Emojis

 

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

Deceit
for 'experts'

Wink
for other opinions

Devious
for out-of-the-box-thinkers

Grin
have nothing to hide?

LOL
for mainstreamers

Mental
for the annoyed

Erm....
for those who see

Warrior horse

In the series of vector paintings that I am in the process of creating, I thought I couldn't make one  that didn't include a horse, since the average horse is a better person than the average person. I've no clue yet where this is going, so it may be worthwhile to drop in every now and then to see what has changed, should you be curious. So, while I horse about, do whatever suits you. At his point - July 30 2021 - this vector painting is a work in progress. Drawn in Affinity Designer of course. Not a single pixel included, because I don't use Designer's pixel persona. I wouldn't call myself a vector purist, but rather some sort of maniac with a cause, who has an evidenced aversion of creating pixel art.

The warrior part in this blog entry's title may give away what I envisioned this image to be(come) around the time I started the drawing. But few things in life are certain in this life. In fact, probably nothing is and I'm not even sure about that. I guess Heisenberg guessed quite accurately when he invented his renown principle. Therefore, enjoy things while you can, preferably without becoming a hedonistic headcase.

As usual the image progress order that you see below is from the bottom to the top. I left out the first two stages that didn't contain anything worth publishing. Below the third stage you see a vector outline view of the most recent stage of the image, if I don't forget to update it. But as I mentioned above: you never know. Oh, and by the way, for those interested, in the update paragraph in the previous blog entry some of the techniques are described that I use to create drawings like this one. So far my uncommon working methods haven't crashed Affinity Designer beyond the point of repair. Although my old computer has a hard time keeping up, the software has behaved surprisingly well.

Artists looking for versatile, demolition proof vector software to make artistic complex doodles, should consider giving Affinity Designer a try. I'm on the Redmond OS; I don't know about the Big Fruit systems. It has a long trial period (90 days) and for one sixth (50 Euro) of the annual subscription fee of Adobe Illustrator, purchasers of the Affinity program, own it for life after they parted with just a one time payment. This is especially interesting for newbie artists that don't have to worry about editing legacy files (created in AI or other software) and build their entire portfolio in Affinity Designer or for graphic veterans that are fed up with Adobe's rip off deal.

Square cut out of the horse August 1 2021

Stage 5 July 30 2021

Stage 4 July 29 2021

Stage 3 July 29 2021

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Vector outline view of the most recent stage

Vector outline view stage 5

Fire fish graphic vector drawing

I thought I'd try something different for a change. The animal in the image - interpreted loosely - is called Lion fish in English, but I fail to see any resemblance to a lion. Perhaps the bloke that coined the name had one too many during liquid lunch. Anyway I like the German name - Feuerfisch which means fire fish - better although there aren't too many fires inside the sea or ocean (apart from submarine volcanoes). The combination of fish and fire invokes visions of a BBQ on which fish is prepared to be munched, which may be the concealed underlying psychological reason for my seemingly poorly founded preference. Also Feuerfisch alliterates and rolls easy off the tongue. Perhaps that inspired the German biologist to invent that name for the beast (possibly in addition to the effect of a few pints of lager). All this of course is pure speculation that lacks any provable ground, but such fuzzy impulse often is at the root of many a scientific theory as long as it is described in verbiage of which normal people have no knowledge about whatsoever. 

No update sequence in this blog entry because this drawing is relatively simple compared to the type of work I usually create. Most often used in this drawing was the clipping function that offers a world of possibilities. Especially in creating vector art, clipping is important because it offers the possibility to create a variation of edge types (hard and / or blurred) in one object or shape by multi-layer clipping and blurring. This spectacularly shaped venomous creature may look like I had one too many during lunch, but I stopped drinking like a fish a few years back after I quit custom painting bikes for motorcycle gangs. Just joking, smart people would never express such multiple aspect matters in writing (which by the way is circumstantial fishy conduct). Those seemingly compliant role model type of fake people usually are the biggest corrupt pervs beyond the reach of the public eye. Either that or they are people that are easily conditioned due to a lack of wit and insight. 

Click the image to see a proper size version of it 

This is the first drawing in which I used 'Styles' rather a lot. Some styles are tricky though, because when overlaying them with strokes of objects or shapes the colour of the objects on top does not comply with the ones selected in the Colour tab. Maybe it is the act of clipping that causes this oddity, but simply drawing them on top of things excludes the possibility to restrain the overlays inside the borders of the overlayed object. When creating highlights or shadow edges in an irregularly shaped object I clip strokes or objects inside the object that I want to give highlights and / or shadows because I want their edges to comply. This gives more control than applying 3D fx to the object in which functions affect each other. Clipping highlights and shadows allows to draw them as intended, except when certain types of styles are used that apparently influence the colour of the overlayed clipped object or stroke.

Image with transparent BG for T-shirt print

An other (colour) variation in the rings

Re-created my VectorWhiz website

I re-crated my website - https://vectorwhiz.com - because the previous one, built with Pinegrow all of a sudden mysteriously became corrupt. It was beyond my skill to fix it. I rebuilt it with Mobirise, since Pinegrow would not allow me to re-install the version that I bought a few years back (in which I had lost trust anyway) and Bootstrap Studio still requires too much coding. This may be a good thing for hardcore coders, but not for me. So Mobirise was probably the only option left to get back on-line within a reasonable amount of time. The site needed some changes, so this was as good an opportunity as any to do it.

VectorWhiz logo

The site logo, by the way, is based on Marko Rodin's vortex math, that I believe to be related to (beneficial) ancient occult knowledge that has a more intimate bond to the real reality than what it is commonly believed to have. In a kind of cynical way this personal perception is circumstantially substantiated by the fact that Rodin's site has disappeared from the web. Making true information go away is one of the specialties of the powers that be that are interested in carrying out their concealed agenda, not in the truth. Obviously I do not share that point of view, since it is based on values without value, i.e. on a system that demands submission and obedience to a totally corrupt entity.

I've always clung to the principle that disobeying the insane is never illegal, which I also try to reflect in (most of) my art, even if not in an obvious way. This is for instance done by assigning values to drawing functions that either comply with vortex math principles or the numbers preferred (for good reason) by Nikola Tesla. So, the magic goes into the invisible meta data of the images I create and not observable doesn't mean absent. If you're really interested in what this implies, I'm sure that you'll find more information on this subject somewhere on the Internet. To the aware it will be worth their time and effort. Visit my site and have a nice day.