November 30, 2022

Art Nouveau practice drawing 01


I've always been attracted to Art Nouveau imagery, particularly that of the utterly brilliant Alphonse Mucha, who is largely accredited for starting that appealing movement, although he did not like the word movement. I wanted to wrap my mind around the specific aspects of the craft of which this practice drawing is the first attempt. I plan to do more Art Nouveau all vector drawings in the future, unlike this image that contains both vector and bitmap embedded files, because this image is a mere test. Technically this image is some sort of blend of Art Nouveau and Art Deco, the latter being the successor of the first art movement, I guess.

Alphonse Mucha was a gifted graphic designer, an illustrator and (sadly) also under appreciated painter, who deserves much more acclaim for his oil paintings than he has been given so far. His work in each of these categories is characterized by amazing technical skill and a keen eye for well balanced, appealing compositions. Even in his incredibly detailed black and white line art he was able to create a stunning - almost Rembrandt like (....) - play between light and dark areas of his work. An oversight of his mind blowing art oeuvre you find here. A documentary about the interesting man Mucha was, you find here. And his son recounting aspects of Mucha's life you find here.

In his graphic (poster) art Mucha exclusively drew with colour pencils and painted with water colours) beautiful women, because they are much more pleasing to watch than men and this type of work served to earn him a living. In some of his work symbolism has a more or less dominant presence, with which Mucha was familiar since he had at some point in his life become a freemason. His outlandish skill allowed him to integrate symbols in a subtle yet unique and stunning way, which makes his art rise above and beyond the compartmentalization that linear time relentlessly imposes on life.

In the 60's of the previous century Art Nouveau experienced a revival, be it in different forms for different purposes, but this originally and essentially commercial type of art's appeal has never faded, because figurative beauty simply never starts to bore audiences that don't know of or don't care about the opinions of a certain variety of prejudiced art critics and 'experts'.

Later in life Mucha decided to return to his area of birth Moravia, that today is part of the Czech republic, to dedicate his art to the Slav history and culture. When the German troops invaded what was then Czechoslovakia in the second world war, the Gestapo almost immediately arrested (the patriot) Mucha, who was in his seventies at the time, but they released him a few days later. Mucha was already ill then and a few months after his arrest he passed away.


The composition


Embedded flower motive




The images above are part of my first attempt to mimic the essence of Art Nouveau works. They are created in Affinity Designer version 2, that oddly crashed on me once in this relatively simple image. I am not sure if it is Designer or the Windows system that is to be blamed for the crash, but the directory I had just created, to store my Art Nouveau artwork, did not give me full access, which was likely the cause for the crash. After changing the access permission I experienced no more crashing. I experienced a similar type of problem when trying to install Affinity Designer version 2, which is kind of weird. i described it several blog entries ago - 'Serif released version 2 of the Affinity programs'. So, for Windows users of this program, this may be a thing they should perhaps check before they start to draw, particularly since I read threads on the forum about the Affinity version 2 programs crashing and having problems saving files.



November 15, 2022

Continuing jaguar illustration in Affinity Designer 2

 

Crashes, crashes, crashes!
After having too many crashes and freezes in the high potential VectorStyler with the jaguar illustration I continued it in the newly released Affinity Designer 2 to test out this new release with more intensity. I crashed three times in Designer 2, but the first time I was offered to open a backup file that did not appear to have lost too many data. The second time no such option was presented. Restarting after the third crash, offered to load a recovery file, but a lot of work was lost. Upon re-opening the document crashed in the same way and it was not possible to save whatever was newly drawn.

Perhaps this is due to the fact that already in this relatively early stage - stage 1 - there are a ton of objects, to all of which several effects were applied. As mentioned in the previous blog entries, my computer is from before the Jurassic era, which may also be part of the crash problem. But probably there is also something not right with the software.

Whatever may be the case, here is the continuation of the art I started in VectorStyler. I exported the file as an .svg and opened it in Affinity Designer to take it from there. In the imported .svg, all shape blurring was removed, but some of the ripple distortion had remained in tact. I was relieved, because this meant that I only had to make a few minor adjustments.


First experience in making a complex vector drawing in Designer 2
Drawing in Affinity Designer 2 doesn't feel much different from the previous versions - I installed all the previous Beta versions - apart from the coloured icons in the toolbar, the rearranged functions in the fx dialog box and the changed layout of the Layers panel, as I've noticed so far. From the tools added to version 2, I only used the 4 point distortion, which at times needs a refresh by zooming in and out again and  and the shape builder tool to adjust a spot. A vector ripple distortion tool like in VectorStyler would have been useful to apply to the spots in the fur in this drawing; in Affinity Designer I had to apply the distortions manually with the pen and node tools. 

