EazyDraw Manual

©2016 EazyDraw, a Dekorra Optics, LLC enterprise. All rights reserved.
®EazyDraw is a trademark of Dekorra

Optics, LLC, registered in the U.S. . Mac and macOS logo are trademarks of Apple Computer, Inc. registered
in the U.S. and other countries. Dekorra Optics, LLC is an authorized licensee of Mac and the Mac Logo.
Copyright © 2016 Dekorra Optics, LLC
All rights reserved. No part of the publication may be reproduced or used
in any form by any means, without the prior written permission of Dekorra
Optics, LLC. This information contained in this publication is believed to be
accurate and reliable. However, Dekorra Optics, LLC makes no
representation or warrantees with respect to the program material
described within and specifically disclaims any implied warrantees of
merchantability or fitness for any particular purpose. Further Dekorra
Optics, reserves the right to revise the program material and make changes
therein from time to time without obligation to notify the purchaser of the
revisions or changes. In no event shall Dekorra Optics, LLC be liable for any
incidental, indirect, special or consequential damages arising out of the
purchaser’s use of the program material.
ii
Credits
Author: David R. Mattson
Artwork & Illustrations: Bryce W. Kitson
Publisher:
Dekorra Optics, LLC
N5040 Beach Garden Road
Poynette, WI 53955
U.S.
Manufactured in the United States of America.
This manual created and designed entirely with EazyDraw.

Production included all text entry, spell checking, page layout,
graphics integration, and electronic pdf pre-press production.
iii
All terms mentioned in the book that are known to be trademarks or service
marks have been appropriately capitalized. Dekorra optics, LLC cannot
attest to the accuracy of the information. Use of a term in this book should
not be regarded as affecting the validity of any trademark or service mark.
EazyDraw and the EazyDraw logo are registered trademarks of Dekorra

Optics, LLC.
Mac, the Mac logo, iCloud and iCloud logo, 64 bit logo, and Grand Central
logo are trademarks of Apple Computer, Inc., registered in the U.S. and
other countries.
© Copyright 2016 The manual cover illustrations (front: EazyDraw 3D ED

and back: QR Code) All rights reserved.
This manual created and designed entirely with EazyDraw. Production

included all text entry, spell checking, page layout, graphics integration,
and electronic pdf pre-press production. Features used heavily were: link
text boxes, flow around graphics, spell checking, find and replace, tabs
with leaders, auto numerate.
Final assembly and publication was performed as a single drawing file,

approximately 400 pages long. Work was performed on a iMac Retina 4
GHz Intel Core i7 with 32GB memory running macOS Sierra. No CPU
response issues were noted even with autosave - Resume saving active.
Drawing word count, as reported by EazyDraw’s spelling and grammar
palette was 125,467. A full document spell check was instantaneous.
iv
Chapter 01 Welcome To EazyDraw
Getting Started 1
What is EazyDraw 1
Capabilities 2
Applications 2
64 Bit Multiprocessing 3
Graphic File Formats 3
User Interface 4
Chapter 02 Installing EazyDraw

Drag and Drop Install 7
Preferences File 8
Resetting Preferences 8
Color Files 9
Toolbar Support Files 9
Application Support Files 9
Application Bundle 10
Entering License 11
Uninstall Checklist 12
Chapter 03 Working With Files

Launching EazyDraw 14
Open At Launch 15
Palettes At Launch 16
Creating a New Drawing 16
New Drawings 17
Saving Drawings 18
Save 18
Save As 19
Duplicate 19
Rename 19
Duplicate 19
Move To 19
Versions 19
File Formats 20
Bundle Format 22
Summary, File Formats 23
Archival of Drawing Files 23
v
Changing Saved File Format 23
Reverse Compatible 24
Registered File Types 24
iCloud 25
Opening Drawings 27
Import 27
Open Recent 28
Preview Quick Look & Cover Flow 28
Note On File Size 28
Quick Look 29
Properties and File Size 30
Chapter 04 Other Graphic File Formats

Opening Other Graphic Files 32
EazyDraw Retro 32
MacDraw (II, Pro) Claris Draw 32
AppleWorks 32
PICT 32
Working With PDF 33
Filling Out PDF Forms 33
Edit Or Ungroup PDF and EPS 34
Do Not Unnecessarily Ungroup PDF 34
PDF Fonts, Text and Typesetting 34
Font Mapping 35
Working With SVG 35
Comparing SVG and PDF 35
Opening SVG 36
Working With DXF 36
DXF Analysis Panel 37
Working With Bitmaps 38
Interaction Level 38
Caution on File Size 39
Down Sample 39
Clear Color 39
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Chapter 05 Exporting Graphics
Export Introduction 42
Prepress 42
Web Graphics 43
Icon Support 43
Legacy Formats 43
Seamless with other Apps 44
Export Content 44
Background 44
No Background 45
Tag Image File Format (TIFF) 46
Dual Representation 47
Portable Document Format (PDF) 48
Save As PDF 48
Encapsulated PostScript (EPS) 48
PSFRAG 50
DXF Format 50
Joint Photographic Expert Group Format (JPG) 51
Graphic Interchange Format (GIF) 53
Color Table 54
Portable Network Graphic (PNG) 55
Windows Bitmap (BMP) 56
ICO, Windows Icons and Favicon 57
Favicon Cookbook Instructions 59
SVG 61
Keynote 62
CSV 63
Copy Paste Order 64
Chapter 06 The Drawing Window

Drawing Window Components 68
Active Drawing Area 71
Pages 72
Drawing Setup Sequence 73
Page Setup 73
Printer 73
Electronic Publish 74
Paper Size 74
vii
Scaling 75
Margins 75
Page Layout 76
Drawing Background 77
Drawing Size 77
Zoom And Drawing Size on Screen 77
Zoom With “i” and “o” 77
Zoom Tool Palette 78
Zoom With Number Keys 79
Zoom Window Menu 79
Toolbar 79
Customize Toolbar 80
Color Picker 81
Gradient Fill 82
Pattern 84
Texture 85
Attributes Mini Toolbars 87
Contextual Toolbars 87
Drawing Rulers 88
Ruler Font, Font Size, and Style 89
Tick Mark Intervals 89
Ruler Style 89
Graphic Details 90
Decimal Precision 92
Graphic Index 97
Group Index 98
Layer Information 98
Graphic Details Text 99
Text Size Details 99
Text Font 100
Text Style Details 101
Text Character Details 103
Layers 104
Layers Table 106
Layers Visibility 108
Color Modification 108
Color Space 110
viii
Chapter 07 Measurements
Scale and Units Introduction 112
Cautionary Note 113
Scale Palette 113
Scale Design 115
Scaling Instructions 116
Drawing Units 118
Drawing Reference Origin 118
Axes Direction 118
Multiple Scales 118
Archive Precision 120
Dimensions 121
Datum Tab 122
Position Tab 124
Style Tab 124
Attach Tab 125
Comment and Report Dimensions 125
Area Dimensions 126
Grids Snapping & Guidelines 127
Major Grid 128
Minor Grid 129
Snapping - Grids 130
Snapping - Vertices 131
Snapping - Guidelines 131
Cloaking 132
Snap Persistence and Scope 133
Align To Grid 133
Measuring Tape Tool 135
Palette Units 136
Fine Scale Palette 138
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Chapter 08 Drawing Tools
Tool Usage 142
Bounding Rectangle Graphics 143
N-Sided Graphics 144
Angle Defined Graphics 145
Multi-Segment Graphics 146
Numeric Entry and Readout 149
Freehand Tools 151
User Tools 152
Selecting Graphics 156
Arrow Tool 157
Touch or Enclose 158
Node Edit (white arrow) 158
Selection Tool Palette 159
Move, Resize and Edit 161
Move Image 162
Editing Bezier Curves 163
Primary Editing Tools 165
Tape Tool 165
Moving With the Hand Tool 166
Rotate Tool 167
Knife Tool 168
Insert Tool 170
Quick Keys 171
Chapter 09 Graphic Shapes

Tool Palettes 174
Toolbar Variants 174
Convert Menu 175
Smooth, Shape, Round 178
Rectangular Shapes 179
Uniform Resize 179
Graphic Details 180
Rotated Rectangular Shapes 182
Rotate Handle 183
Numeric Specification 183
x
Star Like Shapes 184
Resize Constraints 185
Numeric Entry 185
Arc and Pie Shapes 186
Radius Adjust 187
Spiral 188
Text Box 190
Editing Mode 190
Chapter 10 Technical Tools

Technical Tool Palette 194
Orthogonal Paths 196
Tab Entry 196
Connectors 197
Connector Palette 198
Range Specification 198
Steps 199
Corner 199
Auto Lines and Auto Connectors 200
Length Dimensioning Tools 201
Dimension Style 203
Hide Dimensions 204
Set Scale Before Dimensioning 204
Comment Dimensions 205
Report 205
Center and Diameter 205
Angle 206
Walls, Ribbons, Windows & Doors 207
Joints 210
Wall Parameter Palette 210
Geometry 211
Ends 213
Slots, Keys, and Notches 214
Graphing Tools 215
Tick Marks 215
Label Sequence 216
Grid Tool 217
xi
Chapter 11 Working With Text
Text Box 220
Text Stamps 221
Page Stamp 221
Time Stamp 222
Time Stamp Format 222
Annotations 224
Enter 225
Font 225
Text Color 226
Layout 226
Orientation 227
Display 228
Fonts 229
Collections 230
Font Book 230
Characters 231
Greek Characters & Math Symbols 231
Text Effects 232
Text Color, Text Box Color 233
Superscript & Subscript 234
Typesetting 234
Stylize Text 237
Outline Text 239
Electronic Prepress Preparation 240
Rotating Text 240
As Annotation 232
Free Transform 241
Tabs 241
Tab Stops 241
Alignment 242
Leaders 242
Spell Checking 243
Find Replace 247
Speech 249
Linking Text Boxes 250
Flowing Text 252
xii
Insert Text 252
Centered Text 253
Paragraph Submenu 253
Chapter 12 Groups
Group Characteristics 256
Graphic Details 257
Group Edit 258
Free 259
Rigid 259
Fixed 259
Solid 259
Interaction 260
Edit 261
Scale 261
Free Transform 261
Uniform Scale 261
Freeze 262
Shear, Rotate, Skew 262
Distortion Matrix 263
Distort Submenu 265
Join 266
Winding Rule 267
Weld 268
Crop 269
Frame 270
Blends 271
Chapter 13 Parameter Palettes

Palette Controls 276
Palette Values 277
Window Shade Control 278
Main Window Shade Menu 279
Mini Form 279
Hide Default Buttons 280
Library Properties Button 280
Typical Application 281
Mini Palettes 281
Contextual Menu 282
xiii
Drag and Drop Labels 282
Palette Utilities 283
Cycling and Hiding 283
Saving and Loading 284
Copy Special 285
Paste Special 285
Color Wells 286
Magnifying Glass (Eyedropper) 287
Opacity 288
Color Component Values 288
Color Swatches 289
Color Pickers 289
Color Accuracy 290
Help Button 290
Chapter 14 Preferences
Preferences 292
Defaults 293
Preferences Palette 295
Saving Named Set 296
Clear 296
Set From Named 296
Set To Named 296
Apply As Default 297
Save Location 297
Copy Paste Order 297
Defaults Shortcut 298
Cmd Key Current 298
Cmd Key Restore Factory 298
User Interface Theme 298
Menu Customization 301
Modify Menu Keys 302
Extended Cursors 304
Tool Tip Delay 306
Chapter 15 Graphic Fill Techniques

Color and Style 308
Fill 309
Outline 310
xiv
Winding Rule 310
Line Width 311
Join Style 311
Cap Style 312
Stroke Position 312
Miter Limit 313
Gradient Fill 315
Gradient 316
Shape 318
Burst 318
Transition 320
Pattern & Texture Fill 321
Accessing Patterns 323
Editing Patterns 324
Inspecting Patterns 326
Painting Patterns 327
Close-up Pattern View 328
Using Patterns 329
Outline Mode 330
Abstract (Bucket) Fill 331
Vector Hatch 333
Hatch Parameters 334
Hatch Path 335
Hatch Dashes 336
Hatch Style 337
Chapter 16 Graphic Augmentations

Dashes 341
Inspection View 341
Dash Sequence 341
Arrows 344
Form 344
Style 345
Scratch Pad 348
Start & End Custom View 349
Along Arrow 350
Sequential Transform 351
Named Arrows 353
xv
Brushes 355
Palette Summary 355
Concepts 356
Scratch Pad 357
Work Flow 358
Path Color and Style 360
Brush Inspector 361
Brush Design 362
Transform and Sequence 365
Sequence Transform 366
Use Table 367
Brush Methods 370
Shadows 378
Vector, Image & Bitmap 378
Drop 379
Effects 380
Distort 382
Cross Over 382
Placement 383
Side 383
Method 384
Jump 385
Chapter 17 User Libraries

Library Window 388
Element Mode 389
Name Mode 390
Button Mode 392
Customize Tool Palette 393
Library Window Menu 394
Copy and Paste 394
Sort 395
Transfer Panel 395
Scope 396
Transfer Instructions 398
Manage Library Menu 399
Tools 399
Libraries 400
xvi
Chapter
1 Welcome To EazyDraw
Getting Started 1
What is EazyDraw 1
Capabilities 2
Applications 2
64 Bit Multiprocessing 3
Graphic File Formats 3
User Interface 4
Getting Started
Thank you for selecting EazyDraw, a vector drawing application designed
exclusively for macOS.
If you have used an earlier version of EazyDraw, we recommend that you

read the README file provided with your USB or the downloaded disk
image. This documentation is more dynamic and will be current with the
version that you are using. This printed manual is designed for assisting
those new to EazyDraw or vector drawing, and those in need of detailed
reference information. If you are using an App Store version, go to the Help
menu and access Online Resources.
What Is EazyDraw
EazyDraw can do a lot of things but it has a focus and that is to allow one
to draw lines, shapes, and free form curves on your computer screen.
EazyDraw tries to provide this capability with friendly user interface.
EazyDraw is not a painting application. Painting programs work with the
little dots or pixels such as are used in digital photography, so you will not
see the paint brush, paint bucket, or eye dropper tools in our user
Pg 1
interface. The drawings that you create with EazyDraw are constructed with
mathematically-defined lines, shapes, and curves - these ideal perfect
geometrical elements are then outlined and/or filled with color. If this is
not making sense to you, don’t worry this topic is actually the point of the
entire manual, so hang in there.
While EazyDraw is not a painting application, it lets you add photos,

scanned images, and bitmap clip art to your drawing. This makes it useful
for integration and layout tasks such as creating an ad, poster, t-shirt art,
or this book’s cover.
While EazyDraw is not a CAD (Computer Aided Design/Drafting) application,

it offers capability for creating basic technical drawings. Layers, measuring
units, drawing to scale, and automatic dimensions are just some of the core
CAD tools that are available and easy to master with EazyDraw.
Finally, EazyDraw is a true macOS application. It is not a converted unix

program, nor co-developed for the PC. The first line of code was written on
macOS for macOS. This makes it a (we hope) perfect macOS citizen that will
work seamlessly with similar native macOS applications. In the spirit of this
great macOS technology, everything sort of works just as you always
thought it should.
Capabilities
EazyDraw is a vector based drawing application for desktop publishing
(DTP) with Apple’s Macintosh OS (macOS) operating system. It is an
illustration or drawing software application that offers vector-based
graphics editing and creation capabilities for creating simple non-
photographic drawings, technical diagrams and illustrations such as logos,
icons, buttons and stylized art.
Applications
There are several specialized drawing applications available for the graphic
arts, or architectural professional. We all know how much these cost and
how hard they are to master. EazyDraw is drawing for the rest of us who
want to have fun exploring our own creative potential.
EazyDraw is a new design tool for use on the macOS platform. Its uses
range from simple technical drawings, flow charts, business
communications, commercial line art illustrations to graphic elements for
application software and web design elements. Educators also find
EazyDraw perfect for introducing new users to computer drawing.
Pg 2 Ch 01 - Welcome To EazyDraw
64-bit Multi-Thread Processing
The new macOS supports multi-thread processing. This improves
performance by using multiple CPUs (cores) to perform processing tasks in
parallel. EazyDraw is designed to use parallel processing threads whenever
possible.
EazyDraw is 64 bit capable. If your hardware supports 64 bit processing

(nearly all CPUs are now 64 bit capable) then all of EazyDraw’s
computations are performed with 64 bit accuracy and speed.
64 bit computing provides 2 primary advantages over the older 32 bit

technology, improved accuracy and speed. 32 bit floating point
computations are only accurate to about the 5th decimal place, for vector
drawing this is sufficient but just barely and not really sufficient for detailed
technical drawing or navigational maps. Often computations will propagate
and cause errors to grow larger than the 5th decimal place. 64 bit
computations are fully sufficient for the most demanding drawing precision.
64 bit processing on a 64 bit CPU is faster than 32 bit processing.
Graphic File Formats

Graphic exchange with other modern macOS applications is quite seamless
with full vector quality support for PDF. But in today’s world one must
exchange creative content with numerous other technologies - other
operating systems, older technology applications, archive graphic files, the
world wide web, and electronic publishing work flows (just to name a few).
EazyDraw is the perfect solution for these interesting times.
EazyDraw provides a rich suite of supported graphic file formats for both
import and export. This will allow you to use or provide high quality
graphic images to or from other applications, other operating systems or
the web. Full seamless support for PDF is “built in” since EazyDraw is a true
native macOS application. In most cases you should not need to involve a
separate graphic converter application in your work flow. Our “ungroup”
capability will let you edit PDF and PICT content.
Welcome To EazyDraw - Ch 01 Pg 3
For Web publishing EazyDraw provides export to several widely used
graphic bitmap formats. These include the Windows formats of BMP, ICO
and even FAVICON. Full support for transparency is provided with all
graphic file formats that support transparency.
Electronic publishing is supported with vector PDF and EPS import and
export. Color space management and conversion is provided with our
professional grade Export panel for these industry standard formats. Nearly
all publishing or printing companies will accept the EPS vector format for
graphics and typeset text. Professionals and perfectionists avoid font
problems by converting type set text to Bezier paths before exporting to
EPS, EazyDraw lets you do the same with a simple menu click.
User Interface
EazyDraw’s parameter palettes are designed with a clean and open look.
The size is not “big” but large enough to easily read and understand
without being crowded. We understand that screen real estate is valuable,
but on the other hand we have more than 640x480 pixels of desktop these
days; so we feel that a new design concept is in order. Our design is not
“frilly eye candy” or microscopic palettes with 100’s of parameters. We
think we have a sound pleasing approach is great for learning, valuable
when returning to EazyDraw (if you don’t use it every day), useful for a
rarely used palette or feature, and unfolds the capability of EazyDraw
making it fun to explore.
The User Interface is very configurable, and you do not need to be a power
user to organize things optimally for your needs. The new (with EazyDraw
6) User Tools should be one of the first to explore. Simply drag and drop
the tools you use onto you personal tool palettes.
EazyDraw’s frequently used palettes have a “mini” form; the gray disclosure
button (top right of the palette) is used to switch between the two forms.
The mini form is small with abbreviated labels, absolutely minimizing
consumed screen real estate. The parameters included and their order on
the mini palette are fully user configurable, just drag a label to re-order.
The tall button found on the top right of each palette is an enhanced
“window shade” button, with three height settings. Frequently used
parameters are placed at the top of the palettes, so it is often useful to
shorten the palette to free up the desk top. Click the button to “roll up” the
palette and shorten it to the top two or three key parameters.
Parameter measurement units are chosen, independent of the drawing
units, individually for each palette. A drawing might use feet and inches for
graphic elements, but millimeters for specifying lengths of arrow heads.
Different decimal precision settings for lengths, angles, and percentages
found on parameter palettes are supported.
The color schemes and styles are fully configurable. On the EazyDraw
Preferences Panel there is access to a full Theme definition panel. This
allows you to choose colors and shapes for over 30 user interface elements.
For example the color and shape of on screen editing control handles are
easily changed allowing you to choose the best presentation for your
project, current display screen, and eyes.
Welcome To EazyDraw - Ch 01 Pg 5
Chapter
Installing EazyDraw
2
Drag and Drop Install 7
Preferences File 8
Resetting Preferences 8
Color Files 9
Toolbar Support Files 9
Application Support Files 9
Application Bundle 10
Entering License 11
Uninstall Checklist 12
Drag and Drop Install

The “App Store” version of EazyDraw is downloaded and Installed by the
Mac operating system, iTunes, and the App Store for Mac. Refer to the
information provided by Apple. This process is the same for all
applications purchased from the App Store, there is nothing special about
the installation and startup of EazyDraw.
If you purchased EazyDraw directly it is a simple Drag and Drop operation.

Drag the EazyDraw icon from the download disk image (or from the USB
image) to the Applications folder on your hard drive. When upgrading,
replace the old copy of the EazyDraw application with the new one.
Pg 7
Preferences File
When EazyDraw is launched for the first time, a preferences file is created
to save persistent settings that are maintained when you quit and restart
EazyDraw. This file is saved in your macOS preferences folder that is found
in the Library folder in your home folder. This file is named according to a
convention established for macOS, based on registered world wide web
domain names. EazyDraw’s unique preferences name is
“com.dekorra.EazyDraw.plist.”
The plist file is a text file; it may be viewed with any text editor. The text is
formatted according to XML design conventions and more particularly as
macOS property lists. These lists are made up of arrays and dictionaries.
The values are self-documenting with descriptive English language names
and values. If you have installed macOS’s development tools there is an
application called “Property List Editor” that may be used to view or edit the
contents of the file.
It is, as you might expect, not advisable to edit or change the contents of
the preferences file. It is very easy to damage the file with a simple text
editor and this should be avoided. If the Property List Editor is used, the
base file format is safe from damage and EazyDraw would likely be able to
work through any errors introduced in this fashion.
Resetting Preferences
If the preferences file “~home/Library/Preferences/
com.dekorra.EazyDraw.plist” is removed the next launch of EazyDraw will
cause a new preferences file to be created with a fresh set of “Factory”
settings. This can be a useful debugging technique if you are experiencing
problems with EazyDraw. If there is a problem that is preventing EazyDraw
from launching - this approach might provide a recovery path.
It is not necessary to “throw away” your preferences to debug by resetting

preferences. A test reset is accomplished just by moving the preferences
file.
Starting with macOS version 10.7 (Lion) the Library folder is hidden. With
macOS version 10.12 the file can still be accessed, use contemporary
resources to learn about methods for accessing the Library folder.
Another recovery technique is to move a drawing that you suspect is

opening on launch of EazyDraw. The drawing likely has an issue causing
your crash upon launch, moving the drawing will keep it from loading.
Pg 8 Ch 02 - Installing EazyDraw
Toolbar Support Files
The colors that are shown on the pop-down menus found in the EazyDraw
toolbar are derived from a standard macOS color list, as described above.
The color list used is determined by the selection of “Toolbar Colors” on the
main EazyDraw preferences panel. The default color list is named
“EazyDraw.clr” which provides a sequence of 256 color varied by hue,
saturation and brightness. You may change the Toolbar’s colors by
changing the EazyDraw.clr file selection to a color list of your own design.
The textures that are shown on the pop-down menus found in the Toolbar
are derived from a standard macOS color list, as described above. The
textures are stored in the file “ToolbarTextures.ezdraw.clr.” You can
manage these, make additions or changes with EazyDraw using the Pattern
palette, or any other application that supports editing *.clr files. If you
“mess up” the file - just remove it and relaunch EazyDraw and the factory
default table will be rebuilt.
The gradients shown in the gradient fill pull-down toolbar button are
derived from a resource file that is contained in the EazyDraw application
bundle - read ahead to the next section. A file called
“ToolbarGradients.ezdata” is found in the package resources folder. The
master gradients for the pop-down menu are derived from the gradients
present in this file. Adding or changing the contents of this drawing will
change the gradients provided by the gradient tool. The colors provided on
the two color arrays are the same as those used for the Toolbar color picker
as describe above.
Application Support Files

The latest macOS provides a folder for applications to save persistent
information, the Application Support folder which is found in the Library
folder (or the Sandbox container if using App Store version). EazyDraw uses
this folder for persistent attributes, most associated with a particular
parameter palette.
When you save a dash pattern, or arrow you will find the information is
stored in the associated file in this folder. The names are assigned in a self-
documenting fashion, so it is easy to understand each file’s use.
These are plist (property list) files, constructed with XML formatted, human
readable, English text. For example, if you save a custom Arrow head shape
with a name - you will find that name as a key entry in this file if you
inspect it with the Property List Editor or a text editor.
Installing EazyDraw - Ch 02 Pg 9
These files are all private to EazyDraw and you’ll not find any interaction of
these files with other applications on your system - in contrast to the clr
files discussed above.
If you are a power user and create complex custom arrows, dash patterns,
gradients, shadows, or special free transforms - you will want to back up
this folder from time to time. In the event of a system problem, if these files
are lost - your custom information will need to be re-created. If one or all
of these files are removed, a new default file is created the next time you
access the corresponding palette in EazyDraw. If you are reading this and
you have lost any of these files, use the macOS Time Machine utility and
recover the folders discussed above.
The Application Bundle

The EazyDraw application is represented in
the macOS Finder with the icon shown to the
right. It is customary to place the application
in your Applications folder, but it is not
necessary and the actual location of the
application bundle is not important.
If you do a “Get Info” from the Finder you’ll

see the current version information and size
of the application. The size, as of this
writing, is now over 100 MBytes.
This design makes it easy to uninstall EazyDraw, simply remove the

Application bundle from your system. The actual binary image (program)
and all the necessary associated files and resources are hidden from view
and bundled into this single entity.
If you are interested, you can investigate the contents of the application
bundle, select the EazyDraw application in the Finder, control click and
access the provided popup menu - select “Show Contents.” Then you will
see that the Application bundle is actually just another folder. But do not
alter contents as this may void the licensing.
Entering License
If you purchased from the App Store, there is no license code. Your
licensing is automatic from your iTunes account.
If EazyDraw is newly installed or unlicensed and running in the demo (or

viewer) mode, it will ask for a license number each time it is launched. You
are given the choice to enter a license or use in the demo/viewer mode.
After installing, you need to launch EazyDraw (double click on the

application icon) in order to access the Enter License procedure.
If you have entered a valid license, entered it correctly, you will not see the
“Enter License” prompt again. If it is repeating and you are entering the
license more than once - something is wrong.
If EazyDraw is running in the demo/viewer mode, the EazyDraw Help menu

will have a selection “Enter License.” This selection may be used to access
the license entering palette.
The About EazyDraw window has a button, near the bottom for accessing
the Enter License window. If you are running in the demo/free reader mode
the button will offer “Enter New License.” If you have entered a valid license
correctly this button will offer “Clear License.” The latter action will remove
the license code from the computer.
The license code is grouped into 4 sets of letters and numbers. The letters
l (el) and o (oh) and the number 0 are never present in the code (to avoid
confusion to humans). There are no dashes or other non alpha numeric
characters in the code. Upper case and lower case is important, “A” is
considered different than “a” and will cause the license to fail.
If you received your license codes via email you may copy and paste the
code directly from the email into the boxes provided. That would be 4
individual copy/paste actions - one set at a time. It is best to select the
codes from the email by double clicking on a set of code characters (one of
the four) rather than dragging across the text to select. The double click
will make sure that no characters are left out of the copy action.
If you are typing the codes into the text boxes, click tab after each entry, or
use the mouse to click in the next box. EazyDraw will not automatically
advance to the next text box. After the last entry HIT TAB KEY, this or
another mouse click is needed to inform EazyDraw that you are done
Installing EazyDraw - Ch 02 Pg 11
entering. After the last tab key, EazyDraw performs a preliminary check on
the license, if the license is potentially valid the Enter key will enable. If
there has been a mistake or if the code is invalid the Enter key will not
enable and remains grayed out.
When the Enter key enables - click it. Don’t lose concentration and click
one of the other keys like Learn More. Your license is not received by
EazyDraw unless the Enter Key enables and is clicked. Again if the Enter
key is not enabling - hit the Tab key on your keyboard - one more time.
You do not need to be connected to the internet to enter a valid license

code and begin using all the capabilities of EazyDraw.
EazyDraw does not provide any overt indication that the license entered was
valid. This is not user friendly, you need to remain proactive with this
process. Normal polite and informative user feedback from EazyDraw
during this process is very helpful to hackers and is not a good thing for us
at EazyDraw and the community of honest paying customers.
If you have problems email [email protected] for assistance. Take a

screen shot (Cmd-Shift-4) of the license enter panel, after all codes are
entered, and after hitting Tab key one more time, but before clicking Enter.
Attach the screen shot to your email an EazyDraw support will get you
running.
Uninstall Checklist
All EazyDraw content is found in the Application Bundle. To uninstall
simply move the EazyDraw icon to the trash.
All other content placed on your system by EazyDraw will be found in the
EazyDraw Applications support folder and the EazyDraw preferences. To
completely remove all traces of EazyDraw, delete the following:
EazyDraw Application
~/Library/Preferences/com.dekorra.EazyDraw.plist
~/Library/Application Support/EazyDraw
Chapter
Working With Files
3
Launching EazyDraw 14
Open At Launch 15
Palettes At Launch 16
Creating a New Drawing 16
New Drawings 17
Saving Drawings 18
Save 18
Save As 19
Duplicate 19
Rename 19
Duplicate 19
Move To 19
Versions 19
File Formats 20
Bundle Format 22
Summary, File Formats 23
Archival of Drawing Files 23
Changing Saved File Format 23
Reverse Compatible 24
Registered File Types 24
iCloud 25
Opening Drawings 27
Import 27
Open Recent 28
Preview Quick Look & Cover Flow 28
Note On File Size 28
Quick Look 29
Properties and File Size 30
Pg 13
Launching EazyDraw
Start the EazyDraw application - Launch it - by
double clicking on the application icon shown to
the right. You will likely find this icon in your
applications folder; it will be found in the location
that you used when initially moving EazyDraw onto
your hard drive.
You may also launch EazyDraw automatically by

double clicking on a drawing file created by
EazyDraw.
If you use EazyDraw frequently, you may want to add the application to
your macOS Dock. This is done by dragging the EazyDraw application icon
to the Dock, place it where you wish. Lift the mouse key and the macOS
Finder will add EazyDraw to your system dock. Once placed in the dock, a
single click of the EazyDraw dock icon will launch EazyDraw and bring it to
the front of your macOS windowing system.
EazyDraw is removed from the dock, by clicking and dragging it off the
Dock and it will “poof” away. Don’t worry, this action only removes
EazyDraw from the Dock, the real application is left on your hard drive and
is still fully installed. If you are trying to uninstall EazyDraw, see chapter 2.
Reliably double clicking a file to launch EazyDraw requires that you keep
only one copy of the application on your system. If you have older “backup”
copies tucked away, they may well launch instead of the newest version that
you intend.
You can check which version was launched from the “About EazyDraw”
panel on the leftmost main menu. You can locate a running version on your
file system by control clicking the EazyDraw icon (while EazyDraw is
running) in the macOS dock, this will bring up a popup menu with a
selection to “Show in Finder.” This trick is useful if an unwanted version is
launching and you wish to find it in the file system.
When EazyDraw is running you will see the EazyDraw pad and pencil icon,
as shown at the top of this page, in the macOS dock. The icon is shown in
the dock even if you have not placed it there for permanent display. A small
dot at the base of the dock indicates that the application is running.
Make sure you do not have 2 or more EazyDraw’s running at the same time.
macOS is a full multi-tasking system, based on BSD Unix, so it is capable of
running 2 or 10 EazyDraw’s at once. This can happen even if only one copy
Pg 14 Ch 03 - Working With Files

is installed, they are referred to as multiple instances of the same program.
EazyDraw is not designed for this use - on a single macOS login - so this
may lead to problems and will definitely lead to confusion on your part.
Again, if you see two or more EazyDraw icons in the macOS dock, slow
down, back up, and sort out how this came about; contact EazyDraw
support if needed.
Open At Launch
Previous versions of EazyDraw allowed the user to configure exactly the
initial opening state for EazyDraw. For example, you could ask that a
previously opened drawing would be opened on re-launch. This capability
is dropped beginning with EazyDraw version 5.
The macOS operating system and Sandboxing protocol now defines the
initial behavior of all applications, including EazyDraw.
Refer to contemporary macOS system documentation for configuration

possibilities.
At this writing launch appearance is managed on System Preferences, the

General panel. The relevant settings are near the bottom of the panel. If
“Close windows when quitting an application” is selected the launch will be
clean with a new empty drawing. If not checked drawings are restored at
launch.
One note: do not

set Recent Items to
zero, this can cause
problems on App’s
File menus.
Working With Files - Ch 03 Pg 15

Palettes At Launch
For compatibility with Mountain Lion, these parameters are no longer
supported for EazyDraw version 5.1 and higher. If you are using an older
version, check EazyDraw Help for information.
The state of windows and palettes at launch is controlled by the operating

system. There are settings provided in System preferences that work define
the appearance of an Application at launch.
Parameter palettes should reopen and position as they were when you last
Quit the application.
Previous versions of macOS (beginning with Mountain Lion, and in some

situations Lion) can actually terminate an Application that has not been
used if the system decides that resources are needed to improve
performance. This will be an automatic process, the user will probably not
even be aware that the application was terminated and restarted.
Creating a New Drawing

A new blank drawing is started by selecting the New menu selection, found
at the top of the File main menu. The new drawing opens as a blank
drawing window, or canvas. It is given the name “Untitled,” perhaps with a
dash number suffix if there are other untitled drawings open.
EazyDraw is a fully multi window application. You can have an unlimited

number of drawing windows open and active.
A new drawing is not associated with nor saved to a disk file until you save
the file. It is wise to do this before a large body of work is invested in the
drawing. Autosave will periodically save a protected copy of your work to
the disk. There are settings in your macOS preferences (General) that
control what happens to unsaved work when quitting EazyDraw. In most
cases if a system shut down or crash happen, your will be recovered at the
next launch of EazyDraw.

New Drawings
The size and position of a new drawing is derived from the selection of the
New Drawings parameter found on the main EazyDraw preferences panel.
The Default screen is a small, not a full screen, window positioned near the
top left of your main screen. If you prefer a more full screen size for your
new drawings, select Wide for your New Drawings setting. The Last Quit
selection will capture your top drawing window’s position and size when
you Quit EazyDraw. This is a rather easy method to personalize this setting.
To set up a particular drawing window configuration, use the Current

selection. After you make the menu selection “Current,” the Set button will
enable. Make sure the window of interest is the top drawing window (it will
be behind your preferences panel as is necessary), and click the Set button.
Then your “new drawing” configuration will be that of the top drawing
window when the button was clicked.
If you have a multiple screen system, the Second and Third screen options
will enable. They will cause EazyDraw to fill the chosen screen with a newly
created drawing window.
The View setting menu selection (View submenu found at the bottom of the
menu) controls the portion of the new drawing window that is shown.
Normally you have a larger drawing area than is shown on the drawing
window, think of it as “zoomed in.” In this case, there is a choice as to what
zoomed in area is shown on the new drawing window. The selections are
Top Left, Drawing Center, or Bottom Left.

Saving Drawings
There are 3 save commands available, Save, Save As, and Duplicate. All of
these accomplish the task of creating a permanent record of your drawing.
This snap-shot record is recorded to a normal data file on your hard drive.
You will establish a location for your drawing. Operating system will
maintain other backup copies on your system. If your system supports
iCloud (App Store version of EazyDraw is required) you can save your
drawings to iCloud.
Save: If you are saving a document for the first time, a folder (directory)
navigation sheet will allow the selection of a destination folder. The text
box at the top of the sheet is for a name for the document file. You do not
need to type the file name extension (.ezdraw) when entering the name, if
you do this an “are you sure” dialog will ask for clarification. If the drawing
has been previously saved and named, the Save command will simply save
the drawing to disk, no parameter entry panel will be presented.

Save As: If you wish to save a copy of a drawing under a different name use
the “Save As” selection. If you need to save a drawing in a different format,
use the “Save As" selection. This command presents the folder navigation
sheet that allows entry of the name and selection of the folder location for
the drawing. The original drawing’s document file was likely modified by
macOS, you cannot assume that the original was not modified even if you
did not overtly save the drawing. The operating system attempts to prevent
loss of work so changes to a drawing may happen even if you did not do an
explicit Save. A new file is created with the new name, location, and
drawing contents. The new copy then becomes the current drawing (for this
window) and further changes to the document apply to the new file.
Duplicate: This selection will duplicate the current drawing. If the current
drawing has changes (is edited) a dialoge box will ask if you wish to revert
the original to the last saved state. The duplicated drawing needs to be
Saved to establish a file and location for the drawing. At the time of the first
Save of a duplicated drawing you may set or change the drawing format.
Rename: This will let you change the name of the drawing, the title box on
drawing window goes into editing mode to accept the new name. You
cannot change the format of the drawing with this command. Do not enter
or change the extension - just the file name.
Move To: This lets you change the folder location of the drawing. This
option does not allow a new name, or a change to file type.
Versions
Each time you execute “Save” the operating system will save your drawing
and save a hidden copy of the drawing. If you find that you need to go back
to a previous version of the drawing (perhaps some content was
accidentally erased, or major design change did not work out ) you will use
“Revert to Saved.”
“Revert To” will present a “Time Machine” like interface, with your current
drawing shown on the left and a stack of previous “Save” drawings on the
right. Use the history-date indicators on the right to go back in time to the
desired previous version. Refer to the screen shot on the next page for an
example of the interface provided for review of saved versions of a drawing.
The drawings in the “Time Machine” are accessible. EazyDraw allows you to
access content in the previous version showing on the right. You can drag
and drop from the previous version to the current version. This is handy if
you just need to obtain a one or two graphics from the older drawing.

File Formats
Three native file formats are provided by EazyDraw. First is a text XML
format called a Property List, second a binary format Property List, third a
bundle format which is a special kind of folder that is treated as a file by
the Finder. All formats are loss-less, all drawing information is faithfully
recorded.
The EazyDraw Graphics format is a macOS Property List, which may be

viewed with any text editor, xml editor, or the Apple Property List Editor.
The drawing information is, for the most part, a human readable text
document. A text editor like BBedit or TextEdit can be used to view and
modify the files. There is an Apple provided Property List Editor available
which may be used to view and edit the content as XML elements. This
native EazyDraw Graphics Format has the extension “.ezdraw.”

The EazyDraw binary format results in approximately 10 fold smaller files.
This can be important for drawings containing large numbers of graphics or
embedded photos. The smaller size will reduce the time required to save or
open the file. The extension for this format is “ezdata” and the Kind
displayed by the operating system is “EazyDraw Binary Format.” The
Property List Editor application can be used to examine and modify these
drawings.
EazyDraw version 6 provides a new variation of the native file formats. This
variation is more compact but still fully human readable and based on
macOS property lists. The EazyDraw Preferences panel has a “Reverse
Compatible” parameter to switch to the newer format. In all cases a newer
version of EazyDraw can always read drawings from an older version.
However if the newer format is used, an older version of EazyDraw may not
be able to open the drawing.
The more compact format is becoming important with the advent of iCloud
storage of drawings and with the new “always on” drawing recovery
technology. The operating system now frequently saves and auto-saves
versions of your drawings. So it is important for system performance that
these save operations proceed quickly. The new format is more efficient
and helps these technologies perform with reduced system load.

Bundle Format
The Bundle format will be phased out in the future. Newer technology and
methods for saving drawing data have negated the need for this approach.
Best advise is to save these in the Graphic format.
The Bundle format was useful for large drawings containing multiple layers.
File reading and writing may be faster especially on multi-core systems.
The Bundle is written with each layer saved as an individual file in the
bundle. Multi-threading is used to write these files simultaneously as
permitted by the system. Reading the drawing is done in a “lazy fashion,”
layers are not read into memory until they are needed. This means that a
layer that is not visible is loaded with a much lower system priority, and the
drawing can be presented before the non-visible layer loading completes.
Very large files are naturally more prone to corruption. The Bundle format
isolates information, decreasing the odds of a corruption and minimizing
the impact.
The files saved in the bundle are themselves consistent EazyDraw drawings,
they may be opened by EazyDraw or the Property List Editor.

Summary, File Formats
The file format is selected from the popup menu found on the lower
portion of the Save panel, perform a Save As to access this selection. Select
the desired format before clicking the Save Button.
Use EazyDraw Graphics format for normal file saves of smaller drawings
and for all archival purposes. Use EazyDraw Binary format for larger files
when File Save and File Open times become noticeable.
Do NOT use the binary format for archival purposes. The EazyDraw
Graphics format should be used for the final master copy save of a project,
if at all possible.
EazyDraw Graphics format files have a blue colored file Icon showing a box
of graphic components. The EazyDraw binary format file icon is the same
graphic but gray in color.
Archival of Drawing Files

When archiving drawings, saving them for possible future use including the
distant future, it is best to use the Eazydraw Graphics Format. This is a little
counter intuitive as these files will be much larger. But one should consider
that size is not the important consideration for current and future archiving
media. The predominant issue is to be rather certain that the data can be
read in the future, probably on a different CPU with a different version of
EazyDraw, another drawing application or different operating system. The
human readable text format is important for this task. If a file is corrupted,
any text editor can be used to locate and correct the corruption in a text
based file. But if this happens to binary data or a compressed file, detection
and correction is nearly impossible.
Changing Saved File Format

Use Duplicate to change the file save format. The current file format
becomes part of the file information, hence a simple Save or Rename will
conveniently save the drawing using the existing file format.
When switching to a new version of EazyDraw, it is recommended to save

important drawings in the EazyDraw graphics format with the old version.
We try to make all version changes transparent for our file format, but bugs
are always possible, especially for backwards compatible legacy format
issues. If a problem does occur, it can always be addressed by one of our
technicians -- if the EazyDraw Graphics format is available; however
technical options are more limited with the binary form.

Reverse Compatible
EazyDraw version 6 introduced a new file format in the fall of 2013. This
applies to version 6 later. The new format is selected on the main
EazyDraw preferences panel, the parameter is named Reverse Compatible.
Select “No” for this value to use the new format. The new format is
designed for use with macOS version 10.9 (and Later) which has robust
backing as you work with your drawings. This means that a drawing file will
be written to the hard drive (or iCloud) often, but seldom (in comparison)
loaded. The new file format is optimized for performance in this
environment. It is recommenced for use on the latest macOS. The new
format is still human readable (in the EazyDraw Graphic form), uses XML
architecture, and conforms to an Apple Property List. The format is
compact, a common store of shared properties is found at the beginning of
the file. SVG nomenclature, which is compact but still easily interpreted by a
human is used to efficiently represent Bezier paths, colors, and other
content. Efficiency is improved with use of a uniform hashing scheme for
the common store.
Write speeds are maximized by holding the persistent representation of the

drawing contents in memory, ready for instant save with no processing.
Memory for this approach is minimized with the common store and hash
scheme.
Of course, if the drawing will be exchanged with an older version of

EazyDraw, then Reverse Compatible should be set to 2001 v0 .
Registered File Types

The 3 formats are registered with macOS. Files saved by EazyDraw are
recognized and associated with EazyDraw by the System Finder. A Finder
Double click on any of these files will call up EazyDraw to open the file.
It is not a good idea to have older versions of EazyDraw on your system.

This could cause macOS to obtain file type registration (and QuickLook)
information from the old version which will not be compatible with a newer
version of macOS.
Summary: The EazyDraw Graphics Format is recommended over all others,

unless the save time becomes a problem. If anything untoward happens to
a file in this format, recovery of the drawing content will be possible.

iCloud
This is a remote - “off line” storage
capability that allows you to save and
export drawings to a central storage area
provided by Apple and accessed via your
internet connection. This storage concept is
termed “cloud” storage and on your Mac it
is termed the iCloud.
EazyDraw 6 and later supports reading and

writing your drawings and graphics to and
from the iCloud. Apple only supports iCloud with Applications that are
obtained from the Mac App store. If you are using a Free Market version of
EazyDraw, then (at the time of this writing) you cannot directly use the
iCloud.
EazyDraw access to iCloud is seamless, you will see your familiar iCloud
choice buttons in the usual locations when you use Open, Save, or Export
from EazyDraw.
This manual will not directly instruct the use of the iCloud, that information
will be part of your system documentation. Consult contemporary
information on your system, Apple.com, or use an internet search for
information. See the screen shot below, the button to choose iCloud is
found on the upper right of the Open panel (the normal panel you access
from EazyDraw’s Open menu command found on the File main menu).
The export panel provides access to iCloud on the top level selection popup
menu, top - center. It may be in different locations on future or updated
versions of macOS.

Opening Drawings
The Open command is found on the File main menu and is used to open a
file that has been saved on your file system. The Open panel is used to
create a new EazyDraw document from the contents of graphic files;
EazyDraw native files and other graphic data formats such as PDF, TIF, SVG,
DXF, PNG and others.
The Open command is fully generalized. Today’s conventions funnel all

“open” actions here, there is no special command for Import.
The Open command is used to open User Library files. Previous versions of
EazyDraw had a special “open” command for User Libraries on the User
Library menu. This has been stream-lined, there is now only the one Open
command.
Import: There is no longer a specific “import” command. As mentioned

above use the standard "open" command to open (import) a file in another
graphic format. Use Drag and Drop to introduce or include a graphic file in
an existing EazyDraw drawing. Drag the file from the Desktop / Finder to
the target EazyDraw drawing canvas.
To Edit PDF or EPS: introduce the PDF or EPS to a drawing using Open or
Drag and Drop. Select the image on the drawing, then perform Ungroup
PDF or Ungroup EPS using the menu commands on the Image submenu
found on the Format main menu.

Open Recent
The Open Recent menu is provided as a convenience. The most recent
saved files are shown on the sub menu. These files may be opened by
selecting desired file from the sub menu.
Preview, Quick Look & Cover Flow

A pdf preview of the first page of your drawing is saved in binary format at
the front of the the drawing file. This high quality image is used by macOS
QuickLook.
Cover Flow lets you see your EazyDraw drawings in large size previews as
you flip through a folder of drawings. See the Cover Flow example below.
Cover Flow is selected in the finder, use the circled button found in the
finder toolbar.
Note On File Size: Quick Look preview content may add significant size to
the drawing file, especially for large complex drawings. The drawing
Properties palette (access from File main menu) has parameters to manage
the Quick Look content. In some cases you may need a different format
(PDF is default) or you may want to turn off Quick Look for a particular
drawing.

Quick Look: Quick Look lets you view a drawing without opening the
drawing, EazyDraw does not even need to be running for this to work. The
Quick Look view is not a jaggy little icon, it is a clear pdf representation of
the first page of your drawing. This gives you a sneak peek of the drawing
without the full double click, load and open delays. The Quick Look button
is found on the toolbar of a finder window, it is circled on the example
shown below.
Quick Look works with Cover Flow, the normal Open panel, column Finder
browser, and the Get Info Finder panel. The Quick Look view provides a
high quality pdf image of the first page of the drawing and key statistics
such as number of layers, author and the other personalized document
specifics, all in real time.
Quick Look is accessed from the actions / gear pull down menu. See
circled selection below.
The screen shot on the next page show and example Quick Look of an
example EazyDraw drawing. Hint: The space bar is Quick Look by default.

Properties and File Size: Quick Look information can contribute
significantly to file size of a saved drawing. PDF provides the best quality
preview image. In the case of a complex drawing with a large amount of
detailed vector information the PDF image will be about the same size as
the drawing. The format used for the Quick Look preview image is managed
with parameters found near the bottom of the Document Properties panel
(access from File main menu). There is a parameter to choose the preview
content, it offeres a provision to not include preview information, this
provides the smallest file size.
There is a setting for “smallest,” this setting first tries a PDF image, if that
image is rather small it is used. If the PDF is rather large, then a JPG image
is created and the smaller of the two is used. This is the default setting
(new with EazyDraw version 5), this logic will normally provide a good
quality preview and small drawing size in nearly all cases. For some
projects you may want to work with no preview information until the final
archive drawing is created at the completion of your work.

Chapter
Other Graphic File Formats
4
Opening Other Graphic Files 32
EazyDraw Retro 32
MacDraw (II, Pro) Claris Draw 32
AppleWorks 32
PICT 32
Working With PDF 33
Filling Out PDF Forms 33
Edit Or Ungroup PDF and EPS 34
Do Not Unnecessarily Ungroup PDF 34
PDF Fonts, Text and Typesetting 34
Font Mapping 35
Working With SVG 35
Comparing SVG and PDF 35
Opening SVG 36
Working With DXF 36
DXF Analysis Panel 37
Working With Bitmaps 38
Interaction Level 38
Caution on File Size 39
Down Sample 39
Clear Color 39
Pg 31
Opening Other Graphic Files
The standard Open panel provides the ability to open (or import) several
graphic file formats.
This ability allows you to incorporate these industry standard files into your
EazyDraw drawing.
Drag and Drop technology provides another way to bring other graphics
and or files into EazyDraw. You may drag a file’s icon from the Finder, or a
graphic from another application and drop on an open EazyDraw drawing. If
you see the green “+” sign when over an EazyDraw drawing that indicates
that the contained graphic format is understood by EazyDraw and will be
accepted.
Drag and drop will work in a wide variety of situations. You may drag a
graphic right from a web page or email for example, and drop it directly
into an EazyDraw drawing.
Copy and Paste provides another path for bringing generic graphic content
into EazyDraw. For example copy directly from the Finder: Highlight a
graphic file on your desk top, click Copy then select an open EazyDraw
drawing and paste.
EazyDraw Retro
MacDraw, MacDrawII, MacDrawPro, ClarisDraw,
AppleWorks, PICT
The primary versions of EazyDraw no longer support AppleWorks, MacDraw
or the PICT graphic files and formats.
EazyDraw Retro provides a solution to access AppleWorks, ClarisDraw and

MacDraw drawings on macOS 10.4 and newer (including Mavericks). Visit
the EazyDraw web site, Support web page for more information about this
solution.
PICT pseudo graphic format

PICT is a legacy graphic file format common on older, early 1990’s OS 09
applications. EazyDraw and macOS no longer support the PICT format. Use
EazyDraw Retro to open drawings with this content, convert the PICT to PDF,
save a new master, then return to the contemporary version of EazyDraw.
Pg 32 Ch 04 - Other Graphic File Formats

Working With PDF
The following from the introduction to the Adobe’s PDF reference manual:
“Adobe Portable Document Format (PDF) is the the native file format of the
Adobe Acrobat family of products. The goal of these products is to enable
users to exchange and view electronic documents easily and reliably,
independent of the environment in which they were created. PDF relies on
the same imaging model as the PostScript page description language to
describe text and graphics in a device-independent and resolution-
independent manner.”
PDF is found in wide use on macOS, the internet, and other operating
systems.
The important thing to you, the user, is that PDF is a vector format, not a
Bitmap. This is the important phrase in the definition “resolution-
independent.” PDF should not become fuzzy or pixelated, whether viewed
on your screen or a high quality photo printer.
EazyDraw conserves the vector quality of pdf contents that you open or add
to an EazyDraw drawing. You can check that you have included high quality
pdf by zooming in several times - the text and graphics should remain
crisp and well defined. Note that PDF provides for the inclusion of bitmap
images, so you may still see resolution-dependent content in a pdf, an
included digital photo would be a common example.
Filling Out PDF Forms

Filling out pdf forms, or any “form document” is a task well suited to
EazyDraw. Open or include the form in an EazyDraw drawing. Then just
type or draw over the included image of the form. If you are familiar with
using layers, it is convenient to place the form on one layer while you draw
and type your information on a different layer - over the form. This
technique is great for example when doing your taxes.
It is very easy to add your information. You have full control over
placement, size, font, including circles, x’s and small sketches. Then the
information that you add to the completed form is there for “next year.” If
the form changes the next time it is required - remove the old form (pull it
out from under your information) - add the new form (slide it back under
your information). Then simply rearrange of your information, if necessary.
Other Graphic File Formats - Ch 04 Pg 33

Edit or Ungroup PDF and EPS
PDF and EPS (Encapsulated Postscript) graphics can be converted to native
EazyDraw vector content. Ungroup PDF, found on the Images submenu on
the Format main menu, is used to convert a PDF graphic to a native
EazyDraw group of components, Bezier paths, text, and bitmaps. This same
action results when Convert To Bezier is called from the Convert submenu
found on the Tools main menu.
The term “Ungroup PDF” was a common definition for the action of
accessing an embedded graphic image on Classic Mac applications, on OS 9
and earlier. We use the term today as a continuity of the terminology.
Ungroup PDF actually results in a EazyDraw Group graphic and one more
Ungroup command is needed to access individual components of the pdf
content.
Do Not Unnecessarily Ungroup PDF

There is often no need to convert the PDF to native EazyDraw graphics. The
PDF is drawn, using the Core Graphics compatibility component of macOS,
with vector quality. Ungrouping is required only if editing of the PDF
content is required.
Keep in mind that PDF is a “pen and ink to paper” file format designed
primarily for presenting graphic content to printers. This means that while
the converted EazyDraw graphics will look the same as the original pdf
image, they may be constructed in inefficient and counterintuitive ways.
Constructs such as simple shapes and paths may be drawn as a large
number of small straight lines.
In some cases the conversion to EazyDraw native graphics may result in no

visual changes to the drawing -- the drawing may look exactly the same
after the conversion. To confirm the conversion, inspect the graphic
properties with the Graphic Details Drawer.
PDF Fonts, Text and Typesetting

The PDF file format contains embedded font and character glyph
information. EazyDraw’s conversion is directed at converting text content to
EazyDraw editable text content - rather than precise “inking” of the typeset
text. The conversion will attempt to match the text with fonts available on
the host macOS system. After derivation of font family, font size, and other

attributes the text is typeset with EazyDraw and macOS typesetting
technology. It is likely that text line endings and spacing will reflow with
associated differences in exact layout and appearance.
PDF is a mature graphic file format with several revisions. You will
encounter PDF content from many different originating applications and
operating systems, produced to different revision levels. There will likely be
cases where the EazyDraw conversion will fail to properly interpret 100
percent of the pdf image. In these cases the pdf image may be sent to
EazyDraw support for investigation of the cause of the problems and
possible improvements with future versions of EazyDraw.
Font Mapping
It is likely that a PDF document will contain fonts that are not present on
your macOS system. The Text menu, Font submenu provides access to a
Font Mapping palette. You may need to perform a preliminary conversion to
identify fonts .
Working With SVG

Scalable Vector Graphics (SVG) is a family of open (non-proprietary)
specifications for a XML based graphic file format. The specification allows
interchange of two-dimensional vector graphics.
The vector information provides an interchange mechanism for shared

editing and import of graphic content, it also
provides a mechanism for presentation of
vector quality images. All major modern web
browsers except Microsoft Internet Explorer
support and render SVG drawing directly
(without plugins or conversions to lower
quality bitmap representations). SVG also
incorporates definitions for precision typeset
text allowing use of embedded or system
native fonts.
Comparing SVG and PDF

PDF is designed to represent graphic content to printing devices. SVG is
more appropriate for interchange of graphic source content. EazyDraw
provides a means for converting PDF content into meaningful editing
content (Ungroup PDF) but this process is not robustly defined. For

example, a circle may be represented as a series of small straight line
segments which EazyDraw must sense and reconstruct as a circle. Whereas
the SVG specification has a well defined circle entity. This and many other
aspects make SVG a more reliable interchange format.
PDF is far more widely supported than SVG. SVG is a younger specification
that has had a rather slow adoption rate. But now that the major browsers
properly support the format acceptance is broadening. The advantages of
SVG over bitmap representations will likely lead to wider usage in the
future.
Opening SVG
To import a SVG drawing into EazyDraw, use
the normal Open command found on the
File main menu. Then navigate your system
or the network to access the drawing. There
is no extra “ungroup” step for this format.
The SVG Icons have a “orangish” color

scheme and present an “appearance / look”
consistent with that developed by the W3C.
Adobe’s Creative Suite provides excellent

support of SVG making this a good format
for exchange of drawing source content
between EazyDraw and Adobe’s applications
(on both Mac and Windows platforms).
Working With DXF

DXF is the file extension and generic file type reference for the “Drawing
Exchange Format" developed by Autodesk for enabling data interoperability
between AuotCAD and other vector graphics applications. EazyDraw has the
ability to open these drawing files
DXF drawings, being CAD based, usually will require adjustments to

compensate for the drawing scale. Frequently the drawing content will be
shifted and/or spread out over large expanses. The DXF format has
information that should specify these scales and shifts but the
implementation is inconsistent and often not present in the DXF file. For
this reason EazyDraw has a post-import analysis window to help you locate
the drawing content and expanse of the content Opening SVG

DXF Analysis Panel
The analysis panel opens after the initial conversion. The red border defines
the full extent of the DXF drawing. Inside the red border is a density plot
showing the location of graphics in the drawing.
The blue border defines the EazyDraw drawing area. It may start out very
small - be sure to look closely for the blue border. The size of the blue
border is computed from the page size, number of pages and drawing
scale. The analysis panel provides access to the settings for these EazyDraw
settings.
The goal is to get the blue border to enclose the red boarder. In many cases
this is accomplished by choice for a drawing scale. In some cases you may
want to use a large number of pages to capture the DXF content.
EazyDraw is reading the Model Space content of the DXF drawing. Often a
DXF file will have contain more than one “drawing.” You will be able to
notice this situation represented by different blocks on the density plot. In
this case focus the blue border on one of these populated regions. The
blue border may be moved by dragging on analysis plot.

Working With Bitmaps
EazyDraw will accept the most common bitmap file formats: TIFF, JPG, BMP
(Windows BitMap), GIF, and PNG. These are common graphic formats used
by digital cameras, scanners, photo touchup applications, web sites, and
non-vector drawing or painting applications.
If the bitmap graphic is saved in a file on your system, you can Open it
directly using EazyDraw’s Open command. Or you can drag and drop the
file’s Finder Icon on an open EazyDraw drawing window.
Drag and drop of bitmap graphics is accepted on any EazyDraw drawing

window. For example, a graphic from a web site or iPhoto is copied by
simply dragging the graphic from your browser’s window, over to an
EazyDraw drawing window. If the graphic’s format is known and
understood by EazyDraw you will see a fat green “+” sign near your cursor
when over the EazyDraw drawing window.
Copy and Paste via the masOS system pasteboard is another way to
incorporate bitmap images into your EazyDraw drawing.
Bitmap graphics are simple array’s of tiny color dots. If you zoom in closely
you will see the jaggedness from these dots, or pixels. This limitation arises
from the limitations of the original image defined by the original pixel
density of the image source, perhaps digital camera. There is no way to
improve the fundamental quality of the bitmap graphic in EazyDraw. And
EazyDraw does not have an automatic tracing capability at this time. Manual
tracing is a viable option, it is quite common to use a bitmap graphic as a
starting point for a drawing. In this case one usually places the bitmap
image on a separate layer and traces over the image.
Interaction Level
When bitmap graphics are brought into an EazyDraw drawing the display
size will nearly always need adjusting. Images can start out at strange sizes,
a high quality image might initially show as very large - 20 inches across
for just a “small” photo. This depends on many things related to the
original creation of the image.
The bitmap image may be re-sized with the normal editing handles. If you
do not want to distort the image or photo, set the Interaction level for the
image to Uniform Scale. This is found on the Format main menu, Interaction

submenu, or on the Attributes bar. Uniform Scale will reduce the number of
resize handles to two. Then adjustments of size will maintain the original
image’s aspect ratio.
Caution on File Size

Bitmap graphics can be sizable, in terms of the number of bytes needed to
represent the image. This is not normally a problem for graphic clips
obtained from the world wide web, but digital photos and scanned images
are often very large. If you add a bitmap graphic to a drawing, it becomes
part of the drawing file. The bitmap is saved in whole with all of the other
drawing information. EazyDraw does not down sample or reduce the pixel
density of an incorporated bitmap. Nor does EazyDraw support a source
graphic indirect referencing scheme, the bitmap becomes part of the
drawing.
The number of bytes of memory used to save an included bitmap graphic is

not changed when the displayed size of the image is changed. These two
“size” aspects are independent. So: if a high quality multi-megabyte digital
photo is included in a drawing and then reduced to a small postage stamp
size - the saved drawing file will be still be multi-megabytes.
If bitmap graphics are used, it is wise to keep an eye on the drawing size.
Down Sample
You can use EazyDraw to reduce the quality and corresponding memory
size of a bitmap graphic. Bring the graphic into a drawing. Then resize it to
be small, approximately the needed geometric size. Now do a screen grab,
remove the original graphic from the drawing. Copy then paste from the
screen grab back to the EazyDraw drawing. Now the bitmap graphic will
have a storage size more in line with its geometric size. Of course, if you
need to expand the graphic and show it at
a larger geometric size - the quality will
not be there and you would need to go
back to the original to recover the quality.
Clear Color (or Instant Alpha

- Remove Background)
This command is used to remove a
background color from a bitmap image
such as a JPG or TIFF. Use this to remove a
solid color (or region of similar colors) and
replace it with a clear transparent region.

Often used to remove a background of a photo to allow placing the subjects
of the photo before another background. Similar to Crop (or Frame) but
works at a dot-by-dot level.
Images such as photos from a digital camera are stored as individual dots
called pixels. Most graphics downloaded from the web are also bitmap
graphics saved as a large array of small pixels. These images usually are
composed of solid colors and solid colored borders. The Clear Color
command is used to clear out regions of a relatively solid color and replace
them with clear transparent uncolored pixels.
This Clear Color command is accessed from the Format main menu, Images
submenu. A bitmap graphic must be the first selected graphic on the
drawing otherwise this menu command will not enable. This action does
not apply to vector graphics that you draw with EazyDraw. This command
does not apply to pdf or PICT images, they are vector graphics too.
To apply Clear Color, first select a bitmap graphic image (such as a photo).
Then execute the command or click the toolbar button. The active cursor
will change to a “gun sight” appearance when over your drawing. Click
down as close as possible to the color and location that needs “clearing.”
Drag away to pull out a circular indicator. The diameter of your indicator
circle relates to the range of neighboring colors that are accepted as a
match and hence cleared.
In order for a dot (pixel) to be cleared, it must a) match the initially clicked
color and b) touch another cleared pixel. So as you increase the radius of
the indicator circle larger regions of your photo may (or may not) be
cleared.
Note that the indicator circle is just that - only an indicator. The actual
circle does not limit or expand the geometrical region that may or may not
be cleared. The individual pixel colors and their relative locations determine
which pixels are cleared.

Chapter
Exporting Graphics
5
Export Introduction 42
Prepress 42
Web Graphics 43
Icon Support 43
Legacy Formats 43
Seamless with other Apps 44
Export Content 44
Background 44
No Background 45
Tag Image File Format (TIFF) 46
Dual Representation 47
Portable Document Format (PDF) 48
Save As PDF 48
Encapsulated PostScript (EPS) 48
PSFRAG 50
DXF Format 50
Joint Photographic Expert Group Format (JPG) 51
Graphic Interchange Format (GIF) 53
Color Table 54
Portable Network Graphic (PNG) 55
Windows Bitmap (BMP) 56
ICO, Windows Icons and Favicon 57
Favicon Cookbook Instructions 59
SVG 61
Keynote 62
CSV 63
Copy Paste Order 64
Pg 41
Export Introduction
The Export submenu (on File main menu) provides methods for saving
drawings to various graphic file formats, other than EazyDraw’s native
formats. These are file formats that you will use to provide your drawings to
other users, applications, operating systems or web sites.
The top portion of the save panel is a standard Save File navigation and
selection panel. The bottom portion provides selection for the available
parameters associated with each format. This portion of the panel will
change significantly with your selection of export file/data format.
Exchanging your work with others on macOS is best with EazyDraw’s native
file format. Anyone on macOS may download the latest version of EazyDraw
and view files you have created - no license is needed to open, edit, or save
the file you have sent to them. The Export file formats are used to send
your work to other operating systems or for use on the World Wide Web.
Files sent to external printing services like a newspaper or ad agency are
best sent in a vector format such as PDF or EPS.
Prepress
If your drawing needs to be sent electronically to an agency, newspaper,
publisher, or another printing service you will want to send a high quality
format with a reasonable file size. EazyDraw provides professional grade
PDF and EPS export support for these purposes. The Graphic Details drawer
shows the DPI of any bitmap images (photos and the like) contained in your
drawing, so that you may be certain their quality is adequate for the
intended publication.
It may be necessary to convert text to Bezier paths. This is a common

prepress requirement. Converting text in this fashion prevents problems
with Font Families that may surface when your drawing is reproduced with
the publishing equipment.
Special color preparation for ink printing will often require CMYK colors.
This is supported by EazyDraw at two levels; ColorSync preview for on
screen and embedded CMYK colors within EPS and TIFF export.
Pg 42 Ch 05 - Exporting Graphics
Web Graphics
JPG, GIF, and PNG are supported for publishing drawings to the World Wide
Web. Compression is supported to get files as small as possible for rapid
emailing and web download. For professional preparation of web content,
color tables are supported, these are integrated with the macOS color list
technology. Or for just emailing photos to friends, EazyDraw can be used to
package up a few JPG photos, do some cropping and perhaps add some
text messages - the export and compress in one step for emailing.
Icon Support
Two icon file formats are supported, Dual Rep TIFF, and ICO for Microsoft
Windows operating system.
ICO: The ICO format is used by internet browsers for “favicon” files. If you
place a favicon.ico file on your web site, internet browsers will find the file
and use the images contained to show an icon next to the web address or
on the Favorites menu. If you look at EazyDraw’s web site with your web
browser you should see a little yellow pencil icon - the pencil of the
EazyDraw application icon. This pencil was drawn with EazyDraw, exported
as a favicon.ico file, placed on our web site and automatically found by your
browser.
Dual Representation TIFF: Dual Rep TIFF is a TIFF file with two images, one
at the specified resolution and one at 2 times the resolution. Apple
originally defined this as the file format to be used by applications to
support high resolution (Retina) displays but this no longer applies.
ICNS: The ICNS has been replaced by an “iconset” folder on macOS. The
folder has the name of the icon and an extension of .iconset, the folder
contains the various png or tiff images that comprise the icon. These
folders are inspected by selecting the folder in the Finder and clicking the
space bar.
Legacy Formats
The App Store version of EazyDraw does not support MacDraw,
MacDrawPro, Claris Draw, AppleWorks and PICT files. Obtain EazyDraw
Retro, from the EazyDraw web site, to access these drawings on macOS
(Lion and Mountain Lion supported).
LinkBack: EazyDraw no longer supports LinkBack. This older 1990’s

paradigm no longer applies to the current macOS technology. Acceptable
security isolation of Apps running on macOS preclude the inter-App
information exchange required.
Exporting Graphics - Ch 05 Pg 43
Seamless With Other Apps
EazyDraw actually presents all these formats to the macOS clipboard. The
receiving application will choose the format best suited for the task at
hand.
Export Content
Most of the export panels provide a parameter for control of the content of
the exported graphic image. This is determined by the popup menu just to
the right of the popup menu that selects the export type.
There are 3 choices: Selected Graphics, Just Graphics or Full Drawing area.
They are self-explanatory and specify the method that is used to define the
bounding box for the exported graphic.
In some cases you need to define a certain size for the exported image, and
this size would naturally be somewhat larger than the graphics that make
up the image but smaller than the drawing size. There is a common
technique for this situation: draw a bounding box at the precise size
needed for the graphic, make certain that it contains all of the graphics and
that they are well centered, then make bounding box invisible with a setting
of “no outline” and “no fill” (on Color and Style palette). Now do the export
and select “Just Graphics,” this will give you a well defined rectangle image
with the graphics position and centered as desired. This trick is also used
when exporting just graphics has the problem that some of the edges are
shaved or maybe a drop shadow is clipped.
The other method for creating a well define export image rectangle
dimension is to use the Page Setup panel. On Page Setup select one of the
electronic publishing virtual printers. Then you may define a precise
drawing size of the required dimensions. In this case you select “Full
Drawing” for your export content.
Export Background
All export panels provide a parameter for control of the background of the
exported graphic image. This is determined by a popup menu, found just to
the right of the Export Content popup menu.
You have 5 choices for background: None, White, Black, Colored, and Color
With Grid. White, Black and Colored are self-explanatory. The color for a
Colored background is determined by the color well found on the Page
Layout palette.
The Export Background parameter setting will allow a white exported

background, even if your display has a defined colored background.
No Background
This background setting is used to provide an image that is transparent
where there are no drawn graphics. This setting will require that the target
displaying technology supports transparency. In some cases, such as an
macOS icon, transparency is required for the graphic to have the proper
appearance.
In other cases such as a MS Word graphic the transparent background may

cause problems. If the receiving application does not support transparency
then you may get the “black on black” problem. Suppose your graphic is an
empty rectangle and circle; both have no fill. If both graphics are drawn
with black outline, as set on the Color and Style palette, the resulting image
might be a solid black rectangle when displayed by an application that does
not support transparency and uses the color black for transparent image
regions. This is the case in many older 1990’s technology applications,
especially on Windows or MS Word on macOS.
Tag Image File Format (TIFF)

TIFF is perhaps the most versatile and diverse bitmap format. It is used for
data storage and interchange. It can be viewed on almost any computer or
computer application.
The Dots Per Inch (DPI) parameter is used to define the resolution or quality
of the exported representation. Normal display screen viewing requires
about 72 DPI for acceptable visual quality. Printed applications usually
require 300 DPI for good quality representation. High quality printed results
may need 600 DPI or greater.
The size of an uncompressed TIFF bitmap depends directly on the imaged

area, with color depth as a third dimension. It grows rapidly (square law) as
the DPI or area is increased.
Keep in mind that we cannot regenerate an EazyDraw vector representation
from a TIFF export file. If your final work needs to be TIFF (or any other
bitmap format) be sure to save and archive the EazyDraw original in case
modifications to the work are needed in the future. You can always
generate a revised TIFF export from the original-but the reverse is not
possible.
For best compatibility TIFF is not compressed. Think of it as a raw bitmap

format. The resulting file may be compressed using the Finder’s Create
Archive menu command. If compression and small file size is important,
use the JPG format. A JPG starts as a TIFF and is compressed to greater or
lesser degrees as desired.
Use the save button to execute the save action after all parameter
selections are made.
EazyDraw uses vectors to define all graphics. A vector representation does

not need to record each dot along a curve. For example only 4 dots are
needed for a full Bezier curve segment. The size of a vector representation
is driven by the amount of content, not size and detail. A small icon
containing numerous curves, colors and shading can result in a somewhat
large vector based representation. The TIFF representation of this example
would require only a small file at 72 DPI. These are the trade-offs that are
important, especially if the work product is intended for communication
over networks or the internet.
With no compression a bitmap file’s size does not depend on content, a 5

page blank document (with a border) is the same size as a 5 page brochure
packed with curves, special effects, and text. If the bitmap is visually
sparse, compression may provide significant file size reduction. If the
bitmap is rich in detail, colors, and shades lossless compression may not
significantly reduce the size.
pixels, not a sharp dark line. This is the antialiasing technology at work.
When viewed at normal zoom the antialiased line looks clean and crisp,
zoomed in it will be fuzzy. Conversely if antialiasing is not used the line
viewed at normal zoom will be jaggy and uneven, up close though you will
see only the black pixels actually drawn. If you need exact control over the
color of each pixel be sure to turn off antialiasing as it will modify
individual pixel color on color contrast borders.
Interpolation is applied to Bezier paths during preparation of the image.

