DT&G Magazine Interviews Column
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Interview with Paul Rogers continues from page one

How many dots?

DT&G   Paul, it's difficult to tell in the final printed piece, but some of the dots seem to be multi-colored -- are all the dots flat color, or are there in fact some multi-colored ones?

Paul:   All the dots are flat color, although there is a lot of variation in terms of color and size.

DT&G   How many layers did you end up with? Was this a terribly huge file?

Paul:   Only about six layers. It a 5.7 MB file, pretty big for an Illustrator file.

DT&G   What was the most difficult problem to overcome in putting this piece together?

Paul:   Patience. As I built up parts of it I could see that the overall piece was going to work out, but I could not rush through areas or it wouldn't match the rest.
      Once I established a basic size for the dots, I had to maintain that throughout the whole thing. Some large areas could be copied and repeated, but I had to go in and make adjustments in terms of color and placement in order to give the proper overall feeling that it was created by hand, not some mechanical fill.

DT&G (turns to audience) Folks, if you're ready for a real eye-opener just take a look at the file in WIRE FRAME mode to see all the vector objects included in the file! Here's another sample:

color vs outlines

DT&G Folks, we also have an earlier Travelsmith cover Paul created, called "Mosaic" which is easily as spectacular as "Dots" --
      Paul, in the "Mosaic" cover, were there challenges you had to overcome that were very different from "Dots" or, did "Mosaic" sort of lay some groundworld for "Dots"?

Paul:   The mosaic piece was first and I learned a lot creating that one.
      The idea was to make it look like it was hand done and the only way to do that is to place each piece one by one.
      For both of these covers, there is a basic flat area of color that gets all of these tiny pieces laid on top of it. I looked closely at some mosaics and studied how they where put together and tried to mimic that technique. If you try to lay the tiles in a flat grid, you end up with a different kind of look than the ancient mosaics had.

DT&G   Can you make a comparison between the two pieces as to overall difficulty ? Both have literally thousands of vector objects -- what kind of hours are we talking about?

Paul:   In terms of hours, I really lost track. Probably a solid week for each one.
      Those were long days, but when you compare it to any other way of achieving this look its very, very fast. Plus you always have command Z.

article continues Let's see how much it cost...


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