Draw Guide
Drawing Vector Graphics in OpenOfce.org

This PDF is designed to be read onscreen, two pages at atime. If you want to print a copy, your PDF viewer shouldhave an option for printing two pages on one sheet ofpaper, but you may need to start with page 2 to get it toprint facing pages correctly. (Print this cover page
separately.)CopyrightThis document is Copyright © 2005–2010 by its contributors as listed
in the section titled Authors. You may distribute it and/or modify it
under the terms of either the GNU General Public License, version 3 orlater, or the Creative Commons Attribution License, version 3.0 or
later. All trademarks within this guide belong to their legitimate
owners.

Authors
Agnes Belzunce
Martin Fox
Regina Henschel
Jared Kobos
Gary Schnabl
Wolfgang Uhlig
Claire Wood

Daniel Carrera
Thomas Hackert
Peter Hillier-Brook
Hazel Russman
Bernd Schukat
Jean Hollis Weber
Linda Worthington

Feedback
Please direct any comments or suggestions about this document to:authors@documentation.openofce.org

Acknowledgments
Several chapters in this book are based on an original French
document written for OpenOfce.org 1.x by Michel Pinquier(translated to English by Alex Thurgood) and previous content revised
by Jim Taylor. The chapter was revised for OpenOfce.org 2.0 by Linda,
Daniel, Jean and Agnes, and later translated into German by Bernd,
Regina and Wolfgang; the German revisions were then translated into
English and updated for OpenOfce.org 3.2 by Martin Fox.

Publication date and software version
Published 28 July 2010. Based on OpenOfce.org 3.2.

You can download
an editable version of this document fromhttp://oooauthors.org/english/userguide3/published/

Contents
Chapter 1
Introducing Draw.......................................................................6
Introduction........................................................................................ 7
The Draw workplace........................................................................... 8
Rulers.................................................................................................. 9
Status bar......................................................................................... 10
Toolbars............................................................................................ 12
Drawing grid and guides................................................................... 16
Floating and moving toolbars...........................................................16
Customizing toolbars........................................................................ 18
Chapter 2
Drawing Basic Shapes.............................................................. 19
Creating simple drawings................................................................. 20
Custom shapes.................................................................................. 20
Drawing basic shapes....................................................................... 20
Gluepoints and connectors (basics)..................................................27
Drawing geometric shapes...............................................................29
Adding text to objects....................................................................... 32
Chapter 3
Working with Objects and Object Points.................................. 35
Introduction...................................................................................... 36
Moving and dynamically adjusting an object’s size..........................39
Rotating and shearing an object using the mouse............................42
Setting size and position exactly....................................................... 44
Editing object points......................................................................... 46
An alternative way to change the form of basic shapes....................47
How curves work.............................................................................. 48
Chapter 4
Changing Object Attributes..................................................... 55
Toolbars and menus.......................................................................... 56
Editing lines and borders.................................................................. 57
Editing the inside (fll) of an object................................................... 62
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Using styles....................................................................................... 71
Special efects................................................................................... 72
Chapter 5
Combining Multiple Objects.....................................................78
Introduction: grouping and combining objects.................................79
Grouping objects............................................................................... 79
Combining objects............................................................................81
Merging, subtracting, or intersecting shapes...................................82
Aids for positioning objects............................................................... 84
Chapter 6
Editing Pictures (Raster Graphics)..........................................89
Introduction...................................................................................... 90
Importing raster and vector graphics...............................................90
Exporting graphics............................................................................ 94
Modifying raster object properties...................................................97
The picture (editing) toolbar............................................................. 97
Cropping......................................................................................... 100
The graphic flter toolbar................................................................ 101
Eyedropper..................................................................................... 105
Conversion...................................................................................... 109
Print options with raster graphics..................................................114
Chapter 7
Working with 3D Objects......................................................... 116
Creating 3D objects........................................................................117
Editing 3D objects........................................................................... 121
Combining objects in 3D scenes.....................................................144
Chapter 8
Tips and Tricks....................................................................... 147
Positioning objects with zoom......................................................... 148
Positioning objects with snap functions..........................................150
Drawing to scale............................................................................. 156
Splitting drawings on multiple layers.............................................157
Creating a multi-page document..................................................... 161
4OpenOfce.org 3.x Draw Guide

Color palette: adding or changing single colors.............................165
Changing colors using the Color dialog..........................................167
Creating cool efects....................................................................... 169
Chapter 9
Organization Charts, Flow Diagrams, and More....................171
Drawing an organization chart.......................................................172
Drawing a fow diagram.................................................................. 175
Glue points and connectors............................................................. 176
Adding text to connectors............................................................... 181
Chapter 10
Advanced Draw Techniques.................................................... 185
Drawing to scale............................................................................. 186
Dimensioning a drawing.................................................................196
Working with text in Draw.............................................................. 200
Guide to Bézier curves.................................................................... 214
Adding comments to a drawing......................................................221
Connecting and breaking lines.......................................................222
Index......................................................................................... 223

OpenOfce.org 3.x Draw Guide

5

1

ChapterIntroducing Draw

Introduction
Draw is a vector graphics drawing tool, although it can also perform
some operations on raster graphics (pixels). Using Draw, you canquickly create a wide variety of graphical images.
Vector graphics store and display a picture as simple geometricelements such as lines, circles, and polygons rather than as acollection of pixels (points on the screen). This permits simpler storage
and supports precise scaling of the picture elements.
Draw is fully integrated into the OpenOfce.org (OOo) suite, and thissimplifes exchanging graphics with all components of the suite. For
example, if you create an image in Draw, reusing it in a Writer
document is as simple as copying and pasting the image. You can also
work with drawings directly from within Writer or Impress, using a
subset of the functions and tools from Draw.
Draw’s functionality is extensive, and even though it was not designed
to rival high-end graphics applications, it possesses signifcantly morefunctionality than the drawing tools that are generally integrated withmost ofce productivity suites.
A few examples of the drawing functions are: layer management,
magnetic grid-point system, dimensions and measurement display,connectors for making organization charts, 3D functions that enable
small three-dimensional drawings to be created (with texture andlighting efects), drawing and page-style integration, and Bézier
curves.
The Draw Guide is not a course book to be worked through frombeginning to end. Rather, it is a reference work in which you canbrowse for guidance on particular topics.
This document describes only the functions associated with Draw.
Some concepts, such as fle management or the way the
OpenOfce.org environment works, are mentioned only briefy; they
are covered in more detail in the Getting Started guide.

Chapter 1 Introducing Draw

7

The Draw workplace
The main components of the Draw interface are shown in Figure 1.
The large area in the center of the window is where you make thedrawings. You can surround the drawing area with toolbars andinformation areas. The number and position of the visible tools varywith the task in hand and user preferences. Therefore, your setup may
look diferent. For example, many users put the main Drawing toolbar
on the left-hand side of the workspace—not at the bottom, as shown
here. The setup procedure is described in detail in Chapter 4 (Menus
and Toolbars) in the Getting Started guide.
You can split drawings in Draw over several pages. Multipage drawings
are used mainly for presentations. The Pages pane, on the left side of
the Draw window in Figure 1 gives an overview of the pages that you
create. If the Pages pane is not visible on your setup, you can enable itfrom the View menu (View > Page Pane). To make changes to thepage order, just drag and drop one or more pages.
In Draw 3, the maximum size of a drawing page is 300 cm by 300 cm.

Figure 1: Initial Draw window

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OpenOfce.org 3.x Draw Guide

Rulers
You should see rulers (bars with numbers) on the upper and left-handsides of the workspace. If they are not visible, you can enable them byselecting them from the View menu (View > Ruler).
The rulers show the size of a selected object on the page (see the graydouble lines, highlighted in Figure 2). When no object is selected, theyshow the location of the mouse pointer, which helps to position
drawing objects more accurately.
You can also use the rulers to manage object handles and guide lines,
making it easier to position objects.
The page margins in the drawing area are also represented on therulers. You can change the margins directly on the rulers by dragging
them with the mouse.

Figure 2: Rulers show the size ofthe selected object
To modify the units of measurement of the rulers (which you can defne
independently), right-click on the desired ruler, as illustrated for thehorizontal ruler in Figure 3.

Figure 3: Rulers in a drawing

Chapter 1 Introducing Draw

9

Status bar
The Status bar is located at the bottom of the screen (in all OOo
components) and includes several Draw-specifc felds, as identifed in
Figure 4.

Figure 4: Items on the Draw status bar
The Information feld shows which action is being carried out, or which
object type is selected.
The Position feld shows diferent information, depending on whether
objects are currently selected or not:• When no object is selected, the left number pair shows thecurrent position (in X,Y Cartesian coordinates) of the mouse
cursor.
• While an object is being resized with the mouse, the right number
pair shows the size of the object (width and height).

Note

The sizes are given in the current measurement unit (not to be
confused with the ruler units). This unit is defned in Tools >Options > OpenOfce.org Draw > General, where you canalso change the scale of the page. Another way to change thescale is to double-click on the number shown in the status bar.

• If an object is selected, the left number pair shows the X,Ycoordinates of the upper-left corner, and the right number pairdisplays the size of the object, as seen in Figure 4. These numbers
do not relate to the object itself, but to the selection outline,
which is the smallest possible rectangle that can contain thevisible part or parts of the object; see also Chapter 3 (Working
with Objects and Object Points).
• When an object is selected, a double-click on this feld opens the
Position and Size dialog, which is described in detail in Chapter 4(Changing Object Attributes).
10

OpenOfce.org 3.x Draw GuideIn the Indicator feld, an asterisk (*) is shown whenever any change ismade to the document but not yet saved to disk.
If you wish to digitally sign the document, a double-click or right-clickin the Signature feld brings up the signature box. Note that adocument must be saved at least once before it can be signed. After it
is signed, an indicator is present in this feld.
The Slide feld shows the sequence number for the current drawing
page, in addition to the total number of pages that you created so far.
This is useful when your drawing has a number of pages. If you selectan object, the feld enclosed by parentheses shows the layer in which
the object resides within the drawing. In the example of Figure 4, theobject is on the Layout layer of Slide 1, and there is a total number of
one slide, so far.
The Template feld shows which page template is being used for thecurrent page. If you saved several slide designs, you can select one forthe current page by double-clicking in this feld (see Figure 5) andselecting Load after choosing a slide design.

Figure 5: Selecting a slide (page) design
The vertical bar in the middle of the Zoom slider represents a zoom
factor of 100%. To change the view magnifcation, drag the Zoom
slider, or click on the + and – signs, or right-click on the zoom level
percent to pop up a list of magnifcation values from which to choose.
Double-clicking on the zoom level percent to open the Zoom & View
Layout dialog.
Chapter 1 Introducing Draw

11

Toolbars
You can display or hide the various Draw toolbars, according to yourneeds. To display or hide a toolbar, click View > Toolbars. On themenu that appears, choose which toolbars you want to display.
You can also select the icons that you wish to appear on the toolbars.
Toolbars display a default selection of icons but you can choose to hidesome of these and display others. To change the visible icons on any
toolbar, click the arrow at the right-hand end of the toolbar and selectVisible Buttons. On the list of the available icons that appears, selector deselect the icons you want to be visible. A checkmark next to an
icon indicates that it is visible.
The tools available in the various toolbars are explained in thefollowing sections.

Standard toolbar
The Standard toolbar is the same for all OOo components and is notdescribed in detail here.
Figure 6: Standard toolbar

Line and Filling toolbar
The Line and Filling toolbar lets you modify the main properties of adrawing object: the icons and pull-down lists vary, according to thetype of object selected. For example, to change the thickness of a linewith the spinner, hover the mouse over the spinner and click the up or
down arrow to achieve the desired thickness.

Figure 7: Line and Filling toolbar
In the example above, the available functions enable you to change thecolor, style, and width of the line drawn or the fll color, style, andother properties of an object. The object must frst be selected with amouse click. If the selected object is a text frame, the buttons for line
style and fll color are changed to Invisible.
When text is selected, the Line and Filling toolbar changes to the Text
Formatting toolbar, which is very similar to the Formatting toolbar in

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OpenOfce.org 3.x Draw Guide

Writer. A more detailed explanation of the buttons on this toolbar canbe found in Chapter 4 (Changing Object Attributes).

Figure 8: Text Formatting toolbar

Drawing toolbar
The Drawing toolbar is the most important toolbar in Draw. It contains
all the necessary functions for drawing various geometric and freehand
shapes and for organizing them on the page. It is described in detail in
Chapter 2 (Drawing Basic Shapes).
Figure 9: Drawing toolbar

Color bar
To display the Color bar, use View > Toolbars > Color Bar. The
toolbar then appears at the bottom of the workspace and displays thecurrent color palette.

Figure 10: Color bar
This toolbar lets you rapidly choose the color of the various objects(lines, areas, and 3D efects) in your drawing. The frst box in the panel
corresponds to transparency (no color).

Choosing a color palette
You can access several specialized color palettes in Draw, as well aschange individual colors to your own taste. This is done using the Area
dialog, reached by choosing Format > Area, as shown in Figure 11, or
the pouring can icon on the Line and Filling toolbar (Figure 7).
On the Area dialog, choose the Colors tab (Figure 12).
To load another palette, click on the Load Color List button (circled).
The fle selector dialog asks you to choose one of the standard OOopalettes (fles bearing the fle extension *.soc). For example, web.soc
is a color palette that is particularly adapted to creating drawings thatare going to appear in Web pages. The colors will correctly display on
workstations with screens displaying at least 256 colors.

Chapter 1 Introducing Draw

13

Figure 11: Displaying the Area
dialog from the menu bar
A more detailed description of color palettes and their options can befound in Chapter 8 (Tips and Tricks).

.
14

Figure 12. Changing the color palette

OpenOfce.org 3.x Draw Guide

Options toolbar
The Options toolbar lets you activate or deactivate various drawing
aids. The Options Bar is not one of the toolbars displayed by default. To
display it, select View > Toolbars > Options.

Figure 13: Options toolbar
Table 1: Functions on the Options toolbar
Icon

Function
Rotation Mode after Clicking Object
Display (or hide the) Grid
Display (or hide the) Guides
Display (or hide Guides) When Moving
Snap to Grid
Snap to Guides
Snap to Page Margins
Snap to Object Borders
Snap to Object Points
Allow Quick Editing
Select Text Area Only
Double-click to edit Text
Simple Handles
Large Handles
Modify Object with Attributes
Exit All Groups

Chapter 1 Introducing Draw

15

The options are described in the table above and in greater detail inother chapters of the Draw Guide.

Drawing grid and guides
Draw ofers a grid as a drawing aid. The grid can be turned on or of byclicking on the Grid icon on the Options toolbar. The points of the griddisplayed on the screen are not shown on the printed drawing. The
color, spacing, and resolution of the grid points can be individuallychosen for each axis. This is described in more detail in Chapter 8 (inthe section titled “Confguring the grid”).
Guides are special “helper lines” that can be turned on or of byclicking on the Guides icon on the Options toolbar. Draw ofers a“Snap” function, with which you can place drawings exactly on theseguides or on a grid point, a page margin, or a border or point ofanother object. All snap functions are described in detail in Chapter 8(Tips and Tricks).
Showing the position of the object while moving it makes positioning
the object much easier. If the Guides function is activated, pairs ofvertical and horizontal lines enclosing the object are shown whilemoving the object. These lines extend to the edges of the drawing area.
This function is also described in detail in Chapter 8.

Floating and moving toolbars
Many toolbar icons are marked with a small arrow. The arrow indicatesthat this icon has additional functions. Click the arrow, and a submenu
appears, showing its additional functions (see Figure 14). Such an icon,
and its associated submenu, can become a foating toolbar. Click thearea at the top of the submenu, drag it across the screen to a location
you want, and then release the mouse button. Floating toolbars can be
redocked on an edge of the screen or within one of the existing toolbar
areas at the top of the screen, as described in Chapter 4 (Changing
Object Attributes). The foating-toolbar capability is common to allcomponents of OOo.

Note

16

When a submenu is made into a foating toolbar, the icon on theexisting toolbar remains in the toolbar and always shows the lastcommand you used. This means that the icon you see on yourscreen may difer from any icon shown in this Guide.

OpenOfce.org 3.x Draw Guide

Figure 14: An arrow next to an icon
indicates additional functions.

Tip

When you double-click on an icon on a foating toolbar, thecommand corresponding to that icon will run. You can thenrepeat this action as often as you like. To exit from this mode,press the Esc key or click on another icon (for example). Thismay not work for every icon on every toolbar.

Similarly, click on the arrow on the title bar of a foating toolbar todisplay additional functions (see Figure 15).

Figure 15: An arrow on a foating toolbar indicatesthat there are additional functions available.
To show or hide icons defned for the selected toolbar, choose Visible
Buttons from the drop-down menu. Visible icons have a checkmark
next to them. Click on icons to select or deselect them.
In Draw, as in all OOo components, you can move a toolbar to a newposition by using the mouse. Hover the mouse pointer over the verticalcolumn of dots at the left end of the toolbar until the pointer changes
shape, and then drag-and-drop as desired.

Chapter 1 Introducing Draw

17

Customizing toolbars
You can customize toolbars in several ways, in addition to thosedescribed in the previous section. For example, you can add functions
to a toolbar, move tools between toolbars, and create new toolbars. To
do this, choose View > Toolbars > Customize, select the Toolbars
tab (Figure 16) and the toolbar you want to change, and then select thedesired buttons for that toolbar. Each toolbar has a diferent list of
buttons. For details, see Chapter 14 (Customizing OpenOfce.org) in
the Getting Started guide. That chapter also describes how tocustomize menus.

Figure 16: Customizing a toolbar

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OpenOfce.org 3.x Draw Guide

2

ChapterDrawing Basic Shapes

Creating simple drawings
You can create 2D and 3D objects in Draw. This chapter shows how todraw simple 2D objects. The following chapters describe how to workwith and edit such objects.
All shapes, whether they are lines, rectangles, or more complicatedshapes, are called objects. This is common notation in vector drawing
software.
The drawing tools are found on the Drawing toolbar. Figures 17 and 30
show parts of the standard form of the toolbar, as installed with Draw.
As described in Chapter 1 (Introducing Draw), the Drawing toolbar isnormally located at the bottom of the window. If you do not see it, you
can activate it from the View > Toolbars menu. As in all componentsof OpenOfce.org, you can place the toolbar on the Draw window
wherever you wish, and you can confgure toolbars as you wish byadding, moving, hiding, or deleting toolbar icons.

Custom shapes
Draw 3 ofers the ability to create custom shapes. These correspond toautoshapes in Microsoft Ofce. The shape elements used in version 1of Draw are still available, but their use is now deprecated and support
for them may be dropped in some future version of OOo.
The two types of shapes difer in their properties and are dealt withseparately in the relevant chapter of this guide. The main diferences
relate to the behavior of 3D objects and text handling. Beginners cansafely ignore both for the present.
Text frames in Draw 3 have their own geometric format.

Drawing basic shapes
Basic shapes include:• Lines• Arrows• Rectangles and squares• Ellipses and circles• Curves and polygons• Connectors• Lines and arrows
20

OpenOfce.org 3.x Draw Guide

Note

When you draw a basic shape or select one for editing, theInformation feld in the status bar changes to refect the action
taken or in progress: Line created, Text frame xxyy selected,
TextEdit: Paragraph 1, Row 1, Column 8 and so on.

Figure 17 shows part of the Drawing toolbar with the icons needed in
the following sections. The Text icon is also included.

Figure 17: Part of the Drawing toolbar

Drawing a straight line
We begin with the drawing of the simplest element—a straight line.
Click on the Line iconon the Drawing toolbar and place the mousepointer at the point where you want to start the line (see Figure 18).
Drag the mouse while keeping the mouse button pressed. Release themouse button at the point where you want to end the line. A blue
selection handle appears at each end of the line, showing that this is
the currently selected object.
Holding down the Shift key while you draw a line restricts the angle ofthe line to a multiple of 45 degrees (0, 45, 90, 135, and so on).

CautionThis is the default behaviour of the Shift key. However, if you
have used Tools > Options > OpenOfce.org Draw > Gridto set Snap position to When creating or moving objects, theaction of the Shift key is the opposite: lines will always be at a
multiple of 45 degrees unless the Shift key is pressed.

Figure 18: Drawing a straight line

Chapter 2 Drawing Basic Shapes

21

Keeping the Ctrl key pressed while drawing a line enables the end of
the line to snap to the nearest grid point.
CautionThe efect of the Ctrl key depends on the settings of the Snap to
Grid option on the View->Grid menu:
Snap to Grid on: Ctrl deactivates the snap option for thisactivity.
Snap to Grid of: Ctrl activates the snap option for this activity.

The spacing (resolution) of the grid points can be adjusted under Tools> Options > OpenOfce.org-Draw > Grid. See also Chapter 8 (Tips
and Tricks).
Holding down the Alt key while drawing a line results in the line
extending outwards symmetrically in both directions from the startpoint. This lets you draw lines by starting from the middle of the line.
The line just drawn has all the standard line attributes, such as colorand line style. To change any of these properties, select the line byclicking on it, then right-click and select Line.

Figure 19: The information area in the status bar
While you are working with a line (or any other element), you can use
the information feld on the status bar to monitor the activity. A
22

OpenOfce.org 3.x Draw Guidedescription of the current activity or selection is shown when you areworking with elements. Figure 19 shows two examples.

Drawing an arrow
Arrows are drawn like lines. Draw classifes arrows as a subgroup oflines: lines with arrowheads. The information feld on the status bar
shows them only as lines. Click on the Line Ends with Arrow icon
to draw an arrow.

Drawing lines and arrows
Click on the small black triangle on the Lines and Arrows
icon onthe Drawing toolbar to open a toolbar with ten tools for drawing lines
and arrows (Figure 20). (View > Toolbars > Arrows opens the toolbar
as a foating toolbar.) In both cases, the last-used command will be
stored on the toolbar to make it quicker to call it up again: click
directly on the symbol to repeat the last used command chosen fromthis toolbar.
After drawing the line, you can change the arrow style by clicking on
the Arrow button in the Line and Filling toolbar and choose from 13
arrow start and end options.

Figure 20: Lines and Arrows toolbar

Drawing a rectangle or square
Drawing a rectangle is similar to drawing a straight line, except thatyou click on the Rectangle iconon the Drawing toolbar, and the(imaginary) line drawn by the mouse corresponds to a diagonal of therectangle. In addition, the outline of the future rectangle changes
shape as you drag the mouse around. The outline may be shown as adashed line until you release the mouse button.
Chapter 2 Drawing Basic Shapes

23

Starting point

Figure 21: Drawing a rectangle
Draw considers squares to be rectangles with sides of equal length.
Hold down the Shift key to draw a square. Hold down the Alt key whiledragging with the mouse to create a rectangle with its center (rather
than a corner) at the start point (where you frst clicked the mouse).

Note

Blue or green selection handles appear around an object madeup of more than 2 points, showing that this is the currently
selected object. The colors depend on the standard selection
mode—green with a normal selection or blue if you are in the
point edit mode. This efect is easily seen if both Simple
Handles and Large Handles are switched on in the Options
toolbar. See Chapter 3 for more details on points.

Drawing ellipses (ovals) and circles
To draw an ellipse (also called an oval) or a circle, click on the Ellipse
icon
on the main Drawing toolbar. (A circle is simply an ellipse withboth axes the same length.) The ellipse drawn is the largest ellipse thatfts within the (imaginary) rectangle drawn by the mouse (Figure 22).
Starting point

Figure 22: Drawing an ellipse
There are three ways to draw an ellipse or a circle:• Holding down the Shift key while dragging with the mouse draws

a circle.
• Holding down the Alt key (together with the Shift key) draws asymmetrical ellipse (a circle) with the starting point at the center.
24

OpenOfce.org 3.x Draw Guide• Holding down the Ctrl key while dragging with the mouse draws

an ellipse or circle that snaps to the nearest grid points.

Note

If you frst press and hold the Ctrl key down and then click on
one of the icons for Line, Rectangle, Ellipse or Text, a standard
sized object is drawn automatically in the work area: the size,
shape, and color are all standard values. These attributes canbe changed later, if desired. This only works if the icon has no
associated toolbar—no arrow on right side of icon—for example,.

Adding ellipse and arc tools to the Drawing toolbar
In previous versions of Draw, a long-click on the ellipse button openeda new toolbar that contained tools for drawing elliptical and circulararcs. This function is not directly available in Version 3.
If you really need this tool, you can add an Ellipse toolbar to the
Drawing toolbar:
1) Click on the arrow on the right-hand end of the Drawing toolbar
and select Customize Toolbar.
2) On the Toolbars page of the Customize dialog, select Drawing in
the Toolbar feld and click Add.
3) In the Add Commands dialog (Figure 23), select Drawing in theCategory list, select the frst Ellipse command in the Commands
list, click Add, and then click Close.

Figure 23: Adding the extended Ellipse toolbar
Chapter 2 Drawing Basic Shapes254) On the Customize dialog, ensure that the checkbox by the new
Ellipse command is selected, and then use the up and downarrow buttons to move it to the desired position on the toolbar.
5) To remove the simple Ellipse icon from the Drawing toolbar, click
to highlight it in the Customize dialog, and press the Delete key(or click the Modify button and choose Delete from the dropdown menu).
6) Click OK to complete the process.
You should now see this Ellipse iconon the Drawing toolbar. If
you use this icon instead of the standard Ellipse icon, all the extended
ellipse functions are available. Clicking on the black arrow by the icon
opens the foating Circles and Ovals toolbar (Figure 24).

Figure 24: Circles and Ovals toolbar

Drawing elliptical and circular arcs
To draw an arc, choose the appropriate Arc
symbol in the Circles and Ovals toolbar.
Drag with the mouse to create a guide circle
or ellipse.
Release the mouse button and move thecursor to the position where you want the arc
to start. In the status bar, you can measure
the actual angle in degrees. Single-click thispoint; the circle (or ellipse) disappears andmoving the mouse creates the arc. Again, thestatus bar shows the current angle.
When you have drawn the arc to the length
you want, click once more. The drawing of thearc is complete.

