Jump to content
You must now use your email address to sign in [click for more info] ×

AffinityJules

Members
  • Posts

    653
  • Joined

  • Last visited

Reputation Activity

  1. Like
    AffinityJules got a reaction from dannyg9 in Peace   
    It's certainly a step in the right direction.
    If you look at the top tree on the left hand side of the picture and study the shadow cast, it shows the correct angle. One thing to note here is: where there is a dip in the ground or a sudden change of pitch, this will make the shadow skew off a little to reflect the change of angle. The case in point is just behind the Buddha where the ground begins to rise, it wouldn't make much difference in this picture but it's something to bear in mind in the future.
    Study the shadows in the foreground and try to match the colour tone in the shadows you have created, they are obviously green but have a different tint.
    Like I said. . .this is by no means easy and takes a lot of trial and error before you reach the point that touches upon realism. And thanks for the plug, but I am far from being an expert - just an enthusiastic hobbyist trying to make sense of the digital age like yourself. 😀
    Tip: When I need to know if I am getting close to a colour match I use the colour picker and take a sample from the background and compare it with a sample from my own shadow layer. Double click the colour circle and when the window pops up it will show you the colour range, and more importantly, how close your shadow tone is or should be when held against the background picture.
    Advanced tip: Because the shadows are falling on grass it's useful to use a grass brush (if you have one) or the masking brush that comes with the Affinity package on your shadow. Mask the layer and zoom right in on the patch of grass and mask out parts of the outline trying to match the angle of the grass blades where needed. Again, this will result in a more realistic finish. 
  2. Like
    AffinityJules reacted to j3rry in Peace   
    The shadow looks very realistic . 
  3. Like
    AffinityJules got a reaction from AdamStanislav in Peace   
    As a quick example of what I mean. . .I didn't take as long as I normally would over this, but it illustrates the idea of retaining the ground information in the picture.

  4. Like
    AffinityJules got a reaction from bananayoshimoto in Peace   
    As a quick example of what I mean. . .I didn't take as long as I normally would over this, but it illustrates the idea of retaining the ground information in the picture.

  5. Thanks
    AffinityJules got a reaction from j3rry in Peace   
    Nice.
    If it were me doing this I would have used a dark green for the shadows rather than black. A sample from the dark green shaded areas of the picture is a good place to start.
  6. Like
    AffinityJules got a reaction from dannyg9 in Peace   
    Nice.
    If it were me doing this I would have used a dark green for the shadows rather than black. A sample from the dark green shaded areas of the picture is a good place to start.
  7. Like
    AffinityJules got a reaction from Chillr2021 in Why does Affinity Photos swap colours around when you select brush   
    That's how it is, and works. It's always annoyed the heck out of me.
  8. Like
    AffinityJules reacted to StuartRc in Untamed   
    Rock Bridges
    Rocks and Pavements
    Original Size 1000 x 1000mm (upload 2362 x 2362px)
    Painted using Concept Painter Brushes and inkers.
    Mixed raster and vector Elements

  9. Like
    AffinityJules reacted to jimh12345 in clone brush changed to oval   
    Thanks guys, not only is the "More" dialog the missing piece to the puzzle, it has a Reset button.  
  10. Like
    AffinityJules got a reaction from Alfred in clone brush changed to oval   
    I would guess that you altered the shape of the brush.
    Look for the more tab and click it/when the brush options appear check the shape option of the brush and adjust the slider, that will modify the shape of the brush.
  11. Thanks
    AffinityJules got a reaction from Ren De in The Heart Would Not Burn.   
    I would hang it on my wall. Light and dark must both exist together in mythological harmony.
  12. Like
    AffinityJules reacted to Ren De in The Heart Would Not Burn.   
    Thanks for your comments, guys. I probably would not hang the 2nd one in view of small children, sensitive pets, or civilized guests… 🙂 but AffilityJules has a point. Please forgive a wordy response. Those of you familiar with Goya (Spanish painter) may see similarities to “Saturn Devouring His Son” which partially inspired the illustration. But mostly it came from this encounter.
    Many Cree people believe in a creature called the Wentigo that is driven by a cannibal spirit to eat human flesh. During my first year at Moose Lake I happened to be visiting Chief Tobacco and I asked him about this creature because someone had shown me a spot on a grass covered hillock near the lake shore that looked as if someone sat there leaving a print where the grass had died. They said a Wentigo had entered the village and the people began to chase it to drive it away. It became exhausted trying to escape and collapsed briefly on that spot. Since then no grass had grown there.
    Chief Tobacco said that his grandfather and another relative were hunting one winter when they had found a Wentigo that was frozen. When they tried to thaw it near the fire it began to scream. They were frightened and decided to kill it by adding more wood to make a huge fire. The fire consumed the Wentigo completely except for its heart which would not burn.
    I later came across a book that examined several R.C.M.P. cases involving murders in isolated northern communities where the suspects believed they had been possessed by a Wentigo spirit and felt an irresistible hunger for the flesh of their own family members. The topic of the book was the Wentigo Psychosis - which has been recorded in medical journals.
    I believe it is possible the stress of isolation in harsh winter conditions where the spectre of starvation still resides in the memories of some of the people could have caused the psychotic condition in some of the book examples. However, I think the other stories I had heard had more reasonable explanations such as a possible spill of gasoline from one of the boats that are often pulled out of the water close to the spot where the grass does not grow.
     