As usual the newest stage will be placed on top and the oldest one at the bottom. On a PC or Mac, click on an image and scroll through the images using the mouse wheel and quickly shift through the images to see the difference between the various stages. Additional comments below the image captions.


Stage 10 - added the texture base. Somehow the old
machine did not crash after drawing the previous stage.

The jag's tail was reworked, its left eye was made slightly bigger and the base for the fur texture was added (experimenting with this, because it must be vector only). No 'vector' brushes, no symbols and no patterns were used, because they are not real vectors, which are among the sadly still missing functions in Affinity Designer version 2. My outdated machine is barely able to keep up, but surprisingly did not crash during this stage. Exporting the file to .png however took an eternity. The original size of the drawing is: 3735 x 2270 pixel, because I have vague plans to have this drawing hi-res giclée printed on aluminium covered with a high quality lacker layer. The image placed on this site is smaller and therefore contains less detail than the original.




Stage 9 - tedious face fur detail drawing.
Crashed only once (....)

Although weary of crashes, began drawing the fur texture in the face of the jag, for which I used a number of tricks that I may explain in a separate blog entry somewhere in the future. No vector brushes were used whatsoever, because these are bitmaps drawn along a vector stroke, so no real vectors. The new X-ray view in Affinity Designer is quite useful to select objects in a drawing that contains many objects. This drawing is 100% vector. The old machine is behaving above expectation and I crashed only one time....




Started to draw the face fur texture detail - stage 9


This is the vector outline view of the image right above this one.




Did some work on the reflections on the water surface
in this 8th stage. No crashes fortunately this round.

I could not leave the project alone, so I cautiously proceeded., hoping the crashing would not occur. After having received a tip from Stuart RC on the affinity forum to use the pencil tool for certain aspects of the image, I was able to speed up the drawing process considerably. Never used the tool before, so I guess I underestimated its usefulness. Also did detail the jag's hair in the ear areas.




7th stage - an other crash in Designer 2. I was given an option
to open a recovery file, but much data was lost. To make things
worse, the crashing continued after opening the recovery files.

Yet an other crash in Affinity Designer 2 when editing the water surface of the river and foliage in the background. I have become careful and save the file after drawing every new object; still more data than that was lost. In spite of all these annoyances, I got the base of the water and background done. A bug I detected was that when area objects that were given a Gaussian blur overlap a weird line displays in the contour of the overlapped object.




Detailing of spots and whiskers - sixth stage

So far so good; no crashes in Affinity Designer 2 anymore. Made several minor changes to the various shapes, like changing the contours and colour adjustment. I also added the whiskers with adjusted stroke properties and mild Gaussian blur. Pussycat is starting to come alive on its way to kill.




Coming along nicely without crashing in fifth stage.

The biggest pain  - drawing all the spots without having a ripple distortion available - is now behind me. What is left is drawing of shadows' lighter areas and accents and tweaking them. Plus the reflections and colouring of the water ripples of course. In reality - to be safe - I have so far saved 17 files of this image, including those drawn in VectorStyler before switching to Affinity Designer. The Aomei on the fly backup system will hopefully prevent data loss.




Continuing to spotify and balance the colours in fourth stage.

The quality of portraits is defined by their appeal, which is determined by the intensity and tone of its accents. Subtle changes can impact the impression that an observer gets in a way that is disproportional to the extent of the change. They have to be balanced in combination with the tweaks of their environment. Trying to do this properly, so that the cat comes alive, so that its murderous mindset becomes tangible.




Affinity Designer version 2 crashed for the second time in
this third stage. Complexity apparently is difficult
to process for my struggling old machine

The abundance of spots have a shedload of nodes. I sometimes think that today we are still in the stone age of computing, in spite of what manufacturers want us to believe. At least that would probably be what people from a far away future think of man's current achievements in this field. I was not presented with the option to re-open a backup file this time, so I guess I have to see what happens from here on with working in this 100% vector image. Keeping my fingers crossed is the only option I have until my new, more powerful rig arrives.




Many more spots to go - stage 2
I think I didn't miss a spot yet ....

Imagine, in the jag's DNA code is included each and every coordinate of every single hair, its colour, length and type. It makes drawing a vector image of the big cat a walk in the park by comparison, however tedious drawing may be. For the final stages I will have to use my Huion tablet to draw the (dark, medium and light) hairs to make the jag's fur look more realistic.




First stage after the transfer from VectorStyler.
Strewing spots all over the hunting feline.

The jag's image, drawn in VectorStyler, still looks weird in this stage, similar to the early stages of almost anything else, which hints at the fact that from weirdness often coherent appearance comes. With so few objects or shapes drawn, it is hard to properly balance anything. So, I progress as fast as possible to leave this initial stage behind me.




