September 19, 2022



Here are a few emojis drawn by me in Affinity Designer, so they are all 100% vector. I did not want to make flat images without gradient colours and tried to mimic human facial expressions, of course exaggerating them somewhat. Exaggeration - imagining the extreme aspect of things - often helps to see the possible consequence of seemingly innocent thoughts, developments and policies. The one at the top is a T-shirt design, the rest below it are just plain emojis. In the captions below each emoji are links to alternative versions of the emojis shown here; you might want to take a peek.... 😄

T-shirt design and a
version for evil people

for other opinions

for out-of-the-box-thinkers

have nothing to hide?

for mainstreamers

for the annoyed

for those who see

August 25, 2022

Nicepage website builder revisited


I started using the Nicepage website builder in around the beginning of October 2021 and after a few weeks wrote a rather enthousiastic blog entry about it. I tried several other applications that allow users to build websites, none of which matched the capability and diversity of Nicepage. Since that time my enthousiasm only increased and during that period of roughly one year Nicepage has issued over 20 updates ( ! ! ! ), that added more functionality still to the program, all of which make sense. Also these updates never came with bugs, so their dev-team is not only prolific, but also very skilled. To get an idea about their productivity, you may want to visit their page that contains Nicepage's update history.

The Nicepage website

I would recommend this program to both beginners and seasoned pros, because building a website with Nicepage requires no coding whatsoever and is capable of what Nicepage calls Web 3.0, which means objects can be placed anywhere on the page without restriction, while it offers total freedom of positioning along the Z-axis as well. A few years ago, this may have seemed to be a dream that was out of reach for website builders, but Nicepage has made all this possible, while building a clear and intuitive UI, that is top of the bill in the industry.

The number of features that the program has, is incredibly large and yet expanding rapidly. The same goes for the continuously growing number of templates they offer their users for free.... Any designer that hasn't at least given this program a try, is depriving him- or herself of fantastic functionality, creative freedom and sheer speed. And by the way, I am not paid to write any of this; it simply is the high level of productivity and creativity that Nicepage makes possible for website builders, that inspired me to compose this blog entry.

Beside website builders the program is also very well suited for prototyping and UI design and, I dare say, it is so diverse and powerfully efficient that these stages can be skipped. It therefore allows to meet deadlines that other programs are incapable of achieving and make design work a lot more pleasing, because Nicepage removes all restraints that programs of its competition have not yet been able to resolve. Website builders can therefore communicate directly with their clients and apply the changes they request, can be implemented instantaniously. This is a big argument for creative non-coders, that has the potential to increase income drastically in considerably less time.

I use Nicepage in combination with Affinity Designer - a cheap, no subscription vector drawing program and Affinity Photo (a Photoshop like bitmap editor), that can also be purchased for a low one time fee. Nicepage offers its various versions for very modest subscription fees, that by far most designer will not consider to be unaffordable. So, if you're fed up with bootstrap grid restrictions for placing objects, coding and unresponsive support departments, you should definitely check out Nicepage, that also offers a free of charge version for individuals. Finally, all upgrades are handled from within the program - users are notified of an update and can do so immediately. It does not get much easier than this.

Finally, I have to write a few words about Nicepage's support, which is unsurpassed. I ran into trouble once or twice, encountering a bug (which is a rare thing, even when the devs add functionality at an incredible speed), but the developer team addressed the issue immediately and one or two days later the problem had been fixed. I have never experienced such fast resolutions with any program that I ever used. Nicepage really makes an effort of supporting their user base with great pace. This should be an encouragement for website developers that serve many clients; once they run into a problem, they will not suffer from it for a long time and will remain able to serve their clients properly and continuously. This is a really good argument to try out the program.