  13. Like
    AffinityJules got a reaction from PaulEC in The Heart Would Not Burn.   
    I would hang it on my wall. Light and dark must both exist together in mythological harmony.
  14. Like
    AffinityJules reacted to Ren De in The Heart Would Not Burn.   
    I haven’t been on the forum for a while… These are a couple of recent works. They are from a novel that grew from the ten years I lived and worked on First Nations reserves in the north of Manitoba and Ontario. The floral mandala is from beading in the Swampy Cree culture. The texture in the lettering is a photo of tanned moose hide. The figure is a character from the novel… a shape-shifting shaman called Agak (Raven in Ojibway). The picture without type is an imagined representation of the Wendigo from Cree, Saulteaux, and Ojibway cultures.  Hope all here have survived Covid and are faring well… 


  15. Like
    AffinityJules reacted to VectorVonDoom in Muriel Maxwell Vogue Cover, July 1939 by Horst P Horst   
    A fairly quick one. The best reference was still rather blurry but I quite like the outcome.


  16. Like
    AffinityJules reacted to StuartRc in A Stand of Trees I   
    Monster Meadow I
    Explored the new toolkits
    1500 x 500mm 300dpi AD
    Vector
     
  17. Haha
    AffinityJules got a reaction from AdamStanislav in Rolleiflex 2.8F TLR Camera   
    I look at your pictures and find myself - as usual - speechles. Then I look at the wire frame and my dumbfoundedness is taken to another level.
    Are you sure you're not an alien artist from another planet? 😉
  18. Thanks
    AffinityJules got a reaction from VectorVonDoom in Rolleiflex 2.8F TLR Camera   
    I look at your pictures and find myself - as usual - speechles. Then I look at the wire frame and my dumbfoundedness is taken to another level.
    Are you sure you're not an alien artist from another planet? 😉
  19. Like
    AffinityJules reacted to VectorVonDoom in Rolleiflex 2.8F TLR Camera   
    I fancied drawing a camera and decided on this one. The lens reflections were a bit boring on the reference so I used ones from a different photo where I didn't like the camera body. But between the two it looks OK.


  20. Like
    AffinityJules got a reaction from VectorWhiz in Liz Fraser (Recolour)   
  21. Like
    AffinityJules reacted to Jorge Reyes in Meteor's album artwork full design process time-lapse   
    Hey guys I'm a Graphic Designer and Synthwave music producer. I make my own album artworks and I want to share with you my last cover design process in Affinity Photo.
    Thanks Serif team for the amazing software.
    Cheers!
     
  22. Like
    AffinityJules reacted to StuartRc in A Stand of Trees I   
    A Stand of Trees
    Experiment with new Vector Tree Toolkit
    All Vector 1500 x 600mm 300dpi
    Created partly from New Tree Toolkit containing 6 vector tree assembled elements and textures as part of the Untamed Project
     
     
     

  23. Thanks
    AffinityJules got a reaction from Neforpubl in Move tool is selecting the entire photo and not just the selection brush part   
    1. Layers tab/choose rasterise from the drop down list.
    Or
    2. Right click mouse/select rasterise.
  24. Like
    AffinityJules got a reaction from Neforpubl in Move tool is selecting the entire photo and not just the selection brush part   
    That's because you're using an image file.
    Rasterise the layer to turn it into a pixel layer then all will be fine.
  25. Like
    AffinityJules got a reaction from MmmMaarten in Liz Fraser (Recolour)   
    A (recolour) tribute to the amazing Liz Fraser. 1930-2018.
     

×
×
  • Create New...

Important Information

Terms of Use | Privacy Policy | Guidelines | We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.