Xara Tutorial—Transparency
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Table of Contents
1 Introduction ................................................................................................................. 3
2 General features of transparency ............................................................................. 4
2.1
Profiling ............................................................................................................ 12
3 Transparency shapes ................................................................................................ 15
3.1
Flat transparency ............................................................................................ 15
3.2
Linear graduated transparency ..................................................................... 16
3.3
Circular and elliptical transparency .............................................................. 17
3.4
Conical transparency ...................................................................................... 18
3.5
Diamond transparency................................................................................... 19
3.6
Three and four point transparency .............................................................. 20
3.7
Bitmap transparency ...................................................................................... 21
3.7.1
3.8
Custom transparency shapes (transparency masks) ........................ 24
Fractal transparency ....................................................................................... 27
4 Transparency types ................................................................................................... 30
4.1
Mix .................................................................................................................... 30
4.2
Stained glass ................................................................................................... 32
4.3
Bleach ............................................................................................................... 34
4.4
Contrast............................................................................................................ 36
4.5
Saturation ........................................................................................................ 38
4.6
Darken .............................................................................................................. 40
4.7
Lighten ............................................................................................................. 42
4.8
Brightness ........................................................................................................ 44
4.9
Luminosity ....................................................................................................... 46
4.10
Hue ................................................................................................................... 48
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4.11
Uses for transparency types .......................................................................... 50
5 Final comments ......................................................................................................... 51
1 Introduction
Transparency is a feature that Xara has supported since its inception under the Xara
name back in 1995 with CorelXara, and it has evolved very little since, owing to its complete
implementation, done right first time. Still to this day, no other comparable graphics
software can even approach the advanced feature set and slick implementation of Xara’s
transparency.
Quite simply, Xara is unrivalled in its use of real-time, direct action
transparency features.
This substantial tutorial discusses everything about Xara’s transparency features,
including some creative uses for them.
Note 1: This .docx document has been written in MS Word 2007 in Print Layout View,
and thus is printable. Furthermore, using the latest features of Xara, all images in the
document were pasted from Xara, and thus are Xara objects; simply double-clicking on
them will load them directly back into Xara for easier, interactive inspection.
Note 2: A document tree is available in Word to see the structure of the document and
make navigation easier:

In Word 2003 and below: go to View > Document Map.

In Word 2007: go to View tab > check Document Map checkbox in Show/Hide
palette.
Note 3: This document also contains cross-references to key parts of the document. For
example, Ctrl-clicking on text such as ‘Figure 2.1’ will cause the document to jump to the
relevant location. Sections and figures references take advantage of this feature.
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2 General features of transparency
Transparency can be applied to any kind of object in Xara, including shapes, lines,
groups (blends are treated as groups), and even bitmaps or photos.
It is very easy to apply any kind of transparency to an object in Xara: simply select an
object(s), select the Transparency tool, and do one of the following four things:
1. Click and drag on the object(s) to apply a linear transparency (Figure 2.1a);
2. Hold shift, then click and drag on the object to apply an elliptical transparency
(Figure 2.1b);
3. Move the transparency slider on the infobar to apply a flat transparency (Figure
2.1c);
4. Select a transparency shape from the drop-down list on the infobar to apply any
other transparency shape (Figure 2.1d).
Note 1: Since Xara 3.2, it is not possible to select an object (or replace a photo or fill)
that contains transparency by clicking (or drag-dropping) on a 100% transparent section of
that object. Those parts of the object are classed as ‘not-selectable’—intuitive, as they are
invisible—and Figure 2.2 can be double-clicked to load into Xara to demonstrate this.
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Figure 2.1. To apply any kind of transparency to objects in Xara, select them, then select the Transparency tool, and
either a: click and drag to apply a linear transparency; b: shift-click and drag to apply an elliptical transparency; c: move the
transparency slider on the Transparency tool infobar to apply a flat transparency; d: use the transparency shape dropdown menu to select and apply any of the many other transparency shapes.
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Figure 2.2. The blue-filled rectangular quickshape has an elliptical transparency fading from completely opaque to
completely transparent. The rectangle cannot be selected by clicking on the fully transparent section; only by clicking on a
visible section will the object select. In versions of Xara pre-3.2, fully transparent sections could be clicked on to select the
object.
Note 2: Related to Note 1, the drag-drop replacement of photos onto other transparent
photos, or drag-drop replacement of bitmap fills onto bitmap filled transparent objects,
only works if the objects are less than 50% transparent in version 3.2 of Xara and above.
