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sacboi

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    Melbourne, Australia
  • Interests
    Creating Stuff, Video Game Development, Cars, Motorsport and PC gaming

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  1. Nicely done! Overall inverted composition no less, also the background aerial environment is pretty convincing especially those clouds 👍 And if you don't mind sharing, any workflow tips how they were generated either vector derived or otherwise?
  2. These might be useful. A varied selection of post processing insights relevant to either Photoshop or Affinity Photo: https://www.ebalstudios.com/blog/improving-3d-renders https://affinityspotlight.com/article/10-post-processing-mistakes-everybody-makes-and-how-to-avoid-them/ https://richardyot.com/postprocessing-pack-for-photoshop-and-affinity-photo https://affinityspotlight.com/article/3d-artist-yurii-suhov-i-love-the-thrill-of-the-unknown-that-pushes-my-growth-forward/ https://affinityspotlight.com/article/post-processing-3d-renders-with-visualisation-artist-piotr-kasprzak/ For a number of years worked with DCC 3D apps such as Blender & 3ds Max generating hard surface content. Currently in the process of migrating over too Blender's latest build v3.1x alongside exploring Ae (Adobe After Effects - Motion Graphics suite) as a potential third party alternative to native solutions, regarding photoreal compositing and post production methodologies. As an aside, was basically inspired by this particular artist's work by setting for myself a personal benchmark, toward hopefully attaining a comparable finesse in the foreseeable future. Whilst putting in a ton of effort and perseverance, besides.
  3. Decided to revamp this Pershing from scratch just wasn't feeling the initial 3/4 perspective so switched over too a more conventional (easier 😔) side view composition. Anyway, with everything crossed hopefully wrap it up in Jan or Feb 2022, then continue adding examples of these 'iron clad beasts' from yesteryear.
  4. Cool automotive piece, it's top down orthographic aspect 'drone's-eye-view' render style, at least for me is distinctive. Can't say I've even come across in a 3D CGI asset setting over on the ArtStation portfolio platform as a casual lurker and in particular, also liking the finesse involved creating detail for those seats, generating an appearance of the actual material they're typically crafted from.
  5. Nice, hopefully your thoughts may introduce a degree of objectivity which personally in my humble opinion, Affinity holistically encapsulates a viable art flow pipeline, when stacked against other comparable solutions currently available. Alternatively, perhaps he might at some point peruse user generated content shared on this forum. In a manner of speaking, determine 'first hand' the broad range of subject matter, aesthetically.
  6. @ESEA thank you, appreciate the kind words and the drawing is a combination of vector / raster layers. I used ADs Persona pixel brushes mainly for texturing plus a little post processing in GIMP.
  7. @Smee Again recall being track side over the entire 5 day event that year which I remember was a mix of stinking hot mid 30°C weather throughout plus heaving crowds every day, side shows and an overall pervading smell of high octane fuel... basically a carnival like atmosphere but my abiding memory was the first time hearing live an earsplitting scream of a V10 F1 engine topped out, just meters away hurtling past on the back straight. Not like now with these current gen hybrids they're just too damn quiet, like elevator music to a stack of Marshall amps at an AC/DC concert, no flipping comparison at all... @Alfred coupled with making those text spelling and grammar corrections, also decided to tweak the drawing a bit, slight color correction here and there together with again utilizing the G'MIC filter plugin for GIMP to suggest a more prominent kind of 'heat haze' effect - Deformations > Textured Glass or trying to capture something as close to the reference I'd initially sourced for this project.