Curves
The tools for drawing curves or polygons are on the toolbar thatappears when you click the Curve iconon the Drawing toolbar.
This toolbar contains eight tools (Figure 25).
26

OpenOfce.org 3.x Draw GuideNote

Hovering the mouse pointer over this icon gives a tooltip ofCurve. If you convert the icon to a foating toolbar, however, thetitle is Lines, as shown in Figure 25.
Polygon, Filled

Polygon (45°), Filled
Freeform Line, Filled

Curve, Filled

Freeform Line

Curve
PolygonPolygon (45°)

Figure 25: Floating Curves toolbar (incorrectly titled “Lines”)
If you move the mouse cursor over one of the icons, a tooltip pops up
with a description of the function. For a more detailed description of
the handling of Bézier curves (curves and flled curves), see Chapter
10 (Advanced Draw Techniques).
• Polygons: Draw the frst line from the start point with the left

mouse button held down. As soon as you release the mousebutton, a frst corner point is drawn; move the mouse to see howsubsequent lines will look. Every mouse click sets another corner
point. A double-click ends the drawing. A flled polygon
automatically joins the last point to the frst point to close of thefgure and flls it with the current standard fll color. A polygon
without flling will not be closed at the end of the drawing.
0• Polygon 45 : Like ordinary polygons, these are formed from lines
but with angles of only 45 or 90 degrees between them.
• Freeform Line: With this tool you can draw just like with a pencil.
Press and hold the left mouse button and drag the mouse. It is notnecessary to end the drawing with a double-click. Just release themouse button and the drawing is completed. If you have selected
Freeform Line, Filled, the end point is joined automatically to thestart point and the object is flled with the appropriate color.

Gluepoints and connectors (basics)
Gluepoints
All Draw objects have associated invisible gluepoints, which become
visible when you choose any of the connectors under the Connectors

Chapter 2 Drawing Basic Shapes

27

icon
on the Drawing toolbar and then move the mouse pointerover the object.
Most objects have four gluepoints, as shown in Figure 26. You can add
more gluepoints, and customize gluepoints, using the toolbar of thesame name (Figure 27).

Figure 26: Four gluepoints

Figure 27: Gluepoints toolbar
Gluepoints are not the same as the little blue or green “handles” of an
object. The handles are for moving or changing the shape of an object,
as described in Chapter 3 (Working with Objects and Object Points),
but the gluepoints are used to “glue” a connector to an object.
For a more detailed description of the use of gluepoints, see Chapter 9(Organization Charts, Flow Diagrams, and More).

Connectors
Connectors are lines or arrows whose ends automatically dock to a
gluepoint of an object. Connectors are especially useful in drawing
organization charts, fow diagrams, and mind-maps. Even when objects
are moved or reordered, the connectors remain attached.
Figure 28 shows two Draw objects and a connector.

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Figure 28: A connector between two objects
Draw ofers a range of diferent connectors and connector functions.
Open the foating Connectors toolbar by clicking on the arrow next to
the Connector icon

(Figure 29).

Connector with Arrows

Line Connector

Connector Ends with Arrow

Line Connector Ends with Arrow

Connector

Line Connector with Arrows

Straight Connector

Curved Connector with Arrows

Straight Connector Ends with Arrow
Straight Connector with Arrows

Curved Connector Ends with Arrow
Curved Connector

Figure 29: The Connectors toolbar
For a more detailed description of the use of connectors, see Chapter 9(Organization Charts, Flow Diagrams, and More).

Drawing geometric shapes
Geometric shapes include:• Basic shapes• Symbol shapes• Block arrows• Flowcharts• Callouts• Stars
Chapter 2 Drawing Basic Shapes

29

Note

If you select shapes for editing, the information feld in the
toolbar shows the type of shape selected and, if more than one
object is selected, the total number.

Figure 30 shows part of the Drawing toolbar with the icons referred toin the following sections. Clicking on the arrow next to the icon opensa foating toolbar with the relevant work tools.

Figure 30: Part of the main Drawing toolbar
Tip

The use of all these tools is similar to that of the Rectangle tool,
even though they produce diferent geometric shapes.

Basic shapes
The Basic Shapes icon
makes available arange of tools for drawing basic shapes,
including a rectangle tool identical to the oneon the main toolbar.
The only diferences you will see are in theinformation feld in the status bar (in this case
“Shape selected” rather than “Rectangle
selected”).

Symbol shapes
The Symbol Shapes icon
gives you anarray of tools for drawing various symbols.

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Block arrows
The Block Arrows icon
Arrows toolbar.

opens the Block

Flowcharts
The tools for drawing fowcharts are accessedby clicking on the Flowcharts icon.
The creation of fowcharts, organization charts,and similar planning tools are described in
Chapter 9 (Organization Charts, Flow
Diagrams, and More).

Callouts
Use the Callouts icon
Callouts toolbar.

, to open theStars and banners
These tools are associated with the Stars icon.
You can add text to all these shapes. See “Using text elements in Draw
objects” on page 33.

Chapter 2 Drawing Basic Shapes

31Adding text to objects
Draw ofers two ways to add text to a drawing: in a dynamic text frame
as an independent Draw object or as text in a previously drawn object.
In the latter case, the text is integrated with the object.

Using dynamic text frames
The text tool is activated by clicking on the Text icon
for horizontal
text or the Vertical Text icon
for vertical script (to be able see theicon and use this latter option, you must check Enabled for Asian
languages under Tools > Options > Language Settings >Languages). If you still do not see the Vertical Text icon, enable it on
the Drawing toolbar by clicking the arrow on the right hand side of thetoolbar, select Visible Buttons, and click on Vertical Text to make thisicon show on the toolbar.
Text frames can be moved and rotated like all draw objects. For moredetails on text input, see Chapter 10 (Advanced Draw Techniques).
After activating Text command mode, click at the location where youwant to position the text. A small text frame appears. It contains only
the cursor. You can move the frame, if desired. The Text Formatting
toolbar appears (Figure 31), and you can choose the font type, fontsize, and other text properties and begin to type in your text.

Figure 31: Text Formatting toolbar
The text frame grows with the text. You can insert a line break with theShift+Enter key combination. The Enter key begins a new paragraph.
Neither line breaks nor new paragraphs terminate the text frame.

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Figure 32: Text input in a dynamic text frame
Observe the information feld in the status bar: it shows that you are
editing text and also provides details about the current cursor location—paragraph, line, and column numbers.
Text properties can also be changed during text input. Any changes
will be refected from the cursor position onwards (Figure 33).

Text input – properties changed
Figure 33: Changing text properties
After choosing the Text icon, you can also draw a frame with themouse to contain future text. You can move the frame only after typing
some text in it. Line breaks are inserted automatically at the right edgeof the frame when the text flls the frame width (Figure 34). You can,however,—just like when editing other text—insert your own line
breaks, begin new paragraphs, or change any of the text properties.

Text input
in a fixed frame –the text wraps
automaticallyFigure 34: Text frame

Using text elements in Draw objects
A text element is associated with most Draw objects. By means of theseelements, text can be added to an object (see Figure 35).
Chapter 2 Drawing Basic Shapes

33

The exceptions to this are control elements like buttons or list boxes,
as well as 3D scenes and their associated elements and groups.
If the Double-click to edit Text iconon the Options toolbar is
active, you can start editing an object by double-clicking on it (or bypressing F2). In the middle of the Draw object, a black bar indicates
the text cursor; start typing to input text. The status bar shows at thelower left “Text Edit” and the position of the cursor within the text.
Text can contain paragraphs, and these can be in the form of bulleted
or numbered lists. For a new line without beginning a new paragraph,use (as in text documents) the key combination Shift+Enter. To end thetext input, click next to the object or press the Esc key.

Figure 35: Adding text to objects

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3

Chapter
Working with Objects andObject Points

Introduction
This chapter looks at the tools and functions that let you modify
existing drawings. All of the functions apply to a selected object orgroup of objects, which can be distinguished by small colored squares
or circles located around it. These points are called handles.
The handles form a rectangular frame that is just big enough tocontain the object. Where several objects are selected, the frame
around them corresponds to the smallest rectangle that can contain allof the objects. This frame is called the selection rectangle.
If the Options bar is displayed (select View > Toolbars > Options toturn it on, if it is not displayed), you can change the size of the handles
using two buttons: Simple Handles shows the handles as fat squares;
otherwise they are shown in 3D. Large Handles increases the size ofthe handles. You can combine the two efects. Figure 36 shows thelocation of the handles and other buttons.

Figure 36: Location of handles on the Options toolbar

Selection modes
There are three selection modes:
1) Moving and changing size2) Editing
3) Rotating points
To set the default mode (1 or 2) for selecting objects, click on the
Points buttonon the Drawing toolbar.
In standard mode (when you begin a new drawing),
the Points button is not active, and the default modeis for selections to be moved or changed in size;these selections are indicated by small green
squares.

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When the Points button is active, the default mode isfor selections to be edited; these selections areindicated by blue squares. Some objects will have one
or more extra handles, which are larger or coloreddiferently. This is explained in more detail in“Editing object points” on page 46.
Selections for rotating objects are indicated by small
red circles and a symbol representing the center ofrotation. To choose these selections, click on the
Efects drop-down button
from the Drawing
toolbar and after that on the object.

Changing the selection mode
To go from one mode to another, you can do one of the following:• Choose the Points button

from the Drawing toolbar to switchfrom simple selection mode to Points mode. You can also use the
keyboard shortcut F8 (Points). See “Editing object points” onpage 46 for details on using Points mode.
• Choose the Efects drop-down button from the Drawing Toolbar
to activate the Rotation mode for a selected object. To exit
Rotation mode, click on the Selection icon.
• If you often work in Rotation mode, you can choose the Rotation
Mode after Clicking Object button
from the Options bar
and cycle through normal and rotation modes just by clicking on
the object. This can be more convenient than repeatedly clicking
the selected object, then clicking the Rotate button from theDrawing toolbar.

Selecting objects
Direct selection
The easiest way to select an object is to click directly on it. For objects
that are not flled, click on the object’s outline to select it. One click
selects; a second click deselects. To select or deselect more than one
object, hold the shift button down while clicking.

Chapter 3 Working with Objects and Object Points

37Selection by framing
You can also select several objects at once by using themouse to drag a large rectangle around the objects
with the Select button, as shown. For this to work, theicon on the Drawing toolbar must be active.
Only objects that lie entirely within the rectangle will
be selected.

Selecting hidden objects
Even if objects are located behind others and not visible, they can still
be selected. Hold down the Alt key and click where the object islocated. If there are several overlapping objects, hold down the Alt key
and click until you reach the object you want. To cycle through theobjects in reverse order, hold down the Alt+Shift keys and click. The
number and type of the selected objects is shown at the left of thestatus bar to help you to select the correct object.

NoteThis method generally works in Windows, but on a Linux system
it usually does not. If the Alt key on your system does notoperate as described above, use the Tab key method described
below.

To select an object that is covered by another object using the
keyboard, use the Tab key to cycle through the objects, stopping at theobject you wish to select. To cycle through the objects in reverse order,press Shift+Tab. This is a very quick way to reach the object you want,
but it may not be practical if you have a large number of objects inyour drawing.
When you click on the selected object, its outline will appear briefy
through the objects covering it.
In the illustration to the right, the square locatedbeneath the circle was selected in this way (thecircle has been made semi-transparent in order toshow the square).

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Arranging objects
In a complex drawing, several objects may be stacked on top of one
another. To rearrange the stacking order (move an object to the front
or to the back of the stack), select the object, click Modify > Arrange
and choose Bring Forward or Send Backward. Or right-click theobject, choose Arrange from the context menu, then choose Bring
Forward or Send Backward.
These options are also available from the Arrange tear-of toolbar
accessible from theicon on the Drawing toolbar. A keyboard
shortcut is Shift+Ctrl+plus sign to bring an object to the top, andShift+Ctrl+minus sign to send an object to the bottom.
Note, however, that an object located on the Controls layer always lies
above all other objects.

Moving and dynamically adjusting an
object’s size
There are several ways of moving or changing the size of an object.
The dynamic method described here uses the mouse.
When you dynamically change an object, remember to check the lefthand area of the status bar at the bottom of the Draw window. This
area shows detailed information about the ongoing manipulation

Figure 37: Left end of status bar during dynamic adjustment
For example, when you are resizing an object, the object information
felds show which object is selected, the current position in X/Ycoordinates, and object dimensions (width x height). The information
Chapter 3 Working with Objects and Object Points

39

changes as the mouse is moved. The units of measurement are those
selected under Tools > Options > OpenOfce.org Draw > General.

Dynamic movement of objects
To move an object, select it and then click within theobject’s border and hold down the left mouse button
while dragging the mouse. During movement, theshape of the object appears as dotted lines to help
with repositioning.
To drop the object at its new location, release the mouse button. The
new position appears immediately in the Status Bar.

Dynamic size modifcation of objects
To change the size of a selected object (or a group of
selected objects) with the mouse, move one of thehandles located around the selection. As shown in theillustration, the outline of the resulting new object
appears as a dotted line while the mouse button ispressed.
The results depend on which handle you use. To resize an object along
one axis, use the appropriate side handle. To resize along both axes,
use a corner handle. The new size appears immediately in the status
bar.
Note

If you press the Shift key while resizing an object, the change insize will be carried out symmetrically with respect to the twoaxes, so that the aspect ratio of the object remains the same.

Dynamic size modifcation of objects with the helpof the status bar
If you select an object and modify it using the mouse, the changes are
immediately refected in the information feld of the status bar. With
geometric shapes (such as basic shapes, symbol shapes, block arrows),
the only information shown in the status bar is that the shape is being
resized, as shown in the top-left image in Figure 38. With geometricelements (rectangles, circles, and so on), the changes to the attributesof the element (either relative or absolute) are also shown, as in the
top-right image in Figure 38.
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OpenOfce.org 3.x Draw Guide

Figure 38: The Information feld during dynamic size
modifcation of objects
In the case of a rectangle, the new size is shown as percentages of theoriginal x and y dimensions. For a line, much more information is
given: the absolute change in x and y coordinates of the end point
being moved, together with the current length and bearing of themodifed line. These are updated dynamically as the end point is moved(see Figure 38).
This is the only place where the exact start and end angles of an arc or
the length and bearing of a sloping line are shown. This information
enables you to size the object with considerable accuracy.

Modifying an arc
The beginning and end points of an arc can be modifed. Select the arc
and click on the Points iconon the Drawing toolbar to enter the
Edit points mode (described later in this chapter). In this mode, thehandles on the selection frame change—two larger blue handles
appear at the beginning and end points of the arc. When the mouse
hovers over one of these points the cursor will change to a hand.

Figure 39: Editing an arc

Chapter 3 Working with Objects and Object Points41

If you click and hold the mouse button when the hand cursor appears,
moving the mouse will change the location of the start or end point of
the arc. The actual coordinates are shown in the Status Bar (see lower
left graphic in Figure 38.

Rotating and shearing an object using themouse
Use the red rotation handles to either rotate an object around an axis
or slant or shear the object.

Rotating
To rotate an object (or a group of objects), drag a red corner handle
point of the selection with the mouse. The mouse cursor takes theshape of an arc of a circle with an arrow at each end. A dotted outlineof the object being rotated appears and the current angle of rotation is
dynamically shown in the status bar.

Note

Rotation works in a slightly diferent way for 3D objects because
the rotation occurs in 3D space and not in one plane. See
Chapter 7 (Working with 3D Objects) regarding rotation when
the Edit Points mode is active.

Rotations are made about an axis which is displayed as a small symbol.
This is normally located at the midpoint of the object, but you canmove the axis of rotation with the mouse to any location you like, evenoutside the object.
If you hold down the Shift key during the rotation, the operation will be
carried out in increments of 15°.

Figure 40: Rotating an object

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Changing inclination or perspective
To slant or shear objects, use the red handles located at the midpointof an edge of the selected objects. The mouse pointer changes to awhen the pointer hovers over one of these midpoint handles. Not every
object can be slanted—basic shapes can be rotated but not slanted.
The slant axis is the point directly opposite the midpoint handle to be
used for shearing the object. This point stays fxed in location; theother sides and edges move in relation to it as the mouse is dragged(make sure that theicon is showing before dragging).
Figure 41 shows how the vertices move in relation to each otherduring the shearing process. The circles represent the path of thevertices. The inclination axis is the bottom vertex of the triangle (theslanting handle used is the midpoint of the upper enclosing frame). All
points on the fgure will move through the same angle irrespective of
the fnal shape. The actual angle is shown in the status bar.

Figure 41: Shearing an object

Note

The triangle in Figure 41 was produced with the (unflled)
polygon tool and then Close Object was selected from thecontext menu.

This tool can be used to produce perspective drawings. The series ofpictures in Figure 42 shows the method of constructing a cuboid orrectangular prism. To shorten the edges leading from front to back,reduce the length before you distort the height or width of the surface.

Figure 42: Perspective production of a cuboid

Chapter 3 Working with Objects and Object Points

43

As with rotation, you can make the slanting occur in steps of 15° bypressing the Shift key while moving the handle.

Setting size and position exactly
You can position and resize objects with the mouse, but this method is
not very exact. If you need accurate positioning of objects, use Format> Position and Size from the menu bar, or right-click the object andselect Position and Size from the context menu, or press F4.

Position and Size
Open the Position and Size dialog (see Figure 43) and click on the
frst tab to set the appropriate values.

Figure 43: Position and size of an object
Position is defned as an X,Y coordinate relative to a fxed point (thebase point), typically located at the upper left of the drawing area. If
desired, you can temporarily change this base point to makepositioning or dimensioning simpler (click on the radio button
corresponding to the location of the base point in either of the two
selection windows on the right side of the dialog—upper for positioning
or lower for dimensioning). The possible base point positions
correspond to the handles on the selection frame plus a central point.
The change in position lasts only as long as you have the dialog open;
when you close this dialog, Draw resets the base point to the standard
position.
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OpenOfce.org 3.x Draw Guide

Tip

The Keep ratio checkbox is very useful. Click it to keep the ratioof width to height fxed while you change the size of an object.

Either or both the size and position can be protected so that theycannot be inadvertently changed. Check the appropriate boxes toachieve this.
Tip

You cannot move an object? Check to see if the position isprotected!

Rotating objects
Click on the Rotation tab of the Position and Size dialog (see Figure43). Here you can defne the rotation angle, as well as the location of
the pivot point.

Figure 44: Rotating an object

Slant and corner radiusWith some Draw objects the slant angle (inclination or shearing) andcorner radius can be set in this dialog (Figure 45).

Chapter 3 Working with Objects and Object Points

45

Figure 45: Setting rounded corners and slant angle
Corner radiusFigure 46: Example of setting rounded corners
You can use this dialog to round the corners of the usual Draw objects—text boxes, legends, rectangles, and squares, as shown in Figure 46.
The same efect can be achieved when you are in the points mode (byclicking the Points icon on the Drawing toolbar), by dragging the large
handle with the mouse. The larger the value for the corner radius, themore round will be the object.
Slant
You can shear the older, classic Draw objects, but not the newer Shapeobjects. Enter the slant angle in the box marked Slant Angle.

Figure 47: Example of setting the slant angle in a classic Draw object

Editing object points
For polygons and Bézier curves, Draw ofers a complete set of toolsthat let you accurately edit the contour of an object. To edit otherobjects in the same way, you must frst convert them into curves. To dothis, select the object, then right-click and choose Convert > To
Curve or choose Modify > Convert > To Curve from the menu bar.
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OpenOfce.org 3.x Draw Guide

You can also convert the shapes to a polygon (Convert > To Polygon).
With polygons, the edge points are always connected with straightlines and not with curves. Some of the techniques described work
equally with polygons as with curves.

An alternative way to change the form ofbasic shapes
In current versions of Draw, many of the new shapes can be directlyedited without having to convert them to curves frst. You canrecognize these objects by the presence of one (or more) circularyellow handles as shown in Figure 48. The mouse pointer changes
shape when hovered over a yellow handle.
If you drag one of these handles, you can modify the shape of theobject; the type of change is dependent on the shape itself. For
example, you can round the corners of a rectangle or square, change
the angles of an arc or ellipse, or alter the control points of a circularor elliptical segment.

Figure 48: Some basic shapes with yellow “handles”

Chapter 3 Working with Objects and Object Points

47

How curves work
The editing of curves depends on the mathematics of Bézier curves1.
The complete study of such curves goes beyond this scope of thisguide, and only the basics are covered here. Chapter 10 (Advanced
Draw Techniques) provides more information on drawing andmanipulating Bézier curves.
The editing of a Bézier curve consists in principle of moving points ortangents passing through these points. Each tangent has two control
points—one at each end—and a junction point where it meets thecurve. The relative angle and distance between the control points
determine the shape of the curve. Figure 49 shows several variations
starting from a basic circle and changing only one point on the circle.
You can create many diferent shapes by moving either the junction
point itself, or one or both of the round handle points at either end of
the tangent.

Figure 49: Creating diferent shapes bychanging the tangent
Draw ofers even more possibilities when you use the functions on the
Bézier curve toolbar.

The Edit Points toolbar
When you work in Edit Points mode, use the Edit Points toolbar, shownin Figure 50. To activate this toolbar, choose View > Toolbars > Edit
Points. It will then appear whenever you select a curve and the Edit
Points icon on the Drawing toolbar is active.

1 Bézier curves were invented by Pierre Bézier, an engineer working with the Renault car
manufacturer, who developed the technique in the 1960s. The technology was intended to makemodeling the surface of vehicles easier.

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1 Points
2 Move Points
3 Insert Points
4 Delete Points

5 Split Curve
6 Convert to Curve
7 Corner Point
8 Smooth Transition

9 Symmetric Transition
10 Close Bézier
11 Eliminate Points

Figure 50: Edit Points toolbar
On this toolbar, icons may be active or inactive depending on theselected object and object point. With the Convert to Curve icon, you
can determine for individual points whether their connection will bemade with straight lines or with curves.
Only with curves are the icons for tangents activated. An object that
contains no curves is treated as a polygon.

The three kinds of tangent
Three buttons in the Edit Points Toolbar let you select the type oftangent and convert from one type to another. Only one of thesebuttons can be active at any given time. Their use is described in thefollowing chapter.

Figure 51:
Symmetric
tangent

Figure 52:
Asymmetrictangent

Choose the Symmetric Transition button
to work with a symmetrical tangent (Figure 51).
Any movement of one or the other of thehandles is carried over symmetrically to theother handle.
Choose the Smooth Transition button
toseparately adjust the lengths of the two parts ofa tangent and so make the curve fatter orsteeper. In Figure 52, you can clearly see thatthe curve is fatter on the longest side of thetangent. The tangent remains as a single
straight line. This kind of tangent is known as asmooth junction.

Chapter 3 Working with Objects and Object Points

49

Figure 53:
Infexionpoint

It is also possible to completely detach bothsides of the tangent. In this case, the central
point is known as the infexion point. Using thistechnique, you can draw spikes and troughs in
objects. Choose the Corner Point button
to create an infexion point around the selected
point.

ExamplesThe other buttons in the Edit Points Toolbar are described here in
relation to working examples. The following examples start from aflled circle. As mentioned earlier, in order to use Edit Points mode, youfrst need to convert the object to a curve.
You will notice that after the conversion, the handles located in thecorners of the rectangle have disappeared. This behavior is normal inthat the handles which are used in the Edit Points mode are locatedalong the outline or trace of the drawn object.

The Move Points button
is the default
mode when editing points. If it has not been
activated, click on its button. When this mode isactive, the mouse pointer has the following
shape when it is hovered over an edit point:

Figure 54: Moving
a junction point

50

Movement of a point is one of the easiest
manipulations to do. Figure 54 illustrates how
you can draw an egg very easily by startingfrom a circle and dragging the the top point
upwards.

OpenOfce.org 3.x Draw GuideTo change the direction or location of thetangents, move the circular handles at eachend. The mouse pointer then looks like this:Figure 55:
Rotating a tangent
Use the Add Points button
to add an extra
edit point to an existing curve. Click on the
curve at the spot where you want to insert apoint and then move the mouse slightly in any
direction while holding down the button. Watch
out! If you just click, the new point will not be
added.
Figure 56: Adding
an edit point to a
curve

The tangent attributes associated with the new
point depend on the buttons that are selected on
the toolbar.

➊

The Delete Points button
has the opposite
efect: it subtracts one or more points from thecurve. The resulting curve stretches itself
automatically around the remaining points after
subtraction.
Select one or more points to delete. You canselect several points by holding down the Shift
key (➊).

➋
Figure 57: Deleting
points from a curve

When you have selected the points you want todelete, click the Delete Points
button. The
selected points disappear from the curve, whichthen reforms around the remaining points (➋).
You can also delete the selected points bypressing the Del key on the keyboard.

Chapter 3 Working with Objects and Object Points

51

➊

➋

3

Use the Split Curve button
to split or cut acurve at the location of the selected handle. If
the object is flled, it will be emptied because
the curve that represented the edge is no longer
closed.
Check that you have selected the correct handle(➊), click the Split Curve button(➋) andnotice that the object is no longer flled. You canthen check, by moving the point, that the curve
has indeed been separated (➌).

Figure 58: Cutting a If you have an open curve, the start point of thecurve
curve is larger than the others.
You can also separate a curve at several points
simultaneously. Keep the Shift key pressed down
and select all of the points at which the cut
should occur.
Drag and drop segments with the mouse to
move them from the original curve.
Figure 59: Moving
a segment
To close an existing curve, select an open curveand click on the Close Bézier button.

The opening point is identifed by a slightly
larger handle (Figure 60).

Figure 60:
Closing an open
curve

52

OpenOfce.org 3.x Draw Guide➊➋The Select buttonon the Drawing toolbar
functions as a switch. It works as follows.
If you have two points linked together by astraight line (you do not need to have a curve
between the points) and you insert a new point
between them that is set at an angle to theinitial straight line (and hence the two
endpoints), then:• If the Select button is active, you will have adrawing similar to that illustrated in ➊.
Figure 61: Using
the “select points”
switch• If the Select button is not active, and you

move the point you have just inserted to bring itback close to its initial position in the straight
line, you will have a drawing similar to that
illustrated in ➋.
The Eliminate Points button
button only
functions with lines with multiple points.

1.
Select object and set If the button is active, click on a point, hold themouse button down and move the mouse to
Edit points mode
draw virtual straight lines between theneighboring left and right points.

2.
Draw virtual lines

3.
Release mousebuttonWhen the two lines are more or less straightand you release the mouse button, the point isdeleted and a line between the above mentioned
two neighboring points replaces the previous
two lines, thus eliminating one point.
Note that this only works when the angle
between the two lines shown dashed in thefgure at left is less than a certain amount.
In the Tools > Options > OpenOfce.org
Draw > Grid window there are options for snap
settings relating to editing points when rotating
and in point reduction mode.

Figure 62: Reducing
a line by one point

Chapter 3 Working with Objects and Object Points

53

The Rotate function from the Efects drop-➊

down buttonon the Drawing toolbar andthe Rotation Mode after Clicking Object
buttonon the Options toolbar can be usedin Edit Point mode. In this case, it can be used
to move single points around the contour of an
object.
Switch into rotation mode by clicking on eitherof the rotation buttons. Notice that in rotationmode, all of the tangent points become red dots.

