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  1. Thanks
    JohnSnr reacted to VectorVonDoom in The Original AD App Icon   
    Each time that the app icon gets updated it gets uglier so I go back to the very original one which I think might have just been used in the 1.0 beta, I can't remember.  I think it looks far nicer in the dock. Anyway, if it's not been said before then it's still included in the resources (mac: show package contents > contents/resources) as designer_filetype_icon.png. On the mac I use Liteicon (https://freemacsoft.net/liteicon/) to change app icons but you can do it through Get Info without any app, just drag it over the current one. I can't remember what I used to use under Windows to change icons.
    My brother said that AP has the original version in there too (I don't use it), photo_filetype_icon.png

  2. Like
    JohnSnr reacted to VectorVonDoom in Strawberry, practice (AD)   
    This was mainly to try a few different ways of doing things to see if the extra effort was worthwhile or not. The main thing was not to use gradients but draw a bunch of objects to make pseudo-gradients so you've a bit more control over things. There a few rough bits like the leaves but it's ok. As usual it took longer than I expected, I should really have learnt by now.

  3. Like
    JohnSnr got a reaction from Danika in Jaguar E-Type Lightweight (AD)   
    I've just seen the new AD 1.7 samples, well done 
  4. Like
    JohnSnr reacted to VectorVonDoom in 3D Mandala Doodle (AD)   
    I was searching for something unrelated and came across some 3d mandalas which looked fun, different from the usual flat coloured ones. The person had used pens so I added quite a bit of grain to make it looks more pencil like. I didn't plan it out (should have done) but it's a nice little project for an evening or so.

  5. Like
    JohnSnr reacted to PierreLR in Jaguar E-Type Lightweight (AD)   
    You should think about prints of some of your work.
  6. Like
    JohnSnr reacted to VectorVonDoom in 1987 Cinelli Laser Rivoluzione Pista (AD)   
    If you know your bikes then this isn’t the first one that comes to mind when you think of the iconic Cinelli Laser but this is a much rarer Laser although there are more types than you perhaps think including a track tandem. I heard that only 5 were made and only 2 are known to have survived. One is in private hands and I’m guessing the other will be in the Cinelli museum. It seems that there is only one photo of this bike on the net. Although the largest version of it is a decent size it’s of poor quality as it’s a scan of a small’ish photo in an old Cinelli brochure. 
    All in all this is made up from about a dozen different reference photos of the components mainly taken at different angles.
    At first glance it looks quite simple but was actually a decent sized project and took far longer than I expected. It’s A0 I size. Ignore any interference on the wheels it only shows in the uploaded version.

  7. Like
    JohnSnr reacted to VectorVonDoom in 1974 Ducati 750 SS (AD)   
    I’m not really much of a motorbike person but fancied doing one for a long time and Peter’s Ducati drawing reminded me that it’s about time I got around to it.
    I didn’t want to do the whole thing this time, I wanted a small’ish project. There are a few crops that looked good but I wanted the Ducati name in it. This is a slight crop of a crop to make it A paper size. Adding depth of field, so some things at varying degrees of out of focus, was a bit fiddly at times but not too bad.
    The petrol cap was sort of interesting as the reflections made it look very vector like in the photo. One of my favourite bits is the green petrol (I assume) pipe and clip (the clip took just over an hour) which doesn’t jump out at you but I really like it. Of course I also like my brake pivot screw that I showed the other day, together with the horn section. 
    There is one bit I was lazy about, on the fork crown the black paint in the photo had texture which I didn’t do. However photos of other bikes show it smooth painted so I’m OK with that. I think the brown stripe on the tank was actually yellow when new but I’ve yet to see one where it’s still that colour other than on a model. It could be the models are wrong though.
    Near the end it was killing my MacBook so I split it and used a master for the finished stuff. Ignore any banding on the tank it only shows up on the upload. There are a few tiny bits that I might do as I get time but I’m quite happy with it. The main image is half size.
    I did think to look at how much they go for these days, they’re not cheap.

  8. Like
    JohnSnr reacted to VectorVonDoom in It's the little things   
    that sometimes make me happy.  I managed to spend a good couple of hours on a screw but wanted it to look just like the original (the background's just blocked in).  The wireframe doesn't even look that complicated, well I suppose it does for a screw, but it still takes time. It's full size from a 7216x5412 canvas. I was intending this one to be a quickie but somehow it doesn't often turn out that way with me. Now it's time to do a bit of work in the dark so I can see where the feint parts are.