This normally has little affect on the image. If exact control over placement
of pixels of lines and curves is needed select no interpolation. There are 3
levels and an automatic selection.
Dual Representation: Dual Representation installs two images in one TIFF

file. Multiple images in a single TIFF file is formally defined by the TIFF file
format specification, any application that views TIFF files should be able to
properly handle this convention. The macOS utility Preview will properly
show the multiple images contained in the TIFF file.
Apple originally specified this dual image approach for attaining resolution
independence for user interface graphics on macOS. This approach has
been dropped for resolution independence for Retina support. The
approach actually adopted uses the new “iconset” special folder and the
“@2x” naming convention. These involve individual sets of files. In general
do not use the Dual Representation checkbox when creating macOS user
interface graphics.
With resolution independence the operating system will use the improved
resolution to display a better image of reasonable size rather than just a
smaller image. Hence the need for a better quality user interface graphic
elements and the dual representation.
Portable Document Format (PDF)
Adobe’s PDF is the native file format for the Adobe Acrobat family of
products. PDF is inherently supported by macOS and is available to all
applications developed for macOS.
PDF is a vector format, and therefore provides high quality information with
reasonable file sizes. It is the best format for exporting EazyDraw’s vector
drawings. Suitable for most uses except perhaps the World Wide Web.
The naturally inherent full quality of the PDF representation means that
there are actually very few parameters that need to be specified. There’s no
“resolution” to define, or compression needed. So this panel is quite simple
to use and requires little explanation.
Save As PDF
There are two ways to export PDF. One method is to use the Export panel.
The other is to call for a Print of the drawing, then from the Print panel
elect “Save As PDF.” Both methods result with a PDF file being written to
disk. The Export method will draw one page with the full drawing content,
as specified with the Drawing Content popup menu. In this case the
drawing image will be on one page of a PDF document. The PDF document
page size will be as you have defined it with the drawing, drawing size, and
export content settings.
A Save As PDF call also writes to disk a PDF file. In this case the PDF
document may consist of multiple pages. The pages will be defined by the
printer (real or virtual) paper size. If your drawing is multi-page you will
have a multi-page PDF.
To summarize: a multiple page drawing, when exported as PDF will be

exported as one “big” page. But when Save As PDF is used a multiple-page
pdf document will result.
Encapsulated PostScript (EPS)

EPS files are commonly used to include graphic illustrations as part of
larger documents. This format is frequently used for print media and
electronic prepress applications. It is a high quality vector format. When
exporting for prepress use or as part of a printing workflow, the DOS
Preview should not be used in most cases.
The Color Space popup is used to convert all colors on the drawing to a
single color space, CMYK or RGB. The EPS export will convert all colors to
one color space, either RGB or CMYK. When exporting CMYK as part of a
prepress work flow it would be wise to convert the drawing to CMYK so the
colors seen on the display will better match those of the printed result.
Color space is managed by layers, see the layers drawer documentation for
more information.
In some cases it is necessary to map all colors to a single color space to

allow the EPS file to be opened on other systems. If you are not able to
open the EPS file on anther system or with another application, selecting a
particular single color space may alleviate the problem. This is caused by
limitations with the receiving applications EPS capability or known problems
with multiple color space support present with older versions of the EPS file
format.
In most cases RGB will be the color space used for computer drawing, this
is the space rendered on the computer monitor. CMYK will result in
different hues and colors, but these slight differences then result in a truer
color on high quality printing presses. CMYK for personal use is now much
more prevalent with home use photo quality printers. Mapping to CMYK
may provide improved appearance when printing drawings to a photo-
quality printer on high quality paper.
Color spaces are explained in more detail in Chapter 06 with the discussion
of Color Space Management on the Layers drawer. It is possible to control
the color space used for individual layers - on the Layers drawer.
PSFRAG
The psfrag check box is for support of LaTeX use with the exported file.
Psfrag is a special method of replacing place holder characters with LaTeX
typeset text. With the newer version of the EPS format that is generated by
EazyDraw and macOS, it is necessary to “patch” the exported file with an
invisible marker string to facility support for this place holder mapping.
This box should only be checked if the psfrag support is needed.
If the psfrag check box is checked, a text string comprising of the sequence
of ASCII characters from decimal 33 to decimal 126 is inserted as the first
graphic of the drawing. This text string is drawn with the background color
(usually white) to make it invisible. Inclusion of this string forces a
traditional one-to-one mapping of the traditional ASCII characters out of
the more expansive set of unicode characters.
In order for psfrag to work properly, your key text strings must be
presented with one of the the standard type 1 postscript fonts which
include: Times-Roman, Times-Bold, Times-Italic, Times-Bold-Italic,
Helvetica, Helvetica-Bold, Helvetica-Oblique, Helvtica-Bold-Oblique,
Courier, Courier-Bold, Courier-Oblique, Courier-Bold-Oblique, Symbol,
and ZapDingbats. Note that “Times” is not included. In most cases you will
need to use single letter substitution text, if multi-letter sequences are
used you may need to change “xshow” to “show” in the output eps text file,
where your substitution is used.
Ligatures cannot be used as their encoding will not match key text
character pairs. Ligatures are turned off on EazyDraw’s Text menu.
DXF
The mnemonic DXF stands for Drawing Interchange Format. It is a vector
graphics CAD (Computer Aided Design) data file format defined by
Autodesk. It is text based, human readable and well suited for the
exchange of 2d CAD drawings. DXF is the adopted file extension for this
drawing type.
The format was introduced in 1982 and has evolved with about 5 major
revisions. The EazyDraw export supports the most commonly supported
revisions.
Scale and units are an important part of a CAD drawing. The drawing units
and axis directions in use at the time of export become the units and axis
direction for the DXF file. Many of the CAD packages will assume an origin
at the lower left of the drawing, with the y axis in the up direction. This is
not a common arrangement on a Mac, but an EazyDraw drawing can be
easily configured for this convention. Use the Scale palette to make
adjustments if necessary.
The exported file is a text file. It may be viewed and even edited with a text
editor. The format consists of line pairs, with the first line of each pair
specifying a group code. The files can be large but they compress to a
reasonable core size for transmission.
AutoCad LT is used as the gold standard for EazyDraw’s export and import
of DXF. At this writing the exchange of DXF drawings is tested and
confirmed against AutoCad LT 2013 for macOS (App Store version) and
AutoCad LT 2012 running on Windows.
JPG
Joint Photographic Expert Group (JPG) is technically a compression
technique not a file format. But wide spread common usage has made JPG a
file format for all practical purposes. The uncompressed contents of a JPG
file will be a TIFF (EazyDraw’s implementation) or BMP bitmap image. The
bitmap is compressed with a JPG compression method. Since a JPG file is
actually a JPG compressed TIFF file, all the parameters documented for TIFF
exporting apply. Refer to the TIFF discussion earlier in this chapter to learn
about these parameters, especially the Dots Per Inch (DPI) parameter and
size/quality related issues.
The key point of JPG compression is that it may be “lossy” where gZip
compression methods are “lossless.” This makes JPG useful for applications
such as photographic-like images that are rich in continuous-tone, high
definition (24 bit, or millions of) colors. An aggressive JPG compression will
save size by skipping over the subtle aspects of the coloring and shading of
the input image. In many cases this “loss” of information may not be
detectable at the target viewing resolution of the image. Especially if the
ultimate output device is a computer screen.
The Compression numeric text box and corresponding slider are used to
specify the degree of compression of the JPG output. By convention a value
of 0 indicates no compression and a value of 1 specifies the most
aggressive compression.
Proper selection of the correct export parameters depends on the ultimate

use of the exported file. It is usually best to determine settings by
experimenting, possibly with test files.
Test first with high compression, viewing on the ultimate target medium.
There will probably be unacceptable defects in the image. Decrease the
compression value (go to 0.5 to begin a binary search) and recheck,
continuing until defects are barely perceivable.
In many cases care in choice of the compression value will result in very
small image size with fully adequate viewing quality. This can be especially
important for web graphics that require communication over finite
bandwidth networks.
In some cases the recipients software applications may require JPG file
format. If lossless image quality is required, just set compression to zero,
and pretend that JPG is really a file format.
The Antialias check box selects the use the macOS antialiasing algorithms
during preparation of the image. In some cases it may be best not to use
this capability. See the discussion of this topic in the TIFF section above. In
most cases antialias should be used for a JPG export.
Interpolation is applied to Bezier paths during preparation of the image.

This normally has little affect on the image. If exact control over placement
of pixels of lines and curves is needed select no interpolation. There are 3
levels and an automatic selection.
Graphic Interchange Format (GIF)
GIF is a creation of CompuServe. It is a bitmap file format. The format
allows for saving multiple images in a single file. When used properly this
format can result in very small files sizes. This is a widely used format for
Web graphics.
GIF files are always compressed in a way that conserves all spacial image
information. However it takes care to maintain the color information the
image. All colors of a GIF image are mapped to a fixed number of colors.
These colors are saved with the image in a record know as the color table.
Color tables contain a maximum of 256 colors and are always a power of 2
in size. If your drawing was prepared using a fixed set of colors from a
defined color table, you may select that color set using the Color Table
popup menu. Otherwise you should use one of the automatic methods
provided by EazyDraw. Select the automatic method and size of table
desired using the popup menu. EazyDraw will analyze your full image and
optimize the color table to best represent your image with the size of color
table specified.
GIF files support an older concept of transparency, not to be confused with

the opacity capability of the macOS color management system. In a GIF file
one color is chosen as the transparent color. This chosen color is not drawn
when the image is rendered. On a typical “Mac” desktop this color would be
White. Use the popup to control this selection, use automatic and EazyDraw
will make an intelligent selection for you. Note that it is not necessary to
use the transparent color attribute. The popup is also a good way to see
what colors will be placed in your color table. There is no selection for
compression, GIF files are always compressed with the LZW algorithm. This
is a lossless compression method
Color Table
The GIF file format uses a color table. The image is constructed with a
limited set of colors which are the ones defined in the embedded color
table. There is a popup menu that is used to select the color table that is
used to define the colors in the exported graphic. The color tables that you
see on the popup menu are those found in your Colors Folder in the Library
folder of your home directory. See “Color Files” in chapter 1 for more
information.
Normally you will want EazyDraw to analyze your drawing and prepare an
optimal color table that best matches the colors that you have used in your
image. The selections near the top of the popup menu provide this
behavior. You will see selections like 4 Best on up to 256 Best. GIF color
tables are limited to 256 colors and must be a power of 2, hence the
selections that you see. Larger color tables require a little more storage size
which can be important for web graphics.
Color lists are used for these color tables, patterns and textures are also
saved as color tables. A list of color patterns can not be used with the
bitmap format, as they are themselves bitmaps. The GIF format only
supports RGB (Red, Green, Blue) color specifications. Any color list that
contains at least one non-RGB color is disabled on the Color List Popup
menu.
At the time of the writing of this manual, EazyDraw does not support the
export of multi-frame GIF files which are used to provide animation.
You may encounter information related to CompuServe and patent

problems related to the LZW compression algorithm that is integral to the
GIF file format. This patent problem was one of the driving issues that
resulted in the design of the PNG file format. The CompuServe patent
expired several years ago and is no longer an issue. The PNG format is a
more versatile format and should be used in favor of GIF in most cases.
Portable Network Graphic (PNG)
PNG, pronounced “ping,” is a bitmap file format. It is specifically designed
for network image data transmission and storage. It is capable of lossless
storing bi-level to 48 bit true color image data. PNG is a well-designed and
well-developed file format that is intended to replace CompuServe’s GIF file
format.
PNG is a newer format that provides inclusion of transparency with a 16 bit

alpha channel. EazyDraw and macOS support color transparency. For this
reason you may find PNG to be the preferred interchange format for web,
network, Windows exchange and computer display applications. This may
become more important as more applications add support for transparency.
PNG also provides a faster progressive display-interlacing scheme than GIF.
PNG does not support multiple images per file that are used for storage of
animation sequences. This would be one reason to continue to use GIF for
web applications.
PNG is becoming the most prevalent interchange format with the older
Windows technology applications. The higher quality color, well-defined
specification, and inherent small file size with lossless compression are the
likely reasons for this evolution. You can generally assume that your
exported image will look good when displayed by a Windows application -
at least up to the limitation of a bitmap image.
BMP
The Windows BMP file format is a simple bitmap file format introduced and
standardized with Windows version 3.0. It has been highly standardized
and is extremely widespread. The format does not standardly support
compression, but that can be easily applied with a separate compression
program. Transparency is only provided with the 32 bit color variant,
commonly referred to as Windows XP format.
At the time of this writing, the 32 true color format is not widely supported
so its use should be checked with the destination display application.
Colors are defined in an indexed fashion, using a finite list of colors.

Usually 16 or 256 colors. More recent standards for this format allow for
“True” colors defined as RGB (red, green, blue) 8 bit color components. The
newest Windows XP standard supports an additional 8 bit alpha channel,
i.e. transparency.
The file extension is BMP. The first two bytes of the file are the characters B
and M. The OS 2 variant of this file format is not supported at this time.
The Width and Height of the image are important in a BMP export. You
should design the size of the drawing appropriately. The Color Depth
popup determines the encoding format used for colors with the bitmap. If
2, 16 or 256 colors are specified the Colors popup is used to specify the
color table included in the exported file. If the 24 bit or 32 bit color method
is selected, no color table applies and that popup menu is disabled.
The Color popup menu is used to select a color table for inclusion with the
bmp file. All colors of the image are converted to the closest color found in
the specified color list. The selection of Best 16 or Best 256 will
automatically generate a color table from the EazyDraw drawing. A table is
created with the colors used most frequently in the drawing. The other
color lists shown on this popup menu are those found in the Colors folder
of the User Preference Library folder.
The View Colors pull down list may be used to review the colors of the specified
color list, but not the automatically generated lists. There is no action associated
with this menu, it is just provided for convenient review. The easiest way to
draw and export with no scaling is to enclose the graphics in a rectangle
with a point size corresponding to the desired and specified pixel size. The
rectangle can be changed to No Stroke and No Fill after drawing is
complete. If all other graphics are inside this invisible rectangle, no scaling
will be applied to the image.
256 colors are usually sufficient to depict most vector drawings. If

photographs are included in the drawing, 256 colors will probably not be
sufficient to properly represent the image. Also the use of several or
complex color gradients will rapidly exceed 256 colors, so care must be
used in this situation.
As noted above, the color lists may show pattern or texture color tables,
these can not be used as color tables for this export format.
ICO, Windows Icons and Favicon

ICO File format is a Windows file format used to store a family of images
that are used as icons. This format is used for the Favicon in common use
on the World Wide Web.
A Favicon is a multi-resolution image included on nearly all web sites. The

Favicon allows the browser to display a desktop or menu icon representing
the web site. The multi-resolution aspect allows the icon image to be
displayed optimally at 16x16 pixels up to 64x64 pixels. Different “color
depths” can (and should) be included in the file, these allow the display
application (operating system or browser) to draw with the preferred color
model.
Most Web browsers support the Favicon.ico file. If someone bookmarks a

web site containing a Favcion.ico file the icon is displayed beside the web
site name in the menu system or the table of the user’s favorite sites. The
icon is also commonly displayed next to the site address in the main
navigation entry field.
This export panel can be used to automatically generate a family of images

from a vector drawing. More detailed control over the individual image
generation is provided through the integration of individual layers.
The popup menu just below the Include checkbox is used to select a
particular image format for inspection and interaction with the parameters
of this panel. Use this menu to select an image format, then the individual
parameters associated with this image are made available for interaction.
The Image Selection popup menu, found just below the Include checkbox,
is used to select a particular image for inspection and interaction with the
parameters of this panel. The Include checkbox is used to include or
exclude the image of the specified size and color depth in the final
exported file.
The lower portion of the Image Selection popup is used to select a family of
image specifications appropriate for different uses or target systems.
Selecting one of these entries, which are shown in light blue, will select and
deselect the include option appropriate for each support image size and
color style. If a set of selections matches one of these defined standard
sets, a check is shown next to the set on the popup menu.
The Colors popup menu is used to select a color table for inclusion with the
bmp file. All colors of the image are converted to the closest color found in
the specified color list. The selection of “Best 16” or “Best 256” will
automatically generate a color table derived from an examination of the
colors used in the drawing. A table is created with the colors found most
frequently in the drawing. The other color lists shown on this popup menu
are those found in the Colors folder of the User Preference Library folder.
The View Colors pull down list may be used to review the colors of the
specified color list, but not the automatically generated lists. There is no
action associated with this menu, it is only provided for convenient review.
If the drawing has more than one layer, the Source popup is enabled. If
Visible Layers is selected, the drawing graphics are automatically scaled to
the size needed for each image. If One Layer is selected as the source, the
Layer popup is enabled so that it may be used to specify a specific layer for
the currently inspected image. In this manner different layers may be used
for individual images. In this manner a completely different design may be
used for the 16 x 16-16 color image than a 64 x 64-32 bit color image.
FAVICON Cookbook Instructions

Favicon (short for Favorite Icon), is a generally small sized graphic
associated with a web site or particular web page. Browsers and mobile
devices use the graphic to badge or graphically identify the web site for the
user. This allows a web designer to push a high quality (using EazyDraw’s
vector technology) branding logo image to the readers browsing
experience. Providing Favicons (yes you need several) is now a must for a
professional quality web site.
Historically the Favicon was one simple graphic, very small (16 x 16) that is
displayed in the web address bar (on the left). But the technology has
expanded evolved and is becoming standardized.
EazyDraw makes this task simple (very simple). From EazyDraw, open Page
Setup - choose favicon as the virtual printer. Then you will see the “virtual”
paper menu populated with the recommended image sizes denoted with
names indicative of the target operating systems and browsers. The design
task is then simply to design a graphic for each of the sizes and export
them as 72 dpi PNG graphics.
To implement, upload the png graphics to the web site. In the HTML code,
in the <head> section add a link element with a r-e-l attribute specifying
each png image and corresponding size.
It is important to scale and design the image for each size in your EazyDraw
original drawing(s). Don’t simply scale the PNG -- think about it: if that sort
of quality was acceptable then multiple images would not be needed or
sought by the browser or end-consumer user interface. Scale and design
each graphic as vector content in each properly sized image. As the size
increases the design will encompass more detail. As the size decreases the
design must simplify, at the smallest size the result will often be extremely
simple using logo colors to convey branding.
The resulting favicon images will appear in several places in browsers and
mobile devices. The web site (or a single web page) can automatically
acquire a full iOS-icon status if you have the proper size png image
available on the web site.
When exporting the PNG, remember to export at 72 dpi and (most

important) export Full Drawing Area. If you do not choose Full Drawing
Area, and if anti-aliasing is used (of course it will be used) then EazyDraw
will add a few pixels on the border to anti-aliase the edges of the image.
These extra pixels will result in improper image sizes and possible
exclusion of your image. It is always best to check the exact size of each
png image using Preview or another inspector.
Note: on Page Setup, use Points as palette units. Click the small “i” - “p” -
“m” button top right of the panel until “p” for Points is selected. Points is a
defined unit of length, defined as 72 per inch. This works perfectly when we
export at 72 dpi (dots per inch), the choice ensures that one Point
corresponds to on dot (not a defined length).
If you have an older (version 7 or older) version of EazyDraw the convenient

menu is not provided. Favicon on the older versions creates the on simple
16 x 16 windows icon. But this is not a problem, look up the needed sizes
with a web search then manually set them as “custom” on page setup. Your
results will be the same.
SVG (Scalable Vector
Graphics)
The mnemonic SVG stands for Scalable Vector Graphics. It is a vector
graphics format, as compared to a bitmap graphic format. It is text-based
and human readable, the content format is similar to the web page HTML
format.
Scalable Vector Graphic format, an open standard vector format. This is a

text file format, the output is human readable. The content is formatted in
accordance with a set of encoding rules called XML (Extensible Markup
Language). The output resembles HTML, using start tags and end tags to
define vector graphic elements. SVG is now supported and displayed by
most browsers and is required for posting diagrams to Wikipedia.
SVG is an XML (Extensible Markup Language) language (or application). SVG

is an “open” format published, defined, and maintained by the W3C (World
Wide Web Consortium). Complete information and documentation for the
format is available on the Web and there several technical publications
available for in-depth study.
SVG can be used to exchange drawings between applications, or for content

publication of web based graphics. There is a defined reduced scope format
for use with resource limited hand-held devices (this format is defined as a
“profile” called SVG TINY. EazyDraw supports all defined SVG profiles.
This panel is accessed from the File menu, the Export selection. Use the top
left popup menu found on the Export Panel to select “SVG” for the file
format.
The EazyDraw SVG export is a full implementation, all EazyDraw graphic
elements are mapped to SVG content. Where possible SVG abstractions are
implemented. If an EazyDraw graphic element is not representable as a SVG
element or attribute, the EazyDraw graphic is generated using SVG primitive
graphic elements. For example, a simple linear gradient has a SVG
representation and the representation is used in the SVG exported drawing.
But a Conic Gradient does not have a SVG representation; in this case the
gradient is generated as a series of small elongated triangle fills. Another
example is Arrows (defined as Markers in SVG), some EazyDraw arrows can
be represented as Markers, but “Arrows - Along” are drawn as basic Bezier
paths in the SVG drawing.
For specific details on the export parameters consult the W3C web site, or
refer to the EazyDraw Help page for this export format.
Keynote
Keynote direct export is no longer provided. EazyDraw 4 and older and
EazyDraw Retro still provide the export. But it is not advised, the proper
work flow exchange to Keynote is PDF.
Use Page Setup to conveniently set the Keynote slide size. Then design your
slides in EazyDraw then transfer with PDF (drag and drop, copy and paste,
export and import, ... ) to Keynote for pristene quality presentation
graphics. Keep your original content in the EazyDraw drawing file, future
editing is accomplished with EazyDraw and a export to Keynote.
Path As SVG
This export is found on the Edit menu (not the export menu). Choose Edit -
> Copy Special -> Path as SVG. The source of the copy can be any graphic
that has a Bezier path (rectangle, Bezier curve, circle, ... ). When the
command is executed a plain text string is generated and placed on the
system pasteboard.
The string contains all the information needed to generate the Bezier path,
encoded as a SVG path. It is becoming common that other Apps can
interprete these strings as graphic shapes. For iOS development we use this
format to incorporate graphic elements as vector content using XCode and
the standard iOS development environment (these paths are much smaller
with greatly improved quality and scalable properties when compared to
multiple-png images.
CSV
Comma Separated Values (CSV) is commonly used to exchange data table,
often used with a database or spreadsheet application. The output is a
simple table of Bezier vertices and control points.
This is an advanced topic. A working knowledge of Bezier graphic geometry

is needed to understand the CSV table. If needed, a quick study on the
internet or any computer graphics textbook should suffice. The Apple
Developer Connection website has detailed information on this topic.
The numeric values are defined in the current drawing units (inches,
centimeters, points, ...). The drawing units are defined on the Scale palette
(Format main menu). For reference, the drawing ruler can be used to
illuminate the values that are provided in the CSV table.
The precision (number of decimal points) is the same as seen on the

Graphic Details drawer. This is user definable on the Graphic Details drawer
when "nothing" is selected, refer to Numeric Formats in Chapter 6 for
information on this topic.
EazyDraw does not provide "round-trip" support for this format. EazyDraw
cannot import a CSV table. SVG should be used to import Bezier graphics.
Copy Paste Order
When you execute a Copy from one application (e.g. EazyDraw) and a Paste
to a second application (e.g. PowerPoint) the operating system (macOS)
facilitates the transfer of information (your EazyDraw graphics) using the
system pasteboard.
Data can be placed in the pasteboard server in more than one

representation. For example, your EazyDraw graphic might be provided
both in Tag Image File Format (TIFF) and as encapsulated PostScript code
(EPS). Multiple representations give the pasting (receiving) application the
option of choosing which data type to use.
In some cases this automated selection may not provide the desired results.
In the example (EazyDraw to PowerPoint) the TIFF format would be correct if
the graphic was a photograph that was perhaps cropped and enhanced with
a composition affect. But this would be the wrong format for an electronic
timing diagram, in the later case a vector representation would be far
superior.
These check boxes and ordering specifiers provide control over this inter-
application interaction.
When applications interact with the pasteboard server they indicate the
allowed formats and an order of preference. In some cases the preference
order may define the actual format used.
The Order parameters provided allow control of this preference ordering.

The check boxes on the Copy column define which formats are included
when a Copy (or drag off screen) action is performed by EazyDraw. Check
the box to include the format.
The numbers specified in the Copy Order column determine the order in
which the formats are placed on the pasteboard. A lower number indicates
a preferred format. Change the order by typing a number in the text box
associated with a format.
The Paste column works in the same fashion, except it provides control
over the formats accepted with a paste (or Drop) operation into EazyDraw
from another application.
These parameters are not used when copying from one EazyDraw drawing
to another. In these cases EazyDraw makes use of internal proprietary
formats that are more complete.
For communication with newer applications on macOS, known as Cocoa

Apps, TIFF and PDF will be formats that are more likely to provide high
quality image rendering in the destination application.
Chapter
The Drawing Window
6 Drawing Window Components

Active Drawing Area
Pages
68
71
72
Drawing Setup Sequence 73
Page Setup 73
Printer 73
Electronic Publish 74
Paper Size 74
Scaling 75
Margins 75
Page Layout 76
Drawing Background 77
Drawing Size 77
Zoom And Drawing Size on Screen 77
Zoom With “i” and “o” 77
Zoom Tool Palette 78
Zoom With Number Keys 79
Zoom Window Menu 79
Toolbar 79
Customize Toolbar 80
Color Picker 81
Gradient Fill 82
Pattern 84
Texture 85
Attributes Mini Toolbars 87
Contextual Toolbars 87
Drawing Rulers 88
Ruler Font, Font Size, and Style 89
Tick Mark Intervals 89
Ruler Style 89
Pg 67
Graphic Details 90
Decimal Precision 92
Graphic Index 97
Group Index 98
Layer Information 98
Graphic Details Text 99
Text Size Details 99
Text Font 100
Text Style Details 101
Text Character Details 103
Layers 104
Layers Table 106
Layers Visibility 108
Color Modification 108
Color Space 110
Drawing Window Components

The drawing window is your working view or window into your drawing. It
has a number of components most of which are standard macOS window
user interface elements which you will find are used by most macOS
applications. Below is a brief rundown of the window elements names and
uses.
Close Button: Click the red button to close a drawing, same as Executing
Close from the main menu or CMD “w.” If the drawing has changed since
last save, a pull down panel will ask if the drawing should be saved to its
disk file before closing.
Send to Dock Button: Click this yellow button to collapse your drawing
window and place it on the system Dock. The drawing will remain in the
system dock and off the desktop until it is needed. In the dock it is
represented as a thumbnail snapshot of the drawing. The drawing window
will return to the desktop if you click it in the Dock.
Full Screen / Normal Size Button: Click this green button to expand the
drawing window to occupy the full screen. It will expand out to use the full
display area of the screen. The actual “zoom” setting for the drawing
remains the same, all graphics will remain the same size, but the
expanding window will expose more drawing area. If a window is expanded,
clicking this button will return the window to its previous size and location
on the desktop.
Pg 68 Ch 06 - The Drawing Window
Close Button Full Screen Mode Switch (on Lion)
Title Bar - Click and drag to move a
Send to Dock Button window on the desk top
Large Size / Normal Size Button
Drawing File Name
Zoom Menu
Layers Menu
Attributes Bar Drawing Ruler
Horizontal Scroller
Vertical Scroller
Toolbar - several forms: icon, small
icon, icon plus name.
Resize Area
The Drawing Window - Ch 06 Pg 69
Drawing File Name: This is the system filename associated with the
drawing. Control click to get popup menu that shows the containing folders
indicating the file system location of the drawing.
Title Bar: The top of the window is called the title bar. This is the area of a
drawing window that is used to click, drag, and move the position of the
window on the system desktop. To move a window, click in a free area of
the title bar, away from any of the buttons, and drag the window to the
desired position.
Full Screen Mode: (Lion and newer) Use this button to switch to Full Screen
mode. The current drawing is expanded to fill the screen, the menu is
hidden, if necessary a margin (Page Layout parameter) is added to the
screen display format.
Toolbar: Each drawing window has a toolbar. All of your drawing windows
will have the same toolbar, if you change the toolbar for one drawing, all
the others will change too. This toolbar is fully user configurable, use the
Customize Toolbar menu command (Bottom of View main menu) to remove
a tool or add others, from a selection of well over a 100 available tools.
A toolbar configuration may be saved to a file for future use or a quick

change of toolbar setup. The menu commands for this are found about half
way down on the View main menu. A submenu of recent or favorite toolbar
configurations is available from the View main menu.
Overflow Tools Menu: If all of the tools do not fit in the available window
width, the overflow tool menu is available to access tools by menu name.
Toolbar tools that are themselves pull down menus will have submenus on
the overflow menu. If all the tools fit, this icon is not shown.
Tick Mark Stepper: (upper left corner of rulers) If drawing rulers are
present this stepper button is available to change the tick-mark pattern for
the rulers. Use this stepper to quickly change the format for the ruler
intervals, half & quarters, or fifths and tenths for example. This is especially
useful if minor grids are enabled and the link grids to rulers option is in
use. In this situation the stepper will conveniently change minor grid
spacing.
Zoom and Layers Menu: These are provided at the lower left of the
drawing window, when a drawer (Graphic Details, or Layers) is open on the
left side of the drawing. If there is no drawer on the left they are not shown,
this in conjunction with hiding scrollers provides a clean uncluttered
drawing area.

Drawing Ruler: The drawing ruler is an option, it is enabled or disabled
from the Tools main menu (near the bottom). The Page Layout palette
provides a checkbox that may be used to control the display of rulers. The
Page Layout palette provides control of the default setting for displaying
rulers.
The scale and units of the ruler are those of the drawing and possibly the
active layer. These are selected on the Scale parameter palette found on the
Format main menu, near the top.
The colors, text font, and other style aspects of the ruler are set on the
Ruler Style palette, accessed from the Tools main menu near the bottom.
Horizontal and Vertical Scrollers: These controls are common on nearly all
macOS drawing windows. They are used to move the viewing portion of an
enlarged (or zoomed) drawing. Normally they are only shown when
scrolling is activated.
Click and drag these scroller buttons to move (or pan) the working area of
the window over the full drawing area.
The Hand tool (main tool palette, second from top on the right) may also be
used to pan a drawing. Option click and drag with the hand tool to move (or
pan) the active viewing area of an expanded drawing.
Resize Grabber: The bottom right corner of the drawing is used to set the
size of the drawing window. Click and drag to set the window’s size.
Active Drawing Area

The remaining interior area of the drawing window is your active drawing
area. The size and makeup of this area is a representation of the final
output medium of your drawing. This output medium is, in a general sense,
a piece of paper. More precisely, a piece of paper of a size supported by an
active printer known by your macOS operating system.
This seemingly intimate connection of a printer and real paper size to your
drawing’s active area relates to the core design of macOS and a great deal
of the imaging technology required to provide a “graphics” drawing area. In

many ways, PDF is the core description format for your drawing, and a PDF
document is built of individual pages of a defined width and height.
The EazyDraw user interface tries to minimize your need to understand

these details, but it can help if you understand a little of what is going on
behind the scene of your window’s view on your display.
If you are preparing content for use on the Web or for electronic publishing,
there may not actually be a printer and piece of paper in your work flow.
EazyDraw provides a setting, on the Page Setup palette, that allows you to
choose a virtual electronic publishing printer. This ability helps lift some of
the connections of your drawing to a physical piece of paper.
However, if your work flow is destined to a real printer and paper - do not
try to circumvent the hard connections imposed by macOS and EazyDraw.
In this case we will be holding firm the connection to your physical output
so that the final printing will be the right size and have the best
appearance. More on this as you work your way through the next few
sections. But if you find yourself requiring a custom paper size, slow down,
back up, and think about the requirements.
Pages
Your active drawing area will have a defined physical size. It is made up of 1
or more pages, each of which has a defined physical size. All pages of an
EazyDraw drawing must have the same size, width and height. The
individual pages are arranged in a rectangular fashion, with a defined
number of pages across and down. The number across and down may be
different. There is no artificial limit on the size of the drawing, in other
words no limit on the number of pages across and down.
Unlike a bitmap format, a large physical size drawing does not require a
large file storage size. It is only the content of the drawing that requires
storage. So a 100 page by 100 page drawing is no greater storage size than
a 1 page by 1 page drawing . . . if the drawings have the same content. Of
course, a 100 page by 100 page drawing with content on each page will
require lots of memory to save the file on your hard drive.
Just because there is no limit on a drawing’s size does not mean that a
large project should be built in a single drawing. It is best to provide
project organization using the Finder and the file system. Use several
individual smaller drawings and organize them in folders on your desktop.
If a project will involve more than one physical paper size, use one drawing
file/window for each of these. For example, if you are doing stationary and
will have a standard letter, envelope, and a business card - go with the

macOS/EazyDraw flow and do the project with three files rather than
contort three paper sizes in one EazyDraw drawing.
EazyDraw has no limit on the number of windows that may be open at one
time.
Drawing Setup Sequence

When starting a drawing it is wise to first select your printer, then your
paper size, and finally the number of pages across and down. You should
do this before a great deal of time is invested in your drawing. You do not
want to work for days on a drawing and then try your first “printing” after it
is all done.
It is also strongly advised to begin a drawing project with a test print. A

large rectangle will test that everything will fit on the paper. A small bit of
text will insure that the font and font size chosen will look good and have
the right orientation on the paper. And a few color swatches will assure that
all settings are correct for representing your colors - they will likely look
different on the paper than on your screen. After testing, save the drawing
and all these important settings will be safely stored with your drawing
content. Then you will not have any unpleasant surprises when you are
ready to print out the final result.
Page Setup
The Page Setup palette is accessed from the File main menu, near the
bottom. It provides an interface to define the size of one page of your
drawing. The two primary selections found on this palette are the Printer
and Paper.
Printer
The process of setting up the page setting for your drawing begins with the
printer. The printers shown in the Printer popup are derived from macOS,
and are not under the control of EazyDraw.
Printers are added using the Print and Fax option found on the System
Preferences panel, or other utilities provided as part of macOS or supplied
with your printer. These may change from release to release of macOS. The
Print and Fax application is accessed from the main system preference
panel via your Apple menu (the left most menu). The Printer Setup Utility is
found in the Utilities folder of the Applications main folder.

If there is no printer available, a generic selection will show on the menu.
With this selection you can still prepare a drawing and define a drawing
size. If at all possible you should install your printer driver and select the
printer before investing a great deal of time in your drawing.
Electronic Publish
You may need a different page size that perhaps is not related to an actual
printer or physical paper size. Perhaps you need a 460 x 60 point drawing
size for a banner ad. There are two selections for virtual electronic
publishing printers, Web Graphics and Buttons and Icons. When you select
one of these printers there are a group of standard sizes available on the
Paper size popup menu. You may also choose a custom size for your paper,
then the size specifier text boxes will be enabled at the bottom of the
panel.
Paper Size
The Paper Name popup menu is used to select a paper size by name. The
selections provided are physically linked to an actual printer by the
operating system. You first select a printer and then the paper. Your

selection with this popup menu will determine the actual page size
available for margin and content of the drawing.
The paper sizes shown in this menu are derived from the printer and
printer driver software. EazyDraw does not add or control these selections.
If a needed size is missing, don’t immediately resort to a custom paper
size. Instead revisit your printer installation and try to determine why the
paper you need is not present. There is usually a true physical reason when
you cannot find a certain size paper.
Also make sure you actually have the paper that you will be using for the
final printing of your drawing. You may do a perfect layout on legal size
paper, everything will look good on the screen, the printer may support
legal size, but if you don’t have any legal size paper your print out will be
chopped and you won’t see the full drawing on normal letter paper.
Scaling
The scaling specified on this panel is used to expand or shrink the apparent
size of the physical piece of paper. These scalings can be difficult to follow.
The preview box on the upper right of the Page Setup palette provides a
useful visualization of these interactions.
If you are preparing a technical drawing and need to draw to a specific

scale, for example 1 inch corresponds to 4 feet, do not use this scaling
parameter (on Page Setup) to achieve your drawing scale. Use the Scale
palette accessed from the Format main menu to set your drawing’s scale.
Since you are creating your drawing, you should not normally need to use
this scaling parameter. You can zoom in or out on your drawing window,
and you may scale any content inserted into your drawing. So the need to
scale the output is not normally needed. Applying a scaling here does add
complexity to your work flow and should therefore be avoided unless
actually needed.
If you have a full complex drawing ready to print, and find that it doesn’t fit
on the paper available; then this scaling parameter is available to expand or
shrink the virtual paper size of your drawing. The preview box will show
how the graphics will appear on a given page of your drawing. You can use
the small stepper found at the lower right corner of the preview box to step
to other pages of a multiple page drawing.
Margins
Use these text boxes to specify the size of the margins of each page of the
drawing. The Page Size values, shown to the right, reflect the available

drawing size of each page as determined by the paper selection. The page
dimensions shown are those available after margins are subtracted.
The page size dimensions are those of the page derived by subtracting the
appropriate margin values from the physical size of the paper and applying
the Scaling selection. The reddish background provides a visual clue that
these dimensions are derived and may not be entered directly.
The dimensions shown are specified in the Fine Scale Units for the palette.
The palette measurement units are indicated by the small gray units button
found at the upper right hand corner of the palette. Available units are
inches (i), points (p), and millimeters (m). Click the small units button to
change palette units. Control click the units button for a popup menu and
other options, such as decimal point precision. A full explanation of these
settings and controls is provided with the documentation of the master Fine
Scale palette.
Page Layout
The Page Layout palette is
accessed from the File
main menu, near the
bottom. It provides an
interface to define the
overall drawing size. A
drawing is built with a
defined number of pages
across and down. The two
text boxes provided are
used to specify these
defining values.
You have control over the

printing order and page
numbering. The checkbox
at the top right determines
if pages are counted across
then down or down then
across. This parameter
normally works as expected, but if a printer driver is not fully macOS
compliant, the printer driver may not respect your setting in EazyDraw,
testing may be required to fully understand how page numbering is
handled with your printer.

Drawing Background
Normally, on Mac computers the drawing background is transparent and
shown white on the display screen. You have control over this background
color with the checkbox and color well provided on the top right of this
palette. Click the color well and use the macOS color picker to select any
color that you would like to have for the drawing window background. If the
print box is checked this color will be applied as a background color upon
printing, if not checked the printing of your graphics will be over a
transparent backdrop.
Drawing Size
These values are shown with a faint red background because they are
derived values you cannot enter a value to set the page for drawing size.
Page size is set on the Page Setup palette, see above, and the drawing size
is determined by the number of pages across and down.
Zoom & Drawing Size On Screen

Your drawing has a physical size as defined by the page size and page
layout and perhaps the scaling of your print out. The drawing and drawing
window combine to provide you with a view of the drawing or a portion of
the drawing. The size of your drawing and its content on the screen is
roughly defined by a very dynamic value, the zoom. This concept is
borrowed from the camera viewer concept of zooming in on a portion of a
scene, or zooming out to provide a broader view of a scene.
Note that EazyDraw does not maintain a real physical definition of a size or
dimension as seen on the screen. This is true even if your zoom value is
100 percent. The size of elements on the display depends on the physical
properties of the display and your resolution settings in the system
preferences. So don’t place a ruler on your screen to check that a 2 inch
line is actually 2 inches long, it really has no meaning and you’ll just
scratch your screen.
Conversely, the zoom of a drawing on a screen does not affect the actual
size or presentation of the drawing when printed. Printing size is
completely independent from your screen view of the drawing.
Zoom with “i” and “o”

EazyDraw provides keyboard shortcuts for the “Zoom In” and “Zoom Out”
functions. Type the letter “i" to zoom in. Type the letter “o” (the letter, not

zero) to zoom out. Caps or small letter, it doesn’t matter. This is convenient
because it does not involve the mouse, which is usually being used for
drawing and selection actions. The keyboard zoom action is centered on
the cursor location, if the cursor is on the document. If the cursor is off the
document the zoom is centered on the center of the drawing window.
To zoom in on a particular feature of your drawing, float the cursor over the
point of interest and hit the “i” key. You need not click the graphic, the
current state of selections has no affect.
Zoom Tool Palette

EazyDraw provides a tool palette with a full
selection of zoom tools. This palette is accessed
from the View main menu, about 1/3 of the way
down. It provides tools for managing the zoom
view of a drawing. The number at the bottom
indicates the current zoom factor. You can type
in a new number to change the zoom.
If an inspector (Graphic Details or Layers) is

visible on the left side of the drawing, the zoom
amount is displayed lower left of the drawing
along with a popup menu for access to many of
the zoom actions.
The Z100 button (lower right) will return the

drawing to the nominal natural size.
The top right zoom button will zoom the

drawing, focused on the current selected
graphics. The zoom is adjusted to show the selected graphics fully filling
the active drawing area.
The bottom left button will zoom to show the full drawing in your drawing
window’s active area. The top left button provides a click and drag
mechanism. Click the button and then click and drag on your drawing. The
area selected by your dragging action is then zoomed to the size of your
drawing window and centered on the active drawing area.
Zoom Calibrate computes a zoom factor that will present elements on

screen at their natural size. This computation depends on specifications for
the actual display (screen) in use.
Zoom Interactive (bottom right) provides interactive zoom, click down on

the drawing the drag up to zoom in or down to zoom out.

Zoom With Number Keys
Typing a number, no command modifier key, will adjust the zoom of the
drawing. The number 1 will zoom to 100%, 2 to 200%, and so on up to
600%. This is a handy way to quickly get back to zoom 100, just type the
number 1.
Zoom Window Menu

The drawing window has a small zoom indicator
and menu. This is found at the lower left corner of
the drawing. This is present at the lower left corner
of the drawing when Graphic Details or Layers are in
use on the left side of the drawing.
The menu may be used to change the zoom

amount. It has selections for several standard zoom
amounts. At the top there are selections to zoom
out to the whole drawing, zoom in to the current
selection, or begin an interactive zoom by dragging
out a rectangle.
NOTE: this is only present when Graphic Details or

Layers are showing on the left side of the drawing.
Toolbar
Each drawing window has a customizable toolbar that may be shown at the
top of the drawing window. The toolbar may be configured with large or
small icons, and tool names may be used if desired.
The toolbar is designed to be customized - by even the most novice of

users. There are over 250 tools to choose from. The order and whether or
not to include a tool is determined by simple arrangements made with the
Customize Panel. The Customize menu command is found on the View
main menu, at the bottom.
All drawing windows are presented with the same toolbar arrangement. Any
customization will be applied to all drawings. The toolbar may be shown or
hidden individually for a drawing window. You may save toolbar
configurations in formatted text files, this lets you quickly switch tool
setups for different activities. Support for this feature, including a recent
toolbars convenience menu, are found on the View main menu about half
way down.

A Contextual menu is provided for managing the toolbar appearance.
Control click on the toolbar to access this menu.
Each drawing window is provided with a small oval button on the right hand
side of the top title bar. Click this button to “show” or “hide” the toolbar.
Toolbar Show or Hide is also provided on the main menu system at the
bottom of the View main menu.
You may customize the Toolbar by selecting the Customize Toolbar menu
item from the View Menu found on the Main Menu.
To use a tool on the Toolbar just click it. Most tools are also present in
other locations in the user interface, either on a tool or inspector palette.
If the tool is a menu tool there is a small disclosure triangle present on the
lower right area of the icon. If one of these tools is clicked - just a simple
quick click - the action shown by the tool icon is executed. To access the
full tool menu, click down and hold for a brief second or two, the pop-
down menu will open for selection of an item on the menu.
If the window is too narrow to display all the chosen tools, an extended
popup menu is provided as the rightmost tool. Use this menu to access the
tools that don’t fit on the window.
Customize Toolbar
There are over 250 tools available for the user configurable toolbar. The
customize toolbar panel is provided to arrange and select which of these
are included on the drawing toolbar.
The Toolbar is customized by dragging selections from the Toolbar palette

and placing them on the Toolbar at the desired location. To remove an item
click and drag it off the document Toolbar, it will go away. To move an item
just click and drag to the desired location.
You may return to a default Toolbar by dragging the sample Toolbar from
the customize Toolbar palette to the document window’s Toolbar.
The popup menu near the bottom of the Toolbar palette allows the
selection of the display format of the Toolbar. The selections possible are
icons, names or icons and names.
There are icons for Separator, Space, and Flexible Space which may be used
to format the layout of the Toolbar. They can help make the Toolbar
visually appealing and more functional by grouping buttons according to
use.

It is possible to have duplicates of tools on the toolbar. This is not
meaningful for all tools, but for several tools such the color picker or
drawing tools this is very useful.
The use of duplicate tools introduces a dynamic aspect to your toolbar. Use
different instances for different individual shape selections and the toolbar
will evolve with the work flow, presenting your most frequent actions for
single click access. As you become more familiar with powerful feature, a
custom toolbar can be designed to reduce the number of floating palettes
on the screen workspace. The use of small icons, without tool names, will
provide room for 20 - 40 tools on the toolbar, depending on screen size.
Color Picker
Toolbar tools for color picking of Fill Color, Stroke Color and Text Color are
available on the toolbar customization panel. These can provide an
alternative to the system color picker for managing fill and stroke colors in
a convenient one or two click fashion.
A color picker tool is a “smart” tool, it will remember the last color chosen.
This most recent color is shown in the color swatch on the tool icon. The
shown color may be applied with a simple click of the tool.
There are separate toolbar color picker tools for picking Fill color, Stroke
(or line) color, and Text color. The desired form of the tool must be overtly
added to the toolbar with the toolbar customization panel.
This method of color selection is limited to a very few of all possible colors.
These are provided on the color samples array. The Color and Style palette
used in conjunction with the macOS color picker is used to access the full
range of colors available for your drawing. The Color and Style palette is
accessed from the Tools main menu, near the top.
The color picker tool is NOT an inspector of colors. Selecting a graphic will
not cause the active color of the tool to change. The active color will change
only by holding the click on the tool until the pop-down color selection
menu is presented, then selecting a new color.
To apply the current active color for the tool to a graphic(s), select the
graphic and perform a simple - quick - click of the tool. The color of the
graphic will change. The active color is shown on the tool icon.
The current active color is changed by clicking and holding down on the
color picker tool. A palette of a colors is presented as a pop-down menu.
Move the cursor over the desired color, click and the active color will
change. This active color is shown in the large color swatch at the bottom

of the pull down view. Repeated clicks are allowed, to select and view the
larger swatch.
When a color selection action is complete, slide the mouse off the pull down
view and it will close, or click on the lower color swatch, a double click will
also close the menu.
It is possible to have duplicates of color picker tools on the toolbar. This

can be useful to provide quick access to a few colors. Add the desired
number of color pickers to the toolbar using the customization panel. Then
use each picker pop-down menu to select a different color. Then proceed
with drawing activity, each color is conveniently available with a single click
of the appropriate individual color picker tool.
The colors shown on the pop-down menu are derived from a macOS color
list. These are found in the Colors folder in the user home Library folder.
Any color list may be used as the set of colors provided by the toolbar color
pickers.
The color list used is determined by the selection of “Toolbar Colors” on the
main EazyDraw preferences panel. The default list is named “EazyDraw”
which provides a sequence of 256 colors varied by Hue, Saturation, and
brightness.
Gradient Fill
A Gradient Fill tool is available on
the toolbar customization panel.
This tool can provide an
alternative to the Gradient Fill
palette for specifying gradient fill
and gradient colors in a
convenient one or two click
fashion.
The Gradient picker tool is a

“smart” tool, it will remember the
last gradient fill and color pair
selected. This most recent
Gradient Fill is shown on the tool
icon. The active tool gradient may
be applied with a simple click of
the tool. The Gradient Fill picker

tool is NOT an inspector of gradients. Selecting a graphic will not cause the
active gradient of the tool to change. The active gradient for a tool will
change only by explicit user actions with the pop-down menu.
This method of gradient selection is limited to the very few of all possible
two color gradients and colors, as provided on the pop-down menu. The
Gradient Fill palette is used to access the full range of gradients, colors,
and geometries available for your drawing.
To apply the current gradient fill for the tool to a graphic(s), select the
graphic(s) and perform a simple - quick - click of the tool. The fill of the
graphic will change to the active tool gradient. The active gradient is shown
on the tool icon.
The current active gradient is changed by clicking and holding down on the
gradient picker tool. A palette of a gradients and two palettes of colors are
presented as a pop-down menu. Move the cursor over the desired gradient,
click and the active gradient will change.
Clicking on one of the two color arrays will change the start and end colors
of the gradient. The resulting active gradient is shown in the large gradient
swatch at the center of the menu.
When a gradient selection is complete, slide the cursor off the menu and it
will close, or click on the gradient swatch, a double click will also close the
menu.
The gradients shown are derived from a special hidden resource file that is
contained in the EazyDraw application package. Access this file by “Show
Contents” of the EazyDraw application. A file called
“ToolbarGradients.ezdata” is found in the package resources folder. The
master gradients for the pop-down menu are derived from the gradients
present in this file.
The colors provided on the two color arrays are the same as those used for
the toolbar color picker. The color list used is determined by the selection
of “Toolbar Colors” on the main EazyDraw preferences panel. It is a
standard macOS color list, found normally in the Colors folder of the main
user library folder.
It is possible to have multiple gradient picker tools on the toolbar. The

advantages and use of duplicate tools was described above in the Color
Picker section.

Pattern
A Pattern tool is available on the
toolbar customization panel. This
tool can provide an alternative to
the full Pattern palette for
specifying pattern fill in a
convenient one or two click
fashion.
The Pattern picker tool is a “smart”

tool, it will remember the last
pattern selected. This most recent
Pattern is shown on the tool icon.
The active tool pattern may be
applied with a simple click of the
tool. The master patterns are in
black and white. The black and
white pixels of the pattern may be
assigned to any color available in
the color picker array. Two arrays of
colors are provided for this
selection.
The Pattern Fill picker tool is NOT an inspector of patterns. Selecting a

graphic will not cause the active pattern of the tool to change. The active
pattern for a tool will change only by explicit user actions with the pop-
down menu.
This method of pattern selection is limited to the very few of all possible
patterns, as provided on the pop-down menu. The Pattern palette used in
conjunction with images or the macOS color picker is used to access the full
range of patterns available for your drawing.
To apply the current pattern fill for the tool to a graphic(s), select the
graphic(s) and perform a simple - quick - click of the tool. The fill of the
graphic will change to the active tool pattern. The active pattern is shown
on the tool icon.
The current active pattern is changed by clicking and holding down on the
pattern picker tool. A palette of a patterns and two palettes of colors are
presented as a pop-down menu. Move the cursor over the desired pattern,
click and the active pattern will change.

Clicking on one of the two color arrays will change the black or white colors
of the pattern. The resulting active pattern is shown in the large pattern
swatch at the center of the menu.
When a pattern selection is complete, slide the mouse off the menu and it
will close, or click on the pattern swatch, a double click will also close the
menu.
The Patterns shown on the pop-down menu are derived from a standard
macOS color list. This color list is found in the Colors folder of the user
home Library. The name of the color list is “Toolbar.ezdraw” and this name
remains fixed.
Patterns may be edited, added, or removed from the color list

“Toolbar.ezdraw” with the EazyDraw Pattern Palette. While easy to do, this is
probably not something a new or novice user should attempt. The factory
default patterns may be restored by removing the color list file from the
Colors folder and restarting EazyDraw.
The colors provided on the two color arrays are the same as those used for
the toolbar color picker. The color list used is determined by the selection
of “Toolbar Colors” on the main EazyDraw preferences panel. It is a
standard macOS color list, found normally in the Colors folder of the main
user library folder.
It is possible to have multiple pattern tools on the toolbar. This can be

useful to provide quick access to a few different patterns. Add the desired
number of pattern tools to the toolbar using the customization panel. Then
use each picker pop-down menu to select a different pattern or color pair.
Then proceed with drawing activity, each pattern is conveniently available
with a single click of the appropriate version of the duplicate color picker
tools.
Texture
A Texture tool is available on the toolbar customization panel. This tool can
provide an alternative to the full Pattern palette for specifying expansive
colorful patterns. These “textures” are actually normal EazyDraw patterns.
The Texture picker tool is a “smart” tool, it will remember the last texture
selected. This most recent Texture is shown on the tool icon. The Texture
picker tool is NOT an inspector of patterns. Selecting a graphic will not
cause the active texture of the tool to change. The active texture for a tool
will change only by explicit user actions with the pop-down menu.

This method of Texture selection is
limited to the very few of all
possible textures, as provided on
the pop-down menu. The Pattern
palette is used in conjunction with
TIFF images to incorporate any
image as a texture for graphics.
To apply the current Texture for the

tool to a graphic(s), select the
graphic(s) and perform a simple -
quick - click of the tool. The fill of
the graphic will change to the active
tool texture. The active texture is
shown on the tool icon.
The current active texture is changed by clicking and holding down on the
texture picker tool. A palette of a textures is presented as a pop-down
menu. Move the cursor over the desired texture, click and the active texture
will change.
When a texture selection is complete, slide the mouse off the menu and it
will close, or click on the pattern swatch, a double click will also close the
menu.
The Textures shown on the pop-down menu are derived from a standard
macOS color list. This color list is found in the Colors folder of the user
home Library. The name of the color list is “ToolbarTextures.ezdraw” and
this name remains fixed.
Textures may be edited, added, or removed from the color list

“ToolbarTextures.ezdraw” with the EazyDraw Pattern Palette. While easy to
do, this is probably not something a new or novice user should attempt.
The factory texture patterns may be restored by removing the color list file
from the Colors folder and restarting EazyDraw.

Attributes Mini Toolbars
Each drawing window has a context sensitive mini toolbar available at the
top of the drawing. This is positioned above the horizontal ruler (if shown)
and below the main window toolbar (if in use).
This toolbar is actually a family of toolbars, it changes when graphics are

selected or deselected on the drawing. The set of tools provided are chosen
to be relevant to the graphics selected, or not selected, on your drawing.
The tools shown are not the primary user interface points for their
functionality. They are very small and not as descriptive as their
corresponding primary user interface elements. Think of them as visual
short-cuts or
convenience elements.
This toolbar may be

shown or hidden. The
primary choice is
specified on the Page
Layout palette. You may
also turn the Attributes
toolbar on or off with the item found near the bottom of the View main
menu. The “preference” for showing the Attributes toolbar is controlled by
the Page Layout selection.
Contextual Toolbars
The Attributes toolbar will change when a graphic is selected or de-
selected. It is contextual. The tools provided are chosen to be the most
relevant and frequently used for the type and number of graphics selected.
When no graphics are selected the toolbar shows elements pertinent to the
drawing, such as grid status and grid snapping state. To access this
toolbar, perform a de-select-all (apple-cmd-shift-A). Tools are provided to
show or hide rulers, manage grid display, a set of tools to control graphic
snapping, and access to the drawing scale and units.
If text is selected the toolbar shows tools relevant to typeface, typesetting,

and paragraph alignment. Text tools are provided to select font and
typeface, paragraph alignment, subscript and superscript selection, and
kerning (character spacing).

A vector graphic selection provides the attributes for interaction with line
style, interaction level, painting order, a conversion convenience menu,
buttons to access the rounding-shaping actions, a set of flip transform
tools and a menu to access the grid snap point for the graphic.
When multiple graphics are selected you will find tools relevant to
alignment, spatial distribution and grouping actions.
The individual tools will enable and disable as appropriate. The disabled
state is shown in a lighter gray. In most cases, the contextual aspect of this
toolbar means that tools are enabled, tools and interface elements that
would be disabled are generally simply not present in the toolbar.
The toolbar is useful to provide feedback as to the state of the drawing or

selected graphics. For example the snapping state of a drawing does not
normally have a visual clue (off, on, vertices, or grid), but the attributes
toolbar provides a place to display this state as a visual clue.
Missing Components: There are some elements that one might think are
missing from these toolbars. For example fill, stroke, and text color, or
gradient fill. The overall user interface design has provided these
commonly needed tools on the main toolbar. They are provided on the
main toolbar as smart tools which is a more advanced capability the
requires a bit larger size than is available on this mini-toolbar. The Main
Toolbar is fully customizable so you will want to configure the main toolbar
to compliment the tools provided in the Attributes toolbar. When used
together a great deal of convenient functionality is provided in an efficient
fashion.
Drawing Rulers
You may add rulers to the drawing window. They indicate the coordinates
of the drawing as they appear on the printed page or display window. The
rulers also contain tick indicators that mark the vertices of all selected
graphics.
The stepper control in the upper left corner of the ruler is used to change
the intervals of the intermediate tick marks. This makes it easy to click and
view the tick format until the best one is found. These formats may also be
selected by name on a popup menu on the Ruler Style panel.
Use the “Show Rulers” command near the bottom of the Tools Menu to turn
rulers on or off. The units used on the rulers are selected on the Scale
parameter panel.

If “Multiple Scales” are in use for the drawing (using the Independent Layers
check box on the Scale parameter panel) the ruler shown for the drawing
reflects the scale of the Active Layer, which is defined using the Layers
drawer.
The origin, the point on the drawing (paper) where both axes are zero, is
defined on the Scale parameter panel. The origin may be moved just by
clicking and dragging a ruler (Horizontal or Vertical). This will move the
origin, the ruler and all graphics on the drawing. Moving the origin doesn’t
move graphics, their coordinates hold constant. It does change where the
graphics are drawn on the page or pages of a drawing.
Tick marks are shown with the same Fill Color as the graphic. You cannot
move a graphic or resize a graphic by moving the tick mark. It may appear
that the graphic is being moved, but actually all graphics are moving with
the ruler and origin.
Ruler Font, Font Size, and Style

The font family (size, style, ...) may be accessed and changed by double
clicking the first (left most) label on the X axis. The double click will select
the text of the left most ruler label. Then you may open the main Font
Panel, Text main menu at the top. With this ruler text selected, changes on
the font panel will apply to the style of the ruler.
Tick Mark Intervals

There is a stepper control in the upper left
corner where the rulers meet. Use this
stepper to select the interval for the tick
marks. The stepper sequences through the
various tick interval options, like quarters,
tenths, or fifths. Sequence through to find
the sequence that best suits your needs.
Ruler Style
The appearance including, size, color,
background, and several other
characteristics of the rulers may be
changed using the Ruler Style parameter
panel. This panel is opened from the Tools
main menu, the selection is near the

bottom. The background color and text color of rulers may be selected with
these parameters.
In order to see the changes made to the rulers they need to be shown in the
top window of EazyDraw. Showing rulers is a drawing specific selection,
some drawings may have rulers showing and others may not. Changes to
these parameters will change to the top window only. The Background
check box, determines if a background is drawn for the rulers. If the check
box is checked the color selected with the color well will be the background
color for the rulers. If not checked the rulers will have the same color as the
document background which is selected on the Page Layout Panel.
The color of the ruler text, background, and border are selected with the
three color wells provided. Click on a color well to bring up your macOS
system color picker and select a color for the noted attribute.
The intervals of major and minor tick marks is selected with the “Ticks”
popup menu. These may also be changed using the stepper control found
in the upper left corner of the drawing window when rulers are shown.
Graphic Details
Graphic Details presents definitive numeric information for any graphic on a
drawing. Use the top menu command on the Tools menu to open the
Graphic Details Drawer. Or the “Details” toolbar button may be used to
open or close this drawer.
The information drawer appears to the side of the drawing window, outside
the active drawing area along the right or left edge of the drawing.
EazyDraw tries to make an intelligent decision about which side to use. You
may control the side used with menu commands provided on the View main
menu. There is a Drawers submenu near the bottom of the View main
menu. Use the selections there to set a specific side for either this Graphic
Details drawer or the Layers Drawer.
The defining information for a graphic is viewed by selecting the graphic,

the details drawer will change to present information tailored for the kind
of graphic selected. The information may be viewed while moving or
resizing a graphic. The graphic may be altered by entering new digital data.
All parameters pertinent to the drawing of a graphic may be accessed using
this information drawer.

Each Drawing window has its own Graphic Details drawer. When a graphic is
selected, this drawer displays all defining information for the graphic
element - the same numerical values that are used by EazyDraw to
construct the graphic element. There are no hidden variables, the numeric
information provided on the Graphic Details drawer is complete, all metrics
that EazyDraw uses to define a graphic are available for user inspection and
input.
The numeric values used on the Graphic Details drawer are fully scaled and
defined in the units of the drawing. This means that you enter values
naturally, no need to perform “off sheet” multiplications or additions. Any
changes of units, scale, or drawing origin are reflected immediately in the
numeric values displayed.
The drawer’s area is shown with a light cream gray background to

distinguish its function from the active drawing area. The background color
may be changed as a preference setting. Use the user interface theme
button found on the main EazyDraw preferences palette to make a different
selection.

Decimal Precision
The graphic details drawer is used to display and accept numerical data.
You have a great deal of control over the format of the numbers. The
precision, the use of decimals or fractions, and the inclusion and format of
units are all configurable. These selections are made on the graphic details
drawer. They are available when there are no graphics selected.
One might ask why a preference

setting such as these settings are
not found on the main preferences
panel. The reason they are not is
that they apply individually to a
drawing. Think of the situation as a
house design - the floor plan will
have settings for fractions, feet, etc.
At the same time the application to
the zoning commission is open on
the desk top, this is primarily a text
document and the settings for these
values will be quite different. Again
one sees the advantage of a graphic
details drawer closely associated
with an individual drawing.
The settings made here also

determine the format for the live
cursor when the Tape Measure tool
is used. This applies for all display values including lengths, positions, and
angles.
Keep in mind that the values shown and entered in the graphic details
drawer are relative to the scaling of the drawing and defined in the units of
the drawing. The scale and units selections are made on the Scale
parameter palette accessed from the Format main menu.
Settings for decimal precision only apply to the presentation of the values,
not how they are defined. Internally values are represented as 32 bit
floating point numbers. 64 bit internal values are planned for future
versions of EazyDraw as macOS transitions to 64 bit technology.
Value Tabs: There are four tabs of information concerning the display of
numeric information used to define the geometry of an individual graphic.

When the Graphic Details drawer is open and there is no selected graphic
the Graphic Details drawer will show the parameters available to define the
formats used to present different forms of numerical information.
The display parameters apply to the display of information for the

associated drawing. They are drawing specific - other drawings may have
different settings. These display settings are saved with the drawing.
Sample Field: Above the value tabs there is a sample field. This numeric
text field shows how a typical value is presented with the current settings.
The actual value shown here is a random typical number chosen by
EazyDraw. You may enter any value, without fear of changing something on
the drawing, to test the appearance and presentation of a specific numeric
value.
The slider above the sample field is used to adjust the width that is used to
display values. Wider field width will be required if more expressive settings
are used that might include units and fractions or higher precision.
Lengths Display Format: The Lengths tab provides settings to control of

the format of numeric information provided on the Graphic Details drawer
for lengths and positions.
This input selection is accessed by opening the Graphic Details drawer, top
item on the main Tools menu, and de-selecting all graphics (Cmd-Shift-A).
With the drawer open and no graphics selected, the Lengths tab is clicked
to present these parameters.
The precision value defines the number of decimal digits shown, after the
decimal point. If fractions are in use, decimal precision is used to define the
precision of fractional intervals. For example, a precision of 2 rounds to the
nearest 1/4 while a precision of 4 rounds to the nearest 1/16th.
The Units popup specifies the format of the suffix of a length value. You
may choose None, Units, Abbreviation, or Punctuation. Punctuation applies
only to feet and inches.
The Form popup specifies how numbers should be displayed, Decimal,

Fraction, Feet/Inches or Alternate. Alternate provides for decimal
representation showing the primary units as specified on the Scale palette
for the whole drawing and the metric/inches value in parenthesis.
The Form popup has a submenu at the bottom which is used to specify the
form for the area measurements found at the bottom of the Graphic Details
drawer. When one graphic is selected, and that graphic has a defined area,

this area is reported in the Area text field below all other reported details
for the graphic. This area value is not editable, it only reports the value. The
precision and units settings follow those defined for lengths on the Graphic
Details drawer.
The Width numeric text field defines the width provided for the numeric
text fields used to display lengths on the Graphic Details drawer. Interactive
control for this parameter is provided directly above the Length tab view,
adjust the slider to provided the desired space to display and input length
values with the chosen format. This value is always shown and entered in
Points, there are precisely 72 points to an inch.
Percentages: Measurements are sometimes unit-less ratios, such as the

scaling of a photograph. The “Pct” tab provides inspection and input of
these values as percentages or ratios on the Graphic Details drawer.
These values may be displayed and entered as either ratios or percentages.

The parameter settings on this tab view apply only to these parameters, the
format used for lengths measured in defined units are controlled described
just above.
The parameter’s precision, units and form apply just as explained for the
lengths tab. The percentages tab has a menu entitled Basis. The Basis menu
specifies the choice for displaying as percents or ratios. Percents are
calculated by multiplying a ratio by 100.
Notice that the Basis setting will have a significant impact on values
entered. For example, if percent is the defined basis a value of 100 would
return a photo to the actual size. If ratio is the defined basis this same entry
of 100 would make the photo very large.
Angles: The Angles tab provides full control of the

format of numeric information provided for angles
on the Graphic Details drawer. The primary choice
is the use of degrees or radians for angle values.
Other selections allow user definition of the
direction for zero degrees and the direction of
positive rotation.

The Units menu
specifies the format
of the suffix of an
angle value. You
may choose None,
Units, Abbreviation,
or Punctuation.
Punctuation implies
the use of the small
superscript circle as
the degrees
indicator. If minutes
and seconds of arc
are selected the
single quote and
double quote characters are designate minutes and seconds respectively.
The Form menu specifies how numbers should be displayed, Decimal,

Fraction, Degrees-Minutes-Seconds or Alternate. Alternate provides for
display as both degrees and radians, the alternate value shown in
parenthesis after the selected form.
The Basis menu is used to select three settings needed to define how
angles are measured on the drawing. The menu value displayed shows the
settings as selected in a short-hand format. When the menu is clicked and
popped up fully explicit selections are presented.
The Basis-Form selection is used to define Degrees or Radians as

measuring method. If Degrees is the chosen measurement form, a full circle
of arc is defined as 360 Degrees. If Radians is the chosen measurement
form, a full circle of arc is defines as 2 * π Radians (about 6.28 Radians).
The Basis-Rotation selection is used to select the orientation of a positive

angle. The primary selection is Clockwise or Counter-Clockwise. The other
two choices are Axis-Positive and Axis-Compliment. These last two
selections respect the defined orientation of the two Cartesian axes of the
drawing, as defined on the scale palette.
The Basis-Direction selection is used to select the direction from which

angles are measured. The choices are Right, Down, Left, or Up. This defines
the direction of the zero or 360 degree angle.

Tips: The Tips tab provides control of the format of the “Help Tip” that is
associated with numeric values found on the Graphic Details drawer. Help
Tips are a familiar feature on macOS. They are small, usually light yellow,
pop-up floating notes that appear if the cursor pauses over a user interface
element. They usually have a helpful tip or hint relating to the associated
item.
The “Help Tips” associated with numeric values on the Graphic Details
drawer are available for user definition. In this context the tip can provide
additional information for the value shown, perhaps a higher precision
value or an alternate choice of units such as metric measurements to
compliment a drawing’s primary English measurement value.
The best method to select these settings is to use the example entry field
found just above this tab view. Pause the cursor over this field and wait for
the Help Tip to appear. This will show the actual Help Tip for the example
value, as formatted with current selections on the other tabs. These
interactions may quickly become confusing, so this test/example method is
probably the easiest way to finalize selections for the tip’s parameters.
Units and Scale: Notice that the values here are in the units of the full
drawing, as set on the Scale palette. In contrast, parameter palettes use
Fine Scale units that are likely different from those of the drawing. For
example, you may have a drawing that is using feet, so a rectangle is
defined as so many feet wide and high on the Graphic Details drawer while
Points are used for line width units on the Color and Style palette.
You may use basic mathematical expressions with numeric input on the
graphic details drawer. You are able to add to or subtract from base values
or scale with a multiplier while specifying position and lengths numerically.
Fractions are allowed as input, even if decimal display is in use. Feet and
inches are allowed as input when the drawing scale is using feet, inches, or
yards units. Feet and inches are indicated on input by the “punctuation”
indicators ( ' and " ).
When you interactively edit a graphic, the numeric values shown on the
Graphic Details drawer are updated in real time. This is a great way to view
your drawing and the precise metrics of a graphic as it is changing. The
values shown for each different graphic form are largely self-explanatory.
We will not provide detailed definitions for each parameter of each graphic
in this manual. However, text information is so frequently used and
valuable that we will provide the detailed documentation for text later in
this chapter. The live EazyDraw help documentation does provide detailed
documentation on the numerous forms of the Graphic Details information.
Refer to that documentation if more information is needed.

Graphic Index
At the top of the Graphic Details drawer you will see a numeric field labeled
Index. Each graphic of a drawing is identified by a unique index. These
indices always start at zero and progress sequentially. If a graphic is added
or deleted the indices are adjusted, they always number from zero to N - 1,
where N is the total number of graphics. There are no missing numbers.
Graphic with index 1 is the second graphic in sequence.
A graphic’s index is more precisely termed its painting order index.

Graphics are painted on the drawing beginning with index 0, progressing
through each graphic according to its painting order index. This means that
for two overlapping graphics the one with the larger index is painted over a
graphic with a smaller index.
The index rule just described is modified if a drawing has more than one
layer. In the case of multiple layers, the painting index is assigned on a
per-layer basis. Each layer has graphics with painting indices starting at 0
and progressing through the total number of graphics on that layer.
The index of a selected graphic, its index on a particular layer, is shown. A

particular graphic may be selected by entering its layer index in the
numeric text box provided at the top of the graphic details drawer. The
stepper control is used to step sequentially through all graphics on the
active layer.
The graphic stepper is a good way to find problem graphics that sometimes
get buried or lost on a drawing. This can happen if a graphic is
inadvertently placed far off the active drawing area, or perhaps hidden
behind a larger opaque graphic. Or a graphic’s size could inadvertently be
made very small so it’s not easily seen on the screen. In all of these cases
the problem graphic can be located by stepping through the graphics of a
drawing and noting the type, size, and location details as shown in this
inspecting drawer.
If an errant graphic is located, perhaps it is far off the active drawing area,
you may return it to your viewing area by changing its X and Y (across and
down) location values. For example, enter 0,0 for its Cartesian coordinates
and the scroll to the top left of your drawing and you will be able to see and
work with the graphic.