➋

Figure 63: Moving
a point on a curve

Select the point to be moved and then drag itaround the contour while keeping the left mousebutton pressed down (➊). When you release themouse button, the point will be moved to thenew position (➋).
If you move one of the handles located at theend of the tangents during rotation, you will
make the object rotate in exactly the same way
as with the usual rotation operations.
Important: To exit the efects mode, do not justclick on the Efects button; click the Selectbuttonon the Drawing toolbar.

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4

Chapter
Changing Object
Attributes

Toolbars and menus
To change an object’s attributes (such as color, border width, among
others) you can use the Line and Filling toolbar or the context menu.

Line and Filling toolbar
If the Line and Filling toolbar is not visible, you can display it using
View > Toolbars > Line and Filling. From here you can edit themost common object attributes. You can also open the Line dialog byclicking on the Lineicon and the Area dialog by clicking on the Area
icon to see more options.

1 Styles and Formatting
2 Line3 Arrow Style

4 Line Style
5 Line Width
6 Line Color

Figure 64: Line and Filling toolbar

7Area
8–9 Area Style / Filling
10 Shadow

Text Formatting toolbar
When you select text, the Line and Filling toolbar changes to show text
formatting options. You can also display the Text Formatting toolbar bychoosing View > Toolbars > Text Formatting.

Figure 65: Text Formatting toolbar (when text is selected)

The context menu
When an object is selected, you can right-click on the object to bringup a context menu (Figure 66). The context menu provides additional
access to the options shown above and another way to change an
object’s attributes. The entries with a small arrow on the right-handside contain a submenu.

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Figure 66: Right-click on an object to see
the context menu

Editing lines and borders
Lines, arrows, and the borders of an object are managed through thesame dialog (Figure 67).

Figure 67: Lines andborders
You can change some properties from the Line and Filling toolbar. To
see more options, select the object and right-click on the object andchoose Line from the context menu. This opens the Line dialog.

Chapter 4 Changing Object Attributes

57

Figure 68: Line dialog (right-click on an object and choose Line).

Common line properties
In most cases the property you want to change is the line’s style (solid,
dashed, invisible, and so on), its color, or its width. These options are
all available from the Line and Filling toolbar.

Figure 69: Common line options (style, width, color)
You can also edit these properties from the Line dialog. They are on the
frst tab, left column (see Figure 68). From the Line dialog you can alsochange the line’s transparency. Figure 70 illustrates diferent degreesof transparency.

Figure 70: The vertical lines have diferent levelsof transparency (0%, 25%, and 50%).
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Drawing arrows
Arrowheads (and other line endings—usually referred to in this guidecollectively as arrows) are a line property. Select a line and click on the
Arrow Styleicon. This opens the Arrowheads menu.

Figure 71: Arrowheads menu
There are several types of arrowheads available. Each end of the line
can have a diferent arrowhead (or no arrowhead).
Note

Arrowheads are only applicable to lines. They have no efect on
an object’s border.

In the Line dialog (Figure 68), Arrow styles on the right-hand side
contains a number of options to fne tune the arrow properties. If
Synchronize ends is selected, both line endings will have the same
appearance. The Center option brings the middle of the arrow overthe end point of the line. If this option is not selected, the line ends on
the outermost edge of the arrow. It is much easier to understand if you
look at the following sketch.

Figure 72: Default arrowheads (left)
vs centered arrowheads (right)
Chapter 4 Changing Object Attributes

59

Customizing line and arrow styles
You are not constrained to using only the line and arrow styles
provided by default in Draw. You can modify the styles and create yourown.

Customizing line styles
In the Line dialog, click on the Line Styles tab (see Figure 73). From
here you can customize the line styles or create your own (click on the
Add button to create your own). You can change the length of thedashes, the space between them, and other attributes.

Load Line Style
Save Line Style

Figure 73: Editing line styles
Use the Load Line Styleand Save Line Style
icons to save a
new defnition or read one from disk (fle extension .sod).

Customizing arrow styles
You can also create your own arrowheads to create some interesting
efects, such as:

The frst step is to draw a curve with the shape you want for thearrowhead (see Figure 74).
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Figure 74: To create your own arrowhead,
you must frst draw a curve.

Note

The arrowhead must be a curve. A curve is something you could
draw without lifting a pencil. For example,
is a curve but
is not a curve. You can however draw forms which are notcurves and then at the end convert them to a curve.

Select the curve, open the Line dialog, and go to the Arrow Styles
page. Click on Add, enter a name for the arrow style and click OK (seeFigure 75).

Tip

The part of the shape which should point in the direction of theline must be drawn facing upwards. In Figure 74 the top of the
shape will point towards the “outside” of the line.

Figure 75: Adding an arrow style
Now you can access the new style from the Arrow style list (Figure 76)
or the Arrowheads dialog (Figure 71).

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Figure 76: Arrow style list

Editing the inside (fll) of an object
The OpenOfce.org term for the inside of an object is Area fll. The
area fll of an object can be a uniform color, a gradient, a hatchingpattern, or an image. It can be made partly or wholly transparent andcan throw a shadow.

Figure 77: Diferent types of area fll

Common fll properties
In most cases, you will choose one of the standard fll options, whether
it is a color, a gradient or an image. These options are all available
from the Line and Filling toolbar (see Figure 78).
If you want no fll at all, select the object you wish to edit and on theLine and Filling toolbar select the option Invisible on the pull down
list at the right of the paint can.

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Figure 78: Common fll options

Fill with a uniform color
Select the object you wish to edit. On the Line and Filling toolbar,
select Color on the pull down list at the right of the paint can, andthen choose a color from the right-hand menu.

Figure 79: Filling with a color

Fill with a gradient
Select the object you wish to edit. On the Line and Filling toolbar,
select Gradient and then choose a gradient from the right-hand menu.

Figure 80: Filling with a gradient

Chapter 4 Changing Object Attributes

63Fill with a line pattern
The OOo term for line patterns is Hatching. Select the object you wish
to edit. On the Line and Filling toolbar, select Hatching and thenchoose an option from the menu.

Figure 81: Filling with a line patternFill with an image
You can fll an object with a bitmap image (as opposed to a vector
graphic image). Select the object you wish to edit. On the Line andFilling toolbar, select Bitmap and then choose an option from themenu.

Figure 82: Filling with an image

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Adding a shadow
In Draw, shadows are considered an area property. Click on the Filling
icon on the Line and Filling toolbar—next to the area fll functions(Figure 83).

Figure 83: Adding a shadow

Advanced area fll options
Click on the Area icon
to bring up the Area dialog. From this
dialog, you can fne tune the area fll of an object in greater detail.

Creating your own fll color
Click on the Colors tab of the Area dialog (Figure 84). From here you
can modify existing colors or create your own.

Figure 84: Customizing the color palette
Depending on the color model (RGB or CMYK can be selected from thepull down menu) in use you can change the individual values of theconstituent colors—Red, Green, and Blue or Cyan, Magenta, Yellow,
Chapter 4 Changing Object Attributes

65and Black. Click on Add to add this color to the color table. Clicking on
the Modify button will change the values of the current color (here it
is Blue 8, shown in the upper rectangle) to those on the screen in thelower rectangle. The Edit button allows you to fne tune the color
using a palette with visual feedback.
Further explanation about color palettes can be found in Chapter 8(Tips and Tricks).

Creating your own gradientOn the Area dialog, click on the Gradients tab. From here you can
modify existing gradients or create your own.

Figure 85: Customizing gradients
A gradient works by creating a smooth transition from one color toanother. First, you need to choose two colors.

Figure 86: Choosing colors for a gradient

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Then choose a type of gradient. There are several available (Linear,
Axial, Radial, and so on) and each has up to four diferent options to
specify it in detail. For example, a radial gradient has a center you canspecify (Figure 87).

Figure 87: Center option in a radial gradientFigure 88 shows how an ellipsoid gradient is rotated, moved verticallyand horizontally, and the color of the border area varied.

Figure 88: Center, Angle, and Border options for a gradientCreating your own hatching (line pattern)
On the Area dialog, click on the Hatching tab (Figure 89). From here
you can modify existing hatchings (line patterns) or create your own.
You can customize options like the spacing between lines, the angle
and the color of the lines. There is no way to edit the line thickness.

Chapter 4 Changing Object Attributes

67

Figure 89: Modifying hatchings

Creating your own bitmap fll
You can add your own bitmap images to fll an area. First, you need tocreate the bitmap image. This could be a photo or another sketch you
have created in another program. For example, you can draw
something with Draw and export it as a PNG format image fle.
To export a PNG image fle: Create the image, select it, then choose
File > Export, choose PNG from the pulldown list of fle formats, givethe fle a name, and save it.
To use an image as a bitmap fll, open the Area dialog and click on the
Bitmaps tab (Figure 90).

Figure 90: Adding your own bitmap images
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From there you can add new bitmap images to serve as area flls. Clickon Import and choose a fle you previously saved. Give it a name thatwill make it easy to remember. The last imported image will appear at
the bottom of the pulldown list of bitmap flls. Now you can use thatimage as an area fll.

Figure 91: Adding your own bitmap images

Tip

If the imported image seems to be very small in the preview inFigure 91 probably you forgot to select the image before you
exported it. The exported image was then the whole page with a(small) drawing on it.

Customizing shadowsFirst, select the object you want to apply a custom shadow to. Open the
Area dialog and go to the Shadow tab (Figure 92). There you cancustomize the shadow’s position, distance and color.

Figure 92: Customizing shadows
Chapter 4 Changing Object Attributes

69

Shadows can also have transparency, so the shadow does not hide
objects behind it.

Figure 93: Shadow with 50% transparency

Adding transparency
You can make objects partly or fully transparent, or even a with avarying degree of transparency (as a gradient). On the Transparency
page (Figure 94), choose Transparency (for a uniform transparency)
or Gradient for a gradient transparency.

Figure 94: Transparency page of Area dialog
An example of gradient transparency is shown in Figure 95. See also
“Dynamic gradients” on page 76.

Figure 95: Example of gradient transparency
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Using styles
Suppose that you want to apply the same area fll, line thickness, andborder to a set of objects. This repetitive process can be greatly
simplifed by the use of styles. Styles allow you to defne a formatting
template (a style) and then to apply that style to multiple objects. For
more about styles, see Chapter 6 (Introduction to Styles) in the Writer
Guide.
Click on the Styles and Formatting
icon on the Line and Filling
toolbar or press the F11 key to open the Styles and Formatting window(Figure 96). This window can be docked to the left or right side of themain Draw window, if you wish.

Figure 96: Styles and Formatting window

Creating a new style
Select an object and customize the area fll and border. When you aresatisfed, click on the New Style from Selection
icon on the Styles
and Formatting window. This defnes a new style based on the selected
object. Type a name for the new style and click OK.

Applying a style
Once the new style is defned, you can apply it to other objects. Selectanother object and double-click on the style name you defned. The
new object will acquire the area fll and line properties of that style.
Chapter 4 Changing Object Attributes

71

Tip

Question: What happens if I modify a style after it has been
applied?
Answer: Then every object with that style is updated
automatically!

Modifying a style
Modifying a style is similar to creating a new style. Select an object
with that style and change the area and line properties. Whensatisfed, click on the Update Style icon.

Special efects
First make sure that the Drawing toolbar is selected (View > Toolbars> Drawing). On the Drawing toolbar, locate the Efects icon.
Click on the arrow next to that icon. This opens a submenu with all the
special efect tools (see Figure 97).

1 Rotate
2 Flip
3 In 3D Rotation Object

4 Set in Circle (perspective)
5 Set to Circle (slant)
6 Distort

7 Transparency
8 GradientFigure 97: Mode tear-of submenu
The tools are described in the following sections with the exception of
the 3D rotation tool, which is described in Chapter 7 (Working with 3D
Objects).

Rotating an object
Click on the Efects
icon to select the Rotate tool. Then select anobject. The selected object will have red handles instead of the usual
green handles.

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Grab one of the handles and move it
to rotate the object. The black circle
in the middle of the object is thepivot (center of rotation). You canmove the location of the pivot withthe mouse.

Flip an object
Select an object and click on the Flip icon
. You will
see a dashed line through the middle of the object.
This dashed line is the axis of symmetry. The object
will be refected about this line. Move one or both endsof the line with your mouse to set the orientation of theaxis.
Then, grab any one of the eight green handles and moveit across to the other side of the dashed line. The newposition of the fgure is shown faintly until the mouse isreleased.

Note

If you press the Shift key while moving the line, the line will
rotate in 45-degree increments.

Mirror copies
Ofcially, this useful command does not (yet) exist in Draw. It can,however, be easily emulated.
Move the axis of symmetry to the desired location of the mirror axis.
Copy the object to the clipboard. Flip the object, then click on an
empty area of the Draw screen in order to deselect the object. Pastefrom the clipboard to put a copy of the object in its original locationand now you have a mirror copy.

Chapter 4 Changing Object Attributes

73

Figure 98: Making a mirror copy of an object

Distorting an image
There are three tools on the Efects menu that let you drag thecorners and edges of an object to distort the image.
The Distort tool distorts an object in perspective, the Set to Circle(slant) and Set in Circle (perspective) tools both create a pseudo
three-dimensional efect.
The results of using these tools are shown in the following fgures.

Distort an object
Select an object and click on the Distort icon . Draw will ask if you
want to transform the object to a curve. This is a necessary step before
distortion, so click Yes. Then you can move the object handles tostretch it.
The corner handles distort, as shown in Figure 99. The midpoint
handles distort the fgure either horizontally (handle on vertical side offgure) or vertically (handle on horizontal side of fgure).

Figure 99: Distort an image
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Set in circle (perspective)
Select an object and click on the Set in Circle (perspective)
icon.
Draw will ask if you want to transform the object to a curve. This is anecessary step before distortion, so click Yes. Then you can move theobject handles to give a pseudo three-dimensional perspective).

Figure 100: Set an image in a circle with perspective

Set to circle (slant)
Select an object and click on the Set to Circle (slant)
icon. Draw
will ask if you want to transform the object to a curve. This is anecessary step before distortion, so click Yes. Then you can move theobject handles to give a pseudo three-dimensional slant perspective.

Figure 101: Set an image to a circle with slant perspective
Chapter 4 Changing Object Attributes

75

Note

Transforming an object into a curve is a safe operation, but it
cannot be reversed other than by clicking the Undo button.

Dynamic gradients
You can control transparency gradients in the same manner as color
gradients. Both types of gradient can be used together. With atransparency gradient, the direction and degree of an object’s fll color
changes from opaque to transparent (in a regular gradient, the fllchanges from one color to another, but the degree of transparency
remains the same).
If you have assigned transparency to an object with a color fll, you cancontrol the transparency by clicking on the Transparency icon . To
defne a transparent gradient, select an object and choose atransparency fll from the Line and Filling toolbar. The transparency
icon is now active. When you click on this icon, a dashed line
connecting two squares appears on the object. Move the two squares
to modify the gradient. You can defne the direction of the gradient(vertical, horizontal, or at any angle) and the spot at which thetransparency begins.
In the same manner, to defne a regular gradient, select an object,choose a gradient fll from the Line and Filling toolbar, The Gradienticon
is now active. When you click on the gradient icon, a dashedline connecting two squares appears on the object, just as it does for atransparency gradient.
In both cases a dashed line connecting two small squares appears on
top of the object. Click outside the object to set the gradient.

Note

If the transparency and gradient icons are not visible, you candisplay them using View > Toolbars > Mode.
Moving the squares will have diferent efects, depending on thetype of gradient. For example, for a linear gradient, the start andend squares of the gradient will always be situated to either sideof the center point of the object.

The three examples in Figure 102 demonstrate how the type anddegree of transparency can be controlled.

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A single color object and a transparency
gradient, covering part of the underlying
object.
The gradient can be dynamically adjusted,made more transparent by moving thewhite square or more opaque by moving
the black square.
An object with a color gradient, completely
covering another object.
The gradient is adjusted dynamically bymoving the squares – the color of thesquare relating to the increase or decreasein that color.

An object with both color and transparency
gradients, partly covering the underlying
object.

Figure 102: Dynamic gradients

Chapter 4 Changing Object Attributes

77

5

Chapter
Combining Multiple
Objects

Introduction: grouping and combining
objects
Using Draw, you can combine drawing objects together in two distinct
ways: grouping and combining. These two methods allow you to treat
multiple objects as one unit, or to merge objects to form a new shape.
Grouping is like putting objects in a container. You can move them as agroup and apply global changes to them. A group can always be
undone and the objects that make up the group can always be
manipulated separately.
A combination is a permanent fusion of objects leading to a new object.
The original objects are no longer available as individual entities andthe operation is not reversible.
Tip

To select multiple objects, click on each object while holding
down the Shift key or click the Select icon (on the Drawing
toolbar) and draw a rectangle around the objects.

Grouping objects
Grouping by common selection
When several objects are selected, any operations you carry out are
applied to all of the objects. For example, you can rotate a group of
objects in its entirety. Groups obtained through common selection ofseveral objects are undone as soon as you click outside the group.
However, you can group objects and keep those selected objects
grouped together.

Maintaining groups and undoing groups
To group objects, frst select the objects, then right-click and choose
Group from the pop-up menu. You can also use the keyboard shortcut
Control+Shift+G or choose Modify > Group from the menu bar.
When objects are grouped, any editing operations carried out on thatgroup are applied to all members of the group. If you click on one
member of the group, the whole group is selected.

Chapter 5 Combining Multiple Objects

79Figure 103: Grouping objects using theright-click menu
The objects of a group retain their own individual properties. To undo agroup, right-click and choose Ungroup from the pop-up menu, use the
keyboard shortcut Control+Alt+Shift+G or choose Modify >Ungroup from the menu bar.

Editing individual objects in a group
You can edit a member of a group individually without breaking thegroup. To do this, right-click and choose Enter group or double-clickon the group.

Figure 104: When you enter a group,
objects outside the group can not be
selected and appear pale
Once inside the group, click on any object to edit it.

Figure 105: Editing an object inside a group
To leave this mode, right-click and choose Exit group or double-clickoutside the group.

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OpenOfce.org 3.x Draw GuideNesting groups
You can create “nested” groups, or groups of groups. In this case,
Draw keeps the initial group hierarchy. If you ungroup a group made ofother groups, you are left with individual groups that you can thenungroup further, and so on until only single objects remain.

Combining objects
In contrast to grouping functions, combinations create a new object;subsequent “un-combining” in the same manner as ungrouping is notpossible. Select a collection of objects, then right-click and choose
Combine from the pop-up menu. The result of this operation is shownin Figure 106.

Figure 106: Combining objects
At frst glance, this can seem rather surprising. Once you understandthe rules governing combination in Draw, however, it will become
clearer.
• The attributes (for example, area fll) of the resulting object arethose of the object furthest back. In this example, it is the circle.

• Where the objects overlap, the overlapping zone is either flled or

empty depending on the number of overlaps. When the number ofoverlaps is even, you get an empty space; when the number is odd,
you get a flled area.

Figure 107: Odd numbered overlaps are flled,even numbered overlaps are empty

Chapter 5 Combining Multiple Objects

81

Tip

You can reorder objects so they are further back in the
background or further forward in the foreground: right-click on
the object and select Arrangement from the pop-up menu. See
also “Aids for positioning objects” on page 84.

An object which is a combination can be broken up into its constituent
parts by selecting Modify > Break. This is not the equivalent ofungrouping as the objects were converted to Bézier curves when they
were combined. The resulting object is a set of base level objects (forexample, a rectangle will be broken into 4 separate lines). The originalformatting—line thickness, colors, and area properties—is notretained.

Merging, subtracting, or intersecting
shapesAfter you have selected more than one object, the Merge, Subtract,and Intersect functions can be reached in the Modify > Shapes menu
or though the group’s right-click menu under the heading Shapes.

Merge
When you merge objects, the new object
covers the entire surface of the original objects(it is the union of the objects). In the same way
as combining, the fll of the merged object isdetermined by the fll of the object furthest in
the background. Other properties are nottaken over into the new object.

Subtract
When you subtract, the upper object is
subtracted from the lower object.

Intersect
When you intersect two objects, you get thearea covered by both objects.

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Tip

How do I move an object so it is further back or closer to thefront? See page 84.

Practical example
The following example shows how you can use the merge functions tocreate a complex shape, namely a knife with a wooden handle.
1) Draw an ellipse and then a rectangle
overlapping half of its width.
2) Select both shapes, right-click, and choose Shapes > Subtractfrom the pop-up menu. The result should resemble the shape atright:

3) Draw another rectangle and put it over the top half of the ellipse.
Then subtract again.

4) Draw a small ellipse covering just the lower right corner andsubtract again.

5) The knife blade is now complete. To make the handle, draw a
rectangle and an ellipse as shown.
6) Merge the shapes together.

7) Group this image with the previous one.

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83

Aids for positioning objects
Draw has various tools to help you arrange the objects with respect toeach other. Here we explore some of the more important ones.

Moving an object to the front or to the back
When you combine or merge objects, the end result varies drasticallydepending on which object is “in front” and which one is “in the back”.
In Figure 108 you can see the diference.

Figure 108: Subtracting objects: the result varies depending on which
object is in front.
If you imagine several objects stacked one on top of the other, the one
referred to as “Front” is the one on top of the stack. The one referred
to as “Back” is the one on the very bottom of the stack.
First select an object, then on the Drawing toolbar, long-click on the
Arrange icon
to open the Position toolbar. This toolbar can betorn of and made to foat.

1 Bring to Front
2 Bring Forward
3 Send Backward
4 Send to Back

5 In Front of Object
6 Behind Object
7 Reverse

Figure 109: The foating Position toolbar

84

OpenOfce.org 3.x Draw Guidebrings the selected object to the front of the group.

brings the selected object one step upwards.

sends the selected object one step backwards.

sends the selected object to the back of the group.

moves the selected object in front of another chosen object.
moves the selected object behind another chosen object.
Click frst on the object you want to change in position. Next clickon the icon and then move the mouse over the other object. The
mouse cursor changes into a hand and the outline of the second
object becomes a dashed line (see below). Clicking on this object
completes the rearrangement of position.

Chapter 5 Combining Multiple Objects

85reverses the order of the selected objects.

Aligning objects
Select two objects and long-click onon the Drawing toolbar toopen the Align toolbar. This toolbar can be torn of and made to foat.
The tools help you position objects with respect to each other.

1 Align left
2 Center horizontally
3 Align right

4 Align top
5 Center vertically
6 Align bottom

Figure 110: The foating Align toolbar
Align left.

Center horizontally.

Align right.

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Align top.

Center vertically.

Align bottom.

If you have selected only one object, clicking the various buttons on
the Align toolbar positions the object in relation to the drawing page.

Distributing the distance and space between objects
Select at least three objects. Now you are able to select the option
Distribution on the Modify menu or from the right-click menu. The
Distribution dialog contains a number of options, described below.

Figure 111: Distribution of spacing between objects
Horizontal distribution
None. Does not distribute the objects horizontally.
Left. The left edges of the objects are evenly spaced from one another.
Center. The horizontal centers of the objects are evenly spaced fromone another.
Chapter 5 Combining Multiple Objects

87

Spacing. The horizontal spacing between the objects is evenly
distributed.
Right. The right edges of the objects are evenly spaced from one
another.
Vertical distribution
None. Does not distribute the objects vertically.
Top. The top edges of the objects are evenly spaced from one another.
Center. The vertical centers of the objects are evenly spaced from one
another.
Spacing. The vertical spacing between the objects is evenly
distributed.
Bottom. The bottom edges of the objects are evenly spaced from one
another.
Figure 112 shows four objects before distribution of horizontal
spacing.

Figure 112: Before distribution
The result of the selections made in Figure 111 (change to equalhorizontal spacing, no vertical change) is shown in Figure 113.

Figure 113: After distribution – change to equal horizontal spacing, novertical change

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6

Chapter
Editing Pictures(Raster Graphics)

Introduction
Earlier chapters of the Draw Guide have dealt only with vector
graphics. However, Draw also contains a number of functions forhandling raster graphics (bitmaps) such as photographs and scanned
pictures, including import, export, and conversion from one format toanother.
Draw can read all the usual graphics fle formats. It has a subset of thesame capabilities as specialized raster graphics programs like Adobe
Photoshop or The Gimp.

Importing raster and vector graphics
To import stored graphics fles, choose Insert > Picture > From Fileon the main menu bar or click on theicon on the Draw toolbar.
Draw possesses import flters for many diferent vector and rastergraphics formats; a flter for *.svg (scaleable vector graphics) fles isavailable as an extension,
http://extensions.services.openofce.org/en/project/svgimport. If yourfle has a nonstandard extension, you must choose the format explicitly
when importing it.
If you select the Preview option in the Insert picture dialog (Figure114), Draw shows a preview of the picture in the box on the right-handside. This makes it much easier to choose the picture you want and tosee whether Draw can import a fle of this format.

Figure 114: Inserting a picture
90

OpenOfce.org 3.x Draw GuideTo link or to embed?
If you select the Link option in the Insert picture dialog, the graphic is
linked rather than embedded. It is not actually inserted into the
document; instead, a link to the graphic is created. This link is relative
to the folder where the document is stored, even though it shows up in
the Edit Links dialog (see Figure 115) as an absolute link. If you store
the document and the graphic in the same folder, and transport thefolder as a whole to another computer, the graphic will show up in the
document as before.
Linked graphics are not changed as a result of any actions carried out
within OpenOfce.org. Such changes afect only the view of thegraphic in the document and not the graphic itself. In particular, theformat of a linked graphic remains unchanged. In contrast, when araster graphic is embedded in an OOo document, it is converted into
PNG format.
Linking keeps the fle size of the Draw document small. The picture
can be edited or even replaced by another and the link will still
function. As long as the new picture is given the same name as the oldone, links will be re-established and updated when the document
containing the link is next opened. However, some actions do not last
beyond the current session (for example, Filter) or are simply notpossible on a linked graphic (for example using the Eyedropper toexchange colors).
Links can easily be removed. The linked picture will then be embeddedin the document. To break a link, choose Edit > Links from the main
menu bar. In the Edit Links dialog (see Figure 115), choose the link to
be broken and then click on the Break Link button.

Figure 115: Editing links to documents

Chapter 6 Editing Pictures (Raster Graphics)

91ScanningWith most scanners you can directly insert a scanned picture into adocument. Choose Insert > Picture > Scan and then either SelectSource or Request.
The Select Source option opens a window which acts as an interface
to a scanner device. Some scanner options can be directly set fromwithin this window. See Figure 116.

Figure 116: Select source ..... Scanner
Click on Create Preview to carry out a preview scan. The results areshown in the preview box on the left. Modify the scan area as desired
and review the result as before. When you are satisfed with the scanpreview output, click OK and then insert the scan into the documentwith Insert > Picture > Scan > Request.
Scanned images are embedded in the document in PNG format.