  9. Like
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    This is as far as I could get this week.  Just the sea, shell, some reeds and the flower. Not the people or land I just quickly masked them in so I could see if my stuff blended in. The sea and shell still need more work (obviously), the sea mainly below the shell which is tricky. I started on a few other bits like the sky and the flowers below the lady on the right, it's hard to make out what's what with them, But not finished them either.
    I used the google 30k image for the sea colours but will add a colour or gradient overlay on the sea background to brighten it up a bit and probably add a touch of blue to it too. It's not easy trying to approximate the dry brush strokes, I'm just making them quite transparent then adding a blur. Oh, I was doing the sea and shell in the same doc. but it started to kill my macbook sometimes, cursor was jumpy, so I split them.
    Each bit is a project on its own. Even something like the falling flowers, you have a quick look and think there's only a few but there's 30 of those.Only 29 to go.
    The outlines is just the sea and shell.

  10. Like
    JohnSnr reacted to VectorVonDoom in Late Night Doodle (AD just for a change)   
    Just fancied doing it for some reason, skipped the lettering as it was a quickie.

  11. Like
    JohnSnr reacted to VectorVonDoom in Late Night Doodle (AD just for a change)   
    Thought I had better finish it or I probably never would and it didn't take too long (although I kept fiddling with it). Added the cap too. It's not perfect but it will do. The paper in the background is just part of a photo vectorised.

  12. Thanks
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    I'm cheating a bit with gradients especially on the waves. If they look about the same that's good enough, I do one and then copy & paste the style. I just have a few basic wave ones in a palette. Like you say they can become confusing and naming them often doesn't really help, by the time you've found the right one sometimes you may as well have done it from scratch.
    You soon instinctively check the box when the fx panel comes up but it would be nice not to have to.
    Oh that screen grab shows how I often do the initial block of colour, I looks for a gradient and use that. Although in this case I think the shell gradient might be completely replaced with detail. I can't decide if the edging around the shell is colour or gold.
    Time for obvious tip of the day. Sometimes you want to blur something, for example for a highlight or shadow, but not go over part of the surrounding area. You might want to blur to one side of a thin line and you can't hide the unwanted blur under things.
    A dumb example (probably other ways to do it but I do it this way)... You don't want the blur to go on to the the yellow, you want a hard edge and just blur away from it.

    I duplicate the shape and use the duplicate as a container, so clear out the stroke/fill etc.  Then make the original the sub-object and drag out the container so that the blur isn't clipped.

    If you want the edge to be less sharp add some blur to the container. Also adding blur to the container means you can also use this to have a different amount of blur each side.
  13. Like
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    Thanks, the leaves and blossoms are the easy bits though. I changed my mind and started working on the sea as it's one on the make or break bits (just started the shell too). Not as easy as I hoped but that's not a surprise. AD's not too thrilled with exporting it, it takes about 7 minutes for JPG, think it must be the large blurs. That makes me sort of wonder if it will manage to export it at all when it's finished but it should be ok..
    It does start to work harder. I'm on the mac and use Turbo Boost Switcher to turn off turbo boost which keeps the CPU from running away. There's ways to do under Windows too, I think the Intel CPU tweak utility lets you.
    Yes the same size documents does make things simple, I did that on the Jag where I did the wheel and tyre in a different doc, but with this image being huge I thought the registration way works better for this particular one. 
    I do use the group effects sometimes (if that's what you meant) but it depends on what I'm working on as often pretty much everything's different so I end up doing them for each object. I do get a bit fed up of having to check the Scale with Object option a million times, have I missed where you can set that as default?
    The other one is not being do an average colour pick for gradient stops. I'm having to use some rectangles as temporary "stops" as below, use the eye dropper with 5x5/17x17 average to set their colours then transfer that to the gradient stops, bit long winded if you have to do it often. Perhaps I'm stupid and missing something but I'm not sure AI's any better.
    I'm going to be starting some pretty big icon projects for people so this might well take even longer than I thought.

  14. Like
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    Probably obvious tip of the day. Often an object that's too regular doesn't look right. Whilst it's quicker to add any roughness as you draw it, if you're like me, you'll sometimes need to add some afterwards. This demo object is too regular at the bottom.

    So all I do is add nodes between the original nodes (I usually do 2 or 3 but it depends how far apart the original nodes are) and twist the middle one using the handles, you can twist it either way and it will look slightly different, pull in or push out.