Group Index
Graphics in groups also have indices. They are indexed in a nesting
manner. The Group graphic has a defined index, then each graphic of the
group is indexed starting at 0. This nesting allows a unique point in the
total painting order to be assigned each graphic on a drawing. The index of
each graphic of a group is shown in the Graphic Details drawer’s group
specific information view.
Layer Information
At the bottom of the Graphic Details drawer you will see information
concerning the layer that contains a selected graphic. The popup menu will
show the name of the layer of a selected graphic.
The Active Layer checkbox is used to expand or limit the scope of the Index
stepper found at the top of the Graphic Details drawer. If checked, only the
graphics on the Active layer are sequenced by the Graphic Index stepper. If
not checked the stepper control at the top of the drawer will sequence
through all graphics that are enabled for selection, passing across the
graphics of each layer in sequence. Note, this is all graphics enabled for
selection, not all visible graphics. See documentation on layers, later in this
chapter, for more on this distinction.
The count at the bottom of the drawer shows the total number of graphics
available for selection. This is the number of graphics on the Active layer if
the Active layer checkbox is checked, or the total of all graphics on all
Layers available for selection if the Active layer checkbox is not checked.
The Layer popup can be used to move a graphic from one layer to another.
The popup is enabled if multiple layers present. If enabled, a change of
selection layer via this popup will move the graphic to the newly specified
layer. Note that if the destination layer is not visible, the graphic will
disappear.

Graphic Details Text
There are four tab views with information concerning text graphics. Each
tab view provides access to different aspects of the text. When a text box is
selected this view of the graphic details drawer becomes active. It is also
live and active when editing the text content of a Text Box graphic. In this
case the selected text range is inspected and reflected in the information.
When not in the editing mode the full text content is reflected in the
information shown.
Text Size Details

The four numeric input’s at the top of this tab’s view provide access to the
size and position of the text graphic. The values are entered in the Units of
the drawing. A value is changed by selecting the number and typing in a
new value.
The Across and Down stretch values

apply scaling to the text graphic along
the axis indicated. The values are
entered as percentages with 100%
indicating normal unmodified scaling,
or no stretch. The stretch extent may
be entered here numerically, or with
the sliders provided. On-screen blue
handles are provided in the lower
right corner of the on-screen text box
for interactive stretching of the text,
with the resulting numeric values
shown here. Expand is similar to
across stretch, except the scaling is
applied on a character by character
basis. A value of 0 indicates no
expansion, a positive number
indicates stretching to a larger width,
and a negative number implies
compression of the width of each
character.
Oblique applies a tilt to each character, similar to Italics but adjustable and
the characters may tilt forward or backward. A negative value will tilt the
characters to the left at the top, and positive to the right. Enter a numeric

value or use the slider. If a value larger than the range of the slider is
needed - use numeric entry.
Oblique may be applied to any text. The characteristic can be used to

achieve an italic appearance with a font family that does not have an italic
typeface.
These X (across), Y (down), width and height values are shown in the Units
(cm, inches, points, ...) defined for the document on the Scale parameter
panel. Each coordinate is the distance from the origin which is defined on
the Scale panel and may be adjusted by dragging a Ruler.
Text Font Details

The Font tab view provides access to the
detailed information concerning the font
family and typeface of a text graphic.
The total number of characters in the

text graphic are shown in the gray text
box - upper right. This detail view will
indicate the extent of a "Range" of a text
style. A range is a string of characters
that have the same font and font
characteristics. The total number of
ranges are indicated by the blue number
in parentheses. The starting character
and ending character of the range are
shown in the two numeric displays below
the range heading. The stepper will
advance to the next (previous) range.
The Font characteristics apply to the

range indicated. The inspecting range is
also indicated by a light gray box
highlight visible directly on text on the
drawing.
When editing text, if a range is selected, the range indicator and stepper
will apply only to the selected text. To work with all the text of a graphic,
simply select the graphic (one click) and do not edit the text.
Padding is a bounding margin that the typesetter applies around the area
where text is allowed. In most cases this padding is desirable for pleasing
appearance. In the case of very small font size (1 or 2 Points for example)
the default value of 5 Points will be too large and a smaller value is used.

Padding is a Paragraph Form property and is also found on the Paragraph
palette.
The Font popup menu indicates the font family of the inspecting range of
text. The menu may be used to change the font family. The top entries
(above the dotted line) indicate the font families used in the inspecting text
graphic (other ranges).
The next menu is a convenience menu providing access to some of the

more commonly used typeface selections. A more exhaustive list of
selections is available from the Text main menu.
The Points menu indicates the point size for the inspecting Range. The
menu and stepper may be used to change the point size.
The Kern numeric entry will indicate the precise kerning value for the
inspecting range. Kerning is a term indicating how much the following
character is shifted from the normal spacing used with a particular
character. As demonstrated with the following text: a larger Kern value
will space out the characters , a smaller value will tighten and close the
space between characters.
Close inspection of the Range indicators can be useful in understanding the

exact contents of a string of text. Sometimes a copy / paste operation will
insert unexpected font traits that might appear as minor printing nuances.
It can be difficult to locate these situations. By selecting the text and
noticing the number of ranges, the position and characteristics of the
unexpected content can be found and corrected.
The top items on this font menu are the font families actually used in the
inspecting text graphic. If a “favorites” or “recently used” font selection is
needed use the convenience popup menu found near the bottom of the
main System Font Palette.
Text Style Details

This tab view may be used to apply special styling effects to text. Most of
these parameters are also available on the Text Menu or the System Font
Palette.
The details shown will apply to a selected range of editing text. If a text
graphic is simply selected but not in the
editing mode, the inspecting details and Bitmap Drop
changes will apply to all the text of the
text graphic. Shadow Outline
The top group of parameters may be used
to stylize text. Normal text is shown as
black - filled - paths. With these
parameters it is possible to Stylize the
text; change the color or use an outline or
stroke and fill appearance. The popup
menu is used to choose the stylize format
for the text. The left color well determines
the fill color (or simply the color) of the
text. The right color well controls the
stroke or outline color of the text.
The Stroke numeric entry determines the

weight of the outline for Outline and
Stroke styled text, larger numbers (4-5)
indicating a heavier weight.
The underline popup menu provides

several options for underlining text. The
color of the underlining is defined using
the color well to the right of the menu.
The Shadow parameters provide the ability

to apply a drop shadow to text. Click the check box to apply a shadow to
the inspecting text. The color of the shadow is chosen with the color well.
The position of the shadow is defined relative to the characters by the
Angle control and Offset numeric value. The shadow may be softened by
applying a blur with the numeric inputs provided. The offset and blur values
are defined in Points, rather than drawing units.
There are actually two types of drop shadows available for use with text.
The one controlled here can be thought of as a bit map drop shadow. The
other, a vector shadow, is accessed from the Shadow Palette found on the
Tools main menu. The bit map shadow provides better softening
characteristics and is drawn much faster. The vector drop shadow offers
affine transform effects and will scale in accordance with the zoom of an on
screen view. The bit map shadow does not scale as you zoom in or out on
screen, that is why it is more efficiently drawn (faster), and does not
support the skew and stretch effects of the affine transform.
To view the bit map text drop shadow, as it will be printed, you need to set
the view’s Zoom to 100 percent.

Text Character Details
This view may be used to investigate
the characteristics of individual
characters of a text graphic.
Each character is identified by count

starting with 1 indicating the first
character of the full text graphic. The
stepper may be used to move to the
next (previous) character. The selected
character is indicated with a gray
highlight and underline directly on the
text on the drawing.
The details shown will apply to a

selected range of editing text or the
full text range of a selected text
graphic. If the text graphic is in the
editing mode (indicated by a brownish
gray background highlight) and a
range of text is selected, the index
stepper will only access or move along
the selected characters. Each
character of text is represented by a
“code” number. The macOS operating
system uses Unicode to assign
numbers to corresponding characters. Unicode is an international, system
independent (Apple, IBM, HP, Microsoft, etc.), standard that provides a
unique number for every character; no matter what system, language, or
application program.
The unicode number for the inspecting character is shown in the text box
just above the popup menus. You may change the character by entering a
unicode hexadecimal number in the text box.
The three popup menus show the unicode and character representation,
(provided by the font family) of the inspecting character. The three menus
are provided just to make the access to the large numbers of characters
more manageable. The base menu will show the basic alphanumeric
characters, the Ext menu the extended set of characters which might be
symbols or Greek characters, and the Ctrl menu has the non-printing
characters like carriage return or beep.

The three popup menus may be used to find and enter any character
available with the font for the inspecting character.
The font family popup menu is provided as a convenience menu, it

indicates the font family of the inspecting character. This menu may be
used to change the font family. It is an abbreviated menu showing only the
most recent fonts that have been used on the drawing.
As you might expect, it takes a bit of cpu time to sort out the details
provided on this view. It is not a problem while inspecting a particular
character. However if you move on and are entering text (i.e. typing away),
and this view is active (-- visible) you may notice a degradation in system
performance. This happens as the CPU tries to keep up with your typing
and investigate the details of each character as it is entered. In this case
either close the Graphic Details drawer or select a different text tab view
(Size is the best) to prevent the unnecessary load on your CPU.
This character view is good way to enter symbol or extended characters

that may not be accessible from the keyboard. The popup menus will allow
you to choose from all the characters available for the active font.
If you plan to copy/paste or export text back to a Classic Carbon

application (like MS Word, or Powerpoint), keep in mind that these older
applications do not support Unicode. This means that if you use characters
from the extended character sets, they may not paste into the Carbon
application. EazyDraw does reverse map some of the common keyboard
accessible characters for Symbol, and Dingbat fonts. However you should
test the desired characters before using them extensively.
Layers
Drawings may be organized with layers. Each graphic is drawn on and
resides on one layer of the drawing. Even if layers are not used in a
drawing, all items are drawn on the default layer which is named “Paper.”
Layers apply an added hierarchy level to the Drawing Order. All graphics on
each layer are drawn according to their drawing order. The layers are drawn
according to their drawing order which is defined by their position on the
layers table, shown in the layers drawer.
The information is shown on the left or the right using menu item found at
the top of the Format menu on the Main menu. This allows multiple
drawings to present their layer information for examination or modification.
This also allows an entire layer of graphics to be copied to another drawing
with a mouse drag and drop operation.

There are several ways to use layers to organize drawings. One use is for
drawing projects that have a natural layering to the information. An
example of this use would be a floor plan of a house, the layers would be
basement, first floor, upstairs and attic. Graphics could be drawn on the
applicable layers, one could view them as overlays or individually. Layers
can also provide organization as “File-Like” containers. In this case the
drawing order aspects may not be important, but grouping related drawing
projects in one file (or document) may be more convenient than using
several files to hold the information. An example might be a project to draw
a tool palette of icons, each icon could be on different layer, all stored in
one file.
Secondary layers may be used for construction marks, notes, template

graphics or styles. These are conveniently available but can be turned off to
publish the final work.
Drawings with several overlapping graphics may present problems for

selecting individual graphics. Perhaps there is a background scene or color
that is frequently unintentionally selected while working on the foreground
details. Moving the background scene to a different layer can prevent those
elements from getting in the way of your work process.

The word of caution is, if you don’t really have a need for layers, don’t add
the complexity. If it is not clear how to apply layers to your project-don’t
apply them at all. They are useful but this utility comes with a price. There
will be extra mouse clicks to access target graphics. And they offer one
more thing to go wrong, it is easy to be drawing away only to find that
you’re on the wrong layer.
Layers Table
Each drawing may contain multiple layers that contain the graphic items on
the drawing. The Layer Table is used to create and manipulate these layers.
The layers have a drawing order that is defined by their position in the
table. Layers at the bottom of the table are drawn first, those at the top are
drawn last. This means that objects on the bottom layers will be eclipsed
(obscured) by overlapping objects on the layers at the top of the table.
EazyDraw uses a “Painter’s” algorithm when drawing graphics. Each

individual graphic of a drawing is drawn in its entirety, one after another.
Each graphic is drawn without regard for other graphics. If graphics do not
overlap this drawing method is of no consequence. If graphics do overlap,
the ones drawn first will be eclipsed by the ones drawn later. This drawing
order applies to all graphics on a layer, then to each layer in sequence as
defined on the layer table.
The Layer Table is shown by opening the Layers Drawer for a drawing
window. This is accessed from the “Layers” menu item found on the Format
menu on the Main menu. Each EazyDraw drawing window has its own
Layers Drawer and unique set of layers.
New layers are created by clicking the Plus button or selecting the first
(top-most) empty row of the drawing table and typing in a unique (to the
drawing) name for the new layer. If multiple layers need to be created just
type return and continue typing in the name for the next layer. Layers may
be deleted by selecting the layer and typing the “Delete” key or clicking the
minus button found just below the layers table. A confirmation sheet is
presented to confirm the deletion because all graphics on the layer will be
deleted. Double click a layer name to change or edit the name of the layer.
Layers may be moved in the drawing order by a single click and drag on a
layers name. Move the layer to the top of the list to place the layer’s
graphics toward the “Front” of the drawing order.
A layer, and all of its graphics, may be moved to another drawing by click
and drag with the mouse. Click on the layer’s name and drag the layer off
the drawer. The cursor will show the layer’s name and a plus will appear

when over another EazyDraw drawing window. When the mouse is released,
the layer, and all its graphics, are added to the new drawing. The new layer
is added to the “Back” of the drawing, first in the drawing order. If the
receiving drawing has its layers drawer open the layer may be dragged to a
specific location on the layer table. When dropping on another table you
need to drop the layer either on the top empty table entry, or somewhere in
the existing layers order. Dropping on the open blank area doesn’t work,
you must drop on the topmost empty table entry or between two existing
layers.
The state of each layer is shown on the Layers Table. The possible values
for the state are “On,” “Off,” and “Active.” The layer state and the Visibility
selection determine which graphics are visible and which are available for
selection. The state of the layer may be changed by clicking the appropriate
checkbox. The state may also be changed by selecting the layer and using
the popup menu found at the bottom of the drawer under the Visibility
selection.
The Cut, Copy, and Paste menu selections (and short cuts) work with layers.
When the drawer is open and a layer is selected a Copy operation will copy
the entire layer. A paste to a layer drawer on the same drawing or another
drawing will add the layer to the drawing.
All of these actions may be applied to multiple layer selection. This includes
drag and drop as well as Cut-Copy-Paste. Cut-Copy-Paste or drag and
drop works across drawings, open the layers drawer on each drawing and
move entire layers among your the open drawings.
Only one layer may be active for a drawing. Drawing actions are made on
the active layer. The Active layer is the layer with the Active checkbox in the
first column of the layer table. A layer is made active by checking its
checkbox or selecting it on the table then changing its state with the popup
menu below the table in the Visibility section.
There is an important distinction. Selecting a layer on the Layers Table

selects that layer but does not make it the “Active” layer. Only the state
Active checkbox controls the active layer. For example, a given layer can be
active and the target of drawing operations; a different layer can be
selected on the layers drawer and is then the focus a color modification
change or a copy and paste action from the layers drawer.

Layers Visibility
The visibility state of each layer depends on the state of the layer (ACTIVE,
ON or Off) and the Enabled Actions for the drawing. The names for the
visibility states are self-explanatory if one understands that “others” applies
to all layers that are ON or ACTIVE and that “all” applies to all layers even if
they are OFF. The term Above means that a layer is nearer the top of the
Layers Table list and that in turn implies that the graphics on a layer nearer
the top of the table are drawn over those of layers below or nearer the
bottom of the list of layers.
The Hide Dimensions check box is used to turn off the drawing of all
Dimensions for a given layer. When checked all Dimensions for the layer are
not shown on the screen or printed page. In all other respects the
Dimensions remain present in the drawing, they may be selected and
deleted, so care must be taken when this hiding is in use.
The Advance Duplicate sheet, found on the Edit Menu, allows graphics to be
copied to across layers. This action will copy a selected graphic(s) to all
other layers, all other On layers, or to a specific layer.
Layers may be Cloaked from inclusion as snap guides or vertices. Cloaking

is a menu action accessed from the Format main menu. Cloak states and
settings are not present in the Layers drawer.
Lock (Layer)
The Lock column has a check box that will lock the contents of a layer. The
lock applies to move, delete. Check this check box to prevent changes to
the associated layer.
Color Modification
Each layer may have an overriding color modification applied to all graphics
on the layer. Opacity may be used to fade out a layer. Tint can be used with
or without opacity. For example, a Gray tint could be used to “gray-out” a
layer.
This can be a handy feature when working with layers. In some cases you
may want to gray out other layers to provide a ready visual clue to each
object’s host layer.
Check the Color Modification check box to apply color modification to the
selected layers. Then the Opacity and/or Tint selections will apply.

The color modification applies to the selected layer or layers found on the
Layers Table. Note the color modification does not apply to the Active
Layer, unless that happens to be the selection on the Layer Table. The
selection(s) are highlighted. You can change the Color Modification for any
layer, regardless of its state.
The Color Modification check box controls application of the specified color
modification to the selected layers. When checked the Tint and Opacity are
applied to each graphic on the layer. Tint is applied first then opacity. So a
Blue graphic with Gray Tint and 25% opacity with become a faint blue-gray
transparent color.
Tint is specified by a color and degree. The color is chosen with the Color
Well located in the Color Modification portion of the Layer Drawer. The
degree is set with the Numeric Text box or the slider. A degree of 0.0 will
not modify the color, a degree of 50% will blend the graphic color and the
tint color equally, and a value of 1.0 will draw the layers graphics using the
tint color with no regard to the graphic’s color settings.
Opacity is set by the Numeric Text box or the slider. A value of 1.0
indicates fully opaque color and 0.0 a completely transparent color.
Please note that Layer Color Modification is not the method to use when
creating a graphic with transparency. Transparency is applied to a graphic
by using a color with opacity as provided on the Color Picker palette. Any
color used to render a graphic has an individual transparency value.
Color Modification may impact performance or responsiveness of editing of

graphics. This will apply to all graphics in a region of the drawing, not just
those with color modification. This will be especially true when color
modification is applied to complex objects with elements like Text
Annotation (contoured), shadows, blends, or combinations of these effects.
If Color Modification is not checked-there is no performance impact.
If you require a layer to become fully transparent - turn it off with the Layer
State selection. This approach will actually improve responsiveness. Don’t
use Color Modification and 0 % Opacity as this will use valuable CPU
capacity every time something is changed on the drawing.

Color Space
Color Space defines how a color is specified. The new macOS supports several
methods (or Color Spaces) for specification of colors. The macOS system
color picker provides a component slider view that allows color
specification for a specific Color Space.
Computer monitors emit color as red, green, and blue light. For computer monitor
drawing, a color is specified by summing of these 3 components.
Inked paper absorbs light, leaving the remaining components reflected to generate
a color. Cyan, magenta, yellow, and black (K) pigments serve as the absorbing
filters of the printed page. Each subtracts varying degrees of red, green and blue
from white light to produce a gamut of spectral colors.
CMYK color mapping is commonly required when submitting a drawing

electronically for printed press use. RGB is required for Web graphics.
Each of these color generating techniques will generate millions of shades

and hues of colors - but not all possible colors. Contrary to intuition, the
possible colors generated by additive (RGB) and subtractive (CMYK)
techniques are not the same. The differences between colors generated by
the two techniques are subtle but conversion from RGB to CMYK will
produce quite noticeable color shifts on the viewed artwork.
To check the color space(s) used on a layer, select the layer. The color
space popup is changed to reflect the current color space or spaces used
on the layer. If all graphics on the layer do not use the same color space,
the “various” selection will be shown on the popup menu.
NOTE: This popup menu reflects the status of the layer or layers selected
(highlighted) in the Layer List. It does not reflect the current status of a
printed drawing which includes all visible layers. This is a bit confusing, but
when considered carefully you will understand that this provides the best
inspection logic for indicating and managing the status of a drawing.
Changing a layer to a specific color space does not define the color space
used for new elements added to the layer. Further drawing will likely cause
different color spaces to be used and the “various” state to return. For
example text drawn in black will likely use Gray-Scale as the color model.
It is possible to determine the “Color Space” for a specific color from the
associated inspecting color well. Pause the cursor over a color well and a
tool-tip display will indicate the exact details of the color on your drawing.
This tip will indicate CMYK, or RGB and the specific component values.
Pg 110
Chapter
Measurements
7
Scale and Units Introduction 112
Cautionary Note 113
Scale Palette 113
Scale Design 115
Scaling Instructions 116
Drawing Units 118
Drawing Reference Origin 118
Axes Direction 118
Multiple Scales 118
Archive Precision 120
Dimensions 121
Datum Tab 122
Position Tab 124
Style Tab 124
Attach Tab 125
Comment and Report Dimensions 125
Area Dimensions 126
Grids Snapping & Guidelines 127
Major Grid 128
Minor Grid 129
Snapping - Grids 130
Snapping - Vertices 131
Snapping - Guidelines 131
Cloaking 132
Snap Persistence and Scope 133
Align To Grid 133
Measuring Tape Tool 135
Palette Units 136
Fine Scale Palette 138
Pg 111
Scale and Units Introduction
Each drawing has a defined drawing Scale. By Scale we mean that a drawing
length is used to represent a different real length. For example, in a
landscaping drawing, a line 1 inch long might represent 3 feet of length; a
map maker might use an inch to represent a mile; or a watchmaker’s
drawing might use a length of 1 cm to represent a tenth of a millimeter. All
of these situations are handled with EazyDraw’s scale and units capability.
Each drawing has defined measurement Units. The Units define the
measuring system (e.g. English or Metric) and the basic or unit length (e.g.
inches or feet / centimeters or meters) in that measuring system. Examples
of Units are: inches, centimeters, feet, miles, or microns. The Units are
completely independent of the drawing’s scale. For example, a drawing
without scale (1 to 1 scale) will still have a defined measuring system and
units of measurement.
A drawing typically has only one Scale. However, it is possible to use more
than one scale in a single drawing file. EazyDraw provides a way to use a
different drawing scale for each Layer of a drawing. So, more precisely, each
Layer of a drawing has one defined Scale.
Each drawing has only one defined measuring Unit. All objects,
measurements and rulers on the drawing are reported in the single defined
measuring system and Units. It is easy to change the drawing units of an
existing drawing. This can allow one to, for example, create a drawing in
Metric and then switch the units to English to check approximate sizes,
then switch back to Metric for final print out. By comparison, it is not
always easy to change the scale of an existing drawing. As with the scale,
units may be defined on a per layer basis if necessary.
A drawing has a defined natural scale, for example, a drawing of a house

will contain graphics such as walls and rooms and doors; they will all have
dimensions of several feet or perhaps at least few inches. However, the pen
width used to draw these graphics needs finer measuring units and should
be reported without scale with values such as 1 mm or .04 inches.
EazyDraw provides for this situation by allowing all inspection palettes to
work without scale and to use defined units different from those of the
main drawing. We call these palette settings the Fine Scale, to differentiate
from the main drawing Scale.
Drawing Scale and Units define display and entry of lengths in the Graphic
Details drawer, the values reported by the main rulers for the drawing, and
the Tape Measure cursor tool. They also impact the values reported by
automatic Dimensions placed on the drawing and attached to graphics.
Pg 112 Ch 07 - Measurements
By Dimension we mean an actual call-out graphic that reports lengths on a
drawing. More about these later. The Dimension inspection palette provides
ways to independently choose display units and their format for an
individual Dimension graphic. For example, an architectural drawing with
base units of feet may still have a dimension for a wall thickness reported
as inches. In contrast an individual Dimension must use the common
drawing scale for the drawing or the layer containing the target graphic.
Cautionary Note
The scale of a drawing can be a confusing concept. If it is possible try to
use a scale of 1:1. Before the use of computers scaling a drawing was more
likely to be needed, for example, to show details of a small object.
However, if your drawing will be read by others on a computer display they
may use Zoom to view the details as close as desired. In this case it doesn’t
matter that the whole drawing spans 2 cm, just zoom in, all the detail is
there.
Page Layout defines the size of the drawing. This provides the “room to
work” by defining how many pages of paper make up the drawing. The size
of a page of paper is defined by the Page Setup parameters. These
parameters interact with your choice of
scale to determine the size of the
drawing on paper. This additional
flexibility may allow a scale of 1:1 to
be used in a wider range of
circumstances. For example a drawing
of a bread box could still be done at a
scale of 1:1. Computer screen users of
the drawing would zoom out to view
the whole bread box. In Page Setup
this drawing could be printed with a
scale of 50% in Landscape mode and
the bread box would fit on an 8" x 11"
page of paper.
Scale Palette
The drawing’s Scale and Units settings
are defined on the Scale Palette which
is accessed from the Format main
menu, near the top.
Measurements - Ch 07 Pg 113
The values reported and entered on the Scale palette apply to the front
most EazyDraw drawing window. If no drawing window is open, the values
reflect the current defaults for a new drawing. This rule applies even if the
front window is miniaturized and shown in the system dock.
Each document may be drawn to a selected scale. This scale defines the
size of objects as they are drawn on paper. The scale is specified as a pair
of dimensionless numbers in the form “Np to Nr.” A scale of “1 to 1” implies
no scaling; graphics are drawn and printed their true size. A scale of “1 to
12” means that a graphic 1 foot across would appear 1 inch across on
paper. The two numbers may be thought of as “Number-(on paper) to
Number-(real world object).”
The final size of objects on a printed page depends additionally on the

“Scale” defined on the Page Setup parameter panel. The scale parameter
defined by the drawing scale on the Scale palette defines the drawn size of
objects but not the size of the drawing. The scale parameter on the Page
Setup panel defines the size of a page of paper and hence the size of the
drawing which indirectly impacts the size graphics when drawn on the
paper.
The scale parameter applies to a drawing (document). Several drawings may

be shown on the desktop with different scales. The scale shown on the
panel applies to the drawing presented in EazyDraw’s top window.
The pair of scaling numbers shown near the top of the palette define the
drawing scale. The scale may be changed by changing either number with a
new entry in the appropriate numeric text box. The scale is defined by a
ratio, so either number may be changed to define a particular scale. Since it
is a ratio, measurement units do
not apply and the same measuring
unit should be used for both
numbers. As an example let us
examine a commonly used
architectural scale that has a
common usage English name
written as 1/4" and read as
“quarter scale.” This name means
one inch on paper represents 4
feet at the project site. To get our
two scale values to have the same
units multiply the 4 feet times 12
inches to attain a scale value pair
of 1 to 48.
The target drawing’s scale is changed upon entry of a new number followed
by the Enter key, typing the Enter key is required.
The popup menu is provided as a convenience. It provides several standard

scales that are useful for specific kinds of drawings, such as English or
metric architectural. A selection made from the popup menu will cause the
pair of scaling numbers to be set appropriately.
If a newly entered scale corresponds to a standard scale found on the

popup menu, the popup menu will be updated with the correct selection
when the scale is changed.
Any scale desired may be use with EazyDraw. Type in the desired scaling
pair to define a non-standard scaling. In this case, the popup menu will
simply show “other” as the selection.
The scale may be changed at any time. Upon scale change, you are
provided with a decision panel. You may instruct that graphics be re-sized
to maintain their natural (real world) size at the new scale, or to simply
change the scale which will result in a change of the represented real world
size of your graphics. The decision panel is verbose, read it closely for a
clear understanding of the choices. This decision panel is not often
encountered so it always retains the large detailed wording.
Scaling Graphics will normally apply when a project out-grows the paper
size in use. Then the same size paper is required to represent a larger size
physical project.
Scale Design
The scale popup menu has a selection to access a work sheet which is
useful when trying to determine the correct scale for drawing and project.
The work sheet shows clearly the size of paper that is needed to draw a
project of a given size.
The scale popup menu of common scales is found top left corner of the
work sheet. When a selection is made here nothing changes on the drawing.
This allows one to try different scales to see how the project will fit on
different print out paper sizes.
While you are working on the Scale Design work sheet, the Page Setup can
be open and accessed. So you may experiment with different paper sizes
and margins while designing the scale.
Notice the work sheet has all project lengths on the right side and
printing / display lengths on the left. All entries, not highlighted in red,
may be changed freely without an affect on the actual drawing or printer
settings. Think of this sheet as a sandbox where you may play with relevant
setting without messing up your drawing.
The work sheet is designed to be self-documenting. Most of the

parameters interact strongly; this is the nature of this activity. The process
is to make a selection or tentative change and see the corresponding
changes to other related values.
Cancel will leave the work sheet mode and not make any changes to the
drawing. Apply will set the drawing’s scale to that shown in the top two
numeric fields. Two choices are possible: rescale the drawing and all
graphics or just rescale the drawing leaving graphics unchanged. The check
box top right controls this selection. By example: if a 40' by 80' foot shed
drawing was complete and the scale was changed from 1/4 to 1/8 without
checking “Rescale All Graphics,” the shed would change to a 80' by 160'
shed costing approximately 4 times as much to build.
Scaling Instructions
When a scale change is requested, there are two possible intentions: simply
change the scale of the drawing or change the scale of the drawing and
apply the new scale to all graphics. The scale work sheet has a check box to
manage this choice; if the work sheet is not used a large explicit pull down
panel is presented on the target drawing (in case multiple drawings are
open) with the choices clearly explained. This large sheet can be a bit
annoying but scale changes should be a rare activity and the actual
meaning of a small cryptic pair of selections would be problematic in this
situation.
If you simply change scale of the drawing, graphics will remain the same
size as drawn on the screen (or paper) and their corresponding represented
size (as reported in the Graphic Details drawer) will change.
Change Scale Only will normally apply when importing elements such as an
aerial photo or a scaled drawing from a web site or an imported drawing
with a defined scale.
Drawing Units
Each document has a common set of
“Units” used for all digital representations
of size and location of graphic elements.
The units do not impact the size of objects
as they are drawn on paper. The units only
apply to numeric reporting of information
and numeric entry of drawing data.
The Units parameter applies to a drawing

or more precisely to a layer if independent
layer scales are in use. Several drawings
may be shown on the desk top with
different units. The units parameter shown
on the panel applies to the drawing shown
in EazyDraw’s top window.
The tables on the previous page define the conversion factors for the Units
supported by EazyDraw. The first table defines the conversions for the
English measuring system, the second for Metric. Units are defined by the
popup menu found below the Scale settings. The popup menu shows the
current units of the top EazyDraw window on the desk top. The units may
be changed by making a new selection with the menu.
The units may be changed at any time. The choice of units does not affect
the size of a graphic. If a 1 inch square is drawn and the units are changed
to millimeters, the square will remain the same size in all respects but its
reported size in the Item Details drawer will become 25.4.
When working with the scale parameters it may be useful to show Rulers on
the drawing. The rulers are drawn in accordance with the specified scale
and units. They can provide valuable feedback concerning a drawing’s size
and the results of scale changes. In the example above, after the units
change the square remains the same size and nothing on the drawing will
change. But the Ruler will change to reflect the new dimension of 25.4.
Drawing Reference Origin

Each document has a defined origin. The numeric position of all items on
the drawing are measured relative to this origin. You may set the origin
using the numeric text boxes on the Scale palette. Or the origin may be
moved by dragging a Ruler with the mouse. In this case the applicable
origin parameter is updated to reflect the change.
The origin defined here will be the starting point (or origin) of Grids. The
Grids will move with any change of the origin.
The origin for a drawing is defined by the horizontal “X” distance from the
left of the drawing and the vertical distance “Y” from the top of the drawing.
The origin is moved by changing either number with a new entry in the
appropriate numeric text box on the Scale palette. The distances are
measured “Plus to Right” and “Plus Down,” this definition of direction
convention is fixed by design, a change in an axis direction will not change
the measurement to the axis origin.
The distances are measured in the Fine Scale units of the Scale palette,
inches, millimeters or points. These lengths are not scaled; think of them as
a measurement on the paper, not at the project site.
The origin may be changed at any time. If the origin is moved by a click and
drag of a ruler, all graphics will move with axis. Hold down the command
(Apple) key then click and drag a ruler to change the origin and leave the
graphics stationery on the paper, as in the “change scale only” choice
discussed above.
Axis Direction
The direction of each axis is selected using the two checkboxes found on
the Scale palette. The directions may be plus to right or plus to left and
plus down or plus up. Up/down and left/right directions are independent.
Multiple Scales
It is possible to use different scales on a single drawing. A unique scale may
be applied to each individual layer of a drawing. This technique might be
used to draw a detailed - close up - view of a portion of a drawing, or to
provide a appropriate scales for an elevation and plan view. The drawing
must have more than one layer before these controls are enabled on the
Scale palette. Check the “Independent Layers” checkbox to enable multiple
scales for a drawing.
When the Independent Layers checkbox is checked, the popup menu found
in the Multiple Scales section of the Scale palette will list the available layers
for the drawing. The selected layer indicates the focus or target layer for
the parameters shown on the scale palette. This also indicates which layer
will receive changes for a scale parameter.
If different scales have been used for different layers in a drawing, and the
Independent Layers check box is “unchecked;” all layers will be changed to
the scale of the current active layer.
When graphics are copied and pasted between layers or documents of
different scales, the “real” size is maintained. In this case the graphics are
redrawn at a size that corresponds to the scale of the destination drawing
layer. This can lead to strange results if the scales of two drawings are
vastly different, for example, if a scaled map drawing has a rectangle one
mile across and this rectangle is copied to a drawing with a 1 to 1 scale, the
rectangle will be very, very large indeed.
If a full layer is copied and pasted or moved to a different drawing by a drag

and drop action, and the destination drawing has independent scales
allowed, the scale of the layer remains the same as in the source drawing. If
independent scales are not allowed, all graphics on the layer are scaled and
redrawn at the scale defined for the destination drawing, holding each
graphic’s physically represented size constant.
The target layer for inspecting or changing scales is selected with the
popup menu on the Scale palette. This selection does not need to be the
Active layer, or even a visible layer. Therefore care is advised, changes may
not be directly visible on the drawing. If rulers are shown, and changes are
made to the scale of a layer other than the Active layer, the change will not
be reflected in the rulers for the drawing. In order to reduce the chances for
confusion, if the Active Layer is changed by using the popup menu on the
Layers Drawer, the target layer on the scale panel is changed to the new
Active Layer.
If independent scales are in use, and rulers are shown, the rulers reflect the
scale of the Active Layer. They do not necessarily reflect the scale of the
layer chosen on the Scale palette.
Keep in mind too that the scale of the Active layer may not be the scale
reflected on the Scale palette. The scale values shown on the palette are
defined by the Multiple Scales popup menu.
Archive Precision
This setting controls the number of decimal
points used when your drawing is saved to a disk
file. More decimal points will provide better
accuracy, but the file size will be larger. If your
system does not support 64 bit processing, the
menu will only show up to 5 decimal places. File
size is not that important in most situations
therefor 12 decimal precision is recommended.
Dimensions
Drawing dimensions are multi-
element graphics that are attached
to other graphics and annotate
their represented physical size. The
dimensioning tools are found on
the Technical tool palette accessed
from the View main menu. These
dimensions are naturally related
directly to the Scale of the drawing,
or more precisely the scale of the
layer. Length Dimensions are used
to call out lengths of other
graphics. They are an extension of
Connectors since they attach to
defined locations on other
graphics.
The units used for the dimension

are those of the drawing as defined
on the Scale Parameter Panel
accessed on the Format main
menu. The Dimension parameter
palette, which is accessed from the
Tools main menu, allows selection
of many format and display
parameters, but the actual
measuring units (mm, inches, points, etc) are defined by the global drawing
scale. If the units are changed on the
scale panel all dimensions will change
to reflect the new units.
Datum Tab
The Dimension Panel provides
parameters for Dimensions and
Auto-Lines which are found on
Technical Palette on the View main
menu. The panel provides four
groups of parameters organized as
tabs on the Dimension Palette.
Click the tabs to the left to inspect
or input parameters for each of
these 4 groups. The Datum tab
view provides access to the
primary parameters of a Dimension
Graphic. The actual dimension text
is shown in the partially editable
text view near the top. You may
enter text before and after the
dimension text. You cannot alter the dimension text, it is linked to the
reported parameter of the target graphic.
You must select the actual dimension graphic to work with its parameters.
Selection of the target graphic doesn’t provide access to the dimension.
This is because a particular target graphic may have several dimensions
attached to it, and note that the dimension object is itself a graphic.
The text view at the top shows the actual dimension text. It may be edited,
before or after the dimension values and unit labels.
The Precision numeric text field allows the specification of the number of
decimal places shown. Dimensions use a standard fixed numeric format. If
Fraction form is chosen, the precision value controls the rounding to
nearest fraction (1/2, 1/4, 1/8, ...) as well.
The Units popup specifies the format of the suffix of the dimension text.
You may choose None, Units, Abbreviation, or Punctuation. Punctuation
applies only to feet and inches.
The Form popup specifies how numbers should be displayed, Decimal,

Fraction, Feet/Inches or Alternate. Alternate provides for decimal
representation showing the primary units as specified on the Scale palette
for the whole drawing and the metric/inches value in parenthesis.
The Format popup is just like the Format on the text annotation palette -
with one addition. The Dimension option places the dimension text in a
little box that interrupts the dimension-arrow line. This is a traditional
format common on engineering drawings. If the box is not desired,
uncheck Line on the Style tab. You may also select any of the other
Annotation formats such as Along or Contoured if desired.
The Report popup is most useful for the Comment Dimensions used to
annotate attributes such as a radius or angle. After a Comment Dimension
is attached to a graphic you can use this menu to select the reporting of a
particular variable. In the Auto mode the reported parameter is selected
automatically by context.
The units used for the dimension are those of the drawing as defined on
the Scale Parameter Panel accessed on the Format main menu. The
Dimension parameter palette allows selection of many format and display
parameters, but the actual units (mm, inches, points, etc) are defined by the
global drawing scale. If the units are changed on the scale panel all
dimensions will change to the new units.
If a purely comment dimension is needed, one with no measurement, use

the Form selection Nothing. This clears the dimension entry. Text is added
by typing in the text view on the Datum tab.
Text View: The text view at the top of the palette provides access to font
and font style attributes. Select the text on this palette (not on the drawing)
then make any changes to font family, font size, or any other attribute on
the primary system font panel. This panel is opened from the Font menu on
the Text main menu. The Font panel is the only access to this formatting
information for dimensions, the graphic details drawer and other text menu
commands are not available when inspecting a Dimension.
A prefix and / or suffix to the dimension value may be entered directly on

this text view. Double click and edit in the normal fashion to enter the
desired text comments. These comments will remain static as entered, the
numeric values will vary as target graphics are resized. The units portion
will vary with selection of units form as discussed above.
If static entered text is all that is desired in the dimension, no measurement

value, choose “Nothing” for the Form popup menu selection. In this case
the dimension is completely under user control, only typed text is shown.
Position Tab
The Dimension text may be positioned relative to the other components of
the dimension graphic with these parameters. Not all the parameters apply
to all Formats. Which parameters are enabled depends primarily on the
choice of Format found on the Datum
View. Position is measured in percent
along the dimension reference line. Use
the text entry or slider to interactively
place the report as desired.
Shift is used to move the text entry in a

direction perpendicular to the
dimension reference line. The Slide
parameter moves Annotation style
dimensions in a direction perpendicular
to the Shift line. Angle and width apply
for formats that perform a full text
layout, the Box format. This
combination can be used to display the
dimension text at any desired angle.
Space applies to the contour formats, it adds extra space between

characters. Void applies only to the Box format, it adds extra space between
characters and the box--makes the box bigger.
Style Tab
These parameters provide control of the color and style of the dimension
Box. The Fill color applies to the background color for the dimension text.
A few duplicate convenience Arrow parameters are provided at the bottom
of the view.
The color wells at the top can be used to specify the Fill and Line colors for
the text box area. They apply only when the Dimension format is selected
as the Format, on the Datum view. The Width and Join parameters apply
when Line is selected for a Dimension format. Use these to change the
drawing attributes of the Box.
The Arrows check boxes and Offset

parameters control the drawing of
the arrows on reference line.
The Arrow palette also applies to

Dimension arrows. This palette,
found on the Tools main menu,
provides management of the other
Arrow control parameters, form,
angle, size, etc.
Attach Tab
The Attach parameters control the
linking characteristics of the Dimension
graphic. The Dynamic check box lets the
Snap distance vary with Zoom. When
checked the units for Snap are defined
as multiples of the size of the Control
Handles. This is usually the best method
to define the Snap distance. When
checked the Snap responsiveness will
adapt as you zoom in or out. When not
checked the distance is specified in the
units of the drawing.
The Steps parameter determines how

many target points there are on a single
line (or curve) segment of a potential
graphic. The popup menu is used to select halves, thirds, quarters, and
tenths. Each line segment of a graphic is divided into this many sub-
segments. A dimension may be attached at any vertex (segment end) and at
the specified intervals along a segment. For example, a rectangle would
offer a total of 12 attach points if resolution is set to thirds.
Comment and Report Dimensions

Comment Dimensions are used to annotate various properties of other
graphics. They are linked to a target graphic. The appropriate comment is
anticipated in an automatic fashion. For example,
point to a radius corner and the Radius attribute
is reported. You can use the Dimension palette to
specifically select other attributes to report. Use
one of the circled tools to create a Comment
Dimension. Begin the click-drag creation
sequence by clicking on or near the desired
target feature.
The left-circled tool will create free form

comment dimensions. Use it to report one of the
numerous attributes (length, position, radius,
diameter, area, perimeter, ...) available on the
Report popup menu found on the Dimension
Palette. The next two tools are used to
report Centers and Diameters of Graphics.
Point to the graphic, or its center when
creating. You can also create the Dimension
graphic then drag the pointing tip to the
desired target, it will attach in the normal
connector fashion.
The rightmost circled-tool is used to report

angles of lines, angles at vertices, or
tangents to curves. Attach to a vertex and
the angle defined by the joining lines is
reported. Attach to a curve or path and the
angle between the dimension’s reference
line and the path or tangent to the curve are
reported. For angle dimensions the units,
degrees or radians, are selected with the
Report popup menu found on the
Dimensions parameter palette.
There are several control handles provided by the Angle Dimension graphic.
They can be used to indicate Clockwise or Counter-Clockwise for the
defining angle.
Area Dimensions
Area may be reported in units other
than those of the drawing layer. The
units used to report an area are
selected using the Form popup menu
found on the Datum tab of the
Dimension palette.
First set the Report Dimension using

the Report popup menu at the bottom
of the Datum tab. Then select the Area
form from the submenu found at the
bottom of the Form popup menu.
These may be selected independently

of the drawing’s units. For example,
the drawing may be in units of feet and
the area reported in acres.
Grids, Snapping &
Guidelines
Grids are a background mesh,
similar to preprinted graph
paper, that can be shown as a
reference guide for visual
feedback or the placement of
objects. If “Snap to Grid”
selections are checked, drawing
actions are forced to the grid
intersections. The Snapping
action is used to conveniently
keep graphics positioned in
aligned locations.
Each drawing is allowed to have

2 grids that are referred to as
Major and Minor. Grids are
managed with the Guides
palette found on the Format
main menu, Grid and Guides
submenu. This palette has a
two tab view to access the
Major or Minor grid’s color,
spacing, show, and snap selections.
The Guides palette provides control over Snapping actions. Snapping may
be applied to the grid in a strict or lenient soft fashion. Snapping may also
be applied relative to other graphics (line ends for example) or intersections
of curves by selecting the Snap Vertices check box.
Several of the grids and guides frequently used options are mirrored as
menu actions accessed on the Grids and Guides submenu. They are also
provided on the Attributes bar discussed in chapter 06. All access actions
do the same thing as the corresponding palette functions. They are
provided as a convenience and to allow command key short cuts.
Two exceptions on this Grids and Guides submenu may be confusing; these
are the Snap Graphics To Major and Snap Graphics To Minor selections.
Their actions, which are apparent when read closely, are to perform a one-
time move and snap of the selected graphic or graphics. This may be
executed even if grid snapping is disabled. A close read of the wording will
help avoid this potential confusion.
Grids, snapping, and guidelines apply individually to drawings. The grid
settings shown on the Guides palette apply only to the top EazyDraw
drawing window. New drawings begin with the default grid style. The grid
settings are saved with the drawing’s document file; they persist for the
individual drawing when it is next opened. To change the settings for a new
window, close all windows and set up the grids as desired. If a grid style is
desired as the default, use the Defaults management panel accessed from
the EazyDraw menu, Preferences selection.
The tabs labeled Major and Minor are used to select a parameter view for
each of the grids. Clicking a tab will present the corresponding parameters.
Normally the grid is behind the graphics and hence obscured by opaque
graphics. Click the Above Graphics checkbox to bring the grid to the front.
This has no affect on snap actions of the grid. Adding transparency to the
grid may be useful if the grid is shown above the graphics.
Major Grid
The Major Grid is an array of perpendicular lines drawn at uniform intervals
as a drawing aid. The Major grid has a larger interval than the Minor Grid. It
may be shown and/or used as snap points for graphics and drawing
actions. The grid is usually drawn in a faint color that is visible but doesn’t
compete with the graphics of the drawing.
The “Show” checkbox is used to turn the Major Grid ON or OFF. If checked,
the grid is shown; if not checked, the grid is not shown. The grid does not
need to be shown to use the Snap feature.
The “Snap" checkbox is used to turn the snap aspect of the Major Grid ON
or OFF. If checked, a moving or newly-drawn graphic is forced to the
intersections of the grid lines. This snap action will not affect graphics
previously drawn or positioned. If you need to perform an immediate “Snap”
action on existing graphic(s) use the Snap Graphics to Major menu action.
The numeric parameter “Spacing” determines the spacing for the Major
Grid. It is specified in the Units of the drawing. You may change the value
by selecting and typing a new value. If Link to Rulers is checked, this value
is set automatically and is not changed on this palette. Selecting Link to
Rulers checkbox will set the value in accordance with the ruler’s settings.
Grid spacing may be different for the
x (across) and y (down) directions.
The color of the Major Grid is
changed by clicking the Color Well
found to the left of the checkboxes.
Any color may be selected using the
color selection panel. Opacity may be
used with this color, this may be
applicable if the grid is placed above
the graphics.
Grid line width is specified in the

palette’s Fine Scale units. When
doing close work such as icon design
you will likely wish to make this
value smaller than when working on
larger scale architectural drawings.
Link To Rulers: If “Link to Rulers” is

selected the minor grids will
sequence with the ruler tick stepper.
This stepper control is found in the
upper left corner where the rulers
meet. Use this stepper to select the
interval for the tick marks. The stepper sequences through the various tick
interval options, like quarters, tenths, or fifths.
Link to Rulers provides a dynamic grid, dynamic with respect zoom. In this
case as you zoom in or out, the ruler naturally changes to show finer or
more coarse divisions. If the grid is linked to the rulers it too will follow the
zoom actions and the corresponding intervals will change. If this feature is
not in use, grids remain constant and independent of the drawing windows
zoom level.
Minor Grid
The minor grid is managed from the Minor Grid tab view. The parameters
are similar to those of the Major Grid, with the exception that the grid
spacing is specified as the number of intervals per Major grid space. The
Minor grid may have a different color and line width than the major grid.
Snapping - Grids
The Snap section of the grid panel provides drawing aids for precisely
positioning graphics relative to the grid or other graphics.
The snapping action may be applied relative to the grid or the vertices of
other graphics. Only one of the snapping methods is used at a time. If
snapping to the major or minor grid is selected snapping to vertices is not
allowed.
When snapping to the grid the snapping may be applied as Hard Snap or
Soft Snap. The Hard Snap will strictly place objects on the grid
intersections. The Soft Snap method places objects exactly on the grid only
when they are positioned close to a grid intersection. The definition of close
is controlled by the snap distance. Hard Snap only applies to grid
intersections, snapping to vertices is always a soft snap.
If Snap is selected on the Major or Minor Grid (near top of the palette) then
Soft Snap Grid is enabled. If Soft Snap is not selected graphic handles will
be constrained to grid intersections only. Each move of a graphic handle
will place the handle exactly (and only) on a grid intersection.
Snap Distance applies when Soft Snap or Vertices Snap is selected. This
distance is a radius that defines how close an object needs to be placed to a
snap point in order for the object to be placed exactly at the snap point.
The distance is entered as an absolute value given in the current Fine Scale
units for this palette or dynamically as a distance that varies with the zoom
state of the drawing.
The Dynamic check box defines the specifying units for the snap distance.
If checked the snap distance is entered as a multiple of handle widths.
Handles are the small colored squares that are used to move and modify
curves and other graphics. You will notice that the size of the handle is not
absolute, as you zoom in or out they do get larger or smaller but not in a
fixed proportion. In most cases using the Dynamic method is the most
convenient and will provide smooth consistent feel for the snapping action.
Notice that if Dynamic Snap distance is used you may easily place objects
very close to a snap point by zooming in. To zoom in quickly place the
mouse cursor over the area of interest on your drawing and type the letter i
(for in) a few times. After zooming in the absolute size of the handle is
much smaller (even though it appears a little larger). Since the snap
distance is determined relative to the size of the handles you can now place
something very close to a snap point in an absolute measure. Then type o
(for out) a few times to zoom back out to the previous viewing zoom.
Snapping - Vertices
If grid snapping is not in use, Vertices
snapping may be selected. In this case the
snapping action is performed relative to
other graphics. This is useful to exactly join
the ends of lines or curves. This snapping is
always applied in the “Soft" fashion under
the control of the Snap Distance.
Snap vertices will automatically seek and

position coinciding end points, mid points,
corners, centers and other geometrical
unique positions associated with a graphic.
Vertex snapping will also locate and position at intersections of both lines
and free curves. This is highly optimized and performed “live” as graphics
are moved or edited.
Snapping - Guidelines
Snapping to guidelines provides precise orientation for interactive editing
and moves of a graphic. Visual on screen clues are provided when a
snapping orientation action occurs.
Interactive editing guide snaps are shown on screen with light yellow lines,
rectangles and circles indicating a horizontal or vertical alignment position.
Alignment to the horizontal and vertical edges of the bounding rectangle of
graphics is indicated with a yellow line terminated with a blue corner
indicator.
Orientation guides are provided when editing the shape of a graphic. The
guides are derived from straight line segments of graphics. Parallel and
Perpendicular orientations are found. They are shown with light green
constructs indicating the controlling master graphic for the match.
Guideline actions provided for a moving graphic are different than those
performed when editing a graphic. Guide snapping when moving will
provided precise oriented positioning of a graphic. This may be horizontal,
vertical, or oriented. If two graphics have segments whose orientations
precisely match, (for example two segments that are parallel) they will
“snap” when these segments are placed on the same extended line. These
matches are shown with light blue dashed lines.
Cloaking
When snapping to vertices (or guidelines) it is common that too many snap
references are present and they interfere with positioning relative to the
proper master graphics. A Cloaking submenu located on the Format main
menu provides a method for excluding graphics from presenting their
vertices or acting as guidelines. This can eliminate snapping clutter.
The cloaking is applied independently to Vertices and Guidelines. You will

see the two independent menu selections for Vertices or Guidelines.
Cloaking may be applied to individual graphics, groups of graphics or an

entire layer. The layer must be visible to be enabled on the Layer Vertices or
Layer Guidelines cloaking submenus. There must also be more than one
layer in the drawing for these layer submenus to apply.
An individual graphic or group is cloaked from the snap process by

selecting the graphic or graphics and executing the Vertices or Guidelines
cloaking menu command. If the focus selected graphic is cloaked a check
mark is shown for the corresponding menu item. If more than one graphic
is selected and these graphics have differing cloaked states, a dash is
shown by the corresponding menu item.
An entire layer is cloaked by selecting the menu item with the

corresponding layer name. The check-mark by the layer name indicates the
current cloaking state for the corresponding layer.
The following technique allows the selection of a few graphics to be used as

overt guidelines. First perform a “Select All” and execute the Cloak menu
command. This will eliminate all graphics from the guideline seeking
process. Then select the desired master graphic or graphics and perform
the Uncloak menu command. Now the few selected graphics are the master
guides for the drawing. It is common to color them red or blue and give
them a very light pen weight, this would be applied from the Color and
Style Panel palette. This technique might be used to define a “guides” layer.
If all layers but one are Cloaked, the remaining layer becomes the master
guides layer. Then the quick process of showing or hiding the layer will
“turn of-off” the guideline process. Color modification may be applied to
the guideline layer to diminish the visibility of the guides layer and avoid
visual clutter.
The concept of a reference bounding rectangle is associated with each

graphic. These are used to form neat rows or columns of graphics. This
bounding “box” is a virtual rectangle not actually shown on the drawing.
The corners of the box are defined by infinitely thin lines that follow the
center-lines the defining shape of the graphic. This means that finite line
width is not taken into account for the specification of these bounding
rectangles.
All graphics visible on the drawing screen are used as possible matches for
vertex or guideline snaps. It is often the case that a drawing of any size will
have too many graphics contributing guidelines thereby preventing the
desired graphic from presenting the definitive snap match. This situation
can be improved by zooming in to the location of interest, which will
naturally exclude distant graphics from the guide seeking process.
The seeking process favors proximity between the moving or editing

graphic and potential guide graphics. If two guide graphics are close in
their respective snap positions, slight further movement of a snapped
graphic may or may not shift the actual snap metrics. In any case the
defining reference graphic is shown by the on screen visual alignment clue.
Snapping distance and the dynamic snapping setting control the snap
action for vertices but not guidelines. See Snapping Grids above for detailed
discussion of these controls.
Snap Persistence and Scope

The snap and guideline selections are automatically remembered when you
quit and restart the EazyDraw application. The selections are also saved and
restored with each drawing. The value
saved with a drawing takes precedence
over the automatic default that is
derived from your last overt choice for
one of the snapping selections.
Align To Grid
The Align to Grid Palette provides a
method for assigning a particular
position, of a graphic or symbol group,
as the grid reference point. This palette
is accessed from the main Tools menu,
Align To Grid selection which is found
about half way down on the menu.
As described above provision is provided for Snapping graphics to the
drawing grid. This gives rise to a problem: what point on the graphic
should be snapped, or aligned to the grid. For example, even a graphic as
simple as a rectangle does not have a clear snapping point, should the
reference be the center or perhaps the top left corner.
This problem is even more important in the case of a complex group of

graphics that are used as a single symbol, such as the NAND gate electronic
symbol shown on the Align To Grid reference view below. For this symbol
to work properly with the grid snapping drawing aid, a particular point “on
the nand gate” needs to be defined. This palette provides a full graphic
interface for inspecting and assigning a specific grid reference point. The
small view at the top of the panel shows graphically the position of the grid
snap reference point. A blue circle is shown at the reference point. If a
graphic is selected a scaled green outline of the graphic is drawn in a dark
gray bounding rectangle. The specific position of the reference point is
defined as a percentage across and down, relative to the bounding
rectangle.
The reference point may be assigned interactively by clicking in the gray

bounding rectangle of the inspecting view. The result of the click is shown
in the numerical text fields for Across and Down. The Position popup menu
provides a method for setting the snap reference point precisely at one of
several defined points of the bounding rectangle. The top several selections
are self explanatory. The First and Last point selections apply to Bezier
Paths, these assign the snap reference point precisely to the first or last
vertex of the Bezier Path.
If the Position popup selection is assigned to “User Defined” the Across and
Down numeric text fields and sliders are used to precisely position the snap
reference point relative to the bounding rectangle of the graphic or group.
The selection for Mouse Down on the Position popup menu is actually the
same as User Defined. The selection is provided as discovery clue indicating
that a mouse click on the inspection view may be used to define the
position of the grid reference point.
Measuring Tape Tool
The Measuring Tape Tool has the same behavior as the
Arrow Tool with the addition of a live on-screen readout
of the exact cursor position, key graphic measurements,
or various distances. These measurements are
performed at the true drawing scale. Activate the
Measuring Tape cursor by clicking the Tape tool. This
will enable the live coordinate readout for all drawing
windows.
Graphics that are NOT selected are not specifically reported by the Tape
Measure cursor. Select graphics of interest to obtain relevant
measurements. This helps to avoid “point and curve clutter” which often
interferes with obtaining measurements for specific graphics.
Detailed measurements specific to a graphic are obtained by selecting the

graphic while the Measuring Tape cursor is active. In this situation various
coordinates and dimensions of the selected graphic are shown according to
the position of the cursor. For example, the precise coordinate an editing
handle is shown when the cursor is positioned close to the handle.
In some cases different metrics are shown depending on the actual position
of the cursor relative to the Bezier path of a graphic. For example, the
length and angle of a line is shown when the cursor is just to the right
(when facing from start to end) of the line, but the precise coordinates of
the line are shown when the cursor is just to the left of the path of the line.
Different types of graphics provide on screen readout of various defining
metrics. The Option Key is used provide an actual on-screen measuring
tape. Option-Click-Drag will drag out a measuring tape that may be used
to interactively measure distances on the drawing. If the cursor is “snapped”
to a particular point on a selected graphic, the Option drag will anchor the
tape precisely at the snapped point on the graphic. In this snapped state
exact distances to other snap points on the same or different graphics may
be obtained. For measuring exact distances between graphics, both
graphics need to be selected before initiating the measuring tape action.
In many situations the command keys will provide different measurement

formats. For example, the tape measure tool will show the length and angle
between two points on the drawing, if the Ctrl key is held down the
distance is represented as delta-X (across) and delta-Y (down) values.
The live cursor readout is de-activated by clicking the primary Arrow Tool.
Using other tools does not clear the live cursor readout, this must be
performed explicitly.
Palette Units
EazyDraw palettes have a small
gray icon found on the upper
right hand corner of the palette.
This small button will have a “m,”
“i,” or “p” as its label. This control
provides convenient access to the
Units used to report and enter
values on the associated
parameter palette. The Palette
Units button is gray, located next
to the Mini Palette mode arrow and Window Shade control.
These units do not need to be the same as the primary units for the
drawing. Nor do all palettes need to use the same units. For example, a
drawing may have Feet for the primary units, the Page Setup palette may
use inches, and the Color and Style palette may define line width in units of
Points.
It is easy to change the units
for a given palette, just click
the small gray button. With
each click you will sequence
through the 3 choices of
units.
If you are unsure of the Units

in use for a given palette,
glance at the button and note
the label: “m” for millimeters,
“i” for inches, or “p” for
points. Control click the
Palette Units button to access
several other control settings
for decimal precision and measurement formatting for the associated
palette. See example to right.
The Fine Scale Palette is used to inspect and set the measuring units and
display precision for other parameter palettes. The contextual menu
associated with this button is provided as a second, convenience shortcut
method. The popup menu reflects the context of its parameter palette. For
example, if no angle parameters are present on the palette, the degrees-
radians-angle precision portion of the menu is not shown.
Inches, millimeters, or points may be selected as the measuring units for

lengths found on the parameter palette. Points are defined as 72 per inch,
and millimeters as 25.4 per inch. The current setting for the palette is
reflected by the check mark shown on the contextual menu.
The display precision for lengths found on the parameter palette is selected
with the Fine Precision submenu. The current setting for the palette is
shown in parenthesis.
The display precision for percentages found on the parameter palette may
be selected with the Percent Precision submenu. The current setting for the
palette is shown in parenthesis.
Degrees or radians are selected as the measuring units for angles found on
the parameter palette. 2 * π radians make up the full 360 degree angle of
a circle. The current setting for the palette is reflected by the check mark
shown on the contextual menu.
The display precision for angles found on the parameter palette is selected
with the Angle Precision submenu. The current setting for the palette is
shown in parenthesis. A parameter palette’s fine scale settings is locked
using the corresponding menu item. Changes from this contextual menu
are still possible when locked. The locked state only applies to multi-
palette changes applied from the master Fine Scale Palette.
Up to six of decimal places may be used for numeric entry of a parameter

value. The precision settings control the display precision of numeric
entries. This has no affect on actions of sliders or other interactive controls.
The choice of fine scale units does not associate with an individual drawing.
These selections apply to all drawings and are associated with an individual
palette. The settings are saved and restored with palette layout actions.
Saving and reloading an individual drawing has no affect on fine unit
settings. But saving and restoring a palette layout with the menu selections
found on the View main menu will define and restore all elements of the
Fine Scale associated with a palette. Palettes not on-screen at the time of
the palette layout do not have their Fine Scale settings saved nor restored
with the save palettes layout action.
When working with Rulers note that the choice of fine scale units is not
associated with or reflected in the measuring units shown on the drawing
rulers. Rulers are associated with the Drawing units and scale, independent
of an inspecting palette fine scale units setting.
Fine Scale Palette

The Fine Scale palette provides
parameters that determine the units
and display precision used for defining
fine elements of drawings. Fine
Elements are attributes such as line
widths, dash lengths, or shadow offset.
Different units of measurement (inches,
millimeters, or points) may be assigned
as the defining units for a particular
palette such as the Dashes, Arrows, or
Color and Style palette.
This palette provides a user interface

for setting the number of decimal
points of precision displayed on a
parameter palette. Each EazyDraw
parameter palette has a specific set of
measurement units assigned for display
or input of variables such as lengths,
angles or percentages.
This Fine Scale Palette provides a central interface to inspect or set the
measurement units used by all other EazyDraw parameter palettes. This
central control palette is accessed from the Format Main menu, Fine Scale
selection which is found near the top of the menu.
These parameters are independent of the drawing scale or units. For

example a drawing could be drawn in units of feet, with a scale of 1 inch to
1 foot; but line widths are measured directly in millimeters. The scale for
entering and inspecting the “fine scale units” is always 1 to 1.
It is equivalent to change a palette’s settings from its associated Palette

Units button, the Palette Units contextual menu, or this, the central Fine
Scale palette.
The Target Palette popup menu is used to select a target parameter palette.
All settings displayed on this palette are those of the target palette
selection of this popup menu. To inspect or change fine scale units for
another palette, select the desired palette with this popup menu.
The Lock check box is used to prevent further changes to the fine scale
settings of a palette. When checked, changes made on the fine scale palette
for another palette are still possible. The “locked” state applies when
making changes to a group of palettes using the buttons at the bottom of
this palette. When locked, the small units button icon on the target palette
is drawn with a discernible solid gray border to indicate the locked state.
The Units popup is used to select the display units for fine scale lengths on
the target palette. Possible values are inches, millimeters, or points. Points
are defined to be 72 per inch and millimeters are defined at exactly 25.4
per inch.
The Fine Elements precision numeric entry defines the number of decimal
points used to display lengths on the target palette.
The Percentages precision numeric entry defines the number of decimal

points used to display percentages on the target palette. If a palette does
not use percentages, this entry is disabled. The popup menu under angles
is used to select the units used to display the size of angles. Choices are
degrees or radians.
The Angle precision numeric entry defines the number of decimal points
used to display angle values on the target palette.
The Apply to Others buttons are used to set multiple palettes to a common
group of fine scale settings. For example, switching all settings to metric is
accomplished with one action, rather than visiting each palette and
changing the settings individually. The button names are self-explanatory,
each providing a method of choosing a group of target palettes.
The target palette may actually be chosen as the fine scale palette. In other
words, the Fine scale palette applies settings to the Fine Scale palette. With
this setting you may arrange a group of fine scale settings without changes
on any actual palette. A group of settings organized in this fashion is then
applied to another set of palettes - using one of the Apply To Others
buttons at the bottom of the palette.
Chapter
Drawing Tools
8
Tool Usage 142
Bounding Rectangle Graphics 143
N-Sided Graphics 144
Angle Defined Graphics 145
Multi-Segment Graphics 146
Numeric Entry and Readout 149
Freehand Tools 151
User Tools 152
Selecting Graphics 156
Arrow Tool 157
Touch or Enclose 158
Node Edit (white arrow) 158
Selection Tool Palette 159
Move, Resize and Edit 161
Move Image 162
Editing Bezier Curves 163
Primary Editing Tools 165
Tape Tool 165
Moving With the Hand Tool 166
Rotate Tool 167
Knife Tool 168
Insert Tool 170
Quick Keys 171
Pg 141
Tool Usage
Drawing with EazyDraw is a simple process of point -
click - drag.
Move the mouse to one of the shapes on the tool palette,

such as a Rectangle (4th down on the right side of the
Primary tool palette). Click to select the tool, the selected
tool icon will show a darker gray to indicate that it is
active. Then move the mouse over the front most
EazyDraw drawing window. The cursor will change to one
of five different forms that provide a visual clue that a
tool is active and what the dragging options might be.
Then click down and drag to create the shape. Different
shapes provide different dragging behavior to enable you
to create the shape in the desired form.
Finally lift the mouse to complete the creation task. Some

graphics are constructed with multiple sequences of click
and drag. These will remain in the creation mode after
the mouse button is released. For these the creation
sequence is completed with a double click or by sliding
the cursor off the active drawing area. Both of these will
add the graphic to your drawing and select it for editing.
These tools are normally single use in their nature. If a

tool is clicked and a graphic is created, EazyDraw will
revert to the default Arrow tool for selecting and editing.
In this mode you need to click one of the creation tools
each time you need to create another graphic.
The single use behavior is suspended with the double

click of a tool. Double click and EazyDraw remains in
graphic creation mode after each new graphic is drawn.
Use this approach if several instances of the same shape are needed. To
revert from the creation mode, click the Arrow tool, or any other tool, and
EazyDraw will return to the standard select and edit mode with the Arrow
cursor.
It is common that users will try to create a graphic perfectly,

attempting to get it on screen at the exact final position and
shape that is needed. This might be OK in some cases but
normally it is best to get the graphic created with the
approximate position, size
Pg 142 Ch 08 - Drawing Tools

and orientation needed. Then use EazyDraw’s powerful interactive editing
or numerical entry with the Graphic Details drawer to tweak the graphic and
obtain the precise look needed.
Bounding Rectangle Graphics

Forming a bounding rectangle for the shape creates many shapes.
Rectangles are drawn this way and many other shapes, several of those
found on the Charting Tool palette exhibit this behavior.
If you click on a rectangular creation graphic tool and move the mouse over
the active drawing area, you will see the cursor change from an arrow to a
small rectangle-like shape. This indicates that EazyDraw is in the creation
mode and your next actions will result in the creation of a new rectangle-
like graphic.
A rectangle-shaped graphic is drawn with the mouse by a single click and

drag sequence. The new rectangle is shown as you drag the mouse. The
first corner is placed at the point of the mouse down click. The opposite
corner moves with the mouse drag action. The opposite corner is
positioned when the process is completed by releasing the mouse.
The new rectangle becomes the only selected object after creation. You may
move or resize the rectangle by clicking inside the rectangle or on one of
the handles. If you need to place the rectangle at a particular position or
make it a certain size this is accomplished after the creation step by using
the Graphic Details Drawer to modify the specific coordinates and size of
the rectangle.
If several rectangles are needed, double click the rectangle tool. The
rectangle tool selection remains in effect after creation so that further
rectangles may be easily added to the document. Clicking another tool or
the Arrow tool will release the rectangle creation activity.
If rectangles are needed frequently, the rectangle tool may be added to the
Toolbar. If you prefer this convenience use the Customize Toolbar item
found under “View” on the “Main Menu.” There you will see the “Rectangle
Tool” button; just drag it to the position you prefer on the Toolbar.
If the “Tools” menu is added to the main toolbar, rectangles may be drawn
by accessing the pull down menu associated with the button. The Tools
menu button then transforms to become a “rectangle” tool; you will see the
rectangle icon and a single quick click of the button will start the process
for creating a rectangle. Double clicks work here too, for creating several
rectangles in sequence.
Drawing Tools - Ch 08 Pg 143

N-Sides Graphics
Several shapes are defined by a virtual circle and a
given number of sides. An Equilateral Polygon or a
Star are good examples of this type of graphic. All
of the graphics found on the Stellate (star-like)
palette exhibit this behavior. These graphics are
all created in the same fashion. The cursor shown
to the right is shown when the mouse is over the
active drawing area and creation of one of these
graphics is in progress. The mouse down click in
this mode defines the center of the graphic to be
created. Keep the mouse button down and drag a
line that will define a radius and initial angle. The
graphic is inscribed in the virtual circle defined by
the drag operation.
The number of sides of the new graphic may be

changed by typing a number while the mouse drag
operation is in progress. You may change the
number of sides several times, all number entries
are accepted until the process is completed at the
end of the drag operation.
Don’t be concerned if the shape is not placed and sized exactly as desired
during the creation procedure, or if you can not get the needed number of
sides typed in as you draw. Use either the Stellate palette or the Graphic
Details drawer to inspect and/or input the desired number of sides. You
may easily move and resize the curve after creation. Undo and redo always
works but not during the creation operation, only after each creation
procedure is complete. If you need to change the
number of sides or set the defining radius use
the Graphic Details Drawer to modify the
parameters for the newly created shape.
The drawing always starts with the number of

sides showing on the Stellate palette. If a
particular radius or number of sides is required,
create and modify one graphic, then make
copies or duplicates to create several of the
desired shapes.

Angle Defined Graphics
Several shapes are defined predominately by
angles. The obvious ones are Arcs and Pie or
sector shapes. Rotated rectangles and rotated
ovals also fall into this category. All of the
graphics found on the Math tool palette are
based on this creation and editing form. For
all but the Arc and Pie shape, a virtual rotated
rectangle is created to define the graphic’s
axis and specify its axial and perpendicular lengths. These graphics are all
created in the same fashion. The “plus” cursor shown above is presented
when over the active drawing area and creation of one of these graphics is
in progress.
The mouse down click in this mode defines the center of the graphic. Keep
the mouse button down and drag a line that defines a radius and start
angle. When the mouse is released the second step of the procedure is
initiated. You will note that the Angle Cursor remains in effect. At this point
the swept angle is defined with the mouse cursor position.
Move the mouse around the circumference to define the desired swept
angle. The next mouse click completes the process and defines the end
angle of the graphic. If the mouse moves off the document window this will
also complete the process and create the new Arc or Pie shape.
For Arcs and Pies, the swept angle is drawn clockwise. If you need a
counterclockwise swept angle hold down the Shift to switch the direction of
sweep of the angle. These graphics are drawn with a minimum limit of 10
degrees of sweep. This is done to prevent the inadvertent creation of a very
small swept angle, in this case it appears that one has created a line, or just
a dot which can cause a great deal of confusion. If you need smaller angles,
simply create a 10 degree angle, then use the editing handles or Graphic
Details drawer create the small angle.
For all other angle defined graphics the mouse click and drag action is
defining first the major axis of the rectangle and then the width of the
rotated rectangle on a line perpendicular to the rectangle’s major axis. First
click down and drag to define the rectangle’s axis and lengthwise extent.
Next lift the mouse and drag at 90 degrees to your first motion, move the
cursor with the mouse button released until the desired rectangle width is
attained. Then click down once more to complete the process. The new
graphic will appear, it is selected and is ready for editing and final touches.

