Andromeda

Cutline Filter™
User Manual

Andromeda Software Inc.

www.andromeda.com
Copyright 1999-2013
 ii.
Licensing and Copyright Agreement
Copyright © 1999-2013 - Andromeda Software Inc. All rights reserved.
Except as permitted under copyright law, no part of the program or this
user manual may be reproduced or distributed in any form or by any
means without the prior written permission of Andromeda Software Inc.
The program, and this manual, are licensed only for individual use on a
single computer.
Limitations on Warranty and Liability
Neither Andromeda Software Inc, nor its distributors and dealers, make
any warranties or representations, either expressed or implied, as to the
software and documentation, including without limitation, the condition
of software and implied warranties of its merchantability or fitness for a
particular purpose. Andromeda Software Inc. shall not be liable for any
lost profits or for any direct, indirect, incidental, consequential or other
damages suffered by licensee or others resulting from the use of the
program or arising out of any breach or warranty .

Trademarks
Series 1 Photography Filters, Series 2 Three D Filter, Series 3 Screens
Filter, Series 4 Techtures Filter, Andromeda Shadow Filter, Andromeda
Velociraptor Filter, Andromeda VariFocus Filter, Andromeda
Measurement Filter, Andromeda Cutline Filter. Andromeda Series and
Suite Filters are trademarks of Andromeda Software Inc. Adobe
Photoshop is a trademark of Adobe Systems Inc. All other products are
trademarks of their respective companies.
Andromeda Cutline Filter Filter developed by:
Donn Gladstone, Sumeet Pasricha, Steve Gray, Steve Myers
UIDesign: Donn Gladstone, Lou Ann Barbeau, Sumeet Pasricha
Technical Completion: Lou Ann Barbeau.
Quality Assurance: Guy McCool, Lou Ann Barbeau, Third Eye Consultancy
Engraving and Woodcut Imaging Research: Sumeet Pasricha, Barry Burns
Documentation: Guy McCool, Lou Ann Barbeau, Barry Burns, Donn Gladstone, Sumeet
Pasricha.
Web Site Development and Support: Lou Ann Barbeau, Art Miller, Dave Dyer
Office Sales Support: Jane Narramore, Elie Soriano, Carolyn Becker

©1990-2013
Andromeda Software Inc.
Thousand Oaks, CA USA.
Tel No. (805) 379 4109

On the Internet: www.andromeda.com

 iii.
Table of Contents
(For Installation, see “README” file accompanying product)

1.0 Help, QuickGuide and Troubleshooting 1

1.1 Help 1
Installation (see README file)
Helper Window 1
Cutline Sessions 1
Technical Support 1
Andromeda Web Site Address 1

1.2 QuickGuide 1
Cutline is for continuous tone gray scale images 1
Cutline screens are combination line/dot screens: 2
Filter isolates two tonal ranges for applying Cutline 2
Filter isolates three tonal ranges for remaining settings 2
Cutline’s “Stamper Tool” for directional engraving 3
Start with a smooth gradient for Woodcut effects 3
Photos are best engraved using a Cutline Screen 4

1.3 Troubleshooting 4
Cutline Output appears pixelated 4
Cutline Output shows patterns or moire 4
Cutline in Right Preview Window shows moire 4
Cutline spreads beyond the stamped position 4
Nothing happens when using the Stamper Tool 5
Using Color Images in Cutline Filter 5
Bitmap or Pure Line Art Output 5

2.0 The User Interface Environment Annotated 6

2.1 The User Interface at a Glance 6

2.2 The User Interface Work Areas 6

2.2.1. The Preview Windows Section 6
2.2.2. The Preview Window Control Section 7
2.2.3. The Selection Controls Section 8
2.2.4. The Apply Cutlines Section 9
2.2.5. The Threshold Control Section 9
2.2.6. The Toolbox Section 10
2.2.7. The Cutline Design Section 11
2.2.8. The Helper Section 12
2.2.9. The Buttons Section 12
 iv.
3.0 Sessions 13

3.1 Applying Basic Cutline Patterns 13

3.1.1. Cutlines in Shadows - Creating Woodcut 13
3.1.2. Cutlines in Highlights 14

3.2 Line Direction and Characteristics 15

3.3 Stamping 18

3.4 Cutline Contrast Session 21

3.4.1. Preparing the Portrait 21
for High Contrast Cutlining
3.4.2. Selection of Cutline Variables 23
to Optimize Portrait Cutlining

3.5 Woodcut Effect 25

3.5.1. Starting with Line Art and Edge Gradients 25
3.5.2. The Edge Gradients Advantage 27
3.5.3. A Completed Line Art WoodCut Horse 28

3.6 Engraving Effect 29

3.6.1. Engraving Simple Airbushed Illustrations 29
3.6.2. Engraving Complex Airbushed Illustrations 30
3.6.2.1.Fore & Background Method 30
3.6.2.2.Multiple Selections Method
3.6.2.3. Merging Engraving Lines 34
in Multiple Selections
3.6.3. Engraving Tips 35

4.0 Glossary 36
 ANDROMEDA CUTLINE FILTER
USER MANUAL

1.0 Help, QuickGuide and Troubleshooting

1.1 Help

Installation Help: These instructions are in the README file accompa -

nying the product files.
Helper Window: A Helper Window is at the bottom of the Cutline User
Interface. As you pass the cursor over any UI item (buttons, windows,
controls etc.), text in the Helper Text explains the item.
Sessions: The manual you are reading has a Sessions Section. These
are procedural and creative hands-on Cutline sessions contributed by
Andromeda technical support staff. The sessions exercise the important
features in the Filter to create stylized engraving and woodcut effects.
Technical Support: Technical Support is available by calling us at 1-
805 379 4109 or by e-mail: [email protected]
Web site: www.andromeda.com is a source of additional visuals and
information related to the Cutline Filter product. Andromeda product
demo’s are available free for downloading as well as full products for
on-line purchase.

1.2 QuickGuide
a) The Cutline Filter is intended for use on continuous tone gray
scale images. This could be a photo or illustrations with gradient
blends. The Filter converts the gray tones to an image consisting of pix -
els which are 100% white or 100% black representing the original
image. This process is called screening.

Continuous
tone grays
are screened
to Cutlines.

Page 1
b) Cutline screens are combination line/dot screens: A standard line
screen represents gray tones in a photo or illustration by varying the
thickness of black lines on a white background. However, in the Cutline
Screen, as lines get thinner, angled ‘cuts’ appear in the lines, which
causes them to break into dots. This produces an effect seen in classic
engravings and woodcuts.

Angled cuts
in a standard
line screen
create a
combination
line/dot
screen.

c) The Filter isolates two tonal ranges for applying a Cutline effect.
‘Highlights’ (0-50%) is the normal case: in the lighter areas of the image,
white cuts appear in the black lines as they get thinner. ‘Shadows’ (51-
100%) is the opposite: in the darker areas of the image, black cuts
appear in the white lines as they get thinner . This choice applies to the
whole image.

Cutline is
white cuts in
the Highlights
and black
cuts in the
Shadow
areas.

d) The Filter isolates three tonal ranges for applying the remaining
settings.
The three tonal ranges are:
Highlights - This term refers to lighter areas of the image, it includes pix -
els with grayscale values of 0-33%
Midtones: This term refers to the middle range of the image, it includes
pixels with grayscale values of 34-66%
Shadows: This term refers to the darker parts of the image, it includes
pixels with grayscale values of 67-100%.

