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The main emphasis on this section is to encourage exploration of the program. Corel PhotoPaint provides an almost endless variety of means to an end. Therefore, I am confident that with almost anything I suggest here, you should be able to come up with better ideas almost as soon as you start exploring. Please let me know how you go. I would be pleased to add ideas and examples from others to this section.

Adjusting Merge Modes and Opacity

One of the main methods to create an almost infinite number of variations in the techniques described here is to alter the merge mode, opacity settings of one or more layers/objects.

The most effective layer/object to change seems to be the 'Under' layer. Changing this layer alters the thin region between the drop shadow and the fill used, making the tear appear as though it had several layers, or as if some of the print had peeled off separately. Lets call this the chaotic region. The intensity of the effect of different modes varies according to the darkness of the original object. (Refer the insert in Figure 8, Part 3)(or below).

Also, this technique was largely responsible for creating the wider horizontal chaotic region between the bubbles and the liquid in Example 3 (Intro section)(or below). Adjusting the overlay offset between the two fills (refer below) was also important.

The original 'Rip' (black object) can also be manipulated by merge modes (or removed entirely) to also alter the overall effect. Try it.

Adjusting Pixel Offset Between Similar Objects

The width of the chaotic region changes as the Under and Over layers are shifted against each other.

		Example 5

In Example 3 (above) the layers were moved almost 15 pixels from their original positions set by the Fill command. Generally, I found that a shift of 2-5 pixels created a moderately realistic chaotic region for paper type tears.

For less tearable substances such as stone or granite, which tend to crack rather than tear, I found that a very thin offset is better. However to make the chaotic region appear distinct even with such a small change, the 'Under' object actually had be be completely inverted (merge mode=invert) (Example 5).

Making Really Large Rips and Tears

The really large rips in the background of Part 2 (example 7, below)were created by erasing sections of the black 'Rip' object before the displacement step (step 5, Part 2).

		Example 7: Large rips

It is important to note several aspects of this method:

• Use the eraser, not a white paint brush. If the paint brush is used, when yopu create the mask from the object, both the black and the white areas will be selected. If you do use a white paint brush then select only the black region with the mask magic wand tool. I think it is easy just to use the eraser.
• Set the width of the eraser tool nib to 4-8 pixels and erase to about 1/3 of your required depth. Then change the nib size to 2 or 3 pixels and etch deeper with smaller strokes to give a cleft appearance. It helps to have a slight case of the jitters to make really nice jagged edges!
• If you need to set the deep rips in a specific position ( as I need to for the background for the Introduction - so they would not interfere with the gold balls, then remember that the Offset filter will alter their position. To position the deep rips precisely, add them after you have applied both the displace and offset filters. You will probably then need to reapply the displace filter and fill in any white holes that appear.

Round Holes?

		Example 5

Why just be satisfied with linear rips and tears? I tried experimenting with circular holes. One way to paint a nice round hole is to create a circular mask (mask circle tool with shift and ctrl held down), then use the stroke mask took to place the black paint. The stroke mask tool still works well even when you are using orbits.

To make a long stroy short, I created the following bizzare image using two circular black objects created with the dirt orbit and the stroke mask. The circles were concentric, each at approximately equidistance thrids of the image. Each circle object was then displaced and then a radial blur applied. Several fills were used, each custom made using PhotPaints built-in textures. Much experimentation with merge modes followed, as described above. The final image looks a bit like a cosmic explosion.

Torn Text

The torn text used as a title graphic for this tutorial was created as follows:

• Create a new image, 500x200x72, 24 bit, white.
• Use the Text tool and a large chunky font to create some text on a new layer.
• Create a mask from the text object and save as a channel.
• Use the eraser tool to erase a jagged rip across one half of the object.
• Create and save the second mask (half of the text, either top or bottom).
• Load the first (complete) mask, change the mask merge mode to minus, then load the second. - You should now have a new mask which is the other half of the original complete text mask. Save this as another channel (if the second mask's name was 'top', then this third mask would be 'bottom' and vice versa).
• As I used two separate words, I actually created 4 masks - a top and a bottom for each word. But lets assume you only have one word or require only one tear for this example.
• Load (if necessary) one of the half masks. Select the Mask Transform tool, and change the Mode to Rotate mode. Move the centre of rotation to one corner of the mask. Drag (rotate) the opposite corner up (about 30 degrees) if you have loaded the top mask, or down if you have loaded the bottom mask. Save this mask as a channel (eg. as 'Rotated top mask'). Remove the mask.
• Load the other half mask and repeat the rotation in the other direction. Save as a channel.
• Change the mask merge mode to 'Add', then load the other rotated mask. You should now have a mask of your complete text with a tear across it which is wider at one end than the other. Save this if you wish.
• Create a new blank object. Fill the mask with your favourite fill, then add your favourite drop shadow and use one or more of the effects/filters shown in the current tutorial !
• But how come the transparent gif image used for the title of this tutorial looks like a jpeg? Well, that's a nice question for another tutorial isn't it !.

Created and produced by David Mutch PhD, Visionary Voyager Corporation (ACN 085 264 080).
Melbourne, Australia. Copyright ©, 1999. All rights reserved.
These tutorials may be used freely by users of Corel^® Corporation's graphics applications. However, all custom graphics, design, programming and layout remain the property of Visionary Voyager Corporation. Comments, suggestions and questions are most welcome.
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