November 14, 2022

Exploring VectorStyler - Part III

 

While waiting for the new Minisforum PC to arrive, I started a new project in VectorStyler in which I try explore new functions. VectorStyler is brimming with those, so getting acquainted with them is some sort of a lengthy adventure, which is why I am now working on Part III already. Once again I decided to draw a jaguar, since on a scarcely ventured obscure level I feel a connection with this magnificent beast. I was fortunate enough to be accepted as the caretaker / servant of several mini versions of the big cat - members of the feline species that were too small to have me for dinner - and in each of them I found aspects that appealed to me, beyond the affiliation I felt with other types of animals. I suspect I would be able to feel a similar bond with octopuses - even if we do not share a similar habitat, but I haven't yet owned one of those very smart beings.

So in creating this image I used a lot of shape effects - various blur functions and noise filters - and the spikes distortion tool for the many spots in the jaguar's fur. The program froze a couple of times after which I posted a crash report on the VectorStyler forum. However, in view of the extreme amount of functions and tools included in the program, I continue to experiment with VectorStyler, hoping, based on good reason, that one day it may mature far past the prowess of its competition.

The prerequisites are already in place to become the most advanced vector drawing program available, but the program needs to evolve to be able to make its competitors bite the dust. There are a number of die hards in the VectorStyler forum, which adds to my suspicion that there are great times ahead for this potentially brilliant program and its users, because such a type of persevering crowd is needed to make projects develop in a successful way.

Below images of the various stages of the drawing are shown that are placed above the related comments in which I try to explain what tools were used in what way. These words don't always make sense to the 'uninitiated', that may want to profit from the 42 day free trial period in order to gain some insight into the possibilities that this coded marvel offers.



This time I ran into trouble exporting it. As artboard and canvas both gave weird results, sometimes only part of the image rendered and other times some shapes distorted and came out grainy. I will put this project on hold for now and see if the Minisforum that hasn't yet arrived will do a better job than my dinosaur computer. I had to crop a screendump to get something to present here (hence the solid white background), that also is grainy while the area on the jag's forehead rendered distorted.




Drew the ears, since they are a defining aspect of the jag's appearance. This time the .png export failed again, but exporting the canvas worked properly. I am more puzzled now. With version 1.1.066 I experience many crashes and freezes. Perhaps, like I wrote below in earlier stages, it is the old machine that is to blame for some of the faulting. Eagerly awaiting the new machine, which should enable me to offer a more substantiated view.




From this point on export to .png-file failed. I assume and hope it is the lack of calculation power of my ancient (from 2004) rig. In this stage I drew the body contour, some of the background and water with the beginning of reflections. Stability, whether it is the old machine or software or both, still is an issue. I can begin to reason deductively concerning this matter once the new computer will be in use. Update of 10 minutes later: When slightly changing the export parameters, the export to one of my network drives succeeded. I am slightly puzzled.



Proceeded with the spots until I discovered there is a command repeat in VS that may save me a lot of time, since each spot is given a spikes distortion (which save a lot of time), a box blur and a certain level of transparency. Right click on newly drawn shape and the previously applied effects and styles can be selected to be applied again. Great effort- and time saver.


Started drawing the spots of which there are tons in the jag's fur. Gave the face background are a Turbulence noise to which (Noise: Turbulence, Noise mode: colour, Colour mode: Saturation, Position: point and Amount 22%) a box blur was applied as well. These combined shape effects work well together. I realize that I just used tools that none of VectorStyler's competing programs has included in its software code.


Drew coloured background area in the face to be able to balance shape colours. With the transparent background the jag looks like a little dog with flappy ears in this stage, but that will change soon.

Basic set up. Gave the eye shapes (eye background contour, iris and pupil) a modest box blur to keep image realistic. The .png-file export function with certain settings works well (which it did not in earlier versions) - Format: 8bit per pixel, Rendering 16 bit component, Interlaced off.










November 12, 2022

Serif released version 2 of the Affinity programs


Introduction
Apart from raving reviews about Affinity's version 2 update by users that have not encountered difficulty installing the programs, there are installation problems for a number of users of the Windows platform that should not have occurred. After having waited for a long time to be able to download an upgrade that was not a Beta version, expectations of version 2 were quite high and running into problems installing the programs caught me and many other users by surprise. In this blog entry I will offer a constructive contribution to (temporarily) resolve this problem, expecting a company release soon that will enable successful installation, this being a situation that Serif must put behind them as soon as possible.