Andromeda Cutline Filter Page 2

Filter isolates
three tonal
ranges in an
image.
Different set-
tings may be
applied to each

Each tonal range may contain any one of four Cutline Screens and/or a
different screening resolution or lines per inch (LPI). Optionally, you may
apply the same Screen and LPI to all the tonal ranges.

e) Cutline introduces a “Stamper Tool” for directional engraving:

The direction and curvature of a Cutline screen can be designed and
set in a “Stamper”. The act of stamping re-screens all the image pixels
in the tonal range or within your selection. The Elliptical and Wavy
Elliptical Cutline screens are used with the Stamper tool since they pro -
vide an extensive range of angle and curvature settings while designing.

Stamp a differ-
ent direction
and curvature
to follow direc-
tional selected
areas of the
image.

d) Start with a smooth gradient blend from black (foreground) to

white (background) for a Woodcut effects.

Woodcut
effects are
generated by
converting
gradients to
Cutlines at
very low (5-15)
LPI

Page 3
e) Photos are best engraved using a single Cutline Screen

Input photo is 600 DPI with contrast and brightness increased. The
Cutline settings are: Straight Cultine screen, LPI value 40, Cutlines
turned on in the Highlights tonal range (to generate white cuts).

1.3 Troubleshooting

a) Cutline output appears pixelated.

The input image is probably at a low
resolution. On the right, the same Filter
settings as above were used but the
input image was at 150 LPI, and some
pixelation has occurred. The input
image DPI must be at least 5 times the
screening LPI. Here the screening LPI
is 40, so the input image must be at
least 200 DPI. For great results use a
ratio of higher than 5:1.
b) Cutline output shows patterns or
moires. Wavy, Elliptical and Wavy
Elliptical Cutline screens show patterns
at a high LPI setting. Assuming the
input image is at 300 DPI, these
screens are best at lower LPI (5-30 LPI
range). When viewing the Cutline Filter
output using these screens, make sure
that the output is being viewed at 100%
zoom.

Andromeda Cutline Filter Page 4

c) Cutline in Right Preview Window shows moires. View the cutline
output result in the right window at Zoom Factor 1:1. (“:1” in lower right
corner of left and right preview windows). If you are still seeing moires
lower the LPI to below 60 for straight cutlines and below 30 for wavy
and elliptical cutline screens.

d) Cutlines spreads beyond the stamped position.

This happens when there is no Selection in your input image and there
are gray tones outside the stamping position.
When you drag the Stamper to the Preview Window and stamp your
image, the curves you see in the immediate local area are exactly the
same as the design in the Stamper Thumbnail. However, as you extend
out from the area being stamped, the elliptical line pattern follows
through and extends to all the image pixels within the current tonal
range selected, not just the local area being stamped.

To contain the cutline screening within an area, come into the Filter with
a selection (made in the host application). With a selection showing in
the Preview Window, the stamping may be done outside the selection
or inside the selection. Cutlines will be applied inside the selection.

(See “Session” on Stamping, Woodcut Effects and Engraving Effects in

the Customer Manual for more insight into Selections and Stamping)

e) Nothing happens when using the Stamper Tool.

Check to see if the area being stamped is within the current tonal
range.

f) Engraving Color Images

Cutline screening is normally done on grayscale images, but color
images (RGB and CMYK) may also be screened. Although this process
does not produce the same accuracy as conventional color processes,
it may be preferred for artistic reasons. Each color channel is screened
by the Cutline Filter, producing a color result.

g) Bit Map or pure Line Art Output

You must convert your screened grayscale image to bitmap before
printing, otherwise your printer may screen the results again. This is
done in the Host application after Cutline renders its result. From the
Adobe Photoshop menu choose Image>Mode>Bitmap. In the Bitmap
dialog box select 50% Threshold, and click OK.

Page 5
 2.0 User Interface Environment Annotated

2.1 The User Interface at a Glance

The Cutline Filter opens with the main User Interface shown below:

2.2 The User Interface Work Areas

The primary “work areas” in the User Interface are:

2.2.1 The Preview Windows Section: These windows provide previews

of the Input Image and current Cutline design effects on the Input Image.
Design changes are automatically reflected in the preview windows.

(1) The Input Preview Window: This window shows the “host” input
image. The Magnification, Box or Stamper tools can be directly applied in
this window.

(2) The Output Preview Window: Output effects are displayed in this
preview window. The Magnification, Box or Stamper tools can be applied
in this preview window also.

(3) The Horizontal Scroll Bar: Movement of the slider handle in the hori
Andromeda Cutline Filter Page 6
 zontal scroll bar
provides the
user with the
1-> capability to
2->
scroll horizon-
tally across the
image after it
4->
has been
“zoomed in”
3-> 5-> beyond the “fit in
window” setting.
4) The Vertical Scroll Bar: Movement of the slider handle in the vertical
scroll bar provides the user with the capability to scroll the image verti-
cally after it has been “zoomed in” beyond the “Fit in Window” setting.

(5) The Zoom Factor Display: This numeric display indicates the current
“zoom” or magnification factor for the specific preview window. “4:”
means a 4 to 1 ratio i.e. the image in the preview window has been
magnified to 4 times its actual size. “2:” means a 2 to 1 ratio. “1:” repre-
sents the actual size of the image. “:2” means a ratio of 1 to 2 i.e. the
image in the preview window has been de-magnified to 1/2 of its actual
size. Notice that when manipulation of the Magnify Tool sizes the image
to “Fit In Window” that the scroll bars disappear since they are no longer
needed.

2.2.2 The Preview Window Control Section: Preview Window “linking”

and unsharp masking are controlled in this section. Dynamic pixel
feedback is displayed.
(6) The Sync Checkbox: This checkbox activates
6-> <-8 dynamic and automatic “magnification and scrolling
7-> synchronization” between the Input Preview Window
and the Output Preview Window. When the Magnifi-
cation tool is clicked in either preview window, corresponding magnifica-
tion changes occur in the other preview window. Unchecking the
checkbox toggles the synchronization off so that subsequent magnifica-
tion tool use in either preview window produces corresponding results in
that window while the other preview window remains unchanged.

(7) Enhance Photo Checkbox: When this box is checked, the Input
Image is sharpened before it is screened. The values applied to the Input
Image are an amount of 350 and a radius of 5 pixels. This causes the
image to have sharper details and crisper edges (the opposite of blur-
ring). Enhance Photo applies to the entire image.
Page 7
(8) Pixel Darkness Display: This display is activated whenever the
cursor is placed in either preview window. The percentage number
displayed in the box under the preview windows changes dynamically as
the cursor is moved in the preview window. The value displayed repre-
sents the grayscale pixel darkness for the pixel at the current cursor
location. 0% represents white (a pixel value of 255) and 100% repre-
sents black (a pixel value of 0). For RGB images, the RGB values are
averaged, and for CMYK, an equivalent conversion to grayscale is
performed.

2.2.2 The Selection Controls Section: Selection controls such as

Tonal Range, LPI value and Screen Type are located here:

(9) Select Tonal Range: If there is a selection active in your image prior
to entering the Filter, this option is not available. If there is no selection,
this pull-down menu provides the user with the capability to select a
range of tonal values which determine the area in the image where the
Screen Type, LPI, and Apply Cutlines will be applied. Each group of
settings is bonded to its tonal range and these settings are applied
independently with respect to each tonal range.
9- > If “All” is selected, the current settings apply to
the entire image.
10 - >
11- > (10) Select LPI: This pull-down menu provides
the user with the capability to select a specific
“screened lines per inch” value for the output
image.

High values for LPI should be avoided since Cutlines are more effective
at very low LPI values. If you choose a value that is greater than 1/5th of
your input image resolution, cutlines will automatically become disabled
and a standard line screen will be applied to the input image.
For example, if the input image is 300 DPI, the LPI value chosen must
be 60 or less, however much lower values are recommended.

(11) Select Screen: Clicking on one of the diamond buttons selects one
of the four types of screens that may be applied to the input image:
Standard Cutlines, Wavy Cutlines, Elliptical Cutlines or Wavy Elliptical
Cutlines. A specific type of screen can be “bonded” to a tonal range by
first selecting a tonal range and then clicking on the diamond button to
select the specific screen type desired.

