapper opens a map file into the mapper.

Notes:

•	The Image Mapper can always read back map files it creates, in any format. If a particular map file was created using another tool, it will be opened properly, as long as a map file conforms to published standards.

•	NCSA is the only image map format that utilizes a Point object. Since there is no notion of a Point object in the HTML and CERN formats, they will be ignored if found within an NCSA format file.

•	This command will open any file and attempt to read it as an image map. If the file contains HTML code (as in an HTM file), the first <MAP> object will be extracted from the HTML code and opened into the mapper.

Tip: Opening other than the first <MAP> object in an HTM file: If you have a HTM file with several <MAP> objects, simply save the wanted map (everything between and including the <MAP> and </MAP> tags) to a file, and open that file with this command.


File | Save Map Command of the Image Mapper

This command of the Image Mapper saves the current map to a file on disk. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

Server Side NCSA	This button sets to save the current map in a server-side NCSA format.

Server Side CERN	This button sets to save the current map in a server-side CERN format.

Client Side HTML	This button sets to save the current map in a client-side HTML format.


File | Exit Command of the Image Mapper

This command closes the Image Mapper.


Edit | Clear Map Command of the Image Mapper

This command of the Image Mapper clears all hot spots (including the Default) within the mapper.


Edit | Default Hot Spot Command of the Image Mapper

This command of the Image Mapper sets the Default URL of the current image map. Choosing this command opens the Image Map Default Properties dialog box.


Edit | Copy Client Side HTML Command of the Image Mapper

This command of the Image Mapper copies the current map to the Windows clipboard in a client-side HTML format.

Tip: This command is excellent for rapidly copying an HTML format version of the current map to the Windows clipboard, for pasting the map code directly into your HTML Editor.


Edit | Copy Server Side CERN Command of the Image Mapper

This command of the Image Mapper copies the current map to the Windows clipboard in a server-side CERN format.


Edit | Copy Server Side NCSA Command of the Image Mapper

This command of the Image Mapper copies the current map to the Windows clipboard in a server-side NCSA format.


Image Map Object Properties

This dialog box is used to set the properties of an image map Hot Spot Object.

Dialog Controls:

Control	Function

URL	Inside this field you type the desired URL address.

Frame Target	Inside this field you type the optional Frame Target (saved with HTML type map files only).

Alternative Text	Inside this field you type the optional ALT text (saved with HTML type map files only).

Width	This button sets the width of a Rectangle or Circle object in pixels.

Height	This button sets the height of a Rectangle or Circle object in pixels.

X	This button sets the location of the object in the X direction.

Y	This button sets the location of the object in the Y direction.

Delete	This button deletes the object.

Tips:

•	Using an HTTP URL: HTTP URLs link to files, directories, or server-side programs accessible using the HTTP protocol. The format of an HTTP URL is http://internet.address/resource (where the resource can be a file, directory, or server-side program).

•	Using an FTP URL: FTP URLs link to files and directories accessible using the FTP protocol. An anonymous login is assumed when no username and password are used in the URL. The format of an anonymous login FTP URL is ftp://internet.address/path/file. A non-anonymous FTP URL would look like ftp://username:password@internet.address/dir/file.

•	Using a MAILTO URL: MAILTO URLs link to send mail to a designated e-mail address. The format of a MAILTO URL is mailto:mail_address.

•	Using a NEWS URL: NEWS URLs link to a USENET Newsgroup. The format of a NEWS URL is news:news.group.name. A NEWS URL linked to a specific News Server and USENET Newsgroup would look like news://internet.address/newsgroup.

•	Using a TELNET URL: TELENET URLs link to a remote computer using the Telnet protocol. The format of an anonymous login TELNET URL is telnet://internet.address. An example of a TELENET URL requiring a username and password is telnet://username:password@internet.address

•	Using a WAIS URL: WAIS URLs link to WAIS Servers. The format of a WAIS URL is wais://internet.address/database?search.

•	Using a Gopher URL: GOPHER URLs link to Gopher Servers. The format of a GOPHER URL is gopher://internet.address/Tselector_string (where T is the Gopher typecode and selector_string is the Gopher selector string). A GOPHER URL link to the root of a Gopher Server would look like gopher://internet address.


Image Map Default Properties

This dialog sets the properties of an image map’s Default URL.

Dialog Controls:

Control	Function

URL	Inside this field you type the desired URL address.

Frame Target	Inside this field you type the optional Frame Target (saved with HTML type map files only).

Alternative Text	Inside this field you type the optional ALT text (saved with HTML type map files only).

Clear	This button clears the Default URL settings.


Web Tools | 3D Text Renderer Command

 This command renders a 3D Text scene over-top of canvas images. The 3D scene elements include the Model (the text), Texture, and Lights.

Tips:

•	Using the 3D Text Renderer with Canvas Protection Masks: The 3D Text Renderer will work with a Canvas Protection Mask if the Mask | Use Protection Masks command is in-use when the 3D Text Renderer is used.

•	Using the 3D Text Renderer with the Effects | 8-Bit Mask Command: The 3D Text Renderer will work with an 8-Bit Mask if the Effects | 8-Bit Mask command is in use when the 3D Text Renderer is used.

3D Text Renderer Menu Commands

File Menu

Exit

Task Bar Buttons:

Button	Function

Render.

Move Tool.

Rotate Tool.

Size Tool.

Common Dialog Controls:

Control	Function

Edit	Inside this box is a list of available scene element to edit. The scene elements include the Model, Texture, and Lights.

Position	These buttons set the X,Y,Z position of the scene element selected in the Edit box.

Angle	These buttons set the X,Y,Z angle of the scene element selected in the Edit box.

Size	These buttons set the X,Y,Z size of the scene element selected in the Edit box.

Synchronize Sizes	This button sets the X and Y Size buttons to be linked and share the same units of change when either one is adjusted. This box does not link the Model’s X and Y Sizes when changed using the mouse.

Model Dialog Controls:

Control	Function

Font	This button opens the Font box. Within this dialog box you can set the font type, style, and size used for the text.

Text	Inside this field you can type the text in which you want to render with.

Quality	Inside this box is a list of available quality settings for text rendering. The Wire setting renders the text as a wire-frame model. The Low, Fair, Good, and Best settings render the text as a solid object at increasing quality and rendering time.

Shine	This button sets the shininess of the text.

Opacity	This button sets opacity of transparency of the text characters. This is a true opacity setting, not an overlay strength of the rendering against the frame background.  A 50% setting means the text characters are 50% transparent or see-through. If you set a low Opacity setting and rotate the text in a way that places one character behind another you will see the back character through the closer character.

Color	This button opens the Color Editor dialog box for setting the color of the text.

Spacing	This button sets the text’s inter-character spacing or the spacing between individual text characters.

Textures Dialog Controls:

Control	Function

Load	This button opens the Load Texture dialog box, used to preview and select an image file for use as a texture.

Texture	This field displays the path and file name of the currently opened texture.

Placement	Inside this box is a list of available settings for the placement of the texture on the Text.

Horizontal Repeat	This button sets the number of times the texture repeats on each text character in the horizontal or X direction. The actual number of times the texture repeats is also affected by the X Size setting of the texture.

Vertical Repeat	This button sets the number of times the texture repeats on each text character in the vertical or Y direction. The actual number of times the texture repeats is also affected by the Y Size setting of the texture.

Apply	Inside this box is a list of available application settings for the texture. The Blend setting blends the texture with the text’s set Color. The Decal setting ignores the text’s set Color.

Best Quality	This box sets to use the best texture rendering quality. Technically this box sets to use a better quality Perspective Projection. Using this setting increases the rendering time and is probably not necessary if the text is animated.

Turn on Texturization	The box sets to turn texturization on. When this box is not checked on, the texturization settings are ignored and 3D Text is rendered without texturization.

Note: Previewing Textures: When an image file name is selected in the Load Texture dialog box, the Model in the 3D Text Renderer is texturized with the selected image as a preview. This feature allows you to preview different textures exactly how they would look on the Model prior to opening a particular texture file.

Lights Dialog Controls:

Control	Function

Light #1	The button sets to adjust Light #1.

Light #2	The button sets to adjust Light #2.

Light #3	The button sets to adjust Light #3.

Color	This button sets the color of the light.

Intensity	This button sets the intensity or brightness of the light.

Turn On Light	This box sets to turn on the light.

Load Lights	This button opens the Load Lights dialog box, used to preview and load saved scene light sets.

Save Lights	This button opens the Save Lights dialog box, used to save your current scene light set to a file.


Using the 3D Text Renderer


File | Exit Command of the 3D Text Renderer

This command closes the 3D Text Renderer.


Web Tools | 3D Web Object Renderer Command

 This command renders a 3D Object (buttons, bullets, separators bars, etc.) scene over-top of canvas images. The 3D scene elements include the Model, Texture, and Lights.

Notes:

•	SPG offers a growing library of 3D models for use with the 3D Web Object Renderer available for download from the SPG web-site.

•	SPG only supports the use of .3DS models provided by SPG with the 3D Web Object Renderer. SPG models are designed to open at a location and size that can be seen, to open centered and facing forward, are of a low polygon count for reasonable performance, and all polygon normals are correct so the models render correctly. Although not a supported feature, the Web Object Renderer will use most .3DS models you create yourself in a Rendering program or download from the Internet.

Tips:

•	Using the 3D Web Object Renderer with Canvas Protection Masks: The 3D Web Object Renderer will work with a Canvas Protection Mask if the Mask | Use Protection Masks command is in-use when the 3D Web Object Renderer is used.

•	Using the 3D Web Object Renderer with the Effects | 8-Bit Mask Command: The 3D Web Object Renderer will work with an 8-Bit Mask if the Effects | 8-Bit Mask command is in use when the 3D Web Object Renderer is used.

3D Web Object Renderer Menu Commands

File Menu

Exit

Task Bar Buttons:

Button	Function

Render.

Move Tool.

Rotate Tool.

Size Tool.

Common Dialog Controls:

Control	Function

Edit	Inside this box is a list of available scene element to edit. The scene elements include the Model, Texture, and Lights.

Position	These buttons set the X,Y,Z position of the scene element selected in the Edit box.

Angle	These buttons set the X,Y,Z angle of the scene element selected in the Edit box.

Size	These buttons set the X,Y,Z size of the scene element selected in the Edit box.

Synchronize Sizes	This button sets the X,Y,Z Size buttons to be linked and share the same units of change when either one is adjusted. This box does not link the Model’s X,Y,Z Sizes when changed using the mouse.

Model Dialog Controls:

Control	Function

Model	This button opens the Load Model dialog box, used to preview and select a model file for use.

Quality	Inside this box is a list of available quality settings for model rendering. The Wire setting renders the model as wire-frame. The Low, Fair, Good, and Best settings render the model as a solid object at increasing quality and rendering time.

Shine	This button sets the shininess of the model.

Opacity	This button sets the opacity of transparency of the model. This is a true opacity setting, not an overlay strength of the rendering against the image background.  A 50% setting means the model is 50% transparent or see-through. If you set a low Opacity setting and rotate the model in a way that places part of it behind another, you will see the back part through the closer part.

Color	This button opens the Color Editor dialog box for setting the color of the model.

Smooth Model	This box sets to smooth the model’s polygons.

Note: Previewing Models: When an model file name is selected in the Load Model dialog box, the Model will be rendered in the 3D Web Object Renderer as a preview. This feature allows you to preview different models prior to opening a particular file.

Textures Dialog Controls:

Control	Function

Load	This button opens the Load Texture dialog box, used to preview and select an image file for use as a texture.

Texture	This field displays the path and file name of the currently opened texture.

Placement	Inside this box is a list of available settings for the placement of the texture on the model.

Horizontal Repeat	This button sets the number of times the texture repeats on the model in the horizontal or X direction. The actual number of times the texture repeats is also affected by the X Size setting of the texture.

Vertical Repeat	This button sets the number of times the texture repeats on the model in the vertical or Y direction. The actual number of times the texture repeats is also affected by the Y Size setting of the texture.

Apply	Inside this box is a list of available application settings for the texture. The Blend setting blends the texture with the model’s set Color. The Decal setting ignores the model’s set Color.

Best Quality	This box sets to use the best texture rendering quality. Technically this box sets to use a better quality Perspective Projection. Using this setting increases the rendering time and is probably not necessary if the model is animated.

Turn on Texturization	The box sets to turn texturization on. When this box is not checked on, the texturization settings are ignored and model is rendered without texturization.

Note: Previewing Textures: When an image file name is selected in the Load Texture dialog box, the Model in the 3D Web Object Renderer is texturized with the selected image as a preview. This feature allows you to preview different textures exactly how they would look on the Model prior to opening a particular texture file.

Lights Dialog Controls:

Control	Function

Light #1	The button sets to adjust Light #1.

Light #2	The button sets to adjust Light #2.

Light #3	The button sets to adjust Light #3.

Color	This button sets the color of the light.

Intensity	This button sets the intensity or brightness of the light.

Turn On Light	This box sets to turn on the light.

Load Lights	This button opens the Load Lights dialog box, used to preview and load saved scene light sets.

Save Lights	This button opens the Save Lights dialog box, used to save your current scene light set to a file.


Using the 3D Web Object Renderer


File | Exit Command of the 3D Web Object Renderer

This command closes the 3D Web Object Renderer.


Web Tools | GIF Animator Command

 This command opens a ColorWorks GIF Animator. ColorWorks’ GIF Animators can create and edit animated GIF files. Any number of GIF Animators can be open and in-use at the same time.

GIF Animator Menu Commands

File Menu

Open

Insert | In Front

Insert | Behind

Insert | Replace

Save Animation

Animation Information

Close

Exit

Edit Menu

Select All

Deselect All

Invert Selection

Animation Properties

Optimizations

Replicate Current Frame

Drop Frames

Center Selected Frames

Replicate Current Frame Setting | Interlaced

Replicate Current Frame Setting | Save Transparency

Replicate Current Frame Setting | Removal

Replicate Current Frame Setting | Delay

Replicate Current Frame Setting | X Offset

Replicate Current Frame Setting | Y Offset

Replicate Current Frame Setting | Dither

Replicate Current Frame Setting | Transparent Color

Replicate Current Frame Setting | Local Palette

View Menu

Thumbnail Size

Transparent View

Offset Using Overlays

Refresh

Preview

Effects Menu

Wipes

3D Text Animator

3D Web Object Animator

Flare FX Animator

Download Speed Menu

14.4

28.8

33.6

64.0

128.0

Dialog Controls:

Control	Function

This button opens the Animation Properties dialog box.

This button replicates all current frame settings to every frame within the animation.

This button is a toggle for previewing the animation in a ColorWorks Animated GIF Player.

This button opens the GIF Animation Information dialog box.

Frame Number	This field displays the Frame Number for which the current state of the controls belong to.

Removal	Inside this box is a list of all available removal methods.

Local Palette	This box sets the frame to use a Local Palette. When this box is not selected the frame uses the set Global Palette.

Dither	Inside this box is a list of all available methods used to dither a frame’s image to a Local or the Global Palette.

Interlaced	This box sets to save the selected frame as interlaced. An interlaced GIF file or frame renders in an Internet Browser as a sequence of overlays, with each overlay becoming progressively higher in quality.

Save Transparency	This box sets to save the selected frame with a transparent color. The transparent color used is set by the Transparent Color button.

Transparent Color	This button opens the Select Transparent Color dialog box for setting a frame’s transparent color.

Delay	This button sets the frame delay, measured in 100ths of a second.

X Offset	This box set the selected frame’s X or horizontal offset from the upper-left corner of the animation Logical Screen. The animation Logical Screen is set in the Animation Properties dialog box.

Y Offset	This box set the selected frame’s Y or vertical offset from the upper-left corner of the animation Logical Screen. The animation Logical Screen is set in the Animation Properties dialog box.

Width	This field displays the width of the selected frame image, measured in pixels.

Height	This field displays the height of the selected frame image, measured in pixels.

Notes:

•	Running Multiple GIF Animators: More than one GIF Animator can be open at the same time. If a GIF Animator is currently open, simply choose this command again to open another one.

•	Images can also be inserted into the GIF Animator will a Button 2 drag-and-drop of a canvas image from the ColorWorks Desktop, a Button 2 drag-and-drop of an image from a Web Saver, a Button 1 drag-and-drop from the Image Browser, and a drag-and-drop from outside ColorWorks.

Button 2 Properties (Over-Top of a Frame):

Command	Function

Delete	Deletes the currently selected frame.


Using the GIF Animator

Using the 3D Text Animator

Using the 3D Web Object Animator

Using the Flare FX Animator


File | Open Command of the GIF Animator

This command of the GIF Animator opens an image file into the animator. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

Page	This slider is used with multiple-page files. It sets the file page to display in the preview window and to open.

Enable Preview	This box sets to display a preview image.


File | Insert | In Front Command of the GIF Animator

This command of the GIF Animator opens and inserts an image file into the animator in front of the currently selected frame. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

Page	This slider is used with multiple-page files. It sets the file page to display in the preview window and to open.

Enable Preview	This box sets to display a preview image.

Note: Images can also be inserted into the GIF Animator will a Button 2 drag-and-drop of a canvas image from the ColorWorks Desktop, a Button 2 drag-and-drop of an image from a Web Saver, a Button 1 drag-and-drop from the Image Browser, and a drag-and-drop from outside ColorWorks.


File | Insert | Behind Command of the GIF Animator

This command of the GIF Animator opens and inserts an image file into the animator behind the currently selected frame. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

Page	This slider is used with multiple-page files. It sets the file page to display in the preview window and to open.

Enable Preview	This box sets to display a preview image.

Note: Images can also be inserted into the GIF Animator will a Button 2 drag-and-drop of a canvas image from the ColorWorks Desktop, a Button 2 drag-and-drop of an image from a Web Saver, a Button 1 drag-and-drop from the Image Browser, and a drag-and-drop from outside ColorWorks.


File | Insert | Replace Command of the GIF Animator

This command of the GIF Animator opens and inserts an image file into the animator in replace of the currently selected frame. This command’s dialog box is the standard Windows File dialog box with the addition of the following controls.

Dialog Controls:

Control	Function

Page	This slider is used with multiple-page files. It sets the file page to display in the preview window and to open.

Enable Preview	This box sets to display a preview image.

Note: Images can also be inserted into the GIF Animator will a Button 2 drag-and-drop of a canvas image from the ColorWorks Desktop, a Button 2 drag-and-drop of an image from a Web Saver, a Button 1 drag-and-drop from the Image Browser, and a drag-and-drop from outside ColorWorks.


File | Save Animation Command of the GIF Animator

This command of the GIF Animator saves the current animation to a file on disk. This command’s dialog box is the standard Windows File dialog box.

Notes:

•	The GIF Animator automatically optimizes the number of colors (bits per pixel) of each frame within an animation when it saves it to disk.

•	Selected frames and entire animations can also be saved with a Button 2 drag-and-drop of an animation frame to the Image Browser.


File | Animation Information Command of the GIF Animator

 This command of the GIF Animator displays information on the animation.

Dialog Controls:

Control	Function

Name	This field displays the animation name.

Width	This field displays the width of the animation in pixels.

Height	This field displays the height of the animation in pixels.

Frames	This field displays the number of frames within the animation.

Duration	This field displays the duration or total running time of the animation.

Size	This field displays the size of the animation file in bytes.

Download Time	This field displays the estimated download time of the animation.

Notes:

•	The current setting of the Download Speed menu of the GIF Animator is used to calculate the Download Time field.

•	Calculating Animation Duration: An animation’s true duration is the sum of the animation frame delays plus the time it takes Windows to display the frames. Using a standard Windows’ Timer, the fastest an Internet Browser can display an animation is 18.2 frames per second. This means that an 18 frame animation with all frame delays set to 0, in reality still has a duration of approximately 1 second. The Duration field takes this into account to more accurately reflect an animation’s true duration.


File | Close Command of the GIF Animator

This command of the GIF Animator closes the animation currently opened in the animator.


File | Exit Command of the GIF Animator

This command closes the GIF Animator.


Edit | Select All Command of the GIF Animator

This command of the GIF Animator selects all frames in the animator.


Edit | Deselect All Command of the GIF Animator

This command of the GIF Animator deselects all frames in the animator.


Edit | Invert Selection Command of the GIF Animator

This command of the GIF Animator inverts the selection state of all frames in the animator.


Edit | Animation Properties Command of the GIF Animator

 This command of the GIF Animator sets the overall animation properties.

Dialog Controls:

Control	Function

Global Palette Type	Inside this box is a list of all available Global Palette types.

Width	This button sets the Logical Screen Width.

Height	This button sets the Logical Screen Height.

Auto Fit	This button sets the Logical Screen Width and Height to the minimum settings that will fully accommodate all frames, including offsets, within the animation.

Times	This button sets the animation Looping to a specific number of times or iterations.

Infinite	This button sets the animation Looping to Infinite.

Comment	Inside this field you type the optional animation Comment. The contents of this field is stored as the global comment within the saved GIF file.

Palette 	This box sets New Frames to use either a Local Palette or the set Global Palette.

Dither	Inside this box is a list of all available methods used to dither New Frames to a Local or the Global Palette.

Local Palette Type	Inside this box is a list of all available Local Palette types for New Frames.

Removal	Inside this box is a list of all available removal methods for New Frames.

Delay	This button sets the frame delay for New Frames, measured in 100ths of a second.

Interlaced	This box sets New Frames to be saved as interlaced. An interlaced GIF file or frame renders in an Internet Browser as a sequence of overlays, with each overlay becoming progressively higher in quality.

Maintain AVI Play Rate	This box sets to match the overall duration of frames generated by the opening an AVI file with the duration of the original AVI movie.

Notes:

•	New Frames: Any form of frame insertion either using File | Insert commands of the GIF Animator, or a drag-and-drop of an image file to the GIF Animator is considered a New Frame.

•	When inserting an animated GIF file into the GIF Animator, the existing animation properties of the file will be honored and the New Frame Properties settings ignored.

•	Maintaining AVI Play Rate: An animation’s true duration or play-rate is the sum of the animation frame delays plus the time it takes Windows to display the frames. Using a standard Windows’ Timer, the fastest an Internet Browser can display an animation is 18.2 frames per second. This means that if you generated 18 frames from an AVI file, that the total duration of the animation is the sum of the frame delays plus approximately 1 second. The Maintain AVI Play Rate box takes this into account when it adjusts the delays of the generated frames to more accurately reflect an animations true play rate.


Edit | Optimizations Command of the GIF Animator

This command of the GIF Animator sets to optimize an animation when it is saved.

Dialog Controls:

Control	Function

None	This button sets to use no compression optimizations.

Minimum Bounding Box	This button sets to use a Minimum Bounding Box optimization. This optimization automatically crops all animation frames to the minimum height and width that will fully accommodate their images, and automatically sets the X,Y offsets to keep the images in their relative positions.

Frame Differencing	This button sets to use a Frame Differencing optimization. This optimization automatically reduces animation frames to contain only pixels that change within the animation.

Quality	This button sets the quality factor for the Frame Differencing optimization. A quality factor setting of 100 equals a lossless or non-destructive frame differencing. Lower quality factor settings represent lossy or destructive frame differencing settings and usually yield smaller files. If you choose too low a quality level there will be a noticeable degree of image degradation or quality loss.

Drop Duplicate Frames	This box sets to use a Drop Duplicate Frame optimization. This optimization automatically deletes duplicate frames from the animation, and adds their delays to the matching frames to preserve the animation’s total running time and “look”.

Notes:

•	This command remains checked in use if any of its controls are not set to the defaults (no optimizations) in order to give you feedback as to whether or not optimizations are in use. This command is taken out of use by putting all of its settings back to their defaults or no optimizations.

•	When the Frame Differencing button is selected, all frames are automatically set to Do Not Remove and to use a Global Palette in order for the animation to play properly. Therefore, the Removal and Local Palette boxes on the GIF Animator Task Bar will be greyed-out and unavailable when this optimization is in use.

Tips:

•	When using the Minimum Bounding Box optimization, you normally want to set all frames to use a Restore Background method for the animation to play properly. If you do not, smaller frames will not completely remove a previous frame if it was larger, and remnants of the previous frame(s) may be visible.

•	Often times after saving an animation with a Frame Differencing optimization, you can open that animation back up in the animator, and save it back out again with a Minimum Bounding Box animation for some additional file size savings.


Edit | Drop Frames Command of the GIF Animator

This command is used to drop or delete a percentage of frames in regular intervals along the animation.

Dialog Controls:

Control	Function

Frames to Drop	This button sets the percentage of overall animation frames to drop.

Maintain Animation Duration	This box sets to maintain the overall animation duration or play-rate after the frame drop.

Note: Maintaining Animation Duration: An animation’s true duration is the sum of the animation frame delays plus the time it takes Windows to display the frames. Using a standard Windows’ Timer, the fastest an Internet Browser can display an animation is 18.2 frames per second. This means that if you dropped 18 frames from an animation, that the total duration trimmed from the animation is the sum of the frame delays dropped plus approximately 1 second. The Maintain Animation Duration box takes this into account when it adjusts the delays of the remaining frames to more accurately reflect an animation’s true duration.

Tip: Reducing the Number of Frames in an Opened AVI File: This command is very useful in reducing the number of frames of opened AVI files. AVI files or streams are time-based and not frame-based like a GIF animation. AVI movies tend to have many very similar frames (sometimes identical) than can be dropped out of the animation for files size saving, without adversely affecting the overall “look” of the animation when played.


Edit | Center Selected Frames Command of the GIF Animator

This command of the GIF Animator centers all selected frames within the animation’s Logical Screen.


Edit | Replicate Current Frame Setting | Interlaced Command of the GIF Animator

This command replicates the current Interlaced control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | Save Transparency Command of the GIF Animator

This command replicates the current Save Transparency control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | Removal Command of the GIF Animator

This command replicates the current Removal control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | Delay Command of the GIF Animator

This command replicates the current Delay control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | X Offset Command of the GIF Animator

This command replicates the current X Offset control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | Y Offset Command of the GIF Animator

This command replicates the current Y Offset control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | Dither Command of the GIF Animator

This command replicates the current Dither control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | Transparent Color Command of the GIF Animator

This command replicates the current Transparent Color control setting to every frame within the animation.


Edit | Replicate Current Frame Setting | Local Palette Command of the GIF Animator

This command replicates the current Local Palette control setting to every frame within the animation.


Edit | Replicate Current Frame Command of the GIF Animator

This command replicates or generates copies of the currently selected frame within the animator.

Dialog Controls:

Control	Function

Number of Frames to Create	This button sets the number of new frames generated.

Note: This command is excellent for filling the animator with copies of the same frame to provide a common background image for use with the Effects | 3D Text Animator command of the GIF Animator.


Effects | Wipes Command of the GIF Animator

This command generates transitional wipe effects between the currently selected frame within the animation and the next frame directly after it. The intermediate animation frames (tweens) are automatically generated using your choice of wipe technique and frame rate.

Dialog Controls:

Control	Function

Frames Per Second	This button sets the number of new frames generated for the selected wipe technique.

Number of Frames Generated	This field displays the number of new frames generated using the set wipe technique and Frames Per Second setting.

Notes:

•	Setting the Frames Per Second: The wipes have a duration of approximately 3-4 seconds. The Frames Per Second control sets the number of new frames that will be generated per second during the duration of the selected wipe technique.

•	All frames inserted into an animation using this command inherit the properties set in the New Frame Properties grouping of the Animation Properties dialog box.

•	The last frame in the animation uses the first frame as its “next” frame for a wipe.


Using the Wipes Command


Using the Wipes Command

Using the Wipes Command

1.	Position the two frames that you want to wipe side-by-side within the animator.

2.	Select the first of the two frames as the currently selected frame within the animator.

3.	Select the Effects | Wipes command of the GIF Animator, opening the Image Wipes dialog box.

4.	Choose a technique from the Wipes menu.

5.	Set the Frames Per Second to adjust the number of frames generated.

6.	Select the Preview button to see how the wipe will occur.

7.	Check the Number of Frames Generated display for the number of frames that will be added to the animation.

8.	Make any adjustments if necessary.

9.	Select the OK button.


Effects | 3D Text Animator Command of the GIF Animator

This command renders and animates a 3D Text scene over-top of GIF animation frame images. This animation or movement of 3D scene elements is controlled by setting how they render on particular frame(s) or Key Frames along the duration of the GIF animation. The 3D scene elements include the Model (the text), Textures, and Lights.

3D Text Animator Menu Commands

File Menu

Load Animation

Save Animation

Exit

Task Bar Buttons:

Button	Function

Render.

Move Tool.

Rotate Tool.

Size Tool.

Common Dialog Controls:

Control	Function

Edit	Inside this box is a list of available scene element to edit. The scene elements include the Model, Textures, and Lights.

Position	These buttons set the X,Y,Z position of the scene element selected in the Edit box.

Angle	These buttons set the X,Y,Z angle of the scene element selected in the Edit box.

Size	These buttons set the X,Y,Z size of the scene element selected in the Edit box.

Frame	Inside this box is a list of available animation frames to key.

Key Frame	This box sets to save the current scene settings as a Key Frame.

Keys 	This box displays all current Key Frames and sets the Frame box to a given key frame.

Animation Range	This field display the range of frames that will be rendered to in the GIF Animator given the current Key Frames.

Synchronize Sizes	This button sets the X and Y Size buttons to be linked and share the same units of change when either one is adjusted. This box does not link the Model’s X and Y Sizes when changed using the mouse.

Model Dialog Controls:

Control	Function

Font	This button opens the Font box. Within this dialog box you can set the font type, style, and size used for the text.

Text	Inside this field you can type the text in which you want to render with.

Quality	Inside this box is a list of available quality settings for text rendering. The Wire setting renders the text as a wire-frame model. The Low, Fair, Good, and Best settings render the text as a solid object at increasing quality and rendering time.

Shine	This button sets the shininess of the text.

Opacity	This button sets opacity of transparency of the text characters. This is a true opacity setting, not an overlay strength of the rendering against the frame background.  A 50% setting means the text characters are 50% transparent or see-through. If you set a low Opacity setting and rotate the text in a way that places one character behind another you will see the back character through the closer character.

Color	This button opens the Color Editor dialog box for setting the color of the text.

Spacing	This button sets the text’s inter-character spacing or the spacing between individual text characters.

Textures Dialog Controls:

Control	Function

Load	This button opens the Load Texture dialog box, used to preview and select an image file for use as a texture.

Texture	This field displays the path and file name of the currently opened texture.

Placement	Inside this box is a list of available settings for the placement of the texture on the Text.

Horizontal Repeat	This button sets the number of times the texture repeats on each text character in the horizontal or X direction. The actual number of times the texture repeats is also affected by the X Size setting of the texture.

Vertical Repeat	This button sets the number of times the texture repeats on each text character in the vertical or Y direction. The actual number of times the texture repeats is also affected by the Y Size setting of the texture.

Apply	Inside this box is a list of available application settings for the texture. The Blend setting blends the texture with the text’s set Color. The Decal settings ignores the text’s set Color.

Best Quality	This box sets to use the best texture rendering quality. Technically this box sets to use a better quality Perspective Projection. Using this setting increases the rendering time and is probably not necessary if the text is animated.

Turn on Texturization	The box sets to turn texturization on. When this box is not checked on, the texturization settings are ignored and 3D Text is rendered without texturization.

Note: Previewing Textures: When an image file name is selected in the Load Texture dialog box, the Model in the 3D Text Animator is texturized with the selected image as a preview. This feature allows you to preview different textures exactly how they would look on the Model prior to opening a particular texture file.

Lights Dialog Controls:

Control	Function

Light #1	The button sets to adjust Light #1.

Light #2	The button sets to adjust Light #2.

Light #3	The button sets to adjust Light #3.

Color	This button sets the color of the light.

Intensity	This button sets the intensity or brightness of the light.

Turn On Light	This box sets to turn on the light.

Load Lights	This button opens the Load Lights dialog box, used to preview and load saved scene light sets.

Save Lights	This button opens the Save Lights dialog box, used to save your current scene light set to a file.


Using the 3D Text Animator


File | Load Animation Command of the 3D Text Animator
File | Load Animation Command

This dialog box is used to open a 3D Animation file from disk.

Notes:

•	This command only recognizes Animation files in the \threed directory off your main ColorWorks directory.

•	The Key Frames within a saved Animation file are evenly disbursed along the current animation when the file is loaded.


File | Save Animation Command of the 3D Text Animator
File | Save Animation Command

This dialog box is used to save the current 3D animation to a file on disk.

Note: Animation files are automatically saved to the \threed directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


File | Exit Command of the 3D Text Animator

This command closes the 3D Text Animator.


Save Lights

This dialog box is used to save the current 3D scene lights to a file on disk.

Note: Light Set files are automatically saved to the \threed directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


Load Lights

This dialog box is used to open a Light Set file from disk.

Note: This command only recognizes Light Set files in the \threed directory off your main ColorWorks directory.


Effects | 3D Web Object Animator Command of the GIF Animator

This command renders and animates a 3D Object (buttons, bullets, separators bars, etc.) scene over-top of GIF animation frame images. This animation or movement of 3D scene elements is controlled by setting how they render on particular frame(s) or Key Frames along the duration of the GIF animation. The 3D scene elements include the Model, Textures, and Lights.

Notes:

•	SPG offers a growing library of 3D models for use with the 3D Web Object Renderer available for download from the SPG web-site.