Figure 2.3 demonstrates this and can be double-clicked to load into Xara for inspection. In
Figure 2.3a-i, there are two default Xara-photos on top of another photo. The left-most
Xara-photo has a 49% flat transparency, and the right-most one has a 50% flat
transparency. Double-click the image to load into Xara, open the Bitmap gallery (F11), and
drag the owl photo onto the part of left-most default Xara-photo which overlaps the photo
underneath; the Xara-photo will be exchanged for the owl photo. Now drag the owl photo
onto the part of the right-most Xara-photo which overlaps the photo underneath; the Xaraphoto will not be exchanged, and instead the photo underneath will. Because the rightmost Xara-photo is not less than 50% transparent, it is considered by the new rules in Xara
3.2 to be too transparent to be replaced, and is ignored; hence the photo underneath it is
replaced instead, as shown in Figure 2.3a-ii. Incidentally, performing these actions onto the
regions of the Xara-photos which are not overlapping the other photo underneath will
result in their replacement whether or not they are 50% or more transparent. (Just for
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completeness, shift-drag-dropping a photo onto another photo overrides the photo
replacement that would occur without shift held down, and instead, just drops the photo
onto the document.)
Similarly for bitmap fill replacement; in Figure 2.3b-i, there are two shapes filled with
the default Xara-photo on top of another object (with a flat colour fill). The left-most Xarabitmap filled object has a 49% flat transparency, and the right-most one has a 50% flat
transparency. Double-click the image to load into Xara, and from the Bitmap gallery, shiftdrag (hold shift while dragging) the owl photo onto the part of left-most Xara-bitmap-filled
object which overlaps the solid-colour-object underneath; the object’s Xara-bitmap fill will
change to the owl bitmap fill (incidentally: centred and scaled to fit the object, with the fill
tool now automatically selected for easy adjustments). Now shift-drag the owl photo onto
the part of the right-hand Xara-bitmap-filled object which overlaps the solid-colour-object
underneath; the object’s Xara-bitmap fill will not be replaced, and instead the solid-colourobject underneath will have its fill replaced with the owl bitmap, as shown in Figure 2.3b-ii.
As with replacing photos, performing these actions onto the regions of the Xara-bitmap
filled objects which are not overlapping the solid-colour-object underneath will result in
their fill replacement whether or not they are 50% or more transparent.
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Figure 2.3. Replacing either photos or the fills of bitmap filled shapes by (shift) dropping bitmaps from galleries onto
parts of semi-transparent objects that are overlapping other objects will only result in replacement if it is less than 50%
transparent (i.e. ‘mostly opaque’). Double-click the figure to open in Xara for inspection. In a-i: drag the owl photo from
the Bitmap gallery into the yellow-dotted region of each Xara-photo—the photo will replace for the left photo only as it is
less than 50% transparent; the photo replacement will occur for the underlying photo in the case of the right-most Xarabitmap, resulting in a-ii. In b-i: shift-drag the owl photo from the Bitmap gallery into the yellow region of each Xara-bitmap
filled shape—the fill will change for the left shape only as it is less than 50% transparent; the fill replacement will occur for
the underlying object in the case of the right-most Xara-bitmap filled shape, resulting in b-ii.
Note 3: As of version 3.2 of Xara, there is no specifically designed way to deal with the
transparency of lines and fills of closed shapes separately. There are some (slightly fiddly)
workarounds however to allow lines to be given different transparency values to fills, but
with some limitations.
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Default lines or brushes can only be given flat transparencies. If they are grouped
however to become a group-object, or if non-brush are given a non-constant pressure
profile, they can be given any kind of transparency shape (Figure 2.4).
Figure 2.4. Grouping a line or brush, or applying a non-constant pressure profile to a non-brush line can overcome
the limitation of only being able to apply a flat transparency, and allow any transparency shape can be applied. Nonconstant pressure profiles can be applied using a pressure sensitive input device, or by selecting a preset one from the
Freehand and Brush Tool infobar as shown.
If a linear transparency is applied to a shape, only the fill inherits the transparency, and
the line remains opaque. Even though lines can only inherit a flat transparency, it is
possible to alter the flat transparency of the line whilst having a linear graduated
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transparency on the fill. To do this, the object to have a flat transparency must first be
selected, then alter its value using the transparency slider on the infobar. Then, by selecting
linear transparency from the drop-down list of transparency shapes on the infobar, a linear
transparency can be applied to the fill, keeping the flat line transparency. The Transparency
type must be changed back to flat to make any subsequent changes to the line
transparency. This is shown in Figure 2.5.
Figure 2.5.
Lines can be given flat transparencies independently of the fill transparency by setting the flat
transparency of the whole shape first, then changing the transparency shape later.
Of course, grouping the object before applying at any stage in Figure 2.5 will enable any
shape of transparency to be applied—even if the object had a transparency before
grouping. Load Figure 2.5 into Xara by double-clicking it to experiment with this.
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Note 4: Introduced in Xara version 3.2 was the ability to alter the transparency (or fill)
handles on shapes by click-dragging on the arrow body itself or by shift-click-dragging on
the object with the appropriate tool selected.
For example, give an object a linear
transparency and then move the cursor over the transparency direction arrow away from
the end handles, then click and drag to move the whole transparency around on the shape.