Pasting from the clipboard
The clipboard ofers another way to insert graphics. Depending on thesource and the operating system, fgures may be in diferent formats.
You can obtain an overview by choosing Edit > Paste Special fromthe menu bar or by clicking on the Paste icon's drop-down menu on
the main toolbar.

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Dragging and dropping
Drag and drop also functions in many situations. The exact way dragand drop works is determined not by whether the graphic is to beembedded or linked but by the operating system in use and the sourceof the graphic. The behavior can be controlled by the use of theControl or Control+Shift keys together.
Draw objects and images which are used frequently can be stored in
the Gallery. Objects can be dragged from the Gallery to the Draw
surface quite simply. Working with the Gallery is dealt with in Chapter
10 (Advanced Draw Techniques).

Inserting from a fle
With this option, you can insert complete pages or single objects fromexisting Draw or Impress documents into your Draw document. In
addition you can insert text in Rich Text Format (RTF), HTML format
or plain text. The text will be contained within a text frame. The usual
paragraph and character formatting options are available for this text.
Choosing Insert > File brings up the File selection dialog. If the fle isa Draw or Impress document, a special import dialog opens.

Figure 117: Inserting complete pages or objects on a pageTo access single pages or slides of the document, click on the
expansion symbol (usually a + or a small triangle, depending on youroperating system) to the left of the fle name in the selection area. The
same method is used to display single objects within slides. Rastergraphics (for example, photos) and Metafles are marked with asymbol, drawing objects with asymbol.

Chapter 6 Editing Pictures (Raster Graphics)

93Choose the object or objects (multiple selection using the Control or
Shift key is possible). If the inserted object was named in the source
document, it keeps its original name unless the name already exists inthe current document. In that case you must give the object a newname before it is inserted. To rename an inserted object, right-click
and choose Name from the pop-up menu. Renaming has the advantagethat the object is then listed in the Navigator.
You can choose whether to embed or link the selected page or object.

Exporting graphics
Saving drawings in the native OpenOfce.org Draw format (*.odg)
means that in general only OOo (or StarOfce) users, or users who
have installed a suitable ODF plug in, can open the fles. To make iteasier for other users and to use the drawings in other applications,
you can export the graphics in other formats. Choose File > Export
and then in the File format pull-down list select the desired format.

Figure 118: Section of the fle selection list

Exporting the entire fle
The fle format options in the upper area of the File format box (PDF,
Flash, and HTML) always apply to the complete fle. Use of Flash or
HTML format causes each page of the Draw document to be exported
as a raster graphic. You will no longer be able to access individual
objects on the page. If you wish, the Export Assistant can generate a
Navigation aid to help in moving from page to page.
If you want to use the objects in other applications, select one of the
Metafle formats (JPEG, PNG, TIFF, BMP and so on) in the lower part of
the File format list (see Figure 119). With this type of export, only thecurrently active page is exported.

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Figure 119: Lower part of the Export dialog

Exporting single objects
In order to export individual drawing objects, you need to frst selectthem. A selection can include more than one object. Take care tochoose the Selection option on the Export dialog.

Exporting as a vector graphic
The choice of vector formats is still limited. An export to a DXF formatfle (Autocad) is not yet possible. Even the export of a graphic to a SVG
format fle is not yet fully implemented: 2D graphic objects areexported as paths and 3D objects only as preview images. Bestsupported are the Metafle formats and exporting to one of these isusually successful.

Exporting as a raster graphic
The choice of formats for export as a raster graphic is large enough to
support most other applications. If in doubt, test diferent formats tosee which gives the best results; some programs behave diferently
depending on the format of the image imported into them.
After typing in a name for the exported fle and selecting the fle
format, you may be able to set options for the exported image—compression, color format, version of Metafle—depending on theformat chosen. Some examples of the various option dialogs are shownin Figure 120.
Where the export dialog allows you to specify the image resolution,
this does not afect the number of raster points in the image. Rather it
inserts information into the picture that tells other programs thedimensions to be used in displaying the image. This means that, among
other things, missing raster points can be interpolated when thegraphic is opened in the other program.
Chapter 6 Editing Pictures (Raster Graphics)

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Figure 120: Adjusting format specifc properties prior to export
The actual number of pixels used is determined by the screen
resolution set up by the operating system and the Drawing scale factor
set in Tools > Options > OpenOfce.org Draw > General. This is alimitation of the current user interface; it is possible to set other
resolutions using macros.
Embedded raster graphics, or objects that have been converted to abitmap or Metafle (from the context menu Convert > To Bitmap / To
Metafle) may subsequently be saved as a picture; from the context
menu choose Save as Picture. This saves the picture without Drawspecifc additions such as text elements, borders, or shadows andwithout the possibility of setting any of the options available whenexporting.
Draw objects can easily be imported into Writer, Calc, or Impress
documents. For objects used often, this is most simply done by storingthem in the Gallery or by using the clipboard. As Writer and Calc do
not possess the same range of tools available within Draw, it makes
sense to use Draw to produce a complex drawing and then to copy it
into the other OOo application. A link to single drawing objects is notpossible, but you can incorporate Draw documents in the othermodules as linked OLE objects.

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Tip

To avoid problems when scaling Draw objects containing text
after importing them into Writer, convert the object to a polygon
before storing it in the Gallery or copying it to the clipboard.
See “Convert to a polygon” on page 110.

Modifying raster object properties
As with other objects, the properties of a raster graphic can be
modifed. You can format the graphic using the Format menu or thecontext menu. Use the Picture toolbar to add or change flters using
the Graphic Filter Bar; adjust the Lines, Areas and Shadows
properties. The Transparency property in the Format menu does not
relate to the transparency of the raster graphic itself but to thebackground area. To set the transparency of the graphic, you must use
the Picture toolbar.
Graphics can also have a text element. For more on text, see Chapter
10 (Advanced Draw Techniques).
You can change the position and size of graphics, or rotate them, using
the methods described in Chapter 3 (Working with Objects and Object
Points). Raster graphics can be fipped (Modify > Flip), but note thatsome Metafle formats might have problems fipping text.
Graphics included as a member of a group behave like other drawing
objects when the properties of the group are modifed.
It is a good idea to (re-)name the graphic using Name from the Modify
menu or the context menu. Only named objects are visible in the
Navigator and only named objects can be directly imported fromanother fle.

The picture (editing) toolbar
If you have enabled the Picture toolbar (in View > Toolbars), it willautomatically appear on the screen whenever you select a (bitmap)
picture. It appears either directly under the menu bar in place of theformatting toolbar or as a foating toolbar elsewhere on the screen.

Figure 121: The Picture toolbar

Chapter 6 Editing Pictures (Raster Graphics)

97The following table explains the individual functions on the Picture
toolbar and illustrates their use with examples.
FilterOpens the Filter toolbar, which is described in “Thegraphic flter toolbar” on page 101.

Graphics Mode Use the Graphics mode menu to change the displayof the graphic from normal color to grayscale, black
and white, or a watermark. This setting afects only
the display and printing of the picture; the picture
itself remains unchanged.
Default:

The graphic is displayed unaltered in color.

Grayscale:

The graphic is displayed in 256 shades of gray.

Black/White:

The graphic is displayed in black and white.

Watermark:The brightness and contrast of the graphic are
reduced to the extent that the graphic can be used
as a watermark (background).

Color

Use the Color tool to adjust the values of the three
RGB colors, the brightness, contrast and the Gammavalue. These adjustments do not afect the original
picture but the values are stored in Draw as aseparate formatting set.
You can select values from between –100% (nocolor) to +100% (full intensity); 0% irepresents theoriginal value of the property.

The brightness can be adjusted between –100%(totally black) and +100% (totally white).
The contrast can be adjusted between –100%(minimum) and +100% (maximum).

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The Gamma value afects the brightness of the
middle color tones. Values can range from 0.10
(minimum) to 10 (maximum)
Hint: Try adjusting this value if changing
brightness /contrast does not give you the result you
want.
Transparency

The degree of transparency of the picture can be
adjusted between 0% (opaque) and 100% (fullytransparent).

Line

Opens the Line dialog. In this context, line refers to
the outline of the border. See also Chapter 4(Changing Object Attributes).

Area

Opens the Area dialog. Here you can edit color,
gradient, hatching and flls of the background areathat contains the graphic—not the graphic itself. To
see the background, you must set the transparencyof the graphic to a suitably high value.

Shadow

Use this tool to set a shadow efect around thegraphic.

Crop

Use this function to crop (trim) an image. When you
click on this icon, crop marks appear on the image(Figure 122). Drag one or more of these marks tocrop the picture to your desired size. For moreaccurate cropping, see “Cropping” below.

Figure 122: Interactive crop marks on an image
Chapter 6 Editing Pictures (Raster Graphics)99

Cropping

Figure 123: The Crop dialog
More control and accuracy over cropping functions are available via
the Format menu. Click Format > Crop Picture and the dialog box in
Figure 123 will appear. The felds Left, Right, Top, and Bottom
establish the amount to be trimmed of the appropriate edge.
In addition to cropping, you can also enlarge or reduce the size of thegraphic by changing the percentage scaling values. The new
dimensions of the graphic are shown in the Image Size width andheight boxes, which can also be directly adjusted.
In Figure 123 you can see that 2 cm from the left side and 1 cm fromthe top, bottom, and right side will be trimmed from the original
object. The preview pane shows the location of the new edges of thegraphic. In addition both height and width have been scaled down by28%.
• If you choose Keep Scale, the graphic will be cropped to the scales

shown in the width and height boxes and the picture reduced in size
accordingly.
• If you choose Keep image size, the graphic will be cropped and thenenlarged to the original image size.
Take care with these operations: in the Crop dialog the width andheight are treated as totally independent values. Changing one without
the other can result in signifcant distortion of the image; this might
not be what you want. (The Position and Size dialog on the context
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OpenOfce.org 3.x Draw Guidemenu has an option for keeping the width:height ratio fxed whilechanging one of the two dimensions.) Changing values in one area
(Scale or Image Size) will show up correspondingly in the other area.
CautionAny changes made in the Crop dialog change only the view ofthe picture. The original picture is not changed. If you want toexport a cropped graphic, you must do it through File >Export. If you use the option Save as Picture from thecontext menu, the changes are not exported.

The graphic flter toolbar
Click the Filter icon (icon) to open the Filter toolbar. Draw ofers
eleven flter efects. Filters work on the current view of an object andthey can be combined. Filters always apply to the entire graphic; it is
not possible to use flters to edit only a part of the object.
Invert reverses (inverts) the colors of an image so that it
appears as a color negative of the image.

Smooth reduces the contrast between neighboring pixels andproduces a slight lack of sharpness. If you use the flter
several times in a row, the efect will be strengthened.

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Sharpen increases the contrast between neighboring pixels,
emphasizing the brightness diference. This will accentuate
the outlines. The efect will be strengthened if you apply theflter several times in a row.

Remove noise compares every pixel with its neighbors andreplaces the extreme values (those that deviate in color by alarge amount from a mean value) by a pixel with a mean color
value. The amount of picture information does not increase,but because there are fewer contrast changes our brains canbetter recognize the resulting graphic. This flter tends tomake the picture also a little more smooth.

Solarization was originally a photochemical efect. If thelocation of a photograph is extremely highly lit, you canexperience a reversal of color and brightness. Similarly, entryof light during the developing process reverses the brightness
values. These phenomena were used for artistic production of
pictures.
With this flter you input a threshold brightness value, above
which the color values are reversed (middle picture,
threshold value 70%). With the Invert option the whole of theresulting picture is inverted in color (right picture).

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Aging lends pictures a certain “look” resembling that of old
photos. The process frst produces a grayscale picture fromthe original and then reduces the intensity of the blue andgreen color values, so that the fnal picture appears darker
and redder. In the middle example, the aging degree was set
to 0%, at right it was 15%.

Posterize reduces the number of colors in the picture. The
fewer colors, the more fat the picture appears. In the right
picture below the number of colors was reduced to 8. The
results of this flter are not always good.

The Pop-Art flter is supposed to change the colors of thepicture to a pop-art format, but unfortunately it does not seemto function correctly at present.

Chapter 6 Editing Pictures (Raster Graphics)

103Charcoal sketch makes the picture appear as if it had beendrawn with charcoal. The outlines are in black and theoriginal colors are suppressed.

The Relief flter calculates the edges in relief of the picture
and produces a picture as if illuminated by a light source, theposition of the illuminating light being variable and producing
shadows in diferent directions and magnitude.

Mosaic takes groups of pixels and converts them into a single
color rectangular tile. The whole picture appears to be amosaic. The center and right pictures below had an element
resolution of 5 pixels. The picture on the right also had theEnhance edges option selected; with the greater contrast at
the edges, it appears to be a little sharper.

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OpenOfce.org 3.x Draw GuideCaution

If your picture is linked, flters are applied only to the current
view. The stored picture is not changed. When you close thedocument, all fltering is lost. You should ensure that you
export the picture to create a copy with all the flters applied(File > Export).
If you have embedded the graphic in the document, all flters
are applied directly on the embedded graphic and cannot be
undone in a subsequent session. If you do not want to retain aflter, you must use Edit > Undo to return to an earlier stateof editing. After you save and close the document, the flterefects are permanent.

Eyedropper
Use the eyedropper to change one color in a picture for another or set
the color as transparent. The tool always works on the entire picture;
you cannot select only a region for editing.
The changes are carried out on the graphic itself and therefore require
it to be embedded. Attempts to use the eyedropper tool on a linked
graphic result in the following message: This graphic is linked to a
document. Do you want to unlink the graphic is order to edit it?
The tool can be used on all raster graphic formats and with many
Metafle formats.
Note

The eyedropper might not work on some Metafle formats.

Practical example: Changing wrong colors totransparency
Some applications, which cannot correctly handle transparency, showtransparent areas with the color Magenta and then store the graphic
with this color and without the correct transparency information.
Bitmap graphic with area in magenta, which actuallyshould be shown transparent. On the left is theoriginal picture, right is the picture after saving it withMS Paint.
If you receive such a picture, you can recreate the transparency withthe eyedropper tool.

Chapter 6 Editing Pictures (Raster Graphics)

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Open the Eyedropper dialog withTools > Eyedropper and click on
the picture to be edited.

Now click on the icon , to change
to the color selection mode. Outside
the dialog the cursor changes to ahand. The feld next to the icon
shows the color immediately under
the hand cursor.

Click on the color to be changed.
The frst Source Color box is now
marked and the color selected
appears in the left box. In the
Replace with selection list, theoption Transparent is alreadyselected. Click on the Replacebutton at the top right of the box tocarry out the changes to the picture.
There is no preview of the efect. If
the result is not what you wanted,
choose Edit > Undo.
The dialog does not close automatically, so you can carry out further
color replacements. Mark frst the feld for the Source color andchoose again the color with the eyedropper. Close the dialog with
Ctrl+F4 or the Close icon on the window border. Draw uses an Alphachannel for transparency so that pixels of diferent colors can be madetransparent.
It is also possible to carry out the operation in reverse to change atransparent area to a color. Select nothing in the graphic but choose
the Transparency option at the lower left of the dialog and thereplacement color at the lower right.

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The selection list for replacement colors shows all the available colors
in the current color palette of the document. You cannot defne any
new colors here but you can add colors to the available palette before
using the eyedropper tool. For more on this topic, see Chapter 8 (Tips
and Tricks).

Efect of the tolerance parameter
The tolerance parameter describes how closely a color value in the
picture must agree with the source color in order to be replaced. In thefgure below, the red color tone at the left edge of the rectangular color
palette is used as the source color and a pure blue as the replacement
color with several diferent tolerances. The original is a rectangle withcolor palette from red to green. Because the eyedropper is not usable
on drawings, the rectangle on the left side was converted into a rastergraphic (Convert > Bitmap). The picture was then exported in a
Enhanced Metafle format and inserted on the right.
Original
0% smallest value
20%
40%
80%
99% largest value

Note

The application of transparency and color replacement efects on
raster graphics and Metafles leads to quite diferent results. Thisis a known problem, which will be corrected in a future version.

Color depth
It is possible to reduce the color depth in OOo. The tools are available
but you must create a separate menu and add the tools to the menu if
you wish to have them available (refer to OOo help if you are not sure
how to do this). To fnd the tools, click on Tools > Customize,
Toolbars, and Add (Command). The commands are in the category
Modify, at the top of the list.

Chapter 6 Editing Pictures (Raster Graphics)107Reducing color depth
Original with a 24 bit pixel depth (=8 bits
per channel)

1 bit dithered

The impression of grayscale is produced
by a raster. In reality there are only twocolors.
1 bit threshold

The threshold determines which pixels
are black and which are white. You
cannot set it directly but you caninfuence which part of the image is set
to black by varying color settings on the
picture toolbar—red, green, blue level,brightness, contrast, and/or gamma value—to see what works best for your image.
You must export and save the modifed
image with File > Export and thenreopen it, before you fnally change thecolor depth.
4 bit color paletteWith 4 bits a total of 16 colors can beproduced. The color steps are quite fne,because the process does not use the 16
RGB basic colors, but selects from thepalette those that best match the colors
in the image.

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8 bit color paletteWith 8 bits a total of 256 colors can beproduced. The image at left is at frst
glance very difcult to distinguish fromthe original. A big diference is that the
picture fle is only one third of the size ofthe 24 bit version.
8 bit grayscale paletteConversion
Convert to a contoured image
Select the picture so you see the green handles. From the context
menu or from the Modify menu choose Convert > to Contour. This
command creates from the original image a polygon or group ofpolygons, with four corner points and the image set as a backgroundgraphic. In this state you are not able to further edit the graphic. All
your modifcations must be completed before this point.
The polygon is in fact a vector graphic but the picture remains as a
bitmap image. Using a polygon ofers possibilities for further change;for example, you can modify the shape or defne a transparency
gradient.
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Convert to a polygon
Select the picture so you see the green handles. From the context
menu or from the Modify menu, choose Convert > to Polygon. This
command converts areas of the same color into small flled polygons.
The total image becomes a vector graphic and can be resized with noloss of image quality or distortion of text. The resulting format will be a
Metafle.
The Convert to Polygon dialog has a number of settings which can betested using the Preview button. Because graphics conversion can takesome time, depending on the picture and the computer, a progress bar
is included at the bottom of the dialog (see Figure 124).

Figure 124: Conversion of a picture to polygons

Number of colors
Draw considers between 8 and 32 colors in the conversion. The picture
can, however, contain fewer colors than 8. For every color occurring in
the picture, Draw creates a polygon, which may consist of several
disconnected parts. These polygons are then flled with the relevant
color.
The algorithm used to reduce the number of colors in the picture to thenumber specifed is not yet optimal. For this reason you may prefer to
try reducing the number of colors by changing the color depth or with
the Posterize flter from the Graphic Filter toolbar (page 101).
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Point reduction
Polygons will only be created if they have a size greater than the value
given in this setting. The section of the picture below, highly magnifed,
shows that with a larger point count small fecks of color—typical of
irregular color patterns—simply disappear.

2 Pixel3 PixelFill holes
Point reduction can result in small areas or “holes” which are notcovered by a polygon. If the Fill holes option is marked, additionalsquare, tiled areas are created with a background color the same as
the hole. The Tile size option allows the width in pixels of the width ofthese square areas to be preset.

Original picture

Original picture with 16 colors
and 0 Pixel point reduction
vectorized

Original picture transformed with
the Poster flter and 64 colors …

… and then with 16 colors and0 pixel point reduction vectorized.

Chapter 6 Editing Pictures (Raster Graphics)111Here the picture is transformed
with the Poster flter, but this timewith a point reduction of 4 pixels
and a tile size of 16 pixels.

The efect below was generated
from the picture to the left
(posterized and vectorized); thepolygons were split with Modify> Break, and a number (in thiscase 6) of the (foreground)polygons were deleted until the
resulting background wasachieved.

Note: To select polygons fordeletion, click on a curved coloredarea (the text in the status bar
shows “Polygon nnn corners
selected”, where nnn is thenumber of corners of the polygon)
and a frame with green handles
encloses the area of the polygons
selected. Press Delete to delete
the polygons. Repeat until you
have achieved the desired efect,(which here is to have only the
background showing).
If you next 'split' the existing Metafle (Modify > Split), access isgained to individual polygons. To be able to operate on these together
you should immediately group them after splitting.
With this vectorized form of the image, you can carry out operations
familiar from classic drawing programs, for example a curved warping
operation. For such transformations, it is much less efort to use aconversion with background tiles so that the edges of the picture arestraight.

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Using the graphic generated in the posterize and vectorize process
above, Break and Split it, and then try out some operations using thetools on the Efects toolbar.
To use this tool to vectorize the frst letter of a chapter in a special
font, convert the graphic to a polygon, using no point reduction or
background tiling. Use Modify > Break to generate two polyons. An
example is shown below.
Original polygon, converted from a
Metafle. Break the graphic into twopolygons.

After the conversion there are twopolygons, one with the visible letter andanother polygon, not visible because thelines and area flling are all in white. You
can select this “invisible” polygon bypressing the Tab button (click on the visible
letter frst, then press Tab; this moves thecurrent selection to the next object). In theexample at left, the invisible polygon has
been moved to the side. If you have Display
Grid active and the grid points set todisplay behind objects, you can see where
this invisible polygon is since it obscuresthe grid points behind it.
This invisible polygon encloses the letter.
After changing lines and/or area to adiferent color, the polygon becomesvisible.

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Convert to bitmap
All drawing objects are vector graphics. Use the command Convert >To Bitmap from the context menu to convert a vector graphic to araster graphic. Draw creates the raster graphic in PNG format with acolor depth of 24 bits. Unfortunately any transparency efects whichwere created in the vector graphic are lost in this conversion, although
the PNG format used in Draw does support transparency. Only if you
use the eyedropper tool to set transparency will an Alpha channel also
be produced.
To determine the height and width of the converted graphic (number ofpixels), Draw considers the dpi setting of the operating system for thescreen and the percentage scaling factor set under Tools > Options >OpenOfce.org > View in the section User Interface.
Example:Width of vector graphic: 1.5 inch
Monitor setting of operating system: 96 dpi ( = 96 dots per inch)
Scaling 130 %Calculation: 1.5 inch x 96 dpi *130% = 187 pixels
The actual number of pixels will vary somewhat from this value due torounding. When the format permits, Draw uses a dpi value (in this case
125 dpi) which permits the calculation to be reversed and the picturewith this pixel value reproduced with the correct width of 1.5 inch.

Print options with raster graphics
If you have a black and white printer or are experiencing problems
with printing, you should have a look at the following settings.
You can set up printing so that all text and all graphics are printed ingrayscale or black and white. The general settings are in Tools >Options > OpenOfce.org Draw > Print in the section Quality (seeFigure 125). To set these for the current document only, use Options in
the Print dialog (File > Print). With both Black/white printing andGrayscale printing, no background is printed.

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Figure 125: Options - OpenOfce.org Draw - Print
Other options are in Tools > Options > OpenOfce.org > Print (seeFigure 126). They relate to page options (scaling) and other printing
variables. They afect the size of the print fle and the time taken to
print the document. With most modern systems you can simply accept
the defaults. As diferent operating systems and printers have theirown requirements, you need to tailor the settings to your particularsite conditions. Refer to the Help fle for more information.

Figure 126: Options - OpenOfce.org - Print dialog

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115

7

Chapter
Working with 3D Objects

Creating 3D objects
Although Draw does not match the functionality of leading drawing or
picture editing programs, it is capable of producing and editing very
good 3D drawings and pictures.
Draw ofers two diferent types of 3D objects: 3D bodies and 3D
shapes. Depending on which type you choose, there are diferent
possibilities for further editing of the object (rotation, illumination,
perspective). 3D shapes are simpler to set up and edit than 3D bodies,but 3D bodies currently allow for more customization.

Creating 3D bodies
You can produce 3D bodies in three ways: extrusion, body rotation, andusing ready made objects. In this chapter, these methods are called
Variation 1, 2, and 3.

Variation 1: Extrusion
First, draw one of the common Draw objects, for example asquare/rectangle, circle/ellipse or a text box using theoricons on the Drawing toolbar. Next, choose Modify > Convert > To
3D (or right-click on the object and choose Convert > To 3D, or clicktheicon) to produce a 3D object from the 2D surface.

Theicon is not usually visible on the Drawing toolbar. To make itvisible, select Visible Buttons from the toolbar menu at the righthand end of the toolbar and click on the icon to make it visible.

Figure 127: Extruding 3D objects from 2D
surfaces
The procedure by which parallel surfaces are moved to create a 3D
object is known as extrusion. In this case the 2D surface is moved
forwards “out of” the drawing level. At the same time the object isslightly tilted and central projection turned on so that one can better
recognize the object. Draw uses a default value for the extrusion (thebody depth) based on the size of the 2D object. The value can bechanged after the extrusion; see “Editing 3D objects” on page 121).

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117

Variation 2: Body rotation
Choose a common drawing object, for example a (non-black) line. Thenchange this into a rotation body. Draw provides two methods to do this.
Method 1. Click the iconin the Drawing toolbar (this icon is also
usually not visible) or choose Modify > Convert > To 3D Rotation
object. With this rotation method, the axis of rotation coincides withthe left edge of the enclosing selection rectangle, through the green
rectangle handles.

Figure 128: Rotation body created using variation 2.1
Method 2. Click the iconon the Efects pulldown menu on the
Drawing toolbar. This icon can also be accessed from the Mode menu,
accessible from View > Toolbars > Mode. Notice that this icon lacks
the curved red arrow of the fxed-axis rotation icon.
With this method, you can change the location of the rotation axis,
which appears as a dotted line with two white circular endpoints.

Figure 129: Rotation body created using variation 2.2
Click one of the white endpoints and drag it so that the axis moves tothe desired position. You may need to move both ends to achieve this.
The outline shows how the fgure will be rotated. When you click on
the fgure again, the rotation is carried out and the new 3D body is
produced.
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Variation 3: Using ready-made objects
Use the 3D Objects toolbar/pulldown menu (Figure 130). To activate
this toolbar, click View > Toolbars > 3D Objects).

Figure 130: The 3D Objects toolbar
If you add the icon
to the Drawing toolbar, the 3D Object bar will
be available as a pulldown menu or as a foating toolbar.
After choosing the type of object, left-click on the starting point anddrag the mouse diagonally until the outline of the object is the size youwant.
After releasing the mouse button, the 3D object appears. To change theheight:width ratio of the object, keep the Shift key pressed whiledragging the mouse. Most of these objects are constructed by rotation.
Cubes and spheres are special types of 3D objects that are directly
defned in the OOo program code.

3D scenes
Variations 1–3 all produce a result known as a 3D scene. If you click on
a 3D scene, the status bar text shows 3D scene selected. Such a scene
is actually a group of objects.
If you constructed the scene using one of the above methods, itconsists of the 3D body as a single element. 3D scenes can, however,be extended to include other 3D objects, as described in “Combining
objects in 3D scenes” on page 144.
As mentioned in Chapter 6 (Editing Pictures), you can access individual
elements of the group using Modify > Enter group or the context
menu. The status bar text then changes and shows the type of eachindividual element selected, for example Sphere selected or Extrusion
object selected.