Cutlines: Clicking on the Cutlines diamond sets the current screen

Andromeda Cutline Filter Page 8
to Straight Cutlines at a 13 degree angle.

Wavy Cutlines: Clicking on the Wavy Cutlines diamond sets the

current screen to Wavy Cutlines at a 13 degree angle. Note: To avoid
moire patterns, the selected LPI value should be set to a small percent-
age of the image dots per inch (DPI) value. Below 10% is recommended
to obtain optimum Cutline aesthetics.

Elliptical Cutlines: Clicking on the Elliptical Cutlines diamond will set

the current screen to Elliptical Cutlines. (See the Ellipse Design section
for more information on designing Elliptical cutlines).

Wavy Elliptical Cutlines: Clicking on the Wavy Elliptical Cutlines

diamond will set the current screen to Wavy Elliptical Cutlines. (See the
Ellipse Design section for more information on Wavy Elliptical cutlines).

2.2.3 The Apply Cutlines Section: This section contains selections for
determining which areas of the image will be affected by the specific
Cutline settings and what type of cuts will be applied.
(12) Apply Cutlines to: Clicking on the “High-
12-> lights” affects the lighter areas of the image.
White cuts will appear in the black lines as they
become thinner. The “Shadows” selection will
produce the opposite effect. In the darker
areas of the image, black cuts appear in the white lines as they get
thinner. Either of these choices applies to the entire image, and is not
affected by which tonal range is currently selected.

2.2.4 The Threshold Control Section: This group of thumbnail win-

dows illustrates various “mini-previews” of threshold (see glossary)
settings applied to a specific “test” area of the image.

(13) Original, More, Current and Less Thumbnails:

14 - >
The Original thumbnail contains a thumbnail view
of the area inside the box tool location in the input
13 - > and output preview windows. The Current thumb-
nail contains a thumbnail view of the current
Cutline settings applied to the Original thumbnail
area. The More and Less thumbnail previews
illustrate the effects of more and less (the incre-
ment is determined by the threshold slider) threshold values, relative to
the Current thumbnail view. They are also active as “buttons” so that
clicking on one of these windows automatically applies the incremental
Page 9
change in threshold and the remaining previews are immediately ad-
justed accordingly.

(14) Fine/Coarse Threshold Slider: This slider varies the incremental

value of the More and Less thumbnail adjustments. Settings towards the
Fine end of the slider produce subtle visual differences in threshold (see
glossary) change when the More and Less thumbnail windows are
clicked. Settings toward the Coarse end of the slider produce more
dramatic visual changes when clicking the More or Less Windows.

2.2.5 The Toolbox Section: Four tools in the Cutline Toolbox provide
the user with the capability to perform various operations in the Preview
Windows.
15) The Magnify Tool: Magnification and de-
15-> <-16
magnification of the input and output images is
17-> <-18 performed by clicking on the Magnify Tool to select
it. Subsequently, when the cursor is passed over
either preview window, it turns into a magnifying
glass icon. Clicking in either preview window will produce a magnifica-
tion effect upon the preview image.

Note: When “de-magnification” is desired, simply hold down the ALT key
(for Windows) or the OPTION key (for Mac) and the “+” in the magnify-
ing glass icon will turn into a “-”. As long as the key is held down, subse-
quent clicks in either preview window will result in demagnification of the
preview image.

(16) The Box Tool: The box in either preview window contains the
section of the preview image that will be represented in the Original,
Current, More or Less thumbnails. The Box Tool is used to move the box
around in either preview window.

Clicking on the Box Tool activates the arrow cursor and when the cursor
is clicked-dragged in either preview window, the box moves to that
location and the corresponding thumbnails are immediately updated to
reflect the content of the area of the image enclosed by the boxes new
location.

Note: The boxes in both preview windows always operate synchro-

nously so that movement of a box in either Preview Window is immedi-
ately reflected by a corresponding box movement in the adjacent
Preview Window (The Sync checkbox toggling only applies to magnifica
Andromeda Cutline Filter Page 10
tion/de-magnification and scrolling of the preview windows).

(17) The Stamper Tool: When Ellipses or Wavy Ellipses is selected, the
Stamper Tool can be used to set the origin position of the angle and
curvature that is represented in the Stamper Thumbnail. Clicking on the
Stamper Tool converts the cursor to a “cross-line” box when it is passed
over either preview window.

Clicking the cursor at a position in either preview window creates an

application of the ellipse design with the origin point at the center of the
cursor.

(18) Normal Display Tool: When the filter is entered with no selection,
toggling between Normal Display mode and Shadow, Midtone, or High-
lights Only Display mode occurs when this tool is clicked. The effects of
this tool appear when the tool is clicked on (clicking in either preview is
not required). The effects are displayed in the Input Preview Window
only.

2.2.6 The Cutline Design Section: The tools in the Cutline Design
section provide the user with the capability to “pre-load” the Stamper Tool
with a customized cutline design before experimental test stamping is
performed in either Preview Window. These tools are active only when
elliptical cutlines or Wavy elliptical cutlines are active.

These tools are used to manipulate curvature and angle so that you can
design a desired natural curvature for a specific location in the Input
Image. The geometry of the ellipse is used by the Filter for customizing
the angle and curvature.

(19) Curvature Slider: This slider adjusts the curvature of the design
displayed in the Stamper Thumbnail and
19 - > applied by the Stamper Tool. Lower
20-> values provide tighter curvature while
higher value settings create a more
subtle visual curvature effect.

(20) Angle Slider: This slider adjusts the angle of the design displayed in
the Stamper Thumbnail and applied by the Stamper Tool. The range of
slider rotation values spans from -180 to +180 degrees.

Page 11
 21) The Stamper Thumbnail: When Ellipses or Wavy
Ellipses is selected in the Select Screen menu, this
21-> thumbnail will reflect the combination of curvature and
angle settings designed by the Cutline artist for
subsequent application in either preview window with
the Stamper Tool.

Note: This thumbnail also appears in either preview window when the
Stamper Tool is chosen and subsequently clicked and held down.

2.2.7 The Helper Section: The Helper Section provides valuable “on-
line” information about the User Interface.

(22) Helper: As the

22-> cursor is moved to
different functional
areas of the User
Interface, text
describing the functional area or item is dynamically displayed in the
Helper Window. Note: The cursor must be placed on the specific item in
order for its corresponding helper information to be displayed.

2.2.8 The Buttons Section: High level commands and information

about the Filter are accessed in this group of buttons.

(23) About Button: When this button is

clicked, a splash screen is displayed that
23-> describes Andromeda Software and its
24--^ 25--^ products.

(24) Cancel Button: Clicking on the CANCEL button will initiate an EXIT
from the Cutline Filter and return control back to the host program
without rendering current preview effects on the Input Image.

(25) OK Button: Clicking on the OK button will render the effects shown
in the preview window on the Input Image and return control to the host
program. The current settings are saved upon exit from the filter when
OK is clicked.
Note: It is important to remember to convert your screened image to
bitmap after rendering the Cutline results. This will prevent your printer
from screening your image again before printing. In Photoshop choose
Image>Mode>Bitmap. Then select 50% Threshold and Click OK.

Andromeda Cutline Filter Page 12

 3.0 SESSIONS

3.1 Applying Basic Cutline Patterns

3.1.1 Cutlines in Shadows - Creating Woodcut Effects

Cutlines that are applied to the 50-100% gray values (Shadows) of your
image create a crosshatch effect. The darker the gray value the thicker
the lines become. As the gradient lightens the lines begin to taper. To
ensure a crosshatch effect, keep most of your image shading in the
darkest half of the gray values where 100% is black. The following steps
were used to create the final image below:

1. Create or Open a simple image in Photoshop

and select the area you want to be shaded.

