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Log in Sign up. Go Back. No notifications to show yet. Stay tuned! Edit profile. Filters 1. Affinity Vectors It smells like Autumn again Plenty of new visuals to fall for, only for you! Discover them. Gay parents taking care of son. Labordaytshirtdesign2 with svg t shirt design. Labordaytshirtdesign2 with color svg t shirt design. We need to apply fill and stroke colors. Remember to give the stroke the same width as the rest of the car 8 pixels except for the innermost circle, where we will apply a stroke of Now we want to select and group all of them together.
Duplicate this group and, while pressing Shift , select it and drag along the canvas until it overlaps with the back wheel. Name the layer accordingly. We need to trace the front and back fenders. We have to do the same as what we did for the main bodywork. Pick the Pen tool and trace an outline over it. Once it is traced, modify it by using the handles, nodes and Corner tool. I also modified the black shape behind the car a bit, so that it shows a bit more in the lower part of the body work.
Now we want to trace some of the inner lines that define the car. For this, we will duplicate the main yellow shape, remove its fill color and place it onto our illustration in the canvas.
Press A on the keyboard, and click on any of the bottom nodes of the segment. You will see now that the selected node has turned into a red-outlined squared node. Click on it and pull anywhere. As you can see, the segment is now open. Click the Delete or Backspace key Windows or the Delete key Mac , and do the same with all of the bottom nodes, leaving just the leftmost and rightmost ones, and also being very careful that what is left of the top section of the segment is not deformed at all.
I use this method for one main reason: Duplicating an existing line allows for a more consistent look and for more harmonious lines. Select now the newly opened curve, and make it smaller in such a way that it fits into the main yellow shape when you place them on top of one another.
In the Layers panel, drag this curve into the yellow shape layer to create a clipping mask. The reason for creating a clipping mask is simple: We want an object inside another object so that they do not overlap i.
Not doing so would result in some bits of the nested object being visible, which is not what we want; we need perfect, clean-cut lines. Note: Clipping masks are not to be mistaken for masks. Masks, on the other hand, display a small vertical blue stripe beside the thumbnail. Then, I applied a bit more Corner tool to soften whatever I felt needed to be softened. Finally, with the Pen tool, I added some extra nodes and segments to create the rest of the inner lines that define the car.
Note: In order to select an object in a mask, a clipping mask or a group when not selecting the object directly in the Layers panel, you have to double-click until you select the object, or hold Ctrl Windows or Cmd Mac and click. In the side Toolbar, select the Rounded Rectangle tool. Drag on the canvas to create a shape. I recommend that you visually compare the difference between having this option checked and unchecked when you need to resize an object with a stroke.
Once you have placed your rounded rectangle on the canvas, fill it with a blue-ish colour. Next, select it with the Node tool press A. You will now see a little orange circle in the top-left corner. Uncheck it , and pull inwards on the tiny orange circle in the top-left corner. Primitive shapes are not so flexible in terms of vector manipulation compared to curves and lines , so, in order to apply further changes to such a shape beyond fill, stroke, corners, width and height , we will need to convert it to curves.
Note: Once you convert a primitive shape into curves, there is no way to go back, and there will be no option to manipulate the shape through the little orange stops. If you need further tweaking, you will need to do it with the Corner tool.
The bounding box will disappear, and all of the nodes forming the shape will be shown. Now you need to manipulate the shape in order to create an object that looks like a car window. Look at the reference picture to get a better idea of how it should look. Also, tweak the rest of the drawn lines in the car, so that it all fits together nicely. Getting them right is a matter of practice! Using the Pen tool, help yourself with the Alt and Shift keys and observe how differently the segment nodes behave.
After you have created the front window, go ahead and create the back one, following the same method. Place the cursor over the top bounding-box white circle, and when it turns into a curved arrow with two ends, move it to give the rectangles an angle. Create a clipping mask, dragging it over the window shape in the Layers panel as we saw before.
You can also do this by following the following alternative methods:. Repeat this for the back window. Before we start with the shadows and reflections, we need to add an extra piece onto the car so that all of the elements look well integrated. It is a simple rectangle. Place it on the corresponding layer order, so that it looks like the picture below, and keep inserting all of the pieces together so that it looks compact.
I will also move a bit the front fender to make the front shorter. Grab the Pen tool P and trace a line on your canvas. We can easily change this value later if needed. When you drag a selection in Affinity Designer, only objects that are completely within the selection area will be selected. If you want to select all objects without having to drag over all of them completely, you have the following options:. To make the illustration more interesting, we are going to vary the beginning and end of some of the lines a bit.
To do this, we select the Node tool A , and move the nodes a bit inwards. We will then create a clipping mask. It is important to keep consistency in the angle, color and size of this pattern throughout the illustration. Make some tweaks if you need to adapt the pattern to your drawing in a harmonious way.
For the shadow below the windows, I drew a curve to be the placeholder, and applied the color CFA so that it looks darker. With the Pen tool, add the rudder. Its color is B2E3EF. And for the stroke, use a 6-pixel width and set the color to Note: We may want to create the same shadow effect for the car wheels. Use the Rectangle tool and a color of A00 , create a clipping mask, and insert it in the wheel shape, placing it halfway.
Yes, the label names are inconsistent, but the Affinity team will likely update them in the near future, and one of the labels will become the default for both operating systems. However, you can still work