•	SPG only supports the use of .3DS models provided by SPG with the 3D Web Object Renderer. SPG models are designed to open at a location and size that can be seen, to open centered and facing forward, are of a low polygon count for reasonable performance, and all polygon normals are correct so the models render correctly. Although not a supported feature, the Web Object Renderer will use most .3DS models you create yourself in a Rendering program or download from the Internet.

3D Web Object Animator Menu Commands

File Menu

Load Animation

Save Animation

Exit

Task Bar Buttons:

Button	Function

Render.

Move Tool.

Rotate Tool.

Size Tool.

Common Dialog Controls:

Control	Function

Edit	Inside this box is a list of available scene element to edit. The scene elements include the Model, Textures, and Lights.

Position	These buttons set the X,Y,Z position of the scene element selected in the Edit box.

Angle	These buttons set the X,Y,Z angle of the scene element selected in the Edit box.

Size	These buttons set the X,Y,Z size of the scene element selected in the Edit box.

Frame	Inside this box is a list of available animation frames to key.

Key Frame	This box sets to save the current scene settings as a Key Frame.

Keys 	This box displays all current Key Frames and sets the Frame box to a given key frame.

Animation Range	This field display the range of frames that will be rendered to in the GIF Animator given the current Key Frames.

Synchronize Sizes	This button sets the X,Y,Z Size buttons to be linked and share the same units of change when either one is adjusted. This box does not link the Model’s X,Y,Z Sizes when changed using the mouse.

Model Dialog Controls:

Control	Function

Model	This button opens the Load Model dialog box, used to preview and select a model file for use.

Quality	Inside this box is a list of available quality settings for model rendering. The Wire setting renders the model as wire-frame. The Low, Fair, Good, and Best settings render the model as a solid object at increasing quality and rendering time.

Shine	This button sets the shininess of the model.

Opacity	This button sets the opacity of transparency of the model. This is a true opacity setting, not an overlay strength of the rendering against the frame background.  A 50% setting means the model is 50% transparent or see-through. If you set a low Opacity setting and rotate the model in a way that places part of it behind another, you will see the back part through the closer part.

Color	This button opens the Color Editor dialog box for setting the color of the model.

Smooth Model	This box sets to smooth the model’s polygons.

Note: Previewing Models: When an model file name is selected in the Load Model dialog box, the Model will be rendered in the 3D Web Object Animator as a preview. This feature allows you to preview different models prior to opening a particular file.

Textures Dialog Controls:

Control	Function

Load	This button opens the Load Texture dialog box, used to preview and select an image file for use as a texture.

Texture	This field displays the path and file name of the currently opened texture.

Placement	Inside this box is a list of available settings for the placement of the texture on the model.

Horizontal Repeat	This button sets the number of times the texture repeats on the model in the horizontal or X direction. The actual number of times the texture repeats is also affected by the X Size setting of the texture.

Vertical Repeat	This button sets the number of times the texture repeats on the model in the vertical or Y direction. The actual number of times the texture repeats is also affected by the Y Size setting of the texture.

Apply	Inside this box is a list of available application settings for the texture. The Blend setting blends the texture with the model’s set Color. The Decal setting ignores the model’s set Color.

Best Quality	This box sets to use the best texture rendering quality. Technically this box sets to use a better quality Perspective Projection. Using this setting increases the rendering time and is probably not necessary if the model is animated.

Turn on Texturization	The box sets to turn texturization on. When this box is not checked on, the texturization settings are ignored and model is rendered without texturization.

Note: Previewing Textures: When an image file name is selected in the Load Texture dialog box, the Model in the 3D Web Object Animator is texturized with the selected image as a preview. This feature allows you to preview different textures exactly how they would look on the Model prior to opening a particular texture file.

Lights Dialog Controls:

Control	Function

Light #1	The button sets to adjust Light #1.

Light #2	The button sets to adjust Light #2.

Light #3	The button sets to adjust Light #3.

Color	This button sets the color of the light.

Intensity	This button sets the intensity or brightness of the light.

Turn On Light	This box sets to turn on the light.

Load Lights	This button opens the Load Lights dialog box, used to preview and load saved scene light sets.

Save Lights	This button opens the Save Lights dialog box, used to save your current scene light set to a file.


Using the 3D Web Object Animator


File | Exit Command of the 3D Web Object Animator

This command closes the 3D Web Object Animator.


Effects | Flare FX Animator Command of the GIF Animator

This command renders and animates a Flare scene (lens flares, stars and space effects, explosions, lightning and electricity, smoke and gas clouds, glows, and more) over-top of GIF animation frame images. This animation or movement of Flare scene elements is controlled by setting how they render on particular frame(s) or Key Frames along the duration of the GIF animation. The Flare scene elements include the Flare and its Refractions.

Note: SPG offers a growing library of Flares for use with the Flare FX Animator available for download from the SPG web-site.

Flare FX Animator Menu Commands

File Menu

Reset

Exit

Task Bar Buttons:

Button	Function

Render.

Location Tool.

Orientation Tool.

Size Tool.

Flare Controls:

Control	Function

Location	These buttons set the X,Y position of the Flare’s center-point.

Orientation	These buttons set the X,Y orientation of the Flare’s controlling refraction. A Flare’s controlling refraction is that refraction that is farthest from the center-point of the overall flare in the positive direction.

Size	This button sets the size of the Flare.

Angle	This button sets the rotation angle of the Flare.

Intensity	This button sets the overall intensity or strength of the Flare.

Flare	This button opens the Load Flare dialog box, used to preview and select a flare file for use.

Frame	Inside this box is a list of available animation frames to key.

Key Frame	This box sets to save the current scene settings as a Key Frame.

Keys 	This box displays all current Key Frames and sets the Frame box to a given key frame.

Animation Range	This field display the range of frames that will be rendered to in the GIF Animator given the current Key Frames.

Preview Current Refraction Only	This box sets to preview only the selected Refraction.

Refraction Controls:

Control	Function

Refraction	This button sets which refraction to edit.

Size	This button sets the size of the selected Refraction.

Color	This button opens the Color Editor dialog box for setting the color of the selected Refraction.

Intensity	This button sets the intensity of the selected Refraction.

Angle	This button sets the rotation angle of the selected Refraction.

Notes:

•	Previewing Flares: When a flare file name is selected in the Load Flare dialog box, the Flare will be rendered in the Flare FX Renderer as a preview. This feature allows you to preview different flares prior to opening a particular file.

•	The Orientation Tool and Orientation buttons will be greyed-out and unavailable when a flare file is loaded where a change in its Orientation would produce the same result as a change in the overall flare Angle.

Tip: Previewing and Viewing Flare Effects: Flares are a series of light refractions and have the most visual impact against a black background, a black colored canvas image. Conversely, you will see no flare effect at all when previewing or rendering flares to white colored images.


Using the Flare FX Animator


Using the Flare FX Animator

The Flare FX Animator renders and animates a Flare scene (lens flares, stars and space effects, explosions, lightning and electricity, smoke and gas clouds, glows, and more) directly over-top of GIF animation frame images.

Understanding Flares

Flares are a connected series of independently adjustable light refractions that can also be manipulated as a single entity. The Flare FX Animator provides control of the overall Flare and the individual Refractions properties. The Flare properties include Location, Orientation, Size, Angle, and Intensity. The Refraction properties include Size, Color, Intensity, and Angle.

Note: The relative locations between the Refractions are preset in the flare’s definition, and change as the flare’s Orientation is manipulated. If all of a flare’s refractions are center-aligned on the same point, manipulating the flare’s Orientation simply rotates the flare.

Tip: Previewing and Viewing Flare Effects: Flares are a series of light refractions and have the most visual impact against a black background, a black colored canvas image. Conversely, you will see no flare effect at all when previewing or rendering flares to white colored images.

Understanding Key Framing an Animation

This animation or movement of a Flare scene elements (Flare and Refractions) is controlled by setting how they render on particular frame(s) or Key Frames along the duration of the GIF animation. Frames are keyed along the animation where it is necessary to get the movement or change of the flare scene you desire at that point in the animation. It is normally not necessary to key all frames of an animation, as ColorWorks computes the scene settings for all animation frames between your set Key Frames.

A Simple 3-Step Process to Flare FX Animation

1. 	Prepare the GIF Animator for Output by the Flare FX Animator.

2. 	Start the Flare FX Animator and Key Frame the Flare Animation.

3. 	Output the Flare FX Animation to the GIF Animator.

Step 1: Prepare the GIF Animator for Output by the Flare FX Animator.

The Flare FX Animator uses the frame images of a GIF Animator as the background for each of the Flare frames it outputs. This allows you to easily integrate flare effects with an existing GIF animation, and exactly place flares in relation to other stationary and/or animated elements within that GIF animation if desired.

1. 	Start a GIF Animator.

2. 	Open an existing animated GIF movie file into the animator, or insert the desired background frames into the animator.

Tip: Preparing the GIF Animator to Render a Flare FX over-top of a Common Background Color or Picture. 1. Insert the image that represents your desired background color or picture (a canvas image filled with a single color or a real picture) into the GIF Animator.  2. Use the Edit | Replicate Current Frame command of the GIF Animator to fill the animator with as many copies of that frame as desired.

Step 2: Start the Flare FX Animator and Key Frame the Flare Animation.

Choose the Effects | Flare FX Animator command of the GIF Animator, opening the Flare FX Animator, and use the following procedure to setup the key frames of the animation:

1.	Use the Frame button to select the frame image within the existing GIF animation that you want to key frame. The background of the preview window will fill with that frame image.

2.	Select the Flare button, opening the Load Flare dialog box.

3.	Select a Flare using the provided controls.

4.	Select the OK button.

5.	Set the flare’s Location, Orientation, Size, Angle, and Intensity.

6.	Set the flare’s Refractions options.

7.	Select the Key Frame box and your scene settings will be saved for the selected Frame image.

Notes:

•	All Flare Scene properties can be Key Framed at different settings for animation, and/or shift and cross-fade effects of those properties.

•	The Orientation Tool and Orientation buttons will be greyed-out and unavailable when a flare file is loaded where a change in its Orientation would produce the same result as a change in the overall flare Angle.

•	A dotted line is displayed from the flare’s center-point to the center-point of the Controlling Refraction (the refraction furthest from the flare’s center-point in the positive direction) when you directly manipulate the flare with your cursor using any of the Tools (Location, Orientation, Size). You will not see a dotted-line when directly manipulating the flare if all of a flare’s Refractions are center-aligned or located very close together.

•	The Animation Range field provides feedback as to which frames will be rendered to in the GIF Animator using your current settings. GIF Animator frames that are not keyed themselves and are not between two set Key Frames, are not within the Animation Range and will not be rendered to at all. For example: On a 10 frame animation you set frame 3 and 8 as Key Frames and render the Flare FX animation. Within the GIF Animator the flare will be rendered to frames 3 to 8, and frames 1,2,9, and 10 will not be rendered to at all.

•	Use of Hatch Patterns in the Preview Window: If all of your frame images are the same size as the animation’s Logical Screen, as set in the Edit | Animation Properties command of the GIF Animator, you will only see the normal invalid black angled hatch pattern to the right of the frame images. However, if a frame image is smaller than the GIF animation’s Logical Screen, a red checked hatch pattern will be displayed where parts of the Logical Screen are not covered by the currently selected Frame image. Since there is no frame image in these parts of the Logical Screen to render to, they are considered invalid and any parts of the Model over-top of these areas will not be drawn when the Flare FX animation is rendered.

Tips:

•	Rendering Stationary Flares: Flares will be rendered stationary between two Key Frames that have the same exact general Flare and Refractions settings.

•	To not render or hide a particular Refraction, simply set its Intensity to 0.

•	Previewing the Flare’s Movement During the Animation: The Preview Window of the Flare FX Animator always shows exactly how the Flare will be positioned on a given Frame, regardless if that particular frame is keyed or computed. To preview the movement of the Flare during the duration of the animation, simply cycle the Frame button from its lowest to highest setting (first to last animation frame). Note, frames outside the Animation Range will display within the Preview Window, but will not be rendered to when you output the Flare FX animation.

Step 3: Output the Flare FX Animation to the GIF Animator.

1.	Select the Render button and the Flare FX animation will output to the GIF Animator. After output to the GIF Animator, the Flare FX Animator will remain open for additional use.

2.	Choose the File | Exit command of the Flare FX Animator to close it when you are finished rendering flares.


File | Reset Command of the Flare FX Animator

This command resets the Flare FX Animator and the currently loaded Flare to their default settings for the currently selected Frame.


File | Exit Command of the Flare FX Animator

This command closes the Flare FX Animator.


View | Thumbnail Size Command of the GIF Animator

This command of the GIF Animator sets the size of the thumbnail images displayed in the animator to a percentage of the animation’s Logical Screen.

Dialog Controls:

Control	Function

200%	This button sets the thumbnail size to 200% of the animation’s Logical Screen.

100%	This button sets the thumbnail size to 100% of the animation’s Logical Screen.

75%	This button sets the thumbnail size to 75% of the animation’s Logical Screen.

50%	This button sets the thumbnail size to 50% of the animation’s Logical Screen.

25%	This button sets the thumbnail size to 25% of the animation’s Logical Screen.

Custom	This button sets the thumbnail size to the value set in the Custom View button.

Custom View 	This button sets to use a custom thumbnail size between 5% and 400% of the animation’s Logical Screen.

Note: The maximum size of a thumbnail image within the GIF Animator is 700x700 pixels. If you request a view that requires a thumbnail larger than this maximum, the thumbnail images will be scaled-down to fit within the maximum size.


View | Transparent View Command of the GIF Animator

This command of the GIF Animator is a toggle for either using or not any set image transparencies for the display of thumbnails within the animator. Choosing this command will cause it to change to the alternate setting.


View | Offset Using Overlays Command of the GIF Animator

This command of the GIF Animator is a toggle for displaying a frame image “floating” over-top of its previous frame when you adjust the X,Y Offset controls. This command is used for exact placement and/or alignment of elements between animation frames.

Notes:

•	The first frame in the animation uses the last frame as its “previous” frame to account for potential animation looping.

•	This command automatically puts the View | Transparent View command of the GIF Animator in use.

•	When this command is chosen a second time to take it out of use, all frame overlays created will be cleared.


View | Refresh Command of the GIF Animator

This command of the GIF Animator refreshes the frame images within the animator.


View | Preview Command of the GIF Animator

 This command of the GIF Animator is a toggle for previewing the animation in a ColorWorks Animated GIF Player.


Download Speed | 14.4 Command of the GIF Animator

This command sets to use a speed of 14.4 to estimate the Download Time displayed in the Information dialog box of the GIF Animator.


Download Speed | 28.8 Command of the GIF Animator

This command sets to use a speed of 28.8 to estimate the Download Time displayed in the Information dialog box of the GIF Animator.


Download Speed | 33.6 Command of the GIF Animator

This command sets to use a speed of 33.6 to estimate the Download Time displayed in the Information dialog box of the GIF Animator.


Download Speed | 64.0 Command of the GIF Animator

This command sets to use a speed of 64.0 to estimate the Download Time displayed in the Information dialog box of the GIF Animator.


Download Speed | 128.0 Command of the GIF Animator

This command sets to use a speed of 128.0 to estimate the Download Time displayed in the Information dialog box of the GIF Animator.


Web Tools | Web Background Renderer Command

 This command is a toggle for either showing or hiding the ColorWorks Web Background Renderer. Choosing this command will cause it to change to the alternate setting. The ColorWorks Web Background Renderer is used to generate interesting patterned images for use as Background Images on web-pages. Most of the rendering techniques available produce images that are seamlessly tileable.

Note: The Web Background Renderer uses the Tile Viewer as its preview box. This enables you to view how the background image you are rendering will tile while you are building it. If the Tile Viewer is not already open when this command is chosen, it will be opened and closed automatically for use with the Web Background Renderer dialog. If the Tile Viewer is already open when you open the Web Background Renderer, it will remain open after you close the Web Background Renderer.

Tips:

•	Use the Full Power of ColorWorks: The renderings created by the Web Background Renderer can be a beginning of an image, not necessarily an end unto themselves. After rendering a cool background image, you have the rest of ColorWorks at your disposal to continue editing and processing it.

•	Using the Web Background Renderer with Canvas Protection Masks: The Web Background Renderer will work with a Canvas Protection Mask if the Mask | Use Protection Masks command is in-use when the Web Background Renderer is used.

•	Using the Web Background Renderer with the Effects | 8-Bit Mask Command: The Web Background Renderer will work with an 8-Bit Mask if the Effects | 8-Bit Mask command is in use when the Web Background Renderer is used.

•	Using the Views of the Tile Viewer: Clicking Button 2 on the Tile Viewer presents a pop-up menu for changing the view of the image within Tile Viewer. The Tile Viewer works the fastest when set to a 100% or normal view, and works significantly slower when not set to a 100% view. The additional views (50%, 75%, 200%, 400%) are provided mainly for use in inspecting how well the image is tiling within the viewer. After using one of the additional views to inspect the tiling, you may want to go back to 100% before returning to rendering images, and have the Tile Viewer work at its fastest setting.

Web Background Renderer Techniques

Bars

Fire

Foil

Loops

Magnetic Field

Moire

OPC Stars

Parquet

Pulsars

Radial Stars

Rings

Rods

Sand

Sinewave

Spheres

Stars

Strands

Strings

Waves

Weave


Using the Web Background Renderer


Bars Pattern Renderer

This technique of the Web Background Renderer produces equally spaced curved bars.

Dialog Controls:

Control	Function

R	This button sets the red color of the bars.

G	This button sets the green color of the bars.

B	This button sets the blue color of the bars.

Spacing	This button sets the thickness o of the rendered bars.

Tip: When the Spacing control is set very high this technique can produce interesting shaded tiles, rather than bars. For example: Using a 100x100 pixel canvas image set the Spacing to 100.


Fire Pattern Renderer

This technique of the Web Background Renderer produces a field of fire.

Dialog Controls:

Control	Function

Iterations	This button sets the height of the rendered fire.

Coloring	Inside this box is a list of all available coloring palettes.

Palette	Inside this box is a list of all available Palette files for use when the Custom option is selected in the Coloring box.

Tip: Fractal-Like Patterns: Set the Coloring box to Custom, and set the Palette box to a palette file that is not a gradient to produce some cool fractal-like patterns. For examples try using the Default, Netscape 666, or Netscape 555 palette.


Foil Pattern Renderer

This technique of the Web Background Renderer produces a foil pattern.

Dialog Controls:

Control	Function

R	This button sets the red color of the foil.

G	This button sets the green color of the foil.

B	This button sets the blue color of the foil.

Style	Inside this box is a list of all available foil patterns.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).


Loops Pattern Renderer

This technique of the Web Background Renderer produces colored loops. The loops are most intense at their origins are slowly diminish until they vanish.

Dialog Controls:

Control	Function

Density	This button sets the number of loops.

Radius	This button sets the size of the loops.

Opacity	This button sets the strength or opaqueness of the loops.

Coloring	Inside this box is a list of all available coloring palettes.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).


Magnetic Field Pattern Renderer

This technique of the Web Background Renderer produces a two or three color magnetic field.

Dialog Controls:

Control	Function

R	This button sets the red of the primary color of the magnetic field.

G	This button sets the green of the primary color of the magnetic field.

B	This button sets the blue of the primary color of the magnetic field.

Strips	This button sets the thickness of the rendered areas.


Moire Pattern Renderer

This technique of the Web Background Renderer produces a moiré pattern.

Dialog Controls:

Control	Function

R	This button sets the red color density of the moiré.

G	This button sets the green color density of the moiré.

B	This button sets the blue color density of the moiré.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).

Tip: The lower the Color Density, the smoother the coloring. The higher the Color Density, the more contrasting the coloring.


OPC Stars Pattern Renderer

This technique of the Web Background Renderer produces stars.

Dialog Controls:

Control	Function

Spacing	These buttons set the average spacing in pixels between the stars. The first button sets the horizontal spacing, and the second button sets the vertical spacing.

Strictness	This button sets the strictness of a star’s placement.


Parquet Pattern Renderer

This technique of the Web Background Renderer produces a variety of tiled patterns.

Dialog Controls:

Control	Function

Tile Style	Inside this box is a list of all available tile styles.

Texture	Inside this box is a list of all available texture rendering styles.

Curvature	This button sets the texture curvature of the tiles.

Density	These button set the texture density of the tiles.

Palette	Inside these boxes are a list of all available Palette files for coloring the selected texture.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).

Tip: Using Palette files that have a continuous spread of colors work well with this rendering technique.


Pulsars Pattern Renderer

This technique of the Web Background Renderer produces pulsars or disc-like objects.

Dialog Controls:

Control	Function

Density	This button sets the number of pulsars.

Radius	This button sets the size of the pulsars.

Fixed Angle	This box sets to use the setting of the Fixed Angle Degrees button in rendering the pulsars.

Fixed Angle Degrees	This button sets a fixed angle to render the pulsars with.

Disc	This box set to render the pulsars as discs.

Shooters	This button sets the number of shooters to render when the Disc button is selected.

Coloring	Inside this box is a list of all available coloring palettes.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).

Tips:

•	The technique can create interesting tiny tiles by setting the Density button and the Area fields to low values. For example: Using a 100x100 pixel canvas image set the Density to 1, select the Disk box, set the Shooters button to 7, and set both Area fields to 20.

•	Additional interesting tiles can be created by setting the Radius button greater than the size of the canvas image. For example: Using a 50x50 pixel canvas image set the Density to 10, and the Radius to 100. Try this with and without the Disk box selected.


Radial Stars Pattern Renderer

This technique of the Web Background Renderer produces radial stars.

Dialog Controls:

Control	Function

Density	This button sets the number of stars.

Radius	This button sets the size of the stars.

Fixed Angle	This box sets to use the setting of the Fixed Angle Degrees button in rendering the stars.

Fixed Angle Degrees	This button sets a fixed angle to render the stars with.

Beams	This button set the number of beams that a star has.

Flare	This button sets the flare for a star’s beams.

Coloring	Inside this box is a list of all available coloring palettes.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).

Tips:

•	Very cool-looking images can be rendered by setting the Radius button greater than or equal to the size of the canvas image. For example: Using a 100x100 pixel canvas image set the Density to 5 and the Radius to 100. Try the same thing using a 50x50 pixel canvas image for a resulting 3-D lattice-like structure.

•	Pillow-Like Star Effects: To render a pillow-like star effect use a 50x50 pixel canvas image, set the Density to 7, the Radius to 100, and the Flare to 100.


Rings Pattern Renderer

This technique of the Web Background Renderer produces a field of rings.

Dialog Controls:

Control	Function

Density	This button sets the number of rings.

Min Radius	This button sets the minimum size of the rings.

Max Radius	This button sets the maximum size of the rings.

Radius Pct	This button sets the percentage of the range between the Min Radius and the Max Radius to render as the ring.

Coloring	Inside this box is a list of all available coloring palettes.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).

Tips:

•	Using the Radius Controls: If you set the Min Radius and Max Radius to the same value all of the rings will be of the same size. A low Radius Pct setting renders thin rings.

•	Basket Weave Patterns: To render a basket weave pattern use a 50x50 pixel canvas image, set the Density to 5, the Min Radius and Max Radius to 100, and the Radius Pct to 95.

•	Coil Patterns: To render a coil pattern use a 50x50 pixel canvas image, set the Density to 5, the Min Radius and Max Radius to 100, and the Radius Pct to 10.


Rods Pattern Renderer

This technique of the Web Background Renderer produces neon colored rods.

Dialog Controls:

Control	Function

Spacing	These buttons set the average spacing between the rods.

Strictness	This button sets the strictness of a rod’s placement.

Length	This button sets the length of the rods.

Melted	This box sets to render the rods melted.

Tip: Rendering White Melted Rods: Rendering white melted rods is accomplished by selecting the Melted box and using a small Length setting.


Sand Pattern Renderer

This technique of the Web Background Renderer produces a sand or gravel pattern.

Dialog Controls:

Control	Function

R	This button sets the red color of the sand pebbles.

G	This button sets the green color of the sand pebbles.

B	This button sets the blue color of the sand pebbles.

Gravel Size	This button sets the size of the gravel.

Spread	This button sets the spread or spacing or the gravel.

Spikes	This button sets the spikes of the gravel.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).

Tip: After rendering a sand pattern, try using some ColorWorks Effects commands on-top if it for more interesting sand.


Sinewave Pattern Renderer

This technique of the Web Background Renderer produces a single or double sinewave pattern.

Dialog Controls:

Control	Function

R	This button sets the red color of the sinewave.

G	This button sets the green color of the sinewave.

B	This button sets the blue color of the sinewave.

Direction	This box sets the direction of the sinewave.

Mode	This box sets to render a single or a double sinewave.

Coloring	Inside this box is a list of all available coloring palettes.

Frequency	Inside these two fields you can type in frequency of the sinewave to render.

Rise	Inside these two fields you can type in rise of the sinewave to render.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).

Tip: You should use Frequency settings that are a multiple of 2 if you want the pattern to remain seamlessly tileable.


Spheres Pattern Renderer

This technique of the Web Background Renderer produces spheres or orbs.

Dialog Controls:

Control	Function

Density	This button sets the number of spheres.

Radius	This button sets the size of the spheres.

Glow	This button sets the glow of the spheres.

Flexible	This box sets to smooth the edges of the spheres.

Coloring	Inside this box is a list of all available coloring palettes.

Opacity	This button sets the strength or opaqueness of the spheres.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).


Stars Pattern Renderer

This technique of the Web Background Renderer produces starfields.

Dialog Controls:

Control	Function

Density	This button effects the size and number of stars.

Style	Inside this box is a list of all available star styles.

R	This button sets the amount to vary the red color of the stars.

G	This button sets the amount to vary the green color of the stars.

B	This button sets the amount to vary the blue color of the stars.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).


Strands Pattern Renderer

This technique of the Web Background Renderer produces simple horizontal string-like strands.

Dialog Controls:

Control	Function

R	This button sets the red color of the strands.

G	This button sets the green color of the strands.

B	This button sets the blue color of the strands.


Strings Pattern Renderer

This technique of the Web Background Renderer produces a field of strings.

Dialog Controls:

Control	Function

R	This button sets the red color of the strings when the Fixed option is selected in the Coloring box.

G	This button sets the green color of the strings when the Fixed option is selected in the Coloring box.

B	This button sets the blue color of the strings when the Fixed option is selected in the Coloring box.

Density	This button sets the number of strings.

Length	These buttons set the minimum and maximum length of the strings.

Min Curve	This button sets the minimum amount of a string’s curvature.

Max Curve	This button sets the maximum value of string’s curvature.

Coloring	Inside this box is a list of all available coloring palettes.

Tips:

•	Normal versus Looping Strings: For “normal” looking strings set the Min Curve to a value less than the Max Curve. For special “looping” strings set the Min Curve to a higher value than the Max Curve. When rendering Looping strings, the values of the Min Curve and Max Curve controls and the difference between them effect the shape of the rendered loops.

•	Sticks Effect: Strings with no curvature render as sticks. For a sticks effect set the Min Curve and Max Curve controls to 0.


Waves Pattern Renderer

This technique of the Web Background Renderer produces water waves or rings.

Dialog Controls:

Control	Function

R	This button sets the red color of the waves.

G	This button sets the green color of the waves.

B	This button sets the blue color of the waves.

Size	This button sets the size of waves.

Spread Origins	This box set to ensure that the origins of the waves are always at a distance from each other.


Weave Pattern Renderer

This technique of the Web Background Renderer produces a 3-D weave of two colored ribbons.

Dialog Controls:

Control	Function

Thickness	This button sets the thickness of the ribbons.

Palette	Inside these boxes are a list of all available Palette files for coloring the ribbons.

Area	These two buttons set the pixel dimensions of a tile to create within the rendering. These buttons default to the actual dimensions of the canvas image, using lessor values create smaller renderings that are tiled within that area.

Note: If you use the Area controls, the resulting pattern will not seamlessly tile or repeat if the actual canvas image is not perfectly square (exact same width and height).


Web Tools | Tile Viewer Command

 This command is a toggle for either showing or hiding the ColorWorks Tile Viewer. Choosing this command will cause it to change to the alternate setting. The Tile Viewer presents a tiled view of the currently selected canvas image, and is linked “live” to the current canvas. Any editing done to the current canvas is reflected in the Tile Viewer automatically.

Tile Viewer Menu Commands

View Menu

50%

75%

100%

200%

400%

Button 2 Properties and User Customizations:

Command	Function

50%	Sets the view within the Tile Viewer to 50%.

75%	Sets the view within the Tile Viewer to 75%.

100%	Sets the view within the Tile Viewer to 100%.

200%	Sets the view within the Tile Viewer to 200%.

400%	Sets the view within the Tile Viewer to 400%.

Tip: Using the Views: The Tile Viewer works the fastest when set to a 100% or normal view, and works significantly slower when not set to a 100% view. The additional views (50%, 75%, 200%, 400%) are provided mainly for use in inspecting how well the image is tiling within the viewer. After using one of the additional views to inspect the tiling, you may want to go back to 100% before returning to edit images, and have the Tile Viewer work at its fastest setting.


Using the Tile Viewer


View | 50% of the Tile Viewer

This command sets the view of the viewer to 50%.


View | 75% of the Tile Viewer

This command sets the view of the viewer to 75%.


View | 100% of the Tile Viewer

This command sets the view of the viewer to 100%.


View | 200% of the Tile Viewer

This command sets the view of the viewer to 200%.


View | 400% of the Tile Viewer

This command sets the view of the viewer to 400%.


Web Tools | Animated GIF Player Command

 This command opens a ColorWorks Animated GIF Player. ColorWorks' Animated GIF Players play animated GIF files, and can be opened as stand-alone or linked to a particular GIF Animator. Any number of Animated GIF Players can be open and in-use at the same time.

Animated GIF Player Menu Commands

Edit Menu

Duration

View Menu

Color

Wallpaper

Dialog Controls:

Control	Function

This button opens the Load GIF Animation dialog box for opening an animation into the player. This button is visible when the Animated GIF Player is running stand-alone.

This button reloads the animation within a linked GIF Animator for play within the player. This button is visible when the Animated GIF Player is running linked to a GIF Animator.

This button is a toggle for playing and stopping the animation.

This button stops the play of the animation.

Frame	This button is used to scroll the display of animation frames one at a time.

Button 2 Properties and User Customizations:

Command	Function

Color	Opens the Color Editor dialog box for selecting a background color for the Animated GIF Player.

Wallpaper	Opens the Load Background Wallpaper dialog box used to select a background image for the Animated GIF Player.

Note: Opening Animations Using a Drag-and-Drop: The Animated GIF Players can accept a drag-and-drop of an animation file from the Image Browser, Windows Explorer, or another Windows program.


Using the Animated GIF Player


Edit | Duration Command of the Animated GIF Player

This command acts as a “master” duration control used for dynamically changing the delay settings of all frames within an animation using the visual feedback of the player.

Dialog Controls:

Control	Function

Duration	This button sets the duration of the animation.

Note: Calculating Animation Duration: An animation’s true duration is the sum of the animation frame delays plus the time it takes Windows to display the frames. Using a standard Windows’ Timer, the fastest an Internet Browser can display an animation is 18.2 frames per second. This means that an 18 frame animation with all frame delays set to 0, in reality still has a duration of approximately 1 second. The Duration control takes this into account to more accurately reflect an animation’s true duration.


View | Color of the Animated GIF Player

This command opens the Color Editor dialog box for selecting a background color for the player.


View | Wallpaper of the Animated GIF Player

This command opens the Load Background Wallpaper dialog box used to select a background image for the player.


Window Menu

Cascade

Tile Horizontal

Tile Vertical

Arrange Icons

Close All

Actual View 100%

Zoom In

Zoom Out

Fit in Window

Fit / Size to Largest

Show Tools Bar

Show Effects Bar

Show Color Palette

Show Continuous Tone Palette

Show Browser

Show Status Bar

Show Title Bar


Window | Cascade Command

This command arranges canvas windows in a cascading display.


Window | Tile Horizontal Command

This command arranges canvas windows in a horizontally tiled display.


Window | Tile Vertical Command

This command arranges canvas windows in a vertically tiled display.


Window | Arrange Icons Command

This command arranges the icons for the minimized windows.


Window | Close All Command

This command closes all open canvas windows.


Window | Actual View 100% Command

This command will allow you to quickly return to a regular, non-zoomed view of the current canvas.

Tip: Interactive Zooming: You can change the view of the current canvas to a non-zoomed view by pressing the [F4] key at any time, including while you are painting.


Window | Zoom In Command

This command opens a menu giving you access to 20 different zoom-in levels. Choosing one of these 20 commands will automatically zoom-in on the current canvas at the selected magnification level.

Tip: Interactive Zooming: You can zoom-in on the current canvas by pressing the [F2] key at any time. If you are painting on or the cursor is over the current canvas, the canvas will zoom-in on that exact cursor location. If your cursor is not over the current canvas it will zoom on the canvas' center point. You will zoom by the number of zoom levels set by the File | Preferences command.


Window | Zoom Out Command

This command opens a menu giving you access to 20 different zoom-out levels. Choosing one of these 20 commands will automatically zoom-out on the current canvas at the selected magnification level.

Tip: Interactive Zooming: You can zoom-out on the current canvas by pressing the [F3] key at any time. If you are painting on or the cursor is over the current canvas, the canvas will zoom-out on that exact cursor location. If your cursor is not over the current canvas it will zoom on the canvas' center point. You will zoom by the number of zoom levels set by the File | Preferences command.