Similarly, shift-click-dragging anywhere else on the object with the transparency tool
selected allows the transparency arrow to be dragged around. This is shown in Figure 2.6.
Figure 2.6. The fill or transparency arrow can be dragged around by selecting the Fill or Transparency tool and placing
the cursor over either the fill/transparency arrow, or shift-click-dragging on any part of the shape. This allows the
fill/transparency to be relocated without losing its direction. This works for any fill or transparency shape.
Note 5: When applying transparency to groups of objects (or blends) there is an option
in the General tab of the Options dialogue (Make groups be transparent as a whole) which
affects the type of behaviour that will occur. This setting was introduced in version 2.0, and
determines whether transparency is applied to the group as a whole single object (group
transparency), or in the old way of applying transparency to each object within the group
separately as though they were not grouped together. This is demonstrated in Figure 2.7.
This setting has particular uses when creating Flash animations (see Flash animation
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tutorial); group transparency is not supported by Flash and this option must be deselected
when applying transparency to groups of objects.
Figure 2.7. The Make groups be transparency as a whole setting in the General tab of the Options dialogue is used to
determine whether transparency is applied to groups (or blends) as a whole (known as group transparency) or to each
constituent object in a group separately as though they were not grouped. The default value for this setting is: on, to
allow group transparency.
2.1 Profiling
All transparency (or fill) shapes excluding three and four point transparencies can be
profiled. This means that the rate of change of the flow of the transparency between the
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control handles can be customised by two criteria: bias toward an end of the control
handle; and spread about the centre of the control handle.
When a qualifying transparency has been applied to an object, select the profile button
on the Transparency tool infobar to bring up the profile dialogue (Figure 2.8).
Figure 2.8. The transparency profile dialogue can be revealed by selecting an object with transparency, and pressing
the profile button on the Transparency tool infobar.
The main profiling controls consist of the two sliders located at the bottom of the
dialogue. The top slider controls the bias of the transparency fade between the ends of the
transparency arrow on the object: moving the slider to the left biases transparency towards
the head of the arrow; and to the right biases transparency toward the tail. This slider
essentially moves the point of mid-value of transparency, which will have effects on the
bottom slider. The bottom slider is used to bias the spread of transparency about the point
of mid-value of transparency and the ends of the arrow: moving the slider to the left
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reduces the spread of transparency about the mid-value point, causing an abrupt change in
transparency near the mid-value point and subtle change near the ends; moving the slider
to the right increases the transparency spread away from the mid-value point generating
more subtle changes in transparency at the mid-value point and more abrupt toward the
ends. The effects of these two sliders are highlighted in Figure 2.9.
Figure 2.9. The effects on the rate of change of transparency of each slider setting are shown. The top slider biases
the transparency to either end of the transparency arrow; the bottom slider focuses or spreads the transparency about the
point of mid-value of transparency.
In the top left of the profile dialogue, there is a drop-down box containing common
presets of slider values to choose from for quick profiling. The five available choices are
shown in Figure 2.9.
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3 Transparency shapes
Transparency can be applied to any object in Xara, including shapes, groups, blends, and
bitmaps (photos). There are eight distinct shapes of transparency that can be applied, and
each will be discussed in their relevant subsections.
Any transparency shape can be applied across many selected objects simultaneously,
simply by selecting the shapes, selecting the Transparency tool, and selecting the desired
transparency shape from the drop-down menu on the infobar. This is highlighted for a
conical transparency in Figure 3.1.
Figure 3.1. Any transparency shape can be applied across many selected objects.
Note: Holding combinations of shift and control while dragging transparency control
handles can add extra functionality to the manipulation.
3.1 Flat transparency
Flat transparency is transparency that is applied to all parts of an object equally. It is the
most basic form of transparency, which all software that supports transparency offers.
Applying a flat transparency is a simple task: simply click with the Transparency tool on the
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object to be given a transparency, and move the slider on the infobar as outlined in Figure
2.1c. Alternatively, select ‘Flat’ from the drop-down list of transparency shapes in the
Transparency tool infobar.
3.2 Linear graduated transparency
Xara was the first, and remains one of the few graphics software to offer true linear
graduated transparency without the need to implement transparency masks. This shape of
transparency consists of two control handles and thus can be affected by a transparency
profile as discussed in section 2.1. Applying a linear graduated transparency involves a
simple click and drag on an object with the Transparency tool, as outlined in Figure 2.1a.
Alternatively, select Linear from the drop-down list of transparency shapes in the
Transparency tool infobar.
The transparency value of each end of the transparency arrow can be changed by
clicking on the desired end, and altering the transparency slider on the infobar.
Linear transparencies support tiling; the tiling can be set using the infobar option shown
in Figure 3.2, and can be set to Simple or Repeating. The Simple setting fades between the
two transparency handles only, whereas Repeating mirrors and cycles the fade between the
handles and across the object.
