VectorWhiz

The fluffy texture is created excellently. But as retrograde said some of the edges are too hard. Don't cut contour lines of adjacent areas so that they bump flush; let the overlap and use the transparency and blur tools to make the transition are look natural, like I did in this 100% vector image in the face & neck against the jacket and shirt areas: Detailed suggestions are given, because the rest of the drawing shows you have the skill to do this. I know such vector drawing require a lot of curve drawing and patience, but the benefit is that they can be rescaled to any size without loss of quality. Once an artists such as you set foot on this path, the challenge is the puzzling of how to make the vector drawing look like pixel art, while not copying the disadvantages of bitmap images.

You have great skill. One remark perhaps: the thin horizontal strip filled with cherries above the right side of the mouth puzzles me; if the head is split at that point maybe show no cherries or the top half of them in stead of the bottom half.

This is a 100% vector image heavily depending on the very powerful Duplicate function, which I will explain in this thread. Below you see the three sections of the horn indicated: First the contours of each of the sections were drawn. After that and on top of that the first rib nearest to the skull was drawn, giving it a custom Swatch (which I saved), and a 3D fx that I gave the Scale with Object property. Then Duplicate the rib using Control + J, resize, rotate and position it until it no longer follows the underlying contour. Resize and rotate (and skew if necessary) and Duplicate again until it no longer follows the contour lines. Do this until the entire contour area is filled with ribs. Note: Every time a new rib is duplicated, move it below the previous one using the Back One icon below the menu bar. Penultimate function of creating the horn is uncheck the contour lines in the Layers panel to hide them. Finally mirror and position to the opposite side. Btw, the skull consists of a Duplicated layer that has a custom Fill in a different direction relative (180 degrees vs 45 degrees) to the original one. Its transparency was set to the Colour Burn filter with an 80% opacity. Both skull objects were given a double 3D fx lighting - 45 degrees and 270 degrees light source. Last action is to group all objects and apply a 3D fx of 45 degrees (top right) was applied to them to make lighting seem consistent.

Thought I'd kick off the new year with some T-shirt designs. Here's two, check out the rest on my portfolio blog.

Thanks for the effort. It is appreciated!

Thanks a bundle for the effort. Great work.

Vector portrait of a wolf - zero pixels, 100% vector. Created in Affinity Designer with Huion H610 Pro tablet, which was some sort of a struggle since the rendering of drawn lines was extremely slow. I may one day next year add more detail and correct errors, but for now I am fed up. Progress sequence and explanation in my blog: https://communicats.blogspot.com/2018/12/vector-portrait-of-wolf.html

You're a great designer. Composition and especially palettes are great. Enjoyed watching your work.

I placed a more extensive description of my experience of working on a Huion H610 Pro tablet, using Affinity Designer, creating a complex vector portrait that has a bucket load of curves that were input on the tablet. It can be found here. The image below is a screendump of the outline view, which gives an impression of the number of curves contained within the portrait. The original image size is 6961 x 4113 pixels.

You probably wouldn't have needed Procreate since all this can be done in AD, but the result is very good, considering you probably didn't have a lot of time to create this image. Very authentic looking.

VERY nicely done! Kudos!

One thing I've noticed already is that the rendering of the brush strokes are very slow in an image that contains intensive hatching to create fur for instance. In addition uninterrupted hatching renders faster than separate brush strokes. This experimental function in Affinity Designer in the 1.7.0.209 beta version - High Precision Tablet Input (located under Preferences - Tools) - that seems to slightly improve performance, but there still is a lot of lagging when hatching. The image below shows the type of hatching I refer to.

Agreed. Third design is best so far. Put it away, do something else and then have an other look at it. Double D may be something to incorporate. Best of luck on the forum.

Currently no reference is shown anywhere as to what type of brush was used. Would it be possible to show the brush number or name in the Layers panel and in the brush' Mode adjustment dialog (both in AD and AP)? This would be useful if continuing a drawing after a break, because it would eliminate to search what brush was used before the break. Especially when a shedload of brushes is loaded / created this feature may come in handy.

Van hetzelfde!