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bore no resemblance to the photograph of car 990. I had to de- sign the artwork. I first measured the height of the car side from the sill to the roofline on a scale drawing. This distance measured exactly eight scale feet. Next, I measured the height of the up- per and lower shad- owline band patterns at the left end of the car on the black and white photograph shown at the top of the opposite page. After counting the number of bands in each pattern, I cal- culated the width of the various bands in scale inches. Armed with these data, I was ready to do the artwork.


with black ribbon-style letters for “BURLINGTON, RAILWAY EXPRESS AGENCY, CB&Q” and the road number. Fading and frequent trips through the wash racks quickly obliterated the shadowline paint scheme, and within a few years, the horizontal stripes had almost disappeared. These cars received a solid silver gray scheme with the same mark- ings at their first repainting. Having painted two scratch-


built BA-19A Havelock economy baggage cars in Pullman green, I decided to paint the third scratchbuilt car in the shadow- line scheme of car 990. A search of decal purveyors quickly re- vealed the only commercially available shadowline decals were the Santa Fe decals marketed by MicroScale. I purchased two sets with the intent of cutting them up to approximate CB&Q practice — an idea quickly abandoned when I realized the Santa Fe decals


CorelDRAW is rather intuitive to anyone familiar with


vector-based drawing programs, and I learned enough to start working on the decals in a few days. First, I scaled the photo- graph of car 990 to HO scale and measured the band patterns and line spacing. An enlargement of the bands with their dimensions appears in Figure 1.


The next step was to draw an


HO-scale car side, including bag- gage doors, to use as the back- ground on which to draw and scale the lines.


The top bands are made up of simple lines, so I started with the top line and worked down, ad- justing the line width and gray- scale assignment to approximate the photograph. The process in- volved drawing a two-point line, assigning line width and gray- scale density, converting the line to an object, and aligning the line spacing in the wireframe view. In CorelDRAW, the steps required to set line attributes are:


•Select line


•Select Outline Tool •Click Outline Pen •Select color from pop-up menu •Choose line style from style box


The top and bottom borders are constructed using three lines, with 13 lines between them. To simplify selecting the best band match to the car photo- graph, I created a progressive density test panel as shown in Figure 2.


The ideal line pattern with drawing specifications appears in Figure 1.


After choosing the closest banding pattern and density I broke the top band into three panels: left, center, and right. The center panel included the


Figure 2 By cutting out the bands and placing them on the photograph, it was possible to select the line grayscale density that most closely matched the overall appearance of the prototype.


Figure 1 This is the final appear- ance and dimensions of the top and bottom shadowline bands. Artwork was created in CorelDRAW but could be duplicated in Adobe Illustrator or any vector drawing program.


JUNE 2015 69


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