August 5, 2022

Vector portrait of Emma Britten

I originally posted this drawing in 2019, but kept on working on it every now and then (which is what I often do). Many artists are familiar with this method of working, because after 'finishing' a drawing, it is more often than not discovered that the image needs more adjusting and / or additional work. At times this is a repetitively occuring moment, especially with portraits, in which likeness can depend on moving objects 1 or 2 millimeters, changing their size or shape, skewing them or fiddling with their colours. Faces are the most prominent visual characteristic of a person, which is why there is not a photo of your foot in your passport or ID card, but one of your face.

Emma Hardinge Britten was a well known spiritualist who lived from May 2 1823 to October 2 1899. She was a writer, public speaker, musician and opera singer in her younger days to support her family after her father passed away when she was 11 years old. Her spiritual gifts brought her fame and she was frequently consulted by high ranking politicians, corporate leaders and other important people of her day. It is an indication that elevated echelons of society value the spiritual reality that is intentionally kept hidden from common folk.

This portrait is a work in progress and is drawn in Affinity Designer. This program has all the functionality to create realistic vector portraits that can be edited afterwards relatively fast which is a pain to do with mesh-filled vector portraits. And since tinkering is almost a necessity for portrait artists Affinity Designer is their ideal tool to make 100% vector portraits that can be re-scaled to any size without loss of quality. However, this work also contains vector brushes, which are not really vectors - more about this later.

Had to place this here or else the ugly
image below will show up in preview

What makes vector portraits look realistic is that edges of shapes and lines can be blurred in a controlled way. In addition color fadings can be customized in any desired way (using different colours) as well as the transparency of objects (in a linear, radial, elliptical or conical fashion). The combination of these 3 functions allows artists to create works that are visually indistinguishable from pixel portraits, but - as stated before - can be produced in any desired dimension while retaining the original quality.

Ugly Adobe Illustrator attempt (no offence) to
create a realistic vector portrait, b.t.w., this
is caused by Adobe Illustrator's limited
functionality to create realistic art.

Outside of Affinity Designer only the magnificent free open source program Inkscape (which a difficult to learn UI) has similar features, be it that some of them are difficult to find in Inkscape's UI; CorelDRAW and Adobe Illustrator do not have object blur functions, except when converting objects to bitmaps first, and can not be converted back into vectors. These programs are therefore not suited to create realistic vector portraits, other than with the hideously tedious mesh-fill tool. The portraits not made with the mesh fill tool are very unrealitsic looking portraits with hard edges, as is shown in the image above. Adobe's marketing department has tried to turn this into the standard for vector portraits (in which it obviously succeeded) by suggesting that the programs shortcomings are some sort of artistic oddity that they turned into an alleged type of feature. But no matter how one looks at the result, these are not realistic portraits of high quality; they are at best a visual metaphor of realism.

This is the custom vector brush
created to draw realistic strands
of hair. This can be imported in
your collection of brushes and
used for this specific purpose.

This is the custom made brush used
to paint skin pores. Mix dark strokes
and bright strokes combined, the latter
always on top in the layer panel.

Apply 3D and or Bevel / Emboss fx
to the textured brush strokes to
create a realistic skin pore texture
and fiddle with the brush properties
use custom colour and transparency
overlays and underlays, whatever it
takes to approach realism as much
as reasonably possible.

So below you see a realistic vector portrait created in Affinity Designer. Bear in mind that at this point (September 2019) you are looking at the early stages; it will become more realistic as more work is done to the image. Skin pores and detailed strands of hair in particular will be applied. For the hair texture I created a custom brush that allows to create realistic strands, both dark and bright. The oldest stage is at the bottom - more recent stages are placed above that. Click on one of the images and they will be shown in Google's Lightbox, which (on a PC anyway) allows to scroll through the various stages to quickly see and compare the changes. The original size of the portrait in which it was drawn, is 80 x 62 cm, approximately ten times larger than the images submitted to this site.

