GRAPHICS PRO

October '21

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1 0 8 G R A P H I C S P R O O C T O B E R 2 0 2 1 G R A P H I C S - P R O. C O M image. Fig. 6 shows the original bitmap on the left and my vector drawing on the right. This company is an auto body shop special- izing in custom paint jobs and wanted this paint gun to show their expertise in custom painting. Unfortunately, the image they provided was too pixelated to print well at the 24" enlargement required for their sign. When speaking with the owner, I esti- mated three hours for my design time to redraw the image, which he agreed to af- ter seeing the visual difference. The actual time was slightly over two hours, so I was able to charge him less than my original estimate. It is always a good thing to save people money when you can. It helps cre- ate customer confidence and loyalty. In my drawing, I show more detail than the original and allow the image to be scaled to any size without degradation. I drew the various objects directly over the original bitmap in wireframe view, then used fountain fills, blends, and contours to achieve the photographic qualities needed for realism in the enhanced view. Most drawings are not this involved, but sometimes this sort of thing is necessary to reach our client's goal. ADDITIONAL THINGS TO TRY The next example is an image that was used by a local church to promote an up- coming event. It was provided by another entity, but unfortunately, the designer did not allow for enough contrast between the lettering and background to have the mes- sage be readable or effective (Fig. 7). My first attempt to create the needed contrast was to fill the offending letters with a lighter, contrasting color in PHO- TO-PAINT. This, however, proved to be a bit fruitless as the sharp edges of the let- ters were rough, rugged, and rounded. So, back in CorelDRAW, I chose to draw over the letters. This was a faster approach than searching out the exact font used by the designer. Fig. 4. Fig. 5.

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