Click the image to find my 100% vector art, drawn from scratch. Portraits, illustrations and paintings, logos, business cards, cartoons and technical art for educational purposes. Properly drawn vector art can be re-scaled to any size without loss of quality.
Click the image to find my pixel based art. Portraits and paintings. Creating pixel art is the digital technique that resembles analog painting the closest, in terms of required manual dexterity and the artist's outlook on the artwork.
Affinity Publisher can do almost anything for print that InDesign can do in less time, with less effort, for a much lower one time fee. I use this program to create modern and eye catching documents of all sorts, which include well structured, illustrated and effective educational material and occasionally things very different.
A well designed logo must be eye catching and settle easy in the mind so that it can swiftly retrieved from memory along with accompanying information when seeing it again at a later point in linear / cyclical time.
Cartoons may have mild or extreme distortion of the subject's face while keeping the likeness in order to enhance / exaggerate the subject's unique facial traits. If this criterium is not met the cartoon is useless. In this image Elvis and Kill Bill Clinton are in the top row and Mr. Bean and former president of the Russian federation Jeltsin is shown in the bottom row,
Complex vector illustrations I make in Affinity Designer, simply because there is nothing that can't be done in vector drawing programs that can be done in bitmap editors. The added benefit of vector art being unlimited scalability, while preserving quality and crispness.
In a stack of business cards a well designed card must stand out and be picked first before the rest. I draw these in 2D and 3D vectors so the design can easily be changed later should this later be a client's wish.
A profound understanding of language - neurolinguistic programming, syntax, message structure, alliteration and etymology - is the most efficient way to influence an audience in a concealed way. Language, even when seeming to be unassuming, can hide aspects that affect the addressed's subconscious, without them being aware of it. This is a conjuration well known in circles of advertisers and intelligence agencies. I mainly use languistic effects in poetry.
Over a period of decades, starting approximately in the early 80's of the previous century, I began drawing mainly charcoal portraits after having already drawn a lot with pencils throughout my life. This part of my life refers to attempts to create art. From charcoal I developed into making art with the analog airbrush gun and liquid paint. At some point I had progressed so much in the airbrush trade that I was asked to do demonstrations all over Europe to promote Airbrush guns and paint. Around the turn of the century I began to become interested in creating digital art - 2D pixel art first and later predominently vector art. About 2010 3D art creation drew my attention in an increasing way, but life kept me busy and I was unable to dive deep into ways to make 3D art, not as deep as I had hoped to be able to do. 3D programs are absurdly expensive, with the exception of Blender, but that program has an insanely complicated user interface, with which I never became familiar enough to produce reasonable art. This year (2023) I accidentally ran into Plasticity that is a relatively new program that already has a ton of features and, most importantly, a user friendly interface. This program can be purchased for a reasonable one time fee (of around 100 Euro), is brilliant, on its way to evolve beyond that rapidly. Besides spending time making visual art, I write poetry every now and then and have an interest in spiritual matters, science, phylosophy and geopolitical developmment.