Multi Segment Graphics
The more complex graphics such as paths, polygons, and curves are
constructed with multiple segments. Creating these graphics is a little more
involved, but is still a simple mouse driven process of click - drag - lift. The
first steps are the same as described above, the tool is clicked and the
multi-segment cursor, which we call the Tab Cursor, appears when moved
over the active drawing area. In this case the multiple segments are created
with a basic sequence of mouse actions: click down and hold, drag a path,
lift to assign a node (or vertex), then repeat for the next segment. The
process is finished with a double click, or more conveniently by flicking the
cursor off the active drawing area.
There are two ways to create multiple segment paths. The first is a
combination of click and drag that uses the Tab key to advance to the next
segment of the path or curve. The second method uses multiple sequences
of click and drag, one click and drag sequence for each segment of the
curve. There are no settings or preferences that control which method is
used. The appropriate method is automatically determined by your actions.
The Tab key method requires 2 hands but may be more convenient in some
cases. To use this method keep the mouse key down and continue the drag
operation until the curve is completely drawn. As you drag the mouse, click
the Tab key whenever a new segment is needed. A vertex is placed at the
mouse location at the time of the key click. The drawing operation is
completed when the mouse is lifted at the end of the drawing sequence. In
some cases it may be more convenient to use a sequence of individual click
and drag mouse motions to specify the segments of the curve. In this case
when the mouse key is released at the end of the first segment you will
note that the Tab Cursor remains in effect. This is your visual clue that the
curve is not complete.
The next mouse down will begin a new drag sequence that will add the next
leg of the curve. This cycle of click-drag is continued until the desired
number of path segments have been created. The process is completed

with either a double click of the mouse or when the mouse moves off the
window that contains the drawing. Sometimes flicking the cursor off the
window is a convenient way to complete a curve and there is no chance of
getting another micro segment if your double click is too slow.
Left handed users will find it more convenient to use the “Enter Key” instead
of Tab. Enter is usually found on the right side of the key board. There is no
preference to set for this feature. Either key will work. The first one clicked
will be used for the rest of the creation procedure. The next time the other
key may be used if desired.
At any time you can step back one segment by using the Delete Key. Each
click of the delete key will remove one vertex of the curve.
Polygons: Polygons are drawn by clicking the Polygon Tool Button on the
Primary Tool Palette. The Tab Creation Cursor (shown above) will reflect the
tool selection when the mouse is over the front (top) drawing window. The
polygon is drawn with the mouse. There are two ways to accomplish the
drawing. You may use the “Tab Key” (“Enter Key” for left handed users) to
advance to subsequent segments. The second process accepts a sequence
of mouse clicks ending in a double click to define the vertices of the
polygon. Either method will work, no settings are required, EazyDraw
recognizes your preference by your drawing actions.
The tab entry method defines the first vertex of the polygon with the initial
mouse down. Each subsequent vertex is defined by the mouse position
when the tab key is pressed. The polygon is drawn by the process of drag -
tab - drag - tab. Don’t lift the mouse button, just click tab and continue
with your drag motion. The final end point of the path is defined when the
mouse button is released.
The second method starts the same way with a mouse down and
subsequent drag operation to define the first side of the polygon. Then
subsequent vertices are defined by lifts of the mouse button. Each lift and
click down will cause a new side to be added to the polygon. Double click
or flick the cursor off the active drawing area to finish.
Lines and Paths: Lines are used so frequently that they have their own tool
and simplified method for creation. The process is as follows: click the Line
Tool, move the cursor over the drawing, click down and drag to the end
point, and finally lift the mouse button which completes the process.

If you start to draw a line and decide that you need a path (multi segment
line) instead, click the Tab key and EazyDraw will switch over to the path /
tab creation mode.
The key to drawing a line is to click and hold down the mouse button, and
drag out to the desired end point.
Paths are drawn in the same manner as described for polygons above. The
only difference is that the path is not automatically closed at the completion
of the process.
Bezier Curves: A Bezier curve is created with 3rd order Bezier curve
segments joined at a sequence of vertices or nodes. Two forms of Bezier
curves are supported by EazyDraw, continuous and free. The first form is
smooth at each node, the slope or first derivative of the curve is continuous
across the point of a node where two segments join. The second form has
fully independent segments. Each segment is itself smooth with a
continuous first derivative, but the point where two segments join may have
a sharp change of direction, or described mathematically, a discontinuity of
the first derivative at the node.
Use one of the two Bezier tools found on the Primary tool palette to create
these free-hand curves. If the palette is not visible open it by selecting the
Tools item from the top of the View main menu.
The Bezier path is drawn with the mouse. There are two ways to accomplish
the drawing. You may use the “Tab Key” (“Enter Key” for left handed users)
to advance to subsequent segments. The second process accepts a
sequence of mouse clicks ending in a double click to define the Bezier path.
Either method will work (no settings are required). EazyDraw recognizes
your preference by your drawing actions.
Click, hold down the mouse button to drag out one Bezier segment, lift the
mouse button to “drop” a node, click down again and continue. As you drag
out the shape of a curved segment, EazyDraw follows the path of the
mouse across the screen. With each move of the mouse EazyDraw re-
computes an optimum 3rd order Bezier segment that best fits the full path
of your drag action originating at the previous node (or vertex).
The curve creation method is actually quite natural, a smooth curve will
follow your mouse motion across the drawing window. Unlike painting
programs and the common pencil action, this curve is very smooth, not at
all jagged. Unlike older Bezier drawing applications, you are not doing 3rd
order math in your head and tugging on a control string. Just trace out the
sweep of the desired curve.

You can also back up, to a certain degree. EazyDraw’s creation algorithm
senses when you retrace with the mouse. This naturally means that the
curve did not place as desired and an erasing action is desired.
The smoothing tendency of a curved Bezier segment means that the curve
can only twist so much. One segment may only cross itself once, and this
much of a twist in a single segment is not advisable. There is no limit on
the number of segments, so there is no limit to the number of twists and
turns allowed for a multi-segment curve. The only limitation is for each
segment. This means that as one draws, a multi-segment curve nodes or
vertices need to be added to allow twists sharp bends and reverses.
This adding of nodes is quite similar to adding sides to a polygon. It takes

more than two sides to close a polygon back on itself. Think of a full Bezier
curve in the same way - it takes more than two segments to turn and close
back on itself. You add nodes to the curve in the same manner as adding
sides (or think corners) to polygons. Lift the mouse, click back down, and
continue the drag action each time you need another node.
This is all quite a natural progression. You can teach yourself the motor
skills needed to create Bezier curves by starting with Polygons and Paths,
then progress to the free form Bezier (discontinuous nodes) and finally
smooth Bezier curves.
If you are an artist learning computer drawing, this process will not at first
seem natural. But it must be learned. EazyDraw does not try to simulate a
brush or pen. Computers, vectors, and curves are what they are. EazyDraw
makes these easy to use but we do not try to simulate brush strokes or
other effects associated with another medium. Just as different techniques
and skills are required to draw with charcoal versus acrylic and brush,
vector computer drawing is a unique medium requiring certain skills and
techniques. The better these are learned the better one is able to creatively
express oneself in this realm.
Freehand Tools: Pencil, Brush, Silhouette

The Pencil, Brush and Silhouette tools are used for freehand drawing. They
work well with a Pen and Tablet accessory. But a Pen and Tablet are not
necessary, they will work fine with a normal mouse or any other pointing
accessory.
The path is fitted and smoothed to your general mouse movements. It will
follow your exact mouse positions rather closely. The individual positions
are stitched together with a smooth continuous bezier curve. The
smoothing software minimizes the complexity of the Bezier curve, fitting to
your movements with as few vertices as possible.

The degree of smoothness is adjustable. The parameters are found on the
Tablet palette which is accessed from the Format main menu. There are two
parameters one for the Pencil and one for Brush.
The Brush tool generates a Continuous Bezier (no sharp peaks) and the
Pencil tool generates a free Bezier curve. The form is easily changed after
creation with the Convert To submenu on the Tools main menu, Cmd-Shift-
B is the factory default command key short cut .
The fit algorithm provides one user parameter to manage the tightness of
the curve fit. This is the Fit setting found on the Tablet palette. A small
value for the Fit setting will cause the resulting Bezier path to more closely
follow each nuance of the drawn path, this will require more Bezier control
points. A larger number generates a smoother curve, fewer Bezier control
points, with larger deviations between the result Bezier and the actual
drawn path.
Check the Dynamic with Zoom check box

to have EazyDraw adjust the Fit parameter
to reflect the zoom percent of the
drawing. When zoomed in the Fit setting
is decreased for a tighter absolute fit that
will appear constant with respect to the
working view of the drawing.

The Brush tool should not be confused with the Brush augmentation
designed and used with the Brush Palette. Although they are often used
together. But the Brush tool may be used to draw with any stroke setting,
solid, dashed line, or perhaps a wall. The Brush tool does not need to be
used only to draw Brush strokes. And the reverse is true, if you are an artist
using an Artistic Brush and need to draw a perfectly straight stroke - don’t
use the Brush tool, use the Line tool. Or if your artistic stroke a simple
smooth curve segment, use the Bezier tool and create directly a single
Bezier segment with only two ends and two control points.
Silhouette
This tool is very powerful, especially when used with a stylus and tablet. It
is “free hand” like the brush and pencil but it does not draw a simple path
or curve. This tool draws a filled, closed shape. The power of the tool is
derived from a second “built-in” capability, successive shapes are
automatically combined as a Union graphic. Actually successive applications
of the tool works in two modes - applying (in a fluid motion) additive and
subtractive logical union of drawn filled shapes.
The tool is used with rapid fluid drawing motions. The silhouette of a
graphic is built by adding (or removing) successive detail to the shape. For
example, starting with an oval for a “head” next a swooping-el-shape
would add the “nose,” then subtractive triangle sweep above the nose
would indicate the bridge-of-the-nose.
The Shift key is used to execute a subtract, no modifiers are used to build-
and-add to the silhouette. Undo works robustly with the technique, this
allows fluid visual experimentation and refinement of the design.

The Silhouette tool is “sticky,” once clicked it remains active until a different
tool is clicked (such as the generic Arrow-selection tool). This happens
even if the tool is only single-clicked. This characteristic is necessary for
the intended use.
A fun exercise with the Silhouette tool “cloud watching.” Turn on the
Silhouette tool with a large blank page ready for drawing. Start scribbling -
the more random the better. As you scribble, the union building will
generate clouds similar to puffy clouds on a warm humid afternoon. Relax
your vision and look for “shapes in the clouds.” Once something interesting
is spotted, progress to more overt additions and subtractions to build,
refine, and “pull” the silhouette image out of the clouds.
User Tools
EazyDraw has several built-in tool palettes. They are accessed from the
View Main menu, at the top. Each of these palettes provides what should be
thought of as a “permanent home” for each tool. While these tool palettes
work fine for general usage, your specific drawing activities will probably be
more efficient different tool palette arrangements.
User Tools provides a way to easily (very easily) construct personal or

project specific tool palettes. It needs to emphasized that this is an easy
task, even if you do not consider yourself a power user you should consider
building you own tool palettes instead of using the basic built-in tool
arrangements.
User Tool palettes work exactly like the built-in tool palettes. Each tool will
click and activate in the same fashion whether accessed from the home-
base tool palette or a custom built User Tool palette.
Users Library Comparison: User Libraries provide another method for

creating a custom tool palette. These two are similar with a few
complimentary differences. A User Library palette does not support Editing
tools such as the Rotate tool or the Knife. The User Tool palettes found on
the User Tools submenu do support the Editing tools but they do not
support creation of a user designed shape or graphic.
User Library tool palettes will interface with the menu system and Cmd-Key
short cuts. User Tools have no mechanism for assignment to a menu. The
tools associated with a User Tool palette do interface with the Hot Keys
mechanism, and User Library tools do not interface with Hot Keys.
Less experienced users will want to create and manage custom tool palettes
with the User Tools submenu. This is the easiest approach and quickest to
learn.

User Tools Submenu: The User Tools submenu is located on the View main
menu, near the top, at the end of the first section of menu commands.
The top portion of this submenu presents all currently available user tool
palettes. The menu and the tool palettes have the same behavior as the
master EazyDraw tool palettes. If a tool palette is open a check mark is
shown on the corresponding menu entry. Tool palette position and open
state is preserved when EazyDraw quits and restarts.
The New command opens the User Tool palette design palette. This is the
access point for designing a completely new User Tool palette.
Remove, this sub-submenu has the same items as the top menu. This
command will remove the selected User Tool palette from the system.
Warning: there is no undo support, and EazyDraw executes as instructed.
Use the Export command to archive and backup your personal tool palettes.
Edit, this sub-submenu will be the same as the top menu items, this
command opens the Use Tool Design palette for an existing User Tool
palette. This interface point provides access for editing, archival and
restoration of User Tool palettes.
Edit User Tools: Edit (and New ) User Tools provides a design palette that
is used to create or edit an individua User Tools palette.
As an overview: Drag and drop tools from the built-in tool palettes to the
Edit palette’s tool matrix then perform Save. It really is as easy as that to
create your own tool palette.
Name the tool palette using the top text box on the Edit palette. This is the
name that is shown on the User Tools submenu, it will be the menu entry
that is used to open or close the User Tools palette.
The Across and Down parameters define the layout geometry for your tool
matrix. A User Tools palette may have a vertical or horizontal geometry.
The Edit/New User Tools palette reconfigures its size to match the target
palette’s size and geometry.
The rectangle on the left (this will be across the center of the palette when
working with a predominately horizontal tool bar geometry) is the working
representation of the layout of your tool palette. Each box represents a

tool location. Drag a tool from an EazyDraw tool palette to one of these
squares to install the tool in that location on the palette The icon graphics
shown will indicate the tool installed on each button. The blank display
indicates that button is open, it will have no action when in use. The red
bordering rectangle indicates the specific tool that is selected for
inspection. in the inspection elements on the right (this will be “below” for a
horizontal toolbar).

Inspect Individual Tool: The individual tool inspection area on the palette
has a bounding rectangle. Elements in the area relate to an individual tool
(not the full tool palette). Use the Across and Down stepper to navigate
through the installed tools. Or click on a specific tool to select the tool. The
red border indicates the tool in focus for inspection.
The two text boxes at the top of the inspection area are the tool tips for the
tool button. The top text is the fixed internal EazyDraw tool tip, this is
shown in the current language, this text is not editable. The box below
provides input for a customized tool tip. Enter your own wording, in the
language of choice. The entry here will be the tool tip for this tool on this
User Tools palette. Tool Tips are the short descriptive phrases that appear
(usually with a yellow background) when the cursor is paused over a tool.
The two Icon squares provide inspection for the graphic icon that
represents to the tool on the tool palette. The one on the left is the built-in
EazyDraw icon (not editable). The one on the right is for a custom icon of
your own design. Drag and drop your graphic on the box to the right to
install a custom icon. Of course you may draw the icon using EazyDraw,
simply drag and drop a grouped graphic from a drawing to the icon
rectangle. Or the icon may be any standard graphic format, you may even
drag an icon from a web page directly to the install rectangle.
The Minus button is used to remove a tool from the tool palette. The
Selected tool is the one removed. No Undo support here.
The Plus button provides an

alternative to drag and drop for
installing a tool. This popup
menu with a hierarchy of
submenus presents a complete
list of all tools supported for use
on a User Tool palette. A tool
chosen from the menu is
installed to the selected tool
button.

The Plus button popup menu provides access to additional tool-like
actions. These are menu actions not found on any EazyDraw tool palette.
These are available for customization to the drawing window toolbar. The
Other submenu provides access for these tools to be used on a User Tool
palette.
Install and Archive: The Cancel button (lower left) closes the User Tool
editing palette, with no changes to palette. Note that this palette has no
undo support. Use the Cancel button in situations where a set of changes is
not working out.
The Save button is key - nothing really happens unless you do a Save. If
a full editing session creates of modifies a user tool palette, this palette
with the changes is not installed until Save is executed. If the window is
closed with a Cancel, all changes evaporate.
Export and Import are used to archive and retrive a permanent

representation of a User Tool palette. Export presents a file save dialog for
selection of a name and location on your system (or iCloud) to save the
User Tool file. The information is saved in a normal text file, formatted as
XML as a macOS property list (pList). These files may be inspected with a
text editor or the pList App.
The current set of installed User Tool palettes are saved in the system
Applications Support folder assigned by macOS for EazyDraw. They are of
course persistent when EazyDraw quits and restarts.
But you should maintain a separate archive, using the Export button, of
important User Tool palettes. You may need the persistent text archive for a
new installation or recovery in case of a hard drive failure. Export your User
Tool palettes so they are recorded in your file system (or iCloud) and
backed up by Time Machine.
User Tools and Quick Keys: You may not drag a tool from a User Tool
palette to the Quick Keys palette. The originating master tool is used with
the Quick Keys palette. But, when a Quick Key shortcut is used, and a User
Tool palette with the associated tool is open, you will see the tool darken
on your user tool palette.
Selecting Graphics
The act of selecting one or several graphics for inspecting, editing, or
moving is probably the most frequently performed action when drawing
with vector graphics. Every action, after the initial drawing of a graphic, is
preceded by selecting the desired target graphic element(s).

For a simple drawing, or one with very few overlapping graphics, selecting
is a trivial action - just click near the target graphic and it is selected and
enabled for editing or inspecting. However in most cases a drawing quickly
becomes complex and layered with overlapping elements and small objects
that difficult to “hit” with a click.
The situation of overlapping graphics can be quite problematic. EazyDraw

has several methods for selecting and targeting graphics for selection to
aid in these more complex situations.
Arrow Tool
The Arrow Tool is the default tool for EazyDraw. If there is no other specific
action selected the mouse cursor reverts to Arrow Tool which is the tool
used most often to select a single graphic or particular set of graphics.
A mouse click may select or deselect a graphic. Selected graphics are

shown with their Control Handles, the small colored boxes. Deselected
graphics have no handles. A selected graphic’s shape may be modified with
a click and drag on one of these handles, but first it must be selected.
The Arrow Tool performs a selection, de-selection or a combination of the

two with mouse clicks or clicks and drags. Its behavior can be modified
using the Command (Apple) Key or the Shift Key.
Use the Shift Key to add a graphic to the current selection. If several
graphics are selected, the shift key will deselect one of the selected
graphics with a mouse click.
When there are overlapping graphics mouse clicks will select only the top
graphic. Normally further clicks will not pick an underlying graphic behind
the selected graphic. The Command (⌘) key overrides this functionality so
that underlying graphics may be selected. When the Cmd-Key is held down,
subsequent clicks in the same area will deselect the top graphic and select
the next underlying graphic. The procedure may be continued to sequence
down through the stack of overlapping graphics. If the Cmd Key is released
this functionality stops so that the selected graphic may be moved with the
next click and drag. The Shift Key may be used to add multiple overlapping
graphics to the selection.
Many times when working with a large complex drawing very specific
selection and de-selection capabilities are required. If the Arrow Tool
doesn’t provide the necessary functionality there is a Selection Tool Palette
that provides six additional selection and de-selection tools such as free
form “Lasso.” The Hand Tool on the main tool palette is available for
moving a graphic or set of graphics after they have been selected.

Undo: Undo works with the graphic selection action. Most macOS
applications do not have this behavior. Apple’s user interface guidelines
advise that undo not be applied to selection/deselection actions. This is not
the best practice for a drawing application. Imagine the situation where
several graphics need to picked out and selected for a change of color, you
have managed to click and select all but the last one and - “whoops” a click
is made in the wrong place and all are deselected - you must start over.
With EazyDraw a single undo will bring back the selection and give you
another chance to select that crucial last
graphic.
Touch or Enclose: The View main menu,

Select submenu provides two choices for
Arrow tool drag selection behavior.
Touch will select a graphic if it is merely
touched by the dragged-selection
rectangle. Enclose select requires a
graphic to be completely enclosed. This
setting applies to the default Arrow tool behavior.
Use the Select submenu to manage this behavior. These selections are at
the bottom of the submenu, the choices are “Drag Touch” and “Drag
Enclose.” Changes are persistent when quitting and restarting EazyDraw.
Node Edit (white arrow): The Node Edit tool is

used to adjust multiple graphic handles in
unison. Most commonly it is used for editing
Bezier control points but it works with all
interactive editing Handles. This is tool is often
called the White Arrow tool in Vector drawing
applications.
The selected set of Nodes may belong to

multiple individual graphics. They do not need
to be all associated with the same graphic
Click on a graphic to activate the graphic and present the available editing
handles. This behavior is active while the Node Edit tool is active, there is
no need to change back to the normal Arrow tool to perform graphic
selections. With respect to graphic selection and deselection the Node
Editing tool behaves the same as the Arrow tool. Shift click to activate
additional graphics.
Click down on a selected node, hold the click (down) and begin the drag
operation. This will move all handles in the current set. The beginning of

the motion distinguishes the click from a deselect action.
The node selection activity is included in the Undo / Redo stream for your
drawing. Some might find this “non-standard” but for a drawing application
selection and deselection is an important process. For example a carefully
chosen set handles might be selected, then one additional click might be
unintended. In this case the work of creating the selection set is not lost -
simply perform Undo and proceed anew.
Selection Tool Palette

The Selection Tool Palette provides specialized tools and modes for
selecting graphics. These add to the basic
capability of the default Arrow Tool for
selecting and deselecting graphics.
Situations arise where a certain set or group
of graphics must be selected, separate from
other graphics tightly woven together. In
these situations it can happen that even very
careful attention to click spots and
sequences with the default Arrow tool just
cannot provide right combination of
selecting and avoidance. In these cases the
specialized
selection tools found on the Selection tool

palette are used. This palette is accessed
from the main View menu.
The set of radio buttons at the bottom of the palette are used to modify the
normal selection function of the selection tools found on the Selection Tool
Panel. To use these buttons the Selection Tool Palette must be visible on
the desk top. The state of the radio buttons at the bottom of the selection
tool panel determines the actual action of these tools.
Select: The selection state is cleared and any graphic clicked becomes the
new selection set. Multiple selections are possible using the Shift Key. This
is similar to the normal default Arrow key selection mode.
Deselect: The selection state is not cleared and any graphic clicked is
removed from the selection set.
Add: The selection state is not cleared and any graphic selected is added to
the current selection set.

The radio buttons have no affect on the default select function of the Arrow
Select Tool. If you need these features use the Front Select Tool or Back
Select Tool of the Selection Tool Palette.
The tool buttons found at the top of this panel each change the mode for a
click and drag of the mouse on the active drawing area. Each are similar to
the click and drag out a rectangle method of selecting with the normal
Arrow tool, but with a different twist for each.
The select tool buttons remain active after a select. A click of another tool
or the default Arrow tool is required to clear these buttons’ action state.
Touch Rectangle: Select by dragging out a rectangle. Any graphic that is

touched by the rectangle is selected. Similar to the default Arrow tools
action.
Inclusive Rectangle: Select by dragging out a rectangle. A graphic must be

completely enclosed by the rectangle to be selected.
Touch Lasso: Select by tracing out a free-form lasso shape. Any graphic
that is touched by the lasso is selected.
Inclusive Lasso: Select by tracing out a free-form lasso shape. A graphic

must be completely enclosed by the lasso shape to be selected.
Touch Rectangle Inclusive Rectangle
Touch Lasso
Inclusive Lasso
The top 4 tools When these two tools are

provide a lasso active, the Arrow cursor will
shaped cursor. be white with black outline.
They remain active until the
normal Arrow tool, or
another tool is selected.
Back Click
Front Click

Front Click: Select by clicking, this tool favors graphics that are in the front
of the drawing scene, or above other graphics.
Back Click: Select by clicking, this tool favors graphics that are to the back
of the drawing scene, or behind other graphics.
There are individual customizable toolbar tools for each of these selection
tool buttons, and there is a customizable toolbar smart button that
provides a pull down menu including all of these buttons. If a situation
arises where this palette is used frequently, it may be helpful to include a
button, the pull down menu, or even a couple of the pull down menus in
your toolbar.
Move, Resize and Edit

You may interactively edit the shape of any graphic with the on-screen
handles. The “Handles” are the small colored circles that appear when the
graphic is selected. In most cases these are colored red and green, but
other colors are used to indicate different uses and actions for the handles.
Colors, size, and shape (square, triangle, diamond, etc.) of the handles are
specified on the user interface theme panel accessed from the main
EazyDraw preferences panel.
You may interactively move any graphic with a simple click and drag when
the default arrow tool is active.
The graphic must first be selected, usually with a simple mouse click, to
enable the move or edit action.
All possible interactive editing and moving actions may be performed in a

precise numerical fashion using the Graphic Details drawer.
A graphic is moved interactively by first selecting the graphic with a click of

the mouse cursor. A “Selected” graphic is indicated with small circular
colored handles. A selected graphic is moved with a click and drag motion
of the mouse cursor. Lift the mouse when the desired position is attained.
A graphic is edited or changed interactively by first selecting the graphic

with a click of the mouse cursor. Each indicated handle provides control to
edit the shape of the graphic. Click down on the handle and drag to move
the control point to a new location. The shape of the graphic will evolve to
follow the control point as it is moved.

Duplicate: The action “Option Drag” will duplicate a graphic before it is
moved. This is a convenient method for creating a duplicate of a graphic
that is present on the drawing. Select the graphic, then hold down the
Option key and drag the new copy of the graphic to the desired location on
the drawing.
A copy of an existing graphic may transferred to a new drawing with the

“Drag and Drop” technique. Both the drawing containing the graphic and
the destination drawing need to be open and visible on the screen. Select
the graphic with a mouse click. Drag the graphic off the source drawing,
when you “leave” the drawing the graphic will snap back to the original
location on the drawing. An image of the graphic will appear floating over
the desktop. Drag this image to the desired position on the destination
drawing window and lift the mouse button.
The Drag and Drop technique may be used with other software applications
running on your system and the desktop. The same steps are used to pull
the graphic off the EazyDraw drawing. Move the floating image of the
graphic over the destination application window, if the destination
application has the capability to accept the graphic a “Plus” indicator should
appear next to the cursor. When moving between applications, the graphic
is converted to a common graphic interchange format. Actually several
formats are provided by EazyDraw so that the best possible representation
is used by the other application. These formats are arranged by the Copy
Paste Order setting on the EazyDraw preferences panel.
The degree of editing allowed for a graphic is controlled by the Interactive

setting chosen on the interaction menu. This setting will determine the
number of resize and editing handles provided for the graphic. This is often
used to constrain a graphic to uniform resizing. The uniform interaction
level provides only two resize handles, these are used to set the size of the
graphic while holding all proportions constant.
Bezier curves have control handles at each vertex and two additional
control handles for each segment of the curve. These are referred to as the
Bezier control points. The controls at the vertices define the points that the
curve passes through. The editing handles at the Control points are used to
define the shape of the Bezier path, in particular they define the slope of
the curve at the end points of the segment
Move Image
When moving a graphic or several graphics you have several choices for the
image that is used during the move process. Some users and projects need
a simple dashed rectangle to provide visibility, in other situations it’s better

to be able to see the moving graphics in full detail. This user preference is
provided on the main Preferences palette, found near the top right.
The selection depends on the graphics being drawn and personal

preference. The best way to choose this parameter is to change the setting
and return to a live drawing and move an assortment of graphics.
The setting is automatically persistent (remains the same after quitting and
restarting EazyDraw) and applies to all drawings.
The popup selections are descriptive and involve using an actual image of
the selected graphics and or a bounding dashed rectangle. If the image is
selected a full or partially transparent image of the selected and moving
graphics is generated.
If a choice elects the dashed rectangle, the move image includes a partially
transparent dashed rectangle that just encloses the graphic or graphics
selected.
The dashed rectangle can enhance responsiveness when working with a

large drawing and an older CPU. This is because the rectangle may be
generated more quickly than the full image of all the selected graphics.
This is not normally an issue with today’s processing speeds.
The dragging image is abbreviated (chopped - off) when the moving

graphics extend off the visible portion of the drawing window. When
moving a short distance this affect will not be noticed as an extra perimeter
of the drag image is included in the image. The limit of the chopped image
is shown in the case of larger movements, or when dragging the image off
the drawing to drop onto another drawing or document.
Editing Bezier Curves

Bezier Curves are edited by moving an individual vertex or a control point.
The curve needs to be selected to present the vertices and control points
for modification.
EazyDraw provides two flavors of Bezier Curve, free and continuous. These
are discussed above.
Handles are used to move vertices and control points. The “Handles” are the
small colored circles that are drawn on a Bezier Curve that is selected. The
vertices Handles are red or purple colored. The control point handles are
blue.

Modifying a Bezier curve is performed by moving vertices or control points.
These points are moved with a mouse click and drag of a Handle. You need
to click very close to the handle to “pick” it up for movement. The curve is
redrawn as the picked point is moved. The operation is completed with the
release of the mouse button which terminates the drag operation.
If a curve is selected and a click and drag is performed without hitting a

Handle, the whole curve will be moved with the operation.
Each control point is associated with a particular vertex. When a control

point is selected and moved a red line is shown connecting the control
point to its associated vertex. This is useful for complex curves when the
association of a control point to a vertex might not be obvious from their
positions on the drawing.
A Bezier segment is defined by the two end points and two control points.
The curve locus and slope transitions smoothly from the start to the end
with the starting and ending slope determined by the line to the associated
control point. You may visualize the control of the curve by noting that the
slope at the midpoint of the curve is parallel to the line connecting the
control points, and that the curve is pulled toward the control line. This
control line is shown in blue, connecting the two control points (blue or
yellow).
If the Bezier curve is a smooth Bezier curve, the slope of the curve must
vary in a smooth continuous fashion at each purple vertex. This means that
when a control point is moved the control point on the opposite side of the
associated vertex must move too. This constraint is depicted by a light blue
line connecting the two control points and pivoting at the vertex. As you
move one control point the control point line pivots about the vertex or
node.
See Arrow Tool topic above for a discussion of the Node Edit or “white
arrow” tool. This is tool provides a way to select sets of Bezier vertices and
control points for movement in unison.

Primary Editing Tools
The top six tools provided on the Primary tool palette are used for selecting
and modifying or editing graphics. They are used frequently, especially the
default Arrow tool found at the top left of this tool palette. The Arrow tool
is discussed with the selecting graphics topic above.
Tape Tool
The Measuring Tape Tool has the same behavior as the
Arrow Tool with the addition of a live on-screen readout of
the exact cursor position, key graphic parametrics, or
various distances. These measurements use the scale of the
drawing in the units defined for the drawing on the Scale
palette.
The tape tool adds a numeric information box to your

cursor, this is a live readout which indicates the
position of your cursor on the drawing. As you move
the cursor the numeric information is continuously
updated to reflect your movements.
The tape tool cursor seeks out selected graphics, when

near a selected graphic the numeric readout will switch
to report specific numeric metrics pertaining to the
graphic’s size and position. As you float the cursor
over a graphic the information reported may change,
each graphic shape has different metrics of interest
that this cursor will sense and report. For example, if
the cursor is near a graphic’s center, the cursor will
snap to the center, show a red cross hair, and report
the exact location of the graphic’s center.
The metrics reported are too numerous and dynamic to

explain in a written manual. In general any point of
geometric interest will likely be sensed and reported by
the tape measure cursor. Some examples are: an
intersection of two lines or curves, the slope and
coordinates of a line, the slope of the tangent of a
curve, radius of an arc or circle, length of a line.

Some of the metrics are snapped and shown as fixed points. Others exhibit
a constrained behavior rather than a hard snap; for example a, moving
indicator will show on a curve and it is constrained to the curve, showing
the tangent of the curve as you move along the curve.
The backdrop color of the floating cursor provides several visual clues to
indicate the form of the information being reported. Soft yellow indicates
the simple free cursor readout, where red indicates that a specific fixed
point of interest is snapped and reported.
We repeat that a graphic needs to be selected to enable the reporting of

interesting metrics. It is possible to miss the true power of this tool if you
simply pass it over a drawing with nothing selected. Select a graphic of
interest then move the cursor all around it. In some cases you can get
different information just by moving from the inside to the outside edge of
a graphic. Note that an intersection is not sensed, snapped, and reported
unless both intersecting graphics are selected.
On Screen Ruler: When the tape tool is active, Option click and drag will
provide an on-screen movable ruler. This allows measuring distances in a
natural way, just as you might do at a job site. If you begin a measurement
with the Tape cursor snapped at a point of interest; for example, an
intersection of two graphics, the ruler is anchored at this unique point on
the drawing. Points of interest and curve constraints are still active when
the live ruler is active. This means that it is easy to measure exact distances
between particular locations on a drawing, such as the distance from a
point to a curve, and various points along a curve.
Tangent and Normal: To obtain a tangent and normal line at a single point
on a shape: first enable the Tape Cursor, move the cursor to the point of
interest on a selected graphic, stop all mouse movement by taking your
hand away from the mouse (or touch pad), review the values shown for the
tangent, finally: type “t” and or “n” to obtain a tangent or normal to the
curve. This action will add the tangent and or normal to your drawing. Use
one of the Pin actions (Format main menu) to fix desired aspects of the new
additions to your drawing.
Moving With the Hand Tool

The Hand Tool is for moving graphics. It is provided as an
alternative to the Arrow Tool. Use this tool to move a
graphic or group of graphics after they have been selected
by the Arrow Tool or one of the tools on the Selection Tool
Palette. The Hand Tool is used for the sole purpose of
moving graphics. The graphics are selected with other

tools. The graphics are moved with a click and drag of the mouse. Multiple
click and drag sequences may be used without fear of changing the makeup
of the set of selected graphics. The move process may be repeated until the
graphics are in the desired positions.
Another tool must be clicked to finish the use of the hand tool.
Shift Key: The Shift modifier key is used to add a graphic to the set of
selected graphics. It won’t allow de-selection of graphics. The Shift Key
can’t be used to add a graphic that overlaps with the selected set.
Cmd Key: The Apple Command modifier key is used to remove a graphic
from the set of selected graphics. Use this to deselect a graphic.
Space Bar Panning: The space bar or the Option (alt) modifier key will
change the Hand Tool to a panning tool for the whole the drawing. Hold
down the space bar then click and drag to reposition the active viewing area
of the drawing.
There are two main uses for the Hand Tool. It is useful to avoid losing a
particular selection arrangement with an inadvertent mouse click when
using the Arrow Tool. It is also useful to avoid modifying graphics with
unintentional clicks on a Resizing Handle. This latter situation can be a
problem for very small graphics when an attempt to move might result in
an unintended editing action.
Rotate Tool
The “Rotate Tool” is for rotating existing graphics. It may be applied to any
graphic. The graphic does not need to be selected, but selected graphics
are chosen by EazyDraw over others in case of overlap. Visual feedback is
provided so that you may be certain how the action will effect your drawing.
Undo works, in case the resulting rotation turns out different than desired.
Rotating many of the charting graphics requires that they are converted to
Bezier paths. This conversion happens automatically.
Start the operation with a mouse down click. The point of the mouse down
becomes the pivot point for the rotation. Next drag out a rotation line, this
will extend away from the pivot point, drag this line across the graphic to
be rotated. A circle appears when the line overlaps a
target graphic. The circled intercept point is the
point that will be rotated about the pivot point. Next
lift the mouse and rotate the target graphic by
sweeping an arc

from your initial mouse down pivot point. A faint copy is shown
interactively rotated with your mouse motion. The final mouse click applies
the rotation.
Don’t worry if you do not initially obtain the exact desired result, undo
(Cmd z) will return the graphic to its initial position and orientation.
An extra handle appears at the centers of selected graphics when the rotate
tool is activated. If the first mouse down click is near one of these marked
centers, the exact center will become the pivot point for the rotation. This
technique allows convenient rotation of graphics about their center.
If the shift key is pressed, during the rotation phase, the rotation angle is
constrained to 15 degree increments.
The graphic’s form may change with rotation. For example, if a Rectangle is
rotated its form will change to a Rotated Rectangle. This is done
automatically. The changed form may be evident with different style editing
handles, or a different reporting format in the Graphic Details drawer.
Knife Tool
The Knife Tool is for trimming, cutting or removing
vertices. It can be used to cut any graphic except a Text
Area or an Image. The graphic does not need to be
selected.
The knife tool actually provides two rather distinct

capabilities. First, it is used to cut a line or curve into two
separate segments. Second, it may be used to remove a node or vertex
from a Bezier path or curve. The knife is the only way to edit out a node of
a curve, so it is important to remember this second capability. Notice that
the second function does not actually cut the target graphic.
Visual feedback is provided to indicate how the cutting action will change
the drawing. Undo works, in case the results are different than desired.
The knife will trim two graphics with overlapping curves, exactly at the
intersection of the curves.
Start a Knife operation with a mouse down click. Then a drag operation will
produce a red line attached to the mouse cursor. The cut points are
specified by dragging this cut line over target graphics. An open red circle
will indicate the positions of the cutting action. Nothing happens until the
mouse is released. At that time the graphic(s) is cut at the indicated points.

Remove Vertex, or Node: If the cut target spot is moved close to a vertex
of a graphic the cut point indicator changes to a filled blue square. This
indicates that cut action will not cut the curve, instead the action will
remove the targeted vertex. For example this process could be used to
convert a square into a right triangle.
Intersection Trim: If a pair of cut target spots are positioned close to the
intersection of two graphics, the cut points merge and show a green hue
with a cross mark. If a cut is made in this situation, the two overlapping
graphics will be cut at the precise intersection point.
Note that most times after the cut there is no visual change to the drawing.
A line for example when cut still
appears as the same line. The
difference is only noticeable when
you select the line and see the new
end point handle at the cut point.
Or in the case of trimming, a
second step is needed to select the
unwanted segment and click the
Delete key. Cutting intersecting
graphics at an intersection may be
use to trim ends at an intersection.
The precise intersection cut may be
used in preparation for welding the remaining curve sections to form a new
path. The Welded path is formed using the Convert Menu or the Welded
Group selection found on the Grouping submenu.
The definition of “close” for snapping to a vertex or an intersection is

dynamic with respect to the degree of zoom for the drawing window. The
distance is approximately the size of the control handles. If a cut needs to
be made close to a vertex or intersection, zoom in, this will make the
effective snap distance smaller and the cut point may be positioned more
precisely - due to the higher zoom - and will avoid the nearby vertex.
In some cases a vertex may be located at just the place where a cut is
needed. The vertex may be first removed, without much alteration of the
path, then the actual cut made with a second use of the knife.
Multiple Cut Points: The knife will cut at more than one point, all indicated
cut points are cut at the completion of the operation. This is useful because
all cut points lie on a single line, so a clean cut is possible with a single use
of the knife.

Cutting some graphics will change the form of the graphic. For example,
cutting a circle will not only add the cut point, this action will transform the
Circle to a Smooth Bezier Curve. You may ascertain these side effects by
using the Graphic Details Drawer, or notice the change of the form of the
editing handles.
Option and CMD keys: The option and command (apple) keys may be used
to suppress finding vertices or intersections. The keys may be depressed or
released while adjusting the knife line; changes apply interactively. A small
motion is needed to initiate a change in the key Depress Option key to
suppress finding vertices. Depress Command key to suppress finding
intersections. Both keys may be pressed together; in this case the user has
full control of the placement of the cut point.
Insert Tool
The “Insert Tool” is for adding vertices or nodes to graphics. Visual
feedback is provided so that you may be certain how the action will change
your drawing. Undo works, in case the results are different than required.
And the Knife Tool may be used to remove the added vertex at a later time.
The “Insert Tool” is used to add a vertex to a segment of a graphic. Start

the operation with a mouse down click. Then a drag operation will produce
a line attached to the mouse cursor. The pivoting line
naturally provides increased accuracy and precise visual
feedback for interactively positioning the precise position
of the new node. If the initial click is positioned further
from the target point, more leverage is provided to finely
position the insertion point.
The segment and insertion point are specified by dragging the insertion
indicator line over the target segment. An open green circle will indicate the
position of the new vertex. Nothing happens until the mouse is released. At
that time the graphic is modified and the vertex added.
Note that most times after the insertion there is no visual change to the
drawing. For example, a line with an added vertex will appear as the same
line. The difference is only noticeable when you select the line and see the
new vertex’s handle at the insertion point.
Inserting a vertex on some graphics will change the actual graphic. For
example, inserting a vertex on a circle will not only add the vertex, this
action will transform the Circle to a Bezier Curve. You may view these side
effects by using the Graphic Details Drawer.

Quick Keys
The Quick Keys palette provides a method to assign any of the EazyDraw
tools to a key on the keyboard. The drawing tool may be invoked quickly
with a touch of the assigned key.
This applies to all the built-in EazyDraw tools including both the editing
tools and graphic creation tools.
Quick Keys do not use a command key. This makes them very efficient for
fluid interactively drawing. These function without keyboard modifiers such
as Command, Option, Shift, or Control. This allows Quick Key use without
interference with menu keyboard shortcuts.
Assignments are inspected and edited with the Quick Keys assignment
palette. This palette is accessed from the EazyDraw main menu.
Quick Keys are normally assigned with a drag and drop. Drag the tool from
the “home” tool palette for the tool. Drop the tool on one of the keys of the
keyboard schematic on the Quick Keys panel. You will then see the tool’s
icon on the assigned key.
The “Factory” button clears all the keys and loads a default set of
assignments.
Clear All removes all assignments. Leaving nothing assigned to any key.
Caution, there is no undo or warning for this.
Click on a key to select the key. Selected keys show with a red box border.
The “Minus” key is used to delete an assignment. All selected keys with
assignments are cleared (no - assignment) when you click the Minus key.

Hold down shift key while clicking to select multiple keys. Click on a
selected key to deselect the key.
The Add popup menu provides an alternative to drag-n-drop for assigning

an action to a key. First a key is selected, then the popup menu and the
associated submenus to assign an action to the selected key. The “Other”
submenu on the Add popup menu allows a few menu commands that are
sometimes needed for fluid creative drawing.
Export and Import are used to save or load a set of assignments. The
assignments are recorded in a standart Property List XML text file. The
assignment arrangement may be saved for future use, archival, or
exchange with other users.
This panel is fully resizable. Adjust the size with the lower right corner of
the panel. The panel can remain open and used as a visual reference for
current assignments.
There are no standard assignments for these quick keys. You will design an
arrangement that makes efficient use of your free drawing hand (non
mouse, or tablet pen hand). The keys are not generally assigned according
to a naming convention (like “p” for pencil). Assign them totally for
efficiency. One approach is to place 3 related assignments on 3 adjacent
keys, see how brush, node edit, and pencil are assigned in the illustration
example above.
The assignment information is exported to a normal text file which may be

viewed with any text editor. The information is human readable in the form
of a property list dictionary. The macOS application, Property List Editor is
used to view and modify these files. Of course care must be taken when
modifying a file in this fashion.
Quick Keys information is saved with EazyDraw defaults, in the system

library folder. This information is not found in the Applications Support
folder.

Chapter
Graphic Shapes
9
Tool Palettes 174
Convert Menu 175
Smooth, Shape, Round 178
Rectangular Shapes 179
Uniform Resize 179
Graphic Details 180
Rotated Rectangular Shapes 182
Rotate Handle 183
Numeric Specification 183
Star Like Shapes 184
Resize Constraints 185
Numeric Entry 185
Arc and Pie Shapes 186
Radius Adjust 187
Spiral 188
Text Box 190
Editing Mode 190
Pg 173
Tool Palettes
EazyDraw provides over 150 unique defined graphic
shapes. They are roughly organized by tool palette
according to drawing activity. But this is only a
loose organization to aid in locating the associated
creation tools; shapes from the various palettes are
used for nearly all drawing activities. One should
not exclude using shapes based on drawing activity;
for example, a curved wall for an architectural
drawing could be a road on a map, or a ribbon on a
birthday card.
The graphic creation process described in detail in

this chapter is not the only way to add graphic
elements to a drawing. A common short cut is to
create by duplicating similar elements. The master
element may be another graphic on a drawing, or a
graphic from a different drawing, or a master
graphic from a master template drawing or graphic
library.
This section will document creating and editing of

the various graphic shapes. Attempts are made to
categorize shapes with common characteristics to
avoid unnecessary repetition of documentation.
Toolbar Variants
Drop-down menus for all drawing tools may be added to the toolbar. This
can provide a quick and convenient method to access shapes that are used
frequently or an alternative to numerous floating palettes occupying screen
real estate. There is a tool access button for each of the main drawing tool
palettes: Tools, Charting, Stellate, Math, and Technical.
These tool buttons are “smart” and will remember the last shape chosen.
This most recent shape is shown as the the tool icon. The tool shown may
be used with a single quick click of the mouse.
Pg 174 Ch 09 - Graphic Shapes

Use the customize toolbar panel,
which is accessed from the bottom
of the View main menu, to add
these tool menu buttons to the
toolbar.
It is possible to have duplicates of

these menu tools on the toolbar.
This arrangement introduces a
dynamic aspect to your toolbar. Use
different instances for different
individual shape selections and the
toolbar will evolve with drawing
activity, presenting frequently used
shapes for single click access. Click
and hold one of these pop-down menu buttons to access a hierarchal menu
of all the shapes found on the corresponding tool palette. The menu is
organized by row, as the tools appear on the represented palette. Selecting
a tool will make it the represented action of the toolbar button, and will
initiate creation of the corresponding shape. To reuse the last tool selected
by the button menu, simply click the tool in the toolbar, this will initiate
creation of the corresponding shape.
Each row of the hierarchal menu will evolve to present the last used tool of
that row. The icon shown for the row will represent this last used selection.
To reuse this shape it is not necessary to navigate the sub-menu, just
select the element on the primary menu.
Double clicking the main toolbar button will “stick” the tool. In this case you
may repeatedly draw the selected shape. To clear the “sticky” state, click
the main selection (arrow) tool, or any other tool. You may also clear a
sticky state with a double click on the drawing canvas.
The figures above show the full Charting tool palette and how these tools
are presented as pull down menus in the drawing window’s customizable
toolbar.
Convert Menu
While any desired shape may be drawn using one of the Bezier free-hand
tools and some care and patience, this is not the most practical method for
creating vector graphic drawings. For efficiency and appearance’s sake, it is
best to try to use one of the provided graphic shape tools to start with a
canned shape then edit and modify the form, if necessary.
Graphic Shapes - Ch 09 Pg 175

The convert submenu, found on the Tools main menu, is used to change
the form of a graphic. All graphics except bitmap images are based on
Bezier paths. This is true even for typeset text; each character of a text
graphic is an individual Bezier path constructed or drawn in the same
manner as other graphics found on a drawing. More on this topic is found
in the Text chapter.
The convert submenu provides a way to change the editing form of a

graphic. The new form may or may not have a different visual appearance;
in most cases there is no discernible change to the outward appearance of
the graphic. But the new form will have different characteristics and provide
different modification possibilities. For example, a Rectangle is very
restricted in the allowed modifications. Its sides are held orthogonal,
horizontal, and vertical. The rectangle may be converted to a polygon. It
appears exactly the same after the conversion. However, after conversion
each vertex of the polygon may be moved independently.
A graphic(s) must be selected before any of the conversion options are

enabled. Each initial graphic will have a particular set of forms for which a
conversion is possible. The allowed forms are enabled and the ones that are
not possible are disabled.
This technique will convert typeset text to Bezier outlines. This is useful to
apply advanced effects to text, prepare a document for press, or to stretch
and alter the size of the text with more degrees of freedom than a change
of font or layout rectangle. Converted text may not be edited as text after

conversion, the conversion changes each character to a Bezier path with the
corresponding geometric editing characteristics.
The convert to “Lines” menu selection is unique. This command will create
several new graphics (not one). The starting graphic is broken into multiple
line segments and a new independent line is created for each segment.
Filled Shape(s) will convert a

graphic, that has an outline, to
filled graphic counterparts that do
not have an outline. For example a
line is converted to a rectangle. A
rectangle with an outline and fill is
converted to two rectangles-one
somewhat larger than the other
both rectangles have fill but no
outline. This conversion will have
several uses, one is to convert a
graphic to be drawn with fill-only-
no-outline which can have
advantages for when scaling by
large amounts as there is no need
to specify how line widths will scale
with size changes.
The Close menu selection adds a

straight path segment that joins the
end of curve to the start of the
curve. A closed path is drawn with a
clean joint at the start/end vertex.
The Join Style is applied at this
vertex in the same manner as all
the other vertices of the shape. If a
shape is drawn by simply
positioning the end of the curve at
the point of the start of the curve,
close inspection will show a rough
joint that is actually defined by the
Cap Style at the start/end vertex.
Welded Bezier and Joined Bezier will

form a new path that is the
composite of a set of selected
multiple paths. The Welded action
will form a new path by connecting each selected path with a straight

line segment. The Joined Bezier connects each of the selected paths, but
the connecting segment is invisible. For the Joined path a Move-To
segment rather than a Line-To segment is used to connect the segments.
Conversion can be very useful for creative drawing. For example, a circle
may be a good starting point for a shape. To draw the shape, start with a
circle then convert to a Smooth Bezier. Add vertices using the Insert
Vertices tool. Then deform the Bezier to attain the desired shape. Starting
with the circle is much easier than trying to construct a free-hand circular
Bezier Path.
Converting text to a Bezier Path (or Continuous Bezier Path) is useful for
adding style to individual characters. After conversion you may add Stroke
and Fill or other fill effects such as Gradient Fill or Pattern Fill. You may
want to modify Stroke Position Stroke Position for best appearance.
Converting with the Weld action takes a group of graphics (all must have a
Bezier Path - no Text objects) and merges their paths into one Bezier path.
The topmost graphic, in the painting order, is used as the master for
specifying the stroke and fill style of the graphic. The paths are
automatically ordered in an end-to-end fashion.
Joined Bezier is useful for cutting holes, transparent voids, in graphics. To

obtain the hole cutting affect the Even Odd winding rule is used, after the
paths are Joined. Or reversing the inner path before the Join might provide
the desired interior hole.
Smooth, Shape, and Round

These commands will smooth or round off the corners of a polygon or path.
The commands are found at the bottom of the Transform submenu, of the
Tools main menu.
These are simple menu commands. Select a graphic then execute the menu
command. The graphic is transformed.
The difference between the three commands is the degree of smoothing

applied to each corner of the shape. Round provides the least shape change
by only rounding off the corner. Smooth alters the path to a greater degree
with a more gradual transition from one leg of the path to the next. Shape
is intermediate to the two.
The details of the algorithm are: The new path passes precisely through the
center of each leg of the originating path, and the slope of the new path at
this center is equal to the slope of the leg of the originating path.

These are useful for creating free-hand shapes. It may be easier to draw a
straight lined approximation to the desired shape then have the computer
perform the shaping in a precise mathematical manner.
Rectangular Shapes
Several graphic shapes are based on a common user
interface centered on the creation and editing properties of
the basic rectangle. Most of these are found on the
Charting tool palette and they include the basic shapes of
the oval, rectangle, circle, and square.
For shapes other than the rectangle, there is an imaginary

enclosing rectangle that exactly encloses the actual shape.
This is normally referred to as the bounding rectangle.
All of these shapes are oriented square to the Cartesian

axis of the drawing. There is no rotating or other defining
angle for these shapes. The shapes are created in the same
manner that rectangles are created.
These shapes have the same editing

handles that are provided for a
rectangle. Some shapes will have
additional adjustments provided by
additional editing handles, while
others are defined fully by the
virtual bounding rectangle. The
basic rectangle handles are drawn with a brown
color and the additional handles are normally a dark
blue. The size of these shapes are adjusted with a
click and drag of one of the provided editing
handles. If a corner is adjusted, both the width and
height is edited simultaneously. If one of the handles
on the center of a side is adjusted the width or
height may be adjusted without change to other
dimension.
Uniform Resize
The Option key is used to adjust the size while
locking the aspect ratio (width as a percentage of
height) constant. To resize in this fashion, use the

Option key, depress the key before clicking down
on one of the resize handles. In this case width
and height will vary as you resize, holding the
ratio of width to height constant.
Images are also bounding rectangle graphics.

They are resized in the same fashion. There is no
tool button for creating images; they are always
created for you when brought into a drawing, for
example, as the result of a drag and drop
operation.
There are 8 forms of rounded rectangles. In general each form has different
geometry that cuts-the-corner of the rectangle. Their creation tools are
found about halfway down on the charting tool palette. As explained, they
all have the standard rectangle resizing characteristics. They have 1 or 4
additional blue adjusting handles to set the radius of cut corners, either all
together or individually.
Graphic Details
As is the case with all graphics, these forms are inspected with the Graphic
Details drawer. All will have a common specifier for the bounding rectangle.
The top left corner is defined by the X (across) and Y (down) Cartesian
coordinates, measured to the scale and in the measuring units of the
drawing. Move the graphic numerically by entering new position
coordinates in the text boxes provided. The move does not take place until
the Enter key is typed, after typing a new number.
The width and height of the bounding rectangle are shown again to the
scale and in the measuring units of the drawing.
Graphics that provide additional adjusting control handles have additional

information available in the Graphic Details drawer. This is in keeping with
EazyDraw’s design philosophy of no hidden variables. This means that any
adjustment provided interactively on screen will have a corresponding
numeric entry on the graphic details drawer.

These adjusting values are generally self-explanatory. In some cases, an
additional selector is required to provide access to various control values in
the limited space available on the Graphic Details drawer. The Shaped
Rectangle shown in the example on the previous page uses this approach;
note the stepper provided to sequence through the independent radius
values for the 4 corners of the shape.

Rotated Rectangular Shapes
Several graphic shapes are based on a common user
interface centered on the creation and editing properties
of a rotated rectangle. Most of these are found on the
Math tool palette and they include the basic shapes of
the rotated oval, and rotated rectangle.
For shapes other than the rectangle, there is an

imaginary enclosing rectangle that is drawn with a
defined angle with the rectangle’s two axes aligned with
respect to the angle.
All of these shapes are defined by a width and height, the

width dimension being along the defining angle and the
height perpendicular to this imaginary line.
The shapes are created in the same manner as rotated

rectangles are created, this is described above in the tool
usage section. The creation cursor is always the Angle
creation cursor, shown to the right.
These shapes have the same

editing handles that are
provided for a rotated
rectangle. Some shapes will
have additional allowed
adjustments provided by
additional editing handles,
while others are defined
fully by the virtual bounding oriented
rectangle. The basic rectangle handles are
drawn with a red color and the additional
handles have a different color. The size of
these shapes is adjusted with a click and drag
of one of the provided editing handles. If a
corner is adjusted, both the width and height
is edited simultaneously. If one of the handles
on the center of a side is adjusted the width or
height may be adjusted without change to
other dimension. The width and height
adjustments apply along the defining axis.

Rotate Handle
A yellow handle with a small arc indicator is
provided for adjusting the defining angle for the
graphic. Click and drag on an arc referenced at the
graphic’s center to adjust the angle of rotation.
Shift for Compass Points: If you hold down the

Shift key while rotating the angle will lock at the
primary compass points, 0, 90, ... 15, 30, 45, 60,..
degrees. The shift key may be pressed during the
rotation, no need to apply before starting the
procedure.
Numeric Specification
As is the case with all graphics, these forms may be inspected with the
Graphic Details drawer. All will have a common specifier for the width and
height of the defining rectangle. The center is defined by the X (across) and
Y (down) Cartesian coordinates, measured to the scale and in the
measuring units of the drawing.
You may move the graphic numerically by entering new position

coordinates in the text boxes provided. The move will take place when you
click the Enter key after typing in a new number.

Star-Like Shapes (Stellates)
Several graphic shapes are based on a common
user interface centered on the creation and
editing properties of an equilateral polygon, and
a star. Most of these are found on the Stellate
tool palette and they include the basic shape of
the equilateral polygon.
All of these shapes are defined by an angle of

orientation, an enclosing circle or radius, the
number of sides, and in some cases an inner
circle with a second and smaller radius. The
shapes are created in the same manner as the
Equilateral polygon. The creation cursor is
always the N sides creation cursor, shown to the
below. During the creation process the
keyboard is active and a number may be
entered to change and set the number of sides,
or points of a star.
These shapes all have the editing handles that

are found on an equilateral polygon. These
handles all offer the same basic adjustment
capability. Click on any one of the handles and adjust the bounding circle
radius of the shape. Simultaneously the orientation of the shape will follow
mouse movements. If the shape has an inner radius, such as a normal star
shape, click on any of the inner handles to adjust the interior radius. Just as
for the outer controls, these provide simultaneous adjusting of the
orientation of the shape.
The number of sides for these shapes may be entered on the Graphic
Details drawer or at the top of the Stellate palette. There is no interactive on
screen interface for changing the number of sides or star points.
If a star-like shape is selected, changing

the number of sides on the Stellate palette
will change the number of sides or star
points for the graphic. If no graphic is
selected, changing the number of sides on
the Stellate palette will change the number
of sides or star points when drawing new
star-like shapes.

Resize Constraints
If you hold down the Control key while
adjusting a stellate, the orientation angle will
lock and your drag motion will only vary the
radius of the shape.
Numeric Entry
As is the case with all graphics, these forms
are inspected with the Graphic Details
drawer. All will have a common specifier for
the center as defined by the X (across) and Y
(down) Cartesian coordinates, measured to
the scale and in the measuring units of the
drawing. The number of sides and inner and
outer radius are also used to specify all star-
like shapes. You may move the graphic
numerically by entering new center
coordinates in the text boxes provided. The
move will take place when you click the Enter
key after typing in a new number.
The angle specifies the angle of orientation,

which is a common attribute for all the
graphics of this type.
Then there will be other

variables that are used to
specify the characteristics
of the associated
predefined mathematical
equation. The values are
generally self-explanatory
and selected by a choice for
the popup menu found
below the other parameters.

Arc and Pie Shapes
There are three forms of the arc of a circle (more precisely
arc of an ellipse), one is a simple arc, the other is the arc plus
the radial lines to form a closed arc or Pie shape. The third is
the Corner tool.
These arcs may be section of a circle or an ellipse. The

specification of an arc shape involves specification of a total
of three angles, starting angle, ending angle and the angle of
the major axis for the defining ellipse. Specification
continues with the definition of the master radius and the
percentage of this radius to apply to the actual major and
minor axes of the defining ellipse. Clockwise or counter
clockwise choice finishes the specification for an arc or pie
shape.
Arc shapes are always created as an arc of a circle. This

removes the complexity of the major and minor axis unless
required. An arc of an ellipse is always added as an editing
step unless the original arc is created by a copy action or
derived from a library graphic.
Clockwise & Counter Clockwise: During initial drawing the

Apple command key changes the direction of the arc, Cmd
down provides a clockwise direction and no Cmd key
modifier for counter clockwise. The key may be pressed or
released during the creation process and the shape will
reverse direction. The shapes have two sets of editing handles. The light
blue controls, the ones shown on the faint axis lines with 90 degree arc, are
used for adjusting the elliptical variables. The more predominate standard
brown controls adjust the standard circular variables of starting angle,
ending angle and radius.
The simple circular limit angles are adjusted by clicking one of the brown
control handles and dragging it on an imaginary circle around the center
point. The handle located on the middle of the arc is used to swing the arc
around the center pivot point, without changing the subtended angle.
The radius of the arc is adjusted with the control handle shown at the
center of the defining circle (or ellipse). Click and drag this control to
change the radius of curvature of the arc. Move the center along an
imaginary line that extends from the center and splits the angle. Just slide
the center up and though or away from the mid point of the arc.

Radius Adjust
The Apple command key modifier changes the behavior of the mid-arc
control handle. When the modifier key is depressed the radius of the arc is
adjusted rather that the starting and ending angles.
Each of these defining variables

are found on the Graphic
Details drawer when an arc is
selected. The major and minor
axes are specified as
percentages of the defining
radius. The two light blue inner
arc handles are used to
interactive adjust these
settings. Click and drag these
handles, along the light blue
lines depicting the axes, away
from the center or toward the
center.
The light blue handle on the center of the faint ellipse arc is used to adjust
the orientation angle of the defining ellipse. Click and drag this control
around the center point to swing the defining major and minor axes of the
ellipse.

Spiral
The spiral is a special case tool. This shape is provided
because it is difficult to draw this shape free hand with a
Bezier graphic.
The spiral is created in the fashion of an angle graphic.

The initial mouse click defines the center and the drag
action defines an ending point for the spiral.
Spirals are defined by the center, and the number of

turns to an end point defines a radius and ending angle.
The inner starting point is specified as a number,
fractions allowed, of turns.
Spirals have several other variables that provide different

interesting distortions. The radius is allowed to distort
which creates a conch shell look. Elliptical characteristics
provide a spiral galaxy appearance.
Clockwise: During initial drawing the shift key changes

the direction of the spiral, shift down provides a
clockwise direction. The key may be pressed or released
during the creation process and the spiral will reverse
direction.
The editing handles are somewhat empirical, best learned

by experimenting. The description here should be viewed
only as tips and starting pointers.
The handles at the end points of the spiral allow an interactive winding or
unwinding of the spiral. Click and drag, following along the spiral to add or
remove turns to the inside or outside of the shape.
One of the outer handles is brown, the other a light purple. The brown one
adjusts the defining radius. The other is used to flatten the spiral, giving
the spiral a degree of elliptical shape.
The two remaining handles lie on an imaginary line from the end point of
the spiral to defining center. Move these handles perpendicular to the
imaginary line, to vary the instantaneous radius of the spiral along the

spiral. If the spiral is thought of as
a spring, these controls will tighten
or loosen the spring.
Each of these defining variables are

found on the Graphic Details
drawer when a spiral is selected.
The popup menu near the bottom

provides access to the various
defining variables. The values are
all edited with one text field. Select
the variable with the popup menu
then inspect or enter the value in
the text field.
Shift for Circular: The shift key will return the spiral to circular, hold this
key down while adjusting the light purple control (flatten control) and the
spiral will return to a simple circular shape.

Text Box
There are two forms for text provided by EazyDraw, the
Text Box and Annotation. Here we provide a brief
description of manipulation of the Text Box form, the
chapter on Text discusses these issues in greater detail.
Before text is typed on a drawing, a Text box is required.

This rectangle may be thought of as a container to hold
the text. The Text box is created in the same manner as a
rectangle, click and drag out the defining corners.
Immediately after creating a new text box, text needs to

be entered. Typing or a text paste operation is required to
provide text content for the text box. Any text box that
has no text is cleared from the drawing. This prevents
problems from invisible empty text boxes that could end
up in your drawing.
Editing Mode
Text boxes have a selected mode just like other graphics,
they have another distinct selected mode for text editing.
Click to select as with other graphics. To access the text
editing mode, first click and select - pause just a second -
then double click to enter text editing. There is a menu
command, at the top of the Text main menu, for entering the text editing
mode. Use the menu command if you have trouble using the three click
sequence.
The resize handles are the same as provided for a normal rectangle. These
will resize the text’s container rectangle. Text in the container is fully
typeset. As you resize the containing rectangle, text will reflow and typeset,
in a live fashion, in accordance with the area made available for the text. If
the rectangle is too small to contain all text, a red square is shown at the
lower right corner to indicate that some text does not fit and is not shown.
The light blue handles found in the lower right corner of a selected text box
are also used to change the size of a text box. These are used to stretch or
resize the actual printed size of the text. For example, making
the text box bigger in this fashion is be similar but distinct to
an increase of font size. Double click one of these blue handles
to return a stretched text box to the un-stretched mode.

The text editing mode can apply to only one text box at a given time.
Selecting another graphic or another text box will end a text editing
session.
The text editing mode is a standard macOS text entry and editing user
interface. The cursor is the normal text insertion bar cursor. It shows when
the cursor is over an active text editing session.
An active text editing session

provides the ability to select ranges
of text with a click down and drag
over the text. Double click to
highlight a word, triple click for a
line or paragraph, click again to
select all text in the given text box.
When a text editing session is active
the Select All menu command
selects all of the text, not all
graphics on the drawing. Selected
text is highlighted with the system
text highlighting color as set in the
macOS preferences.

Font panel actions and other text formatting and style actions from the text
menu apply to just the selected text of an active editing session. If no text
is selected these actions apply to all text of the text box. If a text box is
selected but not in the editing mode these actions will apply to all text of
the text box.

Chapter
Technical Tools
10
Technical Tool Palette 194
Orthogonal Paths 196
Tab Entry 196
Connectors 197
Connector Palette 198
Range Specification 198
Steps 199
Corner 199
Auto Lines and Auto Connectors 200
Length Dimensioning Tools 201
Dimension Style 203
Hide Dimensions 204
Set Scale Before Dimensioning 204
Comment Dimensions 205
Report 205
Center and Diameter 205
Angle 206
Walls, Ribbons, Windows & Doors 207
Joints 210
Wall Parameter Palette 210
Geometry 211
Ends 213
Slots, Keys, and Notches 214
Graphing Tools 215
Tick Marks 215
Label Sequence 216
Grid Tool 217
Pg 193
Technical Tool Palette
The Technical Tool palette provides drawing and dimensioning tools useful
for creating dimensioned technical drawings. Connector graphics are also
found on this palette. Tools for drawing walls and ribbons are on this
palette too.
Toolbar Variants
Several of these tools are provided for
customization on the drawing window’s
toolbar. A Drop-down menu with all of these
tools grouped together may be added to the
toolbar. These toolbar buttons can provide a
quick and convenient method to access these
graphic forms that are used frequently or an
alternative to numerous floating palettes
occupying screen real estate.
The Technical tools drop down menu button is

“smart,” it remembers the last tool used. This
most recent tool is shown as the icon for the
pull down menu. The tool shown may be used
with a single quick click of the mouse.
Use the customize toolbar panel, which is

found at the bottom of the View main menu, to
add this drop down menu tool to the toolbar.
It is possible to have duplicates of these menu

tools on the toolbar. This arrangement
introduces a dynamic aspect to the toolbar. Use
different instances for different individual tool selections and the menus on
the toolbar will evolve with the work activities, automatically holding
frequent and recent used shapes for single click access.
Pg 194 Ch 10 - Technical Tools

Orthogonal Paths: These tools create
lines that are useful for flow charts or
schematic drawing. Orthogonal paths are
paths constrained to the horizontal and
vertical directions, various corners are
provided.
Connectors: Connectors are provided in

two forms. They attach to other graphics
at predefined intervals. Once attached
the host graphic may be moved and the
connected line will move to maintain the
connection.
Auto-Line and Auto-Connector: The

Auto-Line is the simplest form of a
dimensioning graphic. It is just a line
with a dimension inserted along its
length. It is useful as a simple free form
ruler too. The Auto-Connector is the
same except the line is a connector and
may be attached to other graphics to
provide an automatic measurement
between graphic elements.
Length Dimensioning Tools. The next

degree of capability is provided by the Dimension graphics. They are
connectors with added dimensioning components. The connector feature is
used to attach to specific positions on a graphic or between two graphics.
The dimensioning feature then displays the measured length.
Comment Dimension: The comment dimension group provides automatic

notation of numerous parameters that may apply to a graphic. They are
used to dimension angles, diameters, radii, and many other geometric
parameters. The comment dimension has a “none” mode providing a
method to attach a user defined comment to a graphic.
Wall Tools: The wall tool group provides double path graphics used to
denote walls and windows on architectural drawings. These tools are also
useful in map drawing for depicting roads and intersections.
Walls exhibit an advanced snapping behavior. When the ends of two walls
are snapped to an abutting position using snap vertices on the Grids and
Guides palette, the joint of the two walls is formed automatically. The shape
of the joint may be square, miter, or a round element.
Technical Tools - Ch 10 Pg 195

Ribbons: Walls are available in a fully generalized form defined as a curved
Bezier path. This form is best described as a 2 dimensional ribbon. The
ends of ribbons will automatically mate to other walls or ribbons.
Cut Circles: These tools are are derived from a circle with a cut portion.
They are shapes that are quite commonly required and trivial to visualize
but difficult to create and adjust from scratch.
Axis Tools: These are repetitive shapes useful in the construction of charts.
They provide components to use in creating a chart, an axis with tick
marks, a sequence of numeric labels, and an adjustable grid. A hex
adjustable grid is provided as well.
Orthogonal Paths
Orthogonal paths are multi-segment lines
that are constrained to be horizontal or
vertical. They are the sort of graphic
elements that might be used in a flow chart
or perhaps an electronic schematic.
There are 4 forms; square, mitre, smooth,

and radius. The names describe the manner
in which the 90 degree corners are drawn.
Tab Entry
These graphics are created with the Tab
creation cursor technique. Click drag and lift
or tab to set a corner, there is a node or
vertex at each change of direction for
example from horizontal to vertical.
One may get out of the habit of using the

tab key to advance vertices during a Bezier
path creation. However this is a good method for these graphics, the
keyboard entry is a convenient independent input to signal your intention
to change direction for the path.
Editing handles are provided at each corner of the path. Click and drag to
reposition the corner, your motions are constrained to maintain the 90
degree corner and normal path segments.

If the path is a form that provides a corner
shape, there will be a blueish handle at
each corner, these are moved toward or
away from the corner to adjust the
smoothness of the corner shape. The
defining radii may be different for each
corner.
Two tools are provided for creating

orthogonal paths. One draws a simple 90
degree sharp corner version. The other
provides a radius corner version. The mitre
and smooth corner versions are selected by changing the form on the
Graphic Details drawer or from the Connector tool palette accessed on the
Tools main menu.
These shapes are also provided as connectors. The simple orthogonal path
tool is duplicated on the main tool palette; both instances provide the same
functionality.
Connectors
Connectors are lines or paths with multiple
segments whose ends may be attached to other
graphics. If the target graphic is moved or
resized the attached end of the connector moves
too. Connectors are useful in flow charts or
schematics.
The target graphics are usually drawn first, then

the connector is attached and drawn. This is not
a hard and fast rule. The connector can be
drawn free form; it has the behavior of a normal
line or path. Then after the target graphics are
created the connector ends are attached by
moving the desired end near the target spot. Use
one of the three Connector Tools found on the
Technical Tool Palette to create connectors.
The connector creation cursor is a small chain link; it is shown when

actively creating a connector. Connectors are drawn in the same fashion as
their normal non-connector counter parts, either as a line, multi-segment
Bezier path, or an orthogonal path. During creation and when selected for
editing the active connector endpoints have different color editing handles.
Normally these

are light brown or gray, but a connector’s end handles are green or red.
They are green when not attached to another graphic and they are red when
connected. When connected, a move or resize of the target graphic (the
connected to graphic) will cause the connector’s end to move with its
target.
Connectors may attach to other connectors; this is allowed.
Caution: Don’t use connectors unless the permanent connection aspect is

actually needed. If you just need a line or path to snap to the end of
another line; use vertex snapping, found on the Grids and Guides palette.
Connectors can be CPU intensive - if large numbers are present there may
be a performance penalty and there is just more to go wrong. Consider the
alternative method of constructing a multi-graphic shape using vertex
snapping and then group all the elements to glue them together, rather
than relying on the connection attribute to hold the elements together.
Connector Palette
Connectors have a set of parameters that control the snapping behavior
and relationship between the connector’s end points and potential target
graphics.
The Connector palette is accessed from the Tools main menu, about half
way down.
Range Specification
The Snap parameter defines how
close a connector’s end point must
get to a potential target point
before it will attach. This applies
when drawing during the creating
step, or when editing a connector
by moving an end point. The range
also determines how far a
connector end needs to be pulled
away from an attached target to
release the connector and allow it
to freely follow the cursor. This
length is measured in Fine Scale
Units (inches, mm, or points) as
shown by the Units Button found at
the upper right hand corner of the
palette.

