|A digital vector illustration artwork for a book cover. Moggles & The Ninth Life.|
Yes, yes, I know. I’m late for my flight. There are a couple of reasons why I’ve taken so long to enter the world of digital illustration. For one thing, I love to paint and get my hands dirty and smell the paint and feel the brush in my hand. I became an illustrator to be a painter who gets paid properly from time to time.
Another thing is, I did already try some years ago. For a while I used a program called Painter which promised to give painterly results but I struggled with it before giving up on it as I just couldn’t get the results I wanted.
Then, Adobe introduced their subscription by the month, which is fair enough but it banjaxed my chances of using it. That’s when I discovered the Affinity suite of products: The software company, Serif, obviously saw an opportunity provided by Adobe’s move to subscription and the resultant flight of irritated users. They’ve introduced two extremely comprehensive and professional applications that are developing apace. It’s true that neither of the programs have the complete set of bells and whistles provided by the standard-setting Adobe products but if you know what you want to achieve in your work, there’s almost nothing that a photographer or illustrator can’t do. Add to that, Serif’s Affinity Publisher, which is due for release in about a year’s time to compete with Adobe’s InDesign, and it will be possible to move away from Adobe and still produce industry-standard results.
|A digital vector illustration artwork for a book cover in Outline Mode. Moggles & The Ninth Life.|
So, illustrating this little ode to Affinity, is a cover illustration I did for a non-existent (as yet) children’s book. It’s made entirely in Affinity Designer and is a vector image. You can see something of how a vector image is made up in the above screenshot. I won’t go into the details of what that means except that I can reach into any part of this image and refine it, change it or remove it at will. Imagine trying to do that with a hand-painted illustration! This is the way things work with today’s illustration clients who have become used to making ‘after the fact’ changes, and I must change my way of working accordingly. Over and out.