On the Affinity forum several work arounds have been suggested, most of which do not work for most users struck by the problem, which tempts people like me to search for other solutions that actually do work. Below you find one that resolved the problem I ran into, although I am aware that changes in the installation code have to be applied in order to avoid users having to apply work arounds or figure out themselves what to do, to install the version 2 programs of the Affinity suit successfully right out of the box. In this blog entry I will focus on Affinity Designer predominantly, since it is the suit's program that I used most often.


Programs will not install
The long awaited release of version 2 of Affinity Designer, Photo and Publisher has recently taken place. I purchased and downloaded them from the Affinity forum, but when I tried to install them I received a message that the installation was cancelled because an error occurred in parsing the apps (all three of them). The file format of the installation was msix. When browsing the forum I soon learned that this affected other users too. Several possible solutions were offered by the mods and advanced users, but none of them cured the problem for me. Later I downloaded the apps from the Microsoft Store, which was the beginning of a solution, since at least .exe-files were placed in WindowsApp directory in the Windows User directory, which isn't the location where Windows users, accustomed to the traditional installation process would expect the files to be placed.

The programs would only open by right clicking the .exe-file from the WindowsApp directory in the system disk and choosing the run as administrator option. They would not start from the Start menu or from the shortcut icons that I placed on the Taskbar. Also I was unable to open files I had drawn in the older Beta versions by dragging them from Windows Filemanager onto the desktop of the programs.

When diving into the problem at a certain point I discovered that the properties of the Affinity (sub)directories in the WindowsApps directory displayed a message that the Permission file was corrupted (in bold red type). I set the permissions to full control for myself and after that the programs opened without using the Run As Administrator command, from both the Start menu and the shortcuts I placed on the Taskbar.

Apparently the .msix files interfered with the user permissions of the Affinity (sub)directories in the WindowsApps directory, necessary to run the programs properly. This directory is located at C:\Users\UserName\Downloads on a Windows 10 system, in which the Affinity programs are in directories with the following name: affinity-designer-2.0.0.msix, in this case for Designer. After running the exe-files from this directory users are prompted to one time fill in their Affinity ID information and the programs appear in the Start menu from where they can be pinned to the Taskbar. Fortunately this problem does not affect all users, but to those that encounter this problem, it is a rather painful disappointment. 



Affinity Designer 2 start up screen



First impressions
I had become curious to the functionality increase of the version 2 programs after watching various Youtube videos that featured them and I must say I was happy to try them. There still are functions missing in Designer that are included in programs of the competition - such as the Mesh gradient tool (which I personally do not miss), the vector trace tool (that I never use), the shape blender tool (which would be nice), the vector eraser and liquify tools and the stroke width tool to name just a few, but overall the upgrades work well and I think they are somewhat worth the money, though Serif could have included more new tools. There is a temporary discount for buying all programs in the suit, a package deal, which is why I hesitantly decided to upgrade. It is a €120 one time payment - no subscription fee - for the entire suit, by the way.



Affinity Photo 2 start up screen



The shape builder tool is a long awaited function that the devs added, the knife / scissors tool as well and the versatile warp tool are absolutely great. In addition the UI has been improved, in particular the Layers panel. Check out the Affinity channel on Youtube, The Affinity Revolution channel, The Brown Bear channel, the Design made simple channel, Olivio Sarkas' channel, the Games From Scratch channel and Kru Mark's channel to get an idea of what the version 2 upgrade is all about. All these persons did an excellent job of exploring the version 2 programs from their own perspective, providing arguments for users to upgrade or not.


The problems for the developers
Kru Mark compares the upgrade to the functionality of Affinity's competition and there still are some tools missing that are included in Illustrator and Inkscape for instance, but for the type of work I create, they are not crucial. I am aware of the fact however, that there are users that would benefit from the missing functions as mentioned by Kru Mark. The improvements the devs actually did include in this version are a welcome addition and perhaps other improvements will be included in the upcoming Beta versions. But not including them in this version, is somewhat of a missed opportunity.

I think Serif was under a lot of pressure to release version 2, because it has been a rather long time since they released the previous upgrade, but I assume the stability of the programs in the suit is a major prerequisite, meaning more time and effort goes into programming and testing. But because Serif did not provide any information why the upgrade took so long, some users wondered if Affinity was dead...., a situation that could have been avoided by keeping users up to date concerning the development of version 2. Had Serif come up with buggy programs in its suit it might have resulted in a bad reputation that is extremely difficult to repair and therefore bad for business. Also the necessity of coding 3 programs to the next upgrade level simultaneously, may have accounted for the lengthy upgrade interval. 

Perhaps because of all these factors, the pressure on the devs in the Serif office was a bit too high, which may have resulted in the aforementioned installation problems, that could in fact be caused by Microsoft's installation policy, requiring companies to use the .msix files instead of traditional installation methods in which the running of .exe files places programs in the Program directory of the system disk or any other directory on any disk the user prefers to install it on. I think the changes necessary to integrate the version 2 suit with the Microsoft Store installation policy, may have given the devs a headache as well and resulting from that Serif's clients, that ran into bungled installations.