Producing 3D shapes
Since the release of Version 2.0 of OpenOfce.org, Draw contains atype of drawing object known as a Shape. A special method of
extrusion exists for these shapes.
Chapter 7 Working with 3D Objects

119Variation 4: Extrusion of shapes

Figure 131: The Basic Shapes toolbar
You use the Basic Shapes toolbar (or another shape toolbar) to produce
2D surfaces. Shapes such as cylinders or cubes are technically possible
but not very useful, because they produce curiously curved images. If
you have drawn a shape, the last iconon the Drawing toolbar is
active. A click on this icon can transform a 2D surface into a 3D object(see Figure 132).
Extrusion of a shape does not create a new object type but justchanges the shape’s appearance. All the object’s properties andsettings are retained. You can use this button to toggle between a 2D
and a 3D view. The actual object properties and settings are not lost in
the switching operation from one view to another.

Figure 132: 3D objects from basic shapes
If you click on such an object, the 3D-Settings toolbar is available. If
this is not automatically opened, switch it on with View > Toolbars >3D-Settings.

Figure 133: 3D-Settings toolbar
The frst icon
corresponds to the icon on the Drawing toolbar. Thisicon also works as a toggle switch. After changing to 2D, the 3DSettings toolbar is again hidden. To change the object back to 3D, youmust use the iconon the Drawing toolbar.

Variation 5: Fontwork
For text you can also use the shapes from the Fontwork Gallery. These
produce a similar type of extrusion objects to those from Variation 4.
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OpenOfce.org 3.x Draw GuideTo open the Fontwork Gallery, use the iconon the Drawing toolbar.

Figure 134: Extrusion Shapes from the Fontwork Gallery

Note

Draw objects of the type “Shape” cannot be viewed with
OpenOfce.org Version 1.x. They are simply missing from thedrawing. If you save a document with extruded shapes in theolder *.sxw format, the shapes will be converted to 3D scenes.

Editing 3D objects
Rotating 3D objects
Procedure for 3D bodies
The Rotation command used for 2D objects also works with 3D objects,
but due to the additional axis, there are a few diferences with theediting of 3D objects (see Figure 135). The procedure for selecting theobject is identical to that used for a 2D object.
Chapter 7 Working with 3D Objects

121Figure 135: 3D object rotation
You can rotate the object about each axis (X,Y,Z). The X and Y axes arethose parallel to the edges of the drawing layer, while the Z axis comesout of the page. It is not possible to change the axis orientation.
The three axes are not shown directly, but thetheir intersection point.

symbol indicates

You want to …

You must ...

... rotate the object
about the X or Y axis.

... put the mouse cursor over the object.
With the left mouse key pressed you can
now rotate the object as you wish. Moving
one of the red points at the middle of anedge allows you to rotate the object about
only one axis. Note that the cursor initiallyhas the shape for a (2D) shearing
movement but pressing the mouse buttonchanges it to a rotation cursor.

... rotate the object
about the Z axis.

... move the handle on one of the corner
points with the left mouse button pressed.
Rotation about the Z axis is independent of
the setting of the rotation angle in the
dialog Position and Size.

... move the axis
intersection point.

... simply drag the Symbol to the desired
location. The point is located by default inthe middle of the object.

These rotations can be carried out on a 3D scene as a whole or on
individual objects within a 3D scene.

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Procedure for 3D shapes
Objects produced using variations 4 and 5 (see above) can only berotated about the Z axis when using the three methods described in
the previous section. This rotation is carried out on the underlying 2D
object. It is also possible to rotate the 3D object in the same way aswith a 2D object using Format > Position and Size > Rotation(shortcut key for Position and Size is F4) and specifying the pivot point
location and the number of degrees of rotation desired.
Shape objects have their own procedure for rotation about the X and Y
axes. If you have activated the 3D-Settings toolbar (under View >Toolbars), this becomes active when you select the 3D object; icons 2
to 5 on this toolbar (see Figure 136) rotate the object in 5 degreeincrements about the X and Y axes.

Figure 136: 3D-Settings toolbar withrotation icons indicated

3D settings for 3D bodies
3D Efects dialog – general buttons
The 3D Efects dialog ofers a wide range of possible settings for 3D
objects produced with variations 1 to 3 (see previous sections). To open
the dialog, right-click on the object and choose 3D Efects from the
pop-up menu. You can also activate a 3D Efects iconon theStandard toolbar or add it to another toolbar using Customize
Toolbar > Add > Category Options > 3D Efects.
The dialog can be docked in a similar manner to the Navigator or
Template windows.
The possible settings are arranged in various thematic categories on
separate pages, accessible through the buttons at the top of thewindow, which act in a similar way to tabs. To apply the settings you
have altered, click the Assign button. This applies all the changes
you have made to the object on the other pages of the dialog as well as
the current one.

Chapter 7 Working with 3D Objects

123Figure 137: Upper part of the 3D Efects dialog

Note

Only the selected efects are assigned to the object. There is noobject conversion; thus a cylinder cannot be transformed into aring through the application of a 3D efect. However, it ispossible to change the appearance to a wooden or metal body.
By the assignment of a 3D efect, 2D objects are transformed
into 3D objects.

In order for the Efects dialog to take over all the current properties ofthe object, you must click the
button. If you deactivate this button
before you leave an object and click on it again when you open the
Efects dialog for another object, the settings are carried over from thefrst object to the second object. You can use this to transfer favorite
settings from one object to another, as all the settings are brought overto the new object. In normal use, however, the icon should be left
activated.
At the bottom left of the dialog is another row of buttons (see Figure138), which are available on each page.

Figure 138: Buttons for geometric transformations
The frst two buttons correspond to the menu commands Modify >Convert > To 3D / To 3D Rotation Object. When the Efects dialog
for a 3D object is called up, these buttons are inactive. The third icon
switches on or of a perspective view of the object.
Converts the selected 2D object to an extrusion body.
Converts the selected 2D object to a rotation body.
Switches between a central projection and a perspective
projection.
With a central projection parallel edges are shown as meeting at somecommon point in the distance, as shown on the button symbol. Parallel
projection retains all parallel edges as parallel, as is often used to
produce oblique fgures in school. The switching process is carried out
on the entire 3D scene.

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With central projection (see Figure 139), Draw creates the object withthree vanishing points. The parameters for central projection are set(indirectly) through the camera settings on the Shading dialog page.

Figure 139: Figure shown using
central projection. For clarity the
projection lines have been added.

3D Efects - Geometry
On the Geometry page, you can make changes to the geometry of a 3D
object. This page is opened with the Geometry buttonpart of the 3D Efects dialog.

Chapter 7 Working with 3D Objects

in the upper

125Figure 140: Geometry pageIn the frst example, the depth (length) of a body is to be changed. Thisis possible only if you created it through extrusion. To illustrate: draw acircle and convert it according to Variation 1 into a 3D object (a fat
cylinder); see Figure 141a and b.
If necessary, select the cylinder, open the 3D Efects dialog, make surethe Geometry page is active, change the parameter Depth to 3.5cm
and click on the Assign icon
. The cylinder should now resemble thefgure in Figure 141c.

Figure 141: Conversion by extrusionof a 2D object (a) into a 3D object (b)and then changing its depth (c)This parameter has no efect on a rotation body or on ready-made 3D
objects, although the input feld remains active.
With the Rounding parameter you can specify how strongly the edgesof the 3D object are rounded. Select (if necessary) the lengthened

126

OpenOfce.org 3.x Draw Guidecylinder again and use the 3D Efects dialog to change the rounding to30%. The cylinder should now resemble that in Figure 142.

Figure 142: Edge roundingof 10% (a) and 30% (b)This parameter also has interesting efects when you convert text into
a 3D object.
The Scaled Depth parameter sets the size ratio of the front to the backfor a 3D object produced by extrusion. The front side of such an object
always protrudes out from the original surface; the rear side is theoriginal surface of the 2D object (that is, the 2D exit surface) even if
the object has been rotated in the meantime.
By default the scaling is set to 100%, which results in both surfaces
being scaled by the same amount. If you set this scaling to 50% thecylinder becomes a truncated cone (see Figure 143).

Figure 143: Cylinder with 50% scaling
The diameter of the front side is 50% that of the rear side. It is also
possible to create the reverse efect, with the rear side smaller than
the front, by using a scaling depth greater than 100%.
With rotation bodies this parameter infuences the width of the surface
parallel to the axis of rotation. At the end of the rotation the surface
width of the fgure is given by the scaling depth. The distance to therotation axis remains unchanged. In Figure 144 a line is rotated tocreate a 3D object with a scaling depth fgure of 0%.

Chapter 7 Working with 3D Objects

127Figure 144: Scaling depth of arotation body
The Rotation Angle parameter is only available for rotation bodies.
With this parameter you can create a segment of a complete rotationbody by choosing an angle less than 360 degrees. Figure 145 shows ahemisphere with a rotation angle of 270°.

Figure 145: Hemisphere witha rotation angle of 270°
The Horizontal and Vertical Segments parameters defne the numberof segments out of which Draw builds spheres and rotation objects2.
For rotation objects, the horizontal segments are more important. The
vertical segments infuence the degree of edge rounding.
In Figure 146 the left sphere is made up of 10 horizontal and verticalsegments while the right sphere has 25 segments. More segments givea smoother surface, but it will take longer to generate the fgure on thescreen. By default, spheres and hemispheres are constructed with 24
segments. For a square pyramid you need four horizontal segments.

2 To reduce both calculation time and data storage, circles are often constructed as regularpolygons. If you cut a sphere or cylinder of 10 segments through the middle you end up with a
20-cornered cut section (10-cornered for a hemisphere).

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OpenOfce.org 3.x Draw Guide

Figure 146: Sphere from 10 segments (left)
and 25 segments (right)
These are properties belonging to individual objects. If you use thesetting for segments on a 3D scene, all the objects contained in thescene are modifed accordingly.
If you extrude an unflled circle or intersecting lines with a flling theresult may not be what you expect. In this case the Double-Sided
tool, on the lower part of the dialog page, may be able to help. Itchanges the line properties of an object from invisible to continuousand so enables all edges to be seen. Otherwise it may happen thatsome surfaces receive no flling (see Figure 147). For lines without
flling the efect is switched on by default and cannot be switched of.
This is also a property of single objects.

Figure 147: Left: without “Double-Sided”
Middle: with continuous lines but without“Double-Sided”
Right: with “Double-Sided”
Use the buttons in the section Normals to modify the normals of a 3D
object.
A Normal is a straight line which is perpendicular to the surface of an
object (in the same way that a vector, starting from an inner point andextending outwards, is at right angles to the surface of the object at
the point where it exits). Figure 148 shows some normals extending
outwards from a sphere made up of 10 segments.

Chapter 7 Working with 3D Objects

129Figure 148: Normals (vectors) ofa 3D sphere with 10 segments
Using normals, the display of the object surface and the variation incolors, textures and lighting can be controlled, infuencing directly how
the surface of the object is rendered.
The frst three icons in Figure 140 work as “either-or” switches. Only
one of the efects can be active at a given time; an efect can beswitched of by clicking on one of the other icons.
The settings belong to individual objects, not scenes; every object canhave its own setting. The rest of the icons are normal toggle “on-of”
switches. The following efects are available:
Object specifc: The object is rendered to produce the best
result independent of its shape. Single segments are changed
but their “edges” will hardly be visible.
Flat: The surface of the 3D object will be divided into single
polygons, whose edges are clearly recognizable. Every polygon
is generated with a uniform color.
Spherical: The enclosing sphere is calculated for the object andthen projected onto the object. This form of calculation
produces an object with a smoother surface; the edges ofindividual segments are more smoothly rounded than with the
Object-specifc efect (see Figure 149). However surfaces thatmeet at a point do not show a realistic lighting efect.
Invert Normals: This results in a reversal of the lighting
direction. The inside of the body then becomes the outside. This
property is particular to each individual object.
Double sided illumination: The lighting is also computed for theinside of the object. In other cases the lighting value for theoutside is simply transferred to the inner side. This property isof interest for open objects. It is a property of the 3D scene andafects all objects in the scene.

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Figure 149: Cylinder with 10 segments
a= Object-specifc b=Flat, c=Spherical
The following table shows the linkage between double-sided
illumination and inverted normals.
The light source is on theright.

Normals
not inverted

Normals inverted

No double sided
illumination

With double sided
illumination

3D Efects - Shading
The Shading page ofers functions for shading the object surface,adding shadows and choosing camera settings.
Shading is a rendering method involving a consideration of lighting
ratios, which is used to produce curved 3D surfaces. The surfaces arebroken down into small triangular segments. Draw ofers threemethods to produce this efect: Flat, Phong and Gouraud. The setting
selected applies to all objects in the 3D scene.
• Flat is the fastest and simplest method. For every individual

segment a special color tone is determined, based on the lighting ratio
and the direction of the segment area. This tone is used for the wholearea of the segment. The segmentation is clearly visible.
• Phong is the most time-consuming method. With this method, foreach pixel the associated normal is determined by interpolation, basedon the normals of the segment edges. This causes the segment area toappear curved and the segment intersections are no longer visible.

Chapter 7 Working with 3D Objects

131Figure 150: Shading page
• Gouraud is a relatively quick method. It determines the color value

for the segment corners and calculates the color value for every pixel
through linear interpolation. The segment edges are still recognizable,
but importantly are less so than with the fat method. The Gouraud
method considers only light refection on difuse, refecting surfaces(dispersal).

Figure 151: Flat, Phong and Gouraud shading
In Figure 151 the left sphere was rendered with fat shading, themiddle with Phong and the right with Gouraud. The quality of the fat
method is clearly inferior to the other two. The diference between
Phong and Gouraud is small. With the Gouraud method the segments
can be very faintly seen and rendered objects have a slightly less“shine” than with the Phong method.
All three methods function at the pixel level and as such, shadowing
and mirroring inside the 3D scene is not possible in the way that ray
tracing methods permit.

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With the the Shadow button
you can provide a 3D object with ashadow. By changing the Surface angle you can infuence the form of
the shadow (see Figure 152). The left sphere has a surface angle of 0°(the paper represents a perpendicular surface behind the object) while
the right sphere has a surface angle of 45°. With 90° the paper would
be directly under the object.

Figure 152: Shadows using
diferent surface angles
The shape and size of the the shadow are also infuenced by thelighting properties. These can be adjusted on the Illumination page ofthe dialog. Multiple light sources for shadows are not yet supported.
The shadow properties can be set for individual objects in a drawing
but where objects form part of a 3D scene, the shadow produced isthat of the entire scene.
It is possible to set the shadow property for single objects using the
Area property. The shadow is then shown with the color selected in the
shadow dialog, but again the representation of the lighting of thescene determines the end result of the entire scene. In this way,colored shadows, with diferent distances to the object, and diferent
color and transparency efects can be created.
In the Camera feld of the shading dialog the settings of the virtual
camera can be changed. These settings relate only to the view incentral projection and apply to the entire 3D scene. The Distanceparameter is used to adjust the spacing between the camera andscene. The default value for an extruded body is equal to the depth orlength of the body. With equal length edges front and rear, the efect atlarge distances is quite small. The standard value of Focal length is10cm. It has the same signifcance as with a real camera. Larger focal
lengths simulate a telephoto lens, smaller ones a wide-angle lens. The
efect that changes in the camera settings have on an object are shownin Figure 153.

Chapter 7 Working with 3D Objects

133Figure 153: Efect of camera settings
Picture a shows a 3D object with the standard settings. The individualchanges are listed in the following table.
a

b

c

d

Distance:

0.81 cm

3.81 cm

0.81 cm

0.81 cm

Focal length:

10 cm

10 cm

5 cm

15 cm

3D Efects - Illumination
On the Illumination page (see Figure 154) you defne how a 3D object
is lit. The settings apply to all objects in a scene.

Figure 154: Illumination (lighting) page

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You can light a scene with a maximum of eight individual Light sourcesat the same time. For each of these sources the light color and position
relative to the scene can be set. The light sources are represented byeight small light bulbs. When you select this page, the frst bulb “lightsup”. At least one light source must be active; otherwise, therendering and shading functions cannot function correctly.
Each symbol functions like a multi-function press switch. With the frst
mouse click the bulb is selected and with the second click the settingsmode for this light source is activated (see Figure 155). A third click
deactivates the light source.

Figure 155: Adjustment of light source
In the selection list next to the symbols you can choose the color of theactive light source. If desired, click the
button to open a color
palette dialog, where you can defne your own color and also adjust thebrightness. For the frst light source, it is best to retain the neutral
color value (default is white); with several light sources it is advisable
to reduce the brightness.
In the lower right corner of the menu the light source location andorientation is depicted. With the vertical slider bar you can adjust thelighting angle; with the horizontal bar the light is rotated about theobject. Alternatively you can click on the light point and drag the point
as you please (see Figure 156). Click on the small square in the bottom
right (circled) to change the preview image from a sphere to a cube.

Chapter 7 Working with 3D Objects

135Figure 156: Moving the light source
To apply the changed settings to the selected object, click on the theAssign button.
The use of additional light sources can result in some interesting
efects.

Figure 157: Lighting with three independent light sources
In Figure 157 the ring has the lighting settings from Figure 154 withthe standard color white. In addition it was lit with magenta, and also
from the left underside with yellow. The number and position of thelight sources is shown in the window at the lower right. The three lightsources in use can be recognized by the “lit” symbols.

To see the efect of a particular lighting efect you can also temporarily
turn it of. With an object selected, clicking on a “lit” symbol turns it of. This new setting must then be applied (assigned) to the scene. With
136

OpenOfce.org 3.x Draw Guidea further mouse click on the light source the efect can be switchedback on and then re-assigned.
You can also change the settings for the Ambient lighting. The
selection of properties (lighting color, brightness, and so on) is carriedout in same way as for light sources.

3D Efects - Textures
Textures are raster graphics (bitmaps) which can be used as an object
property for the surface of an object. Every object in a 3D scene canhave its own texture.
You can set a raster graphic as a texture for a 3D object in the same
way as for a 2D object (Format > Area > Bitmaps or right-click on
the object > Area > Bitmaps) – as is the case for Gradient andHatching. More details are found in Chapter 4 (Changing Object
Attributes).
If the Fill setting on the Area dialog is Color, then the Texture page isinactive. Change it to Bitmap to activate the Texture page for 3D
objects. If the texture is not tiled or stretched and is smaller than theobject, then the remainder of the area will have the color of the Object
color property on the Material page.

Figure 158: Textures page

Chapter 7 Working with 3D Objects

137In the frst row of the page (Figure 158) are two switches (Type) withwhich you can choose between black and white or color for the texture(see Figure 159).

Figure 159: a - standard color setting, b - texture(color), c - texture (black and white)
With the two switches in the row Mode you can control whether the
texture of the selected objects is rendered with light and shadows(Switch 2) or not (Switch 1); see Figure 160. By means of appropriate
lighting and shading adjustments, the graphic object is more
realistically rendered.

Figure 160: Texture without (a) and with(b) lighting and shadow efects
Projection X / Y
With one of the three buttons you can determine how the texture forthis coordinate axis should be projected onto the object. The default
setting, Object specifc, in general gives the best result. Examples of
the use of each button are shown below.

138

Object specifc

The texture is automatically adjusted to best ft
with the form and size of the object.

Parallel

The texture is projected parallel to the axis of theobject. It is mirrored on the rear side of the object.

Circular

The axis of the texture pattern is wrapped aroundthe object.
OpenOfce.org 3.x Draw Guide

For a rotation body, the turning axis is the Z axis and the wrapping is
the X direction; for an extrusion body, the extrusion direction is the Z
axis and the extruded surface is the X direction. Depending on how theobject was produced, diferent positions of the texture result.
OpenOf ce.org

Projection X

Projection X

Projection X

Area fll without
tiling, withadjustments
Projection Y

Projection Y(Diference issmall)

Front and rear side

Figure 161: Cylinder as a rotation body
OpenOf ce.org

Projection X

Projection X

Projection X

Area fll without
tiling, withadjustments
Projection Y

Projection Y(Diference issmall)

Upper and undersides

Figure 162: Cylinder as an extrusion object
The Filter button
switches on and of a soft-focus flter. It can often
remove slight faults and errors in the texture.
Chapter 7 Working with 3D Objects

139

3D Efects - Material
On this page you can assign the appearance of diferent materials to
the 3D object.

Figure 163: Material menu
In the selection list under Favorites are the most commonly usedmaterials (see Figure 164).

Figure 164: The favorites (from left to right):
Metal, Gold, Chrome, Plastic and Wood
With the individual color parameters, additional efects can beproduced. The meaning of these parameters corresponds to those on
the Illumination dialog page.
Materials and textures can be combined with one another. Settings
only simulate materials and it is sometimes a matter of trial and error
to achieve the desired result.
Tip

140

Do not use too high a brightness value for individual colors.
These are all additive and it is easy to end up with a totallywhite “colored” area.

OpenOfce.org 3.x Draw Guide

The Illumination color brightens
those parts of the object which lie
in shadow making the body seem
more illuminated.
When textures are used as well, theIllumination color is combined withthe white color part of the texture.
On the left the object has a black
Illumination color, on the rightbright green.
The Specular color simulates therefecting capacity of the surface.
The position of the illuminated point
is determined by the setting of thefrst light source.
Left: Set the Specular color thesame as the object color and theillumination point intensity to a low
value, in order to give theimpression of a matt body.
Right: Set the Illumination pointcolor the same as the light source
color, in order to give a shiny
appearance to the object surface.
Metallic surfaces and glass are not so well simulated, because theimpression of these materials is produced through refection. Suchsimulation cannot (at the moment) be calculated by OpenOfce.org.

3D settings for 3D shapes
3D shapes are handled quite diferently from objects in 3D scenes. The
appearance of a shape object is changed using the 3D-Settings toolbar(see Figure 165). The 3D Efects dialog described above should not be
used for shape objects as it will not give the correct formatting results.

Chapter 7 Working with 3D Objects

141Figure 165: 3D-Settings toolbar, indicating
icons for formatting 3D shapes
If you have used it in error, you can remove the incorrect formattingwith Format > Default Formatting.
With the buttons on this toolbar you can adjust the extrusion depth andperspective, lighting and material properties as well as the extrusion
color. There are tear-of bars, which you open by clicking on the small
black triangle. The purpose of each individual button is described by
its tool tip. You do not need to assign the result of any of the functions
to the object as you do with the 3D Efects dialog used with 3D scenes;
every action is immediately applied and you can see its efect on theobject in the main Draw window.

Note

The program may sometimes seem to generate the wrong
formatting with shape objects. The exact cause is not known,
but you can undo the action with Format > Default
Formatting. One reason for bad formatting can be that you
have used a function from the 3D Efect dialog on a 3D shape.

Here are some examples of formatting of 3D shapes:
Depth
left: 0.3cm (user defned)right: 1cm (selection)
Direction
The examples show “columns” at rightangles to the drawing surface.
left: 5 cm depth, Parallel projection
middle: 10 cm depth, Perspective
right: Infnity, Perspective

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OpenOfce.org 3.x Draw GuideIllumination
The light color cannot be changed, thebrightness can be changed only in threelevels, and some efects may not be
totally correctly rendered.
left: from left under, dim
middle: from left under, bright
right: from right under, normal

Surface
Only four built-in variations are
possible. At present only Wireframe andMatt are correctly rendered.
left: Wireframe
right: Matt
You can also choose a gradient,hatching, or bitmap for the surface;these are only applied to the extruded
surface—the sides remain in the color of
the object.
3D Color
Here you can choose the color of thesides of the extruded surface.
The symbol shows the color of the mostrecently chosen shape object.

Chapter 7 Working with 3D Objects

143Combining objects in 3D scenes
3D objects produced by extrusion or rotation are shown in the statusbar as a 3D scene. You can group together several of these objects.
Other object types cannot be so grouped. Management of the group iscarried out in the same way as described in other parts of this guide(Modify > Enter Group, or Modify > Exit Group), see also
“Grouping Objects” in Chapter 5 (Combining Multiple Objects).
As an example, we will produce a game piece.
First produce both objects independentlyof each other. The subsequent combination
is made easier if you use parallel
projection and rotate the objects into an
upright, straight position.

Click on the sphere and use Edit > Copy
to take over the scene and put the sphereon the clipboard. If you are sure that you
do not need the original anymore you can
use Edit > Cut. In any case move thesphere a little to the side.
Click now on the cone. The status bar willshow 3D Scene selected. Right-click andenter the group. You will see that, as usual,elements that do not belong to the groupare less bright.
Use Edit > Paste. Now the objects (notthe whole scene) from the clipboard are
pasted into this scene.
The original position of the sphere now
contains a new sphere that belongs to thescene. This new sphere can be draggedover to the cone. Exit the group after
moving the sphere.

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Notice that combining 3D objects resultsin them being more or less “fused”
together – there is no stacking or layering
as with 2D objects.
Adjust the position of the objects as you
wish. You cannot arrange objects in front
or behind others, as with 2D objects, but
can only move them parallel to thedrawing plane.
Enter the group again and adjust theobjects. The status bar indicates which
object is marked. Use the Tab key tochange from one object to the next in thegroup, if it is not possible to do so with themouse. Exit the group.
Now you can rotate the entire 3D scene
and view your game piece from all sides.

Examples for your own experiments
All examples use objects in 3D scenes.

Hello Jean

Chapter 7 Working with 3D Objects

Extruding a 2D object with text
generates letters as separate objects
and they have a larger extrusion
depth than the background.

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3D objects of the Shape type can berendered as wireframe models. This
efect can be produced in other 3D
objects by setting the Area fll toNone and the line style to Continuous.

If you select several 2D objects—
without grouping them—and extrude
the selection, they are transformed,
according to their stacking order, withdiferent extrusion depths. The object
previously on top will be uppermost
on the extruded object.
For 2D objects use Modify > Shapes> Merge/Subtract/Intersect toproduce complex objects. The
resulting fgures can be also
extruded, rotated and so on.
Rotation of lines produces concave
bodies. Use a bright line color. With ahigh number of vertical segments, thetransition to the ground is relatively
sharp-edged. Remember to switch on
two-sided illumination.
The transparency of the platter isadjusted in the surface properties ofthe body. The best efect is obtained
only when the transparent body is
combined with other objects.
The color shadow of the fruit isproduced by the use of multiple lightsources – they are not “real” and do
not rotate and change as the scene isrotated.

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8

Chapter
Tips and TricksPositioning objects with zoom
With zoom you can place objects with higher precision.