Mind you - as I found out later - vector brushes in Affinity Designer do NOT create vectors, but are pixels created inside of a vector drawing program, that will remain bitmaps. So when creating realistic art with Affinity Designer, be sure to make large images in order to avoid blurring and jagged edges when using 'vector' brushes, if the intention is to make large prints of the image.

September 20 2019 00:09 virtually in 3D frame

September 20 2019 00:09

September 16 2019 stage 12
vector curves & Brush strokes
outline view (hugely helpful
in the process of drawing)

September 12 2019 11:50

September 11 2019 11:01

September 10 2019 17:20

September 9 2019 20:13

September 9 2019 16:43

September 9 2019 12:20

September 8 2019

September 8 2019

September 8 2019

May 2, 2022

Vector cartoon Mr. Bean


This time a vector cartoon of Mr. Bean, something different from the realistic vector portraits I usually draw. I didn't have to deviate very far from the reality, since his face in real life is already somewhat cartoonish (no offence). Created in the magnificent Affinity Designer - 100% vector, zero pixels. I first drew this image about 2 years ago and recently revisited the image to make some changes. It is what artists often do: walk away from a project to make some changes later, in this case two years, which allowed me to see details that I missed when drawing the initial image.

Rendered view

I refined, tweaked and recoloured a number of areas in the face, in order to add a certain degree of realism to the portrait, while trying not to throw the cartoonish feel out the window. Affinity Designer allows to blur the edges of a curve (object), while gradient colours and transparency are added to it. The programs clipping function allows to draw objects that have various levels of blurriness around their edges, which adds to the realistic atmosphere of a drawing, i.e. not having areas with unrealistic hard edges. I wrote a tutorial on this trick in an other blog post.

Vector outline view

Such a cartoon of a well known person would be perfect to use in a T-shirt design, which of course brings the risk of copyright infringement. I have to see how to deal with this. The circular text around the Bean's is borrowed from one of the quotes of his creator, Rowan Atkinson, who is a fastidious bachelor, that said a thing or two about living alone, that touched up on the heart of this type of life.

Concept T-shirt design, based on one of his quotes

I made a small collage of various cartoons I drew over time and placed it on my website, that contains many variations in style of my artwork. The cartoons below each are drawn in a different style using different techniques.

Part of a cartoon compilation on my website,

I am trying to become familiar with Blender, which is quite a challenge, since its UI is like no other 3D program I have used before. But I guess I have to endure the headaches and frustrations, while attempting to adjust my way of thinking to that of Blender's developer department employees. The program is free, which better relates to the non-existing contents of my bank account.

Psychedelic Bean rendered in virtual 3D frame

Fiddling about wildly with the curve function - placing a heap of nodes on the curve and dragging them to unusual levels, which does surprising things with the colours of an image and sometimes leads to results that are actually worth looking at. The portrait was clipped inside crossing and expanded strokes that I made into wavy lines with the Node tool and then transformed them into curves that can be used to clip other vector objects or pixel images. I wrote a blog entry before on how to do this.

April 16, 2022

Vector butterfly


This was an exercise to draw organic shapes in Affinity Designer. To the curves and strokes gradient colours, opacity and fx were applied. Vector drawing programs are commonly known to produce hard edges, but Affinity Designer is quite well capable of the opposite, which allows to draw realistic vector shapes, that resemble imagery that is created in pixel editing programs, while being re-scalable to any size without loss of quality. Vector images are also easily edited afterwards, easier than pixel art in any event, because each curve and stroke is a separate, editable object.

Affinity Designer allows object edges to be anywhere between hard and soft and even is capable of  creating objects that have a varied level of softness in their edges, that I haven't been able to achieve so effectively and fast in the programs of the competition, while still being able to swiftly edit the blurred edge properties afterwards. The varied level blurring is done by multi-level clipping, gradient opacity and Gaussian blurring effect. Below on top you see the rendered image and below that the vector outline view. Click the images to see them in Google's Lightbox.