Window | Fit in Window Command

This command opens a menu of magnification levels that the current canvas can be displayed and still fit on the ColorWorks desktop without needing to use scroll bars. Choosing one of these commands will change the canvas view to the chosen magnification.


Window | Fit / Size to Largest Command

This command sizes a canvas window to the largest view that shows the entire canvas and still fits on the ColorWorks desktop without needing to use scroll bars. The canvas image is zoomed-in or out if necessary to fit into this largest view.

Tip: Interactive Zooming: You can zoom the current canvas to a Fit / Size to Largest view by pressing the [F5] key at any time, including while you are painting.


Window | Show Tools Bar Command

This command is a toggle for either showing or hiding the floating Tools Bar. Choosing this command will cause it to change to the alternate setting. The Tools Bar is the floating window of painting tools and indicators. All painting on a canvas with a color, effect(s), or mask definition, is performed using the tools of the Tools Bar.

Tools Bar Buttons:

Button	Painting Tool / Function

Show the Title Bar of the Tools Bar.

Move the Tools Bar.

Circle Tool.

Ellipse Tool.

Curve Tool.

Parallelogram Tool.

Text Tool.

Line Tool.

Rectangle Tool.

Triangle Tool.

Polygon Tool.

Zoom Tool.

Fill Tool.

Color Picker Tool.

Full Canvas Tool.

Free Draw Tool.

Current Painting Color Indicator.

Cropping Tool.

Toggle Masking.

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Tools Bar to have auto-roll up behavior. When the cursor is not over-top of the Tools Bar only the Tools Bar Title Bar is shown. When the cursor moves back over-top of the Tools Bar Title Bar, the Tools Buttons are revealed.

Button 2 Properties and User Customizations:

Command	Function

Define Mask	Mask | Mask Edit Options | Define Mask.

Undefine Mask	Mask | Mask Edit Options | Undefine Mask.

Invert Mask	Mask | Mask Edit Options | Invert Mask.

Clear Mask	Mask | Mask Edit Options | Clear Mask.

Notes:

•	Resizing the Tools Bar: The floating Tools Bar is contained in a sizable window. This means you can grab and drag any border of the Tools Bar and change its size to your personal tastes. To resize the Tools Bar thinner than allowed when the Title Bar is showing, hide the Title Bar by selecting the Title Bar button

•	To move the Tools Bar around when its Title Bar is hidden, use the Move button. Position the cursor over-top of the Move button, click and hold Button 1, drag the Tools Bar, and release Button 1.


Window | Show Effects Bar Command

This command is a toggle for either showing or hiding the floating Effects Bar. Choosing this command will cause it to change to the alternate setting. The Effects Bar is the floating window of effects and indicators. The Effects Bar allows you to quickly configure effects to paint with, and quickly see what effects are turned on, all without having to use the Effects menu on the Menu Bar.

Effects Bar Buttons:

Button	Effect / Function

Show the Title Bar of the Effects Bar.

Move the Effects Bar.

Load Graphics State.

Save Graphics State.

Clear All Effects.

Drawing Merge Control.

Channel Mask.

Adjust Color Maps.

Gamma Correction.

Color Balance.

Advanced Color Balance.

Tonal Compression.

Brightness / Contrast.

Dodge / Burn.

Adjust Histogram.

Hue / Saturation.

Posterize.

Solarize.

Threshold.

Invert.

Grey Conversion.

Noise.

JPEG Cleaner.

Smoothing Lab.

Sharpen Lab.

Noise Reduction Lab.

Edge Detection Lab.

Special Filters Lab.

Custom Filters Lab.

Texturize.

Pixel Displacement.

8 Bit Mask.

Gradients.

Redo.

Channel Swap.

Clone.

Plug-in Filter Selector

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Effects Bar to have auto-roll up behavior. When the cursor is not over-top of the Effects Bar only the Effects Bar Title Bar is shown. When the cursor moves back over-top of the Effects Bar Title Bar, the Effects Buttons are revealed.

Notes:

•	Resizing the Effects Bar: The floating Effects Bar is contained in a sizable window. This means you can grab and drag any border of the Effects Bar and change its size to your personal tastes. To resize the Effects Bar thinner than allowed when the Title Bar is showing, hide the Title Bar by selecting the Title Bar button.

•	To move the Effects Bar around when its Title Bar is hidden, use the Move button. Position the cursor over-top of the Move button, click and hold Button 1, drag the Effects Bar, and release Button 1.


Window | Show Color Palette Command

This command is a toggle for either showing or hiding the floating Color Palette. Choosing this command will cause it to change to the alternate setting. The Color Palette is a floating palette of the 256 painting colors of the currently loaded palette file.

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Color Palette to have auto-roll up behavior. When the cursor is not over-top of the Color Palette only the Color Palette Title Bar is shown. When the cursor moves back over-top of the Color Palette Title Bar, the Color Palette is revealed.

Palette Editor	Opens the Palette Editor dialog box.

Load Palette	Opens the Load Palette dialog box for opening a palette file from disk.

Save Palette	Opens the Save Palette dialog box, used for saving the current Color Palette to a file on disk.

Notes:

•	To select a Color Palette location as your current painting color, click Button 1 over-top of that color.

•	To select a Color Palette location as your current painting color and open the Color Editor, double-click Button 1 over-top of that color. If you double-click Button 1 on a Color Palette location to select it as your current painting color and open the Color Editor, when you select the Apply button of the Color Editor your painting color as shown in the Current Color Indicator and the Color Palette location will change.

•	Painting colors are edited with either the Windows Color Editor or the ColorWorks Color Editor, as set by the File | Preferences command.

•	The locations on the Color Palette are identified from bottom-to-top and left-to-right. Hence, the “first color” on the Color Palette is the lower-left location, and the “last color” is the upper-right location.

Tips:

•	Resizing the Color Palette: The floating Color Palette is contained in a sizable window. This means you can grab and drag any border of the Color Palette and change its size to your personal tastes.

•	To See what the “Browser-Safe” Colors are in RGB: 1. Load the Netscape 666 palette file into the Color Palette using the Load Palette command. 2. Set the Color Model to RGB in the File | Preferences command. 3. Position the cursor over-top of the Color Palette, and the Cursor Area of the Program Status Bar will display the RGB components of the Browser-Safe colors.


Load Palette

This dialog box is used to load a Color Palette file from disk.

Dialog Controls:

Control	Function

Files	Inside this box is a list of all .pal files within the \palette directory off your main ColorWorks directory.

Preview	This box displays the contents of the selected Color Palette file.

Note: You can select a color to paint with from the Preview by simply moving the cursor over-top of the Preview box and selecting the color you want.


Save Palette

This dialog box is used to save the current Color Palette to a file on disk.

Note: Color Palette files are automatically saved to the \palette directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


Palette Editor

This dialog box is used to edit palette colors. Color Palettes are fully editable and can be saved to and loaded from disk, giving you the ability to create an unlimited color palette library.

Dialog Controls:

Control	Function

Color Palette box	 Inside this box is the 256 colors of the currently loaded palette file.

Copy	This button sets to copy a color to another location on the Color Palette.

Spread	This button sets to create even shade gradations from one color on the Color Palette to another.

Swap	This button sets to switch two colors on the Color Palette.

Pick	This button sets to select colors from the Color Palette to edit or for use in a copy, spread, or swap manipulation of Color Palette locations.

Edit Color	This button opens the Color Editor dialog box. Painting colors are edited with either the Windows Color Editor or the ColorWorks Color Editor, as set by the File | Preferences command.

Undo	This button resets the colors in the Color Palette to their state prior to opening the Palette Editor dialog box.

Get Current Color	This button copies the current color to the currently picked location of the Color Palette.

Notes:

•	The Palette Editor always returns to Pick mode after using the Copy, Spread, and/or Swap buttons.

•	The Pick button's function is to select palette colors for editing within the Palette Editor only. It does not change the current painting colors.


To Spread Colors on the Color Palette

To Swap Colors on the Color Palette

To Copy Colors on the Color Palette

To Edit Colors on the Color Palette


To Spread Colors on the Color Palette

To Spread Colors on the Color Palette

1.	Select the Pick button and select the location on the Color Palette that you want to spread from.

2.	Select the Spread button.

3.	Select the location on the Color Palette that you want to spread to. The colors between the start and end of the selected spread form an even color gradation between them.

Note: At any time while the Spread button was selected you could have aborted this operation by selecting any other button.


To Swap Colors on the Color Palette

To Swap Colors on the Color Palette

1.	Select the Pick button and select the first color in the swap from the Color Palette.

2.	Select the Swap button.

3.	Select the second color in the swap from the Color Palette. The colors chosen in the swap will exchange locations.

Note: At any time while the Swap button was selected you could have aborted this operation by selecting any other button.


To Copy Colors on the Color Palette

To Copy Colors on the Color Palette

1.	Select the Pick button and select the source color you want to copy from on the Color Palette.

2.	Select the Copy button.

3.	Select the location where you want the color copied to on the Color Palette. The source color will be duplicated at the selected location on the palette.

Note: At any time while the Copy button was selected you could have aborted this operation by selecting any other button.


To Edit Colors on the Color Palette

To Edit Colors on the Color Palette

•	Select the Edit Color button, or

•	Double-click on the palette color you want to edit.

Notes:

•	You can move as many colors as you like to the Color Editor for editing while it is open by continuing to double-click on palette colors without closing the Color Editor dialog box.

•	If you leave the Color Editor dialog box up it will close automatically when you close the Palette Editor.


Window | Show Continuous Tone Palette Command

This command is a toggle for either showing or hiding the floating Continuous Tone Palette. Choosing this command will cause it to change to the alternate setting. The Continuous Tone floating palette allows you to quickly choose painting colors from a huge palette of 18,000 different HLS or HSB colors.

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Continuous Tone Palette to have auto-roll up behavior. When the cursor is not over-top of the Continuous Tone Palette only the Continuous Tone Palette Title Bar is shown. When the cursor moves back over-top of the Continuous Tone Palette Title Bar, the Continuous Tone Palette is revealed.

HLS	Sets the Continuous Tone Palette to display an HLS colors palette.

HSB	Sets the Continuous Tone Palette to display an HSB colors palette.


Window | Show Browser Command

This command is a toggle for either showing or hiding the floating ColorWorks Image Browser. Choosing this command will cause it to change to the alternate setting. The ColorWorks Image Browser is an extremely capable image management tool. The Image Browser is used to visually manage all of your image files, be they on your local system or on a remote Internet Server(s). Once displayed in the Image Browser an image can do anything. Images in the Image Browser can be opened on the ColorWorks Desktop for editing, opened in a GIF Animator, opened in a Animated GIF Player, opened in a Web Saver, opened in the Image Mapper, can be zoomed, converted, deleted, renamed, resized, copied, moved, sent as e-mail, and can be sent via FTP to an Internet Server.

Note: The Image Browser is completely integrated into ColorWorks. Images in the Image Browser can be drag-and-dropped to: the ColorWorks Desktop for editing; to a Web Saver: to the Image Mapper; to a GIF Animator; or to an Animated GIF Player. Conversely, images from all other ColorWorks components can be drag-and-dropped to the Image Browser for saving. In addition, the Image Browser will accept a drag-and-drop of an image file(s) from outside ColorWorks.

Image Browser Menu Commands

File Menu

Directory

FTP Directory

Upload Edits to FTP Site(s)

Upload Edits/Thumbnails to FTP Directory

Open

Zoom

Convert

Delete

Rename

Resize

Copy

Move

Send to Mail

Send to FTP

Preferences

Shut Down Browser

Edit Menu

Select All

Deselect All

Invert All

Search

View Menu

Large Icon

Small Icon

List

List - No Thumbnails

Details

Sort Ascending

Sort Descending

Display Filter

Thumbnail Colors | 16 Million Colors

Thumbnail Colors | 65,536 Colors

Thumbnail Colors | 256 Colors

Thumbnail Colors | 16 Colors

Thumbnail Size

Background Color

Text Color

Refresh Browser

Rebuild Browser

Delete FTP Cache

Control Menu Commands and Properties:

Command	Function

Auto Roll-up	Sets the Image Browser to have auto-roll up behavior. When the cursor is not over-top of the Image Browser only the Image Browser Title Bar is shown. When the cursor moves back over-top of the Image Browser Title Bar, the Image Browser is revealed.

Manual Roll-up	Sets the Image Browser to have manual-roll up behavior. A Double-click of Button 1 on the Title Bar of the Image Browser will alternatively roll the Image Browser up to show only its Title Bar, and roll the Image Browser back down.


To Use the Image Browser

To e-mail Images from ColorWorks

To FTP Images from ColorWorks

To Create Web-Site Thumbnail Image Galleries

To Manage Images on an Internet Server

To Surf FTP Sites for Images


File | Directory Command of the Image Browser

This command of the Image Browser opens a disk directory into the browser.

Note: The preview image is provided for use in viewing the contents of a directory prior to opening it in the browser.


File | FTP Directory Command of the Image Browser

This command of the Image Browser opens an FTP (Internet Server) directory into the browser. This command opens the FTP Directory (login)  dialog box to establish a connection to an Internet Server. After a connection is established the FTP Directory dialog box will open for you to select a directory to open into the Image Browser.


FTP Directory (login)
FTP Directory (login) Command of the Image Browser

This dialog box establishes a connection between the Image Browser and an Internet Server.

Dialog Controls:

Control	Function

Login Profiles	Inside this box is a list of all Login files within the \login directory off your main ColorWorks directory.

Server Name	Inside this field you type the server name to login to.

User ID	Inside this field you type the user ID to login to the named server.

Password 	Inside this field you type the password to login to the named server.

Save Profile	This button opens the Save Login Profile dialog box, used to save your current login profile to a file.

Delete Profile	This button deletes the currently open Login file.


Save Login Profile

This dialog box is used to save the current Login Profile to a file on disk.

Note: Login Profile files are automatically saved to the \login directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


FTP Directory
FTP Directory Command of the Image Browser

This dialog box selects an Internet Server directory to open in the Image Browser.

Dialog Controls:

Control	Function

Server Name	This field displays the name of the server you are logged into.

Current Directory	This field displays the current directory you are pathed to on the server.

Files 	This box displays all files within the selected directory.

Size	This field displays the total size of the selected files in K bytes.

Select All	This button selects all files in the directory.

Deselect All 	This button deselects all files in the directory.

Directories	This box displays all available directories.

Cache Lifespan	This button sets the number of days that the Image Browser should keep its local mirror of the selected FTP directory since the last time you opened that directory in the Image Browser.

Preview 	This box sets to display a preview image of a file within the selected directory.

Note: The word “Thumbnails” will be displayed above the Files box if SPG thumbnails exist within a given server directory.

Tip: Use the Preview box to confirm the contents of a directory prior to opening it in the Image Browser.


To Open Selected Files of an Internet Server Directory

To Preview Images on an Internet Server

To Snatch a Previewed Internet Server Image to ColorWorks


File | Upload Edits to FTP Site(s) Command of the Image Browser

This command of the Image Browser uploads any and all edits made to FTP Directories. The actions considered edits to the directory are; editing of an image within the directory (image edited with ColorWorks, converted, renamed, or resized), addition of a new file to the directory, and the deletion of a file within the directory. Choosing this command opens the FTP Upload Confirmation dialog box.

Notes:

•	You do not have to upload changes made to an FTP directory before opening another one, or before ending your ColorWorks or Windows sessions. This command is a batch command. It uploads all edits made to Internet Server directories since the last time the command was used. You could open and edit several FTP directories one after the other, and choose this command once when you are done editing all of them.

•	ColorWorks remembers the login information you used for all of the server directories opened with the Image Browser. You will not be prompted for the login information.

•	It is important that you do not alter the directories and/or files within ColorWorks’ FTP directory on your local system using anything outside ColorWorks. This is where ColorWorks maintains its cache and synchronized mirrors of your FTP directories.


FTP Upload Confirmation

This dialog box is used to confirm the upload of edits to FTP directories when the File | Upload Edits to FTP Site(s) command of the Image Browser is chosen.

Dialog Controls:

Control	Function

Server Name	This field displays the name of the Internet Server that will be logged into for the upload.

Directory	This field displays the directory on the Internet Server that will be updated.

Yes	This button confirms the upload of edits to the currently displayed Server Directory.

Yes to All	This button confirms the upload for all Servers and all Directories that have pending edits to upload.

Skip 	This button skips the upload of edits for the currently displayed Server Directory. The Image Browser will remember that edits need to be uploaded for this FTP directory.

No	This button skips the upload of edits for the currently displayed Server Directory, and deletes the Image Browser’s knowledge that edits need to be uploaded for this FTP directory.

Notes:

•	There is no Cancel button in this dialog box. If you want to close this dialog box select the Skip or No button.

•	While uploading edits to Internet Servers, the FTP File Overwrite Confirmation dialog box and/or the FTP File Delete Confirmation dialog box may open.

Tip: Using the No Button: The No button is useful if you make edits to an FTP directory, and then decide that you do not want those edits uploaded to the Internet Server. Selecting the No button will not adversely affect the Image Browser’s ability to manage Internet Server directories. The Image Browser always synchronizes itself with an Internet Server’s directory when you open it using the File | FTP Directory command of the Image Browser.


FTP File Overwrite Confirmation

This dialog box is used to confirm a file upload(s) that will overwrite an existing file(s) on an Internet Server(s).

Dialog Controls:

Control	Function

Server Name	This field displays the name of the Internet Server that is logged into.

Directory	This field displays the directory on the Internet Server that will be updated.

File Name	This field displays the file on the Internet Server that will be overwritten.

Yes	This button confirms the upload of the file that will overwrite an existing file on the Internet Server.

Yes to All	This button confirms the upload of all files that will overwrite existing files on all Internet Servers.

No	This button skips the upload of a file that will overwrite an existing file on the Internet Server.


FTP File Delete Confirmation

This dialog box is used to confirm a file deletion(s) of an existing file(s) on an Internet Server(s).

Dialog Controls:

Control	Function

Server Name	This field displays the name of the Internet Server that is logged into.

Directory	This field displays the directory on the Internet Server that will be updated.

File Name	This field displays the file on the Internet Server that will be deleted.

Yes	This button confirms the deletion of the file on the Internet Server.

Yes to All	This button confirms the deletion of all files on all Internet Servers.

No	This button skips the deletion of a file on the Internet Server.


File | Upload Edits/Thumbnails to FTP Directory Command of the Image Browser

This command of the Image Browser uploads any and all edits made to the currently opened FTP Directory, and uploads thumbnail images for all images within the directory. After this command is chosen, the Save Image Gallery HTML Table Code dialog box will open for you to optionally generate HTML Image Gallery Table code for the directory.

Notes:

•	The format of the thumbnail images uploaded are set in the File | Preferences command of the Image Browser.

•	The size of the thumbnail images uploaded will be the same as those currently displayed within the Image Browser itself. Thumbnail image size is set using the View | Thumbnail Size command of the Image Browser.


File | Open Command of the Image Browser

This command of the Image Browser opens the selected image(s) in the browser for editing on the ColorWorks Desktop.


File | Zoom Command of the Image Browser

This command of the Image Browser displays a zoomed view of a selected image in the browser.

Note: The size of the zoom window can be set up to 450 x 450 pixels with the File | Preferences command of the Image Browser.


File | Convert Command of the Image Browser

This command of the Image Browser converts the selected image(s) in the browser. This dialog box presents a large array of buttons to select the Format, Bits Per Pixel, and set any Special settings for the conversion of the selected file(s).

Dialog Controls:

Control	Function

Replace Original File(s)	This button sets to delete the original file(s) after the conversion.


File | Delete Command of the Image Browser

This command of the Image Browser deletes the selected image(s) in the browser.

Note: This is not a “hard” delete. Deleted files are moved to the Windows Recycle Bin.


File | Rename Command of the Image Browser

This command of the Image Browser renames the selected image in the browser.


File | Resize Command of the Image Browser

This command of the Image Browser resizes the selected image(s) in the browser.

Dialog Controls:

Control	Function

Maximum Size	This button sets to resize to a maximum size. An image is only resized smaller if it is larger than the settings of the New Width and New Height buttons.

Absolute Size	This button sets to resize to an absolute size. An image is resized smaller or larger to fit within the settings of the New Width and New Height buttons.

Percentage of Original	This button sets to resize to a percentage of original size. An image is resized using the setting of the Percentage button.

New Width	This button sets the resize width in pixels.

New Height	This button sets the resize height in pixels.

Percentage	This button sets the percentage of original size.

Use Interpolation	This box sets to use a Bilinear interpolation method when resizing 24-bit images. A Nearest Neighbor method is used when this button is not check in use.

Notes:

•	An image’s aspect ratio is never altered by this command. An image’s aspect ratio is the relationship between its height and width.

•	A Nearest Neighbor interpolation method is always used when resizing non 24-bit images, regardless of the state of the Use Interpolation button.


File | Copy Command of the Image Browser

This command of the Image Browser copies the selected image(s) in the browser to a disk directory.


File | Move Command of the Image Browser

This command of the Image Browser moves the selected image(s) in the browser to a disk directory.


File | Send to Mail Command of the Image Browser

This command of the Image Browser sends to mail the selected image(s) in the browser. Choosing this command opens your default Send to Mail Recipient program with the selected image(s) attached to the mail message.


File | Send to FTP Command of the Image Browser

This command of the Image Browser sends the selected image(s) in the browser to an Internet Server via FTP. Choosing this command opens the FTP Directory (login)  dialog box.


File | Preferences Command of the Image Browser

This command of the Image Browser sets preferences for the Image Browser.

Dialog Controls:

Control	Function

Width	This box sets the width of the zoom window displayed with the File | Zoom command of the Image Browser.

Height 	This box sets the height of the zoom window displayed with the File | Zoom command of the Image Browser.

Save as BMP	This box sets to save thumbnail images used for display in the browser to a 24-bit BMP format.

Save as TIFF	This box sets to save thumbnail images used for display in the browser to a 24-bit TIFF format.

Save as JPEG	This box sets to save thumbnail images used for display in the browser to a 24-bit JPEG format.

Format	This box sets the file format used in the creation of thumbnail images FTPed to Internet Servers using the File | Upload Edits/Thumbnails to FTP Directory command of the Image Browser.

Bits Per Pixel	This box sets the bits per pixel used in the creation of thumbnail images FTPed to Internet Servers using the File | Upload Edits/Thumbnails to FTP Directory command of the Image Browser.

Interlaced	This box sets to save an interlaced GIF file when GIF is selected in the Format box.

Dithered	This box sets to save a dithered GIF file when GIF is selected in the Format box.

High Speed Refresh	This box sets the Image Browser to a high speed refresh mode. When this box is selected the display of thumbnail images will not scroll as they are added to the browser when you change directories, or choose the View | Refresh Browser or the View | Rebuild Browser commands of the Image Browser.

Note: The Image Browser opens directories significantly faster when the High Speed Refresh box is checked.


File | Shut Down Browser Command of the Image Browser

This command of the Image Browser shuts down the Image Browser and removes it from memory.


Edit | Select All Command of the Image Browser

This command of the Image Browser selects all images in the browser.


Edit | Deselect All Command of the Image Browser

This command of the Image Browser deselects all images in the browser.


Edit | Invert All Command of the Image Browser

This command of the Image Browser inverts the selection state of all images in the browser.


Edit | Search Command of the Image Browser

This command of the Image Browser searches the file names of the images in the browser. The browser selects the file that fits your search as you type.

Dialog Controls:

Control	Function

Search	Inside this field you type the name of the file to find.


View | Large Icon Command of the Image Browser

This command of the Image Browser sets the display of thumbnail images in the browser to a Large Icon view. Large Icon is the size set in the View | Thumbnail Size command of the Image Browser.


View | Small Icon Command of the Image Browser

This command of the Image Browser sets the display of thumbnail images in the browser to a Small Icon view. Small Icon is ½ the size set in the View | Thumbnail Size command of the Image Browser.


View | List Command of the Image Browser

This command of the Image Browser sets the display of thumbnail images in the browser to a List view. List view displays small icons and lists the files from top-to-bottom / left-to-right within the browser.


View | List - No Thumbnails Command of the Image Browser

This command of the Image Browser sets the display in the browser to a List view without thumbnail images.


View | Details Command of the Image Browser

This command of the Image Browser sets the display of thumbnail images in the browser to a Details view. Details view displays small icons and lists the files from top-to-bottom with columns for Image, Width, Height, and Special. The Special column may display the words “Multi-page” for files that are multi-page (for example: an animated GIF file), and/or “Compressed” if a file is in a compressed state on disk.


View | Sort Ascending Command of the Image Browser

This command of the Image Browser sorts the images in the browser in an ascending order based on file name.


View | Sort Descending Command of the Image Browser

This command of the Image Browser sorts the images in the browser in a descending order based on file name.


View | Display Filter Command of the Image Browser

This command of the Image Browser filters the file formats displayed in the browser.


View | Thumbnail Colors | 16 Million Colors Command of the Image Browser

This command of the Image Browser sets to display thumbnail images with 16.7 million colors.


View | Thumbnail Colors | 65,536 Colors Command of the Image Browser

This command of the Image Browser sets to display thumbnail images with 65,536 colors.


View | Thumbnail Colors | 256 Colors Command of the Image Browser

This command of the Image Browser sets to display thumbnail images with 256 colors.


View | Thumbnail Colors | 16 Colors Command of the Image Browser

This command of the Image Browser sets to display thumbnail images with 16 colors.


View | Thumbnail Size Command of the Image Browser

This command of the Image Browser sets the size of the thumbnail images displayed in the browser.

Dialog Controls:

Control	Function

Thumbnail Size in Pixels	This box sets the size of the thumbnail images in the browser.


View | Background Color Command of the Image Browser

This command of the Image Browser sets the background color of the browser.


View | Text Color Command of the Image Browser

This command of the Image Browser sets the text color in the browser.


View | Refresh Browser Command of the Image Browser

This command of the Image Browser refreshes the thumbnails displayed in the browser. When this command is chosen, all thumbnail images belonging to the file directory currently displayed in the browser are reloaded.


View | Rebuild Browser Command of the Image Browser

This command of the Image Browser rebuilds the thumbnails for the directory displayed in the browser.


View | Delete FTP Cache Command of the Image Browser

This command of the Image Browser deletes the cache the browser uses to mirror your FTP directories.

Note: It is important that you do not alter the directories and/or files within ColorWorks’ FTP directory on your local system using anything outside ColorWorks. This is where ColorWorks maintains its cache and synchronized mirrors of your FTP directories.


Window | Show Status Bar Command

This command is a toggle for either showing or hiding the Program Status Bar. Choosing this command will cause it to change to the alternate setting.

The Status Bar has three parts; the Cursor Area, the Current Cursor Color display, and the Message Area. The Cursor Area gives you feedback as to the image co-ordinate location of your cursor, and the color component values of image pixels when using the Color Picker tool. The Current Cursor Color displays the image color directly under the cursor, and can also open and close the Used Color Well. The Message Area gives you usage information as to the choices your cursor is over, and feedback as to your operations.

Note: When using the Color Picker tool, the Cursor Area of the Status Bar will report pixel colors in either the RGB, CMY, HLS, HSV, or the HTML (Hex) color model as set by the File | Preferences command.


Window | Show Title Bar Command

This command is a toggle for either showing or hiding the ColorWorks application Title Bar. Choosing this command will cause it to change to the alternate setting.


Help Menu

Help Topics

About ColorWorks 3

Auto-Update (Rev. 3.xxx)


Help | Help Topics Command

This command opens the program Help System.


Help | About ColorWorks 3 Command

This command opens the program information window.


Help | Auto-Update (Rev. 3.xxx) Command

This command is used to automatically connect ColorWorks to SPG, and update the program to the Current Revision Number. The Revision Number (Rev. 3.xxx) of your ColorWorks is displayed in the command.

Note: If your ColorWorks program is updated to a later Revision Number using this command, this manual will also be updated to reflect any program changes. Summaries of all Revisions applied with this command will be given in the Program Revision History reference.


To Auto-Update Your ColorWorks


To Auto-Update Your ColorWorks

To Auto-Update Your ColorWorks

1.	Choose the Help | Auto-Update (Rev. 3.xxx)  command.

2.	ColorWorks will automatically connect itself to SPG.

3.	If your ColorWorks is not the Current Revision Number of the program, the necessary update files will be downloaded and you will be requested to reboot your computer for ColorWorks to bring itself up to the current revision. If your ColorWorks is already up to the Current Revision Number, you will be notified so.


Using the Web Tools and Internet Features

Using the Web Saver

Using the Image Mapper

Using the GIF Animator

Using the Animated GIF Player

Using the Web Graphics Spider

Using the JPEG Cleaner Effect

Using the Tile Viewer

Using the Web Background Renderer

Using the 3D Text Renderer

Using the 3D Text Animator

Using the 3D Web Object Renderer

Using the 3D Web Object Animator

e-mailing Images from ColorWorks

FTPing Images from ColorWorks

Creating Web-Site Thumbnail Image Galleries

Snatching Images and Files from Your Internet Browser

Managing Images on an Internet Server with the Image Browser

Surfing FTP Sites for Images with the Image Browser


Using the Web Saver

The goal in using the Web Saver is to save the fastest-downloading web images of the most reasonable quality. The ColorWorks Web Savers accomplishes this goal by enabling you to save images in a web file format (GIF and JPEG) after visually “tuning” them to the smallest file size and fastest download time possible, while maintaining the “look” of the images you want. In addition, the Web Saver can exactly preview how the image will appear on a given web-page, by allowing you to set the Web Saver background to the same color or background image you use on your web-pages, and by dynamically showing image transparencies.

Understanding Color on the Web - How Internet Browsers Render Your Web Images

Colors on the Web are defined by the devices that view them, the various Internet Browsers. To understand how your images will look to those who view them on the Web, you need to know how Internet Browsers render images. When an Internet Browser is running on a 24-bit video system it can render any color that any image may have within it. A 24-bit video system can render any GIF or JPEG image, and never has to dither or approximate a color. When an Internet Browser is running on a high-color (15-bit, 16-bit) video system, it never has to dither GIF images, and if it has to dither a JPEG image it is rarely noticeable that it has. Running on an 8-bit video system is the exception, and source of all concern over what palette you save a GIF file with. On an 8-bit 256 color system, an Internet Browser forces a dither of all GIF images except those that match its Browser palette, and dithers all JPEG images dramatically.

Tip: Color Matching Systems for Web Images are Meaningless: Preparing images for display on the Web is very different from that for printing press output. The Web offers no opportunity for a definitive “closed-loop” matching system for all colors. For press printed images there is a single delivery mechanism or output, that being a know set of inks on a known paper. On the Web, the delivery mechanism is the millions of different combinations of video adapters, monitors, Internet Browsers, and Operating Systems that may view your web images. This makes color matching for web images impossible. Individual viewers of your web images simply get the best rendering of your images that their system will allow. Depending on how fully you want to accommodate 8-bit users, the only colors that may matter when saving web images are the 216 colors of the Browser-Safe (6 6 6 Internet) palette. If you want to use these colors, ColorWorks comes with a Color Palette of these colors (Netscape 666) for you to paint with, and can save a file with these colors (using the 6 6 6 Internet Palette) in both the Web Saver and the File Save dialog.

A Simple 3-Step Process to Saving Web Graphics

1.	Determine how fully you want to accommodate 8-Bit users.

2.	Choose to use a GIF or a JPEG web save.

3.	If you choose GIF, choose between a “Browser-Safe” palette and an Adaptive palette, and web save the file. If you choose JPEG, web save the file.

Step 1: Determine How Fully You Want to Accommodate 8-Bit Users

Although you may be designing your images on a 24-bit video system, not all people who are going to view your web images are going to have a high-color or a 24-bit video system themselves. Many may only have an 8-bit 256 color capable video system. There in lies the issue. Users who view your images with a high-color or 24-bit system will see your web images as you did. But, users that view your images with 8-bit systems may get poor quality renderings of the very same images because their Internet Browsers have to dither them.

In reality, having an Internet Browser dithering images is usually not as bad as it sounds. Internet Browsers running in an 8-bit mode have their own 216 color palette, plus some of the system colors to use in rendering images, and they usually do a pretty good job at it. But if you want all viewers of your web images to see exactly the same GIF image, all you need to do is simply save them using the 666 (Internet) palette. JPEG images will always dither on 8-bit system because they are a 24-bit format. 8-bit users simply get what they get when viewing JPEG images. Again it is not as bad as it sounds, an Internet Browser’s palette (the same as the 6 6 6 Internet) is evenly spaced across the full range of 24-bit values, and the dithering is often hidden nicely within the photographic image.

When saving web images you have to make a decision as to how you are going to account for or not account for 8-bit users. This decision is about whether you are going to save (and maybe even design) your images for dither-free viewing on 8-bit video systems by saving them with the 666 (Internet) palette or not.

The choice is yours. Some webmasters always save GIF images with a Browser-Safe palette and never use JPEG. All of their users see the very same images regardless of video system. Other webmasters use a Browser-Safe palette for GIF files and use JPEG for their photographic images. They know all users will view the GIF images the same and only 8-bits users will see somewhat different JPEG images (knowing the Internet Browsers do a pretty good job at dithering anyway). Still other webmasters just make their images as attractive as possible, saving the GIF files with adaptive palettes, the photographic images as JPEG files, and just let the 8-bit users get what they get (again knowing the Internet Browsers do a pretty good job at dithering images anyway). Lastly, some webmasters may have a web-site dedicated to distributing photographic JPEG images, knowing most of their audience who are seeking the offered 24-bit images, are very likely to have a 24-bit video setup themselves.

