Awards & Engraving

March '20

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30 a-e-mag.com • A&E MARCH 2020 Similar to but a little different than the Perspective tool, Envelope is another way to render images with a specialized view. I must admit that when beginning this article, I was in a bit of a quandary as to how to go forth with the necessary info: what to include as needed information and what to eliminate as obvious, as there are numerous options from which to choose. My hope is that the following discussion will be of assistance in realizing some of the abilities of this tool as well as some of its limitations. ALTERING TEXT The most basic use of the tool is (gener- ally) altering text. Oftentimes, Envelope is needed to conform text to a shape. Clicking the Envelope tool icon on the Interactive Tool flyout is the most direct way to access the tool. In Figure 1, I have typed the words HAPPY HOUR and accessed the Envelope tool. A rectangle appears around my text with eight control points visible. On the task bar are four modes: • Unconstrained mode • Straight Line mode • Single-Arc mode • Double-Arc mode The Unconstrained mode allows all control points (nodes) to be individually manipulated as one desires. Each node can be designated as Cusp, Smooth, or Sym- metrical as needed, as well as a Line or a Curve. This mode is used if a custom shape is necessary but is largely reserved only for a specialty purpose. T his article addresses some of the Envelope features of CorelDRAW. It has some impressive abilities, but also may exhibit some limitations and unexpected results. I will go from the most basic use of the tool to a more complex use. Impressive Abilities Addressing some of the Envelope features CORELDRAW: THE BASICS By Doug Zender Doug Zender has used CorelDRAW extensively since version 4. His goal is to minimize the intimidation of the program and give users the sense that CorelDRAW is a friend, not an adversary. Doug began as a design artist, then moved into the sign industry in 1992 doing vinyl graphics. You can contact him at dezender1@gmail.com. Fig 1 Fig 2 Fig 3

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