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Figure 3.2. The transparency tiling of a linear transparency is altered using the highlighted drop-down menu on the
Transparency tool infobar. The Simple setting fades between the two handles of the transparency arrow; the Repeating
setting mirrors and cycles the fade.
3.3 Circular and elliptical transparency
Circular and elliptical transparencies are advanced transparency shapes that currently
very few graphics software supports; Xara has supported them since its inception. The
circular transparency shape consists of two control handles allowing for centre and radius
measure, and can be affected by a transparency profile as discussed in section 2.1. Applying
a circular (elliptical) graduated transparency involves a simple shift-click and drag on an
object with the Transparency tool, as outlined in Figure 2.1b. Alternatively, select Circular
or Elliptical from the drop-down list of transparency shapes in the Transparency tool
infobar. An elliptical transparency is an extension to a circular one, in that it has two radii
handles to determine the semi-major and semi-minor axes (longest and shortest radii
defining the ellipse).
The transparency value of each end of the transparency shape can be changed by
clicking on the desired end, and altering the transparency slider on the infobar.
Both circular and elliptical transparencies support tiling; the tiling can be set using the
infobar option shown in Figure 3.3, and can be set to Simple or Repeating. The Simple
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setting fades between the centre and end transparency handles only, whereas Repeating
mirrors and cycles the fade between the handles and across the object.
Figure 3.3. The transparency tiling of a circular or elliptical transparency is altered using the highlighted drop-down
menu on the Transparency tool infobar. The Simple setting fades between the two handles of the transparency arrow; the
Repeating setting mirrors and cycles the fade.
3.4 Conical transparency
Applying a conical transparency involves selecting an object to apply transparency to,
and selecting Conical from the drop-down list of transparency shapes in the Transparency
tool infobar.
Xara is one of the few, if not the only graphics software to support conical transparency.
Surprisingly, Flash 8 does not actually support this transparency shape, yet Xara has had it
for over 10 years. Figure 3.4 shows the conical transparency shape; transparency sweeps
around between two control handles producing a cone-like image, which can be
manipulated using the profile dialogue (discussed in section 2.1)
The transparency value of each end of the transparency shape can be changed by
clicking on the desired end, and altering the transparency slider on the infobar.
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Figure 3.4. The conical transparency shape: transparency fades by sweeping around from one transparency control
handle to the other.
3.5 Diamond transparency
Applying a diamond transparency involves selecting an object to apply transparency to,
and selecting Diamond from the drop-down list of transparency shapes in the Transparency
tool infobar.
The diamond transparency shape is similar to the elliptical one in that it has a centre
point and two length-handles to determine the length of the shortest and longest side of
the rectangular transparency, as shown in Figure 3.5. It can be affected by a transparency
profile as discussed in section 2.1.
The transparency value of each handle of the transparency shape can be changed by
clicking on the desired handle and altering the transparency slider on the infobar.
Diamond transparencies support tiling; the tiling can be set using the infobar option
shown in Figure 3.5, and can be set to Simple or Repeating. The Simple setting fades
between the centre and end transparency handles only, whereas Repeating mirrors and
cycles the fade between the handles and across the object.
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Figure 3.5. The transparency tiling of a diamond transparency is altered using the highlighted drop-down menu on
the Transparency tool infobar. The Simple setting fades between the centre and end handles of the transparency arrow;
the Repeating setting mirrors and cycles the fade.
3.6 Three and four point transparency
To apply a three or four point transparency, select an object to apply transparency to,
and select Three point or Four point from the drop-down list of transparency shapes in the
Transparency tool infobar.
The three and four point transparency shapes consist of several control handles which
can be located independently, and on which differing values of transparency can be applied.
The transparency fades between the handles to the values set at each, as shown in Figure
3.6. It cannot be affected by a transparency profile.
The transparency value of each handle of the transparency shape can be changed by
clicking on the desired handle and altering the transparency slider on the infobar.
Three and four point transparencies support tiling; the tiling can be set using the infobar
option shown in Figure 3.6, and can be set to Simple or Repeating. The Simple setting fades
between the centre and end transparency handles only, whereas Repeating mirrors and
cycles the fade between the handles and across the object.
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Figure 3.6. The transparency tiling of a three or four point transparency is altered using the highlighted drop-down
menu on the Transparency tool infobar. The Simple setting fades between the handles of the transparency arrows; the
Repeating setting mirrors and cycles the fade.
3.7 Bitmap transparency
Applying a bitmap transparency involves selecting an object to apply transparency to,
and selecting Bitmap from the drop-down list of transparency shapes in the Transparency
tool infobar. The bitmap transparency shape allows the transparency to appear on the
object in the pattern of any selected bitmap. The choice of bitmap can be selected or
changed in one of two ways: using the bitmap name drop-down menu on the Transparency
tool infobar (Figure 3.7a), or pressing the Transp button in the Bitmap gallery when the
desired bitmap is highlighted (Figure 3.7b).