Step 2: Choose Between a GIF or JPEG Web Save

A GIF file save tends to yield a better-looking image and smaller file size when the image consists of flat areas of color or line art. A GIF file save is what you want to use for icons, buttons, non-photographic images, and images of that use a small number of distinct colors. The JPEG file format is designed for compressing continuous tone image like photographs, and yields better-looking images and smaller file size for continuous tone images. Images that have sharp or contrasting edges are not a continuous tone image, and do not result is good-looking JPEG images.

The ColorWorks Web Saver offers an easy answer to the question as to whether a GIF or a JPEG save would be best for a given image. It takes all of the guess-work out of this issue. It is a visual web-saving lab, allowing you to test any format, palette, dither, transparency, and do comparisons all before you save the image. ColorWorks allows you to open as many Web Savers as you like, for easy side-by-side comparisons of various settings. To find out which file format would be better for a given image, just open two Web Savers, set one to GIF, the other to JPEG, set both Web Savers to save the image with an acceptable quality “look”, and save the image using the Web Saver that offers the smallest Size (and fastest Download Time).

Note: For continuous-tone images that lend themselves to JPEG compression, a saved JPEG file may be as small as 25% the size of a similar looking GIF file.

Tip: Saving Continuous Tone Images as GIF Files: Knowing that a continuous tone image is normally saved as a JPEG file because of the smaller file size, you may still want to save it as a GIF file to take advantage of the transparency option. If you want to do this, use an adaptive Palette option (Median Cut, Octree, Popularity) and the lowest acceptable number of Colors for the best results.

Step 3 for GIF: Choose Between a “Browser-Safe” or an Adaptive Palette, and Web Save the File

Choosing between using a Browser-Safe (6 6 6 Internet) or an adaptive palette (Median Cut, Octree, Popularity) is completely dependent upon how much you want to accommodate 8-bit users. An adaptive palette generated from the actual image colors will almost always yield a better-looking image than using a fixed palette like the 6 6 6 (Internet) option. However, it you want to accommodate 8-bit users and save a dither-free image, save them using the 6 6 6 (Internet) palette option.

To Web Save to a GIF File

1.	Make the canvas image that you want to web save the current canvas.

2.	Choose the Web Tools | Web Saver command to open the Web Saver.

3.	Select GIF in the Format box.

4.	Select the number of colors (bits per pixel) in the Colors box.

5.	Select a palette from the Palette box.

6.	Select a dither from the Dither box.

7.	Select the Interlaced box to save an Interlaced GIF file. An interlaced GIF file renders in an Internet Browser as a sequence of overlays, with each overlay becoming progressively higher in quality.

8.	Select the Save Transparency box to save a Transparent GIF file. This transparent color is displayed in the Transparent box, and is selected directly from the image in the Web Saver.

9.	If necessary, change your settings until the state of the Web Saver reflects how you want to save the GIF file.

10.	Choose the File | Save Image command of the Web Saver, and save the image.

Tips:

•	Always keep 24-bit copies of your web images. This ensures that if you need to edit a web saved image, you can always go back to the best quality image, edit it, and reduce its colors/quality when it is web saved again.

•	GIF files use LWZ compression in saving images. You can help LZW  work better by designing your images to enhance the compression. LZW compresses graphics by the row or horizontal line of pixels, and records color changes. If there is one solid color in a particular image row, that row will be saved at maximum compression. The fewer color changes on a row, the better the compression, the smaller the file, the faster the image downloads. So when possible, do not introduce extra vertical details or noise (note that dithering adds noise) into images that you are going to save as GIF if you want the smallest images possible. Therefore, if you are going to use gradients within your images, horizontal gradients will compress better than vertical ones.

Step 3 for JPEG: Web Save the File

To Web Save to a JPEG File

1.	Make the canvas image that you want to web save the current canvas.

2.	Choose the Web Tools | Web Saver command to open the Web Saver.

3.	Select JPG in the Format box.

4.	Set the JPEG quality factor with the Quality Factor button. A high quality factor setting equals a lower image compression ratio, and a larger file size. A low quality factor setting equals a high compression ratio, and a smaller file size. If you choose a high level of compression there will be a noticeable degree of image degradation or quality loss.

5.	Set the smoothing factor with the Smoothing button. Smoothing an image during the JPEG compression process often results in smaller JPEG files. However, if you choose a high level of smoothness there will may a noticeable degree of smoothing/softening and quality loss in the resulting JPEG image.

6.	Select the Progressive box to save a progressive JPEG file. A Progressive JPEG file renders in an Internet Browser as a sequence of overlays, with each overlay becoming progressively higher in quality.

7.	Select the Greyscale box to save an 8-bit greyscale JPEG file.

8.	If necessary, change your settings until the state of the Web Saver reflects how you want to save the JPEG file.

9.	Choose the File | Save Image command of the Web Saver, and save the image.

Tip: Always keep 24-bit copies of your web images. This ensures that if you need to edit a web saved image, you can always go back to the best quality image, edit it, and reduce its colors/quality when it is web saved again.


To Set the Web Saver Background to a Color or Wallpaper

To Set the Number of Colors for a GIF File

To Set the Dithering and Palette for a GIF File Save

To Set the Transparent Color of GIF File

To Set a User-Defined Palette of a GIF File

To Set to Save a 1-Bit Color GIF File

To Set the Preview Image View

To Move a Zoomed-in Preview Image Within Its Window

To Save a Web Saver Image

To Open Multiple Web Savers for Side-by-Side Comparisons


To Set the Web Saver Background to a Color or Wallpaper

The background of the Web Saver can be set to any color or wallpaper image of your choice. This allows you to preview web images exactly as they will be displayed on a given web-page (including Transparency for GIF saves) when viewed by an Internet Browser. Setting the Web Saver background takes all of the guess-work out of how an image will look when displayed on a web-page surrounded by the set background color (BGCOLOR=”color”) or tiled background image (BACKGROUND=”imagename”) of a given web-page.

To Set the Web Saver Background to a Color or Wallpaper

1. 	Click Button 2 over-top of any part of the Web Saver preview area.

2. 	Select the Hatch Pattern, Color, or Wallpaper command to set your desired background.

Note: The selected background (hatch pattern, color, wallpaper) is displayed as is. Their appearance is not altered by the controls that affect the preview image within the Web Saver. When building your web-pages in your HTML Editor, it is up to you to set a background color or use a tiled background image (probably also saved with the Web Saver) that have colors from a given palette, like a 6 6 6 (Internet) palette.


To Set the Number of Colors for a GIF File

The number of colors or bits-per-pixel (also known as bit depth) is the main determining factor to the resulting saved GIF file size.

To Set the Number of Colors for a GIF File

1.	If you want the image to only use “Browser-Safe” colors set the Palette box to the 6 6 6 (Internet) option.

2.	Note the image’s Original Number of Colors given in the Status Bar of the Web Saver. When the number of original colors is significantly less than that allowed by the setting in the Colors box, then you can lower the setting in the Colors box, which reduces the resulting file size and results in zero loss of image quality.

3.	Set the Colors box to the closest setting that is just above the Original Number of Colors in the image or to 256 colors if the Original Number of Colors is greater than 256. The image quality of the preview image should not change.

4.	Set the Colors box to one setting below its current, and see if the image quality has changed. Also try using the different options of the Dither box. Often dithering will allow you to reduce the Colors box setting below the Original Number of Colors and still result in an acceptable looking image.

5.	Continue reducing the setting of the Colors box until the image no longer looks acceptable.

6.	Set the Colors box up one setting to the last setting that presented an acceptable looking image.

Tips:

•	When to Use the Error Diffusion or Ordered Dither Dithering Options: Use the Error Diffusion or Ordered Dither option on continuous tone images (like photographs). In addition, you want to use one of these two dithering options on images that have smooth gradients or use anti-aliasing (also considered a gradient).

•	When to Use the Closest Match Dithering Option: Use the Closest Match dither option on images consisting of flat areas of color or line art, and on images where you specifically do not want the illusion of non-palette colors generated on the image.


To Set the Dithering and Palette for a GIF File Save

Dithering and Palettes

When images are saved in an 8-bit format or less, they are saved with a color palette as part of the file. This color palette represents all of the colors found within the image data. Often the number of colors within a canvas image will be greater than that allowed by a given bits-per-pixel, and/or the colors within the canvas image are not found on the palette that you wish to save the image with. Dithering methods are used to reduce the number of colors within an image to those of a given palette, using a pattern of adjacent pixels to simulate the appearance of colors not found on the palette. Dithering allows you to significantly reduce an image’s file size while still maintaining a reasonably good-looking image when compared to the original.

GIF Dithering Options:

Method	About

Closest Match	This dithering method (often referred to as “no dithering”) replaces the colors of the image with a color of the palette that is the closest match of the original canvas image color. Since this method does not use a pattern to reduce image colors to those of a given palette, the appearance of colors outside the palette is not generated.

Error Diffusion	This high-performance dithering method uses a pattern that produces a “grainy” looking image and yields great results.

Ordered Dither	This high-performance dithering method uses a pattern that produces a “silk-screen” look and yields great results.

GIF Palette Options:

Palette	About

Median Cut	This is a method of generating an adaptive or optimized color palette based on the colors of the image itself. This very high-performance method of palette generation is considered to be the highest quality method known.

Octree	This is a method of generating an adaptive or optimized color palette based on the colors of the image itself. This is also a very high-performance method that yields great results.

Popularity	This is a method of generating an adaptive or optimized color palette based on the colors of the image itself. The most frequently occurring colors within the image are used for the palette.

Windows	This is the fixed 16 color Windows Palette.

6 7 6 	This is a fixed 252 color palette created using all combinations of 6 shades of red, 7 shades of green, and 6 shades of blue.

6 6 6 (Internet)	This is a fixed 216 color palette created using all combinations of 6 shades of red, 6 shades of green, and 6 shades of blue. It is know as the Netscape or “Browser-Safe” palette.

5 5 5	This is a fixed 125 color palette created using all combinations of 5 shades of red, 5 shades of green, and 5 shades of blue. It is a palette often used by the Netscape Navigator running under Unix.

8 8 4 	This is a fixed 256 color palette created using all combinations of 8 shades of red, 8 shades of green, and 4 shades of blue.

4 8 8 	This is a fixed 256 color palette created using all combinations of 4 shades of red, 8 shades of green, and 8 shades of blue.

Grey	This is a fixed greyscale palette.

Current Palette	This is a method for you to specify a user-defined or custom 2 to 256 color palette to be used for the image, using the colors of the current state of the Color Palette on the ColorWorks Desktop.

Swatches	This is a method for you to specify a 2 color palette to be used for 1-bit file saves using the colors of the 1 Bit Background and 1 Bit Foreground buttons (swatches). This option is only visible within the Palette box when “1 Bit 2” Colors is selected in the Colors box.

Tips:

•	Saving a GIF File for Use on an Internet Web-Page: Use the 6 6 6 (internet) Palette option if you are saving an image for use on the Internet and you want to make sure the colors of the image will remain the same when viewed using an 8-bit only video system. The 6 6 6 palette, also known as the Netscape or “Browser-Safe” palette, has the exact same colors that nearly all PC and Macintosh Internet Browsers use to display images if they are running in an 8-bit / 256 color video mode. Using a Median Cut or Octree Palette option will almost always result in a better-looking GIF image over the 6 6 6 Palette, because the palette is generated based on the actual colors within the image. However, Median Cut and Octree Palettes are not “Browser-Safe”.

•	Saving a GIF File Using the 5 5 5 Palette: Use the 5 5 5 Palette option if you are saving an image for use on the Internet and/or a Unix-based company Intranet, and you want to make sure the colors of the image will remain the same for viewing using any Unix based 8-bit only video system. Although Netscape Navigator under Unix can use a 6 6 6 palette if allowed by a particular system, the 5 5 5 palette is the one most often used by the Netscape Navigator when running in an 8-bit / 256 color video mode under Unix.

•	When to Use the Error Diffusion or Ordered Dither Dithering Options: Use the Error Diffusion or Ordered Dither option on continuous tone images (like photographs). In addition, you want to use one of these two dithering options on images that have smooth gradients or use anti-aliasing (also considered a gradient).

•	When to Use the Closest Match Dithering Option: Use the Closest Match dither option on images consisting of flat areas color or line art, and on images where you specifically do not want the illusion of non-palette colors generated on the image.


To Set the Transparent Color of a GIF File

To Set the Transparent Color of a GIF File

1.	Select the Color Picker Tool button from the Web Saver Task Bar.

2.	Move your cursor over-top of the preview image in the Web Saver, and the cursor turns into a color picker tool.

3.	Position the color picker over-top of the image location that has the color that you want to select as the transparent color, and click Button 1. The selected color will fill the Transparent box.


To Set a User-Defined Palette of a GIF File

When the Current Palette option is selected in the Palette box, the current colors of the Color Palette are used as the palette for the GIF image. The number of Color Palette locations used as the palette for the GIF file is equal to the number of colors set in the Colors box.

To Set a User-Defined Palette of a GIF File Save

1.	Select the desired number of colors in the Colors box.

2.	Select the Current Palette option in the Palette box.

3.	Edit the number of locations (starting from the lower-left corner and moving up and to the right) of the Color Palette that is equal to the number of colors that you selected to save the GIF file with. For example: If you set the Colors box to 5-Bit - 32 Colors, the Web saver will use the first 32 colors of the Color Palette (the first 2 columns) for the GIF image’s palette, and ignore the rest of the Color Palette.

Note: The locations on the Color Palette are identified from bottom-to-top and left-to-right. Hence, the “first color” on the Color Palette is the lower-left location, and the “last color” is the upper-right location.

Tip: The Color Palette is 16 columns wide, with 16 colors per column. This makes knowing what locations of the Color Palette will be used with the Current Palette option easy to determine:

•	1-Bit 2 Colors = Bottom 2 locations of the first column. The first location will be the Background color, and the second location will be the Foreground color.

•	2-Bit 4 Colors = Bottom 4 locations of the first column.

•	3-Bit 8 Colors = Bottom 8 locations or ½ of the first column.

•	4-Bit 16 Colors = First column of the Color Palette.

•	5-Bit 32 Colors = First 2 columns of the Color Palette.

•	6-Bit 64 Colors = First 4 columns or ¼ of the Color Palette.

•	7-Bit 128 Colors = First 8 columns or ½ of the Color Palette.

•	8-Bit 256 Colors = All 16 columns of the Color Palette.


To Set to Save a 1-Bit Color GIF File

In ColorWorks a 1-bit file save does not equal black and white images only. ColorWorks allows you to set which 2 colors to use for your 1-bit file saves. Color 1-bit GIF files can be saved using either the Swatches or Current Palette option in the Palette box.

How Image Colors are Reduced to the Foreground and Background Color

The basis for the terms “foreground color” and “background color” comes from saving a traditional 2-color image of black text on a white background. Traditionally, the black text in an image is considered the “foreground”, and the white is considered the “background”. A reduction of a canvas image to 2 colors is performed using a 50% brightness threshold method. All image colors above a brightness value of 127 are considered background or white. Conversely, image colors below a brightness value of 127 are considered foreground or black. ColorWorks simply allows you to set the two colors (rather than just black and white) that are used to color the image after the threshold reduction to 1-bit.

Note: The brightness of a canvas image’s pixels is the only determining factor as to what image areas are considered Foreground Color or Background  Color. The actual foreground and background image elements of a particular canvas have no bearing whatsoever on the 1-bit reduction process.

Tip: Designing your images for a 1-bit file save in advance yields the most predictable results. If you design an image as a black element(s) on a white background from the start, there are no “surprises” as to how the image will be colored when you reduce the image to 1-bit. All black areas of the original image will be set to the color of the Foreground Color button and all white areas will be set to the color of the Background Color button.

To Set to Save a 1-Bit Color GIF File using the Swatches Palette Method

1.	Select the 1 Bit - 2 Color option in the Colors box.

2.	Select the Swatches option in the Palette box.

3.	Select the 1 Bit Background button, and select a background color using the Color Editor.

4.	Select the 1 Bit Foreground button, and select a foreground color using the Color Editor.

Tip: To Save a 1-bit GIF with “Browser-Safe” Colors Using the Swatches Palette Method: There are two methods of setting the swatches to Browser-Safe colors. The first method is to use the Colors Palette. 1. Set the Color Model control to RGB in the File | Preferences command. 2. Click on either the Foreground Color or Background Color button to open the Color Editor. 3. Load the Netscape 666 palette file into the Color Palette, and move the cursor over-top of the Color Palette to the color that you like. 3. Make note of the RGB value of that color on the Program Status Bar. 4. Enter those RGB values into the Color Editor. The second method is to use the “Browser-Safe” Palette (Hex, Decimal) reference in this manual to get the RGB color values of the Browser-Safe colors you like, and then enter those RGB values into the Color Editor.

To Set to Save a 1-Bit Color GIF File Using the Current Palette Method

1.	Select the 1 Bit - 2 Color option in the Colors box.

2.	Select the Current Palette option in the Palette box.

3.	Edit the first 2 locations of the Color Palette to the desired Background color (first palette location) and Foreground color (second palette location) for the GIF file. The first location of the Color Palette will be used for the Background color of the GIF file, and the second location will be used for the Foreground color.

Tip: To Save a 1-bit GIF with “Browser-Safe” Colors Using the Current Palette Method: Load the Netscape 666 palette file into the Color Palette. Then use the Palette Editor to copy the two colors you like to the first two palette locations.


To Set the Preview Image View

The preview image view can be set to a 100% actual view, or a zoomed-in view of 200% or 400%.

To Set the Preview Image View

1.	Move the cursor over-top of the preview image area. Click Button 2 to open the preview image properties menu.

2.	Select either the 100%, 200%, or 400% command. The preview image view will change to the selected setting.


To Move a Zoomed-in Preview Image Within Its Window

To Move a Zoomed-in Preview Image Within Its Window

1.	Select the Move Image Tool button from the Web Saver Task Bar.

2.	Move the cursor over-top of the preview image area. You will notice the cursor assume the shape of the move arrow cursor. Click and hold down Button 1.

3.	By moving the mouse you can move the zoomed-in preview image around its window. When you are done moving release Button 1.

Tip: You do not have to put the move arrow cursor within the bounds of the preview image in order to move it. The preview image always moves relative to the movements of the move cursor when Button 1 is depressed within the preview image area.


To Save a Web Saver Image

Images within a Web Saver can be saved using the File | Save Image command of the Web Saver, or with a drag-and-drop to the Image Browser.

To Save a Web Saver Image to the Image Browser

Perform a drag-and-drop of the image to the Image Browser:

1.	Position your cursor over-top of the image (not over-top of any invalid area shown as a hatch pattern) you want to save.

2.	Click and hold down Button 2. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor off the canvas and over-top of the Image Browser, and release Button 2.

4.	The Web Save dialog box opens.

5.	Save the image.

Note: The Web Save dialog will default to the current Image Browser directory (Disk or FTP) to save the image to.


To Open Multiple Web Savers for Side-by-Side Comparisons

You can open as many Web Savers as you like.

To Open Multiple Web Savers

Simply select the Web Saver button on the Program Task Bar, or choose the Web Tools | Web Saver command again to open another Web Saver.


Using the Image Mapper

ColorWorks’ Image Mapper is used to create and edit image map files for use with hyper-graphic images on web-pages. The Image Mapper can work with both client-side HTML image maps, and server-side image maps in the NCSA and CERN formats. Image maps are created by defining Hot Spot Objects over-top of the image that the map file is to be associated with on the web-page.

To Create an Image Map File

1.	Open an image into the Image Mapper by using the File | Open Image command of the Image Mapper, or by a drag-and-drop of an image from the Image Browser, Windows Explorer, or another Windows program.

2.	Define the hot spot objects for the image.

3.	Choose the File | Save Map command of the Image Mapper, opening the Generate Image Map Code dialog box.

4.	Select to save the map file in a Server Side NCSA format, a Server Side CERN format, or a Client Side HTML format.

5.	Enter a name for the file.

6.	Select the Save button.

Notes:

•	The Image Mapper is completely integrated into ColorWorks. Images from the ColorWorks Image Browser, Windows Explorer, or another Windows program can be drag-and-dropped to the Image Mapper for use in creating an image map. You can even drag-and-drop a previewed Internet Server image in the FTP Directory dialog to the Image Mapper.

•	If when using the Object Picker tool, you selecting a point of the image where two or more hot spot objects overlap, the object defined first is selected. This is the same way an Internet Browser would resolve overlapping objects.

•	The URL links of your hot spot objects can be any valid type of URL (Uniform Resource Locator).

Tips:

•	Using an HTTP URL: HTTP URLs link to files, directories, or server-side programs accessible using the HTTP protocol. The format of an HTTP URL is http://internet.address/resource (where the resource can be a file, directory, or server-side program).

•	Using an FTP URL: FTP URLs link to files and directories accessible using the FTP protocol. An anonymous login is assumed when no username and password are used in the URL. The format of an anonymous login FTP URL is ftp://internet.address/path/file. A non-anonymous FTP URL would look like ftp://username:password@internet.address/dir/file.

•	Using a MAILTO URL: MAILTO URLs link to send mail to a designated e-mail address. The format of a MAILTO URL is mailto:mail_address.

•	Using a NEWS URL: NEWS URLs link to a USENET Newsgroup. The format of a NEWS URL is news:news.group.name. A NEWS URL linked to a specific News Server and USENET Newsgroup would look like news://internet.address/newsgroup.

•	Using a TELNET URL: TELNET URLs link to a remote computer using the Telnet protocol. The format of an anonymous login TELNET URL is telnet://internet.address. An example of a TELNET URL requiring a username and password is telnet://username:password@internet.address

•	Using a WAIS URL: WAIS URLs link to WAIS Servers. The format of a WAIS URL is wais://internet.address/database?search.

•	Using a Gopher URL: GOPHER URLs link to Gopher Servers. The format of a GOPHER URL is gopher://internet.address/Tselector_string (where T is the Gopher typecode and selector_string is the Gopher selector string). A GOPHER URL link to the root of a Gopher Server would look like gopher://internet address.


To Open a Map File

To Set the Default URL

To Define a Rectangle Hot Spot Object

To Define a Circle Hot Spot Object

To Define a Polygon Hot Spot Object

To Edit the Default URL

To Edit a Hot Spot Object Link

To Resize a Hot Spot Object

To Move a Hot Spot Object

To Delete the Default URL

To Delete a Hot Spot Object

To Save a Map File


To Open a Map File in the Image Mapper
To Open a Map File

To Open a Map File

1. 	Choose the File | Open Map command of the Image Mapper, opening the Open Image Map dialog box.

2. 	Select a file to open.

3. 	Select the Open button.


To Set the Default URL

To Set the Default URL

1.	Choose the Edit | Default Hot Spot command of the Image Mapper, opening the Image Map Default Properties dialog box.

2.	Enter a URL in the URL field.

3.	Optionally enter a frame target in the Frame Target field (saved with HTML type map files only).

4.	Optionally enter ALT text in the Alternate Text field (saved with HTML type map files only).

5.	Select the OK button.


To Define a Rectangle Hot Spot Object

To Define a Rectangle Hot Spot

1.	Select to use the Rectangle tool from the Image Mapper Task Bar.

2.	Place the cursor at a position on the image where you want to start your rectangle, click and hold Button 1, and move the cursor. You will notice a rubberbanding rectangle that shrinks and grows based on the movement of your cursor.

3.	When the rectangle assumes the size you desire, release Button 1 opening the Image Map Object Properties dialog box.

4.	Enter a URL in the URL field.

5.	Optionally enter a frame target in the Frame Target field (saved with HTML type map files only).

6.	Optionally enter ALT text in the Alternate Text field (saved with HTML type map files only).

7.	Select the OK button.


To Define a Circle Hot Spot Object

To Define a Circle Hot Spot

1.	Select to use the Circle tool from the Image Mapper Task Bar.

2.	Place the cursor at a position on the image where you want to start your circle, click and hold Button 1, and move the cursor. You will notice a rubberbanding circle that shrinks and grows based on the movement of your cursor.

3.	When the circle assumes the size you desire, release Button 1 opening the Image Map Object Properties dialog box.

4.	Enter a URL in the URL field.

5.	Optionally enter a frame target in the Frame Target field (saved with HTML type map files only).

6.	Optionally enter ALT text in the Alternate Text field (saved with HTML type map files only).

7.	Select the OK button.


To Define a Polygon Hot Spot Object

To Define a Polygon Hot Spot

1.	Select to use the Polygon tool from the Image Mapper Task Bar.

2.	Place the cursor at a position on the image where you want to start your polygon, click Button 1, and move the cursor. You will notice a rubberbanding line that shrinks and grows based on the movement of your cursor.

3.	When the line assumes the size and position you desire, click Button 1 again.

4.	You will notice another rubberbanding line that begins at the location where the last one ended.

5.	Move your cursor and click Button 1 again. The line will be drawn and you will get another rubberbanded line.

6.	You could move the cursor and continue defining the polygon lines, or when you are finished defining the polygon click Button 2, opening the Image Map Object Properties dialog box.

7.	Enter a URL in the URL field.

8.	Optionally enter a frame target in the Frame Target field (saved with HTML type map files only).

9.	Optionally enter ALT text in the Alternate Text field (saved with HTML type map files only).

10.	Select the OK button.


To Edit the Default URL

To Edit the Default URL

1.	Select to use the Object Picker tool from the Image Mapper Task Bar.

2.	Place the cursor anywhere over-top of the image that is not part of an object and click Button 1, opening the Image Map Default Properties dialog box.

3.	Edit the URL, Frame Target, and Alternate Text fields.

4.	Select the OK button.

or

1.	Choose the Edit | Default Hot Spot command of the Image Mapper, opening the Image Map Default Properties dialog box.

2.	Edit the URL, Frame Target, and Alternate Text fields

3.	Select the OK button.


To Edit a Hot Spot Object Link

To Edit a Hot Spot Object Link

1.	Select to use the Object Picker tool from the Image Mapper Task Bar.

2.	Place the cursor over-top of the object you want to edit and click Button 1, opening the Image Map Object Properties dialog box.

3.	Edit the URL, Frame Target, and Alternate Text fields.

4.	Select the OK button.


To Resize a Hot Spot Object

To Resize a Hot Spot Object

1.	Select to use the Object Picker tool from the Image Mapper Task Bar.

2.	Place the cursor over-top of the object you want to edit and click Button 1, opening the Image Map Object Properties dialog box.

3.	Set the size of the object using the Height and Width buttons.

4.	Select the OK button.


To Move a Hot Spot Object

To Move a Hot Spot Object

1.	Select to use the Object Picker tool from the Image Mapper Task Bar.

2.	Place the cursor over-top of the object you want to edit and click Button 1, opening the Image Map Object Properties dialog box.

3.	Set the location of the object using the X and Y buttons.

4.	Select the OK button.


To Delete the Default URL

To Delete the Default URL

1.	Select to use the Object Picker tool from the Image Mapper Task Bar.

2.	Place the cursor anywhere over-top of the image that is not part of an object and click Button 1, opening the Image Map Default Properties dialog box.

3.	Select the Clear button.

4.	Select the OK button.

or

1.	Choose the Edit | Default Hot Spot command of the Image Mapper, opening the Image Map Default Properties dialog box.

2.	Select the Clear button.

3.	Select the OK button.


To Delete a Hot Spot Object

To Delete a Hot Spot Object

1.	Select to use the Object Picker tool from the Image Mapper Task Bar.

2.	Place the cursor over-top of the object you want to edit and click Button 1, opening the Image Map Object Properties dialog box.

3.	Select the Delete button.


To Save a Map File

To Save a Map File

1.	Choose the File | Save Map command of the Image Mapper, opening the Generate Image Map Code dialog box.

2.	Select to save the map file in a Server Side NCSA, Server Side CERN, or a Client Side HTML format.

3.	Enter a name for the file.

4.	Select the Save button.


Using the GIF Animator

ColorWorks’ GIF Animators can create, edit, and save animated GIF files for the Web.

Understanding Animated GIFs

An animated GIF file is a basically a multi-page file or a series of individual GIF images (frames) that are bound together into a single file. An “animation” is achieved by displaying or “playing” the individual images one-over-top-of-the-over using a set timing, method of how a particular image over-writes or removes the previous one, and looping.

Working With the ColorWorks GIF Animators

The ColorWorks GIF Animators operates very similar to the ColorWorks Web Savers in that they never commit to their settings until you actually choose to save a file, and then only on that saved file. This gives you the opportunity to experiment with various animator settings, preview the animation using those settings, and only commit to a particular animation when you are satisfied. In fact, the same animation can be saved any number of times using any combination of setting you desire. In order to offer you this flexibility, the frame images themselves are displayed as they were when opened or inserted into the animator. The frame images are used solely to identify the frame, and are not affected by Animation Settings, Frame Settings, and Optimizations. The View | Preview command of the GIF Animator is used to preview how the animation will look if saved with the current animator settings.

A Simple 4-Step Process to Building an Animated GIF

1.	Create and/or Open all of the Frame Images on the ColorWorks Desktop.

2.	Optimize Each Frame Using the Web Saver and Add it to the Animation.

3.	Set to Use a Global Palette if Possible.

4.	Set any Desired Animation Optimizations and Save the Animation.

Step 1: Create and/or Open all of the Frame Images

Create and/or open all of the images you want to use in the animation on the ColorWorks Desktop.

Tip: For faster downloading animations, use the smallest image size (width and height) possible for the frames of the animation and minimize the number of frames within the animation.

Step 2: Optimize Each Frame Using the Web Saver and Add it to the Animation

Use the following procedure to add each of the frames to the animation. After all frames have been added to the animator, select the Preview button to preview the animation, and make adjustments if necessary.

1.	Use the Web Saver (set to GIF) to optimize the image for display on the web, and set any transparency.

2.	Position the cursor over-top of the image within the Web Saver, click and hold Button 2, and drag-and-drop the image to the GIF Animator.

3.	Set the Delay.

4.	Set the Removal.

Tips:

•	Animated GIF files are normally not saved with interlacing, since the fade-in effect of the interlacing tends to make most animations look bad.

•	Paying Attention to the First and Last Frames of an Animation: If your animation is played in an Internet Browser that does not support GIF animations, only the first frame will be viewed. If you are not looping an animation, the last frame will stay on-screen.

Step 3: Set to Use a Global Palette if Possible

When possible, the use of a global palette makes for a smaller animation file. The use of a global palette is possible when some or all images within the animation share the same colors, share the same local palette, or can be dithered to a common palette. If the animation lends itself to use of a global palette, use the following procedure, otherwise skip to Step 4.

1.	De-select the Local buttons on all frames within the animation that you want to use the Global Palette.

2.	Choose the Edit | Animation Properties command of the GIF Animator, opening the Animation Properties dialog box.

3.	Set the Global Palette Type.

4.	Select the OK button.

5.	Select the Preview button to preview the animation, and adjust the Animation Properties if necessary.

Tips:

•	How Using a Global Palette Decreases Download Time: All Animated GIF files have a global palette at the start of the file, and all images within the GIF can use the colors from the global palette or have their own local palette. Each color on a GIF palette takes 3 bytes to store, equaling 768 bytes for an 8-bit 256 color image, 48-bytes for a 4-bit 16 color image, and so on. For a 10-frame 256-color animation the global palette would take 768 bytes versus 10 local palettes that would occupy 7,680 bytes.

•	No damage is done to the animation by setting the frames to use a Global Palette, previewing the animation, and setting the frames back to Local Palettes if you do not like the results.

Step 4: Set Any Desired Animation Optimizations and Save the File

1.	Choose the Edit | Optimizations command of the GIF Animator, opening the GIF Animation Optimizations dialog box.

2.	Select the optimization technique(s) you want to use when saving the animation, and select the OK button.

3.	Select the Preview button to preview the animation, and adjust the optimizations if necessary.

4.	Save the animation file.

Tip: Always keep non-optimized copies of your web animations. This ensures that if you need to edit a previously saved animation, you can always go back to the best quality animation and/or frame images for editing. This is especially true with animations that are saved with the Lossy Frame Differencing optimization  (Frame Differencing with a Quality below 100%). Animations saved with Lossy Frame Differencing should be treated similar to JPEG files. Since you can not back out all of the lost image quality of a lossy compression, you should keep non-optimized copies of your optimized animations, just in case you have to edit them.


To Set the Frame Viewing Size

To Set the Animation Properties

To Set the New Frame Properties

To Add or Insert a Frame

To Move A Frame

To Copy a Frame

To Duplicate a Frame

To Replace a Frame

To Delete a Frame

To Set a Frame's Delay

To Set a Frame's Removal Method

To Set a Frame's Transparent Color

To Set a Frame's X,Y Offsets Using the Offset Using Overlays View

To Optimize a Frame’s Colors Using a Web Saver

To Edit a Frame’s Image

To Copy a Frame’s Properties to All Other Frames

To Preview an Animation

To Visually Set an Animation's Duration

To Set the Animation Optimizations

To Save an Animation

To Save a Selected Frame(s)

To Open Multiple GIF Animators

To Copy Frames Between GIF Animators

To Convert an AVI Movie to an Animated GIF


To Set the Frame Viewing Size

To Set the Frame Viewing Size

1.	Choose the View | Thumbnail Size command, opening the Thumbnail Size dialog box.

2.	Set the thumbnail size using the provided controls.

3.	Select the OK button.

Note: The maximum size of a thumbnail image within the GIF Animator is 700x700 pixels. If you request a view that requires a thumbnail larger than this maximum, the thumbnail images will be scaled-down to fit within the maximum size.