SHADING FOR WOODCUT EFFECTS:

--Always use a gradient tool to apply the
shading within your image or selection this will
allow the Filter to render clean nicely tapered
lines.

--Use the airbrush tool with a large brush, a light gray value (10%) and
about 30% opacity, to lighten the outer edges of your selection. This will
prevent the gradient from being too light which causes the lines to extend
too far out at the ends, or
too dark which causes the
lines to cut off too sud-
denly. Lightly shading the
edges also adds some
dimensionality to the
image.
2. Apply shading inside
the selection using the
guidelines above.

3. Enter the Filter and select the settings shown in the example.
The Threshold setting (not shown) is 127 so that no shift in the gray
values will occur.
4. If either Elliptical Screens or Wavy Ellipses are used, you will have the
option to use the Stamper Tool. Click on your image with the Stamper
Tool active to place or change the line screen shown in the thumbnail
box. Then you can use the Angle and Curvature sliders to fine tune the
Page 13
 line placement. The stamper tool icon in the example above shows the
placement of our choice for this image. Line positioning is covered in the
following Session.

3.1.2 Cutlines in Highlights

The Cutline Filter allows the user to apply the Cutline effect to images
either in Shadows or in Highlights. Cutlines in Highlights are applied to
the 0-50% gray values (Highlights) of your image. As the gradient
lightens, the line patterns thin gradually to a dot pattern as the lines are
cut. To ensure a Cutline effect, keep most of your image shading in the
lighter half of the gray values where 0% is white.

1. Create a selection in Photoshop that repre-

sents the area you want to be shaded.
2. Review the tips on SHADING FOR WOOD-
CUT EFFECTS in Section 3.1.1. Apply shading
inside the selection using the gradient tool. Use
mid range to light gray tones to create the
gradient. The darkest gray value in our shaded
image is 58%. Remember that the “cut line
effect” will only apply in the 0-50% gray tones.
Then use the airbrush around the edges with a
light gray value (we used white here) to fine tune the blending out of the
gray and give your image more dimension.

3. Enter the Filter and select the settings shown in the example.

The Threshold setting (not

shown) is 127 so that no
shift in the gray values will
occur.

4. We used Elliptical
Cutlines here and then used
the Angle and Curvature
sliders to fine tune the line
placement. The stamper
tool icon in the example
above shows the placement
for this image. The Angle and Curvature Sliders are explained in more
detail in the next Session.

Andromeda Cutline Filter Page 14

3.2 Session on Line Direction and Characteristics.

The objective of this session is to help the user become more familiar
with the unique Cutline Filter engraving tools for controlling the direction
and characteristics of the lines created by the Filter.

Line Direction
Line direction is a key element to creating engraved
effects. This is a simple exercise to try within the Filter
with any simple image. We shaded a clipart image to
serve as an example for the following session. But you
can create a simple circle, apply a gradient within a
selected area, and follow the exercise below, or just
read on.

1. With your selection active, Select Andromeda > Cutline from the Filters
Menu, and make the following selections within the Filter:

LPI:15
Select Screen: Elliptical Cutlines
Apply Cutlines to: Shadows
Curvature :0
Angle:0
Threshold:127

fig Curvature and Angle Tools and Display

2. Select the Stamper Tool from the Toolbox. Move the cursor to the
position the Stamper Icon on your image where you want to apply the
line pattern, and click to apply the screen.

Observe that the Line pattern dislpayed in the

Thumbnail Box above is applied to your image
directly under the center of the Stamper tool.
The Etched lines on your image are the result
of the elliptical lines as they continue out from
the point where the Stamper was applied
Apply Stamper

Page 15
3. Now change only the Curvature Slider. This increases the overall
radius of the Ellipse.

Notice how the line position in

your image and in the Thumbnail
changes relative to moving the
slider. The curved lines “loosen”
relative to their previous position. Thumbnail Display

We chose the setting in the display

above to achieve the etched pattern in
Change Curvature
the apple as shown here.

4. Adjust the Angle Slider in both directions and again observe the
changes that occur in the Thumbnail display and in your image. The
Angle Slider adjusts the angle of the ellipse by allowing for 180 degree
rotation in either direction.

Ellipse Angle Rotated to -54 degrees

The positioning of the Curvature and Angle of Change Angle

the ellipses is all relative to the position of the
Stamper Tool. We left our Stamper Tool in the
same position throughout these examples to best demonstrate the
behavior of each of the three Tools.

Line Characteristics

The Select Screen Option: Many features in the Cutline Filter serve to
give the user choices when applying the engraving effects to their
images. One that is very important is choosing the right screen for your
image and desired effect. The Cutline Filter offers four line patterns best
suited for engraving and wood cut effects. From these four patterns there
are many variations. The user should select the screen that is most
appropriate for their image.

Andromeda Cutline Filter Page 16

Each of the four screens available adds a unique
characteristic or engraving “style” when applied.
With a simple image for demonstration, click
through the following Screen choices within your
Filter interface and observe the different effects on
your image.

Cutlines: Simple straight lines that are set at a fixed

13 degree angle for better line quality. See our output
below for comparison. Using straight lines tends to
offer a more mechanical or exacting effect on your
images than the others.

Wavy Cutlines: Wavy lines that are also set at a 13

degree angle and are also not adjustable in wave-
length or height or angle. These tend to soften images
somewhat, and may enhance contours and depth in
some areas of your image.

Elliptical Cutlines: Concentric Ellipses which allows

the use of the Stamper Tool and Angle and Curvature
sliders. The user can strategically place the curved
lines to engrave and enhance any image or selection
and is best suited for smooth surfaces.

Wavy Ellipses: Concentric Wavy Ellipses which also

invites the use of the Stamper Tool and adjustment
sliders. Working with this screen may require some
trial and error to get the best placement, but is well
worth the effort. Wavy Ellipses can add and enhance
the surface contours of an image, and adds a charac-
ter all its own.

Page 17
3.3. Session in Stamping Essentials

This session brings together in one place, information presented in this

manual, on the Stamper Tool and its productive use.

Availability: The stamping functionality is only available when either the

Elliptical Cutlines button or the Wavy Elliptical Cutlines button is activat -
ed.

The Tools: A Stamper Thumbnail, Angle Slider and the Curvature

Slider.

Use: You may need to design a cutline curve (a custom contoured

screen) for your engraving. The stamping tools let you shape and angle
curves. The design process is visible in the Stamper Thumbnail. Once
the design is set, to stamp the custom curve on a specific area of the
image, select the stamp icon in the tool box, move it to either the Left or
Right Preview Window and click down over the image. The curves
designed and visible in the Stamper Thumbnail, will stamp at the stamp -
ing position.

Andromeda Cutline Filter Page 18

What happens when you stamp: The center of the
Stamper Thumbnail is also the center at the stamping
position. Note that the set of curves (the screen) in
the Stamper is a section of a larger elliptical screen. The curve design in
So when you stamp, starting at the stamping posi - the Stamper
tion, all image pixels in the tonal range selected will Thumbnail before
be affected (screened). To contain the stamping to you stamped
an area of the image, come in with the area selected
in the host program. See Sessions for Woodcut effects on containing
the spread of stamping.

Your stamping position. The curves in the Stamper The result The screen-
The Stamper Thumbnail are a section of a larger ing was contained by
flashes at the stamping elliptical set. All image pix- coming into the Filter
position confirming the els in the selected tonal with a selection
curve design. range are screened. In
this case gray tones are in
the neck only.

Changing the angle and curvature after stamping : After stamping,

the stamper icon will be drawn over the image as a reminder of the
stamper position. To change the angle and curvature, you do not need
to stamp again, simply changing the ‘Curvature’ and ‘Angle’ sliders will
automatically update the image once it has been stamped.