  15. Thanks
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    I know but that's not too easy when you're doing vector with just the pen tool. If you start trying to emulate every brush stroke, basically a photorealistic version, then I could do it but I'd be doing it forever. But I'll see what I can do when I get to the figures.  Some film grain always helps making it look less sterile, I don't think adding a texture over the whole lot would work. Also I now have the 30K wide photo to work from, although it kills my macbook so I'm chopping bits out as I need them. So it means that I don't have to guess what some things look like now, sometimes even what colour they are.  The old one was 10K wide which is a very good size for a single object but pretty low res for something like this.
    This weekend's job is to work on the orange blossoms, there are a lot of them and you spot extra ones that have almost faded away. I'll work on the branches at the same time. When I get bored of doing the same thing I do something else for a break, like last night I did a few of the waves and thought about the sky, then I go back to it.
    This is the orange blossom palette I set up. As always it's something to use as a base, you often want to apply one then alter something, normally either the highlight or the shadow part. Of course you can then add that to the palette.
    I've also been using paste style a lot which I don't normally. So you copy the object you want the style of and then select the object you want to apply it to and do a paste style (I always use Shift-Cmd-V, which is Shift-Ctrl-V on Windows). That copies all of its attributes, so fill, stroke, effects... but not the actual object. 
    Orange Blossom.afpalette

  16. Like
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    I did look to see if someone had done something trying to show what the original colours would have looked like, but couldn't find anything. Shame as I doubt they sky looks like it does now.
    The main reason why doing this might not be the brightest idea is that I've never done people before, apart from low poly that doesn't really count. I've been trying not to think about it but, as I've said before, it's best to do the hardest bits first if you're not sure you can do them, or at least do enough to find out if you can or can't.
    So I thought I'd better try or I'll do a ton of work and find out I can't do people. So today's task was to have a go at Venus' face.I didn't have time to finish it properly but gave me an idea of what to do. Whether I'll use it or redo it I'm not sure but for a 1st attempt at a face I was quite happy with it. I found the thought of doing it harder than actually doing it, it's just shapes and shading like everything else just need to be more careful.

  17. Like
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    You all probably know what it looks like but perhaps not in detail. You can see a decent size version on wikipedia, https://en.wikipedia.org/wiki/The_Birth_of_Venus
    I've just finished the foliage on the orange trees, not yet done the blossom, branches or anything else. As you can see from the original it has lost most of its green, although you can see some up the top where a frame had been. It made it a bit tricky to even see what was going on in places. I could have done extra shading in them but think it looks ok like this, can always add some if I decide I want to. In the end I only used the darker leaf gradients. It was about 20h of work, yeah I'm slow.
    Now I've one section finished I'll copy it and use that as the master image. I'll empty out the layers on the work copy but not delete them. If you delete the layers then it's harder to work out where to put new ones in the master. Doing it this way means AD doesn't need to work so hard plus you won't accidentally do some something silly with a completed section as locking doesn't really lock. So as new bits are finished they get copied in to the master.  Plus I do a backup or two a day (and exports). I just copy it as I trust that more than the snapshot, it can't really go wrong.
    I need to create a much larger blossom palette, I'll upload it, and that will probably be next unless I fancy doing something else. 