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Figure 3.7. The bitmap used for a bitmap transparency can be changed by a: selecting the relevant bitmap from the
drop-down list on the Transparency tool infobar; or b: with the object selected, selecting the bitmap from the bitmap
gallery and pressing the Transp button.
Note: if the Transp button in the bitmap gallery is pressed when a bitmap is selected,
but no object in the document is selected, then that bitmap becomes the current
transparency attribute so that new shapes drawn will have a bitmap transparency with the
selected bitmap by default.
The bitmap transparency shape can be squashed, stretched, enlarged, reduced, or
skewed using the control handles, and, impressively, it can even be affected by a
transparency profile as discussed in section 2.1 for enhanced control and customisation. It
is one of the most powerful and versatile shapes of transparency, as it can be used in
conjunction with transparency masks to create an unlimited number of alternative
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transparency shapes, as discussed in section 3.7.1. The transparency value of each handle
of the bitmap transparency shape can be changed by clicking on the desired handle and
altering the transparency slider on the infobar.
Bitmap transparencies support three types of tiling; the tiling can be set using the
infobar option shown in Figure 3.8, and can be set to Single tile, Repeating tile, or Repeat
inverted. The Single tile setting applies the bitmap transparency as a single, non-repeating
bitmap on the object; Repeating tile repeats the bitmap pattern over the object, and Repeat
inverted mirror-repeats the bitmap pattern over the object.
Figure 3.8. The transparency tiling of a bitmap transparency is altered using the highlighted drop-down menu on the
Transparency tool infobar. The Single tile setting produces a transparency consisting of a single tile of the bitmap image;
the Repeating tile setting fills the object with transparent, repeating bitmap images; the Repeat inverted setting mirrorrepeats the transparency bitmap over the object.
The numerical resolution of the bitmap transparency can be set by selecting the
Transparency tool and clicking on the object away from the transparency control handles.
The dialogue box shown in Figure 3.9 allows values to be entered for precise dpi control.
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Figure 3.9. Clicking on the bitmap transparency away from the control handles with the Transparency tool will allow a
precise numerical bitmap resolution to be entered in the highlighted resolution box on the infobar.
3.7.1 Custom transparency shapes (transparency masks)
Bitmap fills can be used to generate any shape of transparency. In general, when using
the bitmap transparency, whiter regions of the bitmap generate greater levels of
transparency.
Thus, by creating a custom bitmap out of black and white shapes (a
transparency mask) it is possible to generate any effective, static transparency shape. The
process to create such a custom bitmap is outlined in this section.
The custom transparency should, in most circumstances, be designed with foresight
around the object that will acquire it. Firstly, create the object that will get the custom
transparency (Figure 3.10). Then make a copy of the object which will be used to generate
the mask so that it is the same size.
Decorate that copy in greyscale with whiter
representing more transparent.
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Figure 3.10. Firstly, generate an object that will receive the custom transparency, and then make a copy to produce a
shape that is the same size which will act as the transparency mask. Decorate that shape with black and white objects;
black should represent fully opaque; white fully transparent; shades of grey semi-transparent.
Next create a bitmap copy the transparency mask: select all objects and either right-click
and select Create Bitmap Copy… from the context sensitive menu; or press Ctrl+Shift+C.
This brings up the Create bitmap options dialogue. Select the desired bitmap quality
settings, and press the Create button in the dialogue to create the bitmap (holding shift
while clicking to have the bitmap be created exactly on top of the objects it was made
from).
All that remains now is for the bitmap just created to be set as a bitmap transparency on
the original object.
Note: There are three techniques to ensure the bitmap aspect ratio and size are set to
the same dimensions as the object receiving the bitmap transparency.
a) Apply the transparency by using the Bitmap gallery and Transp button as discussed
in Figure 3.7b. The bitmap is applied with the correct aspect ratio.
b) If the bitmap is applied using the Bitmap name drop-down menu on the
Transparency tool infobar, as shown in Figure 3.7a, the aspect ratio will be incorrect.
To manually correct, turn on magnetic snapping, and move the transparency control
handles to the edges of the object (holding shift to change the aspect ratio when
required). The handles will snap to the edges allowing quick alignment. This is
shown in Figure 3.11.
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c) Apply an elliptical transparency to the object first using the drop-down menu of
transparency shapes on the Transparency tool infobar—this sets the transparency
aspect ratio. Then change to the bitmap transparency and select the correct bitmap.
Figure 3.11. Image showing the procedure to manually set aspect ratio using magnetic snapping.
The final result of the bitmap transparency is shown in Figure 3.12. It can be profiled for
further customisation.
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Note: It is useful to keep the original objects used to create the transparency mask in a
separate layer in case edits are needed later.
Figure 3.12. The completed custom transparency; the two right-most images show the transparency with other
profile settings.