To Set the Animation Properties

All animations inherit the Global Animation Properties set in the Animation Properties dialog box.

To Set the Global Palette Type

The Global Palette Type box sets an animation’s Global Palette. All frames within the animation that are not set to use a Local Palette, use the Global Palette.

Global Palette Options:

Palette	About

Optimized	This is an adaptive or optimized Global Palette generated based on the colors of all of the frames within the animation.

6 7 6 	This is a fixed 252 color Global Palette created using all combinations of 6 shades of red, 7 shades of green, and 6 shades of blue.

6 6 6 (Internet)	This is a fixed 216 color Global Palette created using all combinations of 6 shades of red, 6 shades of green, and 6 shades of blue. It is know as the Netscape or “Browser-Safe” palette.

5 5 5	This is a fixed 125 color Global Palette created using all combinations of 5 shades of red, 5 shades of green, and 5 shades of blue. It is a palette often used by the Netscape Navigator running under Unix.

8 8 4 	This is a fixed 256 color Global Palette created using all combinations of 8 shades of red, 8 shades of green, and 4 shades of blue.

4 8 8 	This is a fixed 256 color Global Palette created using all combinations of 4 shades of red, 8 shades of green, and 8 shades of blue.

Grey	This is a fixed greyscale Global Palette.

Current Palette	This is a method for you to specify a user-defined Global Palette, using the colors of the current state of the Color Palette on the ColorWorks Desktop.

First Frame	This is a method for you to specify a user-defined or custom Global Palette based on the color palette of the first frame in the animation.

To Set the Logical Screen

The Logical Screen is the box, measured in pixels, the animation plays in. Normally the Logical Screen is sized to fully accommodate the size and the X and Y Offsets of all frames within the animation.

Notes:

•	The GIF Animator automatically sizes the Logical Screen to accommodate the size and X,Y Offsets of all frames within the animation.

•	Manually Sizing the Logical Screen: You can not set the Width and Height of the Logical Screen below that which fully accommodates the size, and the X,Y Offsets of all frames within the animation. The Logical Screen can only be sized larger.

To Set the Looping

Looping sets the number of times an animation will repeat when played. Use the Times button to set a specific number of iterations, or use the Infinite box to set the animation to loop forever.

Tip: Paying Attention to the First and Last Frames of an Animation: If your animation is played in an Internet Browser that does not support GIF animations, only the first frame will be viewed. If you are not looping an animation, the last frame will stay on-screen.

To Set the Animation Comment

Use the Comment field to set the optional animation Comment. The contents of this field is stored as the global comment within the saved GIF file.


To Set the New Frame Properties

All frames inserted into an existing animation are considered New Frames. Inserted frames inherit the properties set in the New Frame Properties grouping of the Animation Properties dialog box.

Notes:

•	GIF images inserted into an animation with a drag-and-drop from a Web Saver are assumed to be already optimized and will be inserted with their local palettes intact. Their image colors will not be transformed using the palette and dithering settings in the Animation Properties dialog box.

•	When inserting an animated GIF file into the GIF Animator, the existing animation properties of the file will be honored and the New Frame Properties settings ignored.

Choosing Between a Local or the Global Palette

The Palette box sets new frames to use either a Local Palette or the set Global Palette.

To Set the Dither

The Dither box sets the dithering method used to dither new frames to the Palette (Local or Global) set by the Palette box.

Dithering Options:

Method	About

Closest Match	This dithering method (often referred to as “no dithering”) replaces the colors of the frame image with a color of the palette that is the closest match of the original canvas image color. Since this method does not use a pattern to reduce image colors to those of a given palette, the appearance of colors outside the palette is not generated.

Error Diffusion	This high-performance dithering method uses a pattern that produces a “grainy” looking frame image and yields great results.

Ordered Dither	This high-performance dithering method uses a pattern that produces a “silk-screen” look and yields great results.

To Set the Local Palette Type

The Local Palette Type sets a frame’s local palette if the Palette box is set to Local.

Local Palette Options:

Palette	About

6 7 6 	This is a fixed 252 color Local Palette created using all combinations of 6 shades of red, 7 shades of green, and 6 shades of blue.

6 6 6 (Internet)	This is a fixed 216 color Local Palette created using all combinations of 6 shades of red, 6 shades of green, and 6 shades of blue. It is know as the Netscape or “Browser-Safe” palette.

5 5 5	This is a fixed 125 color Local Palette created using all combinations of 5 shades of red, 5 shades of green, and 5 shades of blue. It is a palette often used by the Netscape Navigator running under Unix.

8 8 4 	This is a fixed 256 color Local Palette created using all combinations of 8 shades of red, 8 shades of green, and 4 shades of blue.

4 8 8 	This is a fixed 256 color Local Palette created using all combinations of 4 shades of red, 8 shades of green, and 8 shades of blue.

Grey	This is a fixed greyscale palette.

Current Palette	This is a method for you to specify a user-defined Local Palette to be used for the image, using the colors of the current state of the Color Palette on the ColorWorks Desktop.

To Choose a New Frame Removal Method

The Frame Removal is the method used to remove or draw-over the current frame with the next frame of the animation. There are four different Frame Removal methods; No Removal, Do Not Remove, Restore to Background Color, and Restore to Previous. The No Removal method draws the new frame over-top of the previous frame and is the same as the Do Not Remove method. The Do Not Remove method does not remove the frame before drawing the next frame of the animation. The Restore to Background Color method restores the area occupied by the frame to the background color before drawing the next frame of the animation. The Restore to Previous method restores the area occupied by the frame with that area’s previous contents before drawing the next frame of the animation.

Note: The Restore to Previous Removal Method is not currently supported by Internet Browsers.

To Set the New Frame Delay

The Frame Delay is the amount of time that a frame is displayed before it is removed or replaced by the next frame in the animation. The Frame Delay button sets the frame delay and is measured in 100ths of a second.

Note: A Delay setting of 100 equals one second.

To Set a New Frame to Interlaced

The Interlaced box sets to save new frames as interlaced. An interlaced GIF file or frame renders in an Internet Browser as a sequence of overlays, with each overlay becoming progressively higher in quality.

Tip: Animated GIF files are normally not saved with interlacing, since the fade-in effect of the interlacing tends to make most animations look bad.


To Add or Insert a Frame

New animation frames can be inserted using the File | Insert commands of the GIF Animator or with a drag-and-drop from outside the GIF Animator.

Notes:

•	An image in any of the ColorWorks supported formats can be inserted, not just GIF.

•	When inserting an animated GIF file into the GIF Animator, the existing animation properties of the file will be honored and the New Frame Properties settings ignored.

•	GIF images inserted into an animation with a drag-and-drop from a Web Saver are assumed to be already optimized and will be inserted with their local palettes intact. Their image colors will not be transformed during insertion using the palette and dithering settings of the Animation Properties dialog box.

To Insert A Frame Using the File | Insert Commands

1.	Position your cursor over-top of the frame where you want to insert, and click Button 1 to select it.

2.	Choose the File | Insert | In Front command, File | Insert Behind command, or the File | Insert | Replace command of the GIF Animator.

To Insert a Canvas Image as a Frame

Perform a Button 2 drag-and-drop of the Canvas Image to the GIF Animator:

1.	Position your cursor over-top of the canvas image (not over-top of any invalid area shown as a hatch pattern) you want to insert.

2.	Click and hold down Button 2. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor off the canvas and over-top of a particular frame within the GIF Animator. A pop-up menu opens.

4.	Choose the Copy In Front, Copy Behind, or the Copy and Replace command.

Notes:

•	The cursor must be positioned over-top of the canvas image when you click Button 2 to initiate a drag-and-drop. Clicking Button 2 over-top of any hatch patterned region of the canvas window or parts of the canvas window that are not part of the image, will not initiate a drag-and-drop of the canvas image.

•	If you do not select a particular frame as the drop for your insertion, the drag-and-dropped file will be appended to the end of the animation.

To Insert a Web Saver Image as a Frame

Perform a Button 2 drag-and-drop of the Web Saver Image to the GIF Animator:

1.	Position your cursor over-top of the Web Saver image you want to insert.

2.	Click and hold down Button 2. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor off the Web Saver and over-top of a particular frame within the GIF Animator. A pop-up menu opens.

4.	Choose the Copy In Front, Copy Behind, or the Copy and Replace command.

Note: If you do not select a particular frame as the drop for your insertion, the drag-and-dropped file will be appended to the end of the animation.

To Insert an Image From the Image Browser as a Frame

Perform a Button 1 drag-and-drop of an image to the GIF Animator:

1.	Position your cursor over-top of the image you want to insert from the Image Browser.

2.	Click and hold down Button 1. The cursor will change to the drag-and-drop icon cursor, indicating a drag-and drop operation.

3.	Move the drag-and-drop icon cursor off the Image Browser and over-top of a particular frame within the GIF Animator. A pop-up menu opens.

4.	Choose the Copy In Front, Copy Behind, or the Copy and Replace command.

Note: If you do not select a particular frame as the drop for your insertion, the drag-and-dropped file will be appended to the end of the animation.

To Insert A Frame From Outside the ColorWorks

Perform a drag-and-drop of an image from outside the ColorWorks to a particular frame:

1.	Drag-and-drop an image to a particular frame within the GIF Animator. A pop-up menu opens.

2.	Choose the Copy In Front, Copy Behind, or the Copy and Replace command.

Note: If you do not select a particular frame as the drop for your insertion, the drag-and-dropped file will be appended to the end of the animation.


To Move A Frame

Individual frames can be moved to a different location within the animation using a drag-and-drop operation.

To Move a Frame

Perform a drag-and-drop of the selected frame to another frame within the animator:

1.	Position your cursor over-top of the frame you want to move, click and hold Button 1.

2.	Move and position your cursor over-top of the frame you want to drop to and release Button 1. A pop-up menu opens.

3.	Choose the Move In Front, Move Behind, or the Move and Replace Command.

Note: Auto-Scrolling the Animator Window: The animator window can be auto-scrolled to reveal frames hidden from view while drag-and-dropping within the animator. When drag-and-dropping a frame within the animator, move the cursor to the top or bottom of the animator window until you see an up/down arrow added to the frame icon, and stop moving the cursor. The animator window will scroll until you move the cursor or there are no more frames to reveal.


To Copy a Frame

Individual frames can be copied to a new location within the animation using a drag-and-drop operation.

To Copy a Frame

Perform a drag-and-drop of the selected frame to another frame within the animator:

1.	Position your cursor over-top of the frame you want to copy, click and hold Button 1.

2.	Move and position your cursor over-top of the frame you want to drop to and release Button 1. A pop-up menu opens.

3.	Choose the Copy In Front, Copy Behind, or the Copy and Replace Command.

Note: Auto-Scrolling the Animator Window: The animator window can be auto-scrolled to reveal frames hidden from view while drag-and-dropping within the animator. When drag-and-dropping a frame within the animator, move the cursor to the top or bottom of the animator window until you see an up/down arrow added to the frame icon, and stop moving the cursor. The animator window will scroll until you move the cursor or there are no more frames to reveal.


To Duplicate a Frame

Individual frames can be duplicated using the drag-and-drop copy operation.

To Duplicate a Frame

Perform a drag-and-drop of the selected frame to itself, or to a frame directly in front or directly behind it:

1.	Position your cursor over-top of the frame you want to duplicate, click and hold Button 1.

2.	Move and position your cursor over-top of the same frame, or the frame directly in front or directly behind it, and release Button 1. A pop-up menu opens.

3.	Choose the Copy In Front or the Copy Behind command.

Note: Auto-Scrolling the Animator Window: The animator window can be auto-scrolled to reveal frames hidden from view while drag-and-dropping within the animator. When drag-and-dropping a frame within the animator, move the cursor to the top or bottom of the animator window until you see an up/down arrow added to the frame icon, and stop moving the cursor. The animator window will scroll until you move the cursor or there are no more frames to reveal.


To Replace a Frame

Individual frames can be replaced by another frame from within the animation using a drag-and-drop operation. In addition, frames can be replaced with the File | Insert | Replace command of the GIF Animator, and with a drag-and-drop insertion of an image from outside the GIF Animator.

Note: Auto-Scrolling the Animator Window: The animator window can be auto-scrolled to reveal frames hidden from view while drag-and-dropping within the animator. When drag-and-dropping a frame within the animator, move the cursor to the top or bottom of the animator window until you see an up/down arrow added to the frame icon, and stop moving the cursor. The animator window will scroll until you move the cursor or there are no more frames to reveal.

To Replace a Frame Using a Move of Another Frame

Perform a drag-and-drop of the selected frame you want to move:

1.	Position your cursor over-top of the frame you want to move, click and hold Button 1.

2.	Move and position your cursor over-top of the frame you want to replace, and release Button 1. A pop-up menu opens.

3.	Choose the Move and Replace Command.

To Replace a Frame Using a Copy of Another Frame

Perform a drag-and-drop of the selected frame you want to copy:

1.	Position your cursor over-top of the frame you want to copy, click and hold Button 1.

2.	Move and position your cursor over-top of the frame you want to replace, and release Button 1. A pop-up menu opens.

3.	Choose the Copy and Replace Command.

To Replace a Frame Using the File | Insert | Replace Command

1.	Position your cursor over-top of the frame you want to replace, and click Button 1 to select it.

2.	Choose the File | Insert | Replace command of the GIF Animator.

Note: An image in any of the ColorWorks supported formats can be inserted, not just GIF.

To Replace a Frame Using an Image From Outside the GIF Animator

Perform a drag-and-drop of an image from outside the GIF Animator to a particular frame:

1.	Drag-and-drop an image to a particular frame within the GIF Animator. A pop-up menu opens.

2.	Choose the Copy and Replace command.

Notes:

•	The GIF Animator will accept a drag-and-drop from the ColorWorks Desktop, Web Saver, Image Browser, and from outside ColorWorks.

•	An image in any of ColorWorks supported formats will be accepted as a drag-and-drop to the GIF Animator, not just GIF.


To Delete a Frame

To Delete a Frame

1.	Position your cursor over-top of the frame you want to delete, and click Button 1 to select it. A pop-up menu opens.

2.	Choose the Delete command.


To Set a Frame's Delay

To Set a Frame’s Delay

The Frame Delay is the amount of time that a frame is displayed before it is removed or replaced by the next frame in the animation. The Frame Delay button sets the frame delay, measured in 100ths of a second.

Note: A Delay setting of 100 equals one second.


To Set a Frame's Removal Method

To Set a Frame’s Removal Method

The Frame Removal (also known as Frame Disposal) is the method used to remove a frame image before drawing the next frame of the animation. There are four different Frame Removal methods; No Removal, Do Not Remove, Restore to Background Color, and Restore to Previous.

The No Removal Method

The No Removal method draws the new frame over-top of the previous frame and is the same as the Do Not Remove method.

The Do Not Remove Method

The Do Not Remove method does not remove the frame before drawing the next frame of the animation.

The Restore to Background Color Method

The Restore to Background Color method restores the area occupied by the frame to the background color before drawing the next frame of the animation. The background color in the context of a web-page animation is the web-page’s set background color (BGCOLOR=”color”) or tiled background image (BACKGROUND=”imagename”).

The Restore to Previous Method

The Restore to Previous method restores the area occupied by the frame with that area’s previous contents before drawing the next frame of the animation.

Note: The Restore to Previous Removal Method is not currently supported by Internet Browsers.


To Set a Frame's Transparent Color

To Set a Frame’s Transparent Color

1.	Select the Transparent Color button on the GIF Animator Task Bar, opening the Select Transparent Color dialog box.

2.	Move your cursor over-top of the preview image and the cursor turns into a color picker tool.

3.	Position the color picker over-top of the image location that has the color that you want to select as the transparent color, and click Button 1. The selected color will fill the Transparent Color button.

4.	Close the Select Transparent Color dialog box by clicking on the Close box on the dialog’s title bar.

Note: The Save Transparency button on the GIF Animator Task Bar must be selected in order for a frame to be saved with the selected transparent color.


To Set a Frame's X,Y Offsets Using the Offset Using Overlays View

Understanding X and Y Offsets

A frame’s X Offset (horizontal) and Y Offset (vertical) set a frame’s position within the animation’s Logical Screen. The default 0, 0 offset settings position the frame to the upper-left corner of the animation Logical Screen. The animation Logical Screen is set with the Edit | Animation Properties command of the GIF Animator.

To Set a Frame’s X,Y Offsets Using the Offset Using Overlays View

1.	Choose the View | Offset Using Overlays command of the GIF Animator.

2.	Select the frame for which you want to adjust its offsets.

3.	When you click on one of the Offset controls, the frame image will appear “floating” over-top of its previous frame. As you adjust the Offset controls, the floated frame will interactively move for exact placement and/or alignment of it with the previous frame.

4.	When you are finished offsetting frames, choose the View | Offset Using Overlays command of the GIF Animator again to take it out of use and clear any overlays created.

Note: When using the View | Offset Using Overlays command of the GIF Animator, the first frame in the animation uses the last frame as its “previous” frame to account for potential animation looping.

Tip: Use the View | Thumbnail Size command of the GIF Animator to increase the magnification of the frame images for additional precision in interactive frame overlay alignment.


To Optimize a Frame's Colors Using a Web Saver
To Optimize a Frame’s Colors Using a Web Saver

The ColorWorks Web Saver can be used to optimize the colors of frame images within a GIF Animator.

To Optimize a Frame’s Colors Using a Web Saver

1. 	Perform a drag-and-drop of any frame to a Web Saver.

2. 	Use the Web Saver to optimize the colors of the image.

3. 	Drag-and-drop the image from the Web Saver back to the GIF Animator, dropping the image over-top of the original frame. A pop-up menu opens.

4. 	Choose the Copy and Replace command.


To Edit a Frame's Image

ColorWorks can be used to edit a frame image within a GIF Animator.

To Edit a Frame Image

1. 	Perform a drag-and-drop of any frame to the ColorWorks Desktop.

2. 	Edit the image.

3. 	Drag-and-drop the image from the ColorWorks Desktop back to the GIF Animator, dropping the image over-top of the original frame. A pop-up menu opens.

4. 	Choose the Copy and Replace command.


To Copy a Frame's Properties to All Other Frames

To Copy All Current Frame Properties to All Other Frames

1.	Position your cursor over-top of the frame with the properties you want to copy, and click Button 1 to select it.

2.	Select the Replicate Current Frame Settings button on the GIF Animator Task Bar.

To Copy a Single Frame Property to All Other Frames

1.	Position your cursor over-top of the frame with the properties you want to copy, and click Button 1 to select it.

2.	Choose the Edit | Replicate Current Frame Settings | control name command of the GIF Animator.


To Preview an Animation

Animations within a GIF Animator are previewed in a ColorWorks Animated GIF Player.

To Preview an Animation

•	Choose the View | Preview command of the GIF Animator, or

•	Select the Preview button on the GIF Animator Task Bar, opening an Animated GIF Player linked to the GIF Animator. An Animated GIF Player will open playing the animation within its linked GIF Animator.

Notes:

•	Use the Reload button on the Animated GIF Player at any time to refresh the player with the current state of the animation within the linked GIF Animator.

•	A linked Animated GIF Player will automatically close when you close the GIF Animator it is linked to.


To Visually Set an Animation's Duration

An animation’s duration or play-back speed is determined by the cumulative delay settings of its frames.

To Visually Set an Animation’s Duration

1.	Select the Preview button on the GIF Animator Task Bar, opening an Animated GIF Player linked to the GIF Animator. An Animated GIF Player will open playing the animation within its linked GIF Animator.

2.	Choose the Edit | Duration command of the Animated GIF Player, opening the Change Duration dialog box.

3.	Use the Duration button to set the animation’s frame delays for a faster or slower play-rate.

4.	Select the OK button.


To Set the Animation Optimizations

To Set the Animation Optimizations

1.	Choose the Edit | Optimizations command of the GIF Animator, opening the GIF Animation Optimizations dialog box.

2.	Select the optimization technique(s) you want to use when saving the animation.

3.	Select the OK button.

Note: The Edit | Optimizations command of the GIF Animator remains checked in use if any of its controls are not set to the defaults (no optimizations) in order to give you feedback as to whether or not optimizations are in use. This command is taken out of use by putting all of its settings back to their defaults or no optimizations.

Choosing Between a Minimum Bounding Box or a Frame Differencing Optimization

Choosing to use a Minimum Bounding Box or a Frame Differencing optimization is completely dependent upon your use of image transparency within an animation. If you use image transparency to give the animation a non-rectangular or see-through shape (where a web-page shows through parts of the animation), the animation will only play correctly using a Minimum Bounding Box optimization. Frame Differencing can only be used when you want to save rectangular-shaped animations with no see-through areas.

The Minimum Bounding Box Optimization

The Minimum Bounding Box optimization automatically crops all animation frames to the minimum height and width that will fully accommodate their images, and automatically sets the X,Y Offsets to keep the frame images in their relative positions (in registration).

To Use a Minimum Bounding Box Optimization

Use the following procedure to prepare each of the frames in the animation for a Minimum Bounding Box optimization.

1.	Set the Transparent Color to the background color of the frame image. This will be the color within the frame that will be cropped away.

2.	Select the Save Transparency box.

3.	Set the Removal to Restore Background.

Notes:

•	The Minimum Bounding Box optimization uses a frame’s set Transparent Color to determine the bounding box. You must set a frame’s Transparent Color to the background color of the frame image in order for the optimization to work properly.

•	Frames that do not have the Save Transparency box set will be skipped during the optimization process.

Tip: When using the Minimum Bounding Box optimization, you normally want to set all frames to use a Restore Background method for the animation to play properly. If you do not, smaller frames will not completely remove a larger previous frame, and remnants of the previous frame(s) may be visible.

The Frame Differencing Optimization

The Frame Differencing optimization automatically reduces animation frames to contain only pixels that change within the animation. Use of this optimization requires that all frames within the animation to be the same size and use no X,Y Offset adjustments. This optimization uses image transparency to do its differencing and only saves rectangular animations with no see-through areas.

Note: When the Frame Differencing button is selected, all frames are automatically set to Do Not Remove and to use a Global Palette in order for the animation to play properly. Therefore, the Removal and Local Palette boxes on the GIF Animator Task Bar will be greyed-out and unavailable when this optimization is in use.

Tips:

•	Using a Minimum Bounding Box Optimization After a Frame Differencing Optimization: Often times after saving an animation with a Frame Differencing optimization, it can be re-opened in the animator, and saved again with a Minimum Bounding Box optimization for some additional file size savings. When you save the animation back out a second time with a Minimum Bounding Box optimization, leave the Removal set to Do Not Remove for the animation to play properly.

•	An animation will not play correctly if optimized more than once using the Frame Differencing optimization.

•	An animation will not play correctly if optimized using the Frame Differencing optimization after it had been optimized with a Minimum Bounding Box method.

The Drop Duplicate Frames Optimization

The Drop Duplicate Frames optimization automatically deletes duplicate frames from the animation, and adds their delays to the matching frames to preserve the animation’s total running time and “look”.


To Save an Animation

To Save an Animation

Animations can be saved using the File | Save Animation command of the GIF Animator or with a drag-and-drop to the Image Browser.

Note: The GIF Animator automatically optimizes the number of colors (bits per pixel) of each frame within an animation when it saves it to disk.

To Save An Animation to the Image Browser

1.	Perform a Button 1 drag-and-drop of any frame within the animator to the Image Browser. A pop-up menu opens.

2.	Choose the Animation command, opening the Save GIF Animation dialog box.

3.	Save the animation.


To Save a Selected Frame(s)

Selected frame(s) within the GIF Animator can be saved with a drag-and-drop to the Image Browser.

To Save a Selected Frame(s) to the Image Browser

1.	Perform a Button 1 drag-and-drop of any frame(s) within the animator to the Image Browser. A pop-up menu opens.

2.	Choose the Selected Frame(s) command and the image(s) are saved.

Notes:

•	An animation frame(s) saved with a drag-and-drop to the Image Browser is saved using its frame name (for example: Frame 1) and in a 24-bit BMP format.

•	Just like any other file drop to the Image Browser, you will need to use the View | Refresh Browser command of the Image Browser to see thumbnails of the new image(s) dropped to the directory within the Image Browser.


To Open Multiple GIF Animators

You can run as many GIF Animators as you like.

To Open Multiple GIF Animators

Simply select the GIF Animator button on the Program Task Bar, or choose the Web Tools | GIF Animator command again to open another GIF Animator.


To Copy Frames Between GIF Animators

To Copy Frames Between GIF Animators

Perform a drag-and-drop of a frame from one GIF Animator to a particular frame in another GIF Animator:

1.	Position your cursor over-top of the frame you want to copy in the first GIF Animator, click and hold Button 1.

2.	Move the cursor off the first GIF Animator and position your cursor over-top of a particular frame within the second GIF Animator, and release Button 1. A pop-up menu opens.

3.	Select the Copy In Front, Copy Behind, or the Copy and Replace command.

Notes:

•	Frames inserted into an animation using a drag-and-drop from other GIF Animators are handled like all other insertions, and inherit the New Frame properties of the Animation Properties dialog box. The frame’s previous properties are discarded during the insertion, including transparency.

•	If you do not select a particular frame as the drop for your insertion, the drag-and-dropped file will be appended to the end of the animation.


To Convert an AVI Movie to an Animated GIF

AVI movie files can easily be converted to animated GIFs. The goal of the conversion process is to reduce the animation down to a reasonable file size (using frame dropping and optimizations), and still have the animation play with a similar “look” and duration as the original AVI movie.

A Simple 5-Step Process to Converting AVI Movies to Animated GIFs

1. 	Open the AVI file.

2. 	Drop frames if possible.

3. 	Optimize the animation if possible.

4. 	Adjust the animation’s duration if necessary.

5. 	Save the animation.

Step 1. Open the AVI File

1. 	Confirm that the Maintain AVI Play Rate box in the Edit | Animation Properties command of the GIF Animator is in use.

2. 	Open the AVI file into the GIF Animator.

3. 	Choose the View | Preview command of the GIF Animator, opening an Animated GIF Player to preview the animation.

Note: The image colors of a GIF animation may not look exactly like the AVI movie. AVI frames are typically 16 or 24-bit images. Similar to opening other non 8-bit images within the GIF Animator, animation frames generated from opening an AVI files may have their colors reduced using your set Palette and Dithering method when the animation is previewed or saved.

Step 2. Drop Frames if Possible

This step offers the greatest opportunity for file size savings or compression. AVI files or streams are time-based and not frame-based like a GIF animation. AVI movies tend to have many very similar frames (sometimes identical) than can be dropped out of the animation for file size savings, without adversely affecting the overall “look” of the animation when played.

1. 	Choose the Edit | Drop Frames command to the GIF Animator, opening the Drop Frames dialog box.

2. 	Set the Frames to Drop, select the Maintain Animation Duration box, and select the OK button.

3. 	Select the Reload button on the Task Bar of the Animated GIF Player, and make sure the play of the animation is acceptable.

4. 	Make any adjustments if necessary.

Tip: The Difference Between Time-Based and Frame-Based Animation: AVI movies are time-based animations, there is no notion of frame delays like in a frame-based GIF animation. In an AVI movie all frames are played at the same speed or play-rate, and may require significantly more frames to render an animation compared to a GIF animation, especially when the animation is stopped or paused. For example: You have an animation that pauses for 2 seconds. An AVI playing at 15 frames per second would require 30 frames for that 2 seconds of animation. An animated GIF would require a single frame with a delay setting of 200 for the same 2 seconds of animation.

Step 3. Optimize the Animation if Possible

Depending on the content of the animation, you may be able to further compress the animation using optimizations.

1. 	Choose the File | Animation Information command, opening the GIF Animation Information dialog box. Check the size of the animation.

2. 	Choose the Edit | Optimizations command of the GIF Animator, opening the GIF Animation Optimizations dialog box.

3. 	Set your compression options and select the OK button.

4. 	Check the file size of the animation again using the File | Animation Information command.

5. 	If the animation has been reduced in file size from the optimizations, select the Reload button on the Task Bar of the Animated GIF Player and make sure the animation still plays properly.

6. 	Make any adjustments if necessary.

Step 4. Adjust the Animation’s Duration if Necessary

Use the Edit | Duration command of the Animated GIF Player to tune the animation’s duration or play-rate if necessary.

Step 5. Save the Animation

Save the animation.


Using the Animated GIF Player

ColorWorks' Animated GIF Players play animated GIF files, and can be opened as stand-alone or linked to a particular GIF Animator. Any number of Animated GIF Players can be open and in-use at the same time.

To Use an Animated GIF Player Stand-Alone

1. 	Choose the Web Tools | Animated GIF Player command, opening a ColorWorks Animated GIF Player.

2. 	Use the File Open button on the Animated GIF Player Task Bar to open an animation file, or drag-and-drop an animation file to the Animated GIF Player.

Note: The Animated GIF Players can accept a drag-and-drop of an animation file from the Image Browser, Windows Explorer, or another Windows program.

To Use an Animated GIF Player Linked to a GIF Animator

1. 	Selecting the Preview button on a ColorWorks GIF Animator Task Bar, opens a ColorWorks Animated GIF Player linked to that particular GIF Animator. The Animated GIF Player will open playing the animation within its linked GIF Animator.

2. 	Use the Reload button on the Animated GIF Player Task Bar at any time to refresh the player with the current state of the animation within the linked GIF Animator.

Note: A linked Animated GIF Player will automatically close when you close the GIF Animator it is linked to.


To Set the Animated GIF Player Background to a Color or Wallpaper

To Open Multiple Animated GIF Players


To Set the Animated GIF Player Background to a Color or Wallpaper

The background of the Animated GIF Player can be set to any color or wallpaper image of your choice. This allows you to preview web-animations exactly as they will be displayed on a given web-page (including Transparency) when viewed by an Internet Browser. Setting the Animated GIF Player background takes all of the guess-work out of how an animation will look when displayed on a web-page surrounded by the set background color (BGCOLOR=”color”) or tiled background image (BACKGROUND=”imagename”) of a given web-page.

To Set the GIF Player Background to a Color or Wallpaper

1. 	Click Button 2 over-top of any part of the Animated GIF Player preview area.

2. 	Select the Color or Wallpaper command to set your desired background.

Notes:

•	The selected background (color, wallpaper) is displayed as is. Their appearance is not altered by the Animated GIF Player. When building your web-pages in your HTML Editor, it is up to you to set a background color or use a tiled background image (probably saved with the ColorWorks Web Saver) that have colors from a given palette, like a 6 6 6 (Internet) palette.

•	The background color and/or wallpaper of an Animated GIF Player can be reset even while an animation is playing.


To Open Multiple Animated GIF Players

You can run as many Animated GIF Players as you like.

To Open Multiple Animated GIF Players

Simply select the Animated GIF Player button on the Program Task Bar, or choose the Web Tools | Animated GIF Player command again to open another Animated GIF Player. In addition, any number of Animated GIF Players can be opened linked to GIF Animators.


Using the Web Graphics Spider

The Web Graphics Spider is used to automatically search out and download graphic files from the Internet to your computer. The spider starts reading HTML pages at a set Starting URL, from there it follows the page-links and snatches all graphics files it finds as it “crawls” the Internet. The spider can be to set to download the images on a single web-page, all of the images on an entire web-site, and to follow found links all over the Internet.

To Use the Web Graphics Spider

1.	Choose the Web Tools | Web Graphics Spider command to open the Web Graphics Spider dialog box.

2.	Set the Maximum Download Thresholds, type in a Starting URL Path, and type in a Save File Path.

3.	Select the OK button, opening the Spider Status dialog box.

4.	When the spider has completed its assigned task it will report so.

5.	Select the OK button in the Spider Status dialog box.

Notes:

•	If during the same task the spider encounters a particular file name a second time, it will perform a contents check of the two files. If the contents are different it will download and rename the seconds file. If the contents are identical the second file will be skipped and not be downloaded.

•	On occasion an image file downloaded with a spider will not open in ColorWorks, or it causes an error in the Image Browser. This means the file downloaded is not a valid image, even though it has an image file extension. If this happens most-likely the Internet Server where the spider attempted to retrieve an image file for you was handed an error message file by the Server instead. To view the error message drag-and-drop the file from the Windows Explorer to the Windows Notepad. To view the error message using its HTML formatting, rename the file with an .htm extension and drag-and-drop it from the Windows Explorer to your Internet Browser. After viewing the error message you should delete the file.

•	Many of these settings are quite useful in keeping a spider’s tasks focused, and controlling it from crawling the Internet and downloading huge amounts of images, unless you really wanted it to do that.

•	Setting the Maximum Page Depth: All HTML Anchor elements (<A HREF=”page.html”></A>) followed by a spider are considered a page, including Anchor elements followed from within a Frameset element (<FRAMESET></FRAMESET>) and same page Named Anchor elements (<A HREF=”#here”></A>). Hence, if you want to download the images on a single web-page that is constructed using frames, you will need to set the Maximum Page Depth to 2.

•	The Skip Duplicate File Names box is used if you have selected the Stay on Starting Site box, and want to save the time the spider takes to compare the contents of duplicate file names it finds. Although possible, it is rare the that a single web-site would have multiple files with different contents, all sharing the same file name.