Affinity Publisher 2 start up screen



But since it is possible to correct them, I think the Serif team will be able to sort out the problems, but this should have taken place before the release.The installation engine may be separate from the rest of the program, but this is no concern of users - they just want thingsto work properly, which is what they paid for. Although at this point I am intensively experimenting with the absolutely brilliant VectorStyler program, I will still to use the Affinity suite for production purposes for the time being, because VectorStyler still in the development stage. But if Serif slows down the upgrade pace while VectorStyler steps it up, there will come a moment in future when I will make a different decision.

The reason of the update pace being quite low, perhaps has to do with the fact that the software is developed for Windows, Apple silicon - both the Mac OS and iPad version - and the fact that all three programs in the suit are integrated, which means when working in Publisher to make changes to vector art or pixel art Designer and Photo do not have to be opened separately, but all editing can be done from within Publisher. This Studio Link integration, that is the first of its kind in the graphics world and DTP business, will noticeably increase the artists' productivity.

Publisher by the way, can now be installed on the iPad as well, which adds a lot of value to Apple's tablet. because it makes the iPad the first tablet capable of running an (almost) full fledged DTP-program. A long awaited major tool that finally made it into the new Publisher for all platforms is the possibility to create footnotes, endnotes and side notes, which is a function any serious DTP-program must have. This integration of this tool makes Publisher's upgrade the most 'necessary' of the programs in the version 2 Affinity suit.


Conclusion
So, apart from some good aspects to this upgrade, there are too many bad ones, that are not mentioned in may other places on the web or elsewhere. Yet, a certain number of these things nevertheless are worth being put forward, because these programs have become (part of) the livelihood of many that continue to search for ways to survive crumbling economies and continuously soaring expenses. I have listed them below and added some related issues:

  1. The installation trouble for a number of Windows users should have been sorted out before the release of version 2. The mods on the forum should not be suggesting work arounds that require users to dive deep in their operating system, which could easily lead to breaking more than the average user is able to foresee. This situation should have been prevented
  2. As Kru Mark correctly reported, there still are several crucial functions missing in version 2 that, in view of the long time that has passed since the previous upgrade, could have been and should have been integrated
  3. Possible upgrades and / or additions of certain tools will most likely be presented in future Beta versions, that are by definition not stable. I one time received the advice in the forum not to use a certain Beta version, because it would not export .png-files properly (which apparently was a known issue, that did not occur in earlier versions....), which brings me to think: Why the heck issue that Beta version in the first place? Is it for users to test or to keep them happy by showing them development still is ongoing? And why would Serif release a Beta version that it advices users no to use? This is a weird type of advice to give to users that simply report that the program is not doing what it is supposed to do and (moreover) what it did correctly before, which makes the situation even more strange
  4. The reason I bought the various Serif products is because I loathe the overly expensive Adobe subscription policy, aside from the other type of disdain they display for their userbase, but I estimate Serif is now at a turning point on how to proceed in the market in which they are operating. The price of the Affinity programs has almost doubled compared to the period in which they were issued for the first time. They still charge a one time fee, but how long will Serif be able to determine its own policies in a time in which giant players simply buy companies that they deem to be interesting for their strategy
  5. Innovation should be higher on the list of priorities of the Serif company, because its competition seems to extend their lead in this field. As a small player in the arena fighting the big boys, the lack of innovative progress is a danger riddled situation to be in, that leads to venues where no company wants to be
  6. The absence of a roadmap that indicates the planned progress of the future versions, is an ominous sign. Blender for instance, continuously updates their publicly issued road map and relatively swiftly integrates the announced improvements, while coding 3D software is necessarily more complex that coding 2D software. Serif not being transparent about where it is going with the suit's development, is rather odd, to say the least, because it leaves users in the dark about the direction in which the company aims to develop. It feels like hopping on an airplane and not knowing where one is going to end up
  7. The startup screens of all 3 programs in version 2 flash a message that the 'Microsoft Store registration is checked' each time the program is opened. It makes sense that Serif registers its users for obvious reasons, but I fail to see why it is necessary for Microsoft to register Affinity users. Particularly since Microsoft is not known for due concern for its users. This seemingly trivial detail could have far reaching consequences that only but very few users are capable of imagining in a society in which the increase of centralized control has gone beyond what the average user / person would find acceptable



October 23, 2022

Exploring VectorStyler - Part II

 

