sacboi

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. 

Thanks for taking the time and effort. I'll get right on it.
Cheers.

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. 

A magnificent drawing, @sacboi, but you might want to correct the typos in the accompanying text.
exiting pit lane -> exiting the pit lane
it’s inaugural -> its inaugural
as Australia’s, then new -> at Australia’s then new
too take out the -> to take the
Constructors Title -> Constructors’ Title
Driver’s Championship -> Drivers’ Championship

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. 

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. 

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. 

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.     

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.  

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.  

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.     

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.     

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.     

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.     

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.     

Here I have taken an original image of a beautiful sunset and using the G'Mic plugin with Affinity Photo created some artistic HDR versions of the Image. Using a variation on the HDR merge technique. 

Like your style, imo you've a definite affinity (pun intended 😀) for visualizing real world fluid dynamics / properties alongside a diverse range of containers, via 2D. 

So, another realistic one from me (this time non-alcoholic) 😀 I've included the outline view and the reference image used for comparison. It's not the best I've done but not the worst either and once again a little more knowledge gained as it's the first time I think I've done a Plastic bottle.   About a Gazillion layers and 10 Gazillion objects in this one but it was fun to do. Its all vector done in AD with the exception of a few vector brushes for texture (I never refer to Vector Brushes as pure vector).    

Nice, you've certainly an eye for detail.
Plus I'd even go out on a limb too confirm that its indeed a "Black Rat"....ahem, may have downed a few over the years hence my assertion 😝
 

Another of my recent works. I enjoy doing realistic pieces and this one I really enjoyed doing. It's all vector, With afterthought I maybe should have omitted or blurred the reflection of the glass on the table as it probably too 'clear' for a reflection on wood. The reference pic was one from Pixabay and there was also a Wine bottle in the pic but I left it out as I wanted to concentrate on the glasses and fire.

Brush link
gumroad.com/l/nsCEh

lol....if looks could kill 🤣
'Mr Furball Sniper'

lol....if looks could kill 🤣
'Mr Furball Sniper'

lol....if looks could kill 🤣
'Mr Furball Sniper'

Don't know why, but as soon as he realizes that you are looking at him through the camera lens he gets upset. Sometimes he'll run away, other times he tells me what his opinion is with his eyes.
He's even been known to get that Mckayla Maroni doesn't approve look.
Just a couple of pics I dug up off my card in the last week.
 
Not you again?

 
Not impressed!