If the Dynamic checkbox is selected the snap units are defined as multiples
of the size of a standard vector editing handle box (the little boxes drawn
at the vertices when selected). This size changes in terms of absolute units
depending on the amount of zoom applied to the drawing. Normally the
dynamic setting is best; this setting naturally follows your drawing
activities. If you zoom in very close the snapping behavior will read the
situation and use a much smaller snapping range, just as you would expect.
The Center checkbox is used to attach connectors to the geometric center

of the graphic.
Steps
This parameter determines how many target points there are on a single
line (or curve) segment of a potential target graphic. The popup menu is
used to select halves, thirds, quarters, and tenths. Each line segment of a
graphic is divided into this many sub-segments. A connector may be
attached at any vertex (node or segment end) and at the specified intervals
along a segment. For example, a rectangle would offer a total of 12 attach
points if resolution is set to thirds.
Corner
This parameter determines the shape and size of the corner of Orthogonal
Connectors and Paths that allow a shape parameter. The popup is used to
select the shape, Square, Miter, Smooth or Radius. Square implies no corner
shape. Miter creates a straight line cut corner. Smooth is a cubic blend at
the corner. Radius provides a 90 degree quadrant of a circle to create the
corner.
The size parameter determines the radius or other length used to create the
corner. Some Paths or Connectors allow individual control of the size at
each vertex; others use the same size for the all corners. The style depends
on the tool used to create the path.
Fillet and Chamfer: There is another method to create two lines joined with
a fillet or chamfer. This is found on the Tools main menu, combine
submenu. This combining approach will work for lines that are other than
orthogonal. With this method one first draws the two lines, selects the two
lines, executes the menu command specifying a radius. A fillet is the
joining of two lines with a portion of a circle of defined radius.

Auto Lines &
Auto Connectors
Auto lines are lines that contain an
automatic length annotation. There
are two forms, a free line and a
connector. The connector version can
be used to denote or measure the
length between defined reference
points of graphics. The simple line
version does not attach, the length
dimension shown is just the distance
between the ends of the line.
The form of the length annotation is

controlled by the parameters found
on the dimension parameter palette,
on the Tools main menu. There is a
wide selection of formats including
color, fill, units, precision and many
others. The left tool highlighted is the
Auto-Line tool, the other is the
connector version. The line is drawn
in the normal fashion, all elements used to draw normal lines apply to
these graphic forms.
The connector variant attaches to defined points (1/2, 1/4, etc) along path
segments of any graphic. When attached the length shown is the distance
between the two connected reference points. If not attached the length is
the distance between the end points of the line.
The Auto-Line graphic is useful as a simple free floating ruler. Just add one
(or more) to your drawing. Then move it around to establish length
references right on the drawing. The Tape Measure tool is another option
for a more temporary on screen ruler, see the chapter on drawing
measurements for more information on this tool.
The units used to show the length of the Auto Line are those of the
drawing as defined on the Scale parameter palette accessed on the Format
main menu. The Dimension parameter palette allows selection of many
formats and display parameters, but the actual units (mm, inches, points,
etc) are defined by the global drawing scale. If the units are changed on the
scale panel all dimensions will change to the new units. To learn more
about Dimensions refer to Chapter 7 of this manual.
The format of the length text is
managed in a manner similar to text
annotations. If you have learned how
these are formatted and displayed you
will find that Auto Lines have many of
the same properties.
Length
Dimension Tools
These tools provide a complete automatic dimensioning graphics. These
are connectors, similar to Auto Line connectors, with a more elaborate
arrangement of relief lines, extent arrows, and a formatted numerical value.
Just as with Auto Lines these elements are connectors that attach to other
graphics. The connect point may be line ends, corners, vertices, mid points,
and other defined sub-intervals along a path segment. They respond to the
parameters provided on the Connector palette. The connector target
attributes apply to these tools. These parameters and their use have been
documented above and in Chapter 7.
When selected interactive editing

handles are provided for placing the
connector ends or attach points and for
adjustment of the relief line and
placement of the labeled text. The
connector handles are green when not
connected and red when connected. The
appearance adjustment handles are a
bright blue.
The appearance and formatting of the

reported numeric values are controlled
by a host of parameters found on the
Dimension palette, accessed from the
Tools main menu, about half way down.
The measuring units and various

formatting arrangements are
documented in Chapter 7. The
dimension palette provides a text view

annotation. Text annotation is
documented later in the Text
chapter. Many of the details
discussed there apply to
dimension text.
Dimension Palette: The

Dimension palette’s off drawing
text field is fully editable, except
for the actual automatically
derived dimension number and
possible units associated with
the measurement. Text may be
typed before or after the fixed
numerical phrase. There are no
limitations to text entered in this
fashion. This allows the addition
of notes and other information to
a dimension.
The Dimension palette’s off drawing text view accepts all supported
typesetting and text style attributes. Use the EazyDraw menu system or the
full Font panel to select font and text style attributes. These editing actions
will apply to added text, if any, as well as the automatic numeric
measurement and units label. The system Font panel is the preferred
method for formatting and stylizing the Dimension text.
Eight of these full dimension graphics are restricted to measuring and

reporting horizontal or vertical distances. Notice the “30.00” dimension
shown attached to the triangle below. The attach points may be located
anywhere on the 2 dimensional drawing, but the distances reported are
purely horizontal (X) or vertical (Y).
The horizontal and vertical

dimensions are provided with
4 orientations, left , right,
above and below. The
orientations describing the
position of the dimension
relative to the graphic being
documented.
Each orientation is then provided with an external variant. External

indicating that the arrows are placed outside the relief lines and the
dimensioning number is placed

between the lines. These are used to
dimension smaller lengths where both
the arrows and text might not fit
between the relief lines.
There are two other forms of length

dimensions, these measure lengths in
any direction, and are not constrained
to reporting horizontal and vertical
lengths. The side measurement shown
is an example of one of these free
dimensions. This form also is provided
in an internal and external form.
A common problem when dimensioning is the positioning of the numbers

and arrows. As a drawing grows in detail, and more distances require
documentation it becomes difficult to find room for all the information.
There are many ways to adjust the exact position of the reported value with
respect to the dimensioning arrows. The different formatting options are
accessed on the Dimensioning palette. The Format popup menu on the
Datum tab is used to gain full interactive control over position and
typesetting of the dimension text. The Box and Along formats offer much
more freedom to manually position the text.
Dimension Style
The arrows used to construct the dimension graphic accept input from all
of the parameters on the Arrow palette which is accessed from the main
Tools menu. Use this palette to choose a different form or style of arrow,
you may even create your own custom arrow shape.
Color and style of the lines used to construct the dimension accept input
from the Color and Style palette. Set line width and color on this palette.
The Style tab on the Dimension palette has control over the box and
background of the numeric area of the dimension. The Color and Style
palette has control over the relief and arrow lines of the dimension graphic.
This can get complicated, so experimentation is the best way to get a

handle on these various controls. Once you succeed in designing a
particular Dimension format, the best method is to copy the dimension and
save it on a template style drawing for later reuse. You can also place the
dimension in a graphic library for future use. Copy and Paste Special
supports dimension attributes, use this capability to apply a specific style to
several dimensions.

The Dimensions palette’s default settings define user preferences for new
dimensions. The default system includes all aspects of the dimension’s
default settings, those found explicitly on the Dimension palette and the
others managed on the Color and Style and Arrows palettes.
Hide Dimensions
Dimensions can clutter a drawing. It is often necessary to conveniently turn
off the dimensions so the essence of the drawing is seen or cleared for
further design work. EazyDraw provides a mechanism for this on the Layers
drawer. There is a checkbox to Hide Dimensions, found near the bottom of
the Layers drawer. The layer selected in the layer table, not necessarily the
Active layer, will reflect the Hide Dimension state of the checkbox. Check
the box to temporarily hide dimensions.
Another drawing technique to manage showing and hiding dimensions is to

place dimensions on a layer separate from the target graphics. This
technique is supported by EazyDraw. Dimensions need not be on the same
layer as the targeted, attached-to, graphics. One of the Select Others
options needs to be enabled on the Layers drawer. Candidate target
graphics for connectors and hence Dimensions are all graphics that are
selectable. With this approach, if dimensions are on their own layer, the
layer may be turned off to hide dimensions.
Set Scale Before Dimensioning

It is always wise to determine and set the drawing scale before adding a
great deal of content to a drawing. EazyDraw allows you to change the
drawing scale of an existing drawing, and have all graphics redrawn with
the same represented dimensions at the new scale. So it is possible to re-
scale an existing drawing. However if the drawing contains Text this can be
a problem. The issue is: should the text re-scale, if so it will likely not have
an appealing appearance it will likely be too big or too small. Since
Dimensions contain text and are difficult to place in and around your
drawing content, a re-scale will very likely come out as a jumble. So get the
scale set correctly early in a design project, and definitely before a great
deal of time is spent in dimensioning.
Point Delta X
Comment Position DeltaY Perimeter
Radius Delta X-Y Area
Dimension
Length Slope Degrees
Properties Bounds Diameter Radians
(see next page)
Bezier Center

Comment Dimensions
Comment Dimensions are used to
annotate various properties of other
graphics. They are linked to a target
graphic. The appropriate comment is
anticipated in an automatic fashion. For
example, point to a radius corner and
the Radius attribute is reported. You can
use the Dimension palette to specifically
select other attributes to report.
Report
The left tool creates a free comment
dimension. Use this form to report one
of the many attributes that may pertain
to a graphic; length, position, radius,
diameter, area, perimeter, etc. Above is
a list of the various attributes available.
Area: Report dimensions will report

perimeters and areas of shapes. The
shapes need not be simple rectangle.
Eazydraw performs a detailed analysis to
compute the precise area of any
irregular shape.
The units for reporting area are independent of the units for measuring
lengths on the drawing. The units are selected on the Dimension palette,
Area Form submenu found on the Form popup menu which is located on
the Datum tab. Scaled drawings such as might be used for a landscaping or
farming drawing can report area in Acres or Hectares.
Center and Diameter

The next two tools are used to report
Centers and Diameters of Graphics.
Attach to a curved segment of a graphic
with a well defined radius. These forms
also work when attached to the center
of

a circle, attach at the center and drag to the edge of the circle, then the
center mark and diameter mark are drawn.
The diameter tool will work for ovals as well as circles, in this case two
diameters (D and d) are reported as the major and minor diameters.
Angle Dimension
The tool on the right is an
angle dimensioning tool.
This dimension first attaches
to a vertex, or end point of a
straight path segment - a
line. The angle reported is
then measured from this line.
The other attach point of the
dimension will also attach to
a vertex or end point. The
angle reported is that
subtended from the initial
reference line to the second
attach point.
You can identify the two

connector attach points by
the green or red editing
handles.
The tool can be tricky to get attached and report exactly as needed. In
some cases an invisible reference line may be appropriate, draw the
reference line, attach the dimension, then make the reference line
disappear by checking no outline on the color and style panel.
The dimension will report angles relative to the major compass points when
there is no reference line. In this case the base reference axis is free form,
used to show angles relative to horizontal for example.
There is a small editing handle shown on an arc, light brown in color, found
on the main connecting line of an angle dimension. This is used to control
reporting the interior clockwise or counter clockwise angle. Move the
control handle along the arc, the side of the reference with the control
determines the interior / exterior angle that is reported.

Walls, Ribbons,
Windows & Doors
These tools are used to create double
path graphics to depict walls windows
and doors on architectural drawings.
They are also useful in map drawing for
depicting roads and intersections. Or
they may be thought of as decorative
ribbons, especially when filled with
interesting gradient fills.
The key aspects of a Wall graphic are the

thickness and the shape of the ends.
Wall elements will “snap” together and
automatically adjust these key aspects
to form corners and intersections in a
logical fashion.
It is important to understand and utilize

Snap Vertices when working with these
elements. Selecting this option or
drawing with grid snapping on is useful
when combining these graphics in a drawing.
The orthogonal wall tool (top left of the wall tool group) draws only
horizontal and vertical wall objects. The other wall tools provide methods
for straight walls at angles, multi-segment straight walls, Bezier path
curved walls, and smooth ribbons.
Walls will auto-join at coincident ends - unless the Auto-Join parameter is

turned off on the Wall Parameter panel. Closing the wall end with the closed
or butt shape will also prevent walls from snapping and matching up. Either
of these methods may be used to prevent auto-mating of wall ends.
These graphic elements have two paths, one is a master path defining the
center line of the wall or ribbon. The other path is an outline of the wall or
ribbon which draws the two sides and ends of the wall or ribbon. The
stroke and fill parameters have a necessary duplicity that may become
confusing.
Two points of advice. First, if you are not using the walls stroke or outline
path (the stroke checkbox on Color and Style palette is off) then it is
probably not necessary to introduce the complexity of a wall graphic - just

use a fat line. Second, if you are new to eazydraw or inexperienced to
computer drawing, it may be wiser to avoid wall graphics and use simple
lines and Bezier paths for initial drawing projects.
Simple Wall: The top left wall tool draws a

simple wall element. This is a double lined
graphic with a thickness and 4 independent
elements defining the shape of the end. The
thickness is adjusted with the orange
rectangular resize handle that is provided when
the element is selected. The shape of the ends
are adjusted with the 4 blue handles (see figure
to left) provided near the end of the wall
element. Using these handles an end of a wall
may be closed, opened or prepared to join
another wall(s) to form a corner or intersection.
As with all other wall graphics, the thickness
and end parameters are inspected or entered
using the Wall Parameters palette found on the
Tools main menu.
Window: The next tool is used to draw the architectural schematic

representation of a window. This is just like a simple wall but has a thinner
(normally) center section. The Thickness and end shape of the window are
adjusted in the same fashion as a simple wall. The thickness of the window
section is set numerically on the Graphic Details drawer as a percent of the
wall thickness. As with all other wall graphics, additional parameters may
be inspected or entered using the Graphic Details Drawer which is opened
using the command at the top of the Tools main menu.
Door: The next tool is used to draw the architectural schematic

representation of a door. This is a more complex shape showing the
opening, the door and a sweep arc. The thickness of the “door” section is
adjusted on the Graphic Details drawer as a percent of the wall thickness.
The Graphic Details drawer provides input for the angle of the door, the
extent of the sweep arc, and the orientation of the hinge.
Bay Window: The next tool is used to draw the architectural schematic
representation of a bay window. This is just like a simple wall with a jog
extension. The thickness and end shape of the window are adjusted in the
same fashion as a simple wall. The form of the “jog” may be adjusted by
two parameters found on the Graphic Details drawer.
Wall at Angle: The bottom left tool is used to draw a straight single wall
segment at any angle. This is just like an orthogonal wall but with the
behavior of a simple line with two end points.
Wall Path: The next bottom tool is used to draw straight multi-segment
wall paths. These paths are drawn in the same fashion as a multi-segment
bezier path. The ends of this form of a wall are defined in the manner
common to all walls. This form has an additional shape parameter to define
the form of the nodes (or vertices, joints) of the wall path. Exterior obtuse
angle nodes may have a Beveled, Round, or Miter form. The form may be
set interactively with the handle provided at the first node of the path, or
with the Geometry tab of the Wall parameter palette.
Curved Wall: The next bottom tool is used to draw curved multi- segment
wall paths. These paths are drawn in the same fashion as a free form bezier
paths. The ends and nodes of this wall form are defined in the same
fashion as for the straight multi-segment wall paths (see previous
paragraph).
Smooth Wall or Ribbon: The bottom right tool is used to draw fully free
form smooth ribbon shapes. These smooth wall shapes are multi-
segmented and are drawn in the same fashion as a Continuous Bezier. The
slope of these paths is constrained to be continuous at each node of the
the path. This constraint means that a defining shape for the node-joins
does not apply. The ribbon path at the joins may not be Miter or Beveled, as
they are drawn with a constant ribbon width - through each node or vertex
of the wall path.
Walls have a defined start and end which defines a right and left side. This
is important for Doors and Bay Windows. Most importantly this defines the
direction of the swing of the door. Eight combinations are required for all
orientations of a door. These are provided on the Graphic Details drawer.
Adjusting the thickness of one wall element section will automatically

adjust all other wall elements “snapped” to the element being adjusted.
To control the use of a normal corner or a beveled corner representation:

use the end handle to adjust an unsnapped wall element to the beveled
configuration (the one with a 45 degree end component). Then bring
another wall section up to the prepared element and let them snap - the
corner will then be beveled.
Duplicating prototype wall elements is a useful technique. Create one wall

element and adjust the ends’ parameters, if appropriate. Then duplicate or
copy-paste this element to create new wall sections. This is easier than
creating a new wall element and adjusting each time. User preferences for
these settings are managed by the Wall parameter palette, discussed in the
next section of this manual.

Joints
The Knife tool is useful for forming a T-section or full intersection. Cut an
existing wall with the knife - the break will not be noticeable as the ends
are automatically adjusted after the cut. Create another perpendicular wall
section, then bring it to the cut point. The new element will auto-snap and
the end shapes will automatically adjust to form the T shape joint. Repeat
with another perpendicular element to form full intersection.
A Gradient Fill may be applied to all of these graphic forms. Only two of the
Gradient styles are defined for a wall, Horizontal and Vertical. Vertical
gradient is applied across the path, perpendicular at all points to the center
line of the path. Horizontal gradients are defined along the path, parallel at
all points of the center line of the path.
Note that the two free form Bezier wall shapes can have anomalies at
vertices or other points along the path. This occurs at points of sharp
bends and abrupt direction changes of the paths. These ribbon shapes are
drawn and constrained to two dimensions. In a full three dimension world
the ribbon would pinch and curl when twisted to conform to the defining
path. To form these shapes in only 2 dimensions, EazyDraw must apply
approximating “fuzzy” logic that is NOT precisely defined for all possible
distortions of the ribbon. We have attempted to make certain the ribbon is
drawn in an expected well defined manner for normal non-extreme bends
and curves. But if extreme twists and turns are used, small artifacts or kinks
may appear. In this situation small adjustments of the curve will remove the
unwanted artifact or kink. It may help to manually insert vertices near
problem intersections.
Wall Parameter
Palette
The Wall palette provides parameters
for walls and ribbons. The palette is
accessed from the Tools main menu,
about halfway down.

Some of the Wall or Ribbon constructs have several additional parameters -
for example, Doors require many more defining parameters are not found
on this parameter palette. These additional parameters are inspected or
entered using the Graphic Details Drawer which is opened using the
command at the top of the Tools main menu.
Geometry
The Geometry tab view provides access to the primary parameters of a Wall
or Ribbon Graphic. Walls have a distinct thickness and an independent
border path.
Wall graphics may be snapped and joined or mated to other wall graphics.
When a joint is formed this palette provides control over the shape of the
joint. This palette tab view is accessed from the Tools Main menu, Walls
menu selection. Click the Geometry tab to access these parameters.
Thickness: A wall has a defined thickness or width. The Thickness

parameter is used to inspect or enter a defined thickness. The numerical
thickness value is shown in the Palette Units as defined by the palette fine
scale. A resize handle is provided to change wall thickness interactively on
the drawing; it is the larger brown rectangle shaped handle found near the
start point of the wall graphic.
Auto Join: This controls the behavior when the ends of two walls are
snapped together. If this parameter is checked the two walls will form a
defined joined corner. The automatic join action will properly form the
mating wall corners and match the thickness of the joining walls.
EazyDraw’s automatic joints are only defined when adjoining walls have the
same thickness. Uncheck the parameter to prevent this action. Turning
auto-join off is important if two different size walls (thickness) are to be
mated.
When two walls are mated the shape of the formed corner is defined by the
Start and End Join parameters. There are 3 choices: Bevel, Round, and Miter.
The figure below shows these three forms. Use the popup menu to select
the desired shape for a joined wall end. The end of the selected wall needs
to be joined to another wall for these parameters to apply. Setting the
parameter for a joined wall will also set the corresponding join shape for
the other wall.
Join Shape: The Join shape for nodes applies to multi-segment wall paths,
but not to smooth walls. The shape of the corners at the nodes is controlled
with the Nodes popup menu. This parameter does not apply to smooth
walls because the shape at their nodes smoothly transitions across the
curve vertices.

Miter Limit: Miter Limit applies to
mitered joint ends and nodes.
The miter joint for a sharply
acute angle can protrude a great
distance. They would extend an
infinite distance for fully acute
angle. Therefore a method is
provided to prevent this
divergence. The limiting method
is the Miter Limit. It is a unit-less
ratio of the protrusion length
divided by the thickness, or
width, of the wall graphic. If this
ratio exceeds the Miter Limit
parameter value the shape of the
corner is changed to a Bevel shape. The Bevel shape algorithm is well-
defined for all acute angles.
When dimensions are attached to drawings constructed of walls, the detail

of the actual dimension measuring positions needs to be considered. A
Center dimension will measure from the centerline of the wall. Sometimes
Inside or Outside dimensions are required. If inside or outside
dimensioning is to be used, drawings are constructed in an clockwise
fashion. Drawing in this defined manner allows the software to distinguish
the inside of the composite shape from the outside. The Thickness and Join
parameters are manipulated interactively with the small light blue resizing
handles provided on a selected wall graphic.
Only two of the Wall forms have Nodes, so this popup is often disabled. The
two forms with Nodes are the Wall Path and Bezier Wall. Other wall forms
have shaped joins but only at their ends - when mated with another wall
graphic. These two wall forms have one resizing handle at the first node of
the path, this handle is used to interactively change the Join Node shape
setting for all nodes.
Auto Joining of wall ends does not apply if either corner of the wall end has
the closed or Butt setting. A closed end will not auto-mate (or snap
together). It is often useful to “close” an end if auto-mating is not desired;
as just resizing or moving the end of a wall on a drawing will often
inadvertently touch another wall and alter the end parameters.
Joints of more than two wall ends are supported by the auto-joining
capability. In these situations, one joint angle of more than 180 degrees is
possible (but not necessarily present); in this case the Join style applies to
this one angle and all others are drawn as Relief interior mated wall ends.

Ends
These parameters provide control
of the shape of the ends of a Wall
(or Ribbon) graphic. Fine control
of each of the 4 corners is
explicitly provided with these
parameters. Each Wall End is
drawn as two independent
segments, an outside and an
inside portion. These ends are
defined relative to a path drawn
from the start to the end and back
to the start of the wall path - in a
clockwise fashion. When oriented
from the start of a path - facing
toward the end of the path - the
Start Left is the first corner drawn
which is defined as the Start-
Outside corner.
There are 6 possible shapes for a wall

corner: Relief, Open, Extend, Miter,
Round, and Butt. An independent shape
may be defined for each of the 4 corners
of a wall graphic using the 4 popup
menus found on this palette tab view. If
a wall graphic is not joined to another
wall graphic, these parameters will
specify the shape of the ends.
An appropriate join or mating of two

wall ends is accomplished with a pair of
complimentary (different) end settings.
For example, if two walls are joined at
an acute angle - the two inside corners
will be drawn with “Relief” setting. In
this example the possible settings for
the other half of the joined ends would
be Extend, Miter, and Round. Open and
Butt have no meaning for a joined wall.

The Current and Default buttons provide
support for quickly defining or using an
existing wall graphic as a definition for the
drawing parameters for newly drawn wall
graphics. Specifying the exact form of each
of these parameters is normally performed
automatically when one wall mates with
another. The settings may also be applied
interactively on the drawing with the light
blue resizing handles visible on Wall graphics
when selected. Walls have a defined distinct
Start and End. This convention is used for
identification and correlation of the
parameters on this panel with respect to the wall graphic shape.
When selected the start of the wall path is clued visually with a triangle
shaped brown resize handle. The triangle handle is drawn at the defined
Start of the path and points away from the Start.
If an Arrow is applied to the end of a wall graphic, these parameters are

overridden and do not apply. All of these popup menus are disabled for the
end(s) with the arrow shape. The use of an arrow on an end will prevent
Auto-Join.
Slots, Keys, and

Notches
Four tools are provided to create shapes that
are a cut portion of a circle. These shapes are
commonly needed when drawing but are
difficult to create by combining other elements
such as circles and lines. These shapes and
their convenient on-screen adjustments make
it easy to create cut circle shapes.
Each shape is drawn from the center out, the

direction specifying the orientation of the cut
portion of the circle.

Handles are provided on each graphic to adjust the orientation and size of
the notch or key.
When adjusting the orientation, hold down the shift key to precisely lock
the angle to even degree intervals (0, 15, 30, 35, ...).
The parameters of the cut and orientation may be specified numerically on

the Graphic Details drawer.
Graphing Tools
These tools are used to create the component elements of a graph or chart.
Each tool provides convenient design and adjustment of the axes, labels,
and grid of a graph.
The components are provided

individually to allow a greater degree of
flexibility in the design and appearance.
EazyDraw is not a charting application,
so we are not providing a “canned” chart
and there is no mechanism in EazyDraw
to enter a table of date and automatically
generate a graph or chart. Other
applications are available for these tasks.
These graphics normally appear on a

larger scale. It is advisable to zoom-out
before drawing. This will allow the
default settings to show something
reasonable as you create the element.
This is only advisable when starting out,
these elements are fully vector graphics
and may be drawn as large or small as
desired.
Tick Marks. The tick mark tool

draws a set of lines of varying length
along a straight path. Handles are
provided, when selected, to adjust the spacing, length and appearance of
the tick-lines. Experimentation is the best way to learn all of the options
available with this graphic. Be sure to adjust the purple interval handle; this
is used to select the appearance of the tick-sequence. For example, even-
tenths, quarters, halves, and so on.

Logarithmic Scale: Slide interval handle fully away from the start of the
sequence to access the logarithmic selections. Extend the “back side” of the
tick to create half of a chart grid, associated precisely to the axis ticks. This
technique provides a means to easily create log an log-log graphs.
Label Sequence
The second tool is used to draw the labels or text / numeric portion of a
chart axis. Simply click and drag out a line; the labels are drawn along this
defining line.
The numeric labels will follow a sequence, with a starting value and additive
numeric interval. The sequence can be defined on-screen by double
clicking the graphic and entering the standard text editing mode. More
control of the sequence and appearance is provided on the Graphic Details
drawer. While this graphic initially appears very simple, the extended
flexibility is actually quite significant: the full macOS typeface and font
capability applies to these labels, static prefix and suffix text is allowed,
and colored or stylized effects may be used.

Adjusting Labels: A Label Sequence may be adjusted on-screen. Click the
Label Sequence once to select; you will note an additional text block
appears. This text box has a number followed by a colon and a second
number. The first is the starting numeric value; after the colon, the step
amount or delta value of the sequence is shown. This specifier text box
behaves as a normal EazyDraw Text Box; double click it to enter the editing
mode.
In the on-screen editing mode you may edit both the starting value and the
signed increment. The number of decimal places shown on your labels will
mimic the number of decimal places that you include; use zeros if
necessary to specify this. The typeface (font), size, color and other
attributes of the text you enter for the starting number are mimicked in the
labels. These need not be the same for full number, for example, a smaller
font size might be used after the decimal point. A prefix and/or suffix may
be included. Just type the desired text; for example, the units of the values
could be entered after the starting number, specifying it as a suffix.
While most aspects of the label sequence may be entered as edited text on
screen, the somewhat cryptic nature of this technique is not necessary. Use
the Graphic Details drawer for a more descriptive interface to the full
functionality of the label sequence.
Using these graphics, especially the Label graphic, will provide improved
speed and drawing responsiveness. These complex elements are highly
optimized by EazyDraw. One reason these were added to the EazyDraw tool
suite was to simply improve speed. It was common to find hundreds of 2-3
character text elements and short lines when drawing charts. Each of these
seemingly simple text blocks fully invoke the powerful typesetting
machinery of macOS and this would place a significant load on the CPU and
memory of the system. With the use of these compound tools the
typesetting, while still available, has been optimized to minimize the CPU
load. They are just fast - it is as simple as that.
Grid Tool
The grid tool (third from left) is used to draw a rectangular grid as a single
graphic element. Select the tool and draw a full rectangle; the grid is drawn
in the enclosing rectangle. After it is drawn, handles are provided to adjust
the spacing and initial position of the grid. To adjust the spacing in a
precise numerical fashion, use the Graphic Details drawer.
Hex Grid: The last tool is a Hex grid, formed with a set of interlocked
equilateral-hexagons. These shapes are very symmetric, the radius is equal
to a side length. This symmetry makes a matched honeycomb mesh.

After a hex grid is drawn, handles are provided to adjust several aspects of
the grid. It may be orthogonal or oriented at an angle, the radius property
is adjustable. The drawn length of each side is adjustable to obtain a hex-
grid-tick appearance, or when extended fully this will provide an isosceles
triangle grid.

Chapter
Working With Text
11
Text Box 220
Text Stamps 221
Page Stamp 221
Time Stamp 222
Time Stamp Format 222
Annotations 224
Enter 225
Font 225
Text Color 226
Layout 226
Orientation 227
Display 228
Fonts 229
Collections 230
Font Book 230
Characters 231
Greek Characters & Math Symbols 231
Text Effects 232
Text Color, Text Box Color 233
Superscript & Subscript 234
Typesetting 234
Stylize Text 237
Outline Text 239
Electronic Prepress Preparation 240
Rotating Text 240
As Annotation 232
Free Transform 241
Pg 219
Tabs 241
Tab Stops 241
Alignment 242
Leaders 242
Spell Checking 243
Find Replace 247
Speech 249
Linking Text Boxes 250
Flowing Text 252
Insert Text 252
Centered Text 253
Paragraph Submenu 253
Text Box
There are two forms for text provided by EazyDraw; the Text Box and
Annotation. The Text Box form was introduced in chapters 6 with detailed
information about inspecting text with the Graphic Details drawer and
chapter 9 concerning drawing and resizing text boxes. We’ll not repeat the
information provided in these previous chapters. Here you will find a brief
summary of a few critical points and some additional fine points concerning
the Text Box graphic.
An important concept is to understand that text on a drawing is always

found in graphic container. Since EazyDraw is primarily a drawing program
text is on an equal footing with all other graphics and may be manipulated
as other graphics, for example, move, resize, and stretch or scale.
Before text is typed on a drawing, a Text box is required. This rectangle

may be thought of as a container to hold the text. The Text box is created
in the same manner as a rectangle; click and drag out the defining corners.
The red circular resize handles behave just as those of any rectangular
graphic. This action resizes and positions the defining rectangle that is
provided for typesetting the text.
The bluegreen arrow handles, found in the lower right hand corner of a
Text Box, will shrink, expand or stretch the text. These editing handles
treat the text as graphic element rather than a text element. This action
does not change font size.
Pg 220 Ch 11 - Working With Text
Text in Text Boxes is edited on screen. The Text Box is selected to edit its
graphic properties (size, position, scale, stretch, etc.). If a selected Text Box
is double clicked; the editing mode changes to text editing mode. In this
mode a temporary solid contrasting background is applied to the text, and
standard full text editing is enabled. The background for text editing mode
is normally a creamy gray but may be different if the contrast of text color
to the standard background is low, in other words: if your text is colored
you may have a color other than gray for the text background when the
Text Box is in the editing mode.
Text in a Text Box is fully typeset; even advanced typesetting features such
as Kerning and Ligatures are supported and always in play. This means that
normally you would not enter carriage returns to provide line breaks. It is
best to let the defined text area control line breaks.
Text Stamps
Text Stamps are special forms of a Text Box. They are accessed from the
Text Stamp submenu found on the Text Main Menu. These are used for
automatically synchronized text messages such as a time stamp of the last
saved change to a drawing, or a page number.
Page Stamp
Page Stamps are added to drawings using menu
commands found on the Text Stamp submenu.
There are 2 versions of page stamps available,
“Page” and “Page_of_.” A Page Stamp is created
by selecting the appropriate menu item. The
new Page Stamp is created and initially placed
in the middle of the screen. You then move the page stamp to the desired
location on the drawing. When the page stamp is moved to a different page,
the number shown reflects the position of the upper left corner of the Page
Stamp’s text box. The number of pages used for a drawing are specified on
the Page Layout parameter panel. On this panel you specify the Pages
Across and Pages Down used for a drawing. The Numbering Order, “across
then down” or “down then across” is also specified on the Page Layout
panel. Changes to page layout will dynamically alter page stamps as
appropriate.
Page stamps are fixed; editing the text is not allowed. Double clicking a
page stamp will not enable text editing.
Working With Text - Ch 11 Pg 221

Time Stamp
Time Stamps are added to drawings using menu commands found on the
Text Stamp submenu. There are 4 forms of time stamps available, “Now,”
“Last Change,” “Last Save,” and “Create.”
A Time Stamp is created by selecting the appropriate menu item. The new
Time Stamp is created and initially placed in the middle of the screen. You
then move the page stamp to the desired location on the drawing.
Now: The “Now” selection creates a “User Time Stamp” like the first
example shown below. The time placed in the time stamp is the instant that
the user created the time stamp. This time remains static - does not
change - and cannot be edited with standard text editing activities.
Last Change: This selection

creates a “Change” time stamp
like the second example shown
above. The time shown will
change automatically every time
the drawing is changed in any
way. The text cannot be edited
with standard text editing
activities.
Last Save: This selection creates a “Save” time stamp like the third
example shown above. The time shown is updated each time the drawing is
saved to the hard drive. The text cannot be edited with standard text
editing activities.
Create: This selection places a “Create” time stamp like the forth example
shown above. The time shown is the time that the drawing was created.
This is the time at the instant when the initial “Untitled” window was
opened. This is a static time stamp, it will not change and cannot be edited.
Time Stamp Format

A drawing pull down panel is provided to specify the format for Time
Stamps. The order and wording or numbering of year, month, and day may
be arranged and specified with the four sets of popup menus provided. The
format of the time phrase is chosen with the controls on the right side of
the panel. The Time Format panel is accessed from the Text Main menu,
Time Stamp submenu.

The example box at the
top of the panel shows the
date and/or time as it will
appear with the current
settings.
The prefix and suffix text

fields are used to specify
specific text that precedes
and follows the date and
or time.
The two checkboxes at the top are used to include or exclude the date or
time. At least one must be selected. The next checkbox below determines
which of these components is shown first.
The four pairs of popup menus determine which components of the date
are shown in order. The top pair specify the first component; the next pairs
down determine the next component to the right of the date in sequence. A
separator text string may be entered into the text field immediately to the
right of the pair of popup menus.
The Factory Default button is used to return the format to the starting
conditions. There is no undo for this action. The action only applies to the
current Time Format for the panel. Nothing on the drawing is changed with
this action.
The Selected button applies the panel’s Time Format to all Time Stamps
selected on the drawing.
The Existing button applies the panel’s Time Format to all Time Stamps on
the drawing. The new Time Format will also be used for subsequent Time
Stamps created for this drawing.
The Drawing button applies the panel’s Time Format to the drawing. The
new Time Format is used for subsequent Time Stamps created for this
drawing. Existing Time Stamps on the drawing are not changed.
Changes made with this panel are persistent. New drawings will start with
the last Time Format applied with the Existing or Drawing buttons. This
applies for future launches of EazyDraw after quitting.

Annotations
The Annotation palette provides management of rotated or contoured text.
Annotations are associated with a graphic shape. The annotation may be an
off-screen memo or comment attached to a graphic; they do not need to be
shown.
Abbreviated instructions for using an annotation are: select the graphic,

open the Annotation palette, type the text in the Contents text box found at
the top of the Annotation panel.
Annotation provides a method for displaying text at angles other than

horizontal. These capabilities allow a text message to layout with full
typesetting capabilities such as justified, and the resulting layout may be
positioned at any angle. The text may also be contoured along a curve or
path. If simple rotated text is needed, use a normal text box and the rotate
handle of the text box.
Since annotations may be shown at various angles

or on a contour, the text is entered and edited in a
separate panel. You do not select or edit the text
directly on the drawing. The text is entered and
edited using the Annotation floating parameter
palette. This palette is accessed from the Main
Text menu, about halfway down. The toolbar
button shown to the right also provides access to the annotation palette; it
is included in the default toolbar, on the left side of the toolbar. Full
editing, layout, and text styling is permissible with

annotation text. Font palette and text menus are used for text styling.
There is no interface on the Graphic Details drawer for inspection of
Annotation text.
Enter
Text is entered by opening the Annotation Panel, selecting a graphic(s), and
typing new text in the Text Editing box at the top of the panel. The text will
appear on the graphic as you type, the “show” selection is automatically
selected when you start typing. Text is edited in the conventional manner,
in the text box on the panel. Cut, Copy, and Paste may be used with the
Contents text view on this palette.
Font
To modify the Font, select a range of text in the Text box on the Annotate
palette. Then use the Font panel (accessed from the Text main menu) to
make the font modifications. The annotation uses the Rich Text Format so
fonts and sizes may be freely mixed.

Text Color
The easiest way to change the color of annotation text is with the Text
Color toolbar button. If this button is not on your toolbar, add it with the
Customize toolbar menu command (bottom of View main menu).
The color of the text is changed with standard color picker. If the color
picker is open for other activities, it is available for use with annotation
text. If the color panel is not visible it may be accessed from the bottom of
the Font submenu found at the top of the Text main menu or the Font
Panel, Extras popup menu.
To change the color of the text, it must be selected in the Annotation

palette’s Contents text box, found at the top of the palette. Color changes
apply to a range of text selected in the Text box on the annotation panel.
Some care is required since the same color picker is used for many coloring
actions. More information on Color picking is provided in chapter 15. If you
are not familiar with using the color picker, stick to the more straight
forward Text Color toolbar button.
Layout
Text layout options are found on the Text submenu of the Format main
menu. These selections apply to all text of an annotation. If contour is NOT
selected the width parameter defines the width used for the layout of the
text. The height of the text area on the drawing is determined by the
amount of text entered.
The text content of an annotation is somewhat limited; it is not designed to

contain a full book. The size will be that of the font size; zooming in is not
possible. If the text font size is very small, use a temporary EazyDraw Text
Box to prepare and edit the text content. When finalized, copy and paste
the text into the Annotation Contents view.
Think of the annotation as one paragraph. Line returns are not accepted in
this text view. Typesetting parameters are used to break lines and fully
format the text. Use the Width parameter found on the Annotation palette
(right column, center) to specify the layout width of the text and define the
line breaks.

Orientation
The parameters found in the middle section of the annotation panel control
various aspects of the orientation of the text layout. Each of the parameters
may be changed by entering a number or using the slider found the right of
the entry text box.
Shift, Width, Slide and Space are in the Units (mm, points, or inches) defined
for the palette by the Fine Scale settings.
Position: Position determines the place along the curve or path of the
graphic where the annotation is anchored. The value is entered in percent
and interpreted as a percent of the total length of the graphic’s defining
path.
Shift: Shift is used to position the annotation text along a direction

perpendicular to the curve or path at the anchor point. If shift is non-zero a
red bar is shown when the graphic is selected, this indicates the anchor
point on the graphics defining path and the top left reference point of the
annotation text.
Slide: Slide is used to position the annotation text along a direction

parallel to the curve or path at the anchor point. This control provides
movement orthogonal to the Shift control.
Angle: The angle parameter defines the angle of the annotation text. The
value is entered in degrees. Zero degrees is defined as that of normal
horizontal “left to right” text layout. If Along Path or Contour are selected
then the angle is defined by the graphic, in this case the Angle parameter
entries are disabled.
Width: Width defines the width of the annotation text paragraph. Text is
drawn and typeset across a rectangle whose width is controlled by this
entry. When contour is selected the text is drawn along the graphic’s
defining curve in a single line. Width is not used and the entries are
disabled for the contour formats.
Space: Space is used to add or remove space between characters when the
annotation is shown on a contour. Spacing of characters is normally defined
by Font selections, but when placing text on a curve you may need to add
or remove space as the writing path may be stretched or compressed when
proceeding around curves. Positive and negative values are meaningful and
allowed. This parameter is only enabled when Contour is selected.

Display
The parameters found near the bottom of the annotation panel provide 3
possibilities for the display of the annotation. The states of the checkboxes
determine if, where, and how the annotation is shown on the drawing.
Show: Check this box to show the annotation on the drawing. If not
checked, the text message is retained as an off screen annotation that is
attached to the corresponding graphic on the target drawing. If this box is
checked the annotation is displayed on the drawing as defined by the
corresponding parameters.
Box: If Box is selected on the popup menu, the text is shown in the normal
horizontal left to right fashion. The width of the text layout is determined
by the width text entry.
Along: If Along is selected on the popup menu, the angle of the layout of
the annotation text is defined by the path or curve of the parent graphic.
The display angle is parallel to the controlling curve at the anchor point.
The width of the text layout is determined by the width text entry.
Contour: Make this selection from the popup menu to have the text follow
a curve or path. This option displays the text message in a single line that
flows along the attached graphic. If the message is longer than the curve,
the end characters are “piled up” at the end of the curve. To avoid this you
need to make the curve longer, the text shorter, or position closer to start
of the curve.
Reverse: This selection is the same as contour but the line of text flows
from the hook point to the start of the curve. If the hook point is at the
start of the curve, all the characters will be “piled up” at the start of the
curve. To fix this move the position down the curve.
Flipped: This selection is another contour display, but each character is

flipped top for bottom. You may need this setting to have the text read
properly in some cases. The layout may not always “look” perfect. It is
better to change the host graphic and use the Contour method, if possible.
Mirror: This selection is the combination of Reverse and Flipped display. It

is used when necessary due to the orientation of the host curve. Or it can
be used to present a mirrored image of the text. If an explicit mirrored
appearance is not necessary, it is better to change the host graphic and use
the Contour or Reverse method, if possible.

Fonts
There are several ways to select and
manage Font selection and other text
style attributes. The Graphic details
drawer provides a straight forward
focused method to inspect and select
all defining characteristics including
font, font size and text style. This
was described in chapter 6 with the Above you see the Font panel in a
discussion of the workings of the miniaturized state, below expanded
Graphic Details drawer. with more options in use.
The definitive complete interface with the macOS font system is accessed
with the Font panel found on the Font submenu at the top of the Text main
menu. This palette is re-sizable, the elements included or excluded depend
on the size that you provide for the palette. Resize it with the standard
window sizing control - lower right. Go bigger to have more capability or
minimize it to save screen real estate and use a simple minimal interface.
Many elements of this palette may be included or excluded as a user

preference. These options are accessed from the pull down menu with gear
and disclosure triangle icon - lower left, we’ll refer to this menu as the Font
Workings Menu. The preview panel and effects toolbar are two elements
that may be included or excluded as your requirements dictate.

Collections
The collections table is a method for applying some organization to the
wide selection of Fonts that are typically available. The latest macOS ships
with some basic collections and you may remove these or add build your
own collections that may be relevant for certain projects or personal
favorites. The plus and minus buttons, lower right are used to add or
remove a collection.
Drag a font family from the Family column over to a particular collection
row of the collection column. Drop the font there and it is added to your
collection. Use the minus button to remove font collections from the list of
collections. This is the technique to use to populate your Favorites
collection.
Font Book
The bottom selection of the Font Workings pull down menu, entitled
“Manage Fonts,” will open the Font Book. This provides a way to manage
the fonts available on your installation. If you purchase additional fonts or
want to deactivate fonts this panel will help with that task.
The Font Book provides a good method for sampling fonts and viewing the
look and characters. The Font Workings menu provides an access selection
to show the system color picker. This menu action opens the same color
picker that you access from the Font submenu, or if you click on any color
well on another EazyDraw palette. The EazyDraw application uses one
common color well for text and graphics. See chapter 15 for more
information.

Characters
The Font Workings menu has a selection to open a Characters inspector.
This palette provides several ways to view, select, and locate specific
characters and identify which font families support various characters. The
Characters palette provides a way to enter and use characters that are
difficult or impossible to access from a keyboard. Use the palette and the
numerous inspection or search features to locate the needed character,
select the specific entry in the desired font, drag that character to your
drawing and drop it into an editing Text Box’s text content. Note that copy
-> paste does not work from the Character palette to editing EazyDraw text
content, but drag and drop does. Drag and Drop provides one way to add
non-standard characters to your text.
Insert: The Insert button is another way to select characters using the
master Character palette and type them into your EazyDraw text content.
Select the Text Box, enter the text editing mode, position the text insertion
point to the desired location. Next, use the Character palette to locate
characters, click the Insert button to type the character into your text
content.
Greek Characters & Math Symbols

On macOS 9 it was common to use the Symbol font to represent the
common Greek characters used in math and equations. On modern systems
such as macOS it is advisable to use a single font with unicode encoding for
these symbols, Lucida Grande is an excellent choice.
Today’s fonts have 100’s or 1000’s of special characters. This means there
is no need to use a different font for mathematical symbols in text. In fact it
is advisable to avoid the old Symbol font, since its coding can be

problematic when moving documents between operating systems, the web,
and between current and old technology programs on macOS.
Every character of a font may be accessed using the Graphic Details drawer.
Select a character, open the Graphic Details Drawer, select the “character”
tab on the inspection view. You’ll note three popup menus that show and
provide selection of all the characters of the font. Just pick the desired
character from the menu.
If necessary use the “gear” popup menu to customize and add Greek to the
list of character categories.
There is a tutorial on entering Greek characters provided with your

EazyDraw installation. This is a normal EazyDraw drawing. It has a handy
table of the Greek alphabet in the Lucida Grande, unicode encoding. Copy
and paste from this drawing, or move the whole alphabet to your working
drawing or template file. The table is then a convenient source to quickly
access these characters.
Text Effects
The Font palette has a toolbar to help manage advanced effects that you
may want to apply to your text. These include underlining, strike through,
text color, and a bitmap drop shadow.
Text Box text or Annotation text must be in the active editing mode with
text selected for these effects to apply from the Font panel.
These effects are found on the Graphic Details drawer. Both interfaces are
available for setting these effects. Only the Graphic Detail interface provides
inspection as well as setting capability. The Graphic Details drawer is
somewhat easier to use than the system font panel.
The underline, and strike through pull down menus provide 3 methods for
underlining or showing a strike through. Note that these effects for
Annotation text are not supported on the Graphic Details drawer, so this
interface on the Font palette is the only way to underline or strike through
Annotation text. The Annotation Text must be selected, highlighted and
showing, on the Annotation palette’s Contents view to use these effects.
The right set of toolbar buttons relate to drop shadow for the text. Click the
“T-shadow” button to toggle the drop shadow. Use the next four buttons to
adjust the Opacity, Blur, Offset and Angle of the shadow. This shadow is a
bit map shadow as compared to a vector drop shadow. This distinction is
discussed in greater detail with the discussion of the main EazyDraw
graphics shadow palette in chapter 16.

Note that these shadow controls do not work with Annotation text. The
primary EazyDraw shadow palette, found on the Tools main menu, is
needed to apply a drop shadow to Annotation Text.
Text Color, Text Box Color

There are several color attributes that are associated with a single bit of
Text Box content. This can become confusing but once one understands
each of the things that can be colored these issues should be easy to
master.
The text color can be inspected and changed using the color well found at
the bottom of the Font panel. There are more convenient places to manage
text color, this color well on the Font panel is used primarily to manage the
Default text color. This is accomplished by setting a color on the Font panel
color well then click the “Set Current as Default” button.
The actual text container or text box itself may have a background or fill
color, an outline and outline color. The text too may have a color, it may
even have two colors, a fill and outline.
The text container’s fill and outline attributes and their color is managed
with the Color and Style palette. This works in the same fashion as any
normal graphic. The Fill, Outline and associated colors on the Color and
Style palette do not control the color of the text.
The Text color and style are managed from the Graphic Details drawer -
Style Tab. The colors on this Style tab control text and do not interact with
the graphic aspects of the containing Text Box.
Finally there is a special text color toolbar button. This is the most direct
way to set the color of text without confusion with the fill and stroke colors
of the text box rectangle.

Superscript and Subscript
These often needed attributes are found on the Baseline submenu accessed
from the Text main menu’s Style submenu. First type the characters that
are needed in a normal fashion, just to get them entered in the text
content. Then select the character(s) that make up the superscript or
subscript. Then execute the associated menu command. They may also
need to have a smaller font size, change that from the main Font palette or
use the menu command to increase or decrease the font size.
The Attributes bar (see chapter 06) has convenient

buttons for applying superscript and subscript.
When in the editing mode with text selected these
button are available. A simple click of the button changes font size and
adjusts the baseline accordingly. The “No” button stands for “normal.”
Typesetting
The Text main menu and the Font, Style, and Paragraph submenus provide
access to several formatting and style options for text.
Most of these text characteristics may be examined and altered using the
Graphic Details drawer. Some of them are supported on the main Font
palette. All have a corresponding toolbar button available to add to your
drawings main toolbar. And a great deal of the functionality is provided on
the Attributes toolbar when text is selected. This duplication lets you
choose the best user interface method for the project at hand. Generally
speaking, the various interface methods have the exact same behavior. For
example, setting a word to Bold with the Text menu, the Graphic Details
drawer, with the Attributes bar, or the in the Typeface column on the Font
Palette are all equivalent actions.
The menu system interface allows command key shortcuts for these
actions. Keep in mind that the choice of menu keys is under user control.
Changes are made with the Menu Keys palette found on the EazyDraw main
menu.

Some of typeface characteristics may not be applicable to a given font. For
example, Arial Black does not have an italic typeface. Hence this item would
be disabled if Arial Black text is selected. If the enable states of these menu
elements does not seem correct, use the main system font palette to
investigate the issue.
Kerning: A submenu is provided for adjusting the Kerning of a run of text.

Kerning is a term indicating how much the following character is shifted
from normal offset for a particular character.
The standard amount of spacing between characters is provided by the font

information. Font designers specify the spacing appropriate for each
character of the font. The spacing is defined for the space after the
character. This spacing is called the Default spacing.
Tighten will decrease the inter-character spacing. This translates to

decreasing the kerning number. Loosen increases the inter-character
spacing. Use Default will return inter-character spacing to the values
defined by font design information.
The amount of kerning is defined by a number, zero meaning use the

default kerning. The numeric value may be examined and changed using
the Graphic Details drawer.
Italic: Oblique is provided as an alternate to Italic. Some typeface families

do not have an italic variant, in this case the Oblique transformation may be
used to obtain an Italic affect. Oblique applies a right tilt of 20% to the
selected text.
Italic: Italic will apply an italic typeface to the selected font, provided the
font has an italic typeface. If an italic typeface is not available this will apply
an Oblique slant to the text.
Bold: Heavier and Lighter is used to increase the weight of the typeface.
For many fonts this is the same as applying Bold or Unbold to the font. If a
font accepts differing weights of typeface this interface will apply these
characteristics.
Ligature: The ligature submenu provides control over selection of one of 3

possible ligature applications, none, standard and all or fancy. Ligatures
apply primarily to non-English character sets. English text has no essential
ligatures and only two standard ligatures - for “fi” and “fl” -- all others
being considered more advanced or fancy.

Leading: The baseline submenu provides control over selection subscripts
and super scripts. Don’t use this to adjust line spacing. Line spacing is
specified with parameters on the Paragraph Form palette. Leading (|ˈledi ng
| rhymes with heading) is the professional typesetting term for the baseline
parameters.
Copy Face & Paste Face: These copy and paste font selections are used to
copy or paste just the font and text style aspects of a selected group of
text.
If a range of text is selected these actions apply to the selected text. If a

text graphic or other graphic with an annotation is selected these
commands apply to all the graphic’s text.
Ligature: The ligature characteristic determines the use of combined

characters. A font family may contain special combined characters to be
used when two characters appear next to each other. The text system
provides control to not use ligatures, or use the standard ligatures, or all
available.
Which ligatures are standard depends on the script and possibly the font.
Arabic text, for example, requires ligatures for many character sequences,
but has a rich set of additional ligatures that combine characters. English
text has no essential ligatures, and typically only two standard ligatures,
those for “fi” and “fl” -- all others being considered more advanced or
fancy. However a stylistic script font may require several ligatures for
proper appearance.
Padding: Padding applies to all text in Text boxes. It is a bounding margin

that the typesetter applies around the area where text is allowed. The
historical default is 5 Points. This places a small “out-set” for the bounding
Text Box relative to the contained text. In most cases this padding is
desirable for pleasing appearance. In the case of very small font size (1 or 2
Points for example) the default value of 5 Points will be too large, use the
Padding parameter adjust accordingly.
Padding is accesible on Graphic Details and on the Paragraph Form palette.

Default management of this parameter is accomplished on the Paragraph
Form palette in the normal fashion.

Stylize Text
This submenu is used to apply special effects to text graphics.
Bezier and Punch changes the text graphic to a

group of Bezier Paths. After the conversion the
graphic still looks like text. But the converted
graphic is not text and may not be edited as
text. It is wise to complete all revisions of
wording and spell checking before applying
these special effects. Reverse, outline and
stroke effects are text effects that are applied
directly to the text. Text editing is still possible
after these conversions are applied. Undo will
return the original text.
The colors and style attributes used with the Outline and Stroke special
effects are accessed on the Graphic Details drawer on the Style Tab. It is
necessary to use the Graphic Details drawer if different colors are desired
for the stylized text. For the actions that change the text to Bezier paths,
the Color and Style palette is used, not the Graphic Details drawer.
The Normal menu command will return stylized text to the normal state,
black solid letters. This does not apply to text that has been converted to
Bezier paths with the Bezier or Punch menu command.
Punch: Punched text is like reversed text except the characters are fully
transparent - not colored. This gives the striking effect of being able to see
through your text.
The Punch command creates a black background and punches the text
letters out of the background. The punched text becomes a clear or voided
area of the background and allows other graphics behind the text to be
visible through the text. The result is a Join Group with an Even-Odd
winding rule. Winding Rule is explained under the Color and Style palette
documentation in chapter 15.
Reverse: The Reverse menu command will convert the text to white letters
on a black background. The background color is controlled with the Color
and Style palette - fill color. The text color is changed with the Color Well
or any of the other text color tools discussed above in this chapter.

Bezier: The Bezier menu command converts the text to a group of Bezier
paths. Details of this process are provided in the next section titled Outline
Text . This command converts the individual text glyphs (characters) to
Bezier paths and forms a Group with these paths.
Outline: The Outline command changes the style of the text to apply a
black outline stroke and white fill to the individual paths. Unlike the Bezier
command, the text remains a text graphic capable of text editing, spell
checking and other text actions. This command and special text affect is
not possible on Jaguar, Panther (version 10.3) or newer is required. The
stroke width and color of the text may be changed using the Font Palette or
Graphic details drawer.
Stroke: The Stroke command is similar to the Outline command, except

that different colors are used for the stroke and fill of the text.
Bezier or Punch text conversions may be ungrouped to work with the

individual paths. If the group is reformed, the Join form of the group is
required for the Punch affect, and the even-odd winding rule must be
applied to achieve this affect.
The graphic details drawer - style tab provides access to the effects as
applied to the conversions that do not convert the text to Bezier paths,
these are Reverse, Outline, and Stroke.
Colors other than black may be applied to any Text Graphic. The text does
not need to be converted using these commands in order to change the
text color. The system color picker is used to directly change text color of
any selected editing text. See the discussion above on Text and Text Box
colors.
Punch and Bezier commands

collect the converted
characters as a normal
graphic Group. This allows
resizing of the text group as
a single graphic. Each
character is available for
individual editing, use the
Ungroup command found on
the Format main menu to
separate the group of
characters.

Outline Text
The Bezier command on the Text stylize submenu is the same as Convert to
Bezier selection on the convert menu when applied to Text. Converting to
Bezier, sometimes referred to as Outline Text is useful for applying
advanced coloring effects to text, preparing a document for press, or to
shape and alter text with more degrees of freedom than a change of font or
the layout rectangle.
The conversion creates a group of Bezier paths that precisely outline each
character of the typeset text, in this context the characters are referred as
glyphs. The Bezier paths are the same in all respects as those created by
other drawing actions with EazyDraw.
Note that once the conversion is applied, the text content may no longer be
edited as text. Outline conversion is a very useful technique but is
decidedly unidirectional. It is important to complete the editing, word
selection, spell checking, typesetting, kerning, font selection, and font size
before converting to Outline paths. It is also a good idea to independently
save the text content, prior to conversion, by duplicating or placing on
another holding layer of the drawing. This will allow future changes to the
content if necessary.
Select a Text Box(es) and then select Convert to Bezier from the Convert
Menu. This converts all the typeset text to individual Bezier Paths.
The Line (stroke) and Fill options are set to No-Stroke with Fill. This is the
method used when fonts are rendered to the screen or print. With these
settings the text will initially appear the same as when drawn as text before
the conversion. Note that there is normally no visual change to your text or
drawing with this conversion.
One use of this technique is to stylize text by applying other coloring or Fill
effects with Gradient Fill or Pattern Fill. All of the fill techniques discussed
in chapter 15 may be use with converted text.
Another use of this technique is to stretch and resize the text. For example
in laying out a News Print Ad it may be important to very precisely size the
headline or other text. The precision needed for a professional appearance
is often not possible by simply selecting font size, and adjusting kerning.
Text stretching and re-sizing can be problematic with the automatic
typesetting getting in the way as you try to get the exact appearance
needed. With this technique the resulting group of text may be resized
interactively by adjusting with the group resize handles, or numerically with
the Morph panel.

Electronic Prepress Preparation
An important use of the text Bezier outline technique is to prepare a layout
for electronic prepress. In this case Fonts can be a particular problem. The
production technology may have problems properly reproducing the text
because of font translation issues. The font may not be available on the
typesetting equipment or different typesetting technology may introduce
minor differences in line endings or other layout issues.
Postscript file formats, PDF and EPS, address these issues by embedding
the font in the drawing document. This solves the first issue but not always
the layout problems.
The professional approach is to convert all text of your layout to Bezier

Paths, sometimes referred to as Hollow Outlines or Outline Text. After
conversion the paths will be communicated and reproduced with high
fidelity independent of any font information. Each individual text character
is drawn - just as the graphic vector content of the document are drawn.
Rotating Text
Text is rotated on screen with the rotation handle. This is the small editing
handle with an arc, found near the right hand side of the text box. Simply
click the handle and drag to rotate about the center of the text box.
If the text needs to be rotated about a point other than the center of the
text box, use the Rotation tool found on the main tool palette. Or in this
case it is easy to accomplish with two steps, rotate with the editing handle
and move free hand or use one of the orient buttons to translate the text to
defined point relative to
another graphic.
As Annotation
Another method for
creating rotated text is to
add the text as an
annotation to a graphic
then orient the graphic at

a desired angle. This is useful if the text needs to be tangent or oriented
specifically relative to a graphic on the drawing .
Free Transform
The third way to rotate text is to change the interaction level of a Text Box
to Free Transform. In this case you do not use the Rotate tool or the
Transform submenu. The interaction level is changed on the Format main
menu, Interaction submenu.
Free Transform graphics have interactive rotation handles found at the 4

bounding corners when selected. A Text Box will accept the Free Transform
menu command. In this form you can rotate the text with the rotation
handles. Free Transform also allows text to be skewed and distorted in
interesting ways.
Tabs
The Tabs palette provides control and inspection of tab stops in a Text Box.
Parameters are provided for specification of position, spacing, alignment
and leaders. It is accessed from the Text main menu, Paragraph submenu.
The full Tabs palette with leader specification provides several parameters
to manage intricate tab styles. In most cases this full capability will not
apply. Use the Window Shade button, top right of the palette to shorten the
palette to show only the frequently used parameters at the top of the
palette.
Tab Stops
The table at the top of the palette is used to numerically enter the positions
of, or space between tabs. Click on the palettes title bar to make the Tabs
palette fully active, then double click on an entry to edit. Use the plus and
minus buttons right below the table to to add or remove entries.
Click the On-Screen check box to show tab markers at the top of the text
box. These are shown only when the text is in the editing mode, they are
not shown when the text box is simply selected but not editing. The tab
marks are small box-arrows shown at the top of the text box. The on
screen tab markers may be used to interactively adjust tab stops, simply
click and drag.
The “Run Space” parameter is the spacing of all tabs after the specified tabs.
This may be thought of as a “default” spacing used when a line of text has
more tabs than are specified in the Tabs table.

Alignment
The Align popup menu provides 4
selections for alignment position of
the individual selected tab stop.
The choices are left, right, center,
and decimal.
To set alignment, first activate the

palette with a click to the title bar.
Next click and select an individual
tab stop, a row in the table making
sure it is highlighted. Then make
the selection from the popup
menu. Selections from the menu
apply to all rows selected.
Leaders
A Leader is a filling character or
line like graphic used to mark the
open space of a tab. Such as one
finds in accounting sheets to help
aid the eye to follow a line entry.
See the example below, the Leaders
are the black and colored lines
connecting the two right columns.
The popup menu below the Leader

title is used to enable or disable a
leader line for a specific tab stop.
“None” turns off leaders, and all
parameters below. Several
selections are provided for a solid
leader line, a sequence of dots, or a
dashed line pattern.
Shift: A vertical shift may be applied to the baseline position of the leader.
This value is measured as a percentage of the Font Size. The zero position
is the baseline for the font in use.
Weight: The weight parameter specifies the line thickness or dot radius of
the leader line. These values are also measured as a percentage of font
size.

Arrow: The arrow popup menu is used to specify an arrow for either or
both ends of the leader line. The entries here are the same as found on the
main Arrows palette.
Color: A leader is normally drawn with the color specified for the text.
Explicit control of the leader color(s) is enabled if the From Text checkbox
is unchecked. In this case the associated color well is used to specify a
color for the leader line. Check the Alternate check box to provide a two
color alternating coloring scheme.
When using the leader color wells careful attention needs to be made to the
state of each color well. This is because text is necessarily selected when
working with tab stops. If the color wells are deactivated (they toggle on
and off when clicked) color changes will be directed to change the color of
the text, not the leaders.
Spell Checking
Spell checking utilities are found on the Spelling submenu near the bottom
of the Text main menu. Commands are provided to check the spelling of a
complete document or a selected Text Box.
Spell checking may be managed by the menu commands provided or from

the spell checking panel. The spell checking panel is used to interactively

manage spell checking and correction. Grammar checking and correction is
supported on macOS version 10.5 (Leopard) and newer.
The spell checking technology is a system wide resource. If other

dictionaries are added to your system they are then available to EazyDraw.
The top left text field is the key focus of spelling (and grammar) correction.
This field will show a suspect word and your choice for the correction.
Directly below this field a comment is provided explaining the issue related
to the word or phrase shown. The list below the comment area presents
suggestions for correction. Corrections need to be entered in the top text
field before replacing the suspect word or phrase. You may type in a
correction or select from the suggestions list with a mouse click.
The command buttons on the right mirror the commands found on the
spelling submenu. They are documented in a list that follows in this
section.
The popup menu below the suggestions list shows the current dictionary.
All dictionaries available on the system are found on this menu.

The word count elements provide feedback to indicate the state and results
of a spell check. It is easy to think you have just spell checked your whole
drawing when only a small text box was checked.
Sometimes you may click the change button before actually changing the
suspect spelling in that key top left text box. This results in replacing the
misspelled word with itself. EazyDraw will alert you when this happens and
provide an opportunity to back-step and check the same word again.
Notice the interrelation of the Ignore, Learn, and Find Next buttons. All
allow the suspect spelling to remain, they just differ in the degree to which
the suspect spelling is over-looked or not for future spell checks.
Note that “Unlearn” does not clear “Ignored” words, these are two separate
components of the spelling technology. To remove “Ignore” words for a
drawing, click the Show Ignored button and use the pull down panel to
manage ignored words for the individual drawing.
It is sometimes confusing managing the spell check panel and your main
drawing window. Notice that to get the full blue highlights on the
suggested spelling lists that the spelling window needs to be “in focus,”
click the title bar of the spelling panel, it will darken indicating focus has
moved to the spelling panel.
Spelling: The two menu commands, selection or document, will open the
spell checking palette. The buttons on the palette are largely self
explanatory. The Guess list shows possible correct spellings from the
Dictionary. If there is more than one guess, a particular guess is selected to
enable the Correct button. Find Next will do nothing to the identified
misspelled word and move on to the next. Correct will swap the Guess
spelling for the misspelled word.
Ignore will add the identified

word to a behind the scenes list
for the drawing. After Ignore is
clicked the identified spelling is
flagged as acceptable for this
drawing, no others. After Ignore,
future spell checks will not show
this word as misspelled. This is
persistent for the drawing, when
saved, closed and re-opened, a
spell check will still not flag the
word.

The Ignored spellings list for the drawing is accessed from the menu
command found at the bottom of the Spelling submenu. This command
opens a small panel at the top of the drawing. The panel allows inspection
of the current accepted questionable spellings. Changes and specific
additions are made with this panel.
The accepted spellings apply only to a specific drawing file. They do not
interact with a Dictionary.
Control Click To Correct: Quick access to the guess list for a potentially
misspelled word is provided with a Control Click. This brings up a
contextual menu that provides convenient access to the Spelling submenu
actions. This contextual menu will have the “guess” list of correct spellings
right at the top of the menu. Click and make a selection to correct the
word.
The target text needs to be in the editing mode for control click access to
spell correction. It doesn’t work on text in a Text Box that is not selected or
is selected but not editing.
Mark Misspellings: These commands, one for selection the other for the
full document, will check the target text and add a red highlights to
potentially misspelled words. Unlike the Mark As You Type marking, these
highlights are semi-permanent. They persist when editing is not active for
the text.
There is a menu command to clear

these marked misspelling highlights.
Be sure to use this command before
printing if Mark Misspellings has
been used.
Meaning from Dictionary: To look

up the full meaning of a word,
highlight the word in the text editing
mode, control click the highlighted
word, select “Look up in Dictionary”
from the popup menu.

Find Replace
Find and replace utilities are found on the Find submenu near the bottom of
the Text main menu. The top command here provides access to a drawing’s
Find panel. If a Find has been executed and results logged, the other menu
actions will enable as appropriate. Normally they are all (except for the
Find... selection) disabled.
Find...: The find panel is associated with an individual drawing, it opens

down from the title bar of the drawing. There are two text entry fields, one
for text to find the other for text to replace. Recent entries in these fields
are remembered, these entries are accessible from the two stepper buttons
to the left of the text entry field.
The controls and buttons are largely self-explanatory. Search and replace
focuses on the text characters, not the font and text style attributes of the
text.
Show - Highlight: This option will highlight all found instances of

matching text. The highlight color is the system highlight color. Highlights
are cleared with the menu command found at the bottom of the Find
submenu.
Show - Select: This option will select the container of the found instances
of the matching text. The full container, the Text Box or Annotation, is
selected and the matching text is highlighted.
Show - Center: This option will not only select and highlight matching
text, just as performed with the Select and Highlight options, the drawing is
panned to place the found text container near the center of the drawing
window. A great way to find or quickly access elements of a large multi-
page drawing.
Show - Focus: This option will not only select, highlight and center
matching text. The identified text is made the focus for inspection on the
Graphic Details drawer. This locates the desired text and readies it for
changes.
Show - Zoom: This option performs all of the above actions plus the
drawing is zoomed in so that the targeted Text Box is in full focus.

Qualifier: The search may be focused
on particular text content, either Text
Boxes, or Annotation Text only. The
other selections are All text or Selected
text only. Selected text means selected
Text Boxes, the text does not need to
be in the editing mode to be included
in the search. In fact text should not
be in the editing mode when using
find.
Show: There are several options

available to indicate found text.
These are chosen from the Show
popup menu found near the bottom
of the palette. These options are
built one upon the other, the
selections near the bottom of the
popup menu perform all the actions
of the selections above the menu
entry.

Speech
Text can be read out loud using the simple options found on the Speech
submenu which is located at the bottom of the Text main menu.
The targeted text needs to be in the editing mode. Selected Text Boxes and
Annotations are not available for this option.
Text Boxes need to be selected then double clicked to enter the editing
mode. A particular range of text does not need to be selected. If a Text
Box’s content is in the editing mode but no text is selected the Speech
command will read the entire text box. If a portion of the text is selected
Speech will read just that portion.
Annotation text needs to be selected in the Annotation Contents view to be

available for reading aloud. This is a good way to check annotations that
are very small, the system will quickly read the text to you where it might
be hard to see in the Annotation palette view which does not zoom.

Linking Text Boxes
Text links allow text to flow from one text box to another. Text links are
managed interactively on the drawing. A menu command on the Text main
menu, near the bottom, enables/disables the text linking capability.
If text links are enabled for a particular text box two green boxed arrow
handles are shown when the text box is selected. These are a small box
with an enclosed arrow head shape indicating where text logically flows into
or out of the associated text box.
Two text boxes are linked by clicking and dragging from one of the two
text link handles. Drag the text link connecting line to an open area of the
drawing to add a new text box that is linked to/from the originating text
box. Drag from a text link handle to another text box to link two existing
text boxes.

There is a specific direction component to the text link connecting line.
Text flows “to” the upper left text link handle and “from” the lower right
text link handle. As explained above, the inner arrow shapes provide a
visual clue for this direction of flow.
Text Link Connectors: A text link is shown on the drawing with a light
red pseudo connector path that joins the two text link handles. The path
is only shown when one or both of the connected text boxes are selected.
When the associated text boxes are not selected the path is not shown.
The text link connector cannot be selected directly, and there is no
“editing” capability. When a connected text box is moved the connector
link follows automatically. If the the text link becomes jumbled,
disconnect then reconnect the text link.
Removing a Text Link: Text links are removed with the menu command.
Select one or both associated text boxes then uncheck the Allow Link
menu command on the Text main menu. Text links are not interactively
editable on the drawing.
When a link is removed the text content is “frozen” in the two associated
text boxes. The text is not pushed to one or the other of the two text
boxes. To push all text out of one box and into the other resize one of
the text boxes to a very small height before deleting the link.
Only one link “from” and one link “to” a text box is allowed. If a text box
already is linked (from or to) another text box, the text box will not
enable when creating a new text link path that would result in a
duplication of links.
The actual positioning of the text link path is not relevant, it is just an
indicator. When a linked text box is moved, the text link path simply
follows the moving text box, no automatic routing or insertion of vertices
is provided.
When text editing is complete it is a good practice to select all text and
remove text links. If a large number of text links are present in a drawing
a small, perhaps unnoticeable, change might cause unseen undesirable
changes far off screen.