3.8 Fractal transparency
The fractal transparencies are special forms of bitmap transparency. They are randomly
generated patterns used to produce naturalistic effects. There are two types of fractal
transparency: clouds and plasma.
To apply a fractal transparency, select an object to apply transparency to, and select
Fractal clouds or Fractal plasma from the drop-down list of transparency shapes in the
Transparency tool infobar.
The fractal transparency shapes can be squashed, stretched, enlarged, reduced, or
skewed using the control handles, and it can even be affected by a transparency profile as
discussed in section 2.1 for enhanced control and customisation. The transparency value of
each handle of the fractal transparency shapes can be changed by clicking on the desired
handle and altering the transparency slider on the infobar.
Fractal transparencies support three types of tiling; the tiling can be set using the
infobar option shown in Figure 3.13, and can be set to Single tile, Repeating tile, or Repeat
inverted. The Single tile setting applies the fractal transparency as a single, non-repeating
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bitmap on the object; Repeating tile repeats the fractal pattern over the object, and Repeat
inverted mirror-repeats the fractal pattern over the object.
Figure 3.13. The transparency tiling of a fractal transparency is altered using the highlighted drop-down menu on the
Transparency tool infobar. The Single tile setting produces a transparency consisting of a single tile of the fractal image;
the Repeating tile setting fills the object with transparent, repeating fractal images; the Repeat inverted setting mirrorrepeats the transparency fractal over the object.
The numerical resolution of the fractal transparency can be set by selecting the
Transparency tool and clicking on the object away from the transparency control handles.
The dialogue box shown in Figure 3.14 allows values to be entered for precise dpi control.
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Figure 3.14. Clicking on the fractal transparency with the Transparency tool away from the control handles will allow
a precise numerical fractal resolution to be entered in the highlighted resolution box on the infobar.
The Fractal graininess of fractal clouds, and Fractal scale of fractal plasma
transparencies can also be altered in the same way, by clicking on the object away from the
transparency control handles with the Transparency tool, and altering the value of the slider
shown in Figure 3.15.
Figure 3.15. Clicking on the fractal transparency with the Transparency tool away from the control handles will allow
the Fractal graininess or Fractal scale of fractal clouds and fractal plasma transparencies respectively to be changed using
the infobar slider.
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4 Transparency types
Transparency types deal with how colour changes occur beneath transparent objects.
The default transparency type applied when transparency is first given to an object is the
Mix transparency type, but there are 9 other unique types of transparency that are
seemingly not as well known in Xara, and can be used to produce some tremendously
powerful effects with the minimum of effort.
Each subsection will discuss the ten
transparency types available giving examples of what effect it has, and what effects it is
good for.
Note 1: Regarding the typical use of different transparency types: Objects with non-Mix
transparency are usually overlaid on top of others to simulate the use of a filter using only
vector objects. One extremely powerful feature of Xara is its ability to overlay as many
transparent shapes—with differing transparency types—as are necessary to achieve an
effect. Section 4.11 highlights some good examples of this.
Note 2: For reference, the relationships between the transparency types are as follows:

Mix, Contrast, Saturation, Luminosity, and Hue are unique

Stained glass is analogous but not identical to a combination of Darken and Mix

Darken is the greyscale version of Stained glass

Bleach is analogous but not identical to a combination of Lighten and Mix

Lighten is the greyscale version of Bleach

Brightness is a combination of the Lighten and Darken scales.
4.1 Mix
The Mix transparency type, shown in Figure 4.1, is the most common type of
transparency and is the default type set when a transparency shape is initially selected. The
colours of the object being made transparent mix equally with the colours of any objects (or
the page background) underneath to produce a new displayed colour. The amount of the
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original colour of the object is determined by the transparency value—greater transparency
values involve less of the original colour.
Figure 4.1. The Mix transparency combines the colours of the object receiving transparency and those of the
underlying objects to produce a resultant colour. The value of transparency determines how much of the original image’s
colours are retained.
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4.2 Stained glass
The Stained glass transparency type, shown in Figure 4.2, simulates ‘stained glass’ or
darkening effects, is the subtractive converse of the additive Bleach transparency setting,
and is analogous (but not identical) to the combination of the Mix and Darken transparency
types. Colours of underlying objects are darkened toward saturated colour by the colours
of the objects receiving the transparency. Blacker colours promote greater darkening of
underlying colours; white thus causes no change in the underlying colours, and black will
cause complete blackening of original colours.
Specifically, the Stained glass transparency type is subtractive in RGB colour space. This
means primary colours subtract intensity from other different primary colours; that is, for
example, pure red subtracts from pure blue and green but not pure red to leave pure black.
The transparency slider determines how much of the underlying colours is mixed into
the final colour—higher transparency values incorporate more of the underlying colours.