•	Running Multiple Spiders: More than one Web Graphics Spider can be running at the same time. If a spider is currently running, simply choose this command again to start another one.

Tips:

•	If while using your Internet Browser to surf the Web you find a page or an entire web-site that you would like a spider to work on: select the text displayed in the URL Location field of the browser; copy it to the clipboard [CTRL+C]; start a Web Graphics Spider; select the Starting URL field, and paste the URL text from the clipboard [CTRL+V]. Then turn the spider loose on the web-site.

•	If you would like a spider to work on a web-site that requires a User Name and Password to enter. First enter the web-site with your Internet Browser; provide the required User Name and Password, and select the OK button; when you see the URL that dialog box generates appear in the URL Location field of the browser, stop your browser, and copy that URL to the clipboard [CTRL+C]; start a Web Graphics Spider, select the Starting URL field, and paste from the clipboard [CTRL+V]. Then turn the spider loose on the web-site. Typically an HTTP URL with an embedded username and password would look like http://username:password@internet.address.

•	Many web-sites have a “links” page, a page made up of hyper-links to an array of topic related web-sites. Using the URL to a “links” page as the Starting URL for a spider and allowing the spider to link away from the Starting Site, is a great way to search out and download images pertaining to a related topic or subject matter.

•	Internet Search Engines are also a good source for related links to feed a spider. First execute a query to a search engine and wait for the response, when you see the URL that the search generates appear in the URL Location field of the browser, copy that URL to the clipboard [CTRL+C]; start the Web Graphics Spider, select the Starting URL field, and paste from the clipboard [CTRL+V]. Then turn the spider loose, it will make the same search your Internet Browser did and follow the links on the search results page.

•	If you have your own web-site you can create your own targeted Hot Site List to start a spider on. Create the page and put it on your web-site; start a Web Graphics Spider, and type in the URL to the your page in the Starting URL field. Then turn the spider loose on the web-page.


To Download All Images on a Single Web-Page

To Download All Images on an Entire Web-Site

To Turn a Graphics Spider Loose on the Internet

To Run Multiple Graphics Spiders


To Download All Images on a Single Web-Page

To Download All Images on a Single Web-Page

1.	Choose the Web Tools | Web Graphics Spider command, opening the Web Graphics Spider dialog box.

2.	Set the Page Depth to 1, and select the Stay on Starting Site box.

3.	Type the URL to the specific page in the Starting URL Path field.

4.	Type in a file path in the Save File Path field, and select the OK button.

Note: Setting the Maximum Page Depth: All HTML Anchor elements (<A HREF=”page.html”</A>) followed by a spider are considered a page, including Anchor elements followed from within a Frameset element (<FRAMESET></FRAMESET>) and same page Named Anchor elements (<A HREF=”#here”></A>). Hence, if you want to download the images on a single web-page that is constructed using frames, you will need to set the Maximum Page Depth to 2.


To Download All Images on an Entire Web-Site

To Download All Images on an Entire Web-Site

1.	Choose the Web Tools | Web Graphics Spider command, opening the Web Graphics Spider dialog box.

2.	Set the Maximum Download Threshold controls to very high settings so that they will not trigger a stopping of the spider prior to the completed download of the entire web-site.

3.	Select the Stay on Starting Site box.

4.	Type the URL to the specific web-site in Starting URL Path field.

5.	Type in a file path in the Save File Path field, and select the OK button.


To Turn a Graphics Spider Loose on the Internet

To Turn a Graphics Spider Loose on the Internet

1.	Choose the Web Tools | Web Graphics Spider command, opening the Web Graphics Spider dialog box.

2.	Set the Maximum Download Threshold controls to the desired settings.

3.	Do not select the Stay on Starting Site box.

4.	Type a URL in Starting URL Path field.

5.	Type in a file path in the Save File Path field, and select the OK button.


To Run Multiple Graphics Spiders

You can run as many Web Graphics Spiders as you like.

To Run Multiple Graphics Spiders

Simply select the Web Graphics Spider button on the Program Task Bar, or choose the Web Tools | Web Graphics Spider command again, to run another Graphics Spider.


Using the JPEG Cleaner Effect

While surfing and downloading images from the Internet you will run across JPEG images that have been compressed too much, making the images look “tiled," flat, and lacking detail. ColorWorks' JPEG Cleaner can be used to remove the tiled look of images that have been excessively JPEGed and to restore some of the original image quality lost during the compression.

How JPEG Compression Can Damage Images

The compression scheme used in the creation of a JPEG file is a lossy file compression scheme that destructs images in 8x8 pixel blocks or cells. Lossy compression means that some data was lost when the image was compressed and that data loss will never be recovered. Provided a reasonable level of compression was used, usually no more than 5 to 1, the JPEG compression scheme performs reasonably well yielding a good balance between file size reduction and image quality retention.

Problems arise when images are JPEG compressed at higher levels and yield images that are noticeably destructed, where the cells used in compressing the image become visible and result in images with a "tiled" pattern look to them. Not only do these images look poor in quality, but since much of image processing is based on image edges, your processing focuses in on the edges of the JPEG cells making the "tiled" look even worse. In addition, JPEG destruction also becomes significantly more visible if you resize the image larger or print the image. Printing JPEG images seems to reveal the compression schemes destructive tiling. Even if a JPEG compressed image looks of acceptable quality on-screen, it may not when printed.

ColorWorks' JPEG Cleaner

ColorWorks' JPEG Cleaner is used to remove the tiled look of images that have been excessively JPEGed and to restore some of the original image quality lost during the compression. The JPEG Cleaner is a three step process of cleaning, randomizing, and sharpening.

The cleaner removes the visible tiling on a JPEG image, and the randomizing and sharpening are used to reduce the flattening caused by the JPEG compression by introducing some randomness back into the image. ColorWorks defaults to use all three steps and gives you the ability to selectively use or not the randomizing and sharpening steps.

To Use the JPEG Cleaner Effect

1.	Choose the Effects | Tune Image Colors | JPEG Cleaner command, opening the JPEG Cleaner dialog box.

2.	Adjust the settings within the dialog box.

3.	Select to use the Full Canvas tool.

4.	Paint on a canvas image with the Full Canvas tool.

Note: Resizing, warping, rotation, cropping, and other image transformations alter the dimensions of the tiles created by the JPEG compression scheme. JPEG files you open to work with should be cleaned prior to resizing and/or transforming the image in order to allow this command to align its cleaner on the 8x8 pixel JPEG cells. JPEG images cannot be cleaned after they have been resized or transformed.

Tip: Customizing the JPEG Cleaner: ColorWorks JPEG Cleaner has already been optimized with a randomize and sharpening technique that works well. However, ColorWorks allows you to turn off the default randomize and sharpen techniques used by this effect in order for you to use the cleaner technique in combination with a different randomize technique set in the Effects | Tune Image Colors | Noise command, and/or a different sharpening technique set in the Effects Filter Labs | Sharpen Lab command. If you develop a customized JPEG cleaner that works well when used with images from a particular source, use the Effects | Save Graphics State command to save it for later use.


To Set the Compression Origin


To Set the Compression Origin

To Set the Compression Origin

The origin or 0,0 point of an image is where a program starts its processing to compress an image. In order for this command to properly align itself to the JPEG cell edges and clean them, you will need to determine which corner of an image was considered to be the origin when the JPEG compression scheme was applied to it. The origin point is normally considered to be the upper-left corner of an image. However, some software programs consider the lower-left corner of an image to be the origin.

Tips:

•	To determine the origin point of a given image: Zoom in on an area of the JPEG image that is obviously tiled and apply the Effects | Tune Image Colors | JPEG Cleaner command. If the borders of the tiles appear unaffected by this command, choose the alternate origin setting in cleaning that particular JPEG file.

•	If attempts to clean a JPEG image using both the Upper Left and Lower Left origin setting yields no noticeable reduction in image tiling, the image most likely had been transformed and/or cropped after being saved as a JPEG file. JPEG images with tiling that is no longer of an 8x8 pixel dimension and/or not originated at the 0,0 point of the image, can not be cleaned with the JPEG Cleaner.


Using the Tile Viewer

When designing web-page background images you need to be able to see how the image would tile when viewed by an Internet Browser. ColorWorks’ Tile Viewer presents a tiled view of the currently selected canvas image. While you edit the current canvas image, those edits are reflected “live” within the Tile Viewer.

To Use the Tile Viewer

Choose the Web Tools | Tile Viewer command, and the Tile Viewer window will open with the current canvas tiled within it.

Tips:

•	Resizing the Tile Viewer: The Tile Viewer is contained in a sizable window. This means you can grab and drag any border of the Tile Viewer and change its size to your personal tastes.

•	A great “Background Image Editing Lab” setup would be to set a canvas image to a 100% view, multiprocess the image using the Multiprocess command of the canvas, set the new canvas to a zoomed-in view, and launch the Tile Viewer. With this setup, you can edit the image in either the 100% view (the original canvas) or the zoomed view (the multiprocessed canvas), and you would see the edits occur in all 3 structures (both canvases and the Tile Viewer) simultaneously.


To Set the Tile Viewer View


To Set the Tile Viewer View

To Set the Tile Viewer View

1.	Click Button 2 over-top of any part of the Tile Viewer window.

2.	Select the 50%, 75%, 100%, 200%, or 400% command.

Tip: Using the Views: The Tile Viewer works the fastest when set to a 100% or normal view, and works significantly slower when not set to a 100% view. The additional views (50%, 75%, 200%, 400%) are provided mainly for use in inspecting how well the image is tiling within the viewer. After using one of the additional views to inspect the tiling, you may want to go back to 100% before returning to edit images, and have the Tile Viewer work at its fastest setting.


Using the Web Background Renderer

The ColorWorks Web Background Renderer is used to generate interesting patterned images for use as Background Images on web-pages. Most of the rendering techniques available produces images that are seamlessly tileable.

To Use the Web Background Renderer

1.	Using the File | New command, create a new canvas with a Width and Height of equal sizes, a square.

2.	Choose the Web Tools | Web Background Renderer command, opening the Web Background Renderer dialog box. The Tile Viewer will also open if it is not open already.

3.	Select a Rendering Technique.

4.	Adjust that technique's available settings.

5.	Select the Preview button, and the Tile Viewer will display a tiled preview of the rendered image.

6.	You can render another preview image using the same settings by selecting the Preview button again (this works with most of the rendering techniques). You can continue rendering preview images using the same or altered settings as many times as you like.

7.	Select the OK button when you are satisfied with the preview image.

8.	The new canvas is painted with the rendered image. The image can now be saved for use as a web background image, and it will repeat on your web-pages as shown in the Tile Viewer.

Notes:

•	If you use the Area controls in some of the Rendering Techniques, the resulting pattern will not seamlessly tile or repeat if the canvas is not square (exact same width and height) as recommended above.

•	The Web Background Renderer uses the Tile Viewer as its preview box. This enables you to view how the background image you are rendering will tile while you are building it. If the Tile Viewer is not already open when this command is chosen, it will be opened and closed automatically for use with the Web Background Renderer dialog. If the Tile Viewer is already open when you open the Web Background Renderer, it will remain open after you close the Web Background Renderer.

Tips:

•	Setting the Dimensions of the New Canvas to Render Into: The sizes of many of the objects rendered by the Web Background Renderer are controlled by the dimensions of the canvas image you use with it. Canvas images with dimensions of 50 or 100 pixels square (Width and Height of equal sizes) usually make for good web background images.

•	Use the Full Power of ColorWorks: The renderings created by the Web Background Renderer can be a beginning of an image, not necessarily an end unto themselves. After rendering a cool background image, you have the rest of ColorWorks at your disposal to continue editing and processing it.

•	Using the Views of the Tile Viewer: Clicking Button 2 on the Tile Viewer presents a pop-up menu for changing the view of the image within Tile Viewer. The Tile Viewer works the fastest when set to a 100% or normal view, and works significantly slower when not set to a 100% view. The additional views (50%, 75%, 200%, 400%) are provided mainly for use in inspecting how well the image is tiling within the viewer. After using one of the additional views to inspect the tiling, you may want to go back to 100% before returning to rendering images, and have the Tile Viewer work at its fastest setting.


Using the 3D Text Renderer

The 3D Text Renderer is used to render 3D Text directly over-top of canvas images.

Understanding Working in 3D (XYZ) Space

When working in 3D or 3 dimensions, the location of objects and scene elements are described using a set of 3 XYZ coordinates. In a paint program you work in only 2 dimensions, X and Y. The X dimension equates to an object width or horizontal location measurement, and the Y dimension equates to an object height or vertical location measurement. The added Z dimension when working in 3D adds a depth measurement to the description of objects and locations. Depth or Z in object size can be considered a measurement of the thickness of the object. When rendering text, the extrusion is considered the thickness or Z size of the text. Depth or Z location can be considered a measurement from your screen out towards an infinite horizon. The larger the Z location the farther an object is away from your screen, and the smaller the Z location the closer the object is to your screen.

Tip: The easiest way to learn exactly how objects operate in 3D space is using visual feedback. Use the Position, Angle, and Size boxes and/or the Move, Rotate, and Size tools to manipulate 3D Text and observe how it changes based on your settings.

Rendering 3D Text

1.	Choose the Web Tools | 3D Text Renderer command, opening the 3D Text Renderer.

2.	Select the Font button, opening the Font dialog box.

3.	Select a Font and Style using the provided controls.

4.	Select the OK button.

5.	Type the text into the Text field that you want to render with.

6.	Set the text’s Position, Rotation, and Size.

7.	Choose the Textures option in the Edit box, and set the text’s texture.

8.	Choose the Lights options in the Edit Box, and set the scene lights.

9.	Select the Render button and the 3D Text will output to the canvas image. After output to the canvas image, the 3D Text Renderer will remain open for additional use.

10.	Choose the File | Exit command of the 3D Text Renderer to close it when you are finished rendering 3D Text.

Tips:

•	Colorizing Rendered Models by Hand: Painting colors with the Effects | Drawing Merge Control command in use and its Use Drawing Color box set to Tint is excellent for colorizing a rendered model. The Tint merge only paints to an image’s hue and saturation component, and preserves the images’ original lightness (the highlights and shadows of the 3D model).

•	Decaling Rendered Models by Hand: Merging a floated image with the Mask | Float Merge Control command in use and its Use Floating Image box set to Tint is excellent for decaling a rendered model. The Tint merge only changes the canvas image’s hue and saturation component to that of the floated image, and preserves the canvas’ original lightness (the highlights and shadows of the 3D model).

•	Using the 3D Text Renderer with Canvas Protection Masks: The 3D Text Renderer will work with a Canvas Protection Mask if the Mask | Use Protection Masks command is in-use when the 3D Text Renderer is used.

•	Using the 3D Text Renderer with the Effects | 8-Bit Mask Command: The 3D Text Renderer will work with an 8-Bit Mask if the Effects | 8-Bit Mask command is in use when the 3D Text Renderer is used.


To Position, Rotate, and Size a Scene Element

To Set the Text’s Texture

To Set the Scene Lights

To Load Light Sets

To Save Light Sets


Using the 3D Text Animator

The 3D Text Animator is used to render and animate 3D Text directly over-top of the existing GIF Animator frame images.

Understanding Working in 3D (XYZ) Space

When working in 3D or 3 dimensions, the location of objects and scene elements are described using a set of 3 XYZ coordinates. In a paint program you work in only 2 dimensions, X and Y. The X dimension equates to an object width or horizontal location measurement, and the Y dimension equates to an object height or vertical location measurement. The added Z dimension when working in 3D adds a depth measurement to the description of objects and locations. Depth or Z in object size can be considered a measurement of the thickness of the object. When rendering text, the extrusion is considered the thickness or Z size of the text. Depth or Z location can be considered a measurement from your screen out towards an infinite horizon. The larger the Z location the farther an object is away from your screen, and the smaller the Z location the closer the object is to your screen.

Tip: The easiest way to learn exactly how objects operate in 3D space is using visual feedback. Use the Position, Angle, and Size boxes and/or the Move, Rotate, and Size tools to manipulate 3D Text and observe how it changes based on your settings.

Understanding Key Framing an Animation

This animation or movement of 3D scene elements (Model, Textures, and Lights) is controlled by setting how they render on particular frame(s) or Key Frames along the duration of the GIF animation. Frames are keyed along the animation where it is necessary to get the movement or change of the 3D scene you desire at that point in the animation. It is normally not necessary to key all frames of an animation, as ColorWorks computes the 3D scene settings for all animation frames between your set Key Frames.

A Simple 3-Step Process to 3D Text Animation

1. 	Prepare the GIF Animator for Output by the 3D Text Animator.

2. 	Start the 3D Text Animator and Key Frame the Text Animation.

3. 	Output the 3D Text Animation to the GIF Animator.

Step 1: Prepare the GIF Animator for Output by the 3D Text Animator.

The 3D Text Animator uses the frame images of a GIF Animator as the background for each of the 3D Text frames it outputs. This allows you to easily integrate 3D Text with an existing GIF animation, and exactly place 3D Text in relation to other stationary and/or animated elements within that GIF animation if desired.

1. 	Start a GIF Animator.

2. 	Open an existing animated GIF movie file into the animator, or insert the desired background frames into the animator.

Tip: Preparing the GIF Animator to Render 3D Text Over-top of a Common Background Color or Picture. 1. Insert the image that represents your desired background color or picture (a canvas image filled with a single color or a real picture) into the GIF Animator.  2. Use the Edit | Replicate Current Frame command of the GIF Animator to fill the animator with as many copies of that frame as desired.

Step 2: Start the 3D Text Animator and Key Frame the Text Animation.

Choose the Effects | 3D Text Animator command of the GIF Animator, opening the 3D Text Animator, and use the following procedure to setup the key frames of the animation:

1.	Use the Frame button to select the frame image within the existing GIF animation that you want to key frame. The background of the preview window will fill with that frame image.

2.	Select the Font button, opening the Font dialog box.

3.	Select a Font and Style using the provided controls.

4.	Select the OK button.

5.	Type the text into the Text field that you want to render with.

6.	Set the text’s Position, Rotation, and Size.

7.	Choose the Textures option in the Edit box, and set the text’s texture.

8.	Choose the Lights options in the Edit Box, and set the scene lights.

9.	Select the Key Frame box and your scene settings will be saved for the selected Frame image.

Notes:

•	All 3D Scene properties can be Key Framed for animation, and/or shift and cross-fade special effects. Text properties, Textures properties including the use of multiple texture images, and all Lights properties can be key framed at different settings for animation, and/or shift and cross-fade effects of those properties. The only 3D Scene attributes that can not cross fade between Key Frames are the text string and font used. However, you can shift or change the text string and font at a Key Frame if desired.

•	The Animation Range field provides feedback as to which frames will be rendered to in the GIF Animator using your current settings. GIF Animator frames that are not keyed themselves and are not between two set Key Frames, are not within the Animation Range and will not be rendered to at all. For example: On a 10 frame animation you set frame 3 and 8 as Key Frames and render the 3D Text animation. Within the GIF Animator 3D Text will be rendered to frames 3 to 8, and frames 1,2,9, and 10 will not be rendered to at all.

•	Quickly Switching Back and Forth to Edit the Model Using the [Shift] Key: When editing the scene Textures or Lights you can quickly go back to editing the Model without using the Edit box by pressing and holding the [Shift] key. The 3D Text Animator will switch back to its previous state when the [Shift] key is released.

•	Use of Hatch Patterns in the Preview Window: If all of your frame images are the same size as the animation’s Logical Screen, as set in the Edit | Animation Properties command of the GIF Animator, you will only see the normal invalid black angled hatch pattern to the right of the frame images. However, if a frame image is smaller than the GIF animation’s Logical Screen, a red checked hatch pattern will be displayed where parts of the Logical Screen are not covered by the currently selected Frame image. Since there is no frame image in these parts of the Logical Screen to render to, they are considered invalid and any parts of the Model over-top of these areas will not be drawn when the 3D Text animation is rendered.

Tips:

•	Rendering Stationary 3D Text: Text will be rendered stationary between two Key Frames that have the same exact settings for text Position, Rotation, and Size.

•	Key Framing Text Rotations for Predictable Results: When ColorWorks computes the intermediate “looks” of a 3D Text animation between set Key Frames, it always takes the shortest path or smallest angle to reflect a change in text angles. For example: There is two Key Frames in your animation, the first has a Y Angle setting of 0 degrees and a second has a setting of 90 degrees. ColorWorks is presented with two ways to spin the text between these two Key Frames. It could spin the text 270 degrees in a negative direction or it could spin the text 90 degrees in a positive direction. Since 90 is smaller that 270, the text will spin positive 90 degree between these Key Frames. If you wanted the text to spin in a negative direction from a Y angle of 0 to 90 (spinning 270 degrees in a negative direction), you would have to set some Key Frames between the original two keys to force ColorWorks to spin the text in the desired direction. Note, if ColorWorks is presented with a scenario where both paths for a change in rotation angle between Key Frames are 180 degrees, ColorWorks defaults to a positive rotation.

•	Previewing the Model’s Movement During the Animation: The Preview Window of the 3D Text Animator always shows exactly how the Model (the Text) will be positioned on a given Frame, regardless if that particular frame is keyed or computed. To preview the movement of the Model during the duration of the animation, simply cycle the Frame button from its lowest to highest setting (first to last animation frame). Note, frames outside the Animation Range will display within the Preview Window, but will not be rendered to when you output the 3D Text animation.

•	Colorizing Rendered Models by Hand: Individual animation Frames can be drag-and-dropped to the ColorWorks Desktop for colorization by hand using the Tint merge. Painting colors with the Effects | Drawing Merge Control command in use and its Use Drawing Color box set to Tint is excellent for colorizing a rendered model. The Tint merge only paints to an image’s hue and saturation component, and preserves the images’ original lightness (the highlights and shadows of the 3D model).

•	Decaling Rendered Models by Hand: Individual animation Frames can be drag-and-dropped to the ColorWorks Desktop for decaling by hand using a floated image. Merging a floated image with the Mask | Float Merge Control command in use and its Use Floating Image box set to Tint is excellent for decaling a rendered model. The Tint merge only changes the canvas image’s hue and saturation component to that of the floated image, and preserves the canvas’ original lightness (the highlights and shadows of the 3D model).

Step 3: Output the 3D Text Animation to the GIF Animator.

1.	Select the Render button and the 3D Text animation will output to the GIF Animator. After output to the GIF Animator, the 3D Text Animator will remain open for additional use.

2.	Choose the File | Exit command of the 3D Text Animator to close it when you are finished rendering 3D Text.


To Position, Rotate, and Size a Scene Element

To Set the Text’s Texture

To Set the Scene Lights

To Load Light Sets

To Save Light Sets

To Load 3D Text Animations

To Save 3D Text Animations


To Position, Rotate, and Size a Scene Element

The Move, Rotate, and Size tools are used to manipulate all scene elements (Model, Textures, and Lights) in 3D space. All of these tools work in the same manner, where Button 1 is used for X and Y adjustments and Button 2 for Z adjustments.

Notes:

•	Quickly Switching Back and Forth to Edit the Model Using the [Shift] Key: When editing the scene Textures or Lights you can quickly go back to editing the Model without using the Edit box by pressing and holding the [Shift] key. The 3D Renderer or Animator will switch back to its previous state when the [Shift] key is released.

•	The Position, Angle, and Size buttons can also be used to manipulate scene elements.

To Position a Scene Element

Select the Move tool to position an element in 3D space.

•	To move an object in the X direction: Position the cursor over-top of the preview window, click and hold Button 1, and move the cursor left to right.

•	To move an object in the Y direction: Position the cursor over-top of the preview window, click and hold Button 1, and move the cursor up and down.

•	To move an object in the Z direction: Position the cursor over-top of the preview window, click and hold Button 2 and move the cursor up and down.

To Rotate a Scene Element

Select the Rotate tool to rotate an element in 3D space.

•	To rotate an object in the X direction: Position the cursor over-top of the preview window, click and hold Button 1, and move the cursor left to right.

•	To rotate an object in the Y direction: Position the cursor over-top of the preview window, click and hold Button 1, and move the cursor up and down.

•	To rotate an object in the Z direction: Position the cursor over-top of the preview window, click and hold Button 2, and move the cursor up and down.

To Size a Scene Element

Select the Size tool to size an element in 3D space.

•	To size an object in the X direction: Position the cursor over-top of the preview window, click and hold Button 1, and move the cursor left to right.

•	To size an object in the Y direction: Position the cursor over-top of the preview window, click and hold Button 1, and move the cursor up and down.

•	To size an object in the Z direction: Position the cursor over-top of the preview window, click and hold Button 2, and move the cursor up and down.


To Set the Text's Texture
To Set the Text’s Texture

To Set the Text’s Texture

1.	Choose the Textures options in the Edit box.

2.	Select the Load button, opening the Load Texture dialog box.

3.	Select the name of an image file you want to open and the model is texturized with the selected image as a preview. This feature allows you to preview how different images will look texturized on the Model prior to opening a particular file.

4.	Select the OK button and the Turn On Texturization box is automatically activated.

5.	Set the texture’s Placement.

6.	Set the texture’s Application.

7.	Set the texture’s Repeats.

Note: The Enable Preview box in the Load Texture dialog box controls both the previews of selected images in 2D within the Load Texture dialog box and the preview texturization of the Model in the 3D.

Tip: In general, small repeatable patterned images work best as 3D Text textures.

Texture Placement

The Placement box sets which surface(s) of the text the texture is applied to.

Placement Options:

Method	About

Entire Model	This placement method places the texture on all text surfaces.

Face	This placement method places the texture only on the text’s front and rear faces, and the texture is “bleed” on the text’s extrusion.

Extrusion	This placement method places the texture only on the text’s extrusion, and the texture is “bleed” on the text’s front and rear faces.

Texture Application

The Application box sets how a texture is merged with the text’s set Color.

Application Options:

Method	About

Blend	This application method applies the texture to the text by blending it with the text’s set Color.

Decal	This application method applies the texture to the text and ignores the text’s set Color.

Repeats

The Horizontal Repeat and Vertical Repeat buttons sets the number of times the texture repeats on each text character in the horizontal or vertical direction. The actual number of times the texture repeats is also affected by the X and Y Size settings of the texture.


To Set the Scene Lights

ColorWorks offers control over a set of 3 scene lights.

To Set the Scene Lights

1.	Choose the Lights options in the Edit box.

2.	Select the Light 1, Light 2, or Light 3 button to set the light controls to a particular light.

3.	Set the Turn Light On box to turn the light on or off. If you set the light to On then continue to the next step.

4.	Select the Color box and set the color of the light.

5.	Set the Intensity of the light.

6.	Set the Location of the light.

Note: Since the Move tool is the only tool needed to set Lights, the Tool buttons are greyed and not available when the Lights option is selected in the Edit box. When setting lights you will be using the Move tool over-top of the Preview Window by default.


To Load Light Sets

To Load Light Sets

1.	Select the Load Lights button, opening the Load Lights dialog box.

2.	Select the name of a Lights file you want to open and the model in the 3D Renderer or Animator is light with the selected light set as a preview. This feature allows you to preview how different Lights will light the Model prior to opening a particular file.

3.	Select the OK button.


To Save Light Sets

To Save Light Sets

1.	Select the Save Lights button, opening the Save Lights dialog box.

2.	Type in a file name for the Lights file.

3.	Select the OK button.

Note: Lights files are automatically saved to the \threed directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


To Load 3D Text Animations

To Load 3D Text Animations

1.	Choose the File | Load Animation command of the 3D Text Animator, opening the Load Animation dialog box.

2.	Select an Animation file.

3.	Select the OK button.

Note: The Key Frames within a saved Animation file are evenly disbursed along the current animation when the file is loaded.


To Save 3D Text Animations

To Save 3D Text Animations

1.	Choose the File | Save Animation command of the 3D Text Animator, opening the Save Animation dialog box.

2.	Type in a file name for the Animation file.

3.	Select the OK button.

Note: Animation files are automatically saved to the \threed directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


Using the 3D Web Object Renderer

The 3D Web Object Renderer is used to render a 3D Object (buttons, bullets, separators bars, etc.) scene directly over-top of canvas images.

Understanding Working in 3D (XYZ) Space

When working in 3D or 3 dimensions, the location of objects and scene elements are described using a set of 3 XYZ coordinates. In a paint program you work in only 2 dimensions, X and Y. The X dimension equates to an object width or horizontal location measurement, and the Y dimension equates to an object height or vertical location measurement. The added Z dimension when working in 3D adds a depth measurement to the description of objects and locations. Depth or Z in object size can be considered a measurement of the thickness of the object. Depth or Z location can be considered a measurement from your screen out towards an infinite horizon. The larger the Z location the farther an object is away from your screen, and the smaller the Z location the closer the object is to your screen.

Tip: The easiest way to learn exactly how objects operate in 3D space is using visual feedback. Use the Position, Angle, and Size boxes and/or the Move, Rotate, and Size tools to manipulate 3D models and observe how they change based on your settings.

Rendering 3D Models

1.	Choose the Web Tools | 3D Web Object Renderer command, opening the 3D Web Object Renderer.

2.	Select the Model button, opening the Load Model dialog box.

3.	Select a model using the provided controls.

4.	Select the OK button.

5.	Set the model’s Position, Rotation, and Size.

6.	Choose the Textures option in the Edit box, and set the model’s texture.

7.	Choose the Lights options in the Edit Box, and set the scene lights.

8.	Select the Render button and the 3D Model will output to the canvas image. After output to the canvas image, the 3D Web Object Renderer will remain open for additional use.

9.	Choose the File | Exit command of the 3D Web Object Renderer to close it when you are finished rendering 3D Models.

Notes:

•	SPG offers a growing library of 3D models for use with the 3D Web Object Renderer available for download from the SPG web-site.

•	SPG only supports the use of .3DS models provided by SPG with the 3D Web Object Renderer. SPG models are designed to open at a location and size that can be seen, to open centered and facing forward, are of a low polygon count for reasonable performance, and all polygon normals are correct so the models render correctly. Although not a supported feature, the Web Object Renderer will use most .3DS models you create yourself in a Rendering program or download from the Internet.

Tips:

•	Decaling Rendered Models Using the Icon Placement Method: The Icon placement method is excellent for decaling an animated Model. This Placement method places the texture only on the model’s front and rear faces without repeating. The remainder of the Model is texturized using the color(s) found on a 2 pixel wide border around the edges of texture image. If the colors of the 2 pixel border around the texture image are all the same, the remainder of the model will be a common color. If the colors of the 2 pixel border around the texture image are different, the remainder of the model will be streaked with those colors.

•	Colorizing Rendered Models by Hand: Painting colors with the Effects | Drawing Merge Control command in use and its Use Drawing Color box set to Tint is excellent for colorizing a rendered model. The Tint merge only paints to an image’s hue and saturation component, and preserves the images’ original lightness (the highlights and shadows of the 3D model).

•	Decaling Rendered Models by Hand: Merging a floated image with the Mask | Float Merge Control command in use and its Use Floating Image box set to Tint is excellent for decaling a rendered model. The Tint merge only changes the canvas image’s hue and saturation component to that of the floated image, and preserves the canvas’ original lightness (the highlights and shadows of the 3D model).

•	Using the 3D Web Object Renderer with Canvas Protection Masks: The 3D Web Object Renderer will work with a Canvas Protection Mask if the Mask | Use Protection Masks command is in-use when the 3D Web Object Renderer is used.

•	Using the 3D Web Object Renderer with the Effects | 8-Bit Mask Command: The 3D Web Object Renderer will work with an 8-Bit Mask if the Effects | 8-Bit Mask command is in use when the 3D Web Object Renderer is used.


To Position, Rotate, and Size a Scene Element

To Set the Model’s Texture

To Set the Scene Lights

To Load Light Sets

To Save Light Sets


Using the 3D Web Object Animator

The 3D Text Animator is used to render and animate a 3D Object (buttons, bullets, separators bars, etc.) scene directly over-top of the existing GIF Animator frame images.

Understanding Working in 3D (XYZ) Space

When working in 3D or 3 dimensions, the location of objects and scene elements are described using a set of 3 XYZ coordinates. In a paint program you work in only 2 dimensions, X and Y. The X dimension equates to an object width or horizontal location measurement, and the Y dimension equates to an object height or vertical location measurement. The added Z dimension when working in 3D adds a depth measurement to the description of objects and locations. Depth or Z in object size can be considered a measurement of the thickness of the object. Depth or Z location can be considered a measurement from your screen out towards an infinite horizon. The larger the Z location the farther an object is away from your screen, and the smaller the Z location the closer the object is to your screen.

Tip: The easiest way to learn exactly how objects operate in 3D space is using visual feedback. Use the Position, Angle, and Size boxes and/or the Move, Rotate, and Size tools to manipulate 3D models and observe how they change based on your settings.

Understanding Key Framing an Animation

This animation or movement of 3D scene elements (Model, Textures, and Lights) is controlled by setting how they render on particular frame(s) or Key Frames along the duration of the GIF animation. Frames are keyed along the animation where it is necessary to get the movement or change of the 3D scene you desire at that point in the animation. It is normally not necessary to key all frames of an animation, as ColorWorks computes the 3D scene settings for all animation frames between your set Key Frames.