Introduction
After losing the files I saved on a network drive in VectorStyler, as stated in the previous blog entry, I decided to save them on the system drive, which in itself worked well. The problem is that my computer is too old and lacks the power to properly create advanced graphics - realistic vector portraits - as I found out this time with exporting the various stages of development in the png-file format. My old rig has a first gen i7 Intel CPU from 2008 (....), has dead slow 16 GB 1333 MHz RAM memory and an extinct NVidia GeForce 750 Ti, which in today's world probably is considered to be a prehistoric system. I am therefore considering to upgrade to the Minisforum Neptune HX90G with an AMD Ryzen 9 5900HX CPU, 64 GB RAM memory and a M2 512 GB SSD, that has a dedicated GPU - the Radion RX 6650M, while taking up very little space (2.8 liter case). I prefer this x486 AMD mini PC over its Mac competition, because it offers the right to repair and upgradability, plus the fact that the software I purchased, is written for the Windows platform.

The reason that I continue to experiment in this constantly updated, ongoing blog entry with VectorStyler in spite of the problems I encounter with running the program properly, is that it has an absolutely huge potential and many of its incorporated functions already work excellently, while some still require a bit of tweaking. Its developer - a single person, named Csaba Ráduly Baka has so far done a most outstanding job creating and developing the project, in a way that made me convinced of the fact that at some point the bugs will be written out of the code and even more new features will be added. So, this series of blogposts is an on-the-fly test / review / in depth exploration that will last as long as VectorStyler will continue to be developed into a mature state, even when I may encounter additional obstacles.


Export Problem & portrait stage sequence
Because I was unable to export the vector portrait in png-format properly, I made screendumps so that I can still place the progress sequence of the various stages of development in this blog entry. The most recent one is at the top and the oldest one is at the bottom. Where necessary I will enter a comment below the screendumps in addition to the image captions. One crucial aspect of my drawing technique is that I place the reference image on top of all other objects and make it transparent, so that it is easy to retrieve whenever necessary, while its transparency can be changed whenever I temporarily need a more clear image. This is useful especially when a drawing contains hundreds or even thousands of (clipped: objects inside of other objects) objects. From what I have seen in tutorials on Youtube, most artists place the reference image or photo below all others, but for me this does not work for the reason mentioned here.

When the portrait is completed, I will post the vstyler-file in the VS forum, for fellow users to inspect. Note: all photos of Maria Orsic on the Internet are a kind of grainy and jagged black & white type of images, that probably do not do her beauty justice, but I do my utmost to make the best of it. The lack of quality in the photos implies that I was forced to interpret aspects of her face in order to be able to create a portrait that includes the attributes of a realistic depiction of a person. In addition I permitted myself the liberty to lean towards a personal elucidation of miss Orsic' stunning appearance, that also is known as 'artistic freedom', which is a style signature that is present in all the portraits I create.


Tools used in VectorStyler
An other thing is that I did not draw this portrait using the Mesh Gradient tool, which I feel is tedious and time consuming to work with, but I drew separate objects (most of which are clipped several layers deep and blurred, that I named accurately in the Layers panel so that I can find them back at a later point in time for further editing. Also, all objects that are drawn are vectors that will rescale and remain sharp in every size into which the image is rescaled, while the mesh tool is a simulation of pixels in vector format that requires a great amount of calculation when rescaling the image. For instance: many of the shadows consist of a single line with 2 (or in some cases a few more) nodes that probably require less computing power when the image is being rescaled. Editing objects at a later point in time, I find easier also when they are separate objects, each of which can be tuned to what it needs to be, which is especially useful when balancing shapes and colours when an image is in the final stages of the design process.


Brief tutorial on creating objects with varying blur levels
I uploaded a brief tutorial on the VectorStyler forum on how to create objects that have areas of varying blur level ratios along their circumference, that is a technique I often use in drawing realistic vector portraits. The usual type of vector portraits created in Adobe Illustrator almost always have hard edged areas (shadows, creases, hair, facial parts like eyes, ears, nostrils, eyebrows etc.) that make them unrealistic, even though they are presented as realistic vector portraits. Adobe's marketing department has managed to successfully sell Illustrator's shortcomings as a feature and, as commonly is the case, the ignorant majority of the market fell for the carefully concocted scam. An example of such an awful portrait you find here. No offence, but I don't think these portraits qualify as realistic, nor do they deserve to be the maistream standard in that conjured category. But as long as most people prefer to think with their spinal cord, such basically ridiculous type of 'artwork' will be considered to be 'great' by those that have no clue of what greatness is. I have been creating realistic vector portraits for years now and examples of what I mean by that can be found in my website; those portraits hardly have any hard edges, which is exactly what does make them realistic. The process described in this blog entry is the first realistic vector portrait that I drew in VectorStyler - the ones on my website were created in Affinity Designer. I am seriously considering switching from the latter program to the former one mentioned in the previous sentence, which is why I am creating the portrait shown below as a test.



