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G R A P H I C S - P R O. C O M 2 0 2 2 J U L Y G R A P H I C S P R O 6 3 program, I urge you to explore and experi- ment with the concept to gain the knowl- edge of the processes necessary to make it all work. In my experience, when I learn a new concept, it is usually not long until I have a project that requires its use. I have included Fig. 6 as an example of using the various tools in Corel DR AW to create a drawing. I did this for my own amusement to once again draw a coil spring wrapped around a central object. e process to render the spring was very much the same as described earlier. I would encourage anyone to experiment with this kind of drawing as time permits. It could surely sharpen one's skills with the various tools available. It may be worthwhile to note that all the images included here were created in early versions of the program. All the basic drawing tools used here have been available Fig. 3: The coil spring encircling the shaft. Fig. 4: The distortions serve to enhance the whimsical cartoon look. in multiple versions of CorelDR AW. e earliest version used was the X3 ver- sion, which was released 20 years ago. I encourage questions, insights, and com- ments at dezender1@gmail.com. I will respond as quickly as I possibly can. As appropriate, I will share questions and comments with the magazine editors. 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 dezender1@gmail.com. Fig. 5: An example of using the EMF file type to alter an image. Fig. 6: An example of using the various tools in CorelDRAW to create a drawing.