Nothing happens when you stamp: check to see if the area being
stamped is within the current tonal range. You may have selected
Highlight tonal range, however the area you are stamping has gray
scale values that do not fall within that range (170-255) where 255 is
completely white. You may Zoom out in the Right Preview Window and
stamp in the Left Preview Window to notice any changes.

Page 19
Stamping methods:

1. Using Angle and Curvature sliders, design the cutline curves and
then stamp.

2. Independent of the design set in the Stamper, stamp the area first
and then tweak the ‘Angle’ and ‘Curvature’ sliders, watch the area till
the curves flow in the desired direction. The later technique is more pro -
ductive when you are matching an engraved area to an adjacent area
that has been engraved.

3. Stamping outside or around the area of interest. With this method

you are stamping the center of the curves (visible in the Stamper
Thumbnail) to different positions in the image. The result is that the area
of interest is being screened by a different curvatures since it is away
from the center. Therefore different curvatures at a given point can be
achieved without working the Angle and Curvature sliders.

4. For large images, stamp outside the selection in the Left Preview
Window (Zoomed out) while watching the results in the Right Preview
Window (Zoomed in).

Andromeda Cutline Filter Page 20

3.4 The Cutline Contrast Session

Objective : The objective of this session is to illustrate procedures for

creating interesting variations of standard Cutline screening by signifi-
cantly increasing the Contrast value in a grayscale portrait photograph in
Photoshop before entering the Cutline Filter.

3.4.1 Preparing the Portrait for High Contrast Cutlining

Step 1: The grayscale “Forties Gal” image was resized in Photoshop to

Page 21
300 DPI and 4.3” wide by 5.3” high (you can use any grayscale portrait
photo....however, for best results, do not re-sample the image up from its
original scanned resolution).

Step 2: Experiment with various incrementally higher contrast values in

Photoshop by selecting Brightness/Contrast from the Adjust menu which
appears when Image “pull-down” menu is opened. Image --> Adjust -->
Brightness/Contrast. Increase contrast until significant portions of the
portrait contain “white only” sections as illustrated below. Contrast was
raised to a value of “40” from a zero value when the image was opened.

Andromeda Cutline Filter Page 22

Step 3: After choosing a final contrast selection that creates “white only”
areas in the image but does not detract from the original image aesthetics,
save the image.

3.4.2 Selection of Cutline Variables to Optimize Portrait Cutlining

Step 1: Choose “Cutline” from the Photoshop Filter pull-down menu to

open the Cutline Filter UI.

Step 2: Set Select Tonal Range to Highlights.

Step 3: Select 35 LPI and click on the Wavy Cutlines Diamond in Select
Screen in order to achieve an effect that is “softer” than the straight
Cutlines. Set Tonal Range to Midtones, select 35 LPI and click on the
Wavy Cutline Diamond. Set Tonal Range to Shadows, select 35 LPI and
click the Cutline Diamond to create straight Cutlines in the dark back-
ground areas.

Step 4: Select Highlights (0 - 50%) in the “Apply Cutlines to” section, to

apply the “cut” lines in the highlighted areas of the image. Since most of
the face area in the portrait is highlighted, this selection will enhance
portrait aesthetics by “softening” the highlighted areas. Check the
Enhance Photo box to turn on unsharp masking.

Page 23
Step 5: Choose a value for Select LPI that is approximately equal to 10 -
12% of the original image dots per inch (DPI) value. (In this case, since
the original image was 300 DPI, we chose 35 LPI for the Cutline screen-
ing lines per inch value).
Step 6: Render the image by clicking on the OK button. Examine the
Cutline screening effects on your output image.
Step 7: Experiment with various “plus or minus” increments in LPI value,
render and compare the output for aesthetic differences to determine the
best LPI value. For more variation, open your original 300 DPI image,
select a different contrast setting and repeat the steps in this section.

Andromeda Cutline Filter Page 24

3.5 Woodcut Effects

In this method, to convert simple Line Art from Photoshop or rasterized

versions of line art from Adobe Illustrator or Macromedia Freehand™ to
a Woodcut effect, individual selections are best defined area by area to
follow logical contours of shapes. Next, these selections are filled with a
gradients. Finally, the selection is stamped with an elliptical cutline
screen.

3.5.1. Creating Woodcut Line

art.

Over the next few pages, let’ s

take this simple rasterized Line
Art horse and turn it into a
Woodcut image, step by step.

Selections and Gradient fills

will be done in the host appli -
cation program. for this session
we will use Adobe
Photoshop™ as the host.

1. Whenever possible, use the Magic 2. Next use option/alt lasso to cut selec -
Wand, to define the entire shape tion in half to protect opposite side.
which is to be converted. You can use For larger shapes, (neck) selecting each
the lasso tool if the shape is open and side separately allows you to add volume
does not lend itself to the wand. while better controlling the contouring.

Page 25
 3. To exploit the full range within the If you are selecting by hand-lasso, skip
selection, be sure to place the gradi- step 2, but make sure the marching
ent starting point directly on the dark ants hug or slightly overlap the dark
side of the selected line edge and side of the selected line edge.This will
then drag (black to white) across the to insure a clean conversion.
selection.

Tips for Edge Gradients

1. In the host application, be sure to restore the foreground/background
default colors (Black and White)and use the default “normal” fore -
ground/background gradient setting in the gradient menu.

2. When dragging gradients, be sure not to drag the stopping point too
close to or beyond the far edge of the selection- this will prevent a hard
edge on the light side. Drag the gradient in same angle and direction
as the intended contour.

4. Enter the filter and select lpi.

For most images, lower lpi settings
- even in the single digit range
(custom) are good for creating the
kind of line thickness associated
with hand carved woodblock lines.
Stamp in the left side window to
position the elliptical line set,
adjust angle and curvature to
match the contour, and hit the O.K.
button once you’re satisfied.

Andromeda Cutline Filter Page 26

 5. You’re back. It’s time to move to the
opposite side of the shape for the next
selection. Repeat steps 1 through 4 and
continue the process until completed.
Notice that once a shape has been par -
tially converted the magic wand will often
allow you to skip over step 2.Things
should move more swiftly once you get
the hang of the tools in the filter .

The two illustrations below demonstrate both how the selection/stamp -

ing process continues shape by shape, as well as showing how the use
of Wavy Elliptical Cutlines can add more variety and interest to an
engraved look by affording greater artistic control in matching implied
contours.

Here the opposite side of the neck Now the process continues section by
has been selected, gradient filled, and section following a pre-determined plan.
then stamped out with Wavy Cutlines.

3.5.2. Edge Gradients are best for Creating Woodcut Line art.

There are significant advantages in using gradient fills rather than air-
brushing shaded areas by hand. By dragging full (100%) gradients,
Photoshop can introduce as many as 255 points on the grayscale spec -
trum. The stamp can then produce a rich and gradual transition result -
ing in delicately tapered line and a cross cut look synonymous with tra -
ditional woodcut line quality.
When you use a full gradient, expect to see about one half of the total
conversion to show the cutline hatch.

Page 27
3.5.3. A Completed Line Art WoodBlock Horse

This particular example shows the use of gradient fills with “apply cut -
lines to” shadow. Elliptical Cutlines were selected. Also a variety ofLPI
settings were chosen for different shapes and conversions through out
the piece. If drawn line by line, this final rendering would have been
extremely time consuming.

Andromeda Cutline Filter Page 28

3.6 Session in Engraving.

In this session, discover engraving illustrations which already feature

shading such as airbrush or water color, in which individual selections
are created in the host application simply to position and constrain the
stamper to specific areas. You will find that fewer selections are neces -
sary than that required for the Session on Woodcut Effects. This is
especially true if you use the Wavy Elliptical Cutlines screen. As men -
tioned elsewhere in the manual, the stamping functionality is only avail -
able when either the Elliptical Cutlines button or the Wavy Elliptical
Cutlines button is activated.