Figure 166: Using zoom to place
objects with greater precision

Zoom adjustments using the status bar
The current zoom value is shown at the right-hand end of the statusbar next to the zoom slider.

Figure 167: Zoom level on StatusBar
You can adjust the zoom value by using the slider, right-click on thezoom percent to select from a menu of preset values, or double-click toopen the Zoom & View Layout dialog.

Figure 168: Zoom & View Layout
You can enter a zoom factor in the Variable feld, select 100%, or use
one of the three other choices. (The three options on the right handside of the dialog are not available in Draw; they are active only for
text documents.)• Optimal: The drawing or selected object(not the page) is enlarged

to just ft in the Draw page area.
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OpenOfce.org 3.x Draw Guide• Fit width and height: The drawing page edges are set to theedges of the Draw page area.
• Fit width: The right and left page edges are set to the verticaledges of the Draw page area.
The exact efect of choosing one of these options depends on whether
you have the Page pane switched on or of.

Figure 169: Zoom values – Fit width and height, Fit width, andOptimalThe Zoom toolbar
The Zoom toolbar provides additional zoom options. On the Standard
toolbar (View > Toolbars > Standard), click on the downwards arrowof the Zoom button. You can also permanently display the toolbar
by clicking on View > Toolbars > Zoom.

Figure 170: Zoom Toolbar
Zoom in. Enlarges the monitor picture. First click on the
button, then on the object. Alternatively drag to create azoom “window”.
Zoom out. Makes the monitor picture smaller. Just click on
the button.
Reverts objects to their original size.
Changes display to the previous and next zoom factors. If
these buttons are not visible, turn them on by clicking on thesmall black arrow on the title bar of the Zoom toolbar, thenon Visible Buttons and fnally on either of these two buttons.
Shows the entire page.
Zooms to page width.

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149Resizes the display to include all objects on the slide.
Zooms the selected object to Optimal.
Enables moving the drawing inside the Draw window, using
the mouse.

Positioning objects with snap functions
In Draw, objects can be accurately and consistently positioned using
grid points, special snap points and lines, object frames, individual
points on objects, or page edges. This function is known as Snap.
To use the snap function easily, work with the highest practical zoom
value. You can use two diferent snap functions at the same time, forexample snapping to a guide line and to the page edge. It is best,
however, to activate only those functions that you really need.
Examples for setting up the snap functions are found in Chapter 10(Advanced Draw Techniques).

Snap to gridUse this function to move an object exactly to a grid point. Thisfunction can be switched on and of with View > Grid > Snap to Gridand on the Options toolbar with the icon.

Figure 171: Exact positioning
with the snap to grid function

Showing the gridTo make the grid visible, choose View > Grid > Display Grid.
Alternatively turn the grid on (or of) with the iconon the Options
toolbar.

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Changing the color of the grid points
By default the grid points are bright gray and not always easy to see.
Go to Tools > Options > OpenOfce.org > Appearance. In the
Drawing / Presentation section, you can change the color of the grid
points. On the Color Settings pulldown menu select a moresuitable/visible color, for example black.

Figure 172: Changing the color of the grid points

Confguring the grid
Under Tools > Options > OpenOfce.org Draw > Grid you canchange the settings of the grid (Figure 173).
No adjustment is necessary in the Grid feld, as these settings can bechanged directly from the icons on the Options toolbar.

Figure 173: Confguring the grid

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151Resolution: sets the horizontal and vertical distance between two grid
points.

Figure 174: Grids with diferent resolutions
Subdivisions: determines how many steps there are between adjacentgrid points. Intermediate steps make it possible to have a larger
separation between two grid points, so the drawing remains clearer.
Objects can snap to intermediate points in exactly the same way as togrid points.

Figure 175: Grid with intermediate steps (subdivisions)
The snap feld settings are largely self-explanatory. One importantsetting is the Snap range. Grid points and snap lines are both visual
help elements that are managed separately by Draw. If you haveactivated a snap function and then move an object, Draw looks in thevicinity of the position of the object for those special help elements todetermine the fnal position of the object; with the snap range setting,you can determine the extent of this search area. Exactly how large thesnap area is depends on the current environment: which particularsnap functions are in use, how the grid is confgured, and whether or
not there may be collisions with other objects. It is usually necessary to
do a little experimenting to fnd what best suits your needs.

Snap to Snap objects (snap lines and snap points)
Unlike grid points, Snap lines and Snap points are created by the user.
Snap lines run horizontally or vertically and appear as dashed lines.
Snap points appear as small crosses, again with dashed lines.

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Note

In OOo the names of the buttons in the Options toolbar are
Display Guides and Snap to Guides when what is actuallymeant is Display Snap line and Snap to Snap line. These will
hopefully be corrected in a subsequent version.

If you have activated this function, you can position objects exactly.
Horizontal and vertical snap lines can be used together. Snap lines are
not active immediately after inserting them but are turned on (or of)using theicon or with the View menu. If the snap line is no longer
needed you can hide it (or subsequently display it again) with the
Display Guides icon

or using the View menu.

Figure 176: Objects ‘connected’ to snap lines (left) or toa snap point (right). Note that the snap point functions
as if it were the intersection of two snap lines.

Inserting a snap line with the mouse
To insert a snap line in a drawing:1) Hover the mouse cursor over either ruler (the vertical ruler tocreate a horizontal snap line and vice versa).
2) Click and hold the right mouse button.
3) Drag the mouse into the drawing area to produce a snap line.
The snap line can be moved at any time by dragging it with the mouse.
Moving a snap line will not, however, move any objects that havealready been snapped to that line.

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Inserting snap points and snap lines using coordinates
The command Insert > Snap point / line opens a dialog where you
can specify X and Y coordinates and choose the type of snap object:
point, vertical line, or horizontal line.

Figure 177: Setting a) snap object type andb) snap object position using X,Y coordinates

Editing snap points and snap lines
All snap objects can be edited after setting them. If you right-click on asnap object, an appropriate menu opens allowing you to edit or delete
the snap object.

Snap to page edge
With this function you can snap objects to the page edge. A
combination with snap lines and snap to grid is also possible.

Figure 178: Objects positionedon the page margins

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Snap to object borderWith this function you can position one drawing object on the border ofanother. The connection point can lie anywhere on the object border.
To use this function, frst deactivate Snap to grid. Figure 179 showssome examples. Note that a typical object border will touch the borderof a round object at only one of its four points.

Figure 179: Objects positioned on theborder of another object

Snap to object points
This function operates in a similar manner to the one just described.
The diference is that the connection point can lie only at one of thefour corner points of both the object being moved and the target
object. This leads to the situation where two round objects have aconnection point that does not lie on either object but at one of the redcircled points.

Figure 180: Objects connected to theobject point of another object

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155Help to position objects with guiding lines
To simplify the positioning of objects it is possible to make visible
guiding lines—extensions of the edges of the object—while it is being
moved. These guiding lines have no snap function.
The guiding lines can be (de-)activated under Tools > Options >OpenOfce.org Draw > View > Guides when moving, or byclicking theicon on the Options toolbar.

Figure 181: Working with guiding lines

Drawing to scale
In Draw a drawing is made on a predefned drawing area or canvas.
This will usually be in the Letter or A4 format depending on your locale
settings, and will be output to some “standard” printer that you have
set up on your computer (usually referred to as the default printer).
Depending on the actual size of the drawn objects, it is often necessaryor convenient to reduce or enlarge the drawing by some scaling value.
You can specify the scale that you wish to use under Tools > Options> OpenOfce.org Draw > General.
The scale and selected unit of measurement are automatically refectedin the rulers, the window position and the window size. Scale settings
can be stored permanently in a template that you can then use for new
drawings.
The scale you use has no efect on the basic drawing operations. Draw
will automatically calculate the necessary values (for example,
dimension lines). The grid spacing is independent of drawing scale as
the grid is not a drawing element but only an optical drawing aid.

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OpenOfce.org 3.x Draw GuideNote

If you want to insert elements in a drawing from the Gallery or
Clipboard, you should draw these to the same scale as you areusing for the drawing to ensure the proper size ratio is
maintained.

Splitting drawings on multiple layers
Layers are like transparencies that lie one on top of another on an
overhead projector. You can insert and extract single layers as desired.
For example in architecture the foor plan, heating, and electricalwiring can all be on separate layers. With complex drawings this layer
technique ofers many advantages. You can make layers visible orinvisible as needed or you can protect a layer from further changes
while you work.
In Draw three layers are always present by default: Layout, Controls,and Dimension Lines. Layout is the default layer when you create a
new drawing.

To change to a layer, click on its tab. Everything that is drawn will beplaced on the currently selected layer. The Controls layer is for control
elements such as icons and pulldowns and is not usually used forordinary drawing elements. The Dimension Lines layer is usedwhenever you insert a dimension line on a drawing (unless the layer ismade invisible). Use Insert > Layer to insert a new layer in a drawing(Figure 182 left).

Figure 182: Insert and modify layers

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On the Insert Layer dialog you can specify the following properties:• Visible: If this property is not activated, the layer will not beshown (the layer is removed from the stack).
• Printable: If this property is not activated, the layer will not be
printed. This is useful if you use a ‘draft’ layer for guides orannotations that you use in making the drawing but should notappear in the fnal output.
• Locked: All objects on this layer are protected from deletion,
editing, or moving. No additional objects can be added to aprotected layer. This property is useful when a base plan is to beprotected while adding a new layer with other details.
Right-click on a layer tab to bring up a menu where you can insert ordelete a layer, rename an existing layer, or modify a layer. You canchange the names of the user-defned layers; the default layer names
cannot be changed.
If you choose Modify you will see the dialog in Figure 182 right. On
the Modify Layer dialog you cannot edit the Name but you can edit
the Title and Description and change the properties of the layer(Visible, Printable, Locked).

Tip

Somewhat confusing is the fact that you can move objects on
one layer although you are working on another layer. To avoid
accidentally deleting or moving objects on another layer, you
should lock that layer.

An example drawing: house plan and furniture
A popular application for programs like Draw is the “moving thefurniture” scenario. You can easily draw the foor plan of a room or ahouse using Draw. The simplest way is to draw walls as thick lines. You
can also draw single rectangles or polygons, place them together,select them and then from the right-click menu use Shapes > Merge
to make a single fgure, then add a hatching pattern. Before you do
this, you should read the section “Drawing to scale” on page 156.
For this example a suitable measurement unit is centimeter. The
drawing scale and grid settings depend on the size of the foor plan.
Use the Position and Size dialog (right-click and choose Position andSize) to easily position and dimension the individual wall sections.
Make sure that the rectangles completely overlap (see Figure 183)
otherwise the merging will give uneven edges.

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Figure 183: Wall corner from two rectangles. From upper tolower: before merging, after merging and after hatching
Figure 184 shows the fnished foor plan. In addition, a chest of
drawers has been added.
The body of the chest is drawn on the Layout layer; the pulled-out
drawer and the open doors are drawn as a group and put on a separate
user-defned layer (Layer4 in our example). Figure 185 shows how thisis done. Making the layer with the drawers and doors visible or hidden
will show them open and closed (see Figure 186). Hidden layers areshown with a colored tab.

Figure 184: Floorplan with chest of drawers

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Figure 185: Using layers for diferent parts of adrawing. (Left) Draw the body of the chest on the
Layout layer. (Right) Create a new layer and draw theopen drawers and doors, keeping the Layout layer
visible to help you position the additional objects.

Figure 186: Making layers visible or hidden. (Left)
Hide the Layout layer to see what is on Layer4.
(Right) Show the Layout layer and hide Layer4 toshow chest with drawers closed.

Caution160

If you copy a drawing object to the Clipboard or into theGallery, all layers other than the three standard layers (Layout,
Controls and Dimension Lines) are lost and all objects will bepasted into the Layout layer. The reconstruction of layers ismuch easier if you assemble objects on a layer into a group
before copying.

OpenOfce.org 3.x Draw Guide

Changing the layer of a drawing object
Draw has no direct command to change layers. To move an object toanother layer, change to the new layer, select the desired object orgroup, and then cut and paste it into position. Watch the status bar(the selected object’s layer name is shown in the information feld) tofollow and check the change.
You can also click on the object, hold the mouse button pressed forabout two seconds until the mouse cursor changes from a hand to apointer with an open rectangle, and then drag and drop it on theappropriate layer.

Creating a multi-page document
Draw documents, like presentation (Impress) documents, can consistof multiple pages. As in Impress, tools to manage pages andbackgrounds are available.
Pages are automatically named as Slide 1, Slide 2, and so on. This
description is relative; if you move pages around, they areautomatically renumbered. If you want to have fxed slide (page)
names, you must name them yourself. Page names are useful forworking with the Navigator and when you want to insert single slides
using Insert > File into another document.

Using the Pages area
By default the Pages area is docked on
the left of the Draw window. It shows
every page in the document as a small
picture. Select a picture from the Pages
area and the corresponding page isloaded in the main workspace. Click on
the page to activate it for editing.
The Pages area behaves similar to the
Styles and Formatting area. Drag on thegray separator line to change the widthof the Pages pane. Click on the middle ofthis line to show or hide the pane.
Double-click with the Control key pressedin the upper gray area to dock or undock
the area, which can be turned into afoating window.
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In the Pages area you can drag and dropa picture to change the order of pages inthe document; a black horizontal line
shows the position where the page will beinserted.

Using the context menu you can insert ordelete pages or duplicate pages with copy
and paste (alternatively create duplicate
pages using Insert > Duplicate Slideon the menu).

Using page backgrounds
With background pages you set common page settings for multiple
pages of the Draw document. These include setting the color orgraphics of the background, background objects, and felds such as
page numbering and author.

Note

The terms used in this area may not be completely consistent,
so that the terms Slide/Page and Master/Background/Page
Template are used more or less interchangeably in places.
When looking for information in Help, it may be necessary to
use alternative search terms.

Creating a page background
Change with View > Master to the Master view and note that a
related Master View toolbar opens. If this toolbar does not appear,
activate it with View > Toolbars. In this toolbar are switches for a
new background page and for renaming the master page. These
functions are also available by right-clicking on a page picture in the
Pages area of the Master view. The button for deleting a master page isonly available when you select a background page in the Pages area
which has not yet been assigned to any page.
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Figure 187: Master View toolbar
To return to normal mode, click the Close Master View button orView > Normal.
You can edit background pages just like normal pages. With Format >Page > Background you can set the color, pattern, or backgroundpicture. These settings are specifc to each background page. In the
Master view, you can set the size and orientation of the page; suchsettings apply to all pages.
If you insert drawing objects on a background page, they are visible on
all pages that use this background. This a convenient way, for example,
to place a logo on every page.
Master pages are organized in layers just like normal pages. The layersof normal pages are associated with the layer of the same name on the
Master page. Accordingly the layers Layout/Control/Dimension Lines
are considered to be a unit and the Master page layer Backgroundobjects is associated with them.
With Insert > Fields you can insert the date, time, page number,
author and flename. No other felds are available. With page number
you cannot insert a fxed page number but only a variable; the actual
number appears on the page itself and is determined by the position of
the page. The number is automatically adjusted if the page issubsequently moved.

Assigning and managing page backgrounds
You can open the Slide Design dialog (Figure 188) in two ways:• Right-click on the page and choose Page > Slide design, or• Look in the bottom right of the status bar to see whichbackground page is the current one. Double-click in this feld.
The Slide Design dialog (Figure 188) shows the available backgroundpages for that page.

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Figure 188: Slide design dialog
If the Exchange background page option is selected, the selectedbackground page will be used on all pages of the document, not just on
the currently active page.
The Delete unused backgrounds option deletes any backgrounds (asshown in the Slide Design dialog) that have not been assigned to a
page.
Click the Load button to open the Load Slide Design dialog. From here
you can load previously prepared background pages. All Draw and
Impress templates can be used for this purpose. Note, however, thatusing Impress templates will bring in only the background and not theother elements prepared in Impress.

Figure 189: Load Slide Design dialog
There is no special option to store background pages as templates.
Instead you can load a document with the desired background pageand store this document as a document template with File >Template > Store.
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Color palette: adding or changing single
colorsDraw (like all OpenOfce.org components) uses color palettes for the
representation of colors. In addition you can customize the color
palette to suit your own needs and wishes. You can modify colors in apalette, add other colors, or create new color palettes.
Reach these options with Tools > Options > OpenOfce.org >Colors or with Format > Area > Colors (tab) (see Figure 190). The
latter method allows color palettes to be loaded or to be stored for
future use. Any modifcations made to colors apply only to thecurrently active palette.
OpenOfce.org always uses the RGB color model internally. Other
methods are also available for the defnition of a color value.
The color values can be input directly as numbers. Choose between the
RGB color model (base colors Red, Green and Blue) and CMYK (basecolors Cyan, Magenta, Yellow and Black, K= Key). The conversion to
RGB values is made automatically.
Tip

Information about color models can be found under:
http://en.wikipedia.org/wiki/Color_model

Individual color tones are produced by using diferent values of thebase colors. The color value can be any integer value between 0 and
255. As an example, Red 3 has a red value of 184, a green value of 71
and a blue value of 0 in the RGB model. The CMYK color model uses
percentages (in this case 0%, 44%, 72%, and 28% respectively).
Change these values to manipulate the color tone. Either enter anumber directly or use the spinners on the right side of each feld. Thechange in color will be shown in the lower color feld (see Figure 190).
Click the Modify button to apply and store the new setting.
To add a new color to the current palette, enter a new name in theName feld and set the desired color values. Click Add. The new color
will be added to the end of the palette and stored in the currently
active palette.
You can also delete colors from a palette. Select the color from theColor pulldown menu and click on the Delete button, then on OK to
confrm the change.

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Figure 190: The Colors tab in the Area dialog
Click on the Edit button to open a dialog where you can set individualcolors (see Figure 191). Many more input possibilities are available inthis dialog.
In the lower area you can enter values in the RGB and CMYK models
as well as the HSB (Hue, Saturation and Brightness) model.
The two color samples at the lower right show the current color (left)
and the new color specifed by the color value felds (right).

Figure 191: Color dialog
The color windows in the upper area permit a direct selection of color
without any knowledge of color values. The right upper color window islinked directly with the various color model input felds; if you click on
a color in this window the numbers change accordingly and a preview
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of the color appears in the right of the two color felds (lower right inFigure 190; see also Method 2 below).
If you click OK, the color window is closed and the input feld is again
active. You can at this stage select the color you have just defned,
give it a new name, and store it by clicking the Add button. The oldcolor will then (without any further warning) be overwritten.

Changing colors using the Color dialog
Method 1
You can change the current color by modifying the individual color
values explicitly. It is possible to change from one color model toanother during this process but the settings are always calculated andstored according to the RGB model. This may result in some slightadjustment to your input values in the other models.
The color wheel to the left illustrates the HSB color
model. This model defnes the color tone in terms of
three parameters: Hue (possible values from 0 to359), Saturation (possible values from 0 to 100) andBrightness (possible values from 0 to 100) isdefned. The number for the hue represents theangle in the color wheel, the other two are both
percentage values.
Method 2
You can select a new color by clicking on a point in the color window at
the upper right of the dialog. The chosen color is shown in a black
frame which can be dragged with the mouse. If this color is not quite
right, you can fne tune it as described above in Method 1 by changing
the color values.
As you drag the small square you will see thevalue change in the number felds. The CMYK
and RGB are more or less self explanatory. To
make the HSB model a little clearer, some
additional comments are necessary.
To better understand the working of the HSB
model, move the frame from left to right and top
to bottom. You will see that the Hue andSaturation values swing between their maximum
and minimum (hue by horizontal movement and saturation by verticalmovement), but the brightness remains the same (see fgure at left).
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This latter can only be adjusted by entering a value into the number
feld.
Method 3
The left color window is divided like a chess board into 8 x 8 individual
felds, each with a diferent color. Most important are the colors ineach of the corner felds. The color red changes stepwise to green in
the frst row, and stepwise to yellow in the frst column. The color
green in the last column changes stepwise to blue.
This window thus contains a stepwise change between each of the fourmain colors in the corner points. If you hover the mouse over a square
the RGB value is shown as a tooltip. For example, the yellow corner
feld (lower left) has RGB values of 255, 255 and 0 (full red, full green
and no blue).
Click on this yellow feld. A frame appears. If you click the -> arrow
under the color windows the selected color is assigned.

You can change the color spread in this window to a more specifc
range by changing one or more of the corner felds. Click on the corner
you want to change, then select the preferred color from the rightcolor window with the mouse and/or set it using the number felds.
Now click on the <- arrow; the new color will be assigned to the cornersquare you selected and the overall appearance of the windowchanges accordingly.

Figure 192: Changing the color of a corner square

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Creating cool efects
Duplication
Duplication makes copies of an object while applying a set of changes(such as color or rotation) to the duplicates.

Figure 193: Duplication example
To start duplication, click on an object or group and choose Edit >Duplicate. The Duplicate dialog (Figure 194) appears.

Figure 194: Duplicate dialog
Choose the number of copies, their separation (placement), rotation,and so on. The choices above applied to a blue rectangle produce theresult shown in Figure 193.

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Cross-fading
Cross-fading transforms one shape into another. The result is a newgroup of objects including the two end points and the intermediate
steps.

Figure 195: Cross-fading example
To do a cross-fade, frst select two objects.

Figure 196: The two objects
selected for cross fading
Then choose Edit > Cross-fading.

Figure 197: Cross-fading dialog
On the dialog choose the number of increments (transition steps). You
probably want to have Cross-fade attributes and Same orientation both
checked. The end result is shown in Figure 195.

Which object goes in front?
How do I tell Draw that I want

and not?

Select (the object we want in front), right-click and choose Arrange> Bring to Front (or press Ctrl+Shift+plus). Or select(the object
we want behind), right-click and choose Arrange > Send to Back orpress Ctrl+Shift+minus.

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9

Chapter
Organization Charts, Flow
Diagrams, and MoreDrawing an organization chart
Even though Draw does not have an organization chart toolbar, you
can draw these charts by drawing rectangles and connector lines (seeFigure 198). You can indicate hierarchies by using a color progression
from dark to light tones. Be sure your color choices maintain a good
contrast between text color and background so that you can easily readthe printed diagram.

Figure 198: Example of an Organization Chart
Before you begin, prepare a setup page or draft, with snap lines, toassist in drawing the various hierarchies, responsibility paths, andtypical boxes that you will use in drawing the chart.

Figure 199: Draft with snap lines
Place and dimension the individual boxes according to the size of theoverall chart. The exact size (particularly width), position, and color
will be fxed later. It is sometimes easier to draw only one box perlevel; later you can copy and paste this box and then move the copies
to the desired positions. Using styles can also be helpful; see therelevant section in Chapter 4 (Changing Object Attributes).

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You can also select one or more boxes and use Edit > Duplicate to
make copies (see Figure 200). The spacing of the duplicated objects
relative to the original can be controlled using the placement felds for
the X and Y axes. Note that positive values for X and Y are to the rightand downwards from the original object.

Figure 200: Duplicating an object
Which replication technique you use is up to you. The draft for theexample in this chapter should look similar to that in Figure 201.

Figure 201: The fnished draft
The next step is to add text to the boxes. It is easiest to insert it as atext element within the box as described in Chapter 2 (Drawing Basic
Shapes). Activate theicon on the Options toolbar and then doubleclick the box to enter text into it. Alternatively, select the box and press
F2. You should then see a blinking cursor in the box and the Text
Formatting toolbar should be visible.
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Set the text formatting and type the text. Depending on the length andformat of the text, you may need to adjust the size of the box and thespacing to neighboring boxes or else change the formatting of the text
to ft the box. Adjustments can be made initially with the mouse andthen fne-tuned with the Position and Size dialog.
Now set up the fll colors and save the drawing. The connections
between the boxes are not drawn with ordinary lines but with Draw’sconnectors. How to draw these connectors and add text to them is
described in “Glue points and connectors” starting on page 176.
You can use dynamic text frames instead of boxes. These have theadvantage of automatic line breaks. Figure 202 shows the sequence oftext input into a frame, adding borders, and setting the backgroundcolor.

Figure 202: Working with text frames

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Drawing a fow diagram
For drawing fow diagrams (also known as fowcharts), Draw ofers aseparate toolbar; click the fowchart icon
toolbar.

on the main Drawing

Figure 203: The Flowchart toolbar
The easiest way to draw a fowchart is to follow the same setup
procedure as for organization charts. Select the symbols from thetoolbar and drag them into position as described in Chapter 2(Drawing Basic Shapes). See Figure 204 for an example of a typicalfowchart.
The individual symbols must be exactly positioned if the connectors
joining them are to form a vertical line. The midpoints of all thesymbols that lie in a vertical straight line should have the same X
coordinate and those on the same level on a horizontal line should havethe same Y coordinate.
Select the shapes that are to lie in a vertical straight line and center
them with Modify > Alignment > Centered. For those on ahorizontal line, select the shapes and center them with Modify >Alignment > Center. You can also set snap lines if you need several
vertical lines.
After adding text and setting the fll color, you can join individual
symbols together and add text to the connectors. This technique isdescribed in the next section.

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Figure 204: Example of a fow diagram

Glue points and connectors
These elements were briefy introduced in Chapter 2 (Drawing Basic
Shapes). This section describes how to use them.
Connectors are lines or arrows whose ends automatically dock to aconnection or glue point on an object. Connectors are particularly
useful when drawing organization charts, fow diagrams, andmindmaps. The connecting lines between the symbols remain intact
even when the latter are moved or rearranged.

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The Connector toolbar
Click thebutton on the Draw toolbar to open the Connectors
toolbar (Figure 205).
If the type of connector you want is not shown, click on thein theConnectors toolbar. In the list that appears, click on Visible buttons(Figure 206) to open a menu from which you can activate additional
types of connector.

Figure 205: The Connectors toolbar

Figure 206: Activating additional connectors

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Connector types fall into four groups:• Standard connectors – the line segments run vertically andhorizontally. All angles are right angles. The connector does not bendaround the objects it binds.
• Line connectors – consist of a line segment and two smaller

horizontal or vertical segments at the ends.
• Straight connectors – consist of a single line.
• Curved connectors – are based on Bézier curves, as described in

Chapter 10 (Advanced Draw Techniques).
You can modify all the connector types from the context menu. SelectConnector to change from one connector type to another (as well assome other properties). With the Line dialog you can change theappearance of the line (color, arrow style, and line style) but not theconnector type.

Drawing connectors—basics
When you choose a connector from the toolbar, the mouse pointerchanges to. As you move the cursor over an object, the available
connection points (also referred to as glue points) become visible. To
connect two shapes, move the mouse cursor over a glue point, click
and hold down the left mouse button to establish the frst point, andthen drag the mouse cursor (left button still pressed) to the other glue
point and release the mouse button. The ends of the line are now
docked and the connection is established (see Figure 207).