Flowing
Text
There are two methods for
flowing text in and around
graphics. Text may be
inserted into a graphic
causing text layout to
conform to the shape of the
boundary of the graphic.
Text may be assigned a Flow
alignment attribute (similar
to right or left justify) which
causes text to flow around
other graphics that are in
front of the text as defined
by painting order.
Insert Text
Text is inserted in a graphic with the menu command found on
the text main menu, or by double clicking a graphic that is already
selected. Any graphic will accept text insert, except images and text of
course. An existing text box may be inserted with the menu command,
select the graphic and the text then execute the command.
Text may be typed into a graphic with the double click method or by
selecting the graphic then executing the menu command, typing must
immediately follow the insert text
command.
Inserted text is removed from the interior

of a graphic with the disconnect
command found on the text main menu.
Inserted text will follow the interior

contour of the graphic. Reshaping and
resizing the graphic will reflow the text to
conform to the resulting interior.
Editing inserted text is handled just like a

text box. Select the graphic, then double
click, the text editing view is provided

Typesetting to contours is a complex process. It is likely that the shape will
need tweaking and typesetting parameters may need adjustment to get the
exact look that is desired. And it may be that automatic typesetting to the
interior contour may never achieve a desired aesthetic appearance. For
more precise control the text can be converted to Bezier paths (see
discussion earlier in this chapter) then each character may be positioned as
needed without the interference of the automatic typesetter.
Centered Text
The centered text menu command works similar to insert text, except the
text is centered on the interior of the graphic. Centered text is typeset in a
simple rectangle, it does not flow with the shape of the graphic.
Cautionary Note: If you just need a visible box around your text, or a
perhaps a background color - don’t insert the text in holding rectangle. A
plain Text Box accepts the color and style attributes of fill, outline, gradient
fill, and pattern fill. Select the Text Box, open the Color and Style palette
and apply a Fill color for the background or turn on Outline and select a
color to add a visible border to the text. Note that the plain text box also
accepts Gradient Fill and Pattern Fill, no need to add the complexity of
inserted text in a simple rectangular shape. Of course you may insert text
in a rectangle, but you will find that this requires annoying extra double
clicks and unnecessary added editing steps.
Paragraph Submenu
There are 5 menu items that control alignment and typesetting of text. Text
may be aligned with an even margin on the left or right. Centered
alignment will center each line vertically in the enclosing text box. Justify
will adjust typesetting spacings to provide an even text margin on both the
left and right side.
Text Flow: The Flow selection for alignment will cause text to flow around
other graphics on the drawing. Text flows around graphics that are “in front
of” the text. Graphics that are “to the back of” the text will not impact text
flow. The Send menu (on Tools main menu) is used to control the front/
back relative positioning of graphics.
Insert and Flow: Text that is inserted in another graphic may also flow
around other graphics. Geometric logic is applied to combine the solid
content of other graphics and the bounding path of the containing graphic.

Pg 254
Chapter
Groups
12
Group Characteristics 256
Graphic Details 257
Group Edit 258
Free 259
Rigid 259
Fixed 259
Solid 259
Interaction 260
Edit 261
Scale 261
Free Transform 261
Uniform Scale 261
Freeze 262
Shear, Rotate, Skew 262
Distortion Matrix 263
Distort Submenu 265
Join 266
Winding Rule 267
Weld 268
Crop 269
Frame 270
Blends 271
Pg 255
Group Characteristics
Graphics may be combined in groups. Grouping provides several
functionalities to aid drawing activities. The resulting “Group” graphic is
manipulated as a single graphic. The grouping commands are found on the
Format main menu. A shortcut version of the grouping commands is
provided on the Attributes toolbar, when multiple graphics are selected.
Groups may be nested without limit.
More than one graphic must be selected for these menu selections to apply,
the selections are disabled unless multiple graphics are selected.
Grouping may change the relative drawing order of graphics. There is a

Group Information Panel on the Item Details drawer for managing the group
relative drawing order.
The degree of editing allowed for a group is determined by the Group Edit
selection for the drawing, this menu selection is found on the Group Edit
submenu on the Format main menu.
Selecting the Group menu action places all selected graphics in a new
group. The individual graphics are not moved or modified by this action.
The drawing order of the group is that of the last graphic selected in the
group. Visual changes may be noticed, they would be caused by shifts in
the drawing order.
Note that Ungroup may not be exactly the same as an Undo of a Group.
Undo will restore each member to its original position in the drawing order.
Ungroup will place each member at the drawing order position of the
group.
Selecting the Ungroup menu action removes the group hierarchy. This
returns all graphics in the group to their individual state. The graphics are
not moved or modified by this action. Each graphic is inserted into the
drawing order in their group relative order at the drawing order position of
the group.
A group is moved or resized using the handles shown when the group. If all
graphics in the group allow resize in two dimensions (like rectangles) the
group is shown with a green shade and handle for rectangular resizing. If
any (even one) graphic in the group is “Square Like” then two axis resize is
not possible. In this case the group is shown with a blue shade and handles
appropriate for equilateral resizing. Note that Stars and Equilateral Polygons
are restrained geometrically to uniform scalings, hence only
Pg 256 Ch 12 - Groups
“Square” style resize. Groups may contain other Groups. There is no limit to
the nesting depth of groups. Ungroup releases only one level of nested
groups. Further Ungroups are needed to separate more deeply nested
groups.
The Group Panel on the Graphic Details Drawer (shown at the right) removal
of a single element from a group.
Graphic Details
The Graphic Details drawer is used to step
through all the graphics in a group. As each
member of the group is highlighted, its
drawing order index is displayed in the text
box. The buttons are self-explanatory, the
actions may be used to move the group
member’s drawing order position. EazyDraw
uses a “Painter’s” algorithm when drawing
graphics. Each individual graphic of a
drawing is drawn in its entirety, one after
another. Each graphic is drawn without
regard for other graphics. If graphics do not
overlap this drawing method is of no
consequence. If graphics do overlap, the
ones drawn first will be eclipsed by the ones
drawn later.
Each individual graphic on a drawing has a

specific position in the drawing order. The
terms “back” and “front” are used to
describe a graphic’s relative position in the
drawing order. The numeric value of the drawing
order is shown in the text boxes.
A group has a specific position in the drawing order. Then each member of
the group has a drawing order position in the group.
Drop shadows apply to the group as a unit graphic. If individual shadows

are needed, these must be applied before grouping. These two variants will
produce different appearance in most cases. Using the group as unit
graphic prevents drop shadows showing up in between the group elements.
Groups - Ch 12 Pg 257
Group Edit
EazyDraw provides a mechanism to vary the
degree of in-place editing allowed for group
members. This concept is called the Group
Edit level.
The Group Edit level controls editing of

groups and the graphics in the group. In
some cases you will want a group to be rather
fixed; perhaps it is a completed symbol in
your drawing. In this situation you will want
the graphic to hold its shape and behave as a
single graphic element.
In other situations you may need to tweak

one element of a group. This can be a
problem, if you ungroup to access the one graphic the group falls apart and
the individual elements are cluttered into your drawing. It may then be
quite tricky to put the group back together, the problem being the re-
selection of just the right graphics that make up the group. To solve this
problem EazyDraw lets you keep the group in place and change the Group
Edit level to allow individual editing of elements in the group.
Group Edit is managed both individually on a per-group basis and as full

drawing. The menu on the Format main menu has selections to manage the
degree of interactive editing possible within grouped objects. Four levels of
edit-ability are provided, Free, Rigid, Fixed, and Solid. The selection applies
primarily to the drawing as a whole and all all groups on the drawing.
The Graphic Details drawer has a menu that manages the Group Edit level
of an individual graphic.
The setting for the Drawing takes precedence over the individual graphic’s
selection. You’ll see this limitation by noting that some of the selections on
the Graphic Details drawer are not allowed and shown in red. This is the
level indicator that shows the current limit of editing allowed for groups on
the drawing.
This is powerful feature when needed. But most of the time the Group Edit
level remains at Fixed for the drawing and all graphics. This is the Factory
default.
There is a Group Edit preference setting on the master EazyDraw
Preferences panel. This value determines the initial Group Edit level for new
drawings. New Groups are created with the Group Edit level of the drawing
at the time of creation.
Free
Setting the Group Edit Level to Free allows full in-place editing of all group
graphics. The content graphics may be resized, or moved relative to one
another. And the group may be resized as a whole using the handles
provided. The Free state is indicated by the shaded green areas internal to
the group.
Rigid
Setting the Group Edit Level to Rigid prevents movement of the group’s
content graphics relative to one another. Resizing by moving individual
handles is allowed at the level.
Fixed
Setting the Group Edit Level to Fixed prevents all editing of individual group
graphics. The group as a whole may be interactively resized using the
handles provided.
Solid
Setting the Group Edit Level to Solid prevents all editing and resizing of the
group. In this case a selected group will have an outline border with no
resizing handles.
The Group Edit level actually used for a group depends on the current
settings for the drawing as well as the individual setting for the group.
The Graphic Details drawer provides a popup menu that indicates the
interaction of the two settings by showing the individual selection with the
check mark. The red labels indicate the levels which are limited by the
current Group Edit for limit for the full drawing.
A Free Edit group is indicated by a shaded region interior to groups with a

clear border region inside a green border. The border annular region is
provided as a clear area, safe for a click and drag operation to move the
whole group. Clicks in the interior, of a Feed Edit group may pick an
individual graphic and cause movement of just the graphic.
When Free Edit group is in effect only one of the group members is free to
move relative to the others. This focused member is indicated by a darker
highlight region. The focused member is changed by clicking on another
member of the group. The last member to receive a click is the focus
graphic. The Graphic Details Drawer may also be used to change the
focused member; use the numeric entry or the stepper button on the
Members tab view. One use of Fixed and Solid groups is to remove the
editing handles of the selected graphics. Groups of large numbers of small
graphics, for example, text converted to Bezier curves may be obscured by
the all the blue and brown handles. Use Fixed or Solid Group Edit to prevent
this annoyance.
The Group Edit value in effect for the document is indicated by the menu
checkbox. This limit applies to all groups on the document. Individual
groups have an individual Group Edit level, which is determined by the
Group Edit level when the group was created. The individual level may be
changed using the Graphic details drawer. The Group Edit level for a group
will be the “most restrictive” level of the of current document level and the
individual group level.
If this form of control over interaction is desired for an individual graphic

(not a group), use the Interaction submenu to achieve this form of control
over an individual graphic.
Interaction
Where Group Edit is a rather advanced feature and may be used only rarely,
interaction level is often needed and used. It applies especially to groups
but also to individual graphics.
The Format main menu has a submenu that provides selections to manage
the degree of interactive editing possible for a graphic. Five levels of editing
are provided. Their menu names and appearance of a selected graphic are
shown below.
This setting is used to enable interactive scaling of complex graphics. For

example, a complex Bezier curve may need to be resized. This would be
difficult to do by editing each vertex.
A decrease in the level of interaction for a graphic will provide fewer editing
handles to be drawn. This is useful when a drawing contains numerous
small graphics that are complete. In this case when selected they are not
obscured by numerous editing handle details. The more restrictive setting
may be used to prevent inadvertent resizing.
Edit
Edit is the normal default interaction level for a
graphic. In this case the editing behavior of the
graphic is not modified.
Scale
Setting the Interaction Level to Scale provides
the resizing handles of the Scale and Edit
setting, but omits the normal resizing and
editing handles. In this case the graphic may
be interactively resized but not reshaped.
Free Transform
Setting the Interaction Level to Free Transform
provides resizing, orientation and shear
handles for distorting, rotating and scaling the
graphic. All of these actions may be applied
interactively - on screen - to the graphic by
using these handles. The Free Transform inspector palette (found on the
Tools main menu Distort submenu ) is used to adjust the distortion
parameters in an numerical inspection manner. The outer set of handles
provide Scaling control. The inner corner handles provide rotation. The
inner centered handles provide shear.
Pivot
Use Pivot to rotate a graphic. Handles are provided at the corners, use these
to rotate the graphic. A pentagon icon is shown (initially at the center) this
defines the pivot point for these rotations. Drag this icon to position the
pivot point. The pivot point may be placed “outside” the bounding box of
the graphic.
Uniform Scale
Setting the Interaction Level to Uniform Scale provides only two resizing
handles and none of the normal resizing and editing handles. In this case
the graphic may be interactively resized while maintaining the aspect ratio
of the horizontal and vertical dimensions of the graphic. This setting is
common for imported bitmap images and photographs. The constraint
insures that the image is not distorted when re-sized.
Freeze
Setting the Interaction Level to Freeze eliminates all scaling and resizing
handles. The graphic may still be moved with a click and drag but not
reshaped. This is a complimentary action to “locking” the graphic, in that
case the graphic may be reshaped but not moved.
These settings are in no way permanent. A graphic that has a Freeze

interaction level may be reshaped by using this submenu to change the
interaction level back to normal - Edit.
The graphic needs to be returned to the Edit state for viewing and editing
with the Graphic Details drawer.
If the graphic of interest is a Group, the Group Edit submenu may be used
in a manner similar to Interaction Level. Interaction Level is easier to
understand and use, Group Edit is more powerful with global document
wide features and the added capability can make this method more difficult
to master.
The Group Edit setting for the document has no affect on the Interaction
setting for individual graphics. Group Edit and Interaction Level are similar
functions but completely independent of each other.
Shear, Rotate, Skew

The Free Transform interaction level provides interactive and numerical
methods to re-size, rotate, and distort the graphic.
The Free Transform palette provides a numeric, off drawing, interface to

inspect and enter numeric values for the Free Transform Interactive level.
Parameters are available to scale, rotate, skew, or shear a graphic.
The Free Transform palette is called from the Distort submenu found on the
Tools menu of the Main menu. The command opens this parameter palette.
If a graphic with a Free Transform is selected, the parameters on this panel
will reflect the graphic’s orientation and distortion.
Images such as photographs or web graphics will respond to the Free

Transform settings, in a direct fashion. Scaling and distortion may be
applied to these graphics without an explicit Free Transform interaction
level. However, if the on-screen handles are desired, a Free Transform must
be added to the image.
Distortion Matrix
The four Distortion parameters, Across, Pitch, Tilt, and Down are the “raw”
Affine transform matrix. You don’t need a math degree to use them,
experimentation is the best method. In general, but not precisely, their
control aspects are as follows: Across controls width scaling which is the
“x” axis but after rotation. Down controls height scaling which is the “y”
direction, again, after rotation. Pitch and Tilt used together provide
rotation, if they are equal in magnitude this will be a simple rotation.
Free Transform - Shear: Shear is accomplished with Pitch and Tilt - when
they have non-matching values. Pitch and Tilt are specified as angles,
Across and Down are specified in scaling percentages. More precisely, Pitch
and Tilt are the arc-tangents of the m12 and m21 matrix values.
Free Transform - Rotate: Rotate is a value that will spin the graphic shape
around the geometric center point. The parameter is provided as an angle,
under control of the Fine Scale angle settings for the palette. Note that if
there is Pitch or Tilt (shear) present in the transform, the rotation angle
does not have a precisely defined absolute meaning, in this case an
approximate value is shown. Even if Pitch or Tilt is present, changes in
rotation will perform the expected incremental rotation.
Free Transform - Scale: Scale is a value that will change the graphic size.
The parameter is provided as a percentage, under control of the Fine Scale
angle settings for the palette. Note that if there is Pitch, Tilt, or non-
uniform scaling present in the transform, the scale does not have a
precisely defined absolute meaning, in this case an average value is shown.
Even if distortion is present, changes in scale will perform the expected
incremental size changes.
Free Transform - Add: The Add button is used to add a Free Transform to
a graphic. This button is only enabled if a graphic without a Free Transform
is selected. You must Add a Free Transform to a graphic before using any
of the parameters on this palette.
Free Transform - Apply: Use the Apply button to morph the graphic. When
clicked, the Free Transform is removed from the graphic. The graphic is
then morphed by the Free Transform that was removed. In some cases the
form of the graphic, as well as the shape, is changed by the morph action.
For example, a square must change to a rectangle or Bezier path if the
transform has non-uniform scaling or shear. Free Transform - Clear: The
Clear button will return the Free Transform to the Unity, or “No Change”
transform. So the graphic returns to the original shape, but the Free
Transform interaction remains in place.
Free Transform - Remove: The Remove button removes the Free

Transform, the graphic will “pop” back to the original shape.
Free Transform - On/Off: The lower right button will toggle between
“On”and “Off.” If the graphic has a Free Transform, that is non-unity, you
may turn Off the transform. In this case the graphic goes back to the
original shape and orientation, but the transform is “remembered” by the
graphic. If the selected graphic has a remembered Free Transform, the
menu will show “On” and may be used to return the graphic to the
transformed shape and orientation. This is useful for editing graphics in
their original orientation and shape then returning easily to the transformed
state, such as the editing of distorted text.
Named Transforms, Standard menu; The Standard popup menu is used to

access defined and named transforms. You may use the menu to save a
given transform with a name, for future use. You can save transforms as
“Absolute” which is a simple archive of all the transform parameters. If you
save the transform as incremental, it applies as a delta, or addition to the
target Free Transform.
Setting the Interaction Level to Free Transform provides resizing,

orientation and shear handles for distorting, rotating and scaling a graphic.
All of these actions may be applied interactively - on screen - to the
graphic by using these handles. The Interaction Menu is used to
Apply a Free Transform to a graphic. The action is the same as the Apply
button on Free Transform palette.
On-screen interaction handles are used as follows: The outer set of handles
provide Scaling control. The inner corner handles provide rotation. The
inner centered handles provide shear.
Note that the Rotate Tool (main Tools palette, chapter 08) rotates a graphic
in a direct sense. The graphic is morphed directly with this tool, there is no
Free Transform involved in the direct rotate action. The rotate tool is useful
when it is necessary to pivot the rotation about a point other than the
center of the graphic.
The named transforms are saved in a disk file in the Applications Support
folder of your home Library folder. So the path is “Tilde_for Home”-
>Library->Application Support->EazyDraw->FreeTransforms.plist. The file
is a human readable text file. It may be edited with any text editor or the
Apple supplied pList editor.
You may back-up the current set of named transforms by duplicating and
archiving the FreeTransforms.plist file discussed in the above paragraph.
This is suggested if any amount of time has been invested in creating new
custom transforms.
The default set of EazyDraw Free Transforms may be re-generated by

moving the FreeTransforms.plist file out of the EazyDraw applications
support folder and re-starting EazyDraw. The default set of Free
Transforms is derived from an EazyDraw drawing that is included as a
resource file in the EazyDraw application Bundle. As a reference for expert
users or language translation engineers: the file is
FreeTransforms.ezdraw.gz; the format is a simple set of group graphics
that contain a Free Transform and Text Area graphic with the associated
shape name plus the text phrase “Absolute” or “Incremental.”
Distort Submenu
This submenu, found on the Tools main menu, has menu command access
to the button actions found on the Free Transform palette. The menu
versions perform the same actions as described above. The menu form of
the commands may be more convenient to use, and they may be assigned
to Command Key short cuts. Use the Menu Keys... command found on the
EazyDraw main menu, left most EazyDraw menu, to choose convenient
short cut keys for these actions.
Join
A simple Group of several graphics is a loose
affiliation of the member graphics. The
members each maintain their individual
attributes such as fill color, outline color, line
weight and there are other aspects of the
Bezier path.
Many times when drawing, a closer binding of

the elements of the group is needed. When you
want the group to behave more as a single
Bezier graphic a Join Group is used instead of a
simple Group.
A Join Group is still a Group in all aspects. All the above documentation
applies equally to Joins and simple Groups. In addition, Join groups behave
as a single Bezier path, only one Fill color applies, one outline color, one
line width, etc.
Use this action to combine a group of graphics in a manner that merges the
individual Bezier paths and curves into a single Bezier path.
Two or more graphics must be selected for this menu selection to apply. All
selected graphics must have a defined Bezier Path. This requirement means
that text graphics and images cannot be included in a Join group.
The combining order for the Joined paths is the painting order. This gives
explicit control over the sequencing of the merged path. Attention needs to
be given to order, the start and end of each of the paths in order to predict
and understand effects that may be generated. You may need to modify the
painting order (move forward, back) and reverse path direction to attain the
desired filling effects.
EazyDraw provides a similar grouping action called a

Weld group. This action makes some automatic
decisions on the ordering of the merged paths.
Welding arranges the paths end-to-end and
coordinates the directions of the paths to provide a
more continuous circuit. You may want to use this
method as an alternative to Join.
EazyDraw provides method for merging paths. This is the Joined Bezier
conversion action found on the Convert Menu on the Tools main
menu. This conversion can be more
convenient in some cases, it generates
a new Bezier curve from the several
curves. Similar to Join Group, but the
combined single path may be more
suitable in some cases.
Winding Rule
A primary reason to use a Join Group
is to create graphics with holes. In
order to understand this aspect we
need to introduce the concept of
Winding Rule. This parameter is found
on the Color and Style palette,
accessed from the main Tools menu.
Simple paths like an oval or rectangle are filled, or colored in a straight
forward manner. However, there are several ways to fill complex paths that
contain intersecting line segments or a sub-path enclosed by another sub-
path. You can specify how complex paths are filled using the winding rule
parameter. There are two choices for the winding rule parameter. The
“Non-Zero” method is usually the simplest. This selection will generally fill
in the enclosed path of a graphic. The “Even-Odd” selection can generate
interesting open areas internal to complex shapes. This method is used
when you create a Frame graphic.
The “Non-Zero” Rule: A point is not filled (is outside) if drawing a ray from
that point in any direction results in a crossing count of 0, where crossing a
left-to-right path adds 1 and crossing a right-to-left path subtracts 1.
Otherwise, the point is inside and colored or filled.
The “Even-Odd” rule: a point is inside and filled if drawing a ray from that
point in any direction and counting the number of path segments that the
ray crosses is odd, otherwise the point is outside and not filled.
Every curve or path has a beginning and end which in turn define a
direction for the path. Direction has an impact on the “right - left”
determination. You can use the Arrow panel and enable an arrow at end of
the curve to add a visual indicator for path direction. The direction of a path
may be reversed with the menu command found on the Tools, Transform
menu.
Weld
Use this action to combine a group of graphics in a manner that merges the
individual Bezier paths and curves into a single continuous Bezier path.
Two or more graphics must be selected for

this menu selection to apply. All selected
graphics must have a defined Bezier Path. This
requirement means that text graphics cannot
be included in a Join group.
Selecting the Weld menu action places all

selected graphics in a new weld group. The
top graphic of the group is used to define the
style of the new path and defines the
beginning of the path. The member paths are
automatically ordered and possibly reversed
to form a continuous circuit for the merged path. The path sequence is
determined by finding the next path termination (start or end) that is
closest to the previous path end.
The top most path in the painting order determines the color and style for
the welded group path. The lead path will determine the circuit direction of
the merged path. The subsequent order of paths is determined by closest
proximity of any end point (start or finish of a path) to the end of the
previous segment.
If adjoining ends are in close proximity, the vertices are merged to a single
vertex, the end point of the previous segment. If they are spaced apart an
additional straight line segment is inserted to make sure the full path is a
closed path.
This method of grouping is useful for combining a group of paths into a

single closed graphic. The automatic ordering makes it easy to simply form
the group in a fashion that would seem obvious to the observer of the static
group of paths.
EazyDraw provides a similar grouping action called Join, described above.

The Join action does not make automatic decisions on the ordering of the
merged paths. This allows the user to control the merged continuous path
using curve direction and painting order.
EazyDraw provides an alternative to this grouping action for merging paths.

This is the Welded Path conversion action found on the Convert Menu on
the tools main menu. The welded conversion can be more convenient in
some cases, it generates a new Bezier curve from the several curves. Similar
to Join or Weld, but the combined single path becomes a new Bezier path,
not a group.
Crop
One graphic may be used to “Crop” other graphics. The Crop action is
managed as a Group by EazyDraw. A Crop Group is still a Group in all
aspects. All the above documentation at the beginning of this chapter
applies equally to Crop Groups. This menu action is found on Format main
menu, Images submenu.
Selecting the Crop menu action places all selected graphics in a new group.
The front most graphic of the group is used to define a drawing area that
acts as a “window” through which the other graphics are viewed. Only the
portions visible through this “Window” are drawn. The portions of the other
graphics that lie outside the cropping window are not shown.
Selecting the Uncrop menu action removes the crop group. This returns all
graphics in the cropping group to their individual state. Each graphic is
inserted into the drawing order in their group relative order at the drawing
order position of the group (before the action).
Frame
A pair of graphics may be used to “Frame” other graphics. One graphic, the
front most, punches a hole in the second graphic of the frame pair. The
Frame group can be thought of as the frame and matte of a framed picture.
If there are other members of the group, they form the picture of the
frame/matte analogy.
Three or more graphics must be selected for this menu selection to apply.
The front most selected graphic forms the punched hole of the frame, the
next graphic behind in the painting order forms the outer portion of the
frame. This menu action is found on Format main menu, Images submenu.
Selecting the Frame menu action places all selected graphics in a new
framing group. The top graphic of the group is used to define a drawing
area that acts as a “window” through which the other graphics are viewed.
The second graphic of the group acts as a frame around the window. All
other graphics in the group are visible though the window and they are
cropped by the window element.
All graphics in addition to the two framing elements, in the frame group,
are fully cropped by the window (or punch-hole) portion of the frame.
Other graphics (ones not in the group) on the drawing are not cropped but
are visible through the hole punched in the frame by the cropping graphic.
In the example to the left a red star is
part of the frame group and the blue
shape is not part of the frame group.
Gradient Fill may not be applied to a

Frame. It may be applied to any of the
other graphics visible through the frame,
but not the frame’s annular region. A
gradient fill may be applied to an annular
region by Welding the crop path (inner
frame border) and frame path.
Blends
Blends are groups of graphics that are drawn with a series of intermediate
blended transition graphics. The best example of a blend would be a
rainbow. You would draw a rainbow with a series of controlling Bezier
curves that have the primary colors of the rainbow. The blend can be
specified to smoothly transition across the colors generating the rainbow.
Of course there are many other applications for this capability.
A Blend is a Group in all aspects. The documentation at the beginning of

this chapter applies to Blends. However, Blends are far more complex than
a simple Group. A full parameter palette is provided to manage the added
elements of a Blend Group.
A Blend Group is formed by selecting the family of Bezier graphics (that will
make up the group) and executing the Blend command found on the
Format main menu.
The Blend palette is accessed from Format main menu. The palette inspects
and accepts input for a selected Blend Group.
The Blend Specification parameters found at the top of the Blend palette
focus on individual graphic components of the blend group. Each graphic of
the blend group is denoted by a numeric
index which is shown in the Position
numerical text box. The method for
ordering the indices may be something
other than painting order; for example,
left to right ordering is allowed. The
ordering is controlled by the Order
popup menu near the bottom of the
palette.
The painting ordering of the graphics in

the group are inspected or changed
using the Graphic Details drawer. This
was explained at the beginning of this
chapter. The color wells and line width
controls are provided as a convenience
short cut for modification of individual
blend
components. The Color and
Style Palette can be used in
conjunction with this
palette. Full access to both
line and fill color as well as
other style parameters are
provided by the style
palette for the focus blend
component. The blend
graphic that is connected to
the Style palette is the one
defined by the Position
indicator.
The steps parameters are

used to define the number of intermediate curves generated between the
component blend graphics. Since they apply to an interval there are two
available, applicable to the intervals adjacent to the focus graphic - the one
defined by the Position parameter.
The top right popup menu defines the method for determining the number
of intermediate curves to generate. Automatic will attempt to just fill the
intervening space with a continuum of curves. The Manual selection places
the number of curves under user control. Space lets the user specify a
filling percentage. The generation of these curves is highly optimized, so it
is feasible to use 50’s or several 100 intervening curves. Using just a few
curves will generate interesting “Slinky” effects.
The Vertex or Along section defines how adjacent curves are blended.
Along attempts to match intermediate curve locus relative to the percent
length along the curve. Vertex attempts a one-to-one match of vertices.
The best way to visualize the two methods is to blend a square with a
rectangle. Change the aspect ratio of the rectangle and watch how the
intermediate curves are generated, use just a few intermediate curves.
The Start parameter applies to the vertex/along matching of closed curves.

This controls which vertex is taken as the start of the path. Adjusting this
variable can be used to create (or eliminate) a “rolling” affect for the
transition curves. The matching of intermediate curves can generate
interesting effects, or interesting problems. For this issue you might think
of how a rectangle is blended with a pentagon. For best control you may
want to overtly insert vertices to make sure they match up in the desired
fashion. Also it is wise to generate a family of component curves by
duplicating and scaling to hold aspect ratios constant. This insures that
length matching performs as you might expect.
The lower portion of the Blend palette is
controls the overall scope of the blend
interval parameters and how blend
graphics are ordered.
If you choose All for the scope

parameter, only the top set of interval
parameters are enabled. Otherwise both
adjacent sets of parameters are enabled
to provide convenient access to both
intervals and components adjacent to the
focus graphic blend component.
The Scope parameter has two selections,

Individual or All. If All is chosen, the
interval parameters such as Steps are the
same for all intervals. The Individual
selection allows individual specification.
It is sometimes convenient to get the
appearance close by using All, avoiding
the need to step across all intervals and make adjustments. Then change to
individual control and fix up the appearance of just a few intervals.
The Order popup menu provides specification for the determination of the
sequence ordering of the graphic components of the Blend. The method
chosen determines which components will be adjacent blend pairs, and
which will be above and behind in the Painting order of the Blend. The
choice of order may significantly alter the appearance of the blend.
Specific order can always be

accomplished by careful
adjustment of the painting
order of each component
graphic before the Blend
group is formed. The other
ordering selections
sometimes provide a
convenience shortcut to
attain a desired affect.
If you edit the shape of individual components of the group, the ordering
might change. This can cause big “Jumps”in the appearance of the group.
Taking note of the selected ordering method and the relative positions of
the graphics will indicate the cause of the jumps.
Chapter
Parameter Palettes
13
Palette Controls 276
Palette Values 277
Window Shade Control 278
Main Window Shade Menu 279
Mini Form 279
Hide Default Buttons 280
Library Properties Button 280
Typical Application 281
Mini Palettes 281
Contextual Menu 282
Drag and Drop Labels 282
Palette Utilities 283
Cycling and Hiding 283
Saving and Loading 284
Copy Special 285
Paste Special 285
Color Wells 286
Magnifying Glass (Eyedropper) 287
Opacity 288
Color Component Values 288
Color Swatches 289
Color Pickers 289
Color Accuracy 290
Help Button 290
Pg 275
Palette Controls
EazyDraw palettes have a small icon pair found on the upper right hand
corner of the palette. These provide a user interface for a set of common
traits that apply to most EazyDraw palettes. Here is a brief description of
these capabilities.
Units Button: The Units Button, found near the top right of most
EazyDraw parameter palettes, indicates the current measuring units for
lengths on the respective palette. A Control Click on this button will show
the current settings of all fine scale parameters and allow direct changes to
these settings. The Fine Scale palette provides a central place to manage
the measuring units of all parameter palettes.
Window Shade: Each parameter palette has an aqua blue Window Shade
control in the upper right corner of the palette. Use this control to quickly
shorten the window to minimize screen area of the palette. Clicking on the
Window Shade icon will shorten the parameter palette to one of 3 preset
window heights.
Cmd Click Right Border: Command Click on the right border of a palette
to shorten the palette to the click point.
Mini Palettes: Several EazyDraw parameter palettes have a mini - form. If

this is available the aqua blue Window Shade control will have a small dark
blue disclosure triangle at the top. Clicking on this disclosure button
toggles the palette between the the miniature size and full size.
Pg 276 Ch 13 - Parameter Palettes

Palette Values
EazyDraw palettes have a small gray
icon found on the upper right hand
corner of the palette. This small
button will have a “m,” “i,” or “p” as
its label. This control provides
convenient access to the
measurement units used to report
and enter values on the associated
parameter palette.
A detailed description of the palette values button is found at the end of

the Measurements chapter 07. Here we briefly review this topic.
Palette Units: The Palette Units button is gray, located next to the blue
Mini Palette mode button and Window Shade control.
These units do not need to be the same as the primary units for the
drawing. Nor do all palettes need to use the same units. For example, a
drawing may have Feet for the primary units, the Page Setup palette may
use inches, and the Color and Style palette may define line width in units of
Points.
It is easy to change the units for a given palette - just click the small gray
button. With each click you will sequence through the 3 choices of units.
If you are unsure of the Units in use for a given palette, glance at the button
and note the label: “m” for millimeters, “i” for inches, or “p” for points.
Decimal Precision: Control click

the Palette Units button to access a
popup menu that controls decimal
precision and measurement
formatting for the associated
palette.
Parameter Palettes - Ch 13 Pg 277

Fine Scale Palette: This is a separate palette that controls units and
precision settings for other palettes. It is accessed from the Format main
menu. The contextual menu associated with the units button is provided as
a second, convenience shortcut.
Window Shade Control

Each parameter palette has a Window Shade
control in the upper right corner of the
palette. Use this control to shorten the window
to manage valuable screen real estate.
Eazydraw’s parameter palettes have been

designed with the most important or
frequently used parameters near the top of
the palette. This helps when you are looking
for a particular control. This design allows one
to save screen real estate by shortening the
palette to display only these most important
parameters. Each palette’s preset window
shade heights show specific sets of
parameters - in accordance with their
importance or frequency of use.
Clicking on the Window Shade icon shortens to one of 3 preset window

heights. The shortened height of the palette depends on which of the three
shade segments is clicked. The topmost segment provides the shortest
palette.
If a palette is in a shortened state, click on the window shade icon to

restore it to the full length.
A Command Click near the top of the palette, just under the title bar will
roll up the palette to its shortest window shade minimized length.
Another way to shorten a palette is to

Command Click the border along the right
side of the palette. This will shorten the
window to the click point.
Control click the window shade icon to

access a descriptive menu form of these
window shade options.

Main Window Shade Menu
A master set of Window Shade Menu Commands are provided for managing
the window shade state of the palettes open on the desktop. These are
found on the View main menu.
The menu interface provides a method to assign palette-shortening actions

to keyboard shortcuts. You may select your own key assignments using the
Menu Keys palette accessed from the EazyDraw menu.
The Window Shade submenu provides commands that override the

individual palette settings. For a clear understanding of the menu titles
(Furled, Rolled Up, Shortened, and Unfurled) see the examples below. The
menu combinations provided are self-explanatory.
Mini Form
If the window shade control has a small dark blue disclosure triangle at the
top, the palette has a miniature form. Click the disclosure arrow to switch
to this smaller form of the Palette. The miniature form is user configurable
and much smaller in size. This is discussed in detail below.

Hide Default Buttons
The default specification buttons are always found at the bottom of the
palette. The longest window shade point is chosen to just cut off these
buttons, see dashed green line on the examples above. These are important
buttons to have conveniently on each parameter palette, but they are not
frequently used.
Library Properties Button

The Library Properties Button, found near
the top right of several EazyDraw
parameter palettes, provides a mechanism
to add the palette’s parameter set to a
user library. For example, a Gradient Fill
may be a user library element. To add the
current gradient fill to a user library drag
the “LL” button from the Gradient Fill
palette to the desired library.
First thing to note is that at least one library must be open for these
buttons to enable.
This simple button encompasses and simplifies some advanced concepts

such as scope and transfer. The details are documented fully in the
EazyDraw help documentation. The reader is directed to the topics Transfer
Scope and the Transfer Palette for in depth study. More information is
provided in chapter 17. This section will focus on the simple use of this
button.
Drag the Library Properties button from a parameter palette to a user

library. All parameters associated with the originating palette are included
in a parameter set which becomes an element in the user library. Only
parameters associated with the originating palette are included.
The parameter set is represented in the user library by a container graphic,

a rectangle with a rounded top right corner.
In most cases, the parameter palette must have the associated parameter
set in the “On” mode. For example, the dash palette will not enable the
button unless the dash checkbox is checked and the dash parameters
represent an actual dashed line.

Dragging a properties button to an
EazyDraw drawing is not permitted. The
properties must first go to a user library,
then they may be dragged to a drawing
and applied to a graphic.
Typical Application
The following would be a typical use of
this feature. First a specific gradient is
designed and applied to one graphic in a
drawing, this design involves specifying
all the colors, angles, transitions and
other details that are found on the
Gradient Fill palette.
Then it is desired to use this gradient fill for other graphics in the future,
on this drawing and others. Select the graphic with the gradient fill, drag
the Library Properties Button (the one on the Gradient Fill palette) to a user
library, give the gradient a name in the library.
Now this gradient is available for quick application to other graphics: put
the library in button mode, select a graphic on any drawing, click the library
button - done.
This gradient could even be added to the main menu and assigned a short-
cut key, by using the Manage Menu feature found on the Libraries main
menu.
Mini Palettes
Most EazyDraw parameter palettes have a miniature form and a normal full
form. If the two forms are available the Window Shade control will have a
dark blue disclosure arrow at the top right of the palette. Clicking on this
arrow will toggle the palette between the two forms.
The parameters included, their form such as numeric or a slider, and the
order of appearance are all user configurable for a mini palette.
The Window Shade control works the same for a full palette or a mini
palette. However the contextual menu (Control click on the window shade
icon) has more options for configuring a mini palette.

Contextual Menu
It is very important to discover the contextual menu accessed from a mini
palette’s window shade button. Unlike the full palette form, mini palettes
are fully user configurable. No offense, but this means they can get messed
up. This contextual menu is the method to recover lost parameters and to
fully tailor the palette to suit your needs.
The Contextual menu is used to add or remove parameters from a mini

palette. All available parameters are shown on the contextual menu. The
corresponding submenu is used to configure a parameter element.
Drag and Drop Labels

A mini palette is reconfigured by dragging and dropping a parameter’s
label. Click on the label and move the parameter up or down on the mini
palette, release the mouse to place the parameter in the location best for
your needs.
Mini
Window
Shade
Shown in actual proportion. Full

If you do not want the parameter on the mini-palette, drag it off the
palette, release the mouse and it will poof and no longer be on the palette.
Removing a parameter will make the mini palette even smaller.
To recover a removed parameter, use the contextual menu, control click the
upper right window shade button for a menu of all parameters available for
the palette. This menu has a selection to add a parameter back to the
visible list of selections on the palette.
When you quit and restart EazyDraw the palettes are restored to their exact
Window Shade states and the full or miniature form. If you close a fully
rolled-up palette, it is unrolled when reopened from the menu or toolbar.
This is done to make sure you quickly see the palette. Any other state is
conserved on close / reopen.
Palette Utilities
The main View menu has several
selections for managing the numerous
parameter palettes that might be involved
in a drawing project.
Cycling and Hiding

Hide, Cycle, and Reverse cycle palettes.
Use these to hide all palettes, or show
them again if hidden. The cycle actions
will bring each open palette to the front
in succession.
The Hide Palettes menu command is used

to temporarily hide all visible palettes.
The same command is then used to again
show the palettes that were hidden, in
their same screen positions.
The Cycle Palettes command is used to move the top or front most palette
behind the other open palettes. This in effect brings the second front most
palette to the fore. You may use this command repeatedly to bring each
palette to the front in succession.

The Reverse Palettes command performs like the Cycle Palettes command,
except the rear most palette is brought to the fore and the front most
palette becomes the second from the top. This command only interacts
with palettes that overlap, a good method to quickly find a hidden palette.
Saving and Loading

The overall configuration of the palettes may be saved to a disk file, or
loaded from a saved file. The window shade states, miniature palette
configuration and positions of visible palettes are managed with these save
and load menu commands.
The ideal arrangement of palettes changes frequently with different

drawing tasks or projects, or working on a different system such as a laptop
or the office studio display for example. The layout of palettes on the
screen may be saved to a text file. These files may then be used to quickly
restore a palette arrangement.
The Save Palettes Layout command will save this information to a disk file
with a normal system save panel.
A saved palette layout is restored with the Load Palettes Layout menu
command. Use the normal system open panel to locate and select a palette
layout file previously saved.
A “Recent Layouts” submenu is provided for accessing frequently used or

recent palette layout files. You may “Freeze” the menu to hold a favorite set
of layouts. This action locks the menu so that command key short cuts may
be reliably assigned, see chapter 14. Commands are provided to clear the
menu and to increase the number items remembered.
The layout information is saved

in a normal text file which may
be viewed with any text editor.
The information is human
readable in the form of a
property list dictionary. The
macOS application, Property List
Editor may be used to view and
modify these files. The files may
reside anywhere on your
system.

Copy Special
The edit menu has a submenu for pasting Bezier paths as text. There are 3
options for separator indicators (commas, tabs, or spaces), use the
submenu to make your selection. Since the output is readable text the
format is self documenting. Paste from the clipboard to a text editor to
investigate the details of the formatting.
Paste Special
This submenu allows application of specific attributes of a graphic on the
system Clipboard.
When you use the Cut or Copy command in the Edit menu the selected
graphic is placed in a holding area called the system Clipboard, where the
item(s) remain until you choose Cut or Copy again. The Clipboard holds the
contents of only one Cut or Copy, it has no memory of previous copies.
After the Copy of a graphic that has a set of attributes (e.g. dashes) the
corresponding Paste Special -> Dashes applies the dash pattern to the
target graphic(s).
Copy and Paste Face (Font) are found on the Text main menu, at the bottom
of the Style submenu. Not on the Copy and Paste special menus on the Edit
menu.
One Pasteboard applies to all open drawings. Copy from an item on one
drawing may be pasted-special to items on another open drawing.
The common Clipboard applies to all applications, not just EazyDraw.

Elements from other Applications will not provide isolated specific
EazyDraw attributes. This fact is usually the reason a Paste Special menu
selection is unexpectedly disabled.
Copy Special is useful for managing attributes. A particular shade, or dash

pattern can be applied with these menu commands. One way to do this is
keep copies of graphics that are holding Styles, Dashes or other attributes.
The attribute can be obtained with a Copy then Paste Special.

Color Wells
The color panel, shown to the below, is used in conjunction with color
wells, to change and inspect colors of objects. You open the Color panel by
clicking on a color well, selecting the extras popup menu at the bottom of
the font panel, adding the color button to the Toolbar, or from the Font
main menu. All of these actions open the same Color panel.
A single color panel is used for all color changes and selections. This is
actually a system provided panel so it may change with future releases of
macOS or appear differently on different systems. All color wells and font
color selections are tied to the color panel. The panel shows the current
color as a clue to confirm the panel is connected to the item of interest.
For the palette shown below, the Fill color well, (top one on the left palette)
is the active color well. The Color Picker on the right is reflecting the state
of the Fill color. Notice that the active color well has a darker border. The
Outline color well has light border and is not active in the snap shot below,
its color is not shown on the Color Picker.
It is important to learn to notice the change in appearance of a Color Well

when it is active and connected to the Color Picker. Only one Color Well is
active at any given time. The active color well has a darker border to
indicate its state. Deactivate a color well by clicking it when it is active. This
means it is possible that no color well is active. This can be confusing, as
changes to the color are not reflected on the drawing. This is useful for
making up new colors or
experimenting with colors
without modifying
elements of a drawing.
There are many ways to

chose colors, the buttons
at the top of the Color
panel (the one on the right)
are used to select the
method. Selections can be
the color wheel or sliders
for different color
components and possibly
many other methods.
These methods are
supplied by

the system and may be expanded and shared by other applications or
plugins. Notice that the left example is using Hue-Saturation-Brightness
sliders to pick colors and the example below is using the color wheel for
color selection.
You may change the color of a selected target object by using the current
color selection method presented by the panel. Use the buttons at the top
of the panel to specify a selection method.
The target of the changes will be either a selected color well, or selected
text. If a color well is selected the changes will affect both the color well
and the associated object of the color well (e.g. the fill of a graphic). If no
color well or text is selected the panel may be used to manage the color
swatches on the panel. If no color well is selected but some text is selected
a change of color is applied to the text.
EazyDraw has numerous color wells for everything from grid and
background colors to blended gradients and shadows. All the color wells
behave the same. But only one is active at any given time. A common
problem is to click the color well, and deselect it (border will lighten).
Normally the target color well follows your actions and will be selected and
automatically targeted for the actions of the color panel. But there are
several color wells pertaining to a drawing or even a single graphic so
confusion can arise.
Eyedropper (Magnifying
Glass)
You may use the Eyedropper (bottom
left) to grab a color from any point on
the screen. When this action is clicked
on a color, that color is copied to the
large color swatch at the top of the
panel indicating that it is the new target
color. If a color well or text is selected,
the color of the target is changed as
well.
Hitting the space bar in Eyedropper

mode will show RGB values
which should be correct if
you are running macOS
10.11 or later.

macOS 10.10 or earlier Users only. When working with RGB colors for web
use you may notice the values reported by the Eyedropper (Magnifying
Glass) tool do not agree with the original color component values. The tool
reads the corrected color that is applied to the screen. This color correction
is set on the Displays system defaults. EazyDraw accepts and applies
calibrated colors, these component values are generally slightly different
than those applied by the Display Profile. See Color Accuracy below for
more information on this topic.
Opacity
The Opacity slider or numeric entry field, near the bottom of the palette,
allows transparency to be applied to a color. Transparency is applied to a
graphic by the use of colors with transparency. When transparency is in
effect the associated color well will draw both the master opaque color and
the transparent color with a diagonal separator.
There is also a way to apply transparency to all graphics on a layer. This is

provided by the Color Modification controls on the Layers Drawer, see
chapter 06 for details. The layer color modification feature is provided
primarily to aid the user when working with layers, i.e. gray out an
underlying layer while drawing on a related layer. You should use the Color
Opacity trait discussed here, not Color Modification, to draw with
transparency.
Transparency may or may not be supported in a particular export format or

by another application on macOS or another operating system environment.
For example, most Microsoft applications, at the time of this writing, do not
support transparency. Also a printer may or may not render a transparency
effect. Before investing significant creative time using transparency, one
should export a test graphic with transparency effects and view with the
target application or medium. That being said, very nice effects may be
incorporated into your graphic content and exported seamlessly to new
technology applications such as Keynote via TIF export format with both
RGBA (the “A” stands for “alpha” channel which is another notation for
transparency) and CMYKA color models.
Color Component Values

The numeric value of a color is shown if you pause the cursor over any
color well. After a second or so the popup tip note will show an abbreviated
message indicating the color space and the precise value of each
component of the color.

Color Space is
discussed in Chapter
06. The example to the
right is showing that
the color space for the
outline color is CMYK.
The top line of the note
indicates the color
space (RGB, CMYK, or
GRAY) followed by a
series of packed
hexadecimal pairs that
indicate the value of
each respective
component on a scale
of 0 to 256 (00 to FF).
Notice the small darkened triangle in the upper right hand corner of the
color well. The presence of this mark indicates that the color is not RGB.
Color Swatches
The small boxes at the bottom of the Color Picker panel are color
receptacles or swatches. You may drag and drop to and from these
swatches. They are convenient places to hold a set of colors being used in a
drawing. If you enlarge the width of the color panel more swatches are
provided.
Color Pickers
Be sure to discover the color picker toolbar found at the top of the Color
palette. This tool bar is populated with all color picker plug-ins that are
installed on your macOS system. Color Picker tools are an open defined
interface to the system. The latest macOS ships, at this writing, with 5 color
picker tools. If you purchase other plug-ins they will be added to your
toolbar and work seamlessly with EazyDraw.
If you lose your color wheel, it is because one of the other color picker tools
was clicked. Click the tool button on the left to get the familiar color wheel
back. If you have hidden the toolbar by clicking the top right small oval
button, click that button again to recover the toolbar.

The third picker tool is an access to installed color lists. There you find
color lists that EazyDraw has added to your system. Some of these are
provided for Exporting GIF and Windows bitmap formats. Others are pattern
colors which have full support on the Patterns palette discussed in Chapter
15. And if you design or import your own patterns or textures, these are
saved in the common Color’s folder and are shown as available color lists
with this picker tool.
Color Accuracy
RGB and CMYK components are faithfully passed to and saved in exported
images (such as TIFF, PNG, EPS -- note that small color shifts can be
expected with JPG compression). This allows matching of colors for web
graphics; for example, saving a web graphic with a particular rgb
component set will match the web page exactly when the same rgb
components are specified as a CSS or HTML background color.
This precise color matching requires export using the Export menu
command (File main menu). If a screen grab is used, the colors captured are
those transformed by the system ColorSync technology, they will depend on
the current monitor screen.
Help Button
Every EazyDraw palette has a small round light blue button with a question
mark icon. It is usually located near the bottom of the palette. Click this
button to bring up the EazyDraw help page for the palette. There you will
find the definitive documentation for the parameters and actions provided
by the palette.
EazyDraw Help documentation is updated with each release of EazyDraw;

whereas, the printed manual is not necessarily updated as frequently. If you
notice differences between the elements described in this printed manual
and what you are seeing with your current version of EazyDraw, refer to the
live Help to learn about the changes and additions.

Chapter
Preferences
14
Preferences 292
Defaults 293
Preferences Palette 295
Saving Named Set 296
Clear 296
Set From Named 296
Set To Named 296
Apply As Default 297
Save Location 297
Copy Paste Order 297
Defaults Shortcut 298
Cmd Key Current 298
Cmd Key Restore Factory 298
User Interface Theme 298
Menu Customization 301
Modify Menu Keys 302
Extended Cursors 304
Tool Tip Delay 306
Pg 291
Preferences
Preferences are accessed from a “Host” window with a fixed Toolbar. This
window is opened from the Preferences selection found on the EazyDraw
menu. This interface allows you to manage the default selections for
EazyDraw’s parameter palettes and other user configurable preference
selections.
The following is a summary of the elements covered in this chapter.
Default: Discussion of the use of default values for parameters. Brief

discussion of the concept of defaults. Definition of terms used when
dealing with defaults.
Preferences Toolbar: To access the defaults open the Preferences palette

and click the corresponding Toolbar button found at the top of the window.
When done either close the preferences window or click another button and
grab another palette.
Copy Paste Format: These checkboxes, found at the right of the

Preferences Window, allow control of the copy/paste interaction of
EazyDraw with other macOS applications. Use these parameters to optimize
the appearance of graphics you have created in EazyDraw and pasted into
other applications such as MS Work, or PowerPoint.
New Drawings: Provides selection of different desktop sizes and positions

for new untitled drawings.
Move Image: Provides choice of the graphic image shown when moving or
dragging graphics.
Quick Reference: Condensed - quick explanation of how to save and

change defaults with EazyDraw.
Menu Keys: Palette that allows user definition and change of the menu
shortcut command keys.change defaults with EazyDraw.
Theme: Pull down panel that manages numerous colors used for EazyDraw
user interface elements. For example, the color and shape of on-screen
editing handles may be selected here.
Pg 292 Ch 14 - Preferences
Defaults
Defaults and preferences are
managed with the Preferences
palette, found on the EazyDraw
main menu, that is the left most
menu with the name EazyDraw. A
shorter version of default
management is provided on each
parameter palette with a pair of
buttons titled Current and Default
found near the bottom of
parameter palettes.
We will use the Dashes parameter

palette as an example for this
discussion. The concepts and user
interface are the same for all of the
parameter palettes that have the
“Current” and “Default” buttons.
It is easy to follow a parameter’s

effect on a graphic once it has been created. You select the graphic with a
mouse click and palette shows the parameter settings. You change a setting
and the graphic changes.
Defaults and preferences involve understanding the parameter setting that

is used when creating a new graphic. This aspect of a parameter palette’s
behavior is not as intuitive as the editing of a graphic. It is often easier to
simply create a graphic - parameters be what they may - and edit to get
things set properly.
However if you are going to draw several dashed lines, or if you almost
always draw dashed lines, then it is easier to set your preference for the
appropriate dashed line.
Preferences and Defaults are all about answering the question posed in the
example shown to the right. Which dash pattern will be used when the new
line is drawn? If you can’t answer this question
you can either take your chances and fix up
the dashes after the line is drawn( often this is
the best approach) or study the concepts
presented here to learn how to manage your
preferences and defaults.
Preferences - Ch 14 Pg 293
When no graphic is selected a palette shows the parameters that will be
used when a new graphic is created. This means that when nothing is
selected you may change the defaults for a palette simply by making
changes on the palette. These settings will persist until changed again or
until you quit EazyDraw. They do not persist (are lost) between EazyDraw
sessions. This clearing action why it sometimes seems that quitting and
restarting will clear up strange behavior on EazyDraw’s part.
Current Button: If an existing graphic has a desired configuration of

settings, you may acquire these for use when creating new graphics.
Choose the graphic and click the Current button at the bottom of the
associated parameter palette.
Default Button: Default settings are those that are in use when you initially
launch EazyDraw. At any time you may return to these values by clicking
the Default button at the bottom of the associated parameter palette panel.
This is much easier than quitting and restarting EazyDraw to reset the
parameters.
The actual values of the Default settings are managed using the main
preferences window. A specific set of parameters may be installed as the
defaults. The Preferences Window allows the “instantaneous creation”
settings to be changed, just as when all graphics are deselected and
changes are made to a specific parameter palette.
By design it is not very easy to change EazyDraw’s persistent default

settings, the ones that are held when you quit and restart EazyDraw. Users
new to an application often try to immediately customize the application.
This can easily lead to problems and unexpected behavior. A quick read of
this chapter or review of the EazyDraw help documentation will let you learn
how to properly tailor EazyDraw to your needs. A concise review of the
actions needed to change defaults is provided right on the Preferences
panel; this is found in the blueish box when there is no target parameter
palette present.
Most users will only need to learn the use of the Current and Default
buttons. You may want to focus on just this bit of the documentation. See
the section Defaults Shortcut below.
Preferences Palette
The top of the Preferences window has a fixed Toolbar that is used to
access each parameter panel. You cannot customize this Toolbar. This
Toolbar is not changed when you customize the drawing window’s Toolbar.
The two tool bars are separate entities.
The popup menus at the right control the content shown when EazyDraw is
launched (Show at Launch), the size and location of new drawings (New
Drawings), and the presentation of group graphics (Group Edit).
To call up a parameter panel click the corresponding Toolbar button. The

panel will be captured by the Preferences window. The captured parameter
panel is placed in the target box found on the left area of the Preferences
window.
You may then adjust the parameters on the target panel in the normal
fashion. These changes do not change graphics or drawings; they only
perform preference selections.
When you are done select another parameter panel or close using the
parameter panel’s close button.
If you drag the target panel away from its position on the preferences
window; it will automatically close at the end of the drag operation. The end
position will become the new position of the panel on your desktop. It is
closed because all parameter panels remain hidden while the preferences
window is open. This is done to avoid confusion with a captured parameter
panel and one that is just open on the desktop.
Saving A Named Set
The combo box, text entry and pull down menu, at the top left of the
Preferences window is used to assign a name and save a palette’s defaults
for future use.
The first thing to note is that the text entry of a Combo Box needs a
specific click of the Enter key, after typing your input. No action is taken by
EazyDraw until you type the Enter key to signal that the name is complete.
After typing a name and clicking Enter, the Save to Named button will
enable. If there is no active palette in the “grabbed palette dock,” the Save
action will apply to all parameter palettes. If there is a palette in the dock, a
Save action will set just the parameters associated with the chosen palette.
If you read carefully the note that is shown when no palette is chosen, this
will refresh your memory about the precise workings of the actions
associated with saving and loading named parameter sets.
Clear
The clear button will remove a named set of preferences from the combo
box pull down menu. These are cleared from your available named sets of
parameters.
Set From Named

This will read the preferences from the named set selected with the combo
box pull down menu. The parameters are then assigned to associated
parameter palettes. These settings become the active settings that are used
when new elements are created, either drawings or graphics.
Note the difference between Set From Named and Apply as Default. Setting
from named is more temporary, the settings apply until you quit and restart
EazyDraw. Apply as Default is the more permanent choice.
Save To Named
Go to the Preferences panel, select a palette by clicking the icon in the
toolbar, change the desired parameter(s), highlight the Name: (Factory
Defaults) and type in a new name, click “Save to Named,” click “Apply as
Default” - and all is changed.
Notice - you need a named default set to make it the permanent default
condition.
Apply As Default
This action reads the preferences from the named set selected with the
combo box pull down menu. The parameters are then assigned to
associated parameter palettes. These settings become the active settings
that are used when new elements are created, either drawings or graphics.
AND these setting become the permanent defaults for each associated
parameter palette. The new settings become the initial settings when
EazyDraw is launched.
Save Location
Saved settings are not to be found on any independent data file in your file
system. Saved settings reside in the master preferences file for EazyDraw.
This file is saved in your macOS preferences folder that is found in the
Library folder in your home folder. This file is named according to a
convention established for macOS, based on registered world wide web
domain names. EazyDraw’s unique preferences name is
com.dekorra.EazyDraw.plist.
Copy Paste Order

When you execute a Copy from one application (e.g. EazyDraw) and a Paste
to a second application (e.g. PowerPoint) the operating system (macOS)
facilitates the transfer of information (your EazyDraw graphics) using the
system pasteboard.
Data can be placed in the

pasteboard server in more than one
representation. For example, your
EazyDraw graphic might be
provided both in TIFF and PDF
formats. Multiple representations
give pasting applications the option
of choosing which data type to use.
This topic was covered in detail in

chapter 05. The selection panel is
fully descriptive, select the formats
desired and specify an order for
placement on the system
Pasteboard.
Defaults Shortcut
This is a shortened, condensed version of the documentation for saving and
changing defaults with EazyDraw.
Cmd Key Current

Open any Parameter Palette, make the desired changes, hold down the
Command Key, slide the cursor over the Current button, an asterisk will
appear, click the button.
This will change the permanent defaults for the Parameter Palette (only this
palette) to the values shown. This applies to the current session of
EazyDraw, and the settings will persist the next time EazyDraw is launched.
Cmd Key Restore Factory

This will return the factory settings for any Parameter Palette, only the
single palette. Hold down Apple command key, slide cursor over Default
button, an asterisk will appear, click the button.
Both of these are very simple and quick to perform. They have the
advantage of limited scope so other unintended changes are not a problem.
User Interface Theme

Several elements of the user interface elements and colors are available for
customization. These are accessed from the “Theme” button on the left of
the second toolbar of the Preferences Panel. These elements relate to how
EazyDraw appears as you work with the application on your display screen.
Changes here may be simply to choose colors that you prefer, or perhaps a
interface theme appropriate for particular projects. In some cases changes
are needed by users with different visual acuity, the size of the editing
handles can be increased or decreased as part of a custom user interface
theme.
The primary choices on this pull down panel are selection of the colors
used for things such as the on-screen interactive editing handles, and the
background color for tool panels. There are several colors available for
adjustment; use the User Interface Color popup menu to select a color for
change, then use the associated color well to set the desired color. The
names are as descriptive as possible; use experimentation, if necessary, for
clarification of terms.
Editing Handles: Editing Handles are the small indicators that appear when
a graphic is selected - the ones used to interactively adjust the position and
geometry of a graphic. The user interface theme provides 4 possibilities for
the shape and presentation of these elements: circular/square and outlined
or simply filled.
The size of the editing handles may be adjusted with the percentage factor
provided. Note that the size of editing handles is not absolute, it varies with
the current zoom value for the drawing window. And their size is not
exactly in inverse proportion to the zoom; as you zoom in their appearance
grows slightly in size to provide visual feedback indicating closer viewing of
detail. This dynamic aspect is carried to several other on-screen control
elements; for example, the borders and line weight for showing groups will
increase or decrease in unison with changes to handle size.
Traditionally editing handles are shown with a fill and an outline of a
different color. The use of two colors prevents the handle from
disappearing when drawn over a background of the same color. In the early
days of computing this was quite important because the number of colors
available were limited (2 for black and white, or perhaps as few as 8 colors).
With a limited number of colors in use the probability of a color coincidence
would be quite high and hence it was important that the icon for the handle
have two colors, think of a black handle positioned over another graphic
colored black.
With todays millions of colors technology the outlined handles are not
absolutely needed so long as a distinguishing shade is used for the handle
color, then rarely will a handle match exactly a color on the drawing. Since
handles are such small elements on the screen, the two colors of an outline
and fill can become distracting or annoying in many cases. On the other
hand some users find the detail of an outline pleasing to the eye.
Palette Theme: This popup menu provides two selections for the
appearance of tool palettes, the palettes like the charting tools and
technical tools. The Apple Theme draws the buttons in the style of the
macOS aqua user interface introduced in the 2001 - 2002 time frame.
These are common button styles used by many macOS applications.
The “Flat” style draws the buttons in a one/two color scheme that is fully
under user control. When this selection is active you will note the colors at
the top of the User Interface Color popup are enabled. With these colors the
appearance of the tool buttons can be adjusted to taste providing perhaps a
newer fresher look for your desktop.
Theme Name: A set of selections for a user interface theme may be saved
for future use. The Theme Name popup menu provides access to previously
saved theme groups and the ability to save a group of settings as a new
named group.
Theme settings are saved in the Applications Support folder, found in the
user’s home Library folder. All groups of settings are placed in one file
using Apple’s property list XML file format. These may be inspected with
any text editor or the pList editor provided with some versions of macOS.
If especially involved themes are created it is a good idea to backup the file
or the entire EazyDraw Applications Support folder. If Time Machine is in
use, this will happen automatically. If you have lost your named themes,
and Time Machine was in use when they were created they may be
recovered with the Time Machine utility.
Menu Customization
The Menu Keys palette provides user access to the EazyDraw menu system.
This palette allows customization of the Names and assigned Keyboard
shortcuts for menu items. This palette is accessed from the main EazyDraw
menu, just below Preferences. We’ll repeat, you may even change the
names of items in the menus.
Each menu and submenu are accessed from the outline provided on the
Menu Keys palette. Expand or collapse the submenus to reveal a particular
menu of interest. The outline lists the current names shown on each menu,
and the command key assigned to each menu selection.
User customized settings for menu names and keys may be saved to a disk
file for future use, or to share with other EazyDraw users. A saved menu
configuration file may be reloaded, using the button provided on the lower
portion of this palette.
Access to each menu entry is provided from the outline display at the top of
the palette. This outline mirrors the arrangement of the EazyDraw menus.
Expand or collapse the outline entries to locate the menu entry of interest.
Highlight the entry and click the Change button to view the menu entry in
detail. This detail view is used to make changes to the entry. A double click
on the highlighted entry opens the change window. Bold outline entries
indicate the current menu setting is different than the “Factory” values.
If at least one entry has been customized, the Reset All button is enabled.
Clicking this button will clear all modified entries and return the menus to
the initial (Factory) state provided with the current release of EazyDraw.
If the selected entry is a modified entry, the Clear button is enabled. Use
this button to restore just the selected entry to the factory setting.
The Modify button is used to call up a detailed inspection sheet. This sheet
is used to change the command key or display name of the menu.
Load and Save are used to read and write the current menu state to or from
a disk file. This will restore or save all modified menu entries.
The Close button is used to close the palette. All changes are made as they
are entered, close just closes the window. The changes are made and the
menus are updated when each change to an individual entry is executed.
Modify Menu Keys
Actual changes to a menu setting are made on the sheet accessed by
clicking the Modify button. This sheet is shown below. Enter a new menu
display name, command key, or command key modifier. The changes are
applied when the Change button on this sheet is clicked. Name changes are
not allowed for the main menu items that appear in the system menu bar,
but all other menu names may be customized.
When applying an alpha-numeric key, the Shift Modifier (second from left)
is used to indicate upper case or lower case usage. The menu system
always displays the upper case value and the shift key acts as a modifier.
For other keys such as the number keys the modifier does not apply; enter
the desired character directly (for example enter 9 or “(” directly).
There is no undo support for this palette. If you have a modified key set in
use, it is necessary to save it to a disk file to return the old settings.
Changes are applied as they are made. When the Change key is clicked the
change is made to the menu and may be viewed there immediately.
The full path and “Factory” settings for menu entry are shown in the reddish
text at the top of the Change panel. The last component of this path is the
factory name for the menu, this does not change when a customized name
is applied.
The menu information is saved in a normal text file, which may be viewed
with any text editor. The information is human readable in the form of a
property list dictionary. The macOS application, Property List Editor may be
used to view and modify these files. Of course, care must be taken when
modifying a file in this fashion. Only entries that are different from Factory
settings are saved in the file.
Custom changes applied to the menu system are saved in the user defaults.
This means that updates to EazyDraw will not require reloading or re-
entering the custom menu command keys. Your changes are associated
with the appropriate menu entry unless that particular menu entry is
removed or moved to a different node in the menu hierarchy.
Extended Cursors
This panel is used to configure the appearance of the Extended Drawing
Cursor. There are two basic cursor modes for EazyDraw. The first is the
standard Apple / Mac simple Arrow Cursor, no frills - just an Arrow Cursor.
The second mode provides an Extended cursor with several configurable
options. This panel configures the options for this Extended Cursor mode.
The use of an Extended Cursor is selected on the Graphic Details drawer,

near the bottom of the contextual area. If “Nothing” is selected there then
no additional information is provided with the cursor, the actual cursor
(usually the “Arrow” cursor) will be the one provided by macOS and
managed by your macOS system preferences settings. None of the
parameters on this panel are used in this case. The parameters on this
preferences panel apply for all the other Cursor selections (Full Screen,
Ruler Edge, or To Ruler).
Extended Cursor selection is made on the Graphic Details drawer Numeric

Format area. Open the Graphic Details drawer and deselect all graphics to
access this selection.
This preferences panel is accessed from the main EazyDraw Preferences

panel, which is opened from the EazyDraw main menu. This panel manages
the appearance of the Extended cursor -- when selected on the Graphic
Details drawer.
The actual Cursor used with any

Extended Cursor is selected with the
top Cursor selection. Selections here
include the Default system Arrow and
several others. To repeat for
emphasis: The selection made here
only applies if a selection other than
“Nothing” is made for the Cursor
setting on the Graphic Details
drawer. For example, to use a Reticle
cursor one could select Reticle for the
Cursor setting here and Ruler Edge for
the setting on Graphic Details.
There are situations where multiple

cursor reference lines are shown on the
drawing. For example, when creating a rectangle reference indicators (guide
lines) are shown at the initial and current corner of the rectangle. The
Primary and Secondary headings apply to this multiple-cursor situations.
The Primary settings apply to the main cursor, the one always in use.
Secondary settings apply to other cursors that apply in certain situations.
For example, the knife tool will have the primary cursor following your
mouse movements and a secondary cursor will mark each of potentially
several cut points. The parameters documented below apply to both
Primary and Secondary usage.
The Color well sets the color for extended cursor lines or ruler markers.
Any color is allowed, including ones with transparency.
The Dash checkbox allows use a dashed line for extended cursor lines.
The width parameter, entered in percent, is used to make the cursor line
heavier or lighter. The actual width is derived from screen properties. The
live appearance of the extended cursor reference lines will depend on the
actual display screen. Use this parameter to increase (values over 100%) or
decrease the weight or thickness of the cursor reference lines.
Contrast manages the use of a second color with extended cursor lines.
Contrast is needed to keep a cursor graphic from “disappearing” when
drawn over a region of the same. For example a black cursor will not show
when used with a black drawing background. Normally a cursor is drawn
with at least two colors to guard against disappearance. However in many
typical drawing situations the “disappearance problem” is rare and not
particularly problematic. On modern
high resolution displays when anti-
aliasing is in use, this contrast color
will often “wash-out” the crispness
of a thin reference line. For this
reason you have an option to disable
the use of a contrast color. Or
manage the actual contrast color for
your display and typical drawing
situations.
When Extended Cursors are in use (something other than “Nothing”
selected for Cursor on Graphic Details drawer) numeric Read-Outs for the
cursor position may be shown “live” on the drawing. The Read-Outs are
shown in small text boxes, the Text and Background colors control the
color for these text boxes. The Read-Outs may be positioned dynamically
on the edge of the drawing - following cursor movement, or positioned
statically in one of the 4 corners of the drawing. This selection is made with
the Position popup menu. Read-Outs may show all the time, or only when
Rulers are present on the display. Use the two checkboxes to specify the
desired behavior.
Formatting for the Read-Outs derives from the Numeric display settings, on
Graphic Details. If more decimal places or perhaps fractional notation is
needed make the selections on Graphic Details drawer, Display settings.
Tool Tip Delay

This is the time in seconds before tool tips are shown, the time that you
need to pause the cursor to trigger showing a tool tip. If set to zero, then
the system default time is used. If a change is made, it does not apply until
you quit and restart EazyDraw. Experienced users might want to increase
the time to have fewer tool tips popping up on the screen.
Chapter
Graphic Fill Techniques
15
Color and Style 308
Fill 309
Outline 310
Winding Rule 310
Line Width 311
Join Style 311
Cap Style 312
Stroke Position 312
Miter Limit 313
Gradient Fill 315
Gradient 316
Shape 318
Burst 318
Transition 320
Pattern & Texture Fill 321
Accessing Patterns 323
Editing Patterns 324
Inspecting Patterns 326
Painting Patterns 327
Close-up Pattern View 328
Using Patterns 329
Outline Mode 330
Abstract (Bucket) Fill 331
Vector Hatch 333
Hatch Parameters 334
Hatch Path 335
Hatch Dashes 336
Hatch Style 337
Pg 307
Color and Style
The Color and Style palette provides
parameters that determine the
primary appearance of a graphic.
To show this panel select “Color
and Style” from the Tools Menu
which is on the Main Menu.
Fill: This parameter controls the

appearance of the internal region of
a graphic. If checked that region is
drawn with the chosen color. If not
checked there is no color and the
enclosed region is transparent.
Outline (or Stroke): This

parameter controls the appearance
of the border of a graphic. If
checked the outline is drawn with
the chosen color. If not checked
there is no border.
Winding Rule: This parameter

controls how more complicated
shapes are filled. It doesn’t affect
simple shapes like rectangles or
ovals. Paths that cross or contain
internal regions are affected by the
choice of winding rule.
Line Width: This parameter controls the size of the border of a graphic.
The size shown is the width of the outline (or Stroke) of the graphic.
Join: This parameter controls the appearance of the joints at the vertices of
a graphic.
Cap: This parameter controls the detailed appearance of the ends of a

graphic.
Stroke Position: This parameter controls the painting order for the stroke
versus the fill of the graphic.
Pg 308 Ch 15 - Graphic Fill Techniques

Miter Limit: This parameter limits spikes that can appear at sharp angle
path joints when using the miter method to draw joints.
Fill
Colored graphics have “Fill.” The parameters that control Fill are found on
the Color and Style Palette. In order to change the Fill of a graphic(s), it
must be the selected graphic in the top window of EazyDraw. If no graphic
is selected the fill on the panel represents the fill that will be used when
creating new graphics.
A graphic doesn’t need to be formally closed (like a rectangle or circle) to

accept the “Fill” parameter. All Bezier Curves accept fill, a virtual straight
line connects the start and end points to set the bounds of the fill color.
Text boxes accept fill too.
Graphics may be drawn with or without interior fill. The Fill check box
determines if a solid fill color is applied to a graphic. If no fill is applied, the
interior of the graphic is transparent. If the check box is checked the color
shown in the Color Well (the square box to the left of the check box) is
applied to the interior of the graphic.
Fill color is changed by clicking the Color Well. The Color Well is disabled
unless the Fill check box is checked, when disabled clicking the Color Well
does not work.
If a graphic has fill, it will obscure graphics that are in back of the graphic.
All graphics are arranged in a stack from Back to Front. Graphics in front of
others are drawn on top of those that are further back in the stack. This
concept is called drawing with the painter’s algorithm. This is explained in
detail in chapter 12.
In the example below the Circle is filled, it is the back most graphic. The
rectangle is drawn without fill and the star is drawn with white fill (the same
color as the background). The pentagon is drawn with a solid fill color. If
the fill is the same as the background
a filled graphic will look the same as
an unfilled graphic. This can
sometimes be confusing and
inadvertently obscure graphics. Of
course a graphic will not cover up
another graphic unless Fill is checked.
Graphic Fill Techniques - Ch 15 Pg 309

If you need to apply a transitional blend of two colors use the Gradient Fill
Panel discussed later in this chapter.
Outline (or Stroke)

Graphics have an outline often times called Stroke.
In order to change the Outline of a graphic(s) it must be the selected

graphic in the top window of EazyDraw. If no graphic is selected the fill on
the panel represents the fill that will be used when creating new graphics.
A graphic doesn’t need to have a Outline component. If no outline is drawn

the graphic will consist only of its Fill with no border, or specific outline. A
graphic with no fill and no outline is invisible, it remains part of the drawing
and may be selected and edited, exists as a normal graphic but is not
drawn.
The Outline check box determines if an outline is drawn for a graphic. If the
check box is checked the color shown in the Color Well (the square box to
the left of the check box) is used to draw the Outline (or Stroke) of the
graphic.
If a graphic has Outline checked, it is drawn using the parameters Width,

Join, and Cap.
Winding Rule
Simple paths like an oval or rectangle are filled, or colored in an obvious
manner. However, there are several ways to fill complex paths that contain
intersecting line segments or a sub-path enclosed by another sub-path.
You control the way complex paths are filled using the winding rule
parameter.
Complex paths are often created with the Join grouping action. This
Winding Rule concept was presented in detail in the Grouping chapter,
chapter 12. We will recap here.
There are two choices for Winding rule. They are Non-Zero and Even-Odd.
Non-Zero: For the “Non-Zero” rule: a point is considered outside and not
filled if drawing a ray from that point in any direction results in a crossing
count of 0, where crossing a left-to-right path adds 1 and crossing a right-
to-left path subtracts 1. Otherwise, the point is inside and colored or filled.