3.6.1 Engraving Simple Airbushed Illustrations

For simple selected images, a single conversion with Elliptical Cutlines

can handle most basic shapes. For similar shapes that are slightly more
complicated, Wavy Elliptical Cutlines can offer more flexibility. Don’t
under estimate Cutline technology - even extremely complicated
imagery can be converted convincingly with a well placed stamp. Here
are some selected single pass samples:

a. Air Brushed Dolphin

Sample - Grayscale
Selected Input Image 300 dpi.
Created in Photoshop.

b. Single Selection Conversion

Select Screen - Elliptical Cutline
Cutlines applied to “Shadows”
lpi @ 45
Curvature set to 26
Angle set to -76

c. Single Selection Conversion

Select Screen - Elliptical Cutline
Cutlines applied to “Highlights”
lpi @ 45
Curvature set to 26
Angle set to -76

Page 29
 Levels adjustment on input image - Levels adjustment on input image -
darkened to 186. Same conversion lightened to 76. Same conversion set-
settings as sample b (above). Darker tings sample c (above). Our porpoise -
levels with “Shadows” bring out more to bring out more cutline using lighter
cutline in the conversion. levels with “Highlights”.

3.6.2 Engraving Complex Airbushed Illustrations

3.6.2.1. Foreground/Background Method.

Foreground
This approach uses only several large
Background
(foreground/midground) selections, each
utilizing the line flexibility provided by the
waves along with selective stamper place -
ment, to quickly match overall input image
contours.The Wavy Elliptical Cutlines
screens is ideal for this method and in
general for working on a tight deadline.

Foreground
Selection
Make a duplicate layer of your input image.
Base your selections on a quick analysis of
the (foreground / midground) relationship in
the input image. Lasso the foreground
selection first, working top to bottom.

Andromeda Cutline Filter Page 30

 Enter the filter...
Select Screen - Wavy Elliptical
Select LPI - set to 15
Apply Cutlines to - Shadows
Foreground
Converted
Click - Magnifier
Click - center of selection once.
Click - Stamper
Click - center of selection once.
Drag - Curvature slider to 50.
Drag - Angle slider to match
desired “overall” elliptical line
direction for the selection.
Select LPI - Reset to desired look.
Tip: Higher lpi set-
Drag - Curvature slider back to the
tings
left for optimum look. Pull
in the background
back if bullseye begins to
selections will
show in selection.
enhance of feeling
of depth.
(Optional) Apply Cutlines to -
Highlights instead of Shadows if
you prefer.

Wavy Elliptical
Cutline Pony -
Saved duplicate
layer has been
blended at 50%
opacity. Be sure
the Enhance
Photo button is
activated and
the Synchronize
Window button
is not activated
(defaults).

Page 31
3.6.2.2. Multiple Selections Method

Make a duplicate layer of your input image.

For precise control over the elliptical line
contour direction, work with Elliptical
Cutlines and make an onion skin that plots
basic shapes and provides directional
arrows assisting in placing selections that
follow contours and use of separate
shapes. Keep this semi-transparent un-acti- Onion Skin
vated layer handy for reference.

Selection Technique:
If you ensure that Threshold setting in the Filter is 127 or below, the
Cutline conversion won’t effect a light background on an input image,
save time by making general selections which can include the white
areas surrounding your image.

Lasso this pony

with total aban-
don... thanks to the
white background!
Maybe you could
practice your
Magnetic Lasso
skills some other
time.

After the initial conver-

sion, keep subsequent
selections flush along
the image portion to
prevent gaps or over-
laps between elliptical
line sets.
Employ the Magic Wand
(tolerance set to 15) to
help - it can often distin-
guish between convert-
ed areas and the fresh
grayscale you’re gather-
ing up for the next
selection (while holding
the shift key down).

Andromeda Cutline Filter Page 32

 Enter the filter with your first selection...
Select Screen - Elliptical Cutlines
Select LPI - set to 15
Apply Cutlines to - Highlights

Click - Magnifier
Click - center of selection once.
Click - Stamper
Click - center of selection once.
Drag - Curvature slider to 50.
Drag - Angle slider to match
desired “overall” elliptical line
direction for the selection.
Select LPI - Reset to desired look.
Drag - Curvature slider back to the
left for optimum look. Pull
back a little if bullseye begins to
show in selection. Merge with
dominant line direction of
previous conversion.

Tip: Simplify
merging process
by running lasso
selections along
natural highlights
and lines that
define shapes
within the image
whenever
possible.

Elliptical Cutline Pony - Note: Elliptical line patterns

follows the prescribed onion skin guide.

Page 33
3.6.2.3 Merging Engraving Lines in Multiple Selections

Adjusting the ‘Angle’ and ‘Curvature’ sliders after stamping an area,

updates the cutlines allowing visual matching with adjacent cutlines.
The elliptical pony is again used as an example.

While adjusting the

Curvature slider slowly
from the left, keep a sharp
look out - this is your oppor -
tunity to blend previously
converted lines into smooth
transitions with future sets.
Slight re-adjustments of
Angle can help. Similar LPI
lines are often easier to
blend, however an LPI
adjustment can sometimes
help match compressed
lines.

Here’s where it can get

tough - note that while at
the top of the selection line
sets merged well, at the
bottom they did not. Be
alert to these conditions so
you can apply more curva-
ture to make both ends
match. Switch to Wavy if
the going gets tough or the
tough get going.

Andromeda Cutline Filter Page 34

3.6.3 Engraving Tips

1. When Merging Engraving Lines use a pencil tool (black and white)
under magnification to help merging traffic flow smoothly in congested
seams if you’re missed a little.

2. As points of departure, line-art, watercolor, air brush, and photo

imagery, all lend themselves to Cutline digital engraving.
Regardless of the effect you desire, preparing your image (minimum
300 DPI) to add extra dimensionality prior to conversion is a good idea,
since screening tends to flatten imagery. Increase range in mid-tone val -
ues (Auto-levels - Levels), to build up shading (plasticity).

3. Less is more in creating contour selections. Fewer elliptical line sets

can offer rest for the viewer ’s eye in a busy composition.

4. Saving a duplicate pre-conversion layer in the original input image for

the purpose of blending it (50% opacity) with the engraved conversion
layer can create the look of a hand tinted engraving.

This classic hand tint was achieved when artists brushed a wash
over their etched lines to embellish tone.

Page 35
 4.0 Glossary

User Interface buttons, sliders, windows and terminology surrounding the

Cutline Filter are in this section.

About Button: Press this button to display information about Androm-

eda Software Inc. and its products, as well as how to get in touch with us
for technical support and sales. Click the mouse over the Splash Screen
or press the return key to get back to the Cutline Filter.

All: Select this Tonal Range to apply the same settings to the whole
image. Only use this if you don’t want to apply different settings to
Highlights, Midtones, and Shadows. (If you selected part of your image
using a selection tool in the your host program before entering the filter,
‘All’ is automatically selected because Cutline assumes the selection is
being used to define the area to apply the settings, not the Tonal Range.)

Angle Slider: This control adjusts the Elliptical Angle which will be
displayed in the Stamper Thumbnail and applied by the Stamper tool. If
the image has already been ‘Stamped’, the image will automatically be
updated to the new angle.

Apply Cutlines to: There are two choices offered: Highlights (0-50%)
and Shadows (51-100%). ‘Highlights’ is the normal case: in the lighter
areas of the image, white cuts appear in the black lines as they get
thinner. ‘Shadows’ is the opposite: in the darker areas of the image, black
cuts appear in the white lines as they get thinner. This choice applies to
the whole image, irrespective of which tonal range is currently selected.