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Figure 4.2. The Stained glass transparency type darkens colours towards saturated colour; the blacker the colour of
the transparency object, the darker the colours of the underlying objects become. White causes no darkening; black
causes maximum darkening. Specifically, colours become subtractive in RGB colour space, meaning primary colours
subtract their intensity from each other. The transparency slider determines how much of the underlying colours is mixed
into the final colour—higher transparency values incorporate more of the underlying colours.
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4.3 Bleach
The Bleach transparency type, shown in Figure 4.3, simulates ‘bleaching’ or whitening
effects, is the additive converse of the subtractive Stained glass transparency setting, and is
analogous (but not identical) to the combination of the Mix and Lighten transparency types.
Colours of underlying objects are lightened toward unsaturated colour by the colours of the
objects receiving the transparency.
Whiter colours promote greater lightening of
underlying colours; black thus causes no change in the underlying colours, and white will
cause complete whitening of original colours.
Specifically, the Bleach transparency type is additive in RGB colour space. This means
the primary colours add together with other different primary colours; that is, for example,
pure red adds to pure blue and green to produce magenta and cyan respectively. All three
primary colours sum to give white.
The transparency slider determines how much of the underlying colours is mixed into
the final colour—higher transparency values incorporate more of the underlying colours.
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Figure 4.3. The Bleach transparency type lightens colours towards unsaturated colour; the whiter the colour of the
transparency object, the lighter the colours of the underlying objects become. Black causes no lightening; white causes
maximum lightening. Specifically, colours become additive in RGB colour space, meaning primary colours combine. The
transparency slider determines how much of the underlying colours is mixed into the final colour—higher transparency
values incorporate more of the underlying colours.
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4.4 Contrast
The Contrast transparency type, shown in Figure 4.4, alters the colour contrast of the
underlying objects. The resultant colour after transparency is applied, is determined by
using the equivalent greyscale value of the colours of the transparency objects to determine
the resulting contrast of the underlying objects. The original hues of the transparency
objects are not relevant. Equivalent greyscale values less than 50% black (whiter) promote
a compression in the range of displayed colours of the underlying objects (i.e. increase their
colour distinction); equivalent greyscale values greater than 50% black (blacker) shift the
colours toward grey (50% black) making them similar in colour.
White thus causes
maximum contrast, and black will cause minimum contrast (an all-grey image).
The
transparency slider determines how much of the underlying colours is mixed into the final
colour—higher transparency values incorporate more of the underlying colours.
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Figure 4.4. The Contrast transparency type takes the greyscale of the transparency object colours and uses them to
alter the colour contrast of the objects underneath; whiter values on the transparency object will boost the colour contrast
of the objects underneath, compressing the colour range, and blacker values will reduce their contrast, tending them
toward grey (50% black). The transparency slider determines how much of the underlying colours is mixed into the final
colour—higher transparency values incorporate more of the underlying colours.
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4.5 Saturation
The Saturation transparency type, shown in Figure 4.5, alters the colour saturation of
the underlying objects. The resultant colour after transparency is applied, is determined by
using the equivalent greyscale value of the colours of the transparency objects to determine
the resulting saturation of the underlying objects. The original hues of the transparency
objects are not relevant. Equivalent greyscale values less than 50% black (whiter) promote
the colours of the underlying objects to shift toward pure colour (i.e. toward the top left of
the HSV colour swatch in the colour editor, resulting in more vibrant colours); equivalent
greyscale values greater than 50% black (blacker) shift the colours toward black, generating
a more greyscale image. White thus causes maximum colour saturation, and black will
cause minimum colour saturation (grey-scale). The transparency slider determines how
much of the underlying colours is mixed into the final colour—higher transparency values
incorporate more of the underlying colours.
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Figure 4.5. The Saturation transparency type takes the greyscale of the transparency object colours and uses them to
alter the colour saturation of the objects underneath; whiter values on the transparency object will boost the colour
saturation of the objects underneath toward pure colour, making them more vibrant, and blacker values will reduce their
saturation, making them more greyscale. The transparency slider determines how much of the underlying colours is mixed
into the final colour—higher transparency values incorporate more of the underlying colours.
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4.6 Darken
The Darken transparency type, shown in Figure 4.6, is the greyscale equivalent of the
Stained glass transparency type, and alters the colour darkness of the underlying objects.
The resultant colour after transparency is applied, is determined by mixing the black value
of the equivalent greyscale value of the colours of the transparency objects, with the
colours of the underlying objects. Thus the original hues of the transparency objects are
not relevant. White thus causes no darkening, and black will cause maximum darkening
(all-black). The transparency value determines the overall magnitude of darkening, i.e. how
much of the underlying colours is mixed to produce the final colour—higher transparency
values incorporate more of the underlying colours.
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Figure 4.6. The Darken transparency type takes the greyscale of the transparency object colours and mixes the
blacker values with those of the underlying colours. The transparency value determines the overall magnitude of
darkening, i.e. how much of the underlying colours is mixed to produce the final colour—higher transparency values
incorporate more of the underlying colours.