Even-Odd: For the “Even-Odd” rule: a point is inside and filled if drawing a
ray from that point in any direction and counting the number of path
segments that the ray crosses is odd, otherwise the point is outside and not
filled.
In general Even-Odd is the easiest to use as it does not depend upon

careful management of path direction. Use this selection to easily punch a
hole in a graphic of a Joined group.
Line Width
All Lines, Curves, and Outlines in EazyDraw have a Width, which could also
be called thickness and is sometimes referred to as weight.
The Width is measured in Fine Scale Units (inches, mm, or points) as shown
by the Units Button found at the upper right hand corner of the palette. You
may change the value by typing in a new number. This was introduced in
the Palette Units section in chapter 07 and explained in detail in chapter 13.
You may also change the value using the slider control next the Width text
box. As you change the slider bar the value is updated in the text box and
the target graphic(s) are updated to reflect the new Width.
If the Width is set to zero, the thinest “hairline” width for a target medium is
used. Do not use a zero width if your intention is to have no outline drawn,
use the outline checkbox discussed above in this case. If you use zero
width for a very fine line appearance be sure to test on your output device.
printers and software drivers may use unexpected actual line widths in this
case. It is best, if at all possible, to specify a precise line width.
Join Style
Joints at vertices of lines, curves, and outlines are drawn with a specific
detail specified by a Join Style. This parameter which determines the shape
exact shape of a graphic’s outline at the joint.
Join style applies only to the Outline component of a graphic. If no outline

is drawn the graphic will consist only of its Fill with no border, or specific
outline. In this case the joint has no
thickness and Join style does not
apply.

The selection for the Join style made with the popup menu. There are 3
choices for Join style, Bevel, Round, and Miter. Miter provides a joint that
meets at an extended intersection on the outer side of the joint. Round
provides a corner with a radius or fillet. Bevel joins line segments with a
straight edge drawn at 1/2 the joining angle (45 degree edge for a 90
degree corner sometimes called a chamfer).
If the Width is small, differences in Join style may not be noticeable. The
differences become more noticeable with larger line widths or upon close
inspection.
Cap Style
Ends of Lines and Curves are drawn with a
Cap Style. One Cap style applies to both ends
of a curve.
The selection for the Cap style is made with

the popup menu. There are 3 choices for Cap
style, Round, Square, and Butt. Square and
Butt provide square ends. Round provides
rounded ends. The difference between Square
and Butt is that Square extends 1/2 a line width around the actual end
point and Butt draws the end of the line even with the actual end point. The
example below shows different Cap styles. The top line uses Square, the
next line uses Butt, and the line at the bottom is drawn with Round Cap
style. The example is shown with all the lines “selected” so that the handles
show the position of the end points relative to the drawn ends of the lines.
The Cap style is applied to the

ends of each dash segment when
drawing dashed lines. This can be
used for interesting presentations
of dashed lines.
Stroke Position
This parameter controls the relative painting order of the outline (or stroke)
verses the fill of a graphic. Control of this order is especially useful when
stylizing text that has been converted to Bezier paths.

Normally, the stroke is drawn over the fill, and the line width is rather
narrow compared to the overall graphic. In cases such as text, the line
width may be very large relative to the scale of the graphic. In this case a
“fat” stroke in front of the fill may not have a pleasing appearance. The
bevel or rounded corners of the path cut into or protrude out of the interior
fill of the graphic. Sending the stroke behind the fill will remedy this
problem.
Use the popup menu

shown to define the
position of the stroke
relative to all other fill
effects of the selected
graphic. There are two
choices, Front and Back.
If the stroke is drawn in

Back of the fill effects,
the width of the stroke
will need to be set to
twice the desired value
as half of the stroke
width is obscured by
the Fill affect.
The example to the

right shows how this
parameter can be used
to add a pleasing outline effect to text. The letter M was converted to a
Bezier Path (convert menu) then a black Stroke and gray Fill were applied to
the path. The top example has Stroke Position set to “Front” and the lower
example uses “Back” to show the more pleasing appearance. The examples
at the bottom show the same method used with a Gradient Fill and Pattern
Fill.
The actual path or curve of a graphic is an ideal infinitely thin line right
down the middle of the Stroke which is a real object of finite width. This
ideal curve defines both the precise extent of the fill and the stroke drawn
at the specified width. Note that even if you set the stroke width to 0.000 a
hairline (smallest possible width on the output device) with a small but
finite width is drawn.

Miter Limit
Three methods are provided for precisely drawing the joints of Bezier
paths. These are controlled by the Join popup menu. The geometry of the
Miter method can produce a long spike-like appearance when the joining
angle is acute. The Miter Limit parameter is used to limit these sometimes
undesirable spikes.
This parameter only applies to the Miter Join style. The geometry of the
other join styles do not require a limiting parameter. This parameter is only
enabled when a Bezier path with Miter Join style is selected.
The Miter Length is defined as the diagonal length of the miter. If the ratio
of the miter length to the line width exceeds the miter limit parameter, the
corner is treated as a Bevel Join instead of a Miter Join.
Note that this parameter is defined as a ratio; drawing units do not apply.
Also note that the value is not angle degrees. The need for limiting the
miter depends on both the angle and line width - not just the angle of the
joint.
Normal values for the limit range

from 2 to 20, larger numbers
allow longer miters to be drawn.
Use smaller numbers to eliminate
an undesired spike.
The sample M’s to the right show

the affect of decreasing the miter
limit. Notice the spikes at the top
of the M when the miter limit is
large. They are eliminated by
lowering the limit to 10, but the
sharp valley of the M remains until the limit is decreased to 2.
Text drawn with a Stroke Text Style (as set on the Graphic Details drawer,
chapter 11) is not controlled by this miter limit parameter. In this case the
join style and miter limit are defined by the Font designer. Only Bezier
paths are controlled by the Miter parameter on this palette.

Gradient Fill
The Gradient Fill panel is used to
fill graphics with a blend of two or
more colors. The fill color of the
graphic transitions from one color
to the next. The transition may
follow various contours and
mathematical blending functions.
The Gradient Fill parameter palette
is shown below, it is accessed from
the Tools main menu. The
parameters are organized with
three tab selections.
Gradient: These parameters define

the primary shape of the gradient
and the colors and blend
increments that are used in the
transition. The popup menu selects
the type of gradient to apply, the
names are descriptive.
Shape: These parameters control the geometry of the gradient. The radius
and direction parameters define a focal point used with some of the
shading algorithm.
A burst gradient is based on a shape placed interior to the graphic. The

gradient transitions from the burst shape out to the bounding curve of the
host graphic. There are 3 predefined burst shapes; rectangle, oval, and
rounded rectangle. Any other shape may be defined and used by adding it
to the burst view found on this tab.
Transition: These parameters control start, end, and sequence of the color
transitions.
Named Gradients
A designed gradient may be saved for convenient reuse. Named gradients
are accessed from the popup menu found near the top of the Gradient tab
on the Gradient Fill palette. All named gradients are saved in one disk file in
the EazyDraw’s applications support folder which is found in the users
home Library folder.

Named gradients are saved in a disk file in the Applications Support folder
of your home Library folder. So the path is “Tilde_for Home”->Library-
>Application Support->EazyDraw->Gradients.plist . The file is a human
readable text file. It may be edited with any text editor or the Apple
supplied pList editor.
It is advisable to backup the current set of named gradients by duplicating

and archiving the Gradients.plist file discussed in the above paragraph. This
is suggested if any amount of time has been invested in creating new
custom gradients.
The default set of named gradients are re-generated by moving the

Gradients.plist file out of the EazyDraw applications support folder - and
re-starting EazyDraw. The default set of gradients is derived from an
EazyDraw drawing that is included as a resource file in the EazyDraw
application Bundle. As a reference for expert users or language translation
engineers: the file is NamedGradients.ezdrw.gz; the format is a simple set
of group graphics that contain a Bezier path (rectangle) with a gradient fill
and Text Area graphic with the associated shape name.
Gradient
All graphics with an interior, including Text Boxes, may have a Gradient Fill.
The parameters that control the colors and their transition are found on the
Gradient Fill Panel. A graphic doesn’t need to be formally closed (like a
rectangle or circle) to accept Gradient Fill.
A Gradient Fill transitions across two or more colors. These colors are
referred to as “Inner” and “Outer” colors. You may independently specify the
colors using the color wells on this palette.
The effect popup menu is used to

select the form of the Gradient Fill.
Select the None Value to turn off
Gradient Fill. This parameter
determines the shape of the
constant color contours used to
generate the Gradient Fill. There
are several selections, the names
are descriptive, the examples
below demonstrate the effects
possible.

The Plus button is used to insert additional
color transitions. There is no limit to the
number of transitions. The popup menu is used
to select one of the transition colors for editing.
When selected the intermediate color can be
changed using the middle color well. The
transition parameter defines the percentage
point along the transitions for the intermediate
color selected.
Experimentation is the easiest method to

understand the use of this parameter.
Intermediate colors are removed using the
minus button. Every gradient requires at least
two colors, so the end colors may not be
removed from the gradient.
If transitions have been adjusted, they may be

returned to an even spacing using the Even
Transitions button.
The Steps parameter is used to specify the

number of unique contours used to generate
the Gradient Fill transition from the inner color
to the outer color. For a very smooth seamless
appearance use a large number like the default
of 100. A very small number, like 4, will create a
“banding” effect. Larger graphics will need
larger number of steps to maintain a smooth
appearance. Numbers above 200 may slow
down your computer noticeably, and in most
cases will not improve the appearance of the fill.
The difference between Shade and Vertical or Horizontal is that the angle of
the gradient may be specified.
The difference between Spot and Egg is that Egg depends on the aspect
ratio of the graphic and Spot does not. Spot transitions from a focal point
outwards transitioning the color based on radius alone. Egg begins the
same way but transitions independently in the vertical and horizontal
directions, the transition depending on length and width of the graphic’s
bounding rectangle.

Gradients Fill may be applied to
Wall or Ribbon graphics. The
creation tools for these graphics
are found near the bottom of the
Technical tools palette. There are
only two of the Gradient Fill
geometries that apply to these
graphics - Horizontal and Vertical.
In this case a Horizontal gradient
transitions along the ribbon and a
Vertical gradient transitions across
the ribbon.
Shape
Some gradient fill effects have a
focal point, others a defined
direction (e.g. Shade). The focal
point is the spot that is colored
100% the inner color. For all shapes
except Horizontal and Vertical you may specify the location of this focal
point. The focal point is specified in polar coordinates, using a radius and
angle value.
The radius is specified in units that are approximately a percentage of a

measure of the graphic’s overall diameter. Graphics with rectangular shape
do not have a well defined diameter, for this reason the gradient fill
location radius is given in approximate arbitrary units. The value is best
chosen by experimentation and viewing the attained effects.
The angle specification is well defined and given in the defined palette
units. Note that if the radius is zero, changes to the angle will do nothing.
Burst
A burst gradient is based on a shape placed interior to the graphic. The
gradient transitions from the burst shape out to the bounding curve of the
host graphic. There are 3 predefined burst shapes; rectangle, oval, and
rounded rectangle. Any other shape may be defined and used by drawing
the shape on an EazyDraw drawing window and dragging it the the shape
view found on the Shape tab of this panel.

The relative size and location of the
defining burst shape is changed
using the numeric values found to the
left of the burst view. X (across) and Y
(down) define the upper left corner of
the burst shape’s enclosing rectangle.
W and H define the width and height.
These values are entered as a
percentage of the host graphic
defining rectangle.
The relative size and location

parameters are adjusted interactively
by moving or resizing the bounding
rectangle seen on the blueish shape
view rectangle. The burst control
rectangle is drawn in a light green. It
may be moved with the mouse - click
and drag. The size of the defining
rectangle is changed by clicking and
dragging the small reddish rectangle seen at the lower right of the
controlling rectangle.
Other shapes may be defined and used by drawing them on an EazyDraw

drawing window and dragging the shape to the blueish shape view
rectangle. After dropping the shape on the view it will be listed on the
popup menu found just below the shape view. The shape is automatically
named, and may be renamed or removed using popup menu.
Defining new shapes is a powerful feature but can be a little confusing. The
Gradient Fill panel will be looking for a gradient fill in the shape you are
defining for use as a gradient fill. So after dropping the shape on the burst
view nothing will change - it wouldn’t make sense to automatically apply
the new burst shape to the defining
burst shape. Your next step is to select a
different graphic - perhaps on a different
drawing - and apply the newly defined
burst to this host graphic using the
popup menu.
You must first drag a graphic off its

drawing window before dragging over
the burst shape area of the Gradient Fill
panel. The simplest solution is to place
the Gradient Fill palette away from (not
over) the drawing window.
You can also “flick” the drag image off the drawing and then over the
palette - once this caveat is well understood.
Interesting effects can be obtained by using the same shape for the burst
and the host. In this case just drag the graphic to the burst view then select
it as the burst. The self-burst effect may be rotated independent of the
graphic using the symmetry gradient control. The effect will not rotate with
rotation of the host graphic.
The popup menu provides a selection for changing the name of any of the
user defined shapes. The shape must be selected before it may be removed
or renamed. One way to do this is to draw a temporary rectangle, define the
gradient shape for this graphic then rename or remove the burst shape.
Then remove the temporary graphic.
The burst graphic may not be edited after being placed on the burst view.
You can change the relative size and position as defined above. The
orientation may be changed by use of the symmetry control found under
the Geometry section of this palette, but all other editing must be
completed before placement on the burst view. Color and style of the
defining burst graphic are not used in the definition of the burst
component, these are derived from the gradient fill colors defined.
Transition
A Gradient Fill transitions across
two or more colors. You may
select different mathematical
functions for progression of the
transition colors. Linear is the
easiest to visualize, this model
generates a simple uniform
transition of colors from the inner
to the outer. The other available
models are listed on the Model
popup menu. Use it to select a
function for the gradient.
The Start and Finish parameters

are used to expand or contract
the cycle of the gradient. A
normal cycle extends from 0% to
100%, which causes the color

to transition fully and exactly from the inner color to the outer. If the Finish
parameter is decreased to 50% the inner color is the same, but the final
color of the gradient will be the color that the model computes at 50% of
the transition.
Color Space: This popup menu sets and inspects the gradient’s color
space. In some cases the color space may change automatically, reflecting
the color space of an introduced color. Normally an introduced color is
changed to match the color space of the gradient. Use this setting for overt
specification of color space.
Pattern & Texture Fill

The Patterns palette provides support for the use and design of repeating
image patterns as a color. The patterns are used as colors in EazyDraw and
other macOS applications. They can be created or edited with the pattern
inspection view, which allows precise examination or specification of each
pixel of the pattern image.
EazyDraw provides several

pre-designed patterns
for your use with
EazyDraw or other
applications on your
system. Examples of a
few are shown at the
end of this section.
These are generated
when you first access
the color lists on this
panel. After the first
access here, all the
patterns are available
from the Color Panel’s
color list picker.
Applying Patterns: The

parameters at the top of
the palette control how
the pattern is applied to
a graphic and
management of
transparency with
patterns.

Accessing Patterns and Lists of Patterns: These controls let you access
lists of patterns which are a special form of color lists. You can open/save
individual pattern images or full lists of pattern families.
Editing or Painting pattern content: The main section of the palette

provides painting tools and a close-up view of the pattern’s master bit map
image. These tools let you inspect or paint individual image pixels. The
parameters controlling precise size of the image are near the bottom of this
section.
Patterns are actually colors and may be used as any other color that is
accessed from a color list. The patterns you install or create with this
palette are accessible from your normal Color Picker. If another application
doesn’t properly support the color picker protocols you can explicitly
export a pattern color list and import it to the other application, if
necessary. You can apply a pattern as a fill for any graphic. In EazyDraw this
is an additional fill effect that may be used independently or in conjunction
with color fill or gradient fill. The pattern fill is applied over (in front of)
another fill . The controls at the top of the Patterns Palette allow you to
manage these combined effects.
In order to be used as an overlay with other coloring, the individual pixel

colors need to fully support transparency (Opacity on the color palette), and
some of the pixels will need to be at least partially transparent to allow the
coloring in back of the pattern to be visible.
Images imported from other systems or certain file formats may not
support transparency. If not, the individual pixel colors will need to be
converted to support the alpha channel or opacity. This is done with the
Transparency checkbox near the top of the palette.
The Fill checkbox is used to turn the pattern on for the selected graphic(s).
Check the box to use the pattern as the one and only fill effect for a
graphic.
The Overlay checkbox is used to apply the pattern on top of another color
fill. The individual pattern colors need to support transparency for this
effect to be visible.
The Transparency checkbox can be used as an indicator to verify that the

pixels of a bit map can support opacity as a color variable. The checkbox
can also be used to explicitly convert the colors of all pixels to include or
exclude the alpha channel (opacity value) byte. If the conversion is not
possible the action will simply beep and no conversion will take place.

The example to the right demonstrates use of
transparency and the overlay attributes. The
pattern at the top is just transparent bricks. The
next down has the transparent bricks overlaying
a solid fill color. The bottom example has the
transparent bricks overlaying a gradient fill.
Transparent pixels are discernible in the close-

up view. You can notice that the background
color of the palette is seen through the pixels.
You may want to apply a white color to a pixel
to learn to recognize the difference.
If a graphic that contains a pattern is flipped or rotated, the pattern is

flipped or rotated too. This is a convenient way to expand the capabilities
of the pattern panel in designing patterns. It is usually a good idea when
designing patterns to have them attached to a graphic. This provides the
transform capability mentioned here and provides Undo capability.
Accessing Patterns
The access section of the Patterns palette provides methods for opening or
saving patterns or lists of patterns in files on your hard drive, local network
or the internet. The defining element of a pattern can be any bitmap image,
so these controls can be used to read or write the master pattern image.
Patterns may also be archived as colors in a color list file (*.clr).
The operating system maintains color list files in various key folders. The
primary personal location for color lists is in the Colors folder in the Library
folder of the user’s home folder (~/Library/Colors). Any *.clr (color list files)
found here is available on the Color Picker palette.
The List/Image Files popup determines the method of pattern access. If List
is chosen, the patterns are saved or accessed as colors in a color list file.
Color list files are identified by the “.clr” extension. If “Image Files” is
selected the pattern is accessed as a standard bitmap image file. Any TIFF
file may be used.
The Open button is used to read a pattern color or image file. If Image Files
is chosen, a standard Open file panel is provided for locating an image to
use as a pattern color. If the List method is specified a pair of popup menus
is presented to choose a color list and a pattern color from the list. All color
lists present in the standard folders are provided by the list popup. There is
also a “Read” option that can be used to browse the available file systems

for *.clr files. Once a list is selected with its popup, all available patterns in
the list are provided for selection on the other popup menu.
If the Image Files mode is selected, the Save button is used to save an
individual pattern color’s master image in an image file. The standard file
save panel is presented, the image is saved in the TIFF file format.
If the List mode is selected, the Save button is used to save an individual
pattern color in an existing color list. The current pattern, as shown in the
close-up bit map view, is saved to the pattern and list selected with the two
popup menus provided. The popup menus also have selections for creating
new list and new members of a list.
The Image File methods allow the pattern image editor to be used as a
primitive image editor - or pixel paint tool. The close-up view is actually
painting/editing a simple bit map image. A bitmap image may be loaded (or
use drag/drop) into the editing view, modified and saved back to a
permanent file for other use.
EazyDraw provides several pre-designed patterns for your use with

EazyDraw or other applications on your system. Swatches of some of these
are shown at the end of this section. These are generated when you first
access the color lists on this panel. After the first access, all the patterns
will be available to other applications from the Color Panel’s color list
picker.
If a captured image is used as a pattern (perhaps from screen grab) the

anti-aliasing algorithms may border the image with faint colored transition
pixels. These give rise to horizontal and vertical lines when used as a
pattern. To remove them use the hand tool to slide the image up and to left
a few pixels, then reduce the width and height of the image by few pixels.
Repeat these steps until the lines are no longer visible. If the image is small
you can also overtly paint the border pixels with the desired precise colors.
Editing Patterns
The main portion of the Patterns palette is used to closely view and possibly
modify the master image that is used to generate a pattern color. A close-
up pixel view is used with a few painting tools to accomplish these tasks.
A bit map image consists of a rectangular array of square pixels each

having a specific color. These pixels are shown in the close-up view with
faint lines indicating the individual pixel boundaries. The color wells and
tools to the left of the view are used to examine and change (or paint) the
colors of the individual pixels.

If a graphic that has an applied pattern is selected the master image of the
pattern is shown in the close-up view. When nothing is selected the default
pattern is shown.
Examining Pixels: The top color well and associated Across/Down controls
are used to examine an individual pixel of the color image. You may use the
controls directly or point and click on the close-up view to select a
particular pixel.
Painting: The lower color well and mini tool set are used to paint pixels.
The limited set of tools (plus use of the command key) provide a wide range
of traditional pixel painting functionality.
Close-up View: Use the close-up to view and acquire images to use as
pattern colors for EazyDraw graphics or as color resources for other
applications on your system.
The close-up view supports full pasteboard drag and drop. This is often the
most convenient way to move the images and colors between objects on
your system.
Transparency can be a problem when dropping a pattern color on other

objects (like the color well on the color picker). The transparent regions of
your pattern may be rendered as black by the destination object. If your
pattern consists of black pixels on a transparent field of pixels this may end
up as black on black. The transparency information may not be lost; such
an image may actually display as you intended when used by an application
that properly supports transparency.
Inspecting Patterns
The across/down values indicate the position of a particular focus pixel on
the close-up view. This pixel is highlighted with a bluish border on the
close-up view. The color of the focus pixel is shown in the top left color
well.
Across - Down: The Across and Down numeric text fields indicate the
index coordinates of the focus pixel. Pixels are counted from 0,0 in the top
left corner. You can point and click on a pixel to make it the focus pixel, its
coordinates are then shown as the Across/Down values. You may also enter
a specific Across or Down value to focus on a particular pixel. The steppers
may also be used to navigate the focus pixel.
Pixel Color: The top left color well is used to inspect or modify the focus
pixel color. The normal color picker is used to examine or modify this

color. A double click on the color well will open the color picker palette. The
color well needs to be selected (which will show as a darkened border) to
establish the two way link with the color picker’s color actions. Changes to
the color will only change the single focused pixel.
Width - Height: The Width and Height numeric text fields, shown below
the close-up view, indicate the full size of the bit map. If you enter new
values, the bit map’s size will be changed accordingly. Truncated pixels are
lost by this action.
Undo and Redo are managed by the inspecting EazyDraw drawing. This
means that some actions applied to the close-up view may not undo as you
might expect. It’s best to always apply the pattern to a graphic on a
drawing. Then you can be sure undo/redo will work as expected, because
your changes are recorded as changes to the graphic on the drawing.
The interaction logic of the patterns, images, color, and graphics can easily
become intricate and recursive. Frequently you are working on the design
of a pattern applied to one graphic which you want to apply to another
graphic. But when you select the other graphic the focus pattern changes-
ouch. In this case use drag and drop, dragging the pattern from the close-
up view to the target graphic. There are, of course, many other ways to
accomplish this, but drag/drop is often the simplest.
Painting Patterns
A color well and small set of painting tools are provided for detail painting
and modification of the master pattern image. These are located to the
lower left of the close-up pixel view.
The color that will be used in a painting operation is managed with the
lower color well. You need to establish a working link between this color
well and the color picker to work with this color well. A double click on the
color well is the easiest way to do this. When selected and linked a
darkened border is shown around the color well. The color provided by the
painting color well is used for actions with the painting tools, even if the
painting color well is not selected, highlighted and linked to the color
picker.
Click on a tool to select it for an action. After the action is complete the tool
selection will return to the default arrow tool. Double click to stick the tool
selection, then the tool will remain in effect after initial use. You then must
overtly click the arrow tool to return to the default arrow tool action.
Arrow Tool: The arrow tool can be used to select focus pixel. Click on a
pixel rectangle on the close-up view and that pixel is selected and focused

for inspection. If the control key is held down while a pixel is clicked the
eyedropper action is applied, and the color of the target pixel is loaded to
the painting color well.
Hand Tool: The hand tool is used to move the pixels on the image field.
The movement is loss-less, no pixels are erased by moving. Pixel colors are
moved in a rotating fashion, off one side of the image field and onto the
opposite side.
Pencil Tool: The pencil tool is used to color individual pixels. Each pixel
touched with the tool is painted the color from the painting color well. You
may just click pixels or click and drag to color several pixels with a single
motion. If the command key is held down, the painting will have a “pour”
effect; all adjacent pixels of the same color are changed to the new color.
This has the affect of filling closed regions with the new color.
Fill Tool: The rectangular fill tool (lower right tool) is used to paint
approximate rectangular regions on the bit map. The painting is done with
a click and drag motion. The initial clicked pixel becomes the anchor or
pivot for filling a rectangular region of pixels. Drag the mouse to
encompass the pixels desired for coloring.
If the command key is held down, all pixels of the same color anywhere on
the image are changed to the new color. To remove a portion of the bit-
map, first move the region of pixels to be retained to the top left corner of
the image, with the hand tool. Then decrease the size of the bit map with
the size controls located just below the close-up view.
You may drag and drop a color, from any color well or color swatch, directly
to a pixel. This action can take place independent of the color present in
the painting color well. The drop action also changes the focus pixel.
Close-up Pattern View

The close-up view is used to examine individual pixels of the master image
of the pattern. Its size is changed by resizing the full palette.
There is no imposed limit to the size of an image that can be inspected with
this view. Optimizations are applied for very large images, but as always
when working with large bit maps performance will be effected if the image
is large enough. The pattern view displays each individual pixel precisely as
it is colored. The view is resized for optimum viewing by resizing the full
palette.

You may drag an individual color to any pixel on the view. You may also
drag a pattern color to the view, then all the pixels of the new pattern color
are grabbed and displayed by the view.
The full pattern color may be dragged from the pattern view. Click
anywhere on the pattern view, begin a drag operation, after dragging a
small distance the pattern color is “loaded” to the dragging clipboard and
shown with your cursor. This image may be dragged to an EazyDraw
graphic (on any open drawing) or to any other object (any application) that
will accept a color list specified color. A plus sign appears with your cursor
when the pattern is dragged over an object that will accept the color.
A standard resize control (lower right corner) is provided for the patterns
palette. Use this to adjust the size of the close-up view to match the extent
of the inspecting image. If the image has a lot of pixels (20 or more) you’ll
need to make the palette larger to view individual pixels.
Using Patterns
Patterns are defined by individual pixels. This leads to different effects
when used with modern vector drawing. First a bit of history - patterns
were originally applied as colors when computers only had 2 or 8 colors
available. Patterns were used as a “work around” for this limitation. For
example, on a black and white monitor a gray color is possible using a
pattern of alternating black and white pixels. Below we will discuss some of
the quirks of Patterns carried over from this original use.
Vector graphics are specified internally in precise ideal fractional

coordinates. Points, which are defined as 72 per inch, are the units used by
macOS graphics technology. With EazyDraw it is possible to position a
graphic to an absolute fraction of a point (100.0123 points over and 71.367
points down, for example). In contrast Patterns are specified in units of
Pixels. It is common to use points and pixels interchangeably, but they are
inherently quite different. Pixels are individual display elements of a display
device. Historically, they are about the same size as a point (not really in
this day and age), but this is not a defined relationship. And pixels are
integral elements; one cannot draw a half of a pixel. In fact the “old gray
trick” described above is how antialiasing draws a nice even gray edge to a
black line at a fraction of pixel on your screen because at the lowest level
each pixel is still one color.

Patterns are applied in a wall paper manner to the printed paper or display
window background. This means they will move relative to an individual
graphic as the graphic is moved or the window is resized. Think of the
pattern as anchored to the window or preprinted on the paper. It is actually
anchored to the pixels discussed above.
If you need an individual image that is fixed relative to a graphic then the
specific image should be imported to the drawing and the desired graphic
used as a cropping path or frame to the image. You can also apply the
pattern to a graphic then convert the graphic to an image, the conversion
will freeze the pattern content and should look the same.
Next, please understand that the pattern will have all the quality issues
associated with bitmap images. An exported drawing containing a pattern
will become jaggy if expanded. Exported and printed patterns may not be
as crisp as your vector line art.
If you change the on screen zoom of the drawing a small amount, the
pattern’s pixels can’t follow the change and will remain unaffected by the
zoom. So the graphic will change size but the pattern will not. If you zoom
a factor of 2, or 4 EazyDraw will double or quadruple the image’s pixel area
(using 4 or 16 actual pixels for represented pixel). Larger zooms are
ignored with the pattern remaining unchanged with the zoom. These
appearance fudges are only applied to screen drawing and are not applied
to printing actions wether they be to a bitmap export, pdf, or printer. The
zoom fudge is only applied on screen. So you need to view graphics with
patterns at zoom 100 in order to get a feel for the appearance, even this
may not give a proper look. Test prints or exports are advised to be certain
of the final appearance.
Final note, the Pattern technology is an older technology and probably a

dying technology. While macOS still supports the core technology, the
support is best viewed as a legacy activity. When you encounter the quirks
described above keep in mind they are not something that will be fixed
next rev.
Outline Mode
In some cases it is desirable to turn off all graphic fill (solid color,
gradient, ...). This can make it easier to see and edit shapes, or for large
complex drawings it can improve the program’s response time significantly.
This is managed with the Outline submenu found or Format main menu,
near the bottom. You can manage this mode for the entire drawing or
individual layers. You can also set thicker or thinner line width - just for the
outline mode.

Abstract (Bucket) Fill
This menu command will create a new “concrete”
graphic exactly matching an interior area defined
only conceptually by other paths and shapes. A
solid Fill color is applied to the new graphic. This
fill can easily be changed to a pattern or gradient.
The function of this command is to automatically
generate the well defined graphic shape from the
abstract shape informally defined by several
shapes, paths, or curves
The “Paint Bucket” tool is a common tool found in pixel painting

applications. It is used to flood an area defined by a solid pixel border with
color. The tool is needed to facilitate coloring areas of a pixel-painted
drawing. Vector drawing has this filling capability precisely defined for each
vector shape, solid color, patterns or gradients are used to fill the interior
defined by a graphic.
An example of a “conceptually” defined shape is a triangle created from 3

intersecting lines. In terms of the vector graphics computer drawing
medium, these are not a triangle - they are 3 un-related lines. For vector
drawing the triangle (or a similar) tool is used to draw a single shape with
three sides that form the triangle. These vector drawing concepts are not
here “changed” - the Abstract Fill command will simply attempt to
assemble and draw the triangle from the conceptual arrangement of the
three lines.
The Abstract Fill menu command is found on the Combine Submenu - on

the Tools main menu, about 2/3rds of the way down. There is a Toolbar
tool for the this command, the icon is the “Paint Bucket” icon shown to the
left. To add this tool to the drawing window toolbar use the Customize
command found on the View main menu.
Execute the Abstract Fill menu command (or click the toolbar button) to
enter the Abstract Fill mode. Move the cursor over the drawing and note the
“paint bucket” cursor indicating that the next mouse click will define the
internal conceptual area to be filled. Click the mouse and the new shape is
created.
The new shape will have “no-outline” and a solid fill color. The Color is the
current default color as defined and shown on the Color and Style palette.
After the shape is created the color can be changed using the Color and
Style palette or a Toolbar Fill color button.

The full area to fill needs to be visible on the screen. Adjust the viewing
area and zoom to present the desired area on screen. The new fill area will
not “spread” or flood off the viewing area of the screen.
There, naturally, can not be “hole” or leak in the defined area. If the
flooding of the color from the click point can reach the edge of the viewing
area (not the edge of the drawing) without crossing a path, then the
algorithm fails and no graphic is created.
This tool may be used with multi-layer drawings. The new graphic element
is added to the current active layer. All selectable graphics are considered
for possible defining border paths - note this is not all visible graphics.
There may be boundaries clearly visible but if these are not selectable they
will not be used for the definition of the new fill shape. Study Enabled
Actions to learn more about the distinction between visible and selectable
graphic elements.
The new filled shape is inserted behind all other graphics. This is the
appropriate logic as the finite line widths of the defining border will
normally show above the fill area, obscuring one half of the associated line-
width’s dimension. This means that if one clicks on an area that already has
solid fill - nothing will be seen on the drawing as the new shape will be
obscured by the exiting fill. Caution should be used to avoid introduction of
spurious hidden graphic elements.
The generation of the new filled shape is based on heuristic algorithms; the
solution is derived by trial and error and rules that are loosely defined.
These algorithms will work best when the area of interest is expanded to
reasonably fill the viewing area of the screen. The user is expected to
cooperate in the success of the algorithms.
Flood Fill algorithms are trivial when dealing with defined pixels. The
solutions are much more complex if a precise vector shape is the goal.
EazyDraw does not use a pixel-hybrid implementation. The actual Bezier
paths are analyzed, meeting end points and intersections are defined
mathematically, then by recursion a continuous exact Bezier path is
stitched together to form a closed outline of the new shape.
If the algorithm fails (nothing happens), adjust the zoom and or position of
the target conceptual shape on the drawing view (the computer screen). The
algorithms are designed to fail quickly and gracefully rather hang the
system. The analysis of the scene is performed on a separate thread
(utilizing other available CPUs) while the user is choosing the click point.

Vector Hatch
The Hatch panel is used to fill
graphics with a repeating
sequence of straight lines that
may be dashed. This form of
graphic fill is called a Vector
Hatch. The repeating lines are
sequenced with an over/down
offset.
Hatches are drawn with straight

line paths, curved paths are not
supported.
Bitmap vs Vector: Hatches are

one of the two techniques for
filling a graphic with a repeating
(or tiled) pattern. Hatches are
rendered as vectors. The
technique discussed in the
previous section, Pattern and
Texture Fill (EazyDraw’s
terminology) are drawn as
bitmaps. The quality and
appearance of a Hatch will be
more consistent with respect to size, scaling, and export format, but
bitmap patterns may be more intricate.
Standard Hatches: The technology implemented here follows the CAD

industry standards for specification of vector Hatches. Those familiar with
other CAD applications will see the same terms behavior on this parameter
palette.
These parameters will correspond to the DXF file format specification for a
vector Hatch. The experienced user will be able to correlate these settings
and values with those recorded in DXF text file.
Standards institutes have specifications for vector Hatch usage. (examples:

Earth, Swamp, Sand, Cork, ...). These are defined with length offsets and
angles. These specifications will mesh well with parameters found on this
palette.

Degenerate Cases: There are degenerate Hatch specifications. If the
across and down sequence for a path falls on (or close to) the path, then an
infinite (or very large) number of paths are needed to fill the graphic. This
situation is signified with a red warning message. In this situation use the X
and Y Shift, or the Angle settings on the Path tab to rectify.
Hatch Parameters
The popup menu at the top of the palette (Hatch popup) provides access to
named vector Hatches. EazyDraw ships with several standard hatch designs,
select from this list to use a hatch from this list. The menu has “save” and
“remove” items (found at the bottom), use these to save new or modified
hatch designs for future use. If the drawing is saved, closed and re-opened
with the Hatch turned off, the hatch design is lost.
The Path popup menu indicates how many individual paths (lines, possibly
dashed) are used to construct the Hatch. This menu does not have
relevance for this (the Hatch) tab, it is used when working with individual
paths on the Paths, Dash, or Style tab.
The On check box is the master control that triggers use of the Hatch with
a graphic. When checked the hatch fill is drawn for the target graphic(s).
When unchecked, no hatch is drawn; in this state the non-visible Hatch is
still stored with the graphic and available for usage as designed.
The Double checkbox, when checked, will cause the Hatch to be drawn a
second time at 90 degree orientation relative to the specified hatch.
Seed: This specifies the reference location for the repeating sequence of
lines. The choice “Bounds” will tie the hatch to the graphic, as the graphic is
moved the Hatch will remain stationary relative to the graphic. The choices
“Drawing” and “Page” ties the repeating sequence to a stationary point, in
this case when the graphic is moved the hatch will appear to slide under the
graphic. The latter two settings are useful when several graphics employ
the same hatch and a continuous (across the drawing or page) Hatch
appearance is needed.
Reference: This setting works with the Seed setting to define the actual
“zero” reference position of the Hatch. The best way to understand this
setting is to experiment with different settings while resizing a rectangle.
solid Fill color is applied to the new graphic. This fill can easily be changed
to a pattern or gradient. The function of this command is to automatically
generate the well defined graphic shape from the abstract shape informally
defined by several shapes, paths, or curves

Hatch Path
The parameters provided on this tab
manage the repetition geometry for an
individual path.
The top popup menu, “Dash” should be

used generally as an inspector. The Dash
tab is the primary interface for the dash
pattern of a Hatch. This popup menu
sorts through all dashes set for the target
Hatch and indicates which paths share a
dash sequence.
The Plus, Minus, and Duplicate buttons

are used to add or remove a path from
the hatch.
The X (over) and Y (down) seed parameters establish the reference path. All
other paths sequence in steps, in both directions if necessary, starting with
the seed point. The seed point is referenced from the reference and seed
settings on the main Hatch tab of this palette. For example the reference
point might be the lower right corner of the host graphic’s bounding box,
or perhaps the center of the drawing.
X and Y shift define the repeating interval for the selected path. This allows
repeating intervals to be fully independent for each path. The repeated
intervals for paths of a hatch do not interact.
The Angle defines the direction of the line for the selected path. The
reference, orientation, for the angle follow the settings for the drawing,
found on the Graphic Details drawer.
There are degenerate Hatch specifications. If the X and Y shift generates a

point that falls on (or close to) the path, then an infinite (or very large)
number of paths are needed to fill the graphic. This situation is signified
with a red warning message. In this situation use the X and Y Shift, or the
Angle settings on the Path tab to rectify

Hatch Dashes
The parameters provided on this tab manage the dashed line sequence for
an individual path.
The parameters on this tab apply to an individual Path of the Hatch. The
target path is shown or selected with the Path popup menu near the top of
the palette.
If the target path is to have a dash sequence, the Dash check box is
checked. A path does not need to have dashes, it may be a solid line in this
case the Dash check box is not checked and then the parameters on this
tab are not in use.
The popup menu next to the

Dash check box will display the
possible name of a named
hatch. Dash sequences may be
saved and named for reuse,
saving and selecting is provided
with this menu. Dash sequences
in the target Hatch are shown
near the top of the menu, see
example below on right. Dash
sequences for the Hatch that do
not match a named dash
sequence are named named
generically with numbers.
Following the name, in
parenthesis, is a list of the
numbered paths currently using

Hatch Style
Individual paths of the Hatch may have different colors, line widths and end
cap geometry. These individual color and line style parameters are
managed on this tab of the Hatch palette.
Line: The parameters on this tab apply to an individual Path (when Apply is
set to “Line”) of the Hatch. The target path is shown or selected with the
Path popup menu near the top of the palette.
Hatch: If the Apply selection is set to Hatch, a color and style change is
applied to all paths of the Hatch. The color and other parameters shown
always apply to the selected Path. The Apply setting is only used when
changes are made. If Apply
is set to “Line” then changes
only apply to the selected
path.
Normally the Cap setting is

applied to the end of a line.
It is also always applied to
each end of a dash
sequence. For Hatches the
ends of each path line are
clipped exactly at the edge
of the host graphic,
therefore the Cap setting has
no impact on the actual line
ends. Cap style, in many
cases, will have a significant
impact on a dash pattern.
The Square setting adds one
half of a line width’s length
to each dash line segment.

Pg 338
Chapter
Graphic Augmentations
16
Dashes 341
Inspection View 341
Dash Sequence 341
Space Color 343
Arrows 344
Form 344
Style 345
Scratch Pad 348
Start & End Custom View 349
Along Arrow 350
Sequential Transform 351
Named Arrows 353
Brushes 355
Palette Summary 355
Concepts 356
Scratch Pad 357
Work Flow 358
Path Color and Style 360
Brush Inspector 361
Brush Design 362
Transform and Sequence 365
Sequence Transform 366
Use Table 367
Brush Methods 370
Pg 339
Shadows 378
Vector, Image & Bitmap 378
Drop 379
Effects 380
Distort 382
Cross Over 382
Placement 383
Side 383
Method 384
Jump 385
Pg 340 Ch 16 - Graphic Augmentations

Dashes
The Dashes Palette provides
parameters for dashed lines and
borders or outlines for graphics.
The Palette is shown to the
right. Detailed documentation of
each parameter is available in
this section.
Inspection View
The top area of the Dash Palette
provides selection of a dash
pattern from a named list and
inspects the dash pattern with
an interactive close-up view.
Sequence
The lower portion of the palette allows detailed numeric inspection and
specification for the sequence of dash and space lengths. You may use
standard dash sequences accessed from the Dash name popup menu at the
top of the dash panel. Any custom dash sequence can be created with the
interactive controls found on the Dash Inspector view or by using the
numeric Dash Sequence parameters. A custom dash pattern may be saved
and given a name by using the Save selection on the Dash Name popup
menu.
Named Dash Patterns: These are saved in the Applications Support folder
assigned by the operating system. There is an EazyDraw folder in the
Applications folder and it contains a “plist”; file called Dashes. This file may
be accessed with any text editor or the macOS Property List Editor
application. To re-generate a new “Factory” list of dashes, remove this file
then quit and re-start EazyDraw.Lines, curves, and outlines (borders) may
be drawn as dashed lines. The parameters that control the size of the
dashes and spaces between the dashes are found on the Dashes Panel. To
show this panel select “Dashes” from the Tools Menu which is on the Main
Menu.
Graphic Augmentations - Ch 16 Pg 341

Another method for accessing desired patterns is to save commonly used
patterns in a drawing. Then a pattern can be copied using the Copy Special
and Paste Special menu commands to transfer the dash pattern to new
graphics.
A third method for conveniently using specially designed dash patterns is

to add them to a user library. The “LL” button at the top of the Dash palette
is used to drag a dash pattern to a user library. From the library the special
dash pattern is available as a single click tool or a drag and drop attribute.
A graphic doesn’t always have an outline component. If no outline is drawn

the graphic will consist only of its Fill with no border, or specific outline. In
this case the dash parameters do not apply.
You may independently change the length of the dash line and the length of
the space between dashes. These lengths are measured in Fine Scale Units
(inches, mm, or points) as shown by the Units Button found at the upper
The Dash checkbox, top left, determines if a dash pattern is drawn for a
graphic. If the checkbox is checked a dash pattern is used, if not the line is
drawn solid with no dashes.
The Start value controls the beginning phase of the dash pattern as applied
to the graphic’s Bezier path. It is defined as a percentage of the total length
of the dash pattern. This parameter will slide the dash pattern along the
running length of the Bezier path. The results of changes to this parameter
are viewed on the target graphic on the drawing page. Changes here are
not reflected in the Dash inspecting view at the top of the palette.
The view pane provides an interactive close-up view of the active dash
pattern. It is blank unless the selected graphic has an active dash pattern.
When a dash pattern is active, adjusting handles are shown associated with
a close-up proportionate view of the dash pattern. The adjusters are used
to change dash or space length by clicking and sliding a particular handle.
The actual extent (length) of the pattern is shown at the lower right of the
view, in the current palette units. The integer value and stepper control
below the close-up view is used to inspect and set the total number of
“dash-space” sequences of the dash pattern. Enter a value or use the
stepper to set the total number of distinct dash and space sequences.
A double click on one of the adjusting handles will insert another dash-
space sequence. The new sequence may then be adjusted as needed. A
double click while holding down the Shift key will remove a dash-space
sequence.

A dash-space may be removed from the pattern by sliding one of the
adjusting handles fully left or right and bringing the adjacent element of
the sequence to zero length. The actions that remove dash-space
sequences only apply if there is more than one dash-space sequence.
A new dash-space is added by sliding the end adjuster handle (the one with
a smaller width) to the left. Normally adjustments hold the overall length of
the pattern constant, but this method extends the total pattern length to
incorporate the new sequence. This fact may be noted by observing the
changes to the total pattern length as reported at the lower left of the
close-up view.
The arrow controls at the ends of the close up dash pattern (dark gray in
color) are used to adjust the overall length of the dash pattern. The one on
the right increases the total length and the one on the left decrease all
sequences and correspondingly the total pattern length. Click and hold, on
the arrow to change the pattern length.
The close-up view will accept a drag-and-drop of a Bezier that has an

active dash pattern. This process will set the current dash pattern that is
applied to newly created graphics. Since the dropped dash pattern must be
selected, this action is equivalent to clicking the Current button at the
bottom of the palette.
Select a sequence index, then you may independently change the length of
the dash line and the length of the space. These lengths are measured in
Fine Scale Units (inches, mm, or points) as shown by the Units Button found
at the upper right hand corner of the palette. You may change either value
by typing in a new number or adjusting the associated slider control. As
you change values you will see the dash pattern change on the drawing.
Cap style, as discussed in the previous chapter, controls the appearance of

the ends of each dash of a dashed line. This parameter is found on the
Color and Style palette.
Space Color: A dashed appearance is normally drawn with breaks in the

line (or curve). This is the case if the Space Color checkbox is not checked,
then “nothing” is drawn in the dash breaks of the sequence. If the Space
Color checkbox is checked the line or curve will be solid and the dash
appearance created by altering two colors. One color is derived from that
specified on the Color and Style palette, the other from the Color Well
adjacent to the Space Color checkbox. Of course one or both of the colors
may still utilize opacity.

Arrows
The Arrows palette provides
parameters for arrows for the
ends of lines and curves. The
panel is shown to the right.
There are three groups of
parameters. Detailed
documentation of each group is
available in the sections found
below.
Form: These parameters

control where arrows are drawn,
which end(s) and how far from
the end. The shape of the arrow
is selected using parameters on
this tab.
Style: These parameters control

the color and drawing style of
the arrows. Arrows may be drawn with the same Style as the host path, or
these variables may be defined independently with this tab panel.
Custom: This tab provides methods for implementing and adjusting user
defined arrow shapes.
Form
Location: The Start and End checkboxes, determine the end(s) that will have
an arrow for a graphic. If a path has multiple vertices and Multiple for each
segment is checked, then these checkboxes determine which end(s) of each
segment have an arrow.
Relief / Offset: Specify the exact postion of the Arrow relative to the line
(or curve) end point. Specify Relief to place the tip of the arrow exactly at
the end point, the Relief value moves the drawn line end point “back” from
the defined end point. Specify Offset to place the tip of the line exactly at
the defined end point, the Offset value moves the arrow tip “back” from the
line end. The Help page on this topic covers this setting in greater detail.

Shape: There are several named arrow shapes to choose from. The popup
menu show what is available; a submenu provides access to custom arrow
shapes that are created and installed using the features on the Custom tab.
Several pre-built custom shapes are provided with the EazyDraw
installation.
Size: You may specify a size parameter for the arrow. The value is a length
or diameter of the arrow feature. This length is measured in Fine Scale Units
Angle: An angle may be specified for several of the standard arrow shapes,
angles are not used with custom shapes. The angle is entered in degrees or
radians as defined by the Fine Scale setting. A selected arrow is updated
and redrawn as changes are made so that the affect of the change may be
visualized in real time.
Walls and Ribbons: A few of the standard arrow shapes are allowed for
Wall graphics (see chapter 10, Walls section). The arrow shape actually
becomes part of the end of the Wall or Ribbon graphic. There are only three
of the Arrow Shapes that logically apply in these cases, Open, Swept and
Open Dot. The other selections for arrow shape are disabled when a Wall or
Ribbon graphic is selected.
Style
The Style tab of the Arrows
palette provides an interface for
control of an independent color
and style for the Arrow. By
independent we mean different
from that of the host line or
graphic.
The colors for arrows may be

those of the line, path or curve
to which the arrow is attached.
Or the colors may be defined
independently using the
parameters provided. The
“From Curve” check-box
determines which method is
used.

If the From Curve checkbox is not checked, the two color wells and
checkboxes for Fill and Outline are enabled and are used to specify the
arrow’s Style. The Fill color well and checkbox apply to the interior of the
arrow. The Outline color well and checkbox apply to the outline or border
of the arrow.
The drawing style parameters follow the model of the Fill and Outline
parameters that control the appearance of all graphics in EazyDraw. This
was covered in the previous chapter, Color and Style section. Refer to the
previous chapter for details concerning stroke Width, Join style and Miter
Limit.
Multiple: The “Multiple-For Each Segment” checkbox adds arrows to each

vertex along a multiple segment path, curve, or outline (e.g. the box of a
rectangle). This parameter works with the Start or End arrow Location
parameters to determine which side of a vertex (or end of a segment) gets
an arrow.
Custom Shape
Arrows are actually quite simple to use, you can see this from the previous
brief description. In most cases the parameters on the Form tab are all that
are needed to add expressive arrow shapes to a drawing. The full capability
provided by the elements on the Custom tab is quite powerful and
correspondingly more complex. A study of the rest of this section is
certainly not needed simply to add an arrow to a line.
Using custom arrow shapes is a more advanced task. If you are new to
EazyDraw or just need to apply arrows to the ends of lines or paths, focus
on using EazyDraw’s built-in standard arrows. Unless a specialized shape is
needed, one should be able stick with the “Form” main tab of the Arrow
palette.
Conversely, if you intend to design and use custom arrow shapes, the
following information will be quite helpful. The capability here is probably
not advised for trial and error learning.
The Custom tab of the Arrow panel provides an interface for the application
of any Bezier path as a user defined arrow shape. A small drawing area is
provided for managing these custom shapes and performing simple editing
tasks. This drawing area will accept drag and drop of any EazyDraw Bezier
path from a normal EazyDraw drawing window. This allows more complex
editing and shape creation to be done with the full drawing capability of
EazyDraw.

The drawing view itself has 4 tabs to access four “scratch” drawing areas to
define arrow shapes. An EazyDraw graphic dropped on the custom shape
drawing area is placed first in this Temp(orary) position. From there the
shape may be applied to another EazyDraw graphic. The Temp scratch area
maintains a history of recently used shapes to further assist in the
management of these custom arrow shapes.
The custom shape editing area has a very useful contextual menu. Control
or left click the mouse anywhere on the bordered arrow shape drawing area
to access this menu. The contextual menu is used to place or retrieve
custom shapes to or from the system pasteboard.
Temp: This is the “scratch pad” tab view for intermediate storage and in-
place editing of arrow shapes.
Start and End: These tabs are used to view and edit custom arrow shapes
placed at the ends of a graphic.
Along: This tab manages an arrow shape that is repeated and possibly
sequenced along the path of a graphic.
Named Custom Shapes: User created shapes may be saved to a

permanent disk file. These shapes are then accessed and managed with the
popup menu.
Transform: Custom arrow shapes may be positioned, oriented, scaled and

sheared, with respect to the tangent of the host graphic’s path. Use the
Transform and Sequence buttons to access to this capability.
The in-place editing capability on this palette is rather limited. When this
becomes a problem, click and drag the custom shape to the main drawing
window. Continue editing there then drag the shape back to the Arrow
palette. Remember that if the editing needed is a “stretch” or “flip” - use
the Transform capability.
The named custom shapes are saved in a disk file in the Applications
Support folder of your home Library folder. So the path is “Tilde”->Library-
>Application Support->EazyDraw->Arrows.plist . The file is a human
readable text file. It may be edited with any text editor or the Apple
supplied pList editor. The history shapes managed by the Temp view are
also found in this folder, their file name is ArrowsHistory.plist.

It is interesting and helpful to note the reasoning behind the use of a
separate “Temp” arrow shape. The most common method to create a new
arrow shape is to draw one on an EazyDraw drawing. Then the task is to
apply this custom shape to another EazyDraw graphic. If one is to drag and
drop the arrow shape graphic on the arrow palette, this must be the
focused graphic (the arrow palette is ready to apply an arrow to the arrow
shape). When the new arrow shape is dropped on the arrow palette, the
normal intention is not to apply “the arrow to itself” but to another graphic.
So an intermediate place holder is needed, this is the Temp tab view. After
placing the custom shape on the Temp view, the graphic that needs the
arrow is selected and becomes the focus of actions on the Arrow palette.
Scratch Pad
When a Bezier path, from an EazyDraw (or other drawing application)
drawing, is dropped on the Arrow palette’s custom shape view, it is
automatically placed in the Temp position, and is not immediately applied
as an arrow to a target graphic. From this position the shape is applied to a
target graphic or saved as a named arrow for future use.
This Temp tab view is accessed from the Arrow Palette by clicking the
Custom tab (at the top of the palette) and clicking the Temp tab of the
Custom shape editing view. This tab is automatically selected when a
graphic is dropped on the custom shape view.
The 3 small blue buttons - “S,” “A,” and “E” - are used to apply the current
displayed Temp custom shape to the Start, Along, or End position of a
target graphic. Select the target graphic on the main EazyDraw drawing,
then click one of these buttons to apply the shape to the desired position
on the target graphic.
Use the stepper button (top right of the custom editing area) to step
through a history of the recent custom shapes that have occupied the Temp
editing view. This is a circular stepper that will sequence through all the
remembered shapes.
Use the contextual menu, control - click on the custom shape editing area,
to copy or paste shapes to or from an EazyDraw drawing. Or drag-and-
drop Bezier path graphics between the in-place editing view and a main
drawing. Notice that the normal Copy and Paste actions, on the main
EazyDraw Edit menu, cannot work directly with this floating palette view as
they focus on the host graphic on main drawing.

A new shape may be selected for editing by making a choice from the
Named shape popup menu. The contextual menu provides access to the
standard EazyDraw arrow shapes, so they may be used as a starting shape
for customization.
Note that the Transform buttons are not enabled for a Temp arrow shape.
Also there are no reference markers as you have for the defined custom
arrow positions. These attributes (a transform and reference point) only
apply relative to a host Bezier path and hence have no meaning for the
Temp shape view.
Start & End Custom View

Any Bezier path may be used as a “Arrow” applied to the start or end of a
Bezier graphic. The Start or End tab of the custom shape view is used to
manage user defined, or custom, arrow shapes.
For clarity, we will refer only to the Start position for the rest of this section.
Understand that operations are identical for the End tab, except for the
location on the target graphic.
The “On” and “Custom” buttons determine if the start of the selected
graphic will have an arrow (ON), and if it will be a standard arrow or a
Custom arrow. If Custom is not checked, the arrow’s shape is defined by
the Arrow Shape on the main Form tab. Check both boxes to apply a
custom arrow shape. If no other shape is specified or shown, the current
Temp shape is applied.
You may perform minor editing the custom shape, in-place, by click and
drag of a vertex or control point handle. These are the small light brown or
blue rectangles overlaid on the shape. Editing is similar to the editing
procedure on a normal EazyDraw drawing. If more editing capability is
required (such as adding or removing a vertex) drag the shape to an
EazyDraw drawing window and continue editing with the full EazyDraw
capability. Then drag and drop the shape back on this view.
Every arrow shape has a defined reference point. This reference is used to
define a unique mating position of the arrow shape and the target Bezier
path, the point where the arrow is “attached.” The default reference
position of a custom shape is the first point of the Bezier path. You may
shift this reference by using the two blue tab handles found in the right and
bottom margins of the editing view. The reference position may be shifted,
but is constrained to remain inside the bounding rectangle of the custom
shape. Larger shifts are done with the full Transform. Move the reference
with the click and drag of one of the tab-handles. The position is shown
with the light blue crossing lines.

A new shape is selected for editing by making a choice from the Named
shape popup menu. The contextual menu provides access to the standard
EazyDraw arrow shapes, so they may be used as a starting shape for
customization.
Color and style selections such as fill color, stroke width, line color are not
reflected on the in-place editing view. These are managed by parameters
on the Style main tab view. These are applied to the shape as attached to a
target graphic and shown on the main drawing. Shapes shown on this view
do not reflect choices for these attributes.
The Transform button is used to apply a full morphing transform to the

arrow shape. Use this to position, orient, scale, or shear the arrow shape.
Note, the transformed shape is not reflected in this editing view, this view
always shows the original starting shape. The transformed shape is viewed
interactively on the main EazyDraw drawing, relative to the target graphic.
A starting shape is moved to the Temp position with Paste selections found
on the contextual menu for this tab view. Control click to access.
Along Arrow
Any Bezier path may be applied in a sequence along the path or curve of a
Bezier graphic. A common term for these shapes are “Brushes,” but we will
just call them arrows, as they are an extension of the general “Arrow” on a
line concept. The Along tab of the custom shape view is used to manage
this drawing technique.
Editing and positioning for an Along arrow is the same as discussed above
for Start and End arrows. An Along arrow has additional capability with
respect to morphing transforms, and
positioning.
An “Along” sequence has an additional

reference point, one that defines the
beginning of the sequence of shapes. The
popup menu just above the On button is
used to define this master reference point.
Three choices: Start, Center, and End are
available. This reference is the stationary
point, along the target path, from which the
sequence of shapes emanates.

Two methods are provided for determining the spacing of the sequence of
arrow shapes, Interval or Count. The method is selected using the popup
menu, top-right corner of this tab view. The Count method will place, at
even intervals from the master reference point, count number of shapes
along the full length of the target graphic. The Interval method will space
the shapes at a specified interval, thus providing more arrow shapes for
longer path lengths.
The text field and slider at the bottom of the palette control the Interval or
Count of the arrow sequence along the target path. The value controlled
depends on the popup menu selection, as described in the previous
paragraph.
You may apply an arrow at each vertex of a curve. This is a simpler “along”
technique. It applies only for the standard arrow forms. The user interface
for this approach is found at the bottom of the Style tab.
The contextual menu provides access to the standard EazyDraw arrow

forms, so they may be used as a starting shape for customization. The
standard EazyDraw arrow forms do not respond to this “Along” technique,
you must first assign the standard shape as the Along custom shape, using
the contextual menu.
Two separate transforms are available for the Along technique, the first is
the normal transform to morph and position the custom shape as desired,
this works just as described for the start and end arrow positions. The
second is called the Sequence transform. Think of the second transform as
a “delta” transform applied sequentially to each arrow shape along the host
path. An example of the sequence technique would be to make the series of
shapes smaller and smaller as if disappearing in the distance. See the
examples at the beginning of this section.
Sequential Transform
The Transform Button is found top center of custom shape editing area.
Separate transforms are applied to the Start, End, or Along custom shapes
-- each are controlled separately. The current editing Transform is
reflected by the tab selection, visible just below this transform panel.
Offset: Offset is a value that will shift the arrow shape along the host path.
If the path is a straight line, it just follows the line. If the host path is a
curve, Offset follows a line tangent to the curve at the attach position.
Away: Away is a value that will shift the arrow shape away from the host
path, perpendicular to the direction of the Offset shift.

Rotate: Rotate is a value that
will spin the arrow shape
around the final position
point. The point of rotation is
the shape’s reference point
which is shown by the blue
margin tabs on the in-place
editing view.
Scale: Scale is a uniform

sizing parameter that will
adjust the overall size of the
arrow shape. Positioning and
rotation are done first, then the
shape is scaled according to this
fractional value.
Distort: The four Distortion parameters, Across, Pitch, Tilt, and Down are
the core morphing transform factors. In mathematical terms they are the
Affine transform matrix. You don’t need a math degree to use them,
experimentation is the best method. In general, but not precisely, their
control aspects are as follows: Across controls width scaling which is the
“along” axis but after rotation. Down controls height scaling which is the
“away” direction but after rotation. Pitch and Tilt used together provide
rotation, if they are equal in magnitude this will be a simple rotation. Shear
is accomplished with Pitch and Tilt - when they have non-matching values.
Pitch and Tilt are specified as angles, Across and Down are specified in
scaling percentages.
Cancel: The Cancel button will close the Transform panel, clear the current
transform configuration and restore the transform configuration that was
present when the panel was called.
Done: The Done button will close the Transform panel, and permanently
apply to the target graphic’s arrows the transform in its current
configuration.
Flip: The Flip button will rotate the target arrow shape, 180 degrees. This
will flip the pointed direction of the arrow to the opposite direction along
the target graphic path. It is the same as adding 180 degrees to the current
rotation.

Clear: The Clear button will return the current transform to the “no-action”
state, or unity transform. This has no offset, translation, rotation or shear.
The arrow shape is drawn directly as defined by the master shape and the
over-all arrow Size parameter found on the main Form tab of the Arrow
palette.
Changes to Rotation and Scale values will cause changes to the the Affine
matrix parameters. The scaling or rotation is actually accomplished by
EazyDraw computing and setting the correct matrix values. Conversely, if
changes are made directly to the matrix values, you may see a change in
the defined scale or rotation values. However, changes to the matrix do not
result in changes to the translation parameters, “Along” and “Away.”
Scaling and rotation have well defined meanings when there is no shear to
the transform. In the case of shear, the actual rotation and scale have more
general and approximate meanings.
The Along, Offset, and Rotate values are measured in Fine Scale Units
right hand corner of the palette. All other values are unit-less fractions -
percentages defined by the Fine Scale selection for presenting percentages.
Named Arrows
You may save a user designed custom arrow shape as a simple “named”
arrow. This allows custom shapes to be easily reused.
Named custom shapes are accessed from the popup menu found near the
top of the Custom tab on the Arrows palette. All named arrows are saved in
one disk file in the EazyDraw’s applications support folder (see chapter 02).
Choose a named arrow shape using a popup menu. The menu shows the
name of the arrow and a small automatically generated icon hint of the
shape. Select a shape and it is applied to the position (Start, Along, End, or
Temp) as defined by the current in-place editing tab selection.
If a shape is edited and does not match an existing named shape, the Save
menu selection is enabled. Select this item and a pull down panel will allow
entry of a name for the shape. It is best to use a unique name for the
shape, but not required.
If a custom named shape is not edited, or simply matches an existing

named custom arrow shape, the “Remove” menu selection is enabled.
Selecting the Remove item will clear the shape from disk file. This action
does NOT have Undo support and no warning check is provided, so use
wisely.

The named custom shapes are
saved in a disk file in the
Applications Support folder of
your home Library folder. So
the path is “Tilde_for Home”-
>Library->Application
Support->EazyDraw-
>Arrows.plist . The file is a
human readable text file. It
may be edited with any text
editor or the Apple supplied
pList editor. The history shapes
managed by the Temp view are
also found in this folder, their
file name is
ArrowsHistory.plist.
If a significant amount of time

is spent designing custom
arrows, the current set of
named custom shapes should
be backed up. It is wise to
make copies right before and
after a designing session.
Note for the advanced user:

The default set of custom
arrows is derived from an
EazyDraw drawing that is
included as a resource file in
the EazyDraw application
Bundle. As a reference for
expert users or language
translation engineers: the file is
ArrowShapes.ezdrw.gz; the
format is a simple set of group
graphics that contain a Bezier
path and Text Area graphic
with the associated shape
name. This avenue provides
another way to custom design
a set of arrows.

Brushes
The Brushes panel is used to design and apply custom Bezier paths along
the outline (or stroke) of a master graphic’s path. The common usage term
for this techniques is a “brush.”
This topic is a bit recursive, a Brush involves applying a Bezier path to a

master Bezier path. The concept may appear confusing until you have made
an initial study of the topic. If you have had training towards artistic vector
drawing, then you will find this topic familiar.
If your usage of vector drawing is more towards technical, scientific, or

general usage there are several interesting techniques available via brushes.
Think of a brush as a repeating arrow or marker that is applied along
master path.
EazyDraw extends the concept of brushes when using repeating cyclic

waveforms as the brush path. This provides effects that may be interesting
to both the artist and the general purpose or scientific user. For example, a
brush can be used to apply a sine wave along a curving path.
Palette Summary
We divide the workflow for brushes into 3 processes. A brush path is first
created and stored in the Brush scratch pad store. Next the brush path is
applied to a graphic, or the master path.
Scratch Pad: A brush path is first created and stored in the Brush scratch
pad store. The scratch pad is the lower section of the Inspect tab on the
Brush palette. The actual brush path is designed on a standard EazyDraw
drawing canvas. This provides the full capability of EazyDraw for the brush
path design activity.
Apply and Inspect: Next the brush path is married to the master path.
This activity is managed in the top area of the Inspect tab on the brushes
palette. This similar to other graphic augmentations (such as dashes or
arrows). The target graphic is selected, a brush path from the scratch pad is
applied and associated parameters are set.
Use: The final aspect of the work flow is the actual usage of a brush. It is
important that this activity be as efficient as possible. Brushes are often
needed for artistic drawing. The creative process must be fluid and
unbroken by tedious menus and extra key clicks.

After a complete brush (brush path, method, and associated parameters) is
designed it is sent to the Use table. The Use tab of the brush palette
presents this “use” table. A full set brushes is available for single click
selection.
The Use table is similar to a User library but the focus is on usage not
archival. This table will be more dynamic a brushes library, it will often
change with each project.
Concepts
The illustration below will help establish the concept of a Brush and clarify
the nomenclature. At the top there are two normal EazyDraw graphics, a
nearly circular oval and a line. These two elements will interact as we
define and use a brush. Two methods are shown, Artistic and Interval.
These will demonstrate the two major brush concepts provided with
EazyDraw.
The illustration next shows two possible results. The extended oval is an
Artistic brush, the Artistic Brush method is used. In this case the vertical
shape of the oval is held constant and the horizontal dimension of the oval
is extended along the length of the line.
Just below the extended oval brush stroke is the same Master Path (the line)
and the same Brush Path (the nearly
circular oval) but the brush method
is Interval. With this method the
Brush Path is repeated along the
Master Path.
The concept of brushes then extends

to a path that is not a line, but is
curved. For the Interval brush the
Brush Paths are simply placed along
the curved path. But for the Artistic
brush the Brush Path is distorted, the
vertical shape of the path applies
perpendicular to the path, the
horizontal component is
extrapolated or stretched along
(parallel to) the master path.

The simple examples do not exhibit the trait of direction. But attribute of
direction is firmly carried with the Brush path. The brush direction
component is horizontal from left to right. As the line or curved master
path is rotated the “start” and “end” determine the applied direction which
corresponds with the “left” to “right” direction of the original drawn path.
Brush Design Work Flow: As you study this brush design and usage
process it will be helpful to organize your thoughts along a work flow path.
The illustration on the page to the right provides an generic overview of the
workflow usedThe process begins with a brush design, on a drawing
window. Next the process flows to the bottom area of the Inspect tab (on
the Brushes palette), this is the scratch pad. The flow then moves upward to
the design area at the top of the Brushes palette. Finally a complete brush
moves conceptually to the right to the Use table. Conceptual summary:
over-up-over, as simple as that.
Scratch Pad
The lower section on the Brush palette’s Inspect tab is a scratch pad for
managing Brush Paths. A brush path is designed and drawing on a normal
EazyDraw drawing, using all of EazyDraw’s drawing tools and capability.
The completed Brush Path is conceptually moved to the scratch pad where
it is held until used in a Brush.
Reason for a scratch pad: Since a Brush Path Bezier is drawn and
designed on an EazyDraw drawing. And a Brush is applied to a Bezier Path
The inspector of a Brush will need to distinguish the target Master Path
from the Brush Path that is a component of a Brush. Just as this paragraph
is recursive and difficult to follow, actual concept is recursive and
potentially confusing.
In fact if you work frequently with brushes you will inevitably apply a Brush
Path to itself, which usually results in strange nearly comical effects.
The Scratch pad breaks the loop of requisition. First drawing, design and
editing of the Brush Path is completed. The resulting graphic or Bezier path
is selected on the drawing, then added to the scratch pad. Secondly: the
master path is drawn, edited and designed on a (may be the same) drawing.
Then the Master path is selected and the Brush Path residing on the scratch
pad is available (think second selection) to use as a brush for the selected
master path.

Brush Design Work Flow

Adding a Bezier to the Scratch Pad: There are the expected normal
methods for adding a Brush Path to the Scratch Pad. Drag and Drop from a
drawing to the scratch pad inspection area. Drag and Drop may originate
from a drawing or from a User Library. The “plus” button at the bottom
right corner will add selected Bezier paths (from the main drawing window)
to the scratch pad.
A Brush Path may be comprised of multiple individual Bezier paths. If more

than one Bezier is selected on the drawing, all are added to the scratch pad,
as one Brush Path. It is common that a Brush Path is built from several
individual Bezier paths, think of the a brush that will have a fuzzy or “hair”
like appearance.
The source on the drawing does not need to be a “raw” Bezier path. Any
graphic that has a Bezier path may define a component of the Brush Path.
The Bezier Path is extracted and added to the Scratch Pad as a Bezier path.
This means that if a Brush Path is returned from the Scratch Pad to a
drawing for editing, the higher level information (that the path was a
Rectangle, or Up Arrow) is lost, only the Bezier path is introduced to the
Scratch Pad table.
If a source Bezier graphic has an active Brush, the Master Bezier path is
installed in the Scratch Pad table, not the Brush Path. To send the Brush
Path to the Scratch Pad: select the Bezier Graphic, the Brush path is
presented in the Inspection View (top area of the Brushes palette), then
click the “downward” arrow button found a the center of the Brushes
palette. This “sends” the Brush Path from the inspector (that of the selected
Bezier graphic) to the Scratch pad.
Naming Brush Path: The Scratch Pad may contain several Brush Paths.
Only one is selected and visible in the Scratch pad display. The popup menu
lower center shows a name for each Brush path. The popup menu has a
selection to change the name for the selected Brush Path.
A new Brush Path is given a name when added to the Scratch Pad. This is
the name associated with the graphic, as inspected on the Easy Look panel
(near top of Format main menu). If the graphic does not have a name,
EazyDraw creates one derived from the graphic shape.
If a Brush path is edited (moved back to the drawing) then added back to
the Scratch Pad, the originating Brush Path name is conserved. When the
path is sent back to the drawing, the name is carried along with the shape
information.