Box Tool: Use this tool to control what is displayed in the ‘Original’,
‘More’, ‘Current’ and ‘Less’ thumbnails. Select the Box Tool by clicking on
the rectangle icon in the Toolbar. When the cursor is over one of the two
large display windows, the arrow cursor will point to the upper right to
indicate the tool is active. Click and drag to move the view box displayed
in the window. This box indicates the portion of the view displayed in the
four thumbnail boxes. The thumbnail views are always 1:1, which is why
the indicator box in each large window grows in size as you zoom in -
they always encompass a fixed size in pixels.

Cancel Button: Click on this button to exit the Cutline Filter and return
to the host program without doing anything.
Andromeda Cutline Filter Page 36
Current Thumbnail: This thumbnail previews a 1:1 section of the
screened output image with no changes. Use the Box Tool to control the
view position of this thumbnail.

Custom: Select this option from the ‘Select LPI:’ dropdown list if you
want to use a value for Lines Per Inch which is not on the list. A mini-
dialog will pop up to allow you to enter your new value for LPI. Avoid
using high values for LPI, as Cutlines are more effective at very low LPI
values. In fact, if you choose a value which is greater than one fifth of the
resolution of your input image, Cutlines will be disabled and you will get a
standard line screen. For example, if you are working with a 300 DPI
image, the LPI setting must be 60 or less, but much lower values 30 LPI
and below are recommended.

Cutlines: This is the screening effect produced by the Cutline Filter. A

standard line screen represents grayscale values by varying the thick-
ness of black lines on a white background. In the Cutline Screen, as lines
get thinner, angled ‘cuts’ appear in the lines, which causes them to break
into dots. This produces a very attractive old-fashioned woodcut look.
Cutlines are most effective at very low LPI values, in the range of 10-30.
The Cutlines and Wavy Cutlines are rendered at a fixed 13 degree angle
to avoid anti-aliasing problems and produce lines with smoother looking
edges.

Curvature Slider: This control adjusts the Elliptical Curvature which will
be displayed in the Stamper Thumbnail and applied by the Stamper tool.
If the image has already been ‘Stamped’, the image will automatically be
updated to the new curvature.

Display Switch: This control is on the Toolbar (the sphere icon). It is a

switch which controls the display in the left Input Photo Window. If off, the
display shows the original input photo. If on, the display shows the
Highlights, Midtones, or Shadows, depending on which Tonal Range is
currently selected. For example, if the current Tonal Range is ‘Midtones’,
then Midtones are displayed in white, and non-midtones (i.e. Shadows
and Highlights) are displayed in black. If ‘All’ is selected for the Tonal
range, or if there is a selection, this control is disabled, and the display
returns to the normal Input Photo display.

Dots Per Inch (DPI): The image resolution assigned in Photoshop

which represents the number of dots/inch available to represent graphic
detail. It can be measured along either axis.
Page 37
Elliptical Angle: This angle refers to the rotation of the major axis of the
ellipses.

Elliptical Curvature: This is the amount of curvature of the lines at the

point being stamped. The ellipses have a fixed 2:1 ratio of major to minor
axis, so the varying curvature is achieved by adjusting the radius (the
distance between the center of the ellipses and the point being stamped).
As the center is moved away from the stamping point, the local curvature
decreases.

Elliptical Cutlines: This term refers to using the Cutline technique on a

screen composed of elliptical lines.

Enhance Photo Checkbox: When this box is checked, the Input Photo
is sharpened before it is screened. The default setting is Unsharp
Masking with an Amount of 350 and a Radius of 5 pixels. This causes the
image to have sharper details and crisper edges (the opposite of blur-
ring). Enhance Photo applies to the entire image, not just a single Tonal
Range.

Fine / Coarse Slider: This control sets the step size for the ‘More’ and
‘Less’ thumbnails. If you wish to increase or decrease the Threshold by
smaller increments, move this slider to the left. If you wish to increase or
decrease the Threshold by larger increments, move this slider to the
right.

Helper Window: Move the cursor over any part of the user interface,
and the look in the Helper Window for information about that control.

Highlights: This term refers to the lighter parts of the image. For Tonal
range, it includes pixels with grayscale values of 0-33% (where 0% is
completely white). This is also equivalent to pixel values 170-255 (where
255 value is completely white). For RGB images, the R, G, and B values
are averaged, and for CMYK, an equivalent conversion to grayscale is
done.

This term also refers to 0-50% in the ‘Apply Cutlines to:’ choice, meaning
lines will be cut in any area lighter than 50%.

Andromeda Cutline Filter Page 38

Host Program: This refers to the program that launched the Cutline
Filter. It can be Photoshop or any application that runs Photoshop
compatible plug-ins. (Photoshop is a trademark of Adobe Systems, Inc.)

Input Photo: This is the original image in the Host Program that is to be
screened by the Cutline Filter.

Input Photo Window: This is the large window in the upper left part of
the user interface which displays the Input Photo. The Magnify, Box and
Stamper tools may be applied here. When the cursor is over this window,
the image attributes are displayed in the Helper Window.

Less Thumbnail: This thumbnail previews a 1:1 section of the screened

output image with a lower threshold than the current value, which is
displayed above. This Fine / Coarse slider determines the step size for
changing the threshold. Click on the Less Thumbnail to lower the thresh-
old value and make the output image lighter. Use the Box Tool to control
the view position of this thumbnail.

Lines Per Inch (LPI): This is the number of screened lines per inch in
the output image. It should not be confused with the ‘dots per inch’ in the
Input Image, which comes from the host program. For example, you may
enter the Cutline Filter with a 600 DPI image, and then set the Lines per
Inch to 20. This means that the output image will also be 600 DPI (it is
always the same as the input image), but the image will consist of
screened lines at 20 Lines Per Inch. This is a 30:1 ratio, meaning that
each line consists of 30 rows of dots.

Avoid using high values for LPI, as Cutlines are more effective at very
low LPI values. In fact, if you choose a value which is greater than one
fifth of the resolution of your input image, Cutlines will be disabled and
you will get a standard line screen. For example, if you are working with
a 300 DPI image, the LPI setting must be 60 or less, but much lower
values are recommended.

Lines Per Inch Popup: This dropdown control allows the user to select
the Lines Per Inch for the output image. If Highlights, Midtones or Shad-
ows is selected, this setting only affects that Tonal Range. To modify the
LPI of the whole image, make sure ‘All’ is selected for the Tonal Range,
or set all three ranges individually. Remember, low values for LPI show
off Cutlines more effectively.
Page 39
Magnify Tool: Use this tool to zoom the large display windows in or out.
Select the Magnify Tool by clicking on the magnify icon in the Toolbar.

When the cursor is over one of the two large display windows, the cursor
will change to a magnifying glass indicate the tool is active. Click in the
center of the area you wish to magnify. To zoom out, hold down the
option key on the Mac, or the Alt key on the PC, and click (the ‘+’ will
change to a ‘-’ in the icon. If ‘Sync’ is checked, any zoom or pan in either
window affects both. If you are at maximum zoom, the ‘+’ will disappear,
and if you are at minimum zoom (fit in window), the ‘-’ will disappear.

The zoom factor is displayed in the lower right corner of each window. ‘2:’
means 2:1, ‘4:’ means 4:1, ‘:2’ means 1:2, ‘:4’ means 1:4, and so forth.
(This information is also displayed as text under the right window.) Click
in this square to return the window to ‘fit in window’. Also, double click on
the magnify tool to return both windows to ‘fit in window’.

Midtones: This term refers to the middle range of the image. For Tonal
range, it includes pixels with grayscale values of 34-66% (where 0 is
completely white, 100 is completely black). This is equivalent to pixel
values 85-169 (where 0 is completely black, 255 is completely white).
For RGB images, the R, G, and B values are averaged, and for CMYK,
an equivalent conversion to grayscale is done.