A Simple 3-Step Process to 3D Model Animation

1. 	Prepare the GIF Animator for Output by the 3D Web Object Animator.

2. 	Start the 3D Web Object Animator and Key Frame the Model Animation.

3. 	Output the 3D Model Animation to the GIF Animator.

Step 1: Prepare the GIF Animator for Output by the 3D Web Object Animator

The 3D Web Object Animator uses the frame images of a GIF Animator as the background for each of the 3D Model frames it outputs. This allows you to easily integrate 3D Models with an existing GIF animation, and exactly place 3D Models in relation to other stationary and/or animated elements within that GIF animation if desired.

1. 	Start a GIF Animator.

2. 	Open an existing animated GIF movie file into the animator, or insert the desired background frames into the animator.

Tip: Preparing the GIF Animator to Render 3D Models Over-top of a Common Background Color or Picture. 1. Insert the image that represents your desired background color or picture (a canvas image filled with a single color or a real picture) into the GIF Animator.  2. Use the Edit | Replicate Current Frame command of the GIF Animator to fill the animator with as many copies of that frame as desired.

Step 2: Start the 3D Web Object Animator and Key Frame the Model Animation.

Choose the Effects | 3D Web Object Animator command of the GIF Animator, opening the 3D Web Object Animator, and use the following procedure to setup the key frames of the animation:

1.	Use the Frame button to select the frame image within the existing GIF animation that you want to key frame. The background of the preview window will fill with that frame image.

2.	Select the Model button, opening the Load Model dialog box.

3.	Select a model using the provided controls.

4.	Select the OK button.

5.	Set the model’s Position, Rotation, and Size.

6.	Choose the Textures option in the Edit box, and set the model’s texture.

7.	Choose the Lights options in the Edit Box, and set the scene lights.

8.	Select the Key Frame box and your scene settings will be saved for the selected Frame image.

Notes:

•	SPG offers a growing library of 3D models for use with the 3D Web Object Animator available for download from the SPG web-site.

•	SPG only supports the use of .3DS models provided by SPG with the 3D Web Object Animator. SPG models are designed to open at a location and size that can be seen, to open centered and facing forward, are of a low polygon count for reasonable performance, and all polygon normals are correct so the models render correctly. Although not a supported feature, the Web Object Renderer will use most .3DS models you create yourself in a Rendering program or download from the Internet.

•	All 3D Scene properties can be Key Framed for animation, and/or shift and cross-fade special effects. Model properties, Textures properties including the use of multiple texture images, and all Lights properties can be key framed at different settings for animation, and/or shift and cross-fade effects of those properties. The only 3D Scene attribute that can not cross fade or shift between Key Frames is the model that is used in the animation.

•	The Animation Range field provides feedback as to which frames will be rendered to in the GIF Animator using your current settings. GIF Animator frames that are not keyed themselves and are not between two set Key Frames, are not within the Animation Range and will not be rendered to at all. For example: On a 10 frame animation you set frame 3 and 8 as Key Frames and render the 3D Model animation. Within the GIF Animator the 3D Model will be rendered to frames 3 to 8, and frames 1,2,9, and 10 will not be rendered to at all.

•	Quickly Switching Back and Forth to Edit the Model Using the [Shift] Key: When editing the scene Textures or Lights you can quickly go back to editing the Model without using the Edit box by pressing and holding the [Shift] key. The 3D Web Object Animator will switch back to its previous state when the [Shift] key is released.

•	Use of Hatch Patterns in the Preview Window: If all of your frame images are the same size as the animation’s Logical Screen, as set in the Edit | Animation Properties command of the GIF Animator, you will only see the normal invalid black angled hatch pattern to the right of the frame images. However, if a frame image is smaller than the GIF animation’s Logical Screen, a red checked hatch pattern will be displayed where parts of the Logical Screen are not covered by the currently selected Frame image. Since there is no frame image in these parts of the Logical Screen to render to, they are considered invalid and any parts of the Model over-top of these areas will not be drawn when the 3D Model animation is rendered.

Tips:

•	Rendering Stationary 3D Models: Models will be rendered stationary between two Key Frames that have the same exact settings for model Position, Rotation, and Size.

•	Key Framing Model Rotations for Predictable Results: When ColorWorks computes the intermediate “looks” of a 3D Model animation between set Key Frames, it always takes the shortest path or smallest angle to reflect a change in model angles. For example: There is two Key Frames in your animation, the first has a Y Angle setting of 0 degrees and a second has a setting of 90 degrees. ColorWorks is presented with two ways to spin the model between these two Key Frames. It could spin the model 270 degrees in a negative direction or it could spin the model 90 degrees in a positive direction. Since 90 is smaller that 270, the model will spin positive 90 degree between these Key Frames. If you wanted the model to spin in a negative direction from a Y angle of 0 to 90 (spinning 270 degrees in a negative direction), you would have to set some Key Frames between the original two keys to force ColorWorks to spin the model in the desired direction. Note, if ColorWorks is presented with a scenario where both paths for a change in rotation angle between Key Frames are 180 degrees, ColorWorks defaults to a positive rotation.

•	Previewing the Model’s Movement During the Animation: The Preview Window of the 3D Web Object Animator always shows exactly how the Model will be positioned on a given Frame, regardless if that particular frame is keyed or computed. To preview the movement of the Model during the duration of the animation, simply cycle the Frame button from its lowest to highest setting (first to last animation frame). Note, frames outside the Animation Range will display within the Preview Window, but will not be rendered to when you output the 3D Model animation.

•	Decaling Rendered Models Using the Icon Placement Method: The Icon placement method is excellent for decaling an animated Model. This Placement method places the texture only on the model’s front and rear faces without repeating. The remainder of the Model is texturized using the color(s) found on a 2 pixel wide border around the edges of texture image. If the colors of the 2 pixel border around the texture image are all the same, the remainder of the model will be a common color. If the colors of the 2 pixel border around the texture image are different, the remainder of the model will be streaked with those colors.

•	Colorizing Rendered Models by Hand: Individual animation Frames can be drag-and-dropped to the ColorWorks Desktop for colorization by hand using the Tint merge. Painting colors with the Effects | Drawing Merge Control command in use and its Use Drawing Color box set to Tint is excellent for colorizing a rendered model. The Tint merge only paints to an image’s hue and saturation component, and preserves the images’ original lightness (the highlights and shadows of the 3D model).

•	Decaling Rendered Models by Hand: Individual animation Frames can be drag-and-dropped to the ColorWorks Desktop for decaling by hand using a floated image. Merging a floated image with the Mask | Float Merge Control command in use and its Use Floating Image box set to Tint is excellent for decaling a rendered model. The Tint merge only changes the canvas image’s hue and saturation component to that of the floated image, and preserves the canvas’ original lightness (the highlights and shadows of the 3D model).

Step 3: Output the 3D Model Animation to the GIF Animator.

1.	Select the Render button and the 3D Model animation will output to the GIF Animator. After output to the GIF Animator, the 3D Web Object Animator will remain open for additional use.

2.	Choose the File | Exit command of the 3D Web Object Animator to close it when you are finished rendering 3D Models.


To Position, Rotate, and Size a Scene Element

To Set the Model’s Texture

To Set the Scene Lights

To Load Light Sets

To Save Light Sets

To Load 3D Web Object Animations

To Save 3D Web Object Animations


To Set the Model's Texture
To Set the Model’s Texture

To Set the Model’s Texture

1.	Choose the Textures options in the Edit box.

2.	Select the Load button, opening the Load Texture dialog box.

3.	Select the name of an image file you want to open and the model is texturized with the selected image as a preview. This feature allows you to preview how different images will look texturized on the Model prior to opening a particular file.

4.	Select the OK button and the Turn On Texturization box is automatically activated.

5.	Set the texture’s Placement.

6.	Set the texture’s Application.

7.	Set the texture’s Repeats.

Note: The Enable Preview box in the Load Texture dialog box controls both the previews of selected images in 2D within the Load Texture dialog box and the preview texturization of the Model in the 3D.

Tip: In general, small repeatable patterned images work best as 3D Model textures.

Texture Placement

The Placement box sets which surface(s) of the model the texture is applied to.

Placement Options:

Method	About

Entire Model	This placement method places the texture on all model surfaces.

Face	This placement method places the texture only on the model’s front and rear faces, and the texture is “bleed” on the model’s extrusion or Z faces.

Extrusion	This placement method places the texture only on the model’s extrusion, and the texture is “bleed” on the model’s front and rear faces.

Icon	This placement method places the texture on the model’s front and rear faces without repeating. The remainder of the Model is texturized using the color(s) found on a 2 pixel wide border around the edges of texture image. If the colors of the 2 pixel border around the texture image are all the same, the remainder of the model will be a common color. If the colors of the 2 pixel border around the texture image are different, the remainder of the model will be streaked with those colors.

Tip: Adding a Colored Border Around a Texture Image for Use with the Icon Placement Method: 1) Open the texture image in ColorWorks for editing. 2) Set the Current Color to the desired image border color. 3) Choose the Image | Resize Canvas command and resize the canvas 4 pixels wider and higher, and select the OK button. This adds a 2 pixel wide colored border to the image. 4) Save the texture image.

Texture Application

The Application box sets how a texture is merged with the model’s set Color.

Application Options:

Method	About

Blend	This application method applies the texture to the model by blending it with the model’s set Color.

Decal	This application method applies the texture to the model and ignores the model’s set Color.

Repeats

The Horizontal Repeat and Vertical Repeat buttons sets the number of times the texture repeats on the model in the horizontal or vertical direction. The actual number of times the texture repeats is also affected by the X and Y Size settings of the texture.


To Load 3D Web Object Animations

To Load 3D Web Object Animations

1.	Choose the File | Load Animation command of the 3D Web Object Animator, opening the Load Animation dialog box.

2.	Select an Animation file.

3.	Select the OK button.

Note: The Key Frames within a saved Animation file are evenly disbursed along the current animation when the file is loaded.


To Save 3D Web Object Animations

To Save 3D Web Object Animations

1.	Choose the File | Save Animation command of the 3D Web Object Animator, opening the Save Animation dialog box.

2.	Type in a file name for the Animation file.

3.	Select the OK button.

Note: Animation files are automatically saved to the \threed directory off your main ColorWorks directory. You do not need to enter a drive: letter, file path, or file extension when providing a file name.


e-mailing Images from ColorWorks

Any image(s) displayed in the Image Browser can be sent as e-mail using your default Send To Mail Recipient program.

To Send a Single Image as e-mail

1.	Click Button 2 on the image you want to e-mail.

2.	Choose the Send to Mail command, opening your default Send to Mail Recipient program to send the image as e-mail.

or

1.	Select the image you want to e-mail.

2.	Choose the File | Send to Mail command of the Image Browser, opening your default Send to Mail Recipient program to send the image as e-mail.

To Send Multiple Images as e-mail

1.	Select the images you want to e-mail.

2.	Click Button 2 on any of the selected images.

3.	Choose the Send to Mail command, opening your default Send to Mail Recipient program to send the images as e-mail.

or

1.	Select the images you want to e-mail.

2.	Choose the File | Send to Mail command of the Image Browser, opening your default Send to Mail Recipient program to send the images as e-mail.


FTPing Images from ColorWorks

Any image(s) displayed in the Image Browser can be sent via FTP to an Internet Server.

To FTP a Single Image to an Internet Server

1.	Click Button 2 on the image you want to send to an Internet Server.

2.	Choose the Send to FTP command, opening the FTP Directory (login)  dialog box.

3.	Type in a Server Name, User ID, and Password.

4.	Select the OK button.

5.	The FTP Directory dialog box will open after your login is completed.

6.	Navigate to the destination Internet Server directory that you want to upload the image to, and select the OK button.

or

1.	Select the image you want to send to an Internet Server.

2.	Choose the File | Send to FTP command of the Image Browser, opening the FTP Directory (login)  dialog box.

3.	Type in a Server Name, User ID, and Password.

4.	Select the OK button.

5.	The FTP Directory dialog box will open after your login is completed.

6.	Navigate to the destination Internet Server directory that you want to upload the image to, and select the OK button.

To FTP Multiple Images to an Internet Server

1.	Select the images you want to send to an Internet Server.

2.	Click Button 2 on any of the selected images.

3.	Choose the Send to FTP command, opening the FTP Directory (login)  dialog box.

4.	Type in a Server Name, User ID, and Password.

5.	Select the OK button.

6.	The FTP Directory dialog box will open after your login is completed.

7.	Navigate to the destination Internet Server directory that you want to upload the images to, and select the OK button.

or

1.	Select the images you want to send to an Internet Server.

2.	Choose the File | Send to FTP command of the Image Browser, opening the FTP Directory (login)  dialog box.

3.	Type in a Server Name, User ID, and Password.

4.	Select the OK button.

5.	The FTP Directory dialog box will open after your login is completed.

6.	Navigate to the destination Internet Server directory that you want to upload the images to, and select the OK button.


Creating Web-Site Thumbnail Image Galleries

ColorWorks makes the creation of thumbnail image galleries for web-sites simple. The Image Browser can upload thumbnails for all images within the currently opened Internet Server directory, and automatically generate the HTML Table code that displays the thumbnails linked to the image files. You simply copy and paste the generated HTML Table code into any web-page and you have a beautiful Image Gallery presentation of available images for downloading.

To Add an HTML Image Gallery to Your Web-Site

1.	Open an Internet Server Directory in the Image Browser that you want to create an Image Gallery for.

2.	Choose the File | Preferences command of the Image Browser, opening the Preferences dialog box. Set the Internet Thumbnail Gallery Format, Bits Per Pixel, any format related Options, and select the OK button.

3.	Choose the File | Upload Edits and Thumbnails to FTP Directory command of the Image Browser, and the thumbnails are uploaded to the Internet Server directory.

4.	The Save Image Gallery HTML Table Code dialog box opens.

5.	Adjust any settings, select the Generate Code button, and the HTML Table code is saved.

6.	Copy the generated HTML Table code into a web-page of your choice.

Notes:

•	The web-page using the generated HTML table code must reside and run from the same Internet Server directory that contains the images and thumbnails used by the generated Image Gallery.

•	The size of the uploaded thumbnails will be the same as those currently displayed within the Image Browser itself. Thumbnail image size is set using the View | Thumbnail Size command of the Image Browser.


Save Image Gallery HTML Table Code

This dialog box is used to set the attributes for an automatically generated HTML Table of thumbnail images linked to the image files in an Internet Server directory.

Dialog Controls:

Control	Function

Caption	This field sets the caption to use for the table. The caption is optional.

Number of Columns	This button sets number of columns wide the table will be.

Border	This button sets the thickness of a box drawn around a table cell.

Cell Padding	This button sets the space, in pixels, left between the borders of the cell and cell contents (thumbnail image).

Cell Spacing	This button sets the thickness, in pixels, of the dividing lines between the table cells.

Note: You only set the number of columns for the table, the number of rows depends on the number of images in the table and is automatically set by ColorWorks.

Tip: Many of the settings in this dialog control the width of the table. HTML tables do not wrap around based on the width of the Internet Browser window when the table is viewed, they clip. Therefore, you need to setup the table assuming the maximum width screen an average user may have, which will probably be 640 pixels in width.


Snatching Images and Files from Your Internet Browser

ColorWorks will download anything drag-and-dropped to its Internet Connection from an Internet Browser. Image files in a format that ColorWorks understands will automatically be opened on the ColorWorks desktop. Animated GIF images will automatically be opened in the GIF Animator. For anything else, ColorWorks will ask you where you want to save the file and download it for you.

To Open a File Displayed in an Internet Browser

1.	Display the image you want to open (viewed image or a link to an image file) in your Internet Browser.

2.	Perform a drag-and-drop of the image or link from your Internet Browser to the Internet Connection on the Program Task Bar.

Note: The Internet Connection can download multiple files at a time. You do not need to wait for the download of one file to finish before drag-and-dropping another file to the Internet Connection for downloading.


Managing Images on an Internet Server with the Image Browser

The Image Browser can fully manage image files on your web-site(s) and/or FTP-site(s). The Image Browser is capable of all file management functions including, updating, addition, deletion, renaming, and converting of the image files on an Internet Server.

To Manage the Images on an Internet Server with the Image Browser

1.	Open an Internet Server Directory in the Image Browser that you want to make changes in using the File | FTP Directory command of the Image Browser.

2.	Make any necessary edits (edit the images with ColorWorks, use them in the GIF Animator, use them in the Image Mapper, rename them, convert them, delete them, etc.) to the images belonging to that directory, and drag-and-drop new files to the Image Browser to be uploaded to the Internet Server directory with the edits.

3.	Choose the File | Upload Edits to FTP Site(s) command of the Image Browser, opening the FTP Upload Confirmation dialog box.

4.	Select the Yes or the Yes to All button.

Notes:

•	ColorWorks remembers the login information used for all server directories opened with the Image Browser. When you choose the File | Upload Edits to FTP Site(s) command, you will not be prompted for login information.

•	The File | Upload Edits to FTP Site(s) command is a batch command, it uploads all edits made to Internet Server directories since the last time the command was used. You could open and edit several Internet Server directories one after the other (steps 1 and 2 above), and choose the File | Upload Edits to FTP Sites (step 3 above) once when you are done editing all of the selected Internet Server directories.

•	It is important that you do not edit the files and/or directories within ColorWorks’ FTP directory on your local system. This is where the Image Browser maintains its cache and synchronized mirrors of your FTP directories.

•	The number of days that the Image Browser keeps a local cache of an FTP directory since the last time you opened that directory in the Image Browser, is set by the Cache Lifespan button of the FTP Directory dialog box. If you do not open an FTP Directory again before its Cache Lifespan expires, the Image Browser will automatically delete its mirror of that FTP Directory.

•	ColorWorks’ FTP Cache of Internet Server directories is synchronized with a server every time the File | FTP Directory command of the Image Browser is used to open a server directory in the Image Browser. This synchronization allows you to mange the images on Internet Server directories with other software, in addition to the ColorWorks Image Browser, and not adversely affect the Image Browser’s ability to manage server directories.


Surfing FTP Sites for Images with the Image Browser

The ColorWorks Image Browser can connect to any Internet Server that you have a valid login to. File directories on the server can be navigated, images can be previewed, previewed images can be snatched from the server to ColorWorks, and all or selected images within server directories can be downloaded to the Image Browser.

To Surf an FTP-Site with the Image Browser

1.	Choose the File | FTP Directory command of the Image Browser, opening the FTP Directory (login)  dialog box.

2.	Type in a Server ID, User Name, and Password, and Select the OK button.

3.	The FTP Directory dialog box will open after your login is completed.

4.	Navigate the server disk directories and you can:

•	Preview an image using the Preview box.

•	Snatch the previewed image to ColorWorks by drag-and dropping it to ColorWorks.

•	Download all of the images within a directory by selecting the OK button.

•	Download selected images within a directory by selecting the images you want from the Files list, and selecting the OK button.

Tip: Anonymous FTP Login: Many FTP servers offer access to their “public” directories using an anonymous login procedure, where a specific User Name and Password is not needed to login to the server. A typical anonymous login procedure is to leave the User Name and Password boxes empty when connecting to an FTP server that allows for an anonymous login. Another form of anonymous login is to use the word “anonymous” as the User Name and the word “guest” as the Password when you login to the server.


To Open Selected Files of an Internet Server Directory

To Preview Images on an Internet Server

To Snatch a Previewed Internet Server Image to ColorWorks


Built-in Communication with SPG

Connecting to the SPG Web-Site with ColorWorks

Auto-Updating Your ColorWorks to the Latest Revision

Automatically Downloading Program Files from the SPG Web-Site


Connecting to the SPG Web-Site with ColorWorks

The ColorWorks program and On-Line MEGA-Manual have built-in facilities to automatically connect to the SPG web-site through your Internet Browser.

To Connect to the SPG Web-Site with ColorWorks

•	Click Button 1 on the Internet Connection in the Program Task Bar, or

•	Click Button 2 on the Internet Connection in the Program Task Bar, and choose the Connect to the SPG Web-Site command.

To Connect to the SPG Web-Site with the ColorWorks On-Line MEGA-Manual

Choose the SPG | Connect to the SPG Web-Site command.


Auto-Updating Your ColorWorks to the Latest Revision

On occasion SPG will release updates to ColorWorks. ColorWorks is built to automatically connect to SPG and update itself to the Current Revision Number of the program.

To Auto-Update Your ColorWorks

1.	Choose the Help | Auto-Update (Rev. 3.xxx)  command.

2.	ColorWorks will automatically connect itself to SPG.

3.	If your ColorWorks is not the latest Revision of the program, the necessary update files will be downloaded and you will be requested to reboot your computer for ColorWorks to bring itself up to the latest revision. If your ColorWorks is already up to the latest Revision of the program, you will be notified so.

Tip: When to Auto-Update Your ColorWorks: You can choose to Auto-Update your ColorWorks as often as you like. There is no harm done by choosing to do so when the program is already up to the current revision. In addition, SPG will post the Current Revision Number of the program on the SPG web-site. If you are on the SPG web-site and see that the Current Revision Number is greater than the one listed on your Help | Auto-Update (Rev. 3.xxx) command, auto-update your program.


Automatically Downloading Program Files from the SPG Web-Site

ColorWorks can download add-on program files (texture maps, displacement maps, color palettes, plug-ins, etc.) from the SPG web-site and place those files in their proper ColorWorks sub-directory automatically. This feature allows you to download add-on files from the SPG web-site without having to bother with downloading the file through your Internet Browser, possibly having to de-compress the file, and having to place the file in the proper ColorWorks sub-directory.

To Automatically Download and Apply Program Files from the SPG Web-Site

1.	Connect to the SPG web-site with your Internet Browser.

2.	Drag-and-drop a displayed link to a program file from your Internet Browser to the Internet Connection on the Program Task Bar. ColorWorks will automatically download a program add-on file, de-compress it if necessary, and place it in the proper ColorWorks sub-directory.


Reference Information

Keyboard and Mouse Command Guide

Drag-and-Drop Guide

Glossary


Keyboard and Mouse Command Guide

The following tables list ColorWorks’ keyboard and mouse-only commands.

Keyboard Commands

Key(s)	Function

[+]	When painting with the Text tool this key increases the rotation angle of the text.

[-]	When painting with the Text tool this key decreases the rotation angle of the text.

[up-arrow]	When painting with the Text tool this key increases the size of the text. When working with a floated image this key moves the floated image up by one pixel.

[down-arrow]	When painting with the Text tool this key decreases the size of the text. When working with a floated image this key moves the floated image down by one pixel.

[right-arrow]	When painting with the Text tool this key increases the kerning of the text. When working with a floated image this key moves the floated image to the right by one pixel.

[left-arrow]	When painting with the Text tool this key decreases the kerning of the text. When working with a floated image this key moves the floated image to the left by one pixel.

[Ctrl] + [C]	Shortcut key for the Edit | Copy command.

[Ctrl] + [F]	Shortcut key for the Mask | Save and Float Image Mask command.

[Ctrl] + [F4]	Shortcut key for the File | Close command.

[Ctrl] + [N]	Shortcut key for the File | New command.

[Ctrl] + [O]	Shortcut key for the File | Open command.

[Ctrl] + [P]	Shortcut key for the File | Print | Print command.

[Ctrl] + [S]	Shortcut key for the File | Save command.

[Ctrl] + [V]	Shortcut key for the Edit | Paste command.

[Ctrl] + [X]	Shortcut key for the Edit | Cut command.

[Ctrl] + [Z]	Shortcut key for the Undo/Redo command of a canvas.

[Enter]	When painting with the Curve tool this key draws the curve.

[Esc]	When rubberbanding with a painting tool this key aborts the painting operation. When working with a floated image this key discards the floated image.

[F1]	This key opens Help.

[F2]	This key zooms-in on a canvas image the number of levels set in the File | Preferences command.

[F3]	This key zooms-out on a canvas image the number of levels set in the File | Preferences command.

[F4]	Shortcut key for the Window | Actual View 100% command.

[F5]	Shortcut key for the Window | Fit/Size to Largest command.

[F6]	This key picks the canvas image color directly under the pointer as the Current Painting Color.

[F7]	This key resets the Clone Source Point used by the Effects | Clone command.

[Insert]	When painting mask definitions, this key switches the tools between Define Mask and Undefine Mask.

[Shift]	When choosing an in use Effect menu command or Effects Bar button, holding this key will keep the effect in use and open its dialog rather than take the effect out of use. When painting with the Free Draw tool, momentarily pressing and holding this key when you first press Button 1 to start free drawing a second time, will cause the program not to draw to image areas previously drawn to by the first free draw operation (you can release the [Shift] key after you start to draw again). This also makes consecutive free draw operations part of the same undo. When painting with the Curve tool, holding this key while clicking Button 1 adds a point to the curve after the selected point. When working with the 3D Text Renderer or 3D Text Animator, pressing and holding this key when editing the scene Textures, Lights, or Fog, switches to editing the Model without using the Edit box. The 3D Text Renderer or 3D Text Animator will switch back to its previous state when the [Shift] key is released.

[Shift] + [up-arrow]	When painting with the Text tool this key combination increases the size of the text in height only.

[Shift] + [down-arrow]	When painting with the Text tool this key combination decreases the size of the text in height only.

[Shift] + [right-arrow]	When painting with the Text tool this key combination increases the size of the text in width only.

[Shift] + [left-arrow]	When painting with the Text tool this key combination decreases the size of the text in width only.

Mouse-Only Commands

The commands listed in this table are mouse controls that have no Menu Bar equivalents. Meaning, these functions can only be operated from the mouse.

Button Click	Function

[Shift] + Button 1	When painting with the Curve tool this key and button combination adds a curve segment between two existing points.

Button 2	When rubberbanding with a painting tool, clicking this button aborts the painting operation (except for the Curve tool). When the Image | Transforms | Interactive Resize command is in use, clicking this button will take it out of use (in addition to the ability to choose the command out of use). When painting with the Curve tool this button deletes a curve segment when the cursor is over a curve point.


Drag-and-Drop Guide

The following table lists ColorWorks’ drag-and-drop capabilities between program structures or components.

Drag-and-Drop Capabilities

Program Structure	Functions

ColorWorks Desktop	Accepts a drag-and-drop from: The ColorWorks Desktop will accept a drag-and-drop of a selected image(s) from the Image Browser, GIF Animators, the Windows Explorer, and any other program that initiates a Windows-compatible drag-and-drop procedure.

Initiates a drag-and-drop to: The ColorWorks Desktop can initiate a Button 2 drag-and-drop of a canvas image to the Image Browser to File Save or Web Save a file. In addition, a canvas image can be Button 2 drag-and-dropped to a GIF Animator for insertion as a frame.

When working with Floated Images: A Button 2 drag-and-drop is used to move the floated image from one canvas image to another, or to the ColorWorks Desktop to create a new canvas out of the floated image.

 Internet Connection	Accepts a drag-and-drop from: The ColorWorks Internet Connection will accept anything drag-and-dropped to it from an Internet Browser, and download that file(s) from the Internet. Image files in a format that ColorWorks understands will automatically be opened on the ColorWorks Desktop. Animated GIF images will automatically be opened in a GIF Animator. For anything else, ColorWorks will ask you where you want to save the file and download it for you. In addition, ColorWorks add-on files drag-and-dropped from the SPG web-site to the Internet Connection will be downloaded, de-compressed if necessary, and automatically placed in the proper program sub-directory.

Image Browser	Accepts a drag-and-drop from: The ColorWorks Image Browser will accept a drag-and-drop of a canvas image from the ColorWorks Desktop, Web Savers, and a selected frame(s) or animations from a GIF Animator. In addition, the Image Browser will accept a file drag-and-drop from outside ColorWorks. When a file is dropped from outside of ColorWorks, you will be prompted to select to Copy or Move the file to the current directory of the Image Browser.

Initiates a drag-and-drop to: The ColorWorks Image Browser will initiate a Button 1 drag-and-drop of a selected file(s) to the ColorWorks Desktop, Image Mapper, Web Savers, GIF Animators, and Animated GIF Players.

FTP Directory dialog	Initiates a drag-and-drop to: When working with the ColorWorks FTP Directory dialog a Button 1 drag-and-drop is used to download (snatch) a previewed image to the ColorWorks Desktop, Image Browser, Web Savers, and Image Mapper.

Web Savers	Accepts a drag-and-drop from: The ColorWorks Web Savers will accept a drag-and-drop from the Image Browser, GIF Animators, and an image file(s) drag-and-dropped from outside ColorWorks.

Initiates a drag-and-drop to: The Web Savers can initiate a Button 2 drag-and-drop of an image to the Image Browser to save a file. In addition, the Web Savers will initiate a Button 2 drag-and-drop of an image to a GIF Animator for insertion as a frame in an animation.

Image Mapper	Accepts a drag-and-drop from: The ColorWorks Image Mapper will accept a drag-and-drop of an image from the Image Browser, the Windows Explorer, and any other program that initiates a Windows-compatible drag-and-drop procedure.

 GIF Animators	Accepts a drag-and-drop from: The ColorWorks GIF Animators will accept a drag-and-drop of an image from the Image Browser, ColorWorks Desktop, Web Savers, the Windows Explorer, and any other program that initiates a Windows-compatible drag-and-drop procedure.

Initiates a drag-and-drop to: The ColorWorks GIF Animators will initiate a Button 1 drag-and-drop of a frame(s) to the ColorWorks Desktop, Web Savers, and Image Browser. When dropped to the Image Browser you will be prompted to select to save Selected Frame(s) or Animation to the current directory of the Image Browser.

When manipulating frames within the animation: A Button 1 drag-and-drop is used to move, copy, duplicate, and replace frames within the animation. In addition, a Button 1 drag-and-drop is used to copy a frame between two different GIF Animators.

Animated GIF Players	Accepts a drag-and-drop from: The ColorWorks GIF Players will accept a drag-and-drop of an animation from the Image Browser, Windows Explorer, and any other program that initiates a Windows-compatible drag-and-drop procedure.


Glossary

This reference provides definitions for many of the graphics, technical, and related terms used in this document.

A

Absolute Coordinates

A cursor’s actual location on a canvas regardless of its relative location within a window into that canvas image.

Additive Color

Is a color model where colored light is combined to create colors. A color PC monitor creates color by adding together the light of a red, green, and blue electron gun. Red, green, and blue are also known as the additive primaries because they create the appearance of bright white light when added together.

Aliasing

When you paint a line or any shape (curve, circle or font text character) where the edges are not perfectly horizontal or vertical, there will be some pixels that are only partially covered. Since a pixel is, by definition, the smallest area of a screen that can be controlled, software must pick one color for the entire pixel. Typically, any pixel covered by more than 50% of the defined area would be colored by your painting operations, those under 50% would not. The resulting lines are referred to as aliased. Aliasing gives lines a “stair step” or jagged-looking “jaggie” appearance. The greater the number of dots or pixels on your display, the higher the display resolution, the less noticeable aliasing is to the human eye.

Alpha Channel

An additional 8-bits of pixel data saved in addition to the 24-bits per pixel of true-color image data saved in a 32-bit image file.

Anti-Aliasing

Is a method of smoothing out the jaggies in lines caused by aliasing. Intermediate colors are calculated and placed between the aliases or “stair steps” of the line. The resulting optical illusion gives your lines a smooth appearance and makes your display appear to have a much higher resolution than it actually has.

Apply

In a dialog box this button closes the dialog box and applies the command’s function.

Area Process

A process, usually an effect, that requires additional pixel data other than that of the pixel being processed. Most filters are area processes.

Arbitrary

To select at random or at your own discretion.

Aspect Ratio

The ratio or relationship between the height and width of a monitor or a canvas, usually measured as a pixel resolution. A common aspect ratio is 1.5 to 1, which is that of a 35mm slide.

B

Background

Usually refers to the canvas image underneath a painting operation or floated image.

Bit Mapped Image

An image composed of individual dots.

Bit Map Graphics Editor

A graphics application, like ColorWorks, that edits bit mapped images.

Blend

To smooth pixels of an image together, reducing image contrast. See Blur.

Blur, Blurring

To blur an image is to lessen its contrast, the opposite of sharpening.

Bounded Box

An invisible rectangle that encloses a painting operation for holding in the undo buffers of ColorWorks. A rectangle that surrounds a floated image.

BPP

An acronym for Bits Per Pixel.

Brightness

Brightness is one of the three major dimensions of color; the others are hue and saturation. A color’s relative ability to reflect light.

Brightness Knob

The control on your video monitor device that sets the electronic signal offset of its electron guns. Also known as the Black Level control. The offset is what level of voltage is considered black. Due to the non-linear nature of the electronics involved, the brightness knob effect is more pronounced near black.

Burn

A traditional photographic technique simply meaning to darken an image by blocking light from a negative. Decreasing an image’s luminosity simulates this technique.

Button 1

Refers to the left mouse button.

Button 2

Refers to the right mouse button.

Byte

A measurement of image size. One byte is equal to eight bits of data.

C

Calibrate

To adjust a device so it produces accurate and predictable output.

Cancel

The button closes a notebook or dialog box without making changes to its settings.

Canvas

This refers to an image window on your computer’s video screen that you paint on while using ColorWorks.

Canvas ID#

Canvas ID#’s are assigned sequentially as canvases are created or opened. Since ColorWorks allows you to open the same image file multiple times, the ID# gives you a facility to identify individual canvases of the same file opened from disk. Remember, multiple canvases of the same disk file will overwrite each other when saved unless you use the File | Save as command and change one or both of their names.

Cast

Casts are overall shifts in color introduced during any point in the process from photography, to scanning, and image processing. Cast is the tendency of the almost white and almost black areas of an image to take on a color and gives an unnatural appearance. Since highlights are the areas first seen in an image, casts there are most noticeable. Usually color shifts towards red, blue, and yellow.