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4.7 Lighten
The Lighten transparency type, shown in Figure 4.7, is the greyscale equivalent of the
Bleach transparency type, and alters the colour lightness of the underlying objects. The
resultant colour after transparency is applied, is determined by mixing the white value of
the equivalent greyscale value of the colours of the transparency objects, with the colours
of the underlying objects. Thus the original hues of the transparency objects are not
relevant. Black thus causes no lightening, and white will cause maximum lightening (allwhite). The transparency value determines the overall magnitude of whitening, i.e. how
much of the underlying colours is mixed to produce the final colour—higher transparency
values incorporate more of the underlying colours.
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Figure 4.7. The Lighten transparency type takes the greyscale of the transparency object colours and mixes the
whiter values with those of the underlying colours.
The transparency value determines the overall magnitude of
whitening, i.e. how much of the underlying colours is mixed to produce the final colour—higher transparency values
incorporate more of the underlying colours.
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4.8 Brightness
The Brightness transparency type, shown in Figure 4.8, effectively combines the effects
of the Lighten and Darken transparency types, and alters the colour brightness (whiteness
or blackness) of the underlying objects. The resultant colour after transparency is applied,
is determined by mixing the equivalent greyscale value of the colours of the transparency
objects, with the colours of the underlying objects. Thus the original colours, or hue, of the
transparency objects are not relevant. Whiter colours cause maximum whitening, and
blacker colours cause maximum darkening. The transparency value determines the overall
magnitude of brightness change, i.e. how much of the underlying colours is mixed to
produce the final colour—higher transparency values incorporate more of the underlying
colours.
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Figure 4.8. The Brightness transparency type takes the greyscale colours of the transparency object colours and mixes
them with those of the underlying colours. The transparency value determines the overall magnitude of brightness
change, i.e. how much of the underlying colours is mixed to produce the final colour—higher transparency values
incorporate more of the underlying colours.
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4.9 Luminosity
The Luminosity transparency type, shown in Figure 4.9, alters the colour luminosity (also
known as Value in HSV colour space) of the underlying objects. The resultant colour after
transparency is applied, is determined by using the equivalent greyscale value of the colours
of the transparency objects to determine the resulting luminosity change of the underlying
objects. The original hues of the transparency objects are not relevant. Whiter greyscale
values promote increasing luminosity toward general saturated colour, blacker values
promote decreasing luminosity toward complete blackness. White thus causes maximum
luminosity increase and saturated colours, and black will cause maximum decrease (an allblack image). The transparency slider determines how much of the underlying colours is
mixed into the final colour—higher transparency values incorporate more of the underlying
colours.
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Figure 4.9. The Luminosity transparency type uses the greyscale colours of the transparency object colours to alter
the luminosity (value) of the underlying colours. Whiter values increase luminosity producing general colour saturation;
darker values decrease luminosity, causing colours to tend toward blackness. The transparency slider determines how
much of the underlying colours is mixed into the final colour—higher transparency values incorporate more of the
underlying colours.
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4.10 Hue
The Hue transparency type, shown in Figure 4.10, is used to alter the hue (colour) of the
objects underneath the transparency object. Only the hue value of the transparency object
colour affects the colours of the objects underneath; white, black, grey or shades of hues
have no effect on the result.
The transparency slider determines how much of the
underlying colours is mixed into the final colour—higher transparency values incorporate
more of the underlying colours.
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Figure 4.10. The Hue transparency type allows the colour of the underlying objects to be changed based on the hue
value of the transparency object. Greyscale and shades of hues have no effect on the result. The transparency slider
determines how much of the underlying colours is mixed into the final colour—higher transparency values incorporate
more of the underlying colours.
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4.11 Uses for transparency types
The different transparency types can often be used as colour changing filters. By placing
an object over another and giving it the desired transparency, many different effects can be
produced; many objects with different transparency types can be overlaid, combining their
transparency effects. Examples of such filters include: performing functions that the Live
Effects tool Enhance plug-in performs—such as altering colour depth, contrast and
brightness, but without the result becoming a fixed resolution bitmap. Generating special
colouring effects such as sepia tones (Figure 4.11), and colour casting through glass using
the Stained glass transparency type are also an additional possibilities. It is possible to even
use transparency to alter the hues of a bitmap—something pixel editing programs are used
for.
Figure 4.11. Sepia effects can be made using just three transparent shapes which combine different transparency
types.
Transparency types can be applied to any bitmap or vector object, and will alter the
colours of any underlying bitmap or vector object. Finding creative uses in combining the
different transparency types can result in some imaginative effects.
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5 Final comments
Xara’s implementation of transparency is, and has always been exceptionally advanced
and well ahead of the competition. In particular, in terms of versatility, it is unique amongst
graphics software. Combining the effects produced by the large range of transparency
shape and type primitives can achieve an enormous number of effects.
Xhris
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