More Thumbnail: This thumbnail previews a 1:1 section of the

screened output image with a higher threshold than the current value,
which is displayed above. This Fine / Coarse slider determines the step
size for changing the threshold. Click on the More Thumbnail to raise the
threshold value and make the output image darker. Use the Box Tool to
control the view position of this thumbnail.

OK Button: Click on this button to apply the current settings to the

image, exit the Cutline Filter and return to the Host Program. It is at this
time that the Filter renders the results to your image.

Original Thumbnail: This thumbnail previews a 1:1 section of the input

image, for comparison with the Current Thumbnail, which shows the
same section of the output image. Use the Box Tool to control the view
position of this thumbnail.

Output Image: This is the screened result image returned to the Host
Program by the Cutline Filter.
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Output Image Window: This is the large window in the upper middle
part of the user interface which displays a preview of the results of the
Cutline Filter. The Magnify, Box and Stamper tools may be applied here.

Pixel Darkness Display: When the cursor is over one of the two large
preview windows, a box with a percentage appears underneath. This
number is the Pixel Darkness (grayscale) of the image point at the cursor
location. 0% represents white (pixel value 255) and 100% represents
black (pixel value 0). For RGB images, the R, G, and B values are
averaged, and for CMYK, an equivalent conversion to grayscale is done.

Screening an Image: This is the process of converting a continuous

tone grayscale image into an image consisting of pixels which are 100%
white or 100% black. The darkness at any location is controlled by the
ratio of black pixels to white pixels. The screen may consist of dots, lines
(as in the Cutline Filter), or other shapes. After an image is screened, it
may be converted from a grayscale to a bitmap (binary) image with no
loss of data. The best quality is achieved by having a high DPI to LPI
ratio. For example, if you start with a 300 DPI continuous tone image,
and screen it at 30 LPI, your DPI/LPI ratio is 10:1, which is adequate.
The ratio should never be less than 5:1.

Screening of this type is normally done on grayscales, but color images

(RGB and CMYK) may also be screened. Each color channel is
screened by the Cutline Filter, producing a color result. Although this
process does not produce the same accuracy as conventional color
processes, it may be preferred for artistic reasons.

Selection: A selection is done in the Host Program before entering the

Cutline Filter. Use the Marquee, Lasso, Magic Wand, or other tools or
methods to make your selection, which is indicated by ‘marching ants’. If
you enter the Cutline Filter with a selection, the filter will honor that
selection, and only modify pixels within the selection area. Furthermore,
it is assumed that the selection is being used as the primary method for
selecting the area to screen, so the Tonal Range choice is disabled and
the settings will apply to the entire selection, as if ‘All’ were selected.

If the selection is feathered, the Cutline Screen will fade at the edges.
You may apply the filter repeatedly to different sections of the image, and
if the selections are feathered, they may overlay slightly to get softer
transitions.
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Shadows: This term refers to the darker parts of the image. For Tonal
range, it includes pixels with grayscales 67-100% (where 100 is com-
pletely black). This is equivalent to pixel values 0-84 (where 0 is com-
pletely black). For RGB images, the R, G, and B values are averaged,
and for CMYK, an equivalent conversion to grayscale is done.

This term also refers to 50-100% in the ‘Apply Cutlines to:’ choice,
meaning lines will be cut in any area darker than 50%.

Select LPI: This dropdown list allows the user to select the number of
screened lines per inch in the output image.

Avoid using high values for LPI, as Cutlines are more effective at very
low LPI values. In fact, if you choose a value which is greater than one
fifth of the resolution of your input image, Cutlines will be disabled and
you will get a standard line screen. For example, if you are working with
a 300 DPI image, the LPI setting must be 60 or less, but much lower
values are recommended.

Select Screen: This is a group of four choices for the style of screen to
be applied to the image. You may apply different screens to Highlights,
Midtones, and Shadows, or, if ‘All’ is selected or there is a selection, the
screen will apply to the whole image.

Select Tonal Range: If there is no selection, this dropdown list allows

the user to select the range of tonal values to which the current settings
apply. For example, if ‘Shadows’ is selected, the current settings only
affect the darker third of the tonal range. If ‘All’ is selected, the current
settings apply to the entire image.

Stamper: This is the mechanism for setting the position and angle of the
‘Elliptical Cutlines’ and ‘Wavy Elliptical Cutlines’ screens. The ellipses
have a major and minor axis, with a fixed 2:1 ratio, and a center position.
There is also a rotation setting for the major axis. By moving the elliptical
center to different positions in the image, different curvatures at a given
point can be achieved. All this is done automatically, so all the user
needs to do is decide the curvature and angle desired at a certain point,
and then ‘Stamp’ that location. See ‘Stamper Tool’ for more details.

Andromeda Cutline Filter Page 42

Stamper Thumbnail: When Ellipses (or Wavy Ellipses) is selected, this
shows the Curvature and Angle used by the Stamper Tool. The curves
you see at the center of the Stamper Thumbnail are identical to the
curves which will be applied at the stamped position.

Stamper Tool: Use this tool to ‘Stamp’ an image with an elliptical screen.
Select the Stamper Tool by clicking on the rubber stamp icon in
the Toolbar. When the cursor is over one of the two large display win-
dows, the cursor will change to a box with an ‘X’ to indicate the tool is
active. Click at the location you wish to stamp.

This tool is only active when Elliptical Cutlines or Wavy Elliptical Cutlines
is selected. It automatically sets the position and angle of the elliptical
line screen in the image to match the Curvature and Angle in the
Stamper Thumbnail at the position being stamped. Note that the act of
stamping will affect all the image pixels within the current tonal range, not
just the local area being stamped. (If nothing happens when you stamp,
check to see if the area being stamped is within the current tonal range.)

After stamping, the stamper icon will be drawn over the image as a
reminder of the stamper position. Subsequent updates to the ‘Curvature’
and ‘Angle’ sliders will automatically update the image once it has been
stamped.

Sync Checkbox: When checked, the right and left preview windows are
synchronized. That is, they display the same region of the image as
either preview window is zoomed or scrolled. When not checked, the
windows work independently of each other.

Threshold: This parameter controls the darkness of the output image,

with a range of 0-255. The default value is 127, which produces a result
with the same overall darkness as the source. Use higher values (by
clicking on the ‘More’ thumbnail) for a darker output image, and use
lower values (by clicking on the ‘Less’ thumbnail) for a lighter output
image. It works by making the lines in the screen thicker or thinner.

Tonal Range Dropdown: If there is no selection made in any area of

your input image, this dropdown list allows the user to select the range of
tonal values to which the current settings will apply. For example, if
‘Shadows’ is selected, the current settings only affect the darker third of
the tonal range. If ‘All’ is selected, the current settings apply to the entire
image.
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Toolbar: The Toolbar consists of three tools: Zoom, Box and Stamper.
Select one of these three tools to determine the cursor function when it is
moved to one of the two preview windows. The fourth slot in the Toolbar is
the Display switch, which enables or disables the special Tonal Range
display in the left preview window. This switch is only active when there is
no image area selection and one of the three tonal ranges is selected.

Wavy Cutlines: This screen is the same as regular Cutlines, but with a
slight wave added to the lines.

Wavy Elliptical Cutlines: This screen is the same as regular Elliptical

Cutlines, but with a slight wave added to the lines.

Zoom Factor Display: The zoom factor is displayed in the lower right
corner of each window. ‘2:’ means 2:1, ‘4:’ means 4:1, ‘:2’ means 1:2, ‘:4’
means 1:4, and so forth. (This information is also displayed as text under
the right window.) Click in this square to return the window to ‘fit in
window’.

Andromeda Cutline Filter Page 44