Figure 207: Gluing aconnector to a shape
You can also attach the beginning or the end of a connector to the
middle of an object. This is useful when the fnal position of the object
is not yet determined. When you move the object, Draw automaticallyselects the optimal location for the connector ends (see Figure 208).
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Figure 208: Connector attached to the middle of an object
As with all other objects, connectors have one or more control points tosimplify the construction of the drawing. You can use these points tochange the shape, length, and proportions of the connector line (seeFigure 209).

Figure 209: Control pointsof a connector
To remove a connector from an object, either move the end of theconnector away from the glue point of the object or simply delete theconnector entirely.

Editing glue points
Glue points can be edited using a separate toolbar (see Figure 210).
This toolbar appears when you click on the Glue Points iconorselect Edit > Glue Points from the main menu.

Figure 210: The Glue points toolbar
The following briefy describes the function of each button on thistoolbar.

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Use this button to insert a new glue point. Draw a new object.
If the object is flled, you can place a glue point anywhere
inside the object or on its frame. With unflled objects you canplace a glue point only on the outside frame but, after insertingit, you can then drag it inside the object. Activate the Glue
Points icon on the Drawing toolbar.
The glue points that you add remain visible aslong as the Glue Points icon is active. They
appear as small blue crosses. A selected glue
point has a gray square behind the cross. You
can move a selected glue point with the mouseor delete it with the Del key.
Use these four buttons to choose one or more directions
permitted for a connector to join to a particular glue point.
Activate Glue Points and then choose the direction. If, forexample, you activate only the
button, every connector will
be forced to come to that glue point from the left side.
In the left-hand drawing below is a glue point in the circle witha left entry and one in the square with a right entry. The efectof this when adding a connector between the two glue points isshown in the right-hand drawing..

If you are in glue point editing mode and you add anotherdirection to a glue point (for example by activating the
button), Draw tries to optimize the length of the connector. For
the example above, the connection inside the circle wouldchange as shown below.

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OpenOfce.org 3.x Draw GuideIf the Glue Point Relative button is active (as it is by default)
the glue point will move when you change the size of theobject, as shown below.

If the Glue Point Relative button is deactivated, the remaining
buttons on the toolbar, previously grayed out, become active.
With these buttons you can decide how a glue point will beplaced when the size of the object is changed.
These buttons determine how the horizontal position of a glue
point changes when you resize the object containing the glue
point. You can choose whether the distance of the glue point to
the left edge of the object, to a vertical line through the middle,
or to the right edge of the object remains fxed when you
change the size of the object. If the width of the object
becomes less than that distance, the glue point is attached tothe object frame.
The following example shows what happens when an object’s
width is changed and the glue point is set to be a fxed distanceto the left frame.

These buttons determine in a similar manner the vertical
position of a glue point when the size of the object is changed.

Adding text to connectors
To add text to a connector, double-click the connector. The end andcontrol points become active and the familiar fashing text cursor
appears (the cursor position is determined by the last used setting).
The Text Formatting toolbar also appears (under the menu bar). Use
this toolbar to set the text properties; you can directly input the text.

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If you draw a connector and then click on it, only the end points andcontrol points become active. In spite of this, a connector has its own
object frame—in this case an invisible one. You can picture it easily byimagining a rectangle enclosing the start and end points of theconnector (Figure 211).
When you add text to a connector, the location of the text is referenced
to this rectangle. The exact position of the text can be set in the Text
dialog (Figure 212). This dialog appears when you double-click on text
and then choose Text from the pop-up menu or when you single-clickon the connector and select Format > Text from the menu bar.

Figure 211: Object frame of a connector

Figure 212: The Text dialog
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Take particular note of the Spacing to borders and Text anchor
sections in the Text dialog. In the Text anchor section you can see thepossible locations for the text. In the above example the text isanchored at the top left. In the Spacing to borders section at the lower
left, negative values of spacing will position the text outside the frame.

Adjusting text to suit the connecting line
If you want the text to follow the slope or curve of a line, you need toactivate and use the Fontwork tool.
1) To add it to the Draw toolbar, choose Tools > Customize fromthe menu bar.
2) On the Toolbars tab, in the Toolbars pull-down list select Drawing.
In the Toolbar content section, click Add.
3) On the Add Commands dialog, select Format from the left-handlist and the command Fontwork. Click Add, then Close to returnto the Customize dialog.
4) In the list of commands under Toolbar Content, move the
Fontwork icon
to the location you want by using the up/downarrows, and then click OK.
To write slanting text, follow these steps:
1) Add the text to the connector as described earlier. The anchor
location of the text is not important at this stage.
2) Select the object with the text (in this case the connector) andclick on the Fontwork icon
to open the Fontwork dialog.
3) To make the text lie along the inclined line, click the Rotate icon
and set the distance to the line you wish.

Figure 213: Adding text to an inclined line, Step 1

Chapter 9 Organization Charts, Flow Diagrams, and More183

Figure 214: Adding text to an inclined line, Step 2
The Fontwork dialog opens up many other possibilities to manipulate
the text. You can, for example, turn the text around 180 degrees with
the Orientation
icon (which was done in the example above) or
place the text under the line by assigning a negative value to thespacing between text and line.
In addition, you can use the Fontwork dialog to generate curved textthat follows the shape of a curved line. Experiment a little toinvestigate some of the possibilities.

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10

Chapter
Advanced Draw
Techniques

Drawing to scale
Draw is not a CAD (computer-aided design) program but a graphics
program with which you can produce drawings to a scale. The example
used for this chapter is a drawing of a Logic Circuit Diagram. The
exact meaning of the individual symbols is not described here as weare only interested in the drawing techniques used to produce thediagram.
The logic symbols in Figure 215 form the building block library for our
scale drawing.

Figure 215: Logic Symbol library

Working with the Position and Size dialog
So that the edges of the building block symbols do not coincide withthe wiring, they should be 8 mm wide and 8 mm high. The connections
to the symbols should have a length and separation of at least 5 mm.
These values are all random values and you would normally substitutevalues that suit your own needs.
For the drawing we used a measurement unit of millimeters, a grid
spacing of 5 mm, and a grid subdivision of 4 points. In addition you
should probably activate Display grid and Guides when moving as wellas Snap to grid (see Chapter 8). This drawing will serve later as acollection of available symbols and you should not only draw thesymbols but fully detail them as well.
The frst step is to draw a base element, an AND gate block. You canthen dimension and detail this element (use the Position and Sizedialog, as shown in Figure 216; double-click on the status bar orcontext menu to help with dimensioning). For this example, the left
upper corner of the block is at x=10 mm and y=5 mm.

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Figure 216: Positioning and dimensioning a Draw
objectDraw the frst connection lead by eye and dimension and position it
using the Position and Size dialog.

Figure 217: Setting the position and dimension of the upper
input
Use the same method to draw the remaining two leads. For positioning
the input leads, fx the right end points; for the output lead, fx the left
one. The frst wire lies 1.5 mm below the upper edge of the block. The
leads have a 5 mm spacing between them. The following table shows
the relevant coordinates of the upper corner points and the leads.
left (X/Y) [mm]right (X/Y) [mm] Input 1 (X/Y) [mm]Output (X/Y) [mm]10 / 518 / 518 / 6.5 (left EP.)

10 / 6.5 (right EP.)For the lower input lead, increase the Y coordinate of Input 1 by 5 mm
to 11.5.

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The AND gate block is almost fnished. We can use it as the basis for all
the other gates. So that the drawing gives a good visual impression,use Edit > Duplicate to ensure uniformity of shape and size.
Because we want to copy the block vertically downwards, use a
Placement on the X Axis of 0 mm and on the Y Axis 15 mm.

Figure 218: Duplicating an object
With the same method, copy both blocks twice more to the right.
Select both blocks, call up the Duplicate dialog, and use placement
values of 30 mm (X) and 0 mm (Y). Your drawing should look similar to
Figure 219.

Figure 219: The blocks after duplication
For the INVERTER or NOT gate the connection leads must be
amended. Move one input and one output lead to the middle of theblock and delete the superfuous input lead.
Draw the missing circle for negation with a diameter of 2 mm, place itby eye in the center and then position it and dimension the connections
from the Position and Size dialog as described above.
You can copy the circle to the Clipboard and then paste it as manytimes as you need, positioning it and adjusting the lead lengths as
above.
A wiring diagram also needs a symbol to show a connection point.
Draw a flled circle for this.
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Next add text to the symbols (&, =1 etc.). Activate the iconon theOptions Toolbar. Double-clicking a symbol will now put you in a special
text input mode. This integrates the text as an element in the object(see also Chapter 2 of this guide). You will fnd the OR symbol (≤) inthe list of special characters (Insert > Special Characters).
It is probably a good idea to create a group for each type of gate. This
will make it easier to use them in a diagram. Your diagram should now
resemble Figure 215; save it to disk.
If you want you can add a name to each of the gate symbols (AND,OR ..), use a separate layer to add this text so that you can switch it ofwhen necessary.
You can place glue points at the end of each connection lead. This will
simplify the actual “wiring up” later when you add in the connectors.

Setting glue points
This instruction assumes a basic knowledge of connectors and glue
points. For additional information refer to Chapters 2, 8, and 9 of thisguide.
Note

If objects are included in a group it is not possible to add glue
points to them. Glue points must be set before any grouping isdone.

The glue points on the connection leads must be placed exactly at theends of the lines (otherwise the wires will not be properlyaligned).Unfortunately you cannot set the position of glue points using
numerical values. It is necessary to do it by hand.
The best solution is to use the Zoom toolbar to enlarge the diagrams.
You can fnd this as a tearof toolbar on the standard Drawing toolbar.
It contains (among others) tools for zooming in and for zooming out(enlarging the view/making the view smaller) of the current view. If
you click on the Zoom In tool and then click on the page, the scale isdoubled and the view is centered on the place where you clicked.
As the ends of the connection leads in this example do not lie on grid
points, you must switch of Snap to Grid and activate Snap to Object
Points.
When you have done this, you can open the Glue Points toolbar with
the Insert Glue Point iconon the Drawing toolbar or using View >Toolbars from the menu bar.

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Figure 220: The Glue Points toolbar
Select the block on which you want to insert a glue point. Click theInsert Glue Point icon
. It is now activated and appears with adiferent background. The mouse cursor changes to a small cross andyou can set the frst glue point. Click the mouse at the desired location.
If the point is not exactly where you want it, move it by dragging withthe mouse.
When you are satisfed with the location, click on the Glue Points
toolbar the icon with the exit direction you want (left, right, top or
bottom). The selected icon now has a diferent (lighter or darker)
background. Set the exit direction of the input connection leads to theleft and the output leads to the right.
When you have set a glue point at the end of each gate’s connection
lead, you can copy it into the Gallery.

Copying individual pictures to the Gallery
The Gallery is a very convenient way of controlling building blocks fordrawings. It also functions as a symbol library.
First open the Gallery using Tools > Gallery or by clicking on theicon if it is present in one of the toolbars.
The Gallery appears above the drawing page. The left pane shows thefolders available for use and the right pane shows the images
contained in the current folder. Choose an image by clicking on it;
additional information about the image appears in the header bar.
In the left pane, click the New Theme button to create a new folder. A
new window opens. Click on the General tab and give the new theme ameaningful name (for example Logic) to replace the default of New
Theme. You can rename a theme by right-clicking it in the folders paneon the left.
To import existing images into the Gallery, click on the Files tab andthen on the Find Files... button. It is possible to bring in complete
folders or individual fles; the procedure is self-evident from the dialog
windows that open, or see Chapter 14 (Working with the Gallery) in theGetting Started guide.
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the destination folder, then click on the frst symbol that you wish to
add to the Gallery. Position the mouse cursor inside the selection frameof the symbol. When the crossed arrows are visible, click on the symbol
and keep the mouse button pressed. After about 1 or 2 seconds the
cursor will briefy blink and change to the drag symbol. Drag the object
into the Gallery and release the mouse button. When you move themouse into the Gallery feld, the cursor shape changes once more (seeFigure 221).

Figure 221: Crossed arrows > Drag symbol >Gallery symbol
Tip

Zoom in on very small graphics before you try to move them sothat the crossed arrow symbol can be clearly seen.

When you have placed all the symbols in the Gallery they can be titled.
Right-click on a symbol, choose Title from the menu and type thesymbol name (AND, OR).
The symbol library is available to all OOo modules, at least for users
who have the permission/rights to access it. Making available thedrawing collection as a Draw fle is the simplest way to distribute a
symbol library to other users. After opening the drawing, other users
can easily transfer the drawing objects into their own Gallery, as
described above.

Drawing a logic circuit diagram using the Gallery
The use of the symbol library which you have created and placed in theGallery can be illustrated by using the blocks to draw a half adder (seehttp://en.wikipedia.org/wiki/Half_adder#Half_adder). You can precisely
place all the drawing objects with the help of Draw’s snap functions.
The following instructions are only one way to achieve this objective.

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Figure 222: Half adder drawn using logic symbol building blocks
Begin with a new drawing. Set the unit of measurement to centimeter,a grid point spacing of 0.5 cm and subdivision of 4 points. Activate thegrid, guiding lines, and associated snap functions.
In the frst part of the exercise you should draw only the two signal
leads a and b, the two INVERTER gates and the two AND gates.
Begin by drawing the two signal leads. To make it a bit easier, you can
use the values in the following table.
Start point

LengthSignal wire a

X = 2 cm / Y = 3.0 cm

5.5 cmSignal wire b

X = 3 cm / Y = 3.0 cm

5.5 cmAfter drawing the two signal leads, you begin the hardest part. With
grouped objects the snap function works only on points on the outside
contours. The only way to work with these blocks as a unit, however, is
as a grouped object. The input and output leads must lie right on grid
points if the connecting lines are to be exactly horizontal or vertical.
Position two horizontal guiding lines (A, B) on the grid with Y=4.0 cm
and Y=6.0 cm. With Snap to Grid active, this should be no problem.
With an INVERTER gate the input and output leads lie in the middle ofthe block, 4 mm below the upper edge. In order that the input andoutput are docked to the guiding line, the upper edges of the
INVERTER gate must be positioned (for a 5 mm grid spacing) at Y=4.1
cm and Y=6.1 cm. Right-click on the guiding line, select Edit guiding
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OpenOfce.org 3.x Draw Guideline from the context menu and set the guiding lines to 4.1 cm and 6.1
cm.
In order that the blocks lie exactly underneath each other, insert
vertical guiding lines at X=5.0 cm (INVERTER gate) and X=8.0 cm(AND gate).
Now open the Gallery and drag the Inverter gate into approximately
0.64, the position desired. If the function Snap to guiding line is still
active, you will be able to accurately position both blocks in the correct
location. Your diagram should now look like Figure 223 and you cansave it.

Figure 223: Drawing a half adder – Step1
The input and output leads of the INVERTER lie at Y=4.5 cm and
Y=6.5 cm. Move the mouse over a guiding line. When the mouse cursor
changes to a double arrow, drag the guiding line (with the left mousebutton pressed) onto the input and output leads of the block. If the grid
snap is still active, this should be exactly positioned without much
efort.
The leads of the AND gate lie 1.5 mm below the upper edges of the twohorizontal guiding lines. They must be moved up for the next step. The
Y coordinates are reduced to 4.35 cm and 6.35 cm (the top edges of
the AND gates). When you have moved the lines, you can drag bothAND gates from the Gallery and position them. Your drawing should
now resemble that in Figure 224.
Next drag the horizontal guiding lines again over the input and outputof the gates (Y=4.5/6.5 cm), so that when you position the connection
point of the leads (a small black circle) it will sit exactly on top of theleads from the gates.

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Figure 224: Drawing a half adder – Step 2
To position the two last gates, you need to set the following additional
guiding lines: a vertical line with X=11 cm and two horizontal lines(C,D) at Y=5.5 cm and Y=7.5 cm respectively. Shift the horizontal lines
C and D each 1.5mm upwards (so that Y=5.35 cm and Y=7.35 cm).
Drag the OR and the last AND gate from the gallery and position themas in Figure 225.

Figure 225: Drawing a half adder – Step 3
Since the OR gate will be connected to the two previously positioned
AND gates, you can delete the guiding line of the OR gate. Drag
the0.64 horizontal guiding line C and D over the inputs of the AND
gates (Y=7.0 and 7.5 cm) and put two other lines (E,F) on theremaining connections (Y=5.0 and 8.0 cm) as shown in Figure 226.
Deactivate all snap functions except snap to grid. It is a good idea tozoom in so that you can place the lead connections exactly over theintersection points. Drag the connections singly from the Gallery towhere you want to position them. You will need to adjust their position

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with the mouse. The easiest way is to move the connection diagonallyto the desired location (see Figure 227).
The guiding lines are no longer needed and can be hidden (it is betterto wait until you have fnished the drawing before you delete them).
Your drawing should now start to look like Figure 226 and can be again
saved.

Figure 226: Drawing a half adder – Step 4
The individual blocks must now be joined up so that the gates function
as a half adder system. To do this, you use connectors. Open theConnector toolbar. Use the standard connector
to join the OR to thetwo AND gates. All the other leads run horizontally and you can use
the direct connector.
When all six lead connections have been positioned, both signal wires
should have a small black circle added to their connection points. You
can use the symbol for NOT from the Gallery as the basis for this.

Figure 227: Setting the connections
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If you have correctly positioned the symbols in the drawing, all theconnection leads will be straight lines. At this time you can delete all
the guiding lines, add text to the drawing and your fnished drawing
should resemble Figure 226 above.

Dimensioning a drawing
Confguring the dimensioning style
As is usual with OOo, you confgure dimensioning using its own style.
After opening a drawing, press F11 to access the Styles andFormatting window. In the Graphic Styles list, right-click on the styleDimension Line and select Modify. The dialog that opens contains thecurrent settings. Click the Dimensioning tab (Figure 228).
You can confgure all the properties you see in this window to suit yourown needs. The left section includes the basic settings for dimension
lines and dimension guide lines (these indicate where on the object thedimension is referenced):• Line distance: the distance of the dimension arrow from theobject edge
• Guide overhang: the distance the guide line extends past thearrow• Guide distance: the distance of the guide line from the objectedge
You can individually set the line lengths of the right and left guide lines
and use positive or negative values to have the line above or below thereference point. The direction of the line with positive or negative
distances depends on the setting of the Measure below object option(box checked or not), but this is easy to check by referring to theexample dimension line in the bottom window of the dialog. For thiscurrent exercise click the box and activate this option.
In the right section you can change the settings for the Legend, thetext of the dimension line. You can use the Text position choices tochange the location of the text – but only if one or both of the
AutoVertical and AutoHorizontal checkboxes are unchecked. Use thevarious options on the Text and Alignment tabs to further change thetext format.

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Figure 228: Confguring dimension lines
Calculation of dimensions always takes into account the scale and 0.64
dimension units contained in Tools > Options > Draw > General. If
you set a scale of 1:10 and a unit of centimeter, then a 6 cm long object
in the drawing will be shown with a dimension of 60 cm when theoption Show meas. unit is activated and the selection window is set toAutomatic. Deselecting this option turns of the display of units. You
can change the units displayed from Centimeters to (for example)
Millimeters by choosing Millimeter instead of Automatic in theselection window.
Adjust the font type and size for the text of a dimension line by meansof the Text tab.
The Standard button at the bottom of the dialog sets all the propertiesof the dimension line to the (inherited) standard properties of the style.

Note

The dimensioning style Dimension Line is always linked andstored with the current work page. All the changes that you
make apply only to this page. New drawings are started withthe standard properties of Draw. If you want to use theamended style for future drawings, save the page as anadditional template.

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Dimensioning objects
In this exercise you will dimension some logic blocks (see Figure 229).
They are used here to demonstrate the technique; you can use yourown drawing or fetch a picture from the Gallery.

Figure 229: Dimensioned logic blocks
So that Draw can clearly recognize the edges to be measured, you
should set a number of guide lines delineating the edges. The previous
sections explain how to do this. To place the guide lines exactly andeasily, change the resolution of the Grid. Suitable values for this work
are a resolution of 5 mm and a subdivision of 4 points. With this setting
you should have a snap to grid function with 1 mm point separation.
We will begin by dimensioning the NOT gate. For this block we want
the total width (18 mm) and the width of the block itself (8 mm) tohave dimension lines. The frst step is to add guide lines to delimit thedimension lines. With Snap to grid activated, you can position thesequite accurately (see Figure 230a). Watch that the function Snap to
guide lines is active and zoom in to the part of the block to bedimensioned. The block should not be selected.
Start the dimensioning command by clicking the Dimension Line iconon the Lines and Arrows dialog. The dimension line is placed
automatically on the Dimension Lines layer so you can hide thedimension lines if you wish.

Figure 230: a) Delimiting the edges with guide linesb) Dragging the dimension line (anticlockwise)c) Finished dimension line
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After clicking the Dimension Line icon, the mouse cursor changes intoa small cross. As we activated the option Dimension Line – Measure
below Object, the dimensioning should be made in a counterclockwise
direction. Place the mouse cursor at the left dimensioning point. Pressthe left mouse button and drag the mouse to the right dimensioning
point. Release the mouse button. If you press the Shift key whiledragging the mouse, you will restrain the dimensioning line in ahorizontal (or vertical) direction (see Figure 230b).
In the same way you can draw a vertical dimension line on the AND
gate. The dimensioning of the NEGATION symbol should also be simple
to accomplish, but it is important that for such small components you
zoom in enough to accurately position the lines.

Editing dimension lines
Dimension lines can be subsequently edited. You can select single
dimension lines which are displayed with four handles, located at theend of the dimension lines (Figure 231).

Figure 231: Editing dimension lines
With the upper handles you can (only) change the length of the guidelines. With the lower handles you can move the points that are being
dimensioned. If you select the dimension text, you can edit the font
type and size as well as changing the dimension units of the text.
If you only want to edit the text of the dimension, double-click on an
unselected dimension line to enter text edit mode.
All the changes that you make relate only to the selected dimension
line. They are stored and persistent, but do not afect the settings ofthe Dimension Line style. If you insert other dimension lines, they will
have the settings contained in the style.
If you want to make general setting changes to the Dimension Lines
style, change the appropriate style. As soon as you confrm thechanges with OK, the new settings will be applied to all dimension
lines.

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Working with text in Draw
You can use text in Draw in various ways:• as a text element• as text associated with a picture• as an element out of the Fontwork gallery• as a Writer OLE object

Confguring text elements with styles
Text, like all drawing objects, can be associated with styles. The text
settings in styles always afect the whole text element. You can format
individual parts of a text element, but only by using manual formatting,which does not relate at all to styles and templates. Styles forcharacters and paragraphs do not exist in Draw.
Open the Styles and Formatting dialog by pressing F11. Access theformatting dialogs using the toolbar icons, the context menu, or theFormat menu.
The Indents and Spacing, Text, Text efects, Tabs and Alignment tabs of
the style dialog function the same as in text documents, although some
options are not available in Draw. Specifc to drawing objects are thetabs Text and Text Animation.

Text animation
On the Text Animation tab, you can set how the text moves within theobject frame. Such efects are interesting mainly for documents thatare to be shown on the screen. They are therefore more commonlyused in the Impress module. For printed text they do not make any real
sense and are not dealt with further in this guide.

Text
On the Text tab, you can determine the behavior of the text block in
relation to the border of the drawing object. The same settings can bealtered—as manual formatting—under the Text... command in theFormat menu or in the context menu.
The type of drawing object determines which settings are active andwhat efect they have on the text. Shapes behave diferently to otherdrawing objects. To experiment with the settings, use objects withrounded edges so that diferences in spacing and alignment show up
better.
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Figure 232: Text tab of Graphic Styles dialog

Anchoring text
To try out the diferent settings possible for text anchors, start bydrawing an ellipse from the Basic Shapes toolbar, change into Text
edit mode by double-clicking on the ellipse and write several, not toolong lines of text. Repeat with an ellipse from the Circles and Ovals
toolbar (a classical drawing object).
In the Text tab of the Edit Style dialog,
set the values of the Spacing to Borders
to 0 cm for all four directions.

Set Options as Left in the tab Alignment.

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Now we can try out some of the diferent possibilities of text
anchoring.

Text anchored toleft middle – thetext block isplaced on the left
side and centeredvertically.

ShapesClassical drawing
objects“Left edge” here means
the edge of the text
frame whose left side
fts totally within thefgure.

“Left edge” here means
the left side of the object
frame – the frame withthe green handles which
is visible when you clickon the object.

The lower right cornerof the text block sits
against the edge of thefgure.

The lower right corner of
the text block lies in thelower right corner of the(invisible) object frame.

Text anchor tolower right.

The text anchoringalways relates tothe entire block,even when single
lines are setdiferently to theother text throughmanual formatting.

If you checked the option Full width, the text block is always centeredhorizontally. The area of the text block is as great as possible; here it
extends either to the edge of the fgure or object frame or (when notthat wide) the width that is necessary to ft the length of the longest
line. The diference becomes clear if you position the text on the left,
but you set single lines through hand formatting to be aligned on theright.
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OpenOfce.org 3.x Draw GuideIn the examples below, the frst line of text was shortened to “First linewith”, spacings were set to 0 and text anchor to middle left.
ShapesClassical drawing objects

Without option“Full width”

With option “Fullwidth”

Fitting text in frames
Here you fnd that shapes and classic Draw objects behave completely
diferently.
For shapes the options on the right are active.

Figure 233: Options active for shapes
These have the following efects.
Word wrap text in shape:

Chapter 10 Advanced Draw Techniques

No automatic hyphenation isavailable and you cannot insert
a fxed hyphen.
If the text does not ft in the
shape it hangs over or under theoutside of the shape.

203

Resize shape to ft text:

Watch out! If you turn on thisoption it is not possible to undo
the size changes – neither using
the Undo function on the menu
nor by switching of the option
in the dialog.

For the classic drawing objects, both lower left options in the dialog
are active.

These options have the following efects.
Fit to frame:

The text is widened andcompressed so that it flls out tothe object frames.

Adjust to contour:

All the text is contained within
the fgure. It is split over several
lines if necessary. Any text
which does not ft in the fgure
is not shown, but is stillretained.
Note that even if you haveactivated hyphenation, words
will be split without regard to
the hyphenation rules.

Distance from frame
Spacing settings are added to the text. In this way the text block isinvisibly reduced or (with negative values) made bigger.
In the examples below, the text (M) is centered horizontally and thetext block is anchored in the upper middle part of the frame.

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Value for
spacing “Above”

-2 cm

-1 cm

0 cm

1 cm

2 cm

3 cm

The behavior isthe same forclassic drawing
objects andshapes.