  8. Thanks for taking the time and effort. I'll get right on it. Cheers.
  9. As an avid fan of Formula 1 racing, I practically grew up listening to the great man's commentary alongside his hilarious Murray'isms "Unless I'm very much mistaken... and yes I am very much mistaken," "And now excuse me while I interrupt myself" "The first four cars are both on the same tyres" "Tambay's hopes, which were absolutely nil before, are absolutely zero now" "I imagine that the conditions in those cars today are totally unimaginable" "With half the race gone, there is half the race still to go". Including this TV commercial https://www.youtube.com/watch?v=93igduisgzY Over the intervening months since his passing earlier in the year, I've been off and on developing this drawing in AD as a personal tribute. EDIT: Please take note that the elaborate Rothman's badge either side of the front wing and back of the foreground figure, is free stock vectorized content. It's inclusion is simply due too the intricate calligraphy that I was unable to replicate accurately although all remaining elements of the drawing is my work.
  10. Thank you, appreciate the feedback. Also, that's a great question. After giving some thought too your query, I suppose a conventional vector line drawing could well suit replicating, for example's sake. Victorian period portraiture illustration techniques of the day, including charcoal sketch, wood/steel engraving or lithography which typically most were depicted with a characteristic cross-hatched shading of the given subject that in my opinion still achieves a high degree of realism using just line work, without losing an overall 'organic' aesthetic.
  11. Hi There: Was initially notified by email in June which coincidentally was not long after I'd jagged a new bill paying job, that I'll receive a batch of commissions for a set of figurative portraits from a single client later in the year. At first pretty stoked but at the same time tentatively thinking if I could pull it off, since I've not attempted any serious paid work for ages, well 1998...! to be exact using traditional media via a genre without mincing words, had previously excelled when a working artist, during the 90s. So anyway, I'm guessing they'd hit on an old long forgotten post of something leading too sparking an interest. Therein over the preceding months amidst a plethora of day to day detritus whilst also week in/out preforming high risk duties as an essential onsite worker, throughout a series of nationwide covid lockdowns due specifically to the Delta strain, coupled with our low vaccination rate in my region...trying to get back up to speed practicing using either stylus or pencil, sketching like there's 'no tomorrow' . Henceforth, finally taking delivery of relevant reference material several weeks ago, made a somewhat hesitant start, plus time-frame toward completion considering my usual workrate, at face value was a little tight (two & a bit months) however it's paid so needs must. Consequently, decided to lean heavily upon a digital format, hopeful in providing an efficient alongside effective solution meeting or indeed sliding under the agreed deadline. Current progress, first done, actually final edit was yesterday evening so happy to report the client's response was an approval of the finished result. Vector Outline: Curve Segment Paths - [Blockout] Workflow Breakdown For those interested, a brief walk-through of the process I've been 'tweaking' for the best part of two years, drawing realistic content utilising Affinity Designer. Personally I think I've struck a balanced approach in terms of technique out-putting whatever subject whether organic or hard surface, basically not that dissimilar too 3D pipeline tasks i.e. Background Ref's Blockout Base Sketch Refining Details Final Pass / Render Post Processing / Comp Typically, when freelancing as a Portraitist back in the day I'd mostly work from photographs, simply because of a preference for painting at ones own pace and also suited my persona as an artist without the additional hassle of in situ sittings. Now this particular methodology is fairly straightforward, base sketch is blocked out by tracing an image, from the outset primary color gradients are initially layered down. Once appropriately edited, I'll toggle over to ADs Persona suite of raster tools for texturing. In my opinion they're fully featured for my present need, default brush sets are intuitively user friendly including a fleshed out settings menu, quite useful when changing properties on the fly while implementing effects such as blur, opacity, glow etc, as well. Although that all said, layer management is pretty crucial, when dealing with complex content, the layer stack especially vector / pixel combinations will propagate fast, quick! so keeping tabs on usable naming conventions is well worth keeping an eye on, probably mitigated to an extent by some forethought during pre-planning. Each Relevant Stage Highlighted via Gif: Generally, with some optimism can state I've 'ironed' out more than a few wrinkles drawing using this app which hopefully bodes well for the remainder. Cheers.
  12. Very nice. I use the G'Mic plugin for Gimp 2.8 when either 2D or 3D post processing a finalized output and as a FOSS image editing FX library, quite a versatile alternative in my humble opinion compared with subscription based Adobe solutions i.e. PS - Ai.
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