The rendered view

The vector outline view

Adobe Illustrator and CorelDRAW offer the Mesh Fill function with which similar looking effects can be achieved. But that technique is nothing but replacing a cluster of pixels of the same colour with a small vector area of one particular colour, that can be manipulated somewhat. Depending on the complexity of the object that is drawn, using this method can require a shedload of work, because all colours involved (in the reference image) have to be mis en place (selected and made available in a colour ribbon before drawing even starts), and each change in color has to be determined to be replaced by a vector area. Affinity Designer allows to use curves and / or strokes that can be clipped in more levels, which makes it easy to edit areas at a later point in time, which is a hell of a chore in Mesh Fill images, even when parts of objects are drawn separately.

In addition Affinity Designer allows to define transparent areas that are adjacent or inside to the colour filled ones or inside them, with either sharp or blurred edges (which are also editable afterwards). So, illustrators and designers that must or want to make images that include organic shapes, are absolutely better served by Affinity Designer. Especially artists that don't have to worry about legacy data from programs of the competition, will find that Designer suits their requirements excellently. 

April 13, 2022

Rasta monkey cartoon


A short blog entry this time. I drew a vector rasta monkey cartoon in Affinity Designer, that I intend to use as a T-shirt design. Below the rendered image you see the vector wireframe view of it, which is quite simple and  hints at the fact that giving strokes and curves different properties and effects, is what really defines the appearance of an image. It also implies that these properties and effects can quickly be changed at a later stage. Click on the images to see larger versions of them in Google's Lightbox.

Vector wire frame view

April 12, 2022

Jugendstil mandala


Mandalas have always fascinated me, as well as Jugendstil designs, particularly ornaments. Without planning to draw either one of them, out of some sort of boredom, I kind of mindlessly started dabbling in Affinity Designer, the result of which you see below. When composing the main drawing, I applied several effects to eh image - the most dominant of which is Gradient Colour overlay that allows black and white images to be enhanced instantly. All values assigned in the settings of effects, colouring and gradients are esoteric / vector math values.

The mandala

The image basically contains two parts, that I have arranged in a 7 element circular pattern, the larger object of which I placed below this paragraph. The objects are embedded in the main drawing.

The larger object

The smaller object, I placed below this paragraph. Click the images to see larger versions of them in Google's Lightbox, that allows to scroll through them by turning the scroll wheel of the mouse.

The smaller object

April 2, 2022

Book cover pages, flyers and educational technical art


In this blog entry I present some recent cover pages that I have drawn in Affinity Designer, Rhinoceros and Cinema 4D. These were all created in A4 format for educational books in the advanced composite business for a company in which the entrepreneurs each have over 3 decades experience in high-tech companies in the severely regulated aviation and aerospace market. Also I placed some of examples of technical art created in 2D and 3D. The books were created in InDesign up to some 5 years ago, after which I switched to Affinity Publisher. In all of them I drew all images from scratch. These are books, contain a 100 to 300 pages, deal with the complex matter and processes in the advanced composites world.

Composite repair book cover 1 - Affinity Designer

Composite repair book cover 2 - Affinity Designer

Composite fabrication book cover 3 - Affinity Designer 

Some older books that I created from cover to back

One off design concept for Lufthansa - Affinity Designer

SAE report - Affinity Designer

Vacuum bagging method - Rhinoceros 3D

Composite repair student exercise tools - Rhinoceros 3D

Vacuum bag schedule - Rhinoceros 3D

Plain weave schematic - Cinema 4D

Hotbonder - Cinema 4D

Boeing composite locations with numbers for the colour blind - Affinity Designer

Boeing B777 presentation drawing - Cinema 4D

Airbus A350 presentation drawing - Rhinoceros 3D

Vacuum bag connector - Rhinoceros 3D

Honeycomb panel repair layers Rinoveros 3D

Tubular back-up structure - Rhinoceros 3D

Vacuum valves on differently curved surfaces - Rhinoceros 3D