If you anchor the text above, below, right or left, a positive spacing
value positions the text in such a way that it sits close to the outside of
the object frame at the anchoring point. Anchoring in the middle does
not result in this movement.
It is easier to add text to a straight line if the line is created as a verythin rectangle. Choose an anchor point in the middle of the rectangle
and then determine the exact position of the text by setting the spacing
accordingly.
Text added to open line types such as Bézier curves (curves andfreehand lines), Polylines (polygon and polygon 45°), and Arcs is also
positioned in relation to the enclosing object frame. If you want to see
the extent of this frame, just click on the object. To add text along oneof these lines, you can use the Fontwork tool described on page 209.
Text added as described above is rotated when the object is rotated.
The property settings, particularly those dealing with spacing relative
to the frame, relate only to situations where the object is not rotated.

Text frames and callouts
To test the range of setting possibilities, use a text frame or a callout
with rounded corners. For text frames, as for rectangles, you can set
the rounding in the Position and Size dialog (Slant & Corner radius) orin Points mode. The latter makes sense only if you have a visible
outline. With callouts (as with text frames in Points mode), drag thelarger marker in the left upper corner with the mouse to give thedesired amount of rounding. An example of this is shown in Figure
234.

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Figure 234: Legend with rounded corners
Unlike drawing objects, text frames and callouts support automaticline breaks and you can switch on automatic hyphenation under Tools> Language > Hyphenation.
Non-breaking dashes and protected separators are however notavailable. For a manual line break use, as elsewhere, the key
combination Shift+Enter.
With the text and callout icons (and) you can create text
frames and callouts with vertical text. You need to activate Enhanced
language support > Enabled for Asian languages in Tools > Options> Language Settings > Languages. Text frames can be rotated likedrawing objects, but it is not possible to rotate callouts.
Text frames and callouts do not have a separate text element, but you
still use the Text dialog to set formatting properties. As soon as you
have input text, the upper three settings on the left side become active(Figure 235). The settings for Spacing to Borders and Text anchors in
the lower window area function in a similar manner to normal drawing
objects and are not dealt with further here.

Figure 235: Text options active for text frames andcallouts

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All options of

The text is broken at the object frame.
You do not see text that does not ft
within the object frame. It is stillavailable and if you enlarge the object
it will be visible.
As with normal drawing objects the
text positioning relates not to thefgure itself but to the object frame.
Observe that the text frame in theexample at left extends outside theellipse.

Fit width to text
The width of the text frame or callout
is enlarged so that the longest line
fts, without a line break, inside theobject frame.
A previously inserted manual line
break (here after the word “longer”)
remains in efect.

Fit height to text
The height of the text frame or callout
is enlarged so that all lines ft within
the height of the object frame.

Fit to frame
The text is widened or compressed so
it fts within the entire object frame.
This efect is the same as with normal
drawing objects.
With the symbols
andyou canproduce a text frame that has thisproperty already set.

Chapter 10 Advanced Draw Techniques207

Pictures and text
Pictures also possess a text element. You can use this text element toplace lettering over the picture or to give the picture a caption. To
format this text, proceed in the same way as for a normal rectangle.
Usually you produce text as a separate object and then group it withthe picture, because this gives you more fexibility.
Here are two examples showing what is technically possible with text
elements.
tab: Font, Comic Sans MS, Bold, 40pt
tab: Font Efect, color white, withshadows
tab: Alignment, Options Righttab: Text, Text anchor “upper right”
andSpacing to borders right 0.5 cm, top
0.5 cm, others 0.0 cm
tab: Font, Bitstream Vera Serif, 14pt
tab: Alignment, Options Left
tab: Text, Text anchor “lower left” andSpacing to borders bottom -1.3 cm
Note: the line break after the word“sea,” was inserted manually.

The construction of each example was carried out using a graphics
style. Right-click on the picture and choose Edit Style to open theGraphics Styles dialog (Figure 232). You may frst wish to choose adiferent style to edit for the picture, or create a new style for a special
purpose. For more about styles, see Chapter 4 (Changing Object
Attributes).
If you store the picture using File > Export, the text is exported alongwith the graphic. If you use the context menu option Save as graphic,
then the text is not exported.

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Fontwork Gallery
Click the icon
to open the Fontwork Gallery (Figure 236) which you
can use to insert an eye-catching caption to an image. Fontwork
drawing objects belong to the shape category. The Gallery contains a
selection of popular text forms.

Figure 236: The Fontwork Gallery
You are not limited to these samples; you can subsequently edit andcustomize the chosen caption type. Proceed as follows.
Choose a caption type from the Gallery
and click OK. The caption is theninserted into the middle of yourdocument.
Use the green handles to drag and resize
the caption.

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Double-click to enter text editing modeand replace the placeholder text
“Fontwork” with your own text.

Click outside the object or press the Esc
key to leave editing mode.
With the Area dialog from the Format
menu or the context menu, you can set
fll and shadow properties. Use the Linedialog to set a frame around the lettering.
For further adjustments use the
Fontwork toolbar. If this does not open
automatically turn it on with View >Toolbars > Fontwork.
The left symbol is already familiar. It
opens the Fontwork Gallery.
Use the small triangle on the symbol
to open the tearof Fontwork Shape
toolbar and choose the shape of theframe of your caption.

Use the yellow handle to modify the formof the caption.

With the other icons you can further
customize the text direction andspacings.

210

OpenOfce.org 3.x Draw GuideTo change the font type of the caption,use (as for other text) the dialog from theFormat > Character menu or thecontext menu.
If you want to give the text a 3D appearance, refer to the relevant
section in Chapter 7 (Working with 3D Objects).

Writer OLE object
In some cases, text frames are not fexible enough to meet your needs
and ofer too few possibilities for adjustment. For example, you may
want to show a fgure in Draw in exactly the form it was created inWriter. The best solution might be to insert an OLE object. This meansthat the object is linked or connected to the application that created it.
Draw makes available to other applications (only) one viewing window.
The object itself is not edited in Draw but in the other application.

InsertUse Insert > Object > OLE Object to open the dialog as shown in
Figure 237. Use the Create new option to embed the OLE object in
the Draw document. With the Create from fle option, you can choose
whether the object should be embedded or linked. With a linked fle
any change in the stored fle will be shown in Draw and vice versa: anychange you make in Draw will be stored in the fle on disk.
If you have decided to embed the object you can still create an
independent text document from the OLE object. For this use the Save
Copy as command from the context menu.

Figure 237: Inserting an OLE Object

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Editing mode
As soon as you click on OK, the object is created and opens in editing
mode. You can recognize this mode by the gray frame around theobject and the small black handles.
Take special note of the toolbars. These are no longer those of theDraw module but of the Writer module. You input your text and format
it almost the same as if you were in Writer itself. In particular you now
have available all the format styles from Writer.

Figure 238: Writer OLE
object in editing mode
With the handles of the gray frame you can determine which section of
the entire text document is visible. You should switch of the ruler view.

Figure 239: Editing in Writer as an OLE object
Click outside the object to leave editing mode. Double-click on theobject or use Edit > Object > Edit to change again into editing mode.
In an embedded Writer OLE object, you can connect to further “sub”
OLE objects. You cannot edit a linked Writer “sub” OLE object directlyin Draw; you must open it as a text document in Writer. This limitation
can be illustrated by the use of formulas. Such formulas are technically
OLE objects that belong to the Math module. To use mathematicalformulas inside fowing text, save the text in a separate text document
and insert it as a linked OLE object in Draw.

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Object mode
Click on an object to enter object mode, recognizable by the presenceof the green handles. In object mode you remain in the Draw module.
Possibly you noticed that in edit mode there is no Zoom. Set the size of
the OLE object on the Draw page in Object mode from the Position andSize dialog. In the left image of Figure 240 the object was inserted at
the original size, at right the size was reduced. If you change the size,
take care that the option Keep ratio is checked or else the object will
become distorted. Line and Area properties are not available for OLE
objects, nor is it possible to rotate objects as with text frames.

Figure 240: Zoom vs resizing of an OLE Writer object
OLE objects can be overlaid just like other drawing objects. In Figure
241 a drawing object from the basic shapes menu has been placed
behind the OLE object.

Figure 241: Draw object behindan OLE object
The page with the text document has the background property set totransparent. If you change the background color of the OLE object inEdit mode, it will also show in the Draw document.
The Format menu has the entries Area and Line grayed out because
they are not usable, but the menu entries Paragraph, Character, Text,
and Bullets and Numbering are all available. These relate not to thetext object which you are currently editing but rather to a text element
within the object, which you can open by pressing F2. (This is similar
to the way that pictures are linked with an OLE object.) The doubleChapter 10 Advanced Draw Techniques

213

click, which opens the text element in images, does not work here
because it puts you into the OLE object’s edit mode. Whether it makes
sense to use a text element within text like this is questionable!

Guide to Bézier curves
Bézier curves—what are they?
OpenOfce.org uses cubic Bézier curves. A curveis defned by means of a start point P0, an end
point P3, and two control points P1 und P2 (see thefgure at left). For points on the curve the terms
nodes or anchors are often used.
For the mathematical background of Bézier curves,see http://en.wikipedia.org/wiki/Bezier_curve.
Bézier curves are very useful for experimenting with the shape andform of curves. In point mode you can change the curve alignment by
dragging the points with the mouse. The curve leaves the start point P0
in the direction of the control point P1 and arrives at the end point P3
from the direction of the control point P2. These directions are shownin Draw by blue lines. The more distant a control is from its start orend point the smaller the curvature at that point. If a control point lies
directly on one of these points, it has no infuence on the curve.

Direct drawing of a Bézier curve
Open the Curve toolbar by clicking on
the small black triangle of thesymbol on the Drawing toolbar. Click on
the Curve iconchanges to. The mouse cursor.

Click on the start point of the curve andkeep the mouse button pressed (startand end points are shown here in thefgures as snap points).

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Drag the mouse to approximately the
position of your frst control point. It
does not matter if this is not exactly
right as you can move the control point
location later. If you hold the Shift key
down while dragging, the control point
will lie on a 45 degree grid.
Release the mouse button and move themouse to the position of the end point of
the curve. You can see that the line of
the curve follows the movement of themouse. Double-click at the end position.
Turn on point mode with thefrom the Draw toolbar.

icon

At the end of the curve you will see not
only the end point but also an associatedcontrol point, the round handle. Hoverthe mouse cursor over this point; thecursor shape changes to show that you
are in edit mode of a control point.
Now you can drag the control point to
its correct position, if necessary.

Point mode of the Bézier curve
After drawing a curve using theicon from the Draw toolbar or with
the Edit points command from the context menu, you can bring the
curve into a point mode from which you edit individual points on the
curve. Points on the curve are shown with a square handle; thecontrol points with a round handle. The starting point of a curve
appears somewhat larger than the other points. When you hover themouse over a curve point the mouse cursor changes to- over acontrol point it changes to. In point mode the toolbar Edit Points
should appear. If not, turn it on from View > Toolbars > Edit Points.

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You can switch on the option All control points in Bézier editor underTools > Options > OpenOfce.orgDraw > View. The default is tosee the control points and guide lines only when a point is marked byclicking the point. By holding the Shift key down as you mark, you canselect and mark several points at the same time. A marked point isshown a little darker.

Drawing a succession of Bézier curves
Several lines or Bézier curves can be linked together. The single parts
are referred to as segments. Technically such a succession of Bézier
curves and lines is known as a path.
Begin the drawing as with a simple Bézier curve. At the end position of
the frst segment, end not with a double-click but with one of thefollowing:• Click on the end point of the frst segment but do not keep themouse button pressed. In this way you produce a curve point
which is both a control point for the frst segment and a control
point for the second segment. This control point lies, however, on
the actual curve point and so does not infuence the direction of
the following curve segment. Move the mouse to the end positionof the second segment. This segment appears to be a straight line
but is in fact a Bézier curve. Either double-click to fnish the curveor repeat the above procedure to add successive segments.
or• Go back and click once on the end point of the frst segment andkeep the mouse button pressed. Now you can drag the initial
control point for the second segment into place, as describedabove. Release the mouse button at the desired position of thecontrol point and move the mouse to the end position of thesecond segment. The curve follows the line of movement of themouse.
You can either end the drawing here with a double-click or continue
and link in further segments.
To generate a closed curve, select the curve and click on the Close
Bézier iconon the Edit Points toolbar, or right-click and selectClose object from the context menu.

216

OpenOfce.org 3.x Draw GuideTransition points
For the transition from one segment to the next, there are threediferent types of points, each with its own properties.

Corner points
This is the only common point between two segments which areotherwise independent of each other. It is likely that the curve has akink at this point (depending on the angle of the tangents, the lines
from the corner point to each control point; see Figure 242).

Figure 242: Corner point

Smooth transition points
The tangent lines to the common point have the same angle and form astraight line. If you change the position of one of the control points theother also moves, so that the tangents remain in a straight line. This
also applies to the case where a Bézier curve meets a straight line: thetangent line lies on the straight line and cannot be moved sideways.

Figure 243: Smooth transition point

Symmetric transition points
In this case the tangents not only lie on a straight line but the distanceof the control points from the curve point is the same. The segments
have the same direction and the same curvature at the transition point.

Figure 244: Symmetric transition point

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Changing point types
When a point is selected, the Edit Points toolbar activates the threecorner point icons.

The circled icons are, from left to right, Corner point, Smoothtransition, and Symmetric transition. The latter two icons appear thesame but you can identify them by looking at the tooltip. At any time
only one of the three icons will be active. To change the type of point,
click on one of the other two icons.

Closing the curve
To close an open curve, use Close object from the context menu or the
Close Bézier iconfrom the Edit Points toolbar. A straight line isdrawn between the start and end points if these points are Corner
points.
If the start and end points are Smooth points or Symmetric points andthe control point does not lie directly on the curve point, it changes
position so it is in a straight line with the line segment and the closing
line will be a curve (see Figure 245 for a comparison).
To prevent this happening, change the curve point type before closing
to a corner point.

Figure 245: Close curve – start and end points are corner
points (left), smooth or symmetric points (right)

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OpenOfce.org 3.x Draw GuideTransformation between straight line and Bézier
curve
Transform a straight segment into a Bézier curve
Select the larger of the two handles at the ends of the straight line;
this will be the starting point of the curve. After a short time theConvert to curve iconon the Edit Points toolbar becomes active. It
starts in the “out” position. Click the icon to turn on the function. The
straight line is transformed into a Bézier curve. The type of thesegment end point remains as it was. Using this function you canconvert one side of a polygon or a part of a polyline into a Bézier curve.

Transform a Bézier curve into a straight segment
Select the larger of the two handles at the ends of the curve; this willbe the starting point of the straight segment. After a short time theConvert to curve iconon the Edit Points toolbar becomes active. It
starts in the “in” position. Click the icon to turn of the function. The
Bézier curve segment is transformed into a straight line. The type ofthe segment end point remains as it was. If all segments are straightlines, Draw converts the object to a polygon or a polyline.

Transform complete curves, polylines and polygons
Transform a polygon or a polyline into a curve
Select the whole polygon or polyline. The object does not need to be inpoint mode. Choose Convert to curve from the context menu or the
Modify menu. The points in the resulting curve are all of the type
Corner point and the control points lie on the curve segments. All thesegments thus appear as straight lines.

Transform a curve into a polygon or a polyline
Select the whole curve. Choose Convert to polygon from the context
menu or the Modify menu. The curve does not need to be in pointmode to do this. The individual segments are not replaced by straightlines. Instead additional points are generated on the curve so that theline of the polygon/polyline matches that of the curve as closely as
possible. These points are placed closer together as the curvature
increases.
Chapter 10 Advanced Draw Techniques219

beforeafter

Freehand lines
You can also produce a curved line from a Bézier curve using thefreehand line tool . This tool automatically inserts anchor points andcontrol points to render the curve as close as possible to the original
Bézier curve.
Place the mouse cursor at the beginning point and keep the mousebutton pressed until you reach the end of the curve. As soon as you
release the mouse button, the curve is complete.
Normal view

Point mode

Combining closed curves
If you draw a Bézier curve segment and, at the end point of thesegment, click and hold the mouse button, followed by a single press of
the Alt key, the curve is closed with a straight line and you are placedin Combining mode. You can now begin a second curve at an arbitrary
point. Ending the drawing with a double-click also closes this curve. If
you end it with an Alt-click as described above, you can draw further
curves. The curves that you have just drawn form a common object, aso-called Combination. You can use this (for example) to place holes in
flled curves.
If you want to bind two curves together into a Combination at somestage, select both curves and use Modify > Combine.
Even if you use a Combination, the individual curves are still available
as objects. You can use Modify > Split to convert the Combinationback to single objects.
You can create Combinations only from closed curves. Other objects,
such as rectangles or polygons, will be automatically transformed into
curves, and curves that are not closed will be closed with a straight
line.
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OpenOfce.org 3.x Draw GuideConnecting curves
To join curves together, select them and use Modify > Connect. A
connection is only possible with open curves. If you use this tool on
closed curves, they are frst opened and an additional end point
inserted at the starting point. A straight line is used to connect the
curves.
The behavior of connected curves cannot (at present) be modifed. It is
not obvious in advance how the transition properties of the connectedcurves are calculated, nor which end points will be connected. It istherefore a good idea to work on a copy and try out the efect withdiferent positions of the end points of the individual curves. To avoid
changes to a shape, frst set the property of the new connection point
to the type Corner point.

Adding comments to a drawing
Starting with OOo 3.2, Draw supports comments (formerly called
notes) similar to those in Writer and Calc.
Choose Insert > Comment from the menu bar. A small box containing
your initials appears in the upper left-hand corner of the Draw page,
with a larger text box beside it. Draw has automatically added yourname and the date at the bottom of this text box.

Type or paste your comment into the text box. You can optionally apply
some basic formatting to parts of the text by selecting it, right-clicking,and choosing from the pop-up menu. From this menu, you can alsodelete the current comment, all the comments from the same author,or all the comments in the document.

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You can move the small comment markers to anywhere you wish on the
page. Typically you might place it on or near an object you refer to in
the comment.
To show or hide the comment markers, choose View > Comments.
Select Tools > Options > User Data to confgure the name you want
to appear in the Author feld of the comment, or to change it.
If more than one person edits the document, each author is
automatically allocated a diferent background color.

Connecting and breaking lines
It is possible in Draw to join separate line elements into one line.
Select a number of lines and choose Modify > Connect. The lines areconverted to curves and adjacent end points are joined together. The
resulting shape is a polyline, not a closed shape.
To add text to the polyline, press F2 and type the text. To make aclosed shape from the polyline, right-click the polyline and choose
Close Object. You can add text and also change area properties andedit the object as with any polygon object. Note that you can only use
the Close Object command on connected lines, freehand lines andunflled curves.
If you select a shape and choose Modify > Break, this does notreverse the Connect process but simply converts the polygon into acollection of individual lines. Text added to the shape will be associatedwith one of the lines (often the last one). You cannot apply a fll to aclosed shape made up of lines resulting from the Break command.

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Index3

B

3D bodies 117
creating by body rotation 118
creating by extrusion 117
extrusion 117
ready-made objects 119
rotating 121
segments 128
settings 123
3D efects
geometry 125
illumination 134
material 140
shading 131
textures 137
3D efects dialog 123
3D scenes 119
combining objects 144
3D settings 123
3D settings for 3D shapes
3D color 143
depth 142
direction 142
illumination 143
surface 143
3D shapes
extrusion 120
rotating 123

back, send object to 170
background pages 162
Basic Shapes toolbar 120
Bézier curves 48, 205
linking 216
point mode 215
transition points 217
bitmap fll 68
bitmaps 64, 90, 96, 114, 137
black and white printing 114
borders, editing 57
breaking links 91
brightness 98
bring forward 39
bring to front 84

A
add points 51
aging flter 103
aligning objects 86
Alpha channel 106
ambient lighting 137
anchor point 205
anchoring text 201
AND gate 186
arcs 205
Area dialog 65, 99
area fll, editing 62
arranging objects 39
arrow styles, customizing 60
arrows 59
axis intersection point 122

Index

C
CAD (computer-aided design) 186
callouts 205, 206
camera feld 133
caption type 209
central projection 125
charcoal sketch 103, 104close Bézier 52
CMYK color model 165
color adjustments 98
Color bar 13
color depth 107
color fll 63
color inversion 101
color negative 101
color options 98
color palette 13, 165
color parameters 140
color picker dialog 166, 167
colors, number of 110
combining objects 81
combining objects in 3D scenes 144
comments, adding 221
connectors
adding text 181
adjusting text 183
defnition 176
drawing 178
Connectors toolbar 177
context menu 56
223

contoured image 109
rectangles 23
contrast 98
squares 24
controls layer 39stars 31
conversion 90, 109
straight lines 21
convert polygon to curve 219
symbols 30
convert straight line to Bézier curve 219 drawing to scale 156
convert to a contoured image 109
Drawing toolbar 13
convert to bitmap 114
duplicate 169, 173
convert to polygon 110, 219
dynamic gradients 76
corner points 217
dynamic size modifcation 40
cropping 100
Ecross-fading 170
Edit Points toolbar 49
curve toolbar 214
editing objects in a group 80
curved connectors 178
efects 54, 72, 169
curved text 184
efects menu 118
curves 48
embedding graphics 91
closing 218
exchange background page 164
combining closed curves 220
exporting as a raster graphic 95
connecting 221
exporting as a vector graphic 95
converting to 219
exporting graphics 94
customizing toolbars 18
exporting single objects 95
Dextrusion 117
delete points 51
eyedropper 105
delete unused backgrounds 164
F
Dimension Line style 196
felds 163
dimension lines
fle formats 94
editing 199
fll color, creating 65
placing 198
fll holes 111
dimensioning 196, 198
fll properties 62
display grid 150
fll, editing 62
distance camera parameter 133
flter toolbar 101
distorting an image 74
ft width and height 149
distributing space between objects 87
fat normal efect 130
dithering 108
fat shading 131
double-sided illumination 130
fip an object 73
Double-Sided tool 129
foating toolbar 16
dragging and dropping 93
fowchart (fow diagram) 175, 176
drawing
focal length 133
arcs 26
Fontwork dialog 183
arrows 23
Fontwork Gallery 121, 209banners 31
freehand line 220
block arrows 31
front, bring object to 170
callouts 31
circles 24
Gconnectors 28
Gallery 190
curves 26
Gamma value 98
ellipses 24
geometry - 3D efects 125
fowcharts 31
Glue Point Relative button 181
miscellaneous shapes 30
glue points 28
polygons 26
224

OpenOfce.org 3.x Draw Guide

editing 179
Glue Points toolbar 189
inserting 180
setting 189
Gouraud shading 132
gradient fll 63, 66
gradients 76
graphic flter toolbar 101
graphics mode 98
grayscale 109
grayscale printing 114
grid 16
grid points 150, 151
grid settings 151, 158
grouping objects 79
guide distance 196
guide overhang 196
guides 16
guiding lines 156

Hhalf adder 191
handles 36
hatching 64
hidden objects 38
horizontal distribution of objects 87
HSB color model 167
hyphenation 203, 206

Iillumination color 141
illumination of 3D objects 134
image 64
import flters 90
importing
Draw objects 93
Impress objects 93
scanned images 92
importing graphics 90
Insert Layer dialog 158
intersecting objects 82
invert colors 101
invert normals 130

Llayer, changing object's 161
layers 157, 163
light source 135
Line and Filling toolbar 12, 56
line connectors 178
Line dialog 99
Indexline distance 196
line pattern 67
line pattern, fll 64
line properties 58
line styles, customizing 60
lines, connecting and breaking 222lines, editing 57
linking 91
Load Slide Design dialog 164
logic circuit diagram 186

M
Master view 162
measure below object 196
merging objects 82
metafle 93, 96, 112
mindmaps 176
mirror copies 73
Modify Layer dialog 158
modifying raster object properties 97
mosaic 104
move points 50
move to front or back 84
multiple pages 161

N
Navigator 94
nesting groups 81
normals 129

O
object specifc efect 130
objects
adjusting size 39
arranging 39
dynamic movement 40
dynamic size modifcation 40
editing points 46
framing 38
hidden 38
moving 39
re-sizing 40, 44
rotating 42, 45
selecting 37
slanting 43
OLE objects
editing mode 212
inserting 211
object mode 213
Options bar 36
Options toolbar 15
225

organization charts 172, 176

Ppage backgrounds 162
page margins 9
Pages area 161, 162
pasting from the clipboard 92
path 216
Phong shading 131
Picture (editing) toolbar 97
pictures and text 208
point reduction 111
point types, changing 218
polygon 109, 110
polylines 205, 222
pop-art flter 103
Position and Size dialog 186
positioning objects 84
posterize flter 103
Print options with raster graphics 114
projection 138

R
raster graphics 90, 91, 137
reducing color depth 108
relief flter 104
remove noise 102
removing links to fles 91
renaming objects 97
RGB colors 98, 165
rotating 3D objects 121
rotating an object 42, 72
rotation angle of 3D bodies 128
rotation mode 54
rounding of 3D object 126
rulers 9

S
scale drawings 186
scaled depth of 3D object 127
segments of 3D bodies 128
selecting objects 37
selection mode 36, 37
send backward 39
send to back 85
set in circle (perspective) 75
set to circle (slant) 75
shading of 3D objects 131
shadow efect 99
shadows 65, 69
shadows of 3D objects 133
226

sharpen image 102
slanting text 183
Slide Design dialog 163
slides 161
smooth image 101smooth transition 49
smooth transition points 217
snap functions 16, 150
snap lines
defnition 152
editing 154
inserting using coordinates 154
inserting with mouse 153
snap points 152
snap range 152
snap to grid 150
snap to object frame 155
snap to object points 155
snap to page edge 154
solarization flter 102
spacing settings 204
spacing to borders 183
special efects 72
specular color 141
spherical normal efect 130
split curve 52
standard connectors 178
Standard toolbar 12
Status bar 10
straight connectors 178
styles 71
submenu display 16
subtracting objects 82
symbol library 191
symmetric transition 49
symmetric transition points 217

Ttangents 49
templates 164
text anchors 183, 201
text animation 200
text frames 203
text in drawings
addition to draw objects 33
dynamic frames 32
fxed frames 33
text styles 200
textures of 3D objects 137
threshold, apply 108
tile size 111
OpenOfce.org 3.x Draw Guidetolerance parameter 107
toolbars 12
basic shapes 30
block arrows 31
callouts 31
circles and ovals 26
connectors 28
curves 26
drawing 20
Edit Points 48, 49
fowcharts 31
lines and arrows 23
stars and banners 31
symbol shapes 30
text formatting 32transition points 217
transparency 70, 76, 97, 99, 105, 146

Index

U
ungrouping 79

Vvector graphics 7
vectorize 110, 113vertical distribution of objects 88
vertical text 206

Wwiring diagram 186
workplace 8
Writer OLE object 211

Zzoom 11
Zoom toolbar 149, 189
zoom value 148

227