October '21

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G R A P H I C S - P R O. C O M 2 0 2 1 O C T O B E R G R A P H I C S P R O 1 0 9 These letters were easy enough to re- draw, all being bold and symmetrical. I first resampled the 72 DPI bitmap to 300 DPI for clarity. After all the letter shapes were created, I filled them with the origi- nal color, this time adding an outline in a contrasting color, in this case, white. Fig. 8 shows the result. I then exported the image to an RGB JPEG at the original 72 DPI and sent it to the church webmaster. The results of my modifications made the message more readable without the reader having to strain to guess at the message. Dealing with poor-quality artwork is a challenge for any designer. Sometimes we succeed with minimal effort; other times, it is only an exercise in futility and frus- tration. We must educate our customers on what kind of artwork is acceptable for reproduction and what is not. Most of our customers do not know much about what we can and cannot do, nor how to reach their vision. They only know what they want and rely on us to make it happen. All the above information reflects what has worked for me in the past. If you have other insights or processes that have helped you regarding artwork enhancement, I would love to hear about them. All my years using the program have proven me to still be a student, and I am still learning new things almost every day. My email is Any questions will be answered as soon as pos- sible. I have found that many questions are a thing I have no answer for, but I will endeavor to search one out. GP DOUG ZENDER has used CorelDRAW extensively since version 4. His goal is to minimize the intimidation of the program and give users the sense that CorelDRAW is a friend, not an adversary. Doug began as a design artist, then moved into the sign industry in 1992 doing vinyl graphics. You can contact him at Fig. 6. Fig. 7. Fig. 8.

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