Editing Brush Path: If changes are needed for a Scratch Pad path, the path
is sent back to an EazyDraw drawing. The Edit button will place a copy of
the Scratch Pad’s selected Brush needed the current main drawing window.
Drag and Drop, from the Scratch Pad to the drawing is another method.
Drag and Drop will also work from the Scratch Pad to a User Library.
Brush Path Table: The Scratch Pad has storage for multiple Brush Paths.
Use the popup menu (the “Naming” popup) to select a specific Brush Path
by name.
The Stepper control, found to the right of the Brush Path view, is used to
step though each Brush Path.
Archival Note: The Scratch Pad is not intended for use as a primary
permanent archive of Brush Paths. The implementation here is for
temporary use. The Brush Paths are stored (at the time of this writing) in
your system Library folder in the Applications Support folder assigned to
EazyDraw. This means the paths will not necessarily automatically move to
a new system or across a major upgrade.
Archive Brush Paths in an EazyDraw drawing or User Library. These will be

public visible files on your system with normal backup support by Time
Machine or other persistent archive activities.
Brush Path Color and Style

Brush designs will use various color and style (or fill and outline)
configurations. For example a brush that emulates a paint brush stroke will
have a filled-no outline configuration with a solid color and perhaps
transparency. But a brush that is an artistic border, perhaps a scroll
appearance, will have outline - no fill configuration.
The second implication for Color and Style relates to which component, the
Brush Path or the Master Path, defines the Color and Style configuration for
the final Brush graphic. Conceptually either component may be the defining
component. EazyDraw supports both approaches.
The Color and Style settings for the Brush Path are set on the originating
EazyDraw drawing, before introduction to the Scratch Pad. The Brush Path
information, held in the Scratch Pad table, carries the originating Color and
Style settings.
For this discussion Color and Style is a precise concept, It is all of the
parameters found on the Color and Style palette. Including the use of Fill
and Outline, Bezier end and join settings, color, color space, and opacity.

Multiple Brush Paths: Many brush forms will require several individual
Brush Paths. All required Brush Paths are added to the Scratch Pad as a
bundle or multiple Bezier Graphics. Each individual brush path component
may carry a unique set of Color and Style parameters. They are recored and
assigned to the individual paths at the point of introduction to the Scratch
Pad.
This means that a complex Brush Path comprised of multiple individual

Bezier graphics may have multiple fill colors and appearance settings.
Opacity: Individual assignment of Color and Style settings implies that

individual Bezier paths of a complex Brush Path may have different settings
for Opacity (Opacity is defined with the Color, on the system Color Picker).
This allows interesting transparency effects especially if there is overlap of
multiple individual Bezier paths. This should be conceptually clear now for
the case where Color and Style is defined with the Brush Path, rather than
the Master Path.
Opacity has different treatment than other Color and Style parameters when
Color and Style is defined by the Master Path. Opacity of individual Bezier
paths carries though and is applied to the color setting defined by the
Master Path. This seems a complex definition logic, but in actual use it is
natural and much the expected behavior.
The Opacity treatment means that transparencies may be applied at the

Brush Path design stage. These then are used and applied to a color defined
at the later usage stage. This allows color change and set when the brush is
used, yet it is applied with transparency built into the the Brush Path
design.
This capability is applicable when a complex, multi-Bezier path Brush

Stroke has varying opacities for individual Bezier path components.
Brush Inspector
The top section of the Brush palette is where the primary brush design and
inspection takes place. Here you may initiate a Brush by assigning a Brush
Path from the Scratch Pad. Or you may inspect a Brush that is associated
with one or more graphics on a drawing.
The Brush inspector offeres varying parameters according to the assigned

Brush Method. The different methods have differing specification
requirements. For example the Sequence method has a defined interval, but
interval is not a parameter for the Stretch Between. As you study the next
few sections keep in mind that the specific parameters visible in this area of
the Brushes palette will vary.

The inspection activity for the Brush palette is the same as found on other
palettes such as Arrows, Color and Style or Dashes. The inspector shows
the state a graphic selected on the drawing. Changes apply to the target
graphic. If no graphic is selected then changes apply to the temporary
default Brush (the one that applies when creating a new graphic). If multiple
graphics are selected, changes apply to the Brush attribute of all selected
graphics.
If you are new to EazyDraw or computer drawing and the previous

paragraph was not “clear” then it might be better to “cut your teeth” on
Dashes or Arrows, these are simpler and it will be easier to get a feel for the
concepts of defaults and inspection. It can be frustrating if you play
around here a bit and then find that everything you draw has elaborate
brush effects.
Note on Use Table: The Use Table is a convenience extension of the

general concept of defaults for EazyDraw parameter palettes. It is nearly as
efficient to use temporary default, Current Button, Default Button, and Copy
-> Paste Special Brushes as it is to employ the Use table. There is also the
named brush popup menu (near the top, on the right of the Brushes
palette). Each user and project will likely lead to a different combination of
these approches for a fluid creative work flow.
How to turn Off a Brush: This is often a specifically needed bit of

information: To remove a brush from a graphic, select the graphic(s) on the
drawing then use the Method popup menu (found top left) - select None for
the method. This will return the graphic to a normal non-brush-stroke
state.
If everything you draw has an unintended and undesired Brush: deselect all
graphics, use the Method popup menu to choose None for Brush. The key
here is that no graphics are selected on the drawing.
Brush Design
The two arrow buttons, seen in the middle of the palette, are used to
transfer the Brush Stroke Path between the active Brush and the scratch
pad. The design of a brush begins by bringing (the upward arrow button) a
Brush Stroke Path “up” to become the active Brush. An initial guess for the
brush method is applied based on recent activity and the shape and
configuration of the Brush Stroke Path - this is only an initial convenience
guess and will likely need manual selection using the Brush Method popup
menu.

The key parameter for Brush design is the Brush Method. This is selected
with the top popup menu. The presented parameters and appearance of the
Brush Inspector View changes significantly after the Method is selected.
Changes, such as Method, are applied directly to selected graphics on the
EazyDraw drawing. Only a portion of your design inspection will focus on
this palette and the Brush Design View. The final appearance of the brush
design is seen on the EazyDraw drawing and target graphic.
The central brush viewing area is called the Brush Design View. This will
display the specific Brush Stroke Path and associated design parameters
specific to the selected Brush Method. This display may or may not actually
represent the appearance of the brush in use, a typical target graphic on an
EazyDraw drawing should be used for the actual design appearance of the
brush.
The arrow button near the top right is used to send a completed brush
design to the brush Use table. Click the button to place the full brush
design (Brush Stroke Path, Brush Method, all associated parameters) to
holding slot in the brush Use container. The brush, identified by the
assigned name, is then available for quick convenient use from the Use
table. A detailed discussion of the Use table follows.
The Style popup menu manges the origin of Color and Style information for
the brush. Two choices, From Brush and From Path. From Brush: in this
case Color and Style settings for the Brush were defined at the time of the
original design of the Brush Path, before introduction to the Scratch Pad.
From Path: in this case Color and Style are “dynamic” they may be set and
inspected with the Color and Style palette, the values are those associated
with the graphic (the master path) and not the settings assigned to the
actual brush.
The Color and Style settings used in the inspection view reflect the Style
popup selection
Brush Naming: It is a good idea to assign a name to a brush, this will

generally prove useful while drawing. The Brush name is found just above
the brush viewing area, at the center of the palette. The name of the brush
may be different than the name of the Brush Path, often one Brush Path may
be used for several Brushes.
The name entered and inspected in the text box carries with the brush if it
is placed in the Use table. The name may or may not be seen on the popup
menu of brushes in the Use table. This is the popup menu just above and to
the right of the brush name text box. This popup menu has names of
brushes present in the Use table. If the inspecting brush does not match a
brush in the use table, dashes are displayed as the popup selection

If the inspecting brush matches a brush in the Use table, the name of the
matching brush is shown in the popup menu. This simply indicates a
match of all settings for the brush (except perhaps the name). The assigned
name for the actual brush under inspection may be different. This assigned
name is associated with the target Brush in use on the Drawing, hence it is
logically unique from a name assigned to a brush in the Use table.
If a graphic with a brush is duplicated, copied or interchanged with a User

Library, the assigned name is carried with all other relevant Brush
parameters.
To further clarify, the name of a Graphic, that uses a Brush, will be unique
from the Brush name. The name of the Graphic is seen on the EazyLook
table or perhaps as a User Library assigned name.
Brushes and Brush Paths are assigned automatic initial names. The
assignment is based on the best information available, if none is present
the name of the originating Brush Path shape is used with a sequential
numbering suffix.
A drawing may naturally have several graphics with the same Brush name,
but the Scratch pad table and User table both require unique names.
Factory Brushes: EazyDraw

ships with a small set of stock
Factory brushes. These are
intended to show the use of
various parameters for the
different brush methods. This
set will initially populate the Use
table and associated popup
menu.
If these are removed or partially

deleted the factory set is
regenerated with the selection
found a the bottom of the
popup menu. The “Factory”
selection will not show if all
Factory brushes are present in
the Use table.

The Factory Brushes are intended primarily as a teaching aid, not as a
design library. Check the Additions Pack or other resources libraries of pre-
designed brushes to use for sketching or illustrations.
Brush Transform & Sequence Transform

Brush Stroke Paths may be morphed with two independent transforms, a
primary transform and the sequence transform. The primary transform
applies directly the Brush Stroke Path, changing the size, shape, and
orientation before the path is applied to the master path. The sequence
transform applies to some repeating brush methods, in these cases the
modifications (generally a smaller change) are applied successively to each
of the repeating paths.
The transformed shape is not reflected in an inspection view, the preview

on the panel shows the original starting shape. The transformed shape is
viewed interactively on the main EazyDraw drawing. Generally the target
master path with the applied brush is used to view and design the proper
settings for the transform parameters.
The generic transform panel is accessed from the Transform or Sequence

buttons on the Brush design tab of the Brush palette. This panel is used for
Arrows and other morphing actions in EazyDraw, parameters are generally
similar. The Transform and Sequence buttons are shown when a Brush
Method that uses the transform is selected.
Offset: Offset is a value that will shift the Brush Stroke path along the
master path.
Away: Away is a value that will shift Brush Stroke Path away from the
master path, perpendicular to the direction of the “Offset” shift.
Rotate: Rotate is a
value that will spin the
Brush Stroke path
around the geometric
center of the Brush
Stroke Path.
Scale: Scale is a
uniform sizing
parameter that will
adjust the overall size
of the Brush Stroke
Path.

Distort: The four Distortion parameters, Across, Pitch, Tilt, and Down are
the “raw” Affine transform matrix. You don’t need a math degree to use
them, experimentation is the best method. In general, but not precisely,
their control aspects are as follows: Across controls width scaling which is
the “along” the master path but after rotation. Down controls height scaling
which is the “away” direction but after rotation. Pitch and Tilt used together
provide rotation, if they are equal in magnitude this will be a simple
rotation. Shear is accomplished with Pitch and Tilt - when they have non-
matching values. Pitch and Tilt are specified as angles, Across and Down
are specified in scaling percentages.
Cancel: The Cancel button will close the Transform panel, clear the current
transform configuration and restore the transform configuration that was
present when the panel was called. The panel does not support Undo, use
Cancel to exit without changes.
Done: Click Done to close the Transform panel, and permanently apply the
transform in the current configuration.
Flip: The Flip button will “flip” the brush shape along the direction of the
master path.
Clear: Clear returns the current transform to the “no-action” state, or unity
transform. This has no offset, translation, rotation or shear.
Sequence - Transform
There is a Sequence Brush, and Sequence Transform. A Sequence Brush
employs a Sequence Transform, and the Sequence Transform may be used
by other Brush Methods. The discussion here relates to the Sequence
Transform.
The Sequence Transform uses the generic transform panel as described in

the previous section. The unique aspect is that the Sequence Transform
applies as a compositing delta transform along a progression of Brush
Strokes. Normally the Sequence Transform will apply small incremental
changes that build (add) with each use of a Brush Stroke along a Master
path.
The classic example of a Sequence transform might be a graphic sequence

that diminishes in size fading to a point. Another is a “rolling” effect, that
causes a shape with a direction (think “arrow”) to spin or roll orthogonal to
the direction of a master path. See the illustration below for an example
and corresponding (typical) Sequence transform values.

Brush Use Table
The Use table provides a preview container for a set of previously designed
Brushes. This table is designed for convenient, quick, simple, single click,
selection of Brushes while drawing. Similar to a tool palette, one click on
the Use button and the desired brush is set for use on the next drawing
action.
The focus here is not editing or designing brushes. Brushes should be

designed, debugged and tweaked using the Inspect tab before loading in
this table.
The quickest way to edit a brush in this table is to Apply it to a graphic on a

drawing then switch to the Inspect tab, leaving the graphic selected.
Description: The table provides a preview display of each Brush. The user
assigned name for the Brush is shown top left of the preview display. The
Brush Method is shown top right of the display. These will be important
because the preview of a Brush may not always provide a definitive look
that will represent the Brush appearance when applied to a graphic on a
drawing.
The Use and Apply buttons are the focal point of the Use table. If you click
the Use button, that assigns the associated Brush as current default.
There may be only one Brush active as the Use Brush at a given time. Any
new graphic is drawn with the Use Brush. Click the Use button again to
remove the Brush as default and return to normal non-brush graphic
creation. When a Use Brush is active, the rest of the table is shown faded to
gray, and the Use button is highlighted.

If a graphic(s) is already drawn and it is desired to add or change the
associated Brush, this is done with the Apply button. A single click and the
brush is assigned to the target graphics.
The Brushes palette is fully resizable. Don’t forget that you may adjust the
size as needed. Arrange the palette and your desk top for fluid efficient
access to the Brushes that are in use. And remember that the table
supports drag and drop re-arrangement.
Add Brush: As described above, Brushes are added to this table with the
“right arrow” button found top right on the Brushes Inspect tab, of the
Brushes palette.
The Use table fully supports

drag and drop, this is another
way to add a brush to the table.
A graphic with a Brush may be
dragged from a drawing to the
Use Table, the actual Brush will
“drop” onto the table, not the
full graphic.
Dragging from the Use table

sends the simple Brush Path,
not the full brush. This relates
to dragging from the Use table
to a User Library or a Drawing. If
the full Brush is needed (not just
the Brush Path Bezier) use the LL
button for the Brush palette. As
with other EazyDraw parameter
palettes, the LL button (top right corner of the palette) represents the
attribute of the palette, in this case the Brush. Dragging from the LL button
to a User Library adds the attribute, current Brush (the complete Brush not
just the Brush Path), to the User Library. The resulting Library Element is
then a representation of the attribute set (in this case the Brush).
Application of the resulting Library Element from the User Library to a
target graphic on a drawing applies the corresponding attribute.
Selecting Use Table Brush(es): The Use table follows macOS conventions
for a table list of elements. Click on Brush to select the Brush. If there is a
Brush selected, shift click on another to select the additional Brush and all
Brushes between. Cmd-Shift-click to add (or remove) a single selection.
Some users don’t always recall the techniques for multiple selection and
deselection of a table. In this table a selected brush has a small “x” at the

lower right (of the Brush display). Click this “x” to deselect an individual
Brush.
Selected Brushes in the table have a bold red border. Notice that a
“selected” Brush does not have any relationship to a brush that is in use.
Selected brushes only relate to management of the table or list of Use
Brushes. For example, to delete several from the table with a single click, or
to re-arrange their position.
The number of Brushes in the table and the number of selected Brushes is
shown at the top right of the panel as a pair of comma separated integers.
This can be an important visual clue if the table has numerous entries and
some selections are out of view.
The Minus button at the lower right of the panel is used to remove the set
of selected Brushes. Keep an eye on the top right of the palette, the second
number of the pair shown there will indicate how many Brushes are selected
for delete.
Color and Style: If the Brush Style setting (for the Color and Style
parameters) is From Brush, then the Use table will show the brush’s color. If
the Brush Style setting is From Path, then a dark gray color is used on the
Use table.
The choice for Fill or Outline only for the display on the Use table is derived
from the Color and Style parameters (regardless of the Brush Style setting)
applied to the Brush Path at the first design step. This arrangement allows
user control for the appearance on the Use table, but the settings need to
be considered at that first design step.
For example a Sine wave brush would start out as Outline only (no Fill), but
the solid curvy arrow would be set to have Fill before sending the path to
the Brush Scratch Pad. This seems complicated, but natural usage and
drawing techniques should lead to the proper results with little thought.
Archival: This table is intended to be dynamic and configured for specific

drawing projects. It is not intended as a permanent persistent archive for
valuable brush designs. Use a User Library or Export your brushes to a
persistent file on the hard drive so that backup regimens and Time Machine
will have backup copies in case they are needed.
Paths in the Use list are saved when EazyDraw quits and restarts. The paths
are saved in a property list text file in the Application Support folder
assigned to EazyDraw by macOS. This information will not normally move
from system to system or to future installations of EazyDraw. Use Export

capability found at the bottom of the Use Tab table to generate a persistent
archive for important tables of brushes
Export Import: The Export button presents a standard Save panel, select a
location on your system or iCloud. Selected Brushes are written to a text file
formatted as an XML Property List.
The Plus button (lower right) is used to load or import Brushes that were
saved with the Export button.
The Export and Plus actions are the appropriate method for exchanging
Brushes with other users or distribution.
Brush Methods
Several Brush Methods are provided. The Brush Method is selected with the
popup menu found top left of the Inspect tab on the Brushes palette. Each
method will have a unique set of associated parameters. These are
presented around and “on” the brush inspection view, the top portion of the
Brush palette.
This manual will provide a brief description of each Brush Method. The Help
pages will provide full detailed information for each method. The Help page
for the method will be more complete. The descriptions here will attempt to
be brief and non-repetitive. If a parameter is used by several methods, it
will only be explained once with the first method encountered.
Artistic Brush: The Artistic Brush stretches and conforms the Brush Stroke
Path to the master Bezier path. An Artistic brush stretches the Brush Bezier
path the full length of the master path. This is a simple linear stretch with
no thinning or thickening of the brush path.
The Curve Linear checkbox is found just above the top right corner of the
brush inspection view. Curve Linear applies when the Brush path has
straight (linear. non-curved) components and the master path is curved.
Selecting Curve Linear will bend and curve the linear portions of the Brush
Path. Notice the difference between the two double headed arrow’s below.
They both use the same Brush Path, the smoother of the two has Curve
Linear applied.
EazyDraw brushes support multiple semi-independent Brush Paths. This is

especially useful with the Artistic brush method. The individual Brush Paths
may have different opacity values assigned to their respective colors, and
individual paths may have different colors. If the Brush Style is set to be
derived from the Master path, the color specified for the Master path is

applied to all the independent Brush Stroke paths, but each Brush Path uses
the specific value for opacity.
Stretch Brush: The Stretch Brush method stretches and conforms the Brush
Stroke Path to each segment of a Bezier Path. This is a linear stretch along
the Master Path with no thinning or thickening of the Brush Path.
Curve Linear applies, see description above in the Artistic Brush section.
Behavior is the same.
This brush method provides repetition of the Brush Path. The repeating
elements need not have the same length. The length of each repeat is
determined by placement of Bezier vertices as the master path is drawn or
according to a graphic’s geometry. For example, a rectangle will have 4

repeats of the Brush Path.
Stretch Between Brush: The Stretch Between Brush stretches and conforms
the Brush Stroke Path to each segment of a Bezier Path, both ends of the
Brush Stroke path are applied at drawn size. A central portion of the path
stretches with the length of the master path. The central portion stretch
connects the two fixed size ends. The Stretch Between brush is selected
with the Method popup menu found at the top of the palette.
A Stretch Between brush employs a 3 part stretch of the Brush Path. A user
defined middle portion providing the length adjustment to match the drawn
length of the Master Path.

The design view of the brush has two blue
indicators. These indicators are
interactively adjustable. Click and drag
handles at the bottom of the view to adjust
their position. These indicators delineate
the three portions of the Brush Path.
The stretch portion is inspected

numerically with the values seen just below
the design view of the brush. Numeric entry
is supported. The values are defined as a
percentage of the Brush Path’s length.
This method is normally used with the

Path, Bezier, or Continuous Bezier tools.
These Bezier paths have user defined
vertices. This is not appropriate for the Pencil or Brush tools because which
automatically add vertices needed.

Stretch Proportional Brush: This method is the same as Stretch Between
except the Brush Path does not repeat for each Bezier segment. The Brush
Path applied for the full length of the Master Path, without regard to Bezier
vertices.
Parameters are the same, see the immediately previous description.
Interval Brush: The Interval Brush Method repeats the Brush Path at a user
defined interval along the Master Path.
The Interval Brush Method repeats the Brush Stroke Path at a user defined
interval. The value for the user defined interval is found just below on the
left of the brush design inspection view. The value is physical length, the
units are the Fine Scale Units for the palette.
There is control for the starting phase, or initial portion of an the interval.
This has both numeric and interactive input. the brownish control handle
near the left edge of the design view provides interactive control for the
phase. The phase is available numerically for inspection and input just to
the right of the interval numeric value. The phase value is defined as a
percentage of the full interval.
Both Transform and Sequence Transform apply for this brush method. This
was explained above, refer to that information.
Sequence and repeat brushes are not stretched, their size is the size “as
drawn.” The drawn size relates to the originating size when the Brush
Stroke Path was designed and first drawn on an EazyDraw drawing, before
introduction to the Brush Scratch pad. A brush may be resized rather
quickly: select the brush, click the “down” arrow to send the Brush Stroke
Path to the scratch area, click the “Edit” button and the brush path will
appear on the drawing. Perform the size or other editing changes and
repeat. It seems a large “logical” step to edit a brush stroke, but it really is
only two mouse clicks to edit and two more to send it back as a brush.
Sequence Brush: The Sequence Brush Method repeats the Brush Stroke
Path a defined number of times along the full length of the master path.
The Sequence Brush Method repeats the Brush Stroke Path a defined
number of evenly spaced times along the master path.
The count of repeats is found just below and on the right of the brush
design inspection view. The value is an integer, fractions are truncated to
the floor integer value.

As explained above: The term sequence on the Sequence Transform button
(above the inspection view on the right) has a slightly different meaning
than the sequence term for the name of the brush method. A sequence
transform applies to other repeating brush methods, not just to this
particular Sequence Method.
Sequence and repeat brushes are not stretched, their size is the size “as
drawn.” The drawn size relates to the originating size when the Brush
Stroke Path was designed and first drawn on an EazyDraw drawing, before
introduction to the Brush Scratch pad.
A brush may be resized rather quickly: select the brush, click the “down”
arrow to send the Brush Stroke Path to the scratch area, click the “Edit”
button and the brush path will appear on the drawing. Perform the size or
other editing changes and repeat. It seems a large “logical” step to edit a
brush stroke, but it really is only two mouse clicks to edit and two more to
send it back as a brush.
Repeat Sequence Brush: This Brush Method repeats the Brush Path a
defined number of times at a specified interval along the master path.
When the defined number of repetitious are complete, if there is length
remaining on the master path, the sequence begins again. The repetitions
continue along the full length of the master path.
The Repeat Sequence Brush Method has a specified interval and a specified
count. The interval is just below the inspection view, on the left. The count
is just below the inspection view, on the right. Since both an interval and a
count are specified the sequence has a defined length (interval times the
count). This length may be different than the length of the master path. If
the master path is shorter, the first portion of the sequence appears on the
master path. If the master path is longer than the sequence’s defined
length the sequence completes then begins again.

There is control for the starting phase, or initial portion of an the interval.
This has both numeric and interactive input. the brownish control handle
near the left edge of the design view provides interactive control for the
phase. The phase is available numerically for inspection and input just to
the right of the interval numeric value. The phase value is defined as a
percentage of the basic interval (not the full length of the sequence).
Remember that the Brush Palette is resizable. If necessary increase the

width of the panel to provide room for all of the interactive and numerical
inspectors that relate to this method.
As you may see with the examples on the next page, this method works
with a Sequence transform. A Sequence transform will step the size and / or
orient or “roll” of the repeating brush along the master path. The Sequence
transform (not to be confused with a Sequence Method) was described in
detail a few pages back.
Reflect Sequence Brush: This Brush Method is the same as the Repeat
Sequence method just described, except that the repeating sequence is
applied in reverse. For example, if the Sequence Transform diminished the
size of each repetition of the
Brush Path, then the “next”
sequence will begin that the
finishing small size and increase
in size with each repetition.
The parameters are the same as

described above, refer to that
description for documentation of
this method.
Cycle Brush: The Cycle Brush

Method repeats the Brush Path
along the full length of the
master path. Controls are
provided to seamlessly match the
end of the Brush Stroke Path with
the start of the next in the
sequence.
The Cycle Brush Method repeats a defined portion of the Brush Stroke Path
along the full length of the master path. The sub-portion of the Brush
Stroke Path is defined to

have matching end (start and finish) orthogonal (or “y”) values. This
matching property ensures continuity (no breaks) as the repetitions are
drawn along the master path. In some cases the originating Brush Stroke
Path will be designed to also have matching slope at the start and finish;
support is provided for this second constraint.
There are two key controls for a

Cycle Brush, they are the indicators
along the bottom of the design
preview area. They have a vertical
line that extends up to the Brush
Stroke Path. They control (and
indicate) the limits (start and finish)
for the Cycle brush (the sub-portion
of the defining Brush Stroke Path).
The left one is always the light blue,
the right one is either blue or red.
The left one is positioned
independently, simply slide it along
to the desired starting point for the
repeating cycle. The right one
traverses up to the y-value of the
left indicator, then it extends to the

left back to a matching y-value on the Brush Stroke path, this becomes the
end of the cycle as used in the brush.
If the right indicator is blue that means the finishing in the same direction
as the start, so the brush path on the master path will be smooth and
continuous. If the indicator shows in red that means the finishing direction
is not the same as the start, in this case the drawn path will be continuous
but there will be a peak or break in slope between cycles.
The blue indicator on the left edge of the inspection preview adjusts the
brush’s amplitude. There is no support for a master transform for the Cycle
Brush Method, but this adjuster provides a small range of amplitude
adjustment for the brush. The numerical value for the amplitude factor is
shown just above the preview, on the left.
Sync Cycle (checkbox above the preview, on the right) will adjust the scaling
along the master path to cause an exact even integral number of cycles to
exactly fit along the length of the master path. This is useful in many cases,
especially if the master path closes on itself. For example a “flower-petal-
circle” design needs the full cycles at the start and finish to match exactly
for proper appearance.
The start and finish indicators have numerical inspection and input. The
values are shown just below the design preview area, start on the left and
finish on the right. The values are defined as percentage of the straight line
length of the Brush Stroke Path.
A Cycle brush will likely use a Brush Path that is itself a cyclical function.
EazyDraw’s Math tools palette has provides several well defined cyclical
functions. These functions support multiple cycles, but in their natural form
the cyclical curve is traced along a straight “x” axis. A Cycle brush with a
cyclical Brush Stroke Path allows the curve to trace along a curved or
otherwise more complex master path.

Shadows
The Shadows Palette provides parameters for controlling the application of
shadows to graphics and Text.
Drop: These are the basic shadow parameters; they provide full control for
simple soft bitmap shadows. The vector and vector image shadow methods
use these parameters and others on the other two tab views.
Effect: This tab provides parameters for controlling the design of vector
and image shadows.
Distort: A morphing transform may be applied to vector shadows to add a

perspective effect to the shadow.
Use the checkbox at the top to apply a shadow to a graphic or text. The
popup menu to the right applies if a graphic has associated text -
annotation or inserted text. In this case the popup is used to specify which
shadow is the target of your parameter changes. Individual shadows may be
applied to either the graphic and/or its associated text.
Vector or Bitmap
There are 2 ways to construct the drop shadow: Vector or Bitmap. The
desired construct is selected with the Method popup menu.
Bitmap: The simplest method is a

Bitmap shadow. It is best for soft or
fuzzy shadows. This method uses the
macOS shadow technology. It is the
same core coding that draws the soft
shadows around windows and other
objects in the Finder. Bitmap shadows
cannot be distorted.
Vector: Vector shadows are

constructed as a series of vector paths
that follow the outline of the hosting
graphic. An interior is filled and then a
sequence of outline paths are drawn
successively fainter (more
transparency) each growing slightly
larger. This process is highly
optimized to minimize performance

issues. This technique is best when a crisp shadow edge is needed. Vector
shadows may be distorted and scaled.
Drop
These parameters control the primary color and appearance of shadows.
Shadow may be applied to graphics, text, contoured text and graphics with
associated text.
The top checkbox will turn a shadow on or off. The shadow needs to be
“On” to enable most parameters on this palette. You can also turn on a
shadow by selecting a named shadow from the Name popup menu.
Method: The Method popup menu determines which technique is used to

construct the shadow: Bitmap or Vector. Bitmap is the simplest technique. A
bitmap shadow is controlled fully with the few parameters on the main
“Drop” tab view of this palette. The color of the shadow is controlled by the
top Color Well . If imaging is not being used, transparency may still be
achieved by applying an Opacity to the color using the normal Color Picker
controls. The Drop and Angle parameters control the position of the
shadow relative to the primary graphic. The location, or drop, of the
shadow is specified in polar coordinates by the Drop value (length) and
Angle (direction).
Bitmap shadows look best on screen and work well for web sites. Vector
shadows will print more predictably but are a bit harder to use for a soft
blur look.
One possible draw back of Bitmap shadows (or conversely an advantage for
the Vector shadow methods) is their use at different scales. The Bitmap
shadow is actually only well defined for a zoom factor of 100%. When a
document is zoomed, EazyDraw makes a rough adjustment to the Blur
Radius to provide the proper approximate appearance of the shadow.
However the exact shadow is only shown on screen at 100% zoom and
when printing or exporting. If a drawing is designed for a broad range of
uses such as posters and web

graphics, then one of the Vector techniques should be used. But when
designing for one output medium, Bitmap shadows are easier and look
better if a soft effect is desired. It is strongly advised to do a test print or
export early in a design project to make sure the shadow settings are
providing the desired appearance.
Shadows can be expensive with respect to CPU time. EazyDraw uses

advanced caching and anticipatory algorithms to minimize CPU load.
Normally you will not notice performance degradation. But if shadows are
combined with other CPU intensive effects such as contoured text (i.e. a
advanced shadow applied to contoured text)) you may notice increased
redraw times. The Outline setting found on the Format main menu is used
to globally turn off advanced effects such as Shadows. This mode speeds up
the display and clarifies the display for more convenient design response.
The Blur parameter controls the “softness” of a bitmap shadow. This value
is entered in Fine Scale units. A larger value will yield a softer or more
blurred shadow. Blur only applies to the Bitmap shadow method.
Effects
This tab view provides parameters used with the Vector and Image shadow
methods. None of these parameters apply to the simple Bitmap shadow
method
For compositing effects such as

highlighting the Image option is
required, note the check box
lower right. Without imaging the
shadow will be a crisp copy of
the parent graphic, it can still be
shaped, distorted and softened.
Edge: The Edge parameter is

used to soften, or blur a Vector
shadow. A 100% setting will
generate a crisp edge to the
shadow. Lesser settings will
generate a fade region on the
outer edge of the shadow. The
shadow color will fade to
transparent across the fade-
edge parameter dimension.

Overlap: Overlap controls the density of the shadow. In some cases
applying a shadow to curved regions with sharp curvature gaps may appear
in the generated shadow. Increasing the overlap can help reduce this affect.
Light overlaps can be used to generate interesting lined effects.
Bloom: Bloom is used to enlarge (or shrink) the shadow. For example, a
Bloom greater than 100% would be used, with a zero drop, to generate a
glowing effect around a graphic.
Anti-Aliasing: The Anti-Aliasing check box can be used to turn off Anti-
Aliasing when drawing the shadow. Anti-Aliasing is normally used by the
macOS advanced Quartz rendering technology. It is key to the display of
crisp high quality graphics. In some cases when drawing the closely nested
family of curves required to generate the shadow effects it may be desirable
to turn off Anti-Aliasing.
It requires more work to use the Vector compared to a simple bitmap

shadow. However a Vector shadow will hold its appearance better over a
wide range of scalings. In both cases it is wise to do a test print or Export
and verify the appearance of the shadow as displayed or printed on the final
output medium for your drawing. This should be done early in a design
project to verify that all steps of the producing work flow faithfully
reproduce the techniques used.

Distort
In addition to a simple drop, you may shear or distort the shadow with a
full morph transform. The morphing transform is defined mathematically as
an Affine transform. The checkbox at the top is used to enable the
transform. The distortion transform only applies to the two Vector shadow
methods: Vector and Image. Bitmap shadows may not be distorted.
The best way to learn the effects of the matrix is to apply a simple shadow
to a rectangle. The unity matrix (or do-nothing) values are 1.0’s on the
diagonal and 0.0’s on the cross diagonal. Experiment by varying each
element in turn, with the others at their do-nothing settings.
The details of the transform are discussed above in the section on custom
arrows. Review these writings for details concerning the use of the
transform.
The Pivot values define a focal point for the transform in polar coordinates.
These combine with the Drop location to define the actual pivot point for
the resulting shadow.
The sliders are set to provide a reasonable range of adjustment. The Scale
Sliders button recomputes the center points and ranges of the sliders, sort
of a reset action when limits are met.
Cross Over
The Cross-Over Palette provides a
method to indicate the state of two
crossing lines or paths. The indicators
are used to show schematically whether
or not the crossing paths are physically
connected.
Cross-Overs may be positioned

manually, at a particular across (X) or
down (Y) position or automatically at
points where paths cross.
Automatically placed Cross-Over

indication depends on the relative
painting order of the path with the
Cross-Over and the path that is

being crossed over. Before using the Automatic Cross-Over location option
one should have a clear understanding of Painting Order discussed in
chapter 06.
The Cross Over palette is accessed from the Tools main menu. A graphic is
selected to set or inspect the Cross-Over attributes. Text and images are
not capable of indicating Cross-Over State. Cross-Overs may be applied to
curved or straight paths.
Placement
Choice: The top popup menu provides a choices for the indicator graphic
used to mark a Cross Over. There are several choices, see the examples
below and the names assigned. Notice that a Cross Over can also be used
to indicate a connection in the sense of a schematic drawing.
Location: The Location popup menu is used to set the position of the
Cross-Over. There are 3 manual methods and one automatic choice for this
parameter. Percent: specifies the location as a percentage along the path.
Across: places the location at a specific across or “X” on the drawing, in the
units of the drawing. Down: places the location at a specific down or “Y” on
the drawing, in the units of the drawing. Automatic: places a Cross-Over at
each point where the path crosses over (above or to-the-front) another
path. Multiple Cross-Overs are supported for each selection except Percent.
Side
Some Cross-Over shapes, such as Jumper or Bridge, involve specifying a
direction. The Side popup menu is used to control this direction. There are
3 possibilities for the parameter.
Path Right: draws to the right hand side of the path as one travels from the
start to the end of the path.
Path Left: draws to the left-hand side.
Alternate: applies to multiple cross over situations, successive Cross-Overs

are drawn to opposite sides of the path, starting at Path-Right.

Method
Along: The Along parameter varies with choice of Location. For Percent the
value is the percentage along the path for the placement of the single
Cross-Over. For Across or Down, the value is absolute position on the
drawing, this value is then specified in drawing units - not palette units as
specified by the palette Fine Scale. For the Automatic Location setting, this
parameter does not apply and is disabled.
Length: The Length parameter specifies the drawn size of the Cross-Over
shape. The value applies to the length along the hosting line or path. The
units are those of the palette (not the drawing) as specified by the palette
Fine Scale.
Height: The Height parameter specifies the drawn size of the Cross-Over
shape. The value applies to the dimension perpendicular the hosting line or
path. The parameter does not apply to all Cross-Over shapes, for example
the Dash shape would have no height. The units are those of the palette
(not the drawing) as specified by the palette Fine Scale.
Open
Dash
Bar
Break
Jumper
Bridge
Hop
Dot
Square
Eye
Block
Pg 384
Jump
Jump Other Layers: The Jump Other Layers checkbox applies in the
Automatic Location situation. If checked, paths on Layers below the host
graphic’s layer are included for placement of Cross-Over indicators. If not
checked, only graphics on the same layer as the Cross-Over graphic are
indicated.
This parameter only applies if the drawing has multiple layers and for
Automatic placement of Cross-Over indicators. The Dot and Square Cross-
Over shapes are usually used to schematically indicate a connection. This in
contrast to the normal use for this property which is to indicate that
crossing paths do NOT connect. These two do not have an “opening”
property so Length does not apply, only height.
Automatic: All Cross Over selections, manual and automatic placement,

may be applied to curves as well as straight paths. In these cases it is
possible to have several Cross Overs for a single graphic. A curve crossing
itself will not show a Cross Over indicator.
Automatic Cross Over placement will nearly always provide an indicator

where needed and visually logical for the schematic situation. A cut of a
path with multiple Cross Overs may change the computation logic and
provide a means to attain the look needed.
Pg 385
Pg 386
Chapter
User Libraries
17
Library Window 388
Element Mode 389
Name Mode 390
Button Mode 392
Customize Tool Palette 393
Library Window Menu 394
Copy and Paste 394
Sort 395
Transfer Panel 395
Scope 396
Transfer Instructions 398
Manage Library Menu 399
Tools 399
Libraries 400
Pg 387
User Libraries
Libraries are disk files that contain graphics elements, property containers,
or drawing tool references for use as specialized drawing tools.
Graphics: Graphics, sometimes called symbols, created with EazyDraw that

will be reused many times are placed in a library for convenient access.
Property Containers: Property containers are parameter sets such as a

specific gradient fill, dash pattern or arrow head shape; these may be added
to a library.
Drawing Tool Reference: A drawing tool reference provides a mechanism

to include a standard drawing tool in a library thereby allowing users to
design custom tool palettes.
Creating: A library is created by executing the New Library command which

is found at the top of the Libraries main menu.
Adding To: Graphics are added to a library with a simple drag and drop
from an EazyDraw drawing. Property Containers are added by dragging the
“LL” icon from a parameter palette to a library. Or use the “+” button on the
Library palette.
Replacing: Replace a library element by holding down the shift key while
clicking the “+” button on the Library palette. The target library element
should be selected on the Library palette; the new element selected on the
Drawing. Warning: there is no Undo for this action.
Saving: Libraries are saved with the the normal save command found on
the File main menu. All macOS options (Save, Save As, Duplicate, Rename,
Move To) will work with user Libraries.
Library Window
A library palette has 3 forms of display presentation, Name, Element, and
Button. These different manners of viewing a library are provided to assist
in the management and use of the library elements. The libraries popup
menu, found at the bottom of the library palette, is used to change the
presentation form for the library palette.
Pg 388 Ch 17 - User Libraries

Since Libraries are displayed as floating palettes, some of the commonly
used menu commands such as Save, Save As, Copy, Paste, and Paste Special
must be accessed specifically from the library palette’s own popup menu.
When these commands are executed from the main menu their actions are
directed at the current drawing window. To direct one of these actions to a
library palette the private menu for the palette is required.
Element Mode
In the Element mode a library’s contents are
shown as thumbnail images on the array of
squares found on the top portion of the
palette. The name of the selected library
element is shown in the text box near the
bottom of the palette. Scrollers are provided
if necessary to view the complete contents
in the screen area provided.
These images are used to select a library

element, click on an element to select.
Selected elements have a red frame in their
element square. Multiple selections are
possible, use the Shift key to extend a range
of selections. The Apple-Command key is
used to make multiple, non-contiguous, selections, hold down the CMD key
to add another element to the selection. In the case of multiple selections,
only the last (most recent) selection is shown in the name text box at the
bottom of the palette. Multiple selections are useful when arranging or
moving graphic elements between different libraries.
The name of a library element is changed by first selecting the element’s

image, then editing the text in the lower text box. Names of elements in a
library must be unique. If a duplicate name is entered, EazyDraw will
automatically make it unique by adding a counting number at the end of
the name.
Use drag and drop to move elements to different locations in the library.
First select an element square (or squares), then click and drag it to a new
location to re-arrange the location of elements in the library.
Click - drag - drop may be used from element squares portion of the
palette to an EazyDraw drawing. This action will add the library element(s)
to the drawing. Drag and drop between libraries is also supported, this will
add a copy of library element to the destination library, the originating
graphic always remains in the source library.
Ch 17 - User Libraries Pg 389

Drag and Drop works in both directions. A graphic from an EazyDraw
drawing may be added to a library by dragging the graphic to the element
squares area at the top of this palette. The specific drop position is
honored and the new library element is inserted into the corresponding
position in the library. The other way to add a graphic to a library is to use
the “plus” button found near the bottom of this palette.
Selected Elements are removed from a library with the “minus” button
found at the bottom of the palette. This action cannot be undone.
Image Quality: The display of library elements on this palette may be high
resolution vector quality, or more likely a lower resolution bitmap rendition.
This choice is made automatically by EazyDraw. The choice of library
display method does not represent the format or inherent quality of the
library element. A vector graphic library element is stored in the native
vector format and added to a drawing as a full quality original vector
graphic.
The use of a bitmap display for this palette is often required to properly
convey the appearance of the original graphic. A large complex group
graphic may not be recognizable as a size reduced line-art vector, but the
original appearance is maintained when shown as an down-sampled and
antialias bit map representation. This is true for large size line art group
graphics and for any text.
Name Mode
In the Name Mode the library’s complete contents are shown by name on
the list found on the lower portion of the palette. A small thumbnail display
of a single selected library element is shown in the graphic area found at
the top of the palette. These two display areas may be adjusted by clicking
and dragging the split bar found between the two. Use this split view
adjuster to resize.
The name list is used to select a library element, click on a name to select
an element. The selected element is displayed in the graphic area at the top
of the palette. Multiple selections are possible, use the Shift key to extend a
range of selections. The Apple-Command key is used to make multiple,
non-contiguous, selections, hold down the CMD key to add another
element to the selection. In the case of multiple selections, only the last
(most recent) selection is shown in the graphic view. Multiple selections are
useful when arranging or moving graphic elements between different
libraries. CMD-click a selected element to remove it from the selection list.

Use drag and drop to move elements to different locations in the name list.
First select a name, then click and drag it to a new location to re-arrange.
Click - drag - and drop may be used from this palette to an EazyDraw
drawing. This action will add the library element(s) to the drawing. Both the
lower name list and upper graphic display may be used to originate a drag
and drop to an EazyDraw drawing. Drag and drop between libraries is also
supported, this will add a copy of library element to the destination library,
the originating graphic always remains in the source library.
Add Custom Icon: The small button seen in the lower right of the graphic
display area is used to provide a specific icon graphic for the library
element in the Button presentation mode. The icon may be completely
different than the actual graphic element. You provide a different icon
graphic by first drawing the icon using EazyDraw, then drag and drop the
icon graphic on this button. If there is no independent icon for a library
element, the button on this view remains blank. This component of a library
element is only used in the Button (or tool palette) presentation mode of
the Library. If there is no independent icon for a library element, EazyDraw
automatically creates an icon for use in the Button presentation mode. The
automatic icon is derived directly from the graphic, resized and adjusted to
display pleasantly as a small bitmap icon.
A graphic from the web, a photo, or

another graphic application may be
used as a custom button icon. It is
not possible to drag and drop the
graphic directly on this library
palette, as it is a floating palette
and will disappear when another
application is selected. To use an
external graphic element, first drag
it to an EazyDraw drawing window,
then click on the EazyDraw drawing
window to activate the floating
palette, then drag the graphic from
the Eazydraw drawing to the library
palette user icon button.

Button Mode
In the Button Mode the library window turns into a
standard EazyDraw tool palette. The symbols that you
designed and installed in the library are available to use
in the normal click and drag out the size method, just
like the Bounding Rectangle Graphics described in
chapter 08.
Exiting Button Mode: This mode is entered using the

Mode popup button found a the bottom of the library
window. This mode is exited in a unique way, since a
tool panel would have no place for the more flexible
popup menu.
The lower right button of the palette is “return to library

mode” button, depicted as the letter L for library with a return icon. Click
this button to return to either the Name or Element presentation mode for
design, configuration and management of the library’s content.
Using Library Buttons (Graphics): The buttons provided behave in a

manner similar to the normal EazyDraw tool palettes. Click a button to
make that graphic the current creation graphic for the current front
EazyDraw drawing window. Then use the mouse to move the cursor over
the drawing window, the cursor changes to the rectangular creation cursor.
Then click and drag on the drawing window at the desired target location
for the new graphic. The library graphic element associated with the tool
button is created on the target drawing. It is drawn enclosed by the
rectangle specified by the drag motion. You may move in any direction, the
rectangle’s content will flip or mirror to follow your motion. The process is
completed when the mouse button is released.
The buttons are by default one-shot in nature. After one graphic is created
the selected button is cleared and the main arrow tool cursor is re-
activated. A double click of a button will override this behavior. After a
double click the target button remains active, in this way you may create
several copies of the same library element. This “sticky” mode must be
overtly cleared by clicking another EazyDraw tool, typically by clicking the
default Arrow tool.
Using Library Buttons (Properties): Some library elements may not

represent actual graphics, they may be containers of parameter settings. In
this case the button icon is shown with a light yellow backdrop and bluish
dashed inner border. These buttons have a different behavior. First at least
one graphic on the

EazyDraw drawing window needs to be selected. When a graphic is selected,
the library element’s represented parameter settings are applied to the target
graphic by a single click of the button.
Customize Tool Palette

Use drag and drop to move elements to different locations in the library.
Simply click and drag a button to the desired location.
This tool palette is resizable; use the small lined triangle area, bottom right of
the palette, to click and drag to adjust the size of the palette. After a resize, a
stepper control is shown on the top left of the palette. This stepper is used to
change the number of columns, when in the vertical mode, or number of rows
in the horizontal mode. The horizontal or vertical mode determines the size of
the palette and whether it is wider than it is tall. When you are happy with the
number of columns (or rows) use the OK button to dismiss the button. The
size of each tool button is adjusted to fill the area of the palette. In all cases
all elements of the library are displayed in this mode, if necessary buttons will
draw smaller and more columns or rows will be added to place buttons for all
elements.
Drag and Drop can be used to rearrange the order of the buttons on your
palette. Drag and drop can be used to copy a button over to another user
library palette. Drag and Drop is not be used to drag the associated graphic
element to an EazyDraw drawing. If you desire to place library elements on
drawings via drag and drop, use the Element presentation for the library
palette.
You may design your own icons for the standard EazyDraw tools. This is done
easily by adding a built-in tool to a library. Then use the Name presentation
mode to drop an icon of your own design on the icon button. Then your icon
will represent the tool’s button when the library is in the tool button
presentation mode.
The size of the library palette in the button mode is independent of the size of
the palette when switched to the Name or Element presentation mode. This
size is persistent; it is remembered when the library is closed and re-opened.
The position of the palette on the desktop is the same for all 3 presentation
modes; this is also remembered with a palette layout save and when you quit
and restart EazyDraw.
The order of buttons corresponds to the order of elements in the library. Note
that if you were to re-order a library with an alphabetical sort while in the
Name presentation mode, the order of the tools in the Button presentation
mode will change too.

Add EazyDraw Tools: Built-in EazyDraw tools may be added to a library
tool palette. If a user library window is open, drag and drop from a
standard EazyDraw tool palette is enabled. Simply drag a tool to the library
palette, it is then installed and available for normal use from both its
original palette and the library tool palette.
Saving In Button Mode: To overtly save a library palette configuration you

need to return to one of the other modes for your library. This means that if
you resize in the tool button mode, or if you want to lock in the tool button
mode for a library, you will need to make your changes then click the close
button on this palette. Before closing the window EazyDraw will ask if you
want to save the Library, select Save and the button form and layout will
become the default mode for the library.
Library Window Menu

The library window has a popup menu at the bottom. This is used to
manage the library and the contents of the library.
Copy and Paste

The Copy and Paste items are used to overtly copy to the library or paste
from the library. Note that the Copy and Paste items on the main Edit menu
associate their action to the frontmost EazyDraw drawing window. Since
libraries are represented in the user interface as floating palettes and not
main windows, these specific menu commands are used in association with
the user library file.
Paste Special is a submenu that behaves in a manner similar to the main

menu’s Paste Special commands. In this case the source attributes are
those on the system pasteboard that have resulted from a Copy or Copy
Special from an EazyDraw graphic on a normal drawing window. The Paste
Special command will create a new container library element that represents
just the specified attribute, for example, a Fill Color only. The Transfer
mechanism is used to create one of these container elements. Use the
Transfer Palette to inspect the Library elements created with these Paste
Special menu commands.

Sort
Sort will sort all elements of the library alphabetically according to names of
the library elements. Sorting will re-position elements in the library. The
new positions will re-order elements on both the button presentation mode
and the other presentation modes. Do not use this function if a particular
order has been established for the buttons in the tool mode of the library.
Make Default will set the current size, position, and library presentation
mode the setup used for new libraries.
Two native file formats are provided when saving libraries to a disk file. One
is a XML like format called a Property List described as Text format, the
other is a more compact and quicker to load and save binary format. All
formats are lossless, all drawing information is faithfully recorded. The save
panel has a popup menu near the bottom, use this to make your selection.
These formats are analogous to the corresponding main EazyDraw file
formats discussed in Chapter 3.
Transfer Panel
The transfer palette is accessed
from the Format main menu. The
transfer palette is used to manage
the way a graphic is passed from a
drawing or user library to another
EazyDraw drawing. These settings
are used to control the position and
size of the graphic when placed in a
new drawing. With the parameters
on this panel it is possible to
convert a graphic to

be just a carrier of parameter sets or properties, in this case the graphic
itself is not copied to the new drawing.
The Instructions Tab applies when the graphic is actually being sent to the
destination drawing. The Scope Tab provides control over the aspects of the
graphic that are transferred to the destination drawing.
This palette is used primarily in conjunction with user libraries but it

applies equally to any graphic on any drawing or user library. When used to
transfer graphics from one drawing to another these settings apply for both
Copy and Paste as well as drag-and-drop. In the case of drag-and-drop the
position settings are not used
but all other aspects of the
parameters on this palette do
apply.
Note that it is not at all

necessary to deal with these
parameters for simple copy
and paste of graphics between
drawings. Nor are these
absolutely needed for a simple
library graphic, especially
when not drawing to scale. EazyDraw automatically makes these decisions
if the transfer mechanism is not engaged.
Scope
The top popup menu and text box immediately below show the current
target of the Transfer Palette settings and actions. These indicators become
important when one or more library palettes are open. Since library palettes
may be the focus of this palette, and the libraries palettes themselves are
floating palettes, the hard and fast rule of applying palette actions to the
front drawing window does not suffice. EazyDraw attempts to direct the
focus to the correct target graphic (drawing window or library palette) but
care must be taken to verify that the desired target graphic is appropriate.
The top popup menu and text box immediately below show the current
target of the Transfer Palette settings and actions. These indicators become
important when one or more library palettes are open. The popup menu
may be used to redirect the focus of this palette’s actions. The popup menu
displays all open libraries and drawing windows, choose one of these to
specifically select a working target.

The top popup menu has a submenu that is used to limit the possible
selections for the Transfer palette’s actions. The submenu is titled Inspect,
select Libraries to limit actions to library palettes. Select Drawings to limit
actions of this palette to EazyDraw drawing windows. The Automatic setting
will focus Transfer parameter actions to the current Key window. The Key
window is the one drawing window or parameter palette with a selected title
bar. A drawing or parameter palette is made the key window by clicking on
the title bar of the associated desktop window. The Key window’s title bar
has a darker shade of gray than all other windows on the desktop.
The Use Transfer Instructions checkbox enables a graphic to actually use

the Transfer mechanism. Normally a graphic is copied and pasted to
another drawing automatically in an expected manner. It is not necessary to
actively manage these Transfer settings for most normal drawing activities.
If the Transfer mechanism is desired, this checkbox is selected to engage
the parameters on this Palette.
The simple primary use of this Transfer concept applies to User Library
graphics. In particular to the “Use” function on a library palette, or the
application of a library graphic by menu selection via the Libraries main
menu. In these cases when a library graphic is dropped into a destination
drawing one needs to think about where the graphic should be placed, what
size should it be, should it be drawn with current settings (arrows, dashes,
color, gradient, etc) or should the graphic’s own settings be used. If one
thinks of this situation then the function of the Transfer parameters will
become clear.
An advanced use of Transfer concept is to create specific user tools that

apply a property or parameter set. If the transfer mechanism is engaged,
and the actual graphic is not transferred, then the graphic becomes an
abstract carrier of properties such as color, gradient fill, or dashed line
pattern. Install one of these transfer-carrier graphics in a user library and it
becomes a properties only tool that you may access from the user library. If
the user library is installed on the Libraries menu, a complex set of carried
parameters may be applied with a simple menu action.

Transfer Instructions
Two things on the Transfer palette need to be checked in order for these
Instructions parameter to apply and be enabled. First, “Use Transfer
Instructions” needs to be checked. Second, “Graphic” on the Scope tab
needs to be checked. In other words, you need to be using transfer
instructions and applying them to a graphic in order for these parameters
and this tab to enable. If these conditions are not met the Instructions tab
is disabled and has a reddish overlay.
The Reference parameter has 3 possibilities; Screen, Page, and Drawing.

This setting determines a reference area that is used by the other
positioning parameters. Screen is dynamic and will respect the current
zoom state for the drawing. Page applies if the drawing has multiple pages
as set on the Page Layout panel. It is also dynamic and reflects the page
occupying the majority of the current display screen. The “Drawing”
selection means the positioning is done relative to the entire drawing,
independent of the current display region.
The “Position” parameter determines the actual location for the transferring
graphic when added to the drawing. The values are self-explanatory (top
left, top center, ...) and
specify the logical location
for the placement of the
graphic. The placement is
performed relative to the
Reference rectangle
described in the previous paragraph.
Graphic Format will normally be set to “Native”

which means that a simple copy of the graphic is
added to the drawing. The added graphic will
have the normal editing characteristics. Two
other options are possible, PDF or TIFF. These
may have several uses for very large complex
library elements or small icons, or perhaps
forms. If one of the latter are selected the
original graphic is converted to an image graphic
of the specified format and added to the drawing.
The Interaction level correspond to the values as defined for the Interaction
submenu on the Format main menu. This parameter defines initial
interaction level, for example “uniform scale,” assigned to the transferring
graphic when added to the target drawing.

Manage Library Menu
A user library may be used to define a graphic tool menu with menu entries
for each element in the library. This process is somewhat recursive and can
get confusing. But it is much easier to execute than to explain or study so
do not get discouraged. You do not need to be a power user to take
advantage of this capability.
The Manage Library Menu has a submenu. This submenu is used to install
or remove the menu representations of a user library. The submenus
discussed here are added to the Libraries main menu.
Both tool palettes and libraries may be added to the user configurable
library menu. This provides a means to provide menu command access to
normal EazyDraw drawing tools. This in turn provides a means to apply a
keyboard shortcut to a drawing tool. The Menu Keys preferences panel is
used to assign key combinations to user menus. First the tool palette needs
to be added to this menu, then the desired keys assigned using the Menu
Keys panel.
This submenu is accessed from the Libraries main menu, it is near the
bottom.
Tools
Add Tools: The Add Tools submenu is used to add a standard EazyDraw
tool palette to Libraries menu. This is a fixed menu and shows the available
and supported EazyDraw tool palettes. Tools menus are added to the top
user defined portion of the Libraries main menu.
Remove Tools: The Remove Tools submenu is used to remove a standard

EazyDraw tool submenu. Only tool menus that are installed are enabled on
this menu.

Libraries
Add Library: The Add Library menu command is used to install an existing
EazyDraw library as a Libraries menu item. This is a standard Open panel
that will allow you to navigate your system and select an EazyDraw library
file. Library menus are added to the middle user defined portion of the
Libraries main menu.
Remove Library: The Remove Library submenu is used to remove a

EazyDraw Library tool submenu. Only library menus that are installed are
shown on this menu.
Notice that installing a library on this menu is completely different from

opening a library palette. A library palette does not need to be open in
order for it to be used on the menu. Conversely, an open library will not
have an active library menu. The library must be overtly added to the menu
in order for its elements to be available as menu commands.

INDEX
A
Abstract Fill: 331 Bitmap Shadow: 101, 352
Acres: 126, 197 Blends: 270
Active Layer: 89, 104, 107 Bloom Shadow: 356
Add - Free Transform: 263 BMP: 56
Align To Grid: 133 Bold Text: 236
Along - Arrow: 343 Bounding Rectangles: 143
Alpha Channel: 55,56,60,322 Box - Annotation: 228
Angle - Annotation: 227 Brush: 151,355,361
Angle Dimension: 214 Brush Color:360
Angle Graphics: 93 Brush Method:370
Annotation: 224 Brush Path:359
Applications Bundle: 11 Bucket Fill: 331
Applications Support: 9, 10 Burst - Gradient: 318
Arc: 145 , 178 Butt - Wall End: 213
Apply - Free Transform: 265 Button Mode (library): 392
Area: 93, 126, 205
Arrows: 343 C
Arrow Names: 340,352 Center Dimension: 205
Arrow Tool: 152,159 Cap Style: 311
Arrow Tool - Pattern: 327 Center: 126,205
Arrow - Wall End: 214 Centered Text: 253
Arrow - Walls and Ribbons: 343 Chamfer: 199
Artistic Brush: 370 Characters: 103,231
Attributes Bar: 87 Charting Tools: 179
Auto Lines: 200 Claris Draw: 32
Axes Direction: 118 Clipboard: 285,329
B Cloaking: 132
Background Window: 77 CMYK: 42, 49, 110,288,290
Background Rulers: 89 Color - Arrow: 342
Background Export: 45 Color Files: 09,54
Background Color Text: 220 Color Modification: 116
Bezier Curves: 148,158 Color Picker: 81,289,295
Bezier Text: 237 Color - Stroke: 308
Binary Format: 23 Color Space: 49, 110, 288
Index
Color and Style: 308 Dimension Styles: 124,203
Color Swatch: 289 Dimensions: 121, 201
Color Table: 43,54,56,57,58 Distort Arrow: 350
Color Wheel: 287 Distort - Shadow: 382
Color Text: 226 Distort Submenu: 265
Color Wells: 286 Distortion Matrix: 263
Comment - Dimension: 125,205 Doors: 207
Compression: 24,46,51,61 Dot: 242,340
Connector Palette: 198 DPI: 42,45,52
Connectors: 197 Drawing Scale: 112
Convergence - Gradient: 320 Drawing Size: 77
Convert: 175 Drawing Units: 118
Copy: 162 Drop Shadow: 379
Copy Special: 285 Duplicate: 162
Copy Paste Order: 64, 297 Dynamic Snap: 130
Create: 16
Crop: 269 E
Cross Over: 382 Edge Shadow: 380
Current: 298 Edit - Interaction: 38,261
Custom Arrow: 345 Edit - Pattern: 324
Customize Toolbar: 80 Edit PDF: 34
Cut (knife): 162 Edit Text: 189
Cycle Palettes: 283 Effects - Shadow: 380
Electronic Prepress: 48,240
D Element Mode (library): 388
Dashes: 340 Enclose: 158
Dashes - Hatch: 336 End - Arrow: 343
Datum - Dimension: 122 Ends - Walls: 213
Decimal Precision: 92,120,137,277 EPS: 48
Default: 293, 297, 298 Even - Odd: 178,267
Degrees: 94,126,137,183,208,227 Export Content: 44
Deselect: 58,159 Export Background: 45
Diameter: 125,205 Extend - Wall End: 213
Dictionary: 245
Dimension Area: 126
Index
F
Favicon: 57,59 Graphic Index: 97
File Formats: 1,21 Graphing: 207
File Types: 23 Greek Characters: 35,231
Fill Color: 308 Grid: 127
Fill - Pattern: 321 Grid Tool: 217
Fillet: 199 Group: 256
Fine Scale: 138 Group Edit: 258
Find: 247 Group Index: 257
Fine Scale Palette: 138 Group Join: 264
Fit: 151 Guidelines: 127,131
Fixed - Group Edit: 259 Guides: 131
Flip: 88,228,346,351
Flow Text: 252 H
Font: 34.104 Hand Tool: 166
Font - Annotation: 230,235 Hand Tool - Pattern: 328
Font Book: 230 Handles: 5,130
Font Mapping: 35 Hex Grid: 217
Font Menu: 101,123 Hide Dimensions: 204
Font Names: 89,100,239 Hide Extensions: 20
Forms: 33 Help Button: 290
Frame: 270 Hole: 178,267
Free - Group Edit: 259
Free Transform: 241, 261 I
Free Transform - Interaction: 261 ICO: 43,57,59
Freeze - Interaction: 262 Inclusive Select: 160
Furled: 279 Icons: 2,10,43,57
Insert Tool: 170
G Inserted Text: 262
Geometry - Gradient: 318 Interaction: 260
Geometry - Walls: 211 Interaction Level: 38
GIF: 53 Interval Brush: 373
Gradient Fill: 82, 315 Italic: 99, 236
Graphic Details: 90
Graphic Details Precision: 92
Graphic Details Text: 99
Graphic Format: 1,21
Index
J M
Join: 266
Join Group: 266 Major Grid: 128
Join Style: 311 Margins: 75
JPG: 51 Mark As You Type: 243
Jumper: 384 Mark Misspellings: 246
Math Symbols: 230
K
Measuring Tape: 135,159
Kerning: 100,235
Menu Customization: 302
Keyboard Entry: 150
Menu - Library: 370,375
Keyboard Shortcuts: 81,302
Mini Palettes: 279
Keynote: 62
Minor Grid: 128
Knife Tool: 168
Mirror - Annotation: 228
Mirror - Contour: 230
L
Miter Limit: 187,309,313
Labels: 216
Miter - Wall End: 209,212,213
Lasso: 165
Move: 155,166
Last Change: 222
Move Image: 162
Last Save: 222
Move To: 19
Launch: 14
Multiple Scales: 118
Layer Information: 98
Layer State: 107
N
Layers: 104
N-Sided Graphics: 144
Layers Table: 106
Name Mode (library): 390
Layout - Annotation: 226
Named - Arrow: 352
Layout Palettes: 136, 283
New Drawings: 17
Leading: 236
Node: 148, 158, 163
Length Dimensions: 201
Node Tool: 158
Library: 364
Non-Zero: 268, 310
Ligature: 50,236,261
Numerical Entry: 92,143,149
Line Width: 311
Lines: 146
O
Link Text: 250
Off - Free Transform: 263
LinkBack: 43
On - Free Transform: 263
Load Palette Layout: 283
Opacity: 108, 288
Location Arrow: 343,349
Index
Open - Wall End: 213 Preferences: 8,292
Opening Drawings: 17 Preferences Palette: 295
Orientation - Annotation: 227 Prepress: 42,48,240
Origin: 113 Printer: 73
Orthogonal Paths: 196 PSFRAG: 50
Outline: 310, 330 Punch: 237,238,270
Outline Text: 239 Punch Text: 238
Q
Quick Keys: 171
P
Page Layout: 77 R
Page Setup: 73 Radians: 94,126,137,204,344
Paint - Pattern: 327 Range - Connector: 198
Painters Algorithm: 106, 257 Readout: 149
Palette Controls: 276 Rectangles: 143
Palette Layout: 283 Rectangular Shapes: 143
Palette Units: 136, 277 Reflect Brush: 375
Palette Utilities: 283 Relief - Wall End: 213
Palettes At Launch: 16 Remove Vertex: 162
Pan: 166, 167 Repeat Brush: 374
Paper Size: 74 Replace: 39,247, 285,388
Paragraph: 253 Report - Dimension:125
Paste: 64 Resize: 161
Paste Special: 285 Reverse: 186, 228, 238
Paths: 146 RGB: 54, 56, 110, 288
Pattern: 84,321 Ribbons: 207
PDF: 33, 47 Rigid - Group Edit: 259
Perpendicular: 166 Rolled Up: 278
Pencil: 151 Rotate: 167,265
Pie: 186 Rotate - Free Transform: 262
Pivot: 161,265 Rotate Text: 183,240, 241
Pixel - Pattern: 321 Rotated Rectangles: 183
Polygons: 144, 147 Round - Wall End: 213
Position - Annotation: 226 Ruler: 88, 135, 166
PNG: 55 Ruler On Screen: 166
Precision: 3,92,120 Ruler Styles: 88
Precision, Archive: 120
Index
S
Save: 18 Start - Arrow: 343
Save As: 19 Stellates: 144,184
Save Layout Palettes: 284 Stroke - Arrow: 344
Scale: 112, 113 Stroke: 310
Scale - Design: 115 Stoke Position: 311
Scale - Free Transform: 269 Stretch Brush: 371
Scale - Interaction: 261 Stretch Proportional: 373
Scale Palette: 113 Stroke Text: 245
Scaling: 75 Stylize Text: 237
Scratch Pad - Brush: 355,357 Style - Dimension: 124
Scratch Pad - Arrow: 347 Subscript: 234
Screen Ruler: 159 Superscript: 234
Selecting Graphics: 152,159 SVG: 35,61
Selection Tools: 153,159
Sequence (Brush): 366,373 T
Sequential Transform: 342 Tab Entry: 196
Shadow: 102, 378 Tabs: 241
Shape - Arrow: 343, 345 Tangent: 166
Shape - Gradient: 318 Tape Tool: 135, 165
Shear: 262 Text: 99
Shear - Free Transform: 262 Text Box: 181, 220
Shift - Annotation: 226 Text Character: 103
Shortcut Keys: 302 Text Color: 101, 226
Shorten Palette: 279 Text Color - Annotation: 226
Shortened: 281 Text on Curve: 224
Skew: 262 Text Effects: 237
Slide - Annotation: 226 Text Font: 229
Smart Toolbar Button: 81,155,194 Text Shadow: 101
Snap Guidelines: 131 Text Size: 99
Snap Vertices: 131 Text Stamp: 221
Snapping: 127,131 Text Style: 109
Spell Check: 243 Texture: 85,321
Soft Snap: 130 Theme: 298
Solid - Group Edit: 259 Tick Marks: 89, 215
Spiral: 188 TIFF: 38,46
Index
W
Time Format: 222
Wall Parameter Palette: 210
Time Stamp: 222
Walls: 207
Toolbar: 10, 79
Web Graphics: 43
Toolbar Menus: 81
Weld: 163,169,260
Touch: 158
Width - Pattern: 326
Transfer Panel: 371
Winding Rule: 238,267, 308, 310
Transfer Scope: 372
Window Shade: 276, 278
Transform Arrow: 345
Worksheet Scale: 127
Transition - Gradient: 320
Transparency:45,53,56,117,288
Typesetting: 34, 235
X
XML: 9,21,35
U
Unicode: 35,121,231,232
Y
Ungroup PDF: 35
Uniform Scale - Interaction: 243
Z
Uniform Resize: 179
Zoom: 77
Uninstall: 12
Units: 90, 118, 136
Units - Palette: 136,283
Use (Brush): 362,367
User Library: 364
User Tools: 152,153
V
Vector Shadow: 101, 354
Versions: 18
Visibility: 116
Index

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©2016 EazyDraw, a Dekorra Optics, LLC enterprise. All rights reserved.

®EazyDraw is a trademark of Dekorra

Manufactured in the United States of America.

This manual created and designed entirely with EazyDraw.

EazyDraw and the EazyDraw logo are registered trademarks of Dekorra

© Copyright 2016 The manual cover illustrations (front: EazyDraw 3D ED

This manual created and designed entirely with EazyDraw. Production

Final assembly and publication was performed as a single drawing file,

Chapter 02 Installing EazyDraw

Chapter 03 Working With Files

Chapter 04 Other Graphic File Formats

Chapter 06 The Drawing Window

Chapter 09 Graphic Shapes

Chapter 10 Technical Tools

Chapter 13 Parameter Palettes

Chapter 15 Graphic Fill Techniques

Chapter 16 Graphic Augmentations

Chapter 17 User Libraries

If you have used an earlier version of EazyDraw, we recommend that you

While EazyDraw is not a painting application, it lets you add photos,

While EazyDraw is not a CAD (Computer Aided Design/Drafting) application,

Finally, EazyDraw is a true macOS application. It is not a converted unix

EazyDraw is 64 bit capable. If your hardware supports 64 bit processing

64 bit computing provides 2 primary advantages over the older 32 bit

Graphic File Formats

Drag and Drop Install

If you purchased EazyDraw directly it is a simple Drag and Drop operation.

It is not necessary to “throw away” your preferences to debug by resetting

Another recovery technique is to move a drawing that you suspect is

Application Support Files

The Application Bundle

If you do a “Get Info” from the Finder you’ll

This design makes it easy to uninstall EazyDraw, simply remove the

If EazyDraw is newly installed or unlicensed and running in the demo (or

After installing, you need to launch EazyDraw (double click on the

If EazyDraw is running in the demo/viewer mode, the EazyDraw Help menu

You do not need to be connected to the internet to enter a valid license

If you have problems email [email protected] for assistance. Take a

You may also launch EazyDraw automatically by

Pg 14 Ch 03 - Working With Files

Refer to contemporary macOS system documentation for configuration

At this writing launch appearance is managed on System Preferences, the

One note: do not

Working With Files - Ch 03 Pg 15

The state of windows and palettes at launch is controlled by the operating

Previous versions of macOS (beginning with Mountain Lion, and in some

Creating a New Drawing

EazyDraw is a fully multi window application. You can have an unlimited

Pg 16 Ch 03 - Working With Files

To set up a particular drawing window configuration, use the Current

Working With Files - Ch 03 Pg 17

Pg 18 Ch 03 - Working With Files

Working With Files - Ch 03 Pg 19

The EazyDraw Graphics format is a macOS Property List, which may be

Pg 20 Ch 03 - Working With Files

Working With Files - Ch 03 Pg 21

Best advise is to save these in the Graphic format.

Pg 22 Ch 03 - Working With Files

Archival of Drawing Files

Changing Saved File Format

When switching to a new version of EazyDraw, it is recommended to save

Working With Files - Ch 03 Pg 23

Write speeds are maximized by holding the persistent representation of the

Of course, if the drawing will be exchanged with an older version of