The details of the user interface for units, rulers, guides and dimensions, and the control of snapping to guides, is one differentiator between vector graphics editors.Ĭolour management dispcalGUI, a GUI front end for Argyll, can be used with a number of commercial colorimeters to calibrate and profile Linux system displays.Īccurate colour management is also vital in commercial art. Images for web or print pages can be rescaled to a degree, but artwork that relates to physical objects - product labels for example, or control files for CNC machining, or for laser cutting and engraving - must be accurate. Good layer management and manipulation is vital in vector-editing software.įor many commercial art applications, precise control of position and dimension within digital artwork is essential. Vector editors borrow the older stack-of-transparencies technique, and the use of layers is basic to their operation. Layers could easily be changed without having to recreate the entire image. This allowed the creation of a number of different versions of, for example, an advertisement, by adding, exchanging and removing layers. Later, in commercial art and in animation, a stack of transparent sheets was used to build up a composite image with parts of the image on each layer. The early masters of oil painting learned how to use several layers of transparent paint applied over an opaque white base to create dazzling effects of light, shade and colour. The technique of using layers in art goes back a long way. We'll also briefly examine some iPad drawing apps. Part two (coming in September) looks at Adobe Illustrator and two simpler desktop applications - Microsoft's Visio and LibreOffice Draw. Part one of this article looks at the history and background of vector image creation and examines Inkscape, an open-source application, and CorelDRAW, a proprietary program. As a result, highly detailed vector images can take a long time to render and redraw. The advantage of vector images are that they scale well and have an efficient memory footprint, although they are also processor-intensive. In this case the software takes the place of the commercial artist's drafting table and borrows terminology and techniques from that world. With vector graphics, the image is usually created entirely within the software application. With digital photography such programs replace the earlier darkroom processes used for film, and the software borrows workflows and terminology from that earlier technology. In the first of this 'FOSS v proprietary' series we looked at some of the best software for editing and manipulating bitmap images
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