  18. Thanks
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    TB, or what they used to call consumption, was a common way to die. All the Bronte sisters died from it too and that was 350 years later. They still haven't eradicated it, just not so many die from it now.
    Here's the palette of golds that I'm using so far.
  19. Thanks
    JohnSnr reacted to VectorVonDoom in Botticelli's, The Birth of Venus (AD, Progress)   
    I've been thinking about what to do do that I'd want to have printed and framed and wasn't sure. But I was looking for some icons, as I'm retro-fying Mojave, and came across an Adobe Illustrator 10 icon.  I'd almost forgotten that from v1 to v10 they used Botticelli's Venus for the splash screens, icons etc. Then from CS3 onwards they thought they'd improve on Botticelli by putting the letters Ai in a square! Think they were the first major company to dumb things down. Anyway I wondered if you, rather I, could redraw the whole painting as a vector, not low poly or anything but "properly", or my version of properly. 
    It's probably/definitely a dumb idea as there's so many difficult parts any of which might not work. I don't know how to do half of it, plus there's so much much of it. 
    Anyway that what this is going to be about, a vector Botticelli's The Birth of Venus. We'll see if I manage it or make a mess of it. I'm sort of betting the latter at this point! I figured posting progress means I'm less likely to give up
    I spent of few hours trying different tweaks of photos to try and come up with an OK one. I'll be changing the dirty and faded colours, hopefully a bit closer to the colours it had when new especially in places like the foliage.
    I didn't really know what to start on so thought the background. So I've been working on the orange trees. You think you're doing well then you zoom out and see that you've hardly made a dent. But it's going to be like that.
    Along the way I'll share any resources that I create, so here's the first one. It's an Orange tree swatch palette of 80+ leaf gradients (you'll still need more but a good start, base new ones on them as you need them and add/save those) and some orange blossoms that I put together today.
    I'll post updates when as and when it has progressed enough.
    Orange Tree.afpalette
  20. Thanks
    JohnSnr reacted to VectorVonDoom in Jaguar E-Type Lightweight (AD)   
    I thought I'd share the AD file for this with people here. It's just for you own use and not to be shared around on other sites.
    Some have asked about organisation and the tin toy gives you an idea but this is on a completely different scale plus it's nice to look at source files. Some of the groups have numbers in brackets as I was trying to keep track of the number of objects. No real reason other than interesting but soon got bored of doing that! You might want to turn off the texture layers if you're looking at in outline mode.
  21. Like
    JohnSnr reacted to VectorVonDoom in Lego, Sunday Project (AD)   
    This didn't go quite to plan. I was thinking of something fun to do for Sunday and remembered the mixed lego figures, for example Wolverine's body and Homer's head to create Homerine. So I though create multiple figures in one document then you can pick any head and any body. But with me being so slow I only just about finished one figure and even that could do with some more work. But I thought I'd post it and will try and add others (and properly finish this one). 
    It's also quite a good type of subject to try if you want to do realistic without tons of work as it's pretty simple and there are no texture.

  22. Like
    JohnSnr reacted to VectorVonDoom in Tin Toy, Rocket Racer (AD, finished)   
    This is the finished version. I could have done more but it's pretty close, it's hard to tell between this and the reference in most places. The main difference is I didn't do the really strong reflections as I didn't like them. I added a little bit of film grain to the jpg and included a quite large version.  I've also included the AD file so you can see how I organised it and in some places didn't. 
    Rocket Racer AD.afdesign

  23. Like
    JohnSnr reacted to VectorVonDoom in Tin Toy, Rocket Racer (AD, finished)   
    I've not had time to play recently but sort of do now so decided I fancied doing a couple, possibly three, of tin toy illustrations. Something a bit different than I've tried before. I was going to post an in progress version and the completed one. I'm doing them A1 size, roughly 10k pixels wide.
    The first is a Rocket Racer tin toy with plastic pilot. I started with this one as there's a lot less to it than the second one and I'm a bit out of practice now. The pilot is done but the rest is just roughly flatted in. So now need do all the tweaks to the shapes, as none of the paint edges are clean in the real thing, and add all the bits of texture, highlights and shading.

  24. Like
    JohnSnr reacted to VectorVonDoom in The Image I’m Submitting For 1.6 Promo, VW Golf GTI 1.6 (AD)   
    I was going to do this drawing in Illustrator but read about Serif/Affinity wanting images for their 1.6 promo material so thought I’d give AD a try for the first time. This will be my submission and it so happens the GTI had a 1.6 engine early on. 
    Hopefully any Golf aficionado will recognise it as an imaginary custom series 1 Mk1 Golf GTI (1.6l 8v) in Miami blue. It’s been de-wipered, lowered, smoked lights, chrome bumpers, no arches and some really nice alloys you can’t see! I couldn’t decide on the colour, either Mars red or Miami blue. Obviously went with blue but the body just uses a single global colour so easy to change my mind later. 
    All in all it went fairly smoothly, if you know Illustrator you pretty much know AD. Some things I really liked, one thing I really didn’t (I’m looking at you layers palette).  Overall it was fun and good practice. Never used so many gaussian blurs before.
    As it's bank holiday weekend I've a little time to go back to it and tweak it if I decide I need to.

  25. Like
    JohnSnr reacted to VectorVonDoom in 1966 Batmobile (AD)   
    I originally did this in Illustrator but it was missing something and needed more work so spent the last few days redoing it in AD although I did use the main underlying shapes, seemed pointless doing those again. It's a good improvement on the original. Being so long and thin it loses a lot of detail at low res even on the close up though.