Chained

A tool painting method where the end endpoint of the last painting operation becomes the start endpoint for the next painting operation.

Character

A single text symbol is sometimes referred to as a character.

Character Mask

A mask definition defined using the Text tool is often referred to as a character mask.

Check Box

A square box control in a dialog that can be toggled on or off.

Choose, Choosing

In ColorWorks this refers to moving the cursor over-top of a menu command and clicking Button 1. When you choose something it happens immediately and only once.

Chord

Refers to clicking on both mouse buttons at the same time or by clicking on the right mouse button while holding down the left mouse button.

Click

To quickly press and release a mouse button.

Clipboard

The Windows Clipboard is a data holding and exchange area for images between the ColorWorks desktop and other Windows Clipboard-compatible applications.

CMY

An acronym for Cyan, Magenta, and Yellow. These are the compliments of the RGB (Red, Green, and Blue) color model. They are called subtractive primaries because their effect is to subtract some color from white light.

CMYK

An acronym for Cyan, Magenta, and Yellow and Key, where key represents black. It is the four color process ink model used to render color images in print. Since equal amounts of C, M, and Y inks equal black, the addition of K or black ink is used to reduce the total amount of ink used to print a particular color on-press. CMY is a color model. However, CMYK is not a color model, it is simply a method used to save ink on press.

Coated Paper

Smooth and/or glossy printing paper that is normally coated with a clay or plastic substance. Coated papers are typically more expensive and less absorbent of ink than non-coated papers.

Color

A phenomenon of visual perception that may be defined in terms of different color models.

Color Balance

On-screen, color balance means that the red, green, and blue image color components as displayed by your monitor match those of the original. On printed output, color balance means the proportions of CMY inks are printed in such a way that red, green, and blue light as reflected from the reproduction matches those of the original. Usually a grey balance of CMY inks is necessary to print with proper color balance.

Color Channel

All of the color information on an image for a single primary color is referred to as that color’s channel.

Color Component

The individual color channel of a pixel defined by a particular color model. For example: A pixel’s color defined by the RGB model has a Red, Green, and Blue component.

Color Mode

The setting of the display pixel depth (8, 16 or 24-bits per pixel) in which ColorWorks is operating.

Color Models

Color models are different ways of defining colors both for on-screen display and on a printed page. A color model is a conceptual spatial model that shows color relationships and values. The science of color is based on how light is perceived. Human vision perceives emitted light from computer monitors differently than reflected light of paper through printed inks. The ColorWorks Color Editor allows you to define colors in four different color models, RGB, CMY, HSB, and HLS. Each color model has different uses and limitations and is represented in a different way.

Color Palette

The 256 colors found on the floating Color Palette. The colors displayed are the colors of the currently loaded 256-color palette file or the default palette. It is used to make selecting painting colors quick and easy and can be shown and hidden from view using the Window | Show Color Palette command.

Color Value

This is a mathematically calculated value of a pixel’s color based on its color components.

Color Wheel

A color wheel is a way of arranging colors for ease of understanding color theory and the relationships between different colors. On a color wheel, colors are arranged in a circle to show the relationships between colors. The primary colors are positioned around the circle at equal distances. The secondary colors are positioned between two primary colors. Hence, each primary is directly opposite its complimentary color and each color is between the two colors used to create it. In degrees clockwise around the wheel, red is at 0 or 360, yellow at 60, green at 120, cyan at 180, blue at 240, and magenta at 300.

Command

A word or phrase usually found in a menu that carries out an action, opens a notebook, opens a dialog box, or enters a mode.

Compressed

An image that has been reduced in size is referred to as compressed. Some compression schemes maintain the quality of the image and some are destructive. Destructive, also known as lossy, schemes reduce the quality of the image in order to reduce its file size.

Compression

Compression is a method of reducing an image’s file size by combining the pixel information of similar colors and storing that information in a smaller space, compared to the space required to store each pixel’s information separately.

Continuous Tone

Images such as photographs, not line art, where there are gradual color transitions from one to another and the distinction between immediately neighboring pixels is slight. Also, images that have no apparent dot structure and color graduations are smooth.

Continuous Tone (CT) Device

A device that renders images using tone values of different densities without using halftone dots.

Continuous Tone Palette

This floating palette provides a method of quickly choosing painting colors from a huge palette of 18,000 different HLS, or HSV colors and can be shown and hidden from view using the Window | Show Continuous Tone Palette command.

Contrast

Is used to describe differences in brightness or colors. Images with high contrast have great differences in brightness and/or color. Also defined as the tonal graduations between the highlights, midtones, and shadows in an image. Images are said to lack contrast when too many elements are approximately the same brightness. All images have a range of contrast spanning shadow, midtone, and highlight colors. Images that do not span the entire range of contrast seem unrealistic to the human eye.

Contrast Knob

The control on your video monitor device that sets the electronic signal gain of its electron guns. Also known as the Picture control. The gain is how much monitor intensity rises from a raise in voltage. Due to the non-linear nature of the electronics involved, the contrast knob effects white levels while having minimal effect on black.

Control Menu, Control Menu Box

A menu common to all windows on your Windows desktop. Clicking Button 1 on the small box at the upper-left corner of all windows opens that window’s Control menu. The Control menu can be used to restore, move, size, minimize, maximize, or close any window. Closing the ColorWorks desktop window exits the program. Some ColorWorks interface structures such as the Tools Bar, Color Palette, and the Continuous Tone Palette have additional commands, specific to their structures’ behavior, added to their Control menus.

Coons Warp

Technically known as a Bilinear Coons Patch, a Coons Warp is a bivariate parametric function used to warp a region on an image bounded by four arbitrary curves to a rectangular region.

Co-processed Video Adapter

Video adapters that speed the display of graphics by using their own graphics specific processing capabilities for some painting tasks rather than using your computer’s processor.

Crop

To select only a desired area of a canvas. You usually crop a canvas to a smaller rectangular area that better centers the main object of the canvas, while trimming off unwanted borders.

Crosshair Cursor

The cursor in ColorWorks that has horizontal and vertical lines extending from the center of the cursor to the edges of the canvas.

CUA

An acronym for Common User Interface. CUA is a set of rules and standards pertaining to application interfaces, designed to ensure that learning new applications is as easy as possible.

Current Canvas

The canvas window that is the active window on the ColorWorks desktop, as indicated by its title bar being highlighted.

Current Color, Current Painting Color

Is the color that will be used by the tools if a color is required for painting. The current painting color is displayed on the Tools Bar.

Cursor

The cursor is the figure that moves on the canvas based on the movements of the mouse.

Cursor Area

The left-side part of the Status Bar that gives you feedback as to the co-ordinate location of your cursor on a canvas.

Cyan

A greenish-blue color used in four-color process printing. Cyan reflects blue and green light, and absorbs red light.

D

Decompression

Image decompression reverses the compression method and reconstructs the image back to an uncompressed state.

Default

A default is a ColorWorks option setting that is loaded on program start-up.

Degenerative Compression

See Reverse Compression.

Degradation

The amount of fidelity or clarity loss inflicted on an image by a filter, an effect, or a compression scheme.

Density

The actual measurement of the light stopping ability of a tone area of a printed image reproduction. Less light will be stopped by the brighter tones, and conversely more light will be stopped or absorbed by the darker tones.

Density Gamut, Density Range

The gamut or range of tones from the lightest to the darkest printing tone. Also, the difference in density from the lightest to the darkest portion of an image. See Dynamic Range.

Desk Top Publishing

Creating published documents by integrating all document text and graphics on a personal computer.

Device Independence

The ability to load, edit, and save an image in more colors than your hardware supports.

Dialog Box

A type of window that opens to allows you to set program commands and options.

DIMIC

An acronym for Dynamic In-Memory Image Compression. A memory management technology developed by SPG, which allows you to edit images as compressed data.

Diminishing Returns

A rate of yield that beyond a certain point fails to increase in proportion to additional application or expense of resources. For example, Lossy compression is a case of diminishing returns.

Disable, Disabled

An option or command that is greyed-out indicating that it is not available.

Displacement Maps

An image file used specifically for use with the Effects | Pixel Displacement command. See Displace.

Dithering

This is a process of combining groups of pixels, or groups of dots on a printed page, in order to increase color or grey-scale resolution. Dithering is used to expand the color capabilities of systems with limited color capabilities. Where only black and white is available, as in most laser printers, dithering is used to produce shades of grey, or at least the illusion of grey.

D-Map

See Displacement Map and Texture Map.

Dmax

The maximum density in an image or a material, or that an imaging system can reproduce.

Dmin

The minimum density in an image or a material, or that an imaging system can reproduce.

Dot Matrix Printer

A printer that marks the page by impact of a mechanical print head. The resolution of these types of printers is typically less than those of laser printers.

Dots Per Inch

Often used to measure the resolution of some devices. Typical laser printers used with microcomputers have a 300 dot per inch resolution. For a total of approximately 7,920,000 dots on an 8in. x 11in. printed page.

Dodge

A traditional photographic technique simply meaning to lighten an image by adding light to a negative. Increasing an image’s luminosity simulates this technique.

Double-click

To press and release a mouse button twice rapidly without moving the mouse.

DPI

An acronym for Dots Per Inch. See Dots Per Inch.

Drag

To move an object around after pointing at it with the cursor, clicking, and holding down a mouse button.

Drag-and-Drop

To select an object and move it to another location.

Driver

A program that translates data from software and/or Windows for use with a specific hardware device.

Drop

To release a mouse button after dragging an object to a desired location.

DSP

An acronym for Digital Signal Processor. See Digital Signal Processor.

Dye Sublimation

The process of printing color images using a thermal dye process in which the amount of heat determines the amount of dye transferred to the paper or substrate.

Dynamically Changeable

A setting in ColorWorks that can be reset at any time and the affects of the resetting occur immediately.

Dynamic Range

Refers to the total range of visible tone. Also used as a measure from one imaging system to another. The greater the dynamic range, the more tone the system can reproduce and the more pleasing an image will look relative to your ability to perceive tone. The human visual system’s tonal perception outperforms any type of reproduction method. Also referred to as Density Range.

E

Endpoint

A point in the definition of a painting operation usually set by clicking Button 1 while painting with a tool.

End Endpoint

The last endpoint, or a click of Button 1 to set a painting operation.

Eraser

Usually “eraser” tools are a pen tool that can paint with a background color or redo a previous state of a canvas. All of which you can do in ColorWorks with any tool. ColorWorks’ configurable tool design yields many “eraser” tools and a text eraser tool. In addition, you can use a soft brush and Redo effect combination for an airbrush eraser and interactively Zoom and Pan for precision erasing.

Exposure

The length of time and the intensity of the illumination that acts on the emulsion of a photographic film.

F

Fidelity

The clarity of an image.

Filled

A painting option of geometric tools that fills the inside area of the drawn geometric.

Filter

To change a pixel’s color value based on the definition of a kernel and offset value.

Filtered Pixel

A pixel on an image that has had its color value manipulated by the ColorWorks filter effect is referred to as filtered.

Flat

An image that lacks contrast is referred to as flat.

Floated Image

A mask definition that is floated on top of the canvas by choosing the Mask | Save and Float Image Mask or the Mask | Float Saved Image Mask commands.

Font

A font is a particular typeface in a specified typestyle.

Foreground

Usually refers to a floated image or a painting operation over-top of a canvas image.

Frame Grabber

Is a specialized board that allows you to capture an image into your PC from some type of video device: televisions, cameras, VCRs, etc.

Frame Processing

The act of editing a single frame of a series or sequence of frames of a multi-media movie, desktop publishing document, or slide presentation.

From Center

A tool painting method that causes tools to paint from the center of a rubberbanded representation of that tool.

From End Points

A tool painting method that causes tools to paint from the endpoints of a rubberbanded representation of that tool.

Full-Color

24-bit images are often referred to as “full-color” or “true-color.”

G

Gamma Correction

To adjust the way your monitor displays the transition from dark to light color in the midtones, referred to as its gamma. Your computer monitor is not a linear device, meaning the intensity of light produced is not proportional to its voltage input. Gamma correction is a process of compensating for this non-linearity, recomputing voltage signals used to represent certain intensity values, in order to achieve correct reproduction of canvas image intensities.

Gamut

A range of possibilities, such as the range of colors in an image or that a film can produce.

Geometric

A geometric shape is defined by the mathematical discipline of geometry. Many of ColorWorks’ tools are geometric shapes or objects.

Gradation, Gradient

An even transition of intermediate shades between two or more different colors, or a transition of painting opacity.

Graphics State

Includes the settings and in use status of all commands of the Effects menu (except Clone and Redo).

Grey Balance

The balance of CMY inks that will produce a neutral grey and key to proper printed image reproduction. Theoretically equal amounts of CMY inks should produce all greys or neutral tones. However, cyan ink absorbs less red light than it theoretically should. In addition, all three inks absorb some of the other two colors, which in theory they should not do, causing each ink to act as if it were contaminated with the other two.

Grey Levels

The number of unique grey colors between 100% black to 100% white in a particular image. Black and white or greyscale images typically have 16, 64, or 256 potential shades of grey.

Greyscale

A greyscale palette is a palette with only white, black, and shades of grey.

Greyed-Out

A menu command or control that is not available at the current time is referred to as greyed-out, because its text is non-solid to indicate its unavailable state.

H

Hard Fill

An area fill where only those adjacent pixels that are the exact color as the starting pixel are filled; no tolerances for variance in color, hue, luminosity or saturation.

Hardware Pan Emulation

Allowing for panning around a canvas that is larger than the current window while you paint without having to manipulate scroll bars. The emulation in software of panning capabilities traditionally available on systems with panning logic built into the video hardware. Panning and painting operations are completely independent and interactive operations.

Hardware Zoom Emulation

Allowing for zooming in and out of the canvas while you paint. The emulation in software of zooming capabilities traditionally available on systems with zooming logic built into the video hardware. Zoom and painting operations are completely independent and interactive operations.

HiColor RAMDAC

This is a type of RAMDAC that when installed on a 15 or 16-bit video adapter allows for up to 32,768 and/or 65,536 simultaneous on-screen colors in certain resolutions.

High Color

Specifically this means a 15 or 16-bit operating mode or an image with 32,768 or 65,536 colors. However, sometimes all color modes greater than 8-bit, 256-color mode are grouped together as high color modes. See True-Color.

High Key

An image that contains the important details in the highlight areas.

Highlight

Is the brightest element in an image. Highlight also may refer to the brightest areas of an image where detail is still present.

Hint

A one line message on the Status Bar that provides operational information about the program.

Histogram

Is a type of bar chart used to show the amount of color used in an image across the tonal range. The horizontal coordinate is the pixel value. The vertical coordinate shows the number of pixels that have that value.

HLS

An acronym for the Hue, Luminosity, and Saturation color model.

Hourglass Cursor

An annoying cursor of the past, that symbolized waiting on non multi-tasked and non multi-threaded graphics applications. Believe it or not, people actually stopped using a program and watched a status indicator count to 100% while the graphics program performed every single operation one at a time. Alleluia, ColorWorks as a multi-tasking and multi-threaded application has virtually no use for this cursor.

Hue

The main attribute of a color that distinguishes it from another. Technically, hue is based on the wavelength of light reflected from an object or transmitted through it.

I

Icon

A small graphics symbol that represents a program option or command.

ID#

See Canvas ID#.

Image Capture Board

See Frame Grabber.

Image Edge

Image edges are simply a measurement of the change in brightness between neighboring pixels on an image. An edge of 0 between neighboring pixels means that the pixels share the same brightness value. The maximum edge possible is where neighboring image pixels are at opposite ends of the brightness range and are 255 values apart.

Image Merging

To combine two or more images together.

Ink Jet

A printing device that sprays inks onto paper or substrates.

Interpolation

A process used to resample images to a larger size and/or resolution by adding pixels to an image.

In Use

Synonymous with “on” or “active” in ColorWorks. Anything that is in use will be active during all painting operations.

Invert

To reverse.

J

JPEG

An acronym for Joint Photographics Expert Group. JPEG is a lossy image compression scheme and an image file format developed by the Joint Photographics Expert Group.

K

Kernel

A kernel is a matrix of pixel values used to apply an image processing filter to a selected area of an image. The filter is applied pixel by pixel until all of the selected area has been filtered by the kernel. ColorWorks uses a maximum of a 5x5 pixel kernel. The center pixel in the kernel represents the pixel to be changed. This means that the color values of up to 24 surrounding pixels can be used and manipulated to produce a result on the pixel to be filtered.

Kerning

The amount of spacing between two neighboring text characters.

Keyboard Zoom Keys

The zoom in [F2] and the zoom out [F3] keyboard keys that are used to zoom a canvas when your cursor is over it or while you are painting on it.

L

Landscape

An image that is printed with the longer side in the horizontal direction is said to be in the landscape orientation.

Laser Printer

A printer that creates marks on the page using an electrophotographic process. Basically, a rotating drum receives a charge from a laser beam. Then toner is deposited on those areas that were charged. Laser printers have such high resolutions because the laser beam has such a small diameter.

Library

A library is a collection of related ColorWorks options.

Line Art

Typically black and white hand drawn or computer generated images.

List Box

A control box containing a list of option names.

Low Key

An image that contains the important details in the shadow areas.

LPI

An acronym for Lines Per Inch. Refers to the number of lines of halftone dots in an inch. Used as a halftone screen designation such as 150 lpi, which equals 22,500 (150 x 150) halftone dots per inch.

Luminance

Is the brightness of a pixel’s color as perceived by the human eye. In the HLS color model, luminosity is measured from 0 to 100 percent. A zero luminosity value is black. Full luminosity of any hue is white. Therefore, a medium luminosity value is needed to produce the most vivid version of a hue in the HLS model.

LZW

An acronym for Lempel-Ziv-Welch. LZW is a lossless compression scheme and Tiff compressed file format. In addition, the standard GIF (Graphics Interchange Format) file format developed by Compuserve, is based on an LZW scheme.

M

Magenta

A reddish purple color used in four-color process printing. Magenta reflect blue and red light, and absorbs green light.

Magic Eraser, Magic Wand, Magic effect

Traditional “magic” effects are simply smart fills based on a single RGB composite tolerance setting that apply a single effect to an image. In contrast, ColorWorks’ smart fills can apply any effect or combination of effects and can be set with an individual Red, Green, Blue, Hue, Saturation, and Luminosity tolerances.

Mapping Line

A Mapping Line represents the relationship between the input and output color values of an image.

Menu

A menu is a location where lists of functions or tasks are presented for choosing.

Menu Bar

The horizontal bar of commands directly under the ColorWorks title bar.

Merge

Displaying and/or pasting a floated image on top of a canvas after each pixel of the floated image is mathematically calculated with the pixel of the canvas it is over-top of. Merging a painting operation with a canvas image.

Message Area

The right-side part of the Status Bar that gives you usage information as to the choices your cursor is over and feedback as to your operations.

Midtone

The colors halfway between light and dark in an image. Midtones also include almost all of the detail in a properly balanced image.

Moiré

A visible, undesirable dot pattern in a printed image caused by incompatible screen angles or a pattern in the original digital image.

Monochrome

To display or output an image using only shades of grey is referred to as a monochromatic representation of the image.

Montage

To combine more than one scanned image on a single canvas.

Mouse

A pointing device with buttons that are clicked to operate Windows and the program.

Multi-Media

To integrate graphics, text, sound, and sometimes video together for a specific application or task.

Multi-Tasking

An application that can perform many tasks at a single time rather than sequentially.

Multi-Tasked Canvas

When the same canvas image data is editing using multiple canvas windows and the threads of all of the canvas windows are executed simultaneously.

Multi-Threaded

An application that treats all commands as separate processes for program execution, freeing the user to continue to operate the program even though a previous command(s) has not finished executing.

N

Noise

Grit or speckles in an image usually due to a poor quality scan.

Note:

An icon used in the ColorWorks guide books that highlights a bit of related information to the current topic that is very important.

NTSC

An acronym for National Television Systems Convention. This is the color television transmission standard used in the United States.

O

Offset Value

Is a numeric value added to a calculated filter kernel color value prior to applying the filter to the pixels of an image.

OK

This button closes a dialog box and if applicable, all changes to settings within the dialog take effect. When painting, this button closes an Effect dialog box and puts the effect in use. When working with a floated image, this button closes an Effect dialog box and applies the command’s function to a floated image.

Opacity

The degree of translucency or superimposition of a foreground painting operation over-top of a canvas or floated image.

Overexposed

An image that is too light. See Exposure.

P

Painting

In ColorWorks, refers to painting or editing an image.

Painting Operation

In ColorWorks, a painting operation is defined as one or a singular tool usage.

Palette

This refers to the colors that may be used for painting.

Pan

To move around a canvas that is larger than its current window without using scroll bars. See Hardware Pan Emulation.

Paradigm

A program’s architected method or defined series of steps necessary to perform a task.

Photo Retouching

To correct imperfections in an image caused by errors in the original photographic process, development, scanning, or other reasons.

Pixel

Acronym for picture element. Your computer screen is made up of a grid of horizontal and vertical dots. These individual dots are referred to as pixels.

Pixel Depth

This is the bits per pixel (8, 16, 24, or 32) used to store, manipulate, and display the data that represents the color attributes of a single pixel.

Point

A measurement used for specifying text size. There are 72.27 points to an inch.

Pointer

See cursor.

Point Process

A process, usually an effect, that requires no additional image pixel data other than that of the pixel being processed.

Polylines

A series of chained lines drawn where the end endpoint of a line becomes the start endpoint for the next line in the series.

Pop-up Menu

A menu of commands that appears or pops up when invoked.

Portrait

An image that is printed with the longer side in the vertical direction is said to be in the portrait orientation.

Posterize

To greatly reduce the number of color shades in an image. To reduce the number of colors of an image down to a user-defined number of colors per color channel.

PostScript

This is a page description language with powerful graphics capabilities. Created by Adobe Systems, PostScript instructions are highly portable across a wide range of computer platforms and output devices.

Presentation Graphics

The use of computer generated images assembled into sequenced slides for use in a presentation.

Primary Color

See RGB.

Print Driver

A program that contains printer specific information that enables ColorWorks to convert the canvas to a printed page and transmit that page to the particular printer.

Proof

A sample representing the finished result.

Proportional

Refers to making something smaller or larger and keeping the dimensional relationship, aspect ratio, of the height and width sizes the same.

Protective Canvas Masking

To allow only a certain area(s) of a canvas to be changed or manipulated.

Q

Queue

A waiting line of tasks to be performed.

R

RAMDAC

An acronym for Random Access Memory Digital to Analog Converter. A RAMDAC chip is a type of DAC (Digital to Analog Converter) that extracts the pixels that software puts in VGA memory, and translates them into analog monitor signals. All VGA adapters use RAMDACs to translate data from your computer to signals your display understands.

Redo

To restore a canvas to its state prior to the last painting operation(s).

Re-Entrant

Usually refers to a program engine that can process multiple request for data manipulation at a single time, allowing you to continue painting on a canvas when previous painting operations are still processing and work on multiple canvases at the same time. The ColorWorks application engine is an example of re-entrancy.

Relative Coordinates

A cursor’s location on a canvas relative to its location within the current canvas window, not the image itself.

Repaint, Repainting

An image may need to be re-rendered or repainted in whole or in part often. Some of the actions that cause a repaint are: change of a canvas view by using a Window menu command, zooming, panning, scrolling; and after a painting operation completes and is ready to change the image to reflect the painting results. Once a repaint starts on an image you must wait until it is done before continuing to work on the image. During a repaint is basically the only time in ColorWorks that you cannot do anything to any image at any time. See Repaint Mode.

Repaint Mode

The Repaint Mode is the way in which the current canvas is repainted by previous painting operations if you are in the middle of painting on it. The program can be set to either wait until the canvas is not is use or to interrupt your painting operation and immediately repaint the current canvas when necessary

Resolution

A measurement of the amount of information on-screen or in output. Resolution is specified in pixels, dots per inch, pixels per inch, bits per pixels or lines per inch.

Reverse Compression

Some images may actually reverse compress or grow when a compression scheme is applied to it. ColorWorks detects and handles these situations as they relate to DIMIC.

RGB

An acronym for Red, Green, and Blue, the primary colors displayed by color monitors and color televisions. These devices use red, green, and blue electron guns that cause phosphor on a screen to glow. All colors displayed are different blends of these three guns. RGB primaries are known as additive primaries, because individual weights of each primary are added together to obtain the final value.

RIP

An acronym for Raster Image Processor. RIP’s are used to rasterize PC output, usually a PostScript file, into a format that can be imaged on film or paper within an imagesetter. Also, to render or translate digital data into physical output.

Rotoscoping

Is the process of editing individual video frames saved on disk using a graphics program and then recording the frames back to disk.

Rubberbanding

In ColorWorks, this refers to an interactive method for specifying the dimensions of geometrics or outlines.

Rubylith

A red film that is used to shield or mask objects in traditional print publishing.

S

Same Start

A tool painting method where the start endpoint of the last painting operation becomes the start endpoint for the next painting operation.

Saturation

A value that indicates the amount of grey in a color. The closer a color is to grey, the less saturated it is, and the further it is from grey, the more saturated the color is. Saturation is often called Chroma.

Scale

To scale an image is to decrease or increase its size proportionally.

Scroll

To manipulate a slider bar in order to move or slide a canvas image within a window that is smaller in size than the image itself to reveal hidden areas of the canvas. See Pan.

Scroll Bars

Vertical and Horizontal control bars which allow you to scroll a canvas image.

Select, Selecting

In ColorWorks, this refers to clicking Button 1 on a canvas, a tool button, or an object in a dialog box such as a radio or push button.

Setting

A program option that can be assigned or manipulated using controls to realizing a different result.

Shadow

Dark areas of an image are called its shadow. Shadows also refer to the darkest areas of an image, that are near black, but still contain detail. Shadows often tend to lose details or take on undesirable casts.

Sharpen, Sharpening

Sharpening improves image clarity and edge definition. Sharpening is used to enhance changes in color and brightness and restore out of focus parts of an image back to looking crisp and in focus. Often images lose their focus during the scanning process and they look flat. In addition, photography and the scanning process tends to remove subtle details and definition from images. Too much sharpening will make images look grainy.

Short Cut Keys

These keys are the equivalent of choosing the menu commands they represent.

Slider Bar

Slider bars are controls that allow you to quickly set an option by moving its value up and down a scale of settings.

SIMM

An acronym for Single In-line Memory Module. A SIMM is a type of RAM memory chip used by most computers.

Smart

A tool term that refers to a smart or soft fill function.

Smart Fills

To perform an area fill including pixels that are within a specified tolerance of the starting pixel. ColorWorks can smart fill using separate RGB or HLS tolerances.

Smart-Threading

Smart-Threading is a multi-threading architecture developed by SPG. It allows you to dynamically scale ColorWorks’ threading to your system’s processor architecture for the fastest possible execution and linear increases in program performance on SMP systems. In addition, it allows you to “tune” ColorWorks’ threading to the processor resources you want it to use at any given time.

SMP

An acronym for Symmetric Multi-Processing. See Symmetric Multi-Processing.

Soft

An image that is considered soft is out of focus or blurred.

Spatial Reduction

To proportionally reduce an image’s size. You will lose image quality whenever you reduce an image’s size because you are reducing the number of dots per inch used to construct the image.

Spin Button

Spin buttons are controls that allow you to quickly set an option by moving its value up and down a group of settings.

Start Endpoint

The first endpoint, or click of Button 1 to start a painting operation.

Starting Pixel

The first canvas pixel processed by an area fill.

Status Bar

The bar that displays your cursor co-ordinates in its Cursor Area and usage information in its Message Area. The Status Bar can shown or hidden from view.

Submenu

A submenu opens when you choose a command with an arrow on its right-side.

Substrate

A material on which images are reproduced, such as paper or film.

Subtractive Color

Printing colors with colored inks is a process called subtractive color, because inks block the reflection of certain colors by subtracting them.

Superimpose

See Tint.

Swapper File

When Windows uses part of your hard disk drive as Virtual RAM it creates a file on your hard disk.

Symmetric Multi-Processing

Whereas an operating system and applications can simultaneously run across more than a single microprocessor at once. Also know as loosely coupled multi-processing.

T

Texture Maps

An image file used specifically for use with the Effects | Texturize command.

Thread

A single process initiated for execution by your computer's processor.

Thread Queue

A waiting list of threads.

Threshold

Is a point of demarcation or change.

TIFF

An acronym for the Tagged Image File Format developed by Aldus.

Tint

To apply a color or an effect at less than 100% opacity is considered a tint, a transparency effect, or a superimposition.

Tip

The “hot spot” of a cursor whereas painting will take place on the canvas pixel directly under it.

Tip:

An icon used in the ColorWorks guide books that highlights a tip or technique for you to make better use of the program.

Tool

An implement used to paint on a canvas with a color, effect, or a combination of effects.

Tools Bar

The floating group of tool buttons on your ColorWorks desktop is called the Tools Bar.

Tonal Compression

Compressing the original image tones to fit the range of a reproduction device. Even when the whitest paper and the darkest inks are used, the tonal range of a printed reproduction is still much lower that of most originals.

Tonal Range

The full spectrum of brightness values from pure black to pure white is referred to as the tonal range.

Transparent, Transparency

Any part of a floated image that is “see-through” or does not overdraw the canvas. See Tint.

True-Color

24-bit images are often referred to as “true-color” or “full-color” images. Video adapters with “True-Color” capabilities are 24-bit adapters.

True-Color RAMDAC

This is a type of RAMDAC that when installed on a 24-bit video adapter allows for up to 16,776,216 simultaneous on-screen colors in certain resolutions.

Type Style

A standard variation within a typeface family, such as normal, bold, italic, underline, etc.

Typeface

The design of a set of characters, such as Courier, Helvetica, Times, Times Roman, etc.

U

Un-coated Paper

Paper without a glossy finish. Un-coated paper absorbs more ink than coated paper stock. See Coated Paper and Dot Gain.

Underexposed

An image that is too dark. See Exposure.

Uni-Processor

A computer with a single microprocessor.

Units of Measure

A specific regular increment used to measure size or distance, such as inches, pixels, millimeters, and centimeters.

Unfilled

A painting option of geometric tools that does not fill the inside area of the drawn geometric. The selected color or effect(s) are applied to the outside edges of the geometric as defined by current the brush shape.

Unlinked

Consecutive painting operations using the same tool have no relationship which each other.

UP

An acronym for Uni-Processor. See Uni-Processor.

Use

See In Use.

V

Vector Based Image

An image composed of vector descriptions. Vectors are a mathematical description of lines, curves, objects, and type outlines used by drawing programs to describe an image.

Vector Graphics Editor

A graphics application that edits vector graphics, also known as drawing programs.

VESA

An acronym for the Video Electronics Standards Association. In 1988 a group of leading graphics component manufacturers formed VESA in an effort to promote compatibility between their devices. The group has defined standards for operating in many different graphics modes.

VGA

An acronym for Video Graphics Array. The video subsystem of the IBM PS/2, the PS/2 Display Adapter, and compatible adapters.

Video Buffer

The location in your computer memory that contains the data that appears on the video display.

Video RAM

The RAM memory of your video adapter. The amount of video RAM determines what resolutions in a particular color mode your adapter supports.

VLB

An acronym for Vesa Local Bus. VLB is a 32-bit specification for communication between a computer’s processor and its video card. VLB is an extension of the 32-bit EISA (Electronic Industry Standards Association) computer bus. VLB video cards are usually 24-bit True-Color and co-processed, making them the fastest video cards currently available. True-Color, co-processed VLB adapters really show their power with graphics applications such as ColorWorks.

W

Window

A rectangular area on your ColorWorks desktop that displays the application, a dialog box, or a canvas.

X

no entries

Y

no entries

Z

Zoom

To magnify an area of the canvas for viewing and/or editing. See Hardware Zoom Emulation.

#

15-Bit Image, 15-Bit Video Mode

These images can have up to 32,768 different colors in them. 15-bits per pixel video adapters can display up to 32,768 different colors at a time, the minimum acceptable video mode for near true-color editing.

16-Bit Image, 16-Bit Video Mode

These images can have up to 65,536 different colors in them. 16-bits per pixel video adapters can display up to 65,536 different colors at a time, an acceptable video mode for near true-color editing.

16,776,216, 16.7 Million, 16.8 Million Color Image

A 24-bits per pixel image.

24-Bit Image, 24-Bit Video Mode

These images can have up to 16,776,216 different colors in them, over double the number of colors even a trained human eye can differentiate. 24-bits per pixel video adapters can display up to 16,776,216 different colors at a time and provides genuine true-color editing.

256-Color Image

An 8-bits per pixel image.

32,768, 32K Color Image

A 15-bits per pixel image.

32-Bit Image, 32-Bit Video Mode

These images and video modes normally refer to a 24-bits per pixel image or mode with an 8-bit Alpha Channel.

65,536, 65K Color Image

A 16-bits per pixel image.

8-Bit Image, 8-Bit Video Mode

These images have up to 256 different colors in them. 8-bits per pixel video modes can display only 256 different colors at a time, not acceptable for true-color image editing.

8-Bit Masking

8-bit Masking, also known as Density Masking, is a technique for controlling the opacity of painting operations to an image by use of an 8-bit mask file. An image referred to as an 8-bit mask is in effect laid over-top of the image. The brightness values of the 8-bit mask determine which pixels of the canvas image to affect, and how much to allow painting operations to change those image pixels.