Added the darker areas in the hair and began drawing the left ear

In spite of the calculation / rendering problems my computer presents me, I decided to do a little more drawing. The old machine causes the program to freeze often and say that it is not responding (which lasts up to several minutes at best), but I was dissatisfied with the appearance of the previous stage. In this 12th stint I drew some darker accent areas in the hair, so that at least there is a hint into which direction I am taking this 100% vector portrait. Also corrected the lower eyelid of the right eye. I still need to tweak the colours, intensity, gradients in these areas and add more detail, but I'm afraid that would be challenging this archaic device beyond its limits. After the Minisforum mini PC has arrived and has been set up, I will continue to explore the superb Vectorstyler by way of this project.





Added some more shadows and drew the hair base

At this point the program on this very old computer is behaving very strange, which probably is the result of a dramatic lack of computing power, even when all other programs were closed. I ordered a new computer as described above and will continue when that one has arrived. The hair was done according to the technique I described in the seventh stage. It allowed me to draw a gradual transition area between the hair and forehead. The accents in the hair could not be rendered, which confirmed my suspicion that my machine simply was unable to handle the computations.





Tinkering with shadows on the face

Applying subtle shadows on a face, probably is one of the challenges of creating portraits. If a shadow is off just a minute amount in colour, intensity or blur ratio, there is a risk that entire portrait goes down the drain. So, this took me longer than I expected and I still am far from done. I discovered that in the gradient colour tool each node can separately be given a colour but also an opacity level. Nodes can be added by clicking on the gradient indicator line and typing '+', they can be removed from it by simply dragging the node off the line. Very intuitive. The easy way to draw subtle accents probably is to clip one area into an other (several layers of clipping) which also works well and is easier to control. I will try that in the next stage. In the previous stage I wrote that I wished the blur ratio had a bigger range until I discovered that the interactive tool includes nodes on the top and bottom of the reference circle to adjust the range, which is virtually without limit, unfortunately only in one direction. The developer Csaba Ráduly Baka must have advanced artistic skills besides being a brilliant programmer, because these functional details would never have been considered for implementation by a brilliant programmer who has no artistic skills or too little of them.





Added base shadow on mid and left site of the face

This is the seventh stage already. Edited the mouth somewhat. Tweaking the big shadow until I became senseless - with the blur ratio tool (which I wished would have a more extended range), opacity and gradient colours with a proper number of nodes. Probably some clipping of additional objects will be necessary to get things right. I uploaded a tutorial on how to create objects with a varying level of blurriness along their edge in the VectoStyler forum. Had I been more proficient with gradient colour editing (which is present in VectorStyler) I would probably have used it, but to be honest I dislike that tool from my experience with it in other drawing vector programs. I do like the mesh gradient transparency tool, but I still need to  practice it more in order to efficiently use it. I have to leave the image alone for a while and return to it at a later point in time. I'm sure artists are familiar to this type of situation in which the proper settings just elude them, while that seems to be no problem further into the future (I hope). Part of this problem is caused by the fact that I drew the shadow in one piece, in order to minimize the number of objects, which does not always work...... Also, my ancient rig is beginning to struggle, so purchasing a new, more powerful one kind of climbed on my bucket list. First I have to check the budget though, since being able to buy food is important.





Experimenting with dark background

Editing colour intensity of the blurred shadow area at the right side of face mainly to see how that would appear against a dark background. Most of my vector portraits have a transparent background so that I can place them before any type of background and change my mind whenever it seems appropriate to do. Colour balancing therefore is important.





Added mouth and chin line

Besides working on the mouth and chin area and correcting mistakes in the eyes area, I have begun experimenting with mesh transparency, which is an absolutely brilliant function that is present in none of the programs competing with VectorStyler. I will need this function at a later point in this design, but I don't feel familiar enough with it to apply it already. It is just one of the many functions offered by VectorStyler that devs of its competition have not figured out yet how to code. Still a heap to learn for me!




Added shadow to the right side of nose

While tweaking the left eye VectorStyler froze and offered a weird message without saying what was wrong. After closing the program and restarting it, I was offered the option to retrieve a back up, which worked just fine. Immediately the developer responded on the forum and reported a bug. This type of swift support I have never experienced anywhere in my long involvement with software. Great!




Added shadow on the right side of face

Besides adding the shadow on the face' right side did some tweaking of the right eye. Shadowing requires a subtle approach, both in intensity, giving objects a blur ratio and applying colour accents. There still are details that bug me, but I am sure that I will get them sorted out at some point, as I become more familiar with VectorStyler.




Added right eye

Copied left eye to the right. Reshaped elements with the move- and node tool. Adjusted colour accents and lighting, mainly in clipped objects. Renamed copied left eye objects to right eye parts in Layers panel, this because there already are many objects in the drawing that I need to retrieve at a later point in time for further editing, when looking to rebalance colour intensity, because in portraiture moving and reshaping (parts of) objects just a few pixels determines the quality of the likeness, as do do colour accents.



Added shadow behind the left eye

So far, I have mainly been using the Gaussian blur function, object clipping and interactive transparency, all of which work superbly. Many image effect functions - such as blurring - can interactively be fine tuned on the spot, which offers artists the option to exactly and instantly see the result of their tweaking.




Started drawing the face contour and left eye

When drawing realistic vector portraits, I always start with the eyes, because they are the dominant factor in facial features. For drawing I use the pen tool and the node tool to fine tune. Most objects are given a Gaussian blur effect. Colour management in VectorStyler is very easy to use with great precision.


Stage 15 - vector outline



October 19, 2022

Exploring VectorStyler - Part I

 

On October 19 2022 I began exploring VectorStyler more in depth. I wanted to figure out if it is possible to create a (somewhat) realistic vector portrait. I am at the beginning of a learning curve of course stepping in many pitfalls while trying to find out how the tools work. This blog entry will be updated whenever I have solved the puzzles that I face with regard how to use and configure the abundance of functions that the program has. The many different functions, make this enterprise quite difficult, but I am sure there is a reward waiting ahead. The oldest attempts you find at the bottom and the newest one at the top, as I work my way up to getting more familiar with the VectorStyler tools. At this point in time, the drawing is not perfect, because my familiarisation with the program still is ongoing.

Just before I began drawing I received a message in the program that a new update was available. This was the second one in two days, which means the programmer is working really hard to write the bugs out of the code and polish the use of existing functions, while adding new functionality. During this first serious exploration the program never crashed, which is a great improvement compared to what I encountered months ago. I am beginning to feel that in not too long a time ahead into the future VectorStyler will be my vector drawing program of choice.

Currently I am trying to find out how to blur the upper edge of the forehead to make the transition to the hair appear natural, but I haven't yet found a proper way to do that yet so far. Stay tuned to see if I will be able to do that. I did not have much luck trying to use the mesh gradient tool for this purpose, but that could possible ascribed to me not yet being familiar enough with the program. The reference image I used was a rather hazy photograph of the mysterious Maria Orsic, about whom many stories based on speculation and unfounded hearsay are found on the web and in print.




Above is the fifth stage I worked on October 19, tweaking and balancing the accents, mainly the various blur options that are more extensive than in any of the competition - Adobe Illustrator, CorelDRAW and Affinity Designer. In this phase, apart from fiddling with the colours, I blurred the base shape of the face and further tweaked some details.




Above is the fourth stage on October 19. Finding the right colours requires meticulous configuration using the colours panel; a slight difference can make a big difference, which is what I encountered in all vector drawing programs. I haven't yet figured out if there is a swatch registration somewhere, which would speed up the workflow. The shadow to the right side of the face was drawn and the one around the mouth and chin.







Above is the third stage on October 19. Already many objects in the Layers panel, which makes naming the objects useful. The selected object is identified with a dot towards the right of the information of an object that is not as easy to find as in Affinity Designer, that highlights the entire line. But when creating many objects, this will always send the artist looking for the object. Shadow to the right side of the nose was drawn.







Above is the second stage on October 19. The eyes are done (more or less). I always start a portrait with the eyes - they are the most noticed aspect of any portrait. Giving accents the proper intensity and balancing them and the blur ratio, is time consuming in creating this type of art. I added the shadows behind the eyes.








Above is the first stage on October 19. I usually export the image after the first eye is done, but was so busy trying to figure out how to do things, that I only thought of it aster the beginning of the second eye was already done. VectorStyler's blurring tools are excellent, but it took me some time to figure out how to configure them.


Update October 19 2022
I have a problem opening files that I saved shortly before. So this blog entry ends here. Unfortunately.

Update October 20 2022
The problem of files not saving, is the result of the fact that VectorStyler saves data only to non-network drives, which caught me by surprise. I may redo this portrait sometime soon, because I have great respect for the effort of Csaba Ráduly Baka who develops the program all by himself, besides many other obligations in his busy life. You read that right; this complex program is the work of a single man. I hope to witness his enterprise reach maturity and as long as he does his thing, I will keep exploring his brain child, that is superb already in this stage. And report my findings in this blog. So far he has done an absolutely brilliant job. At this point though life forces me to give my attention to other matters. I will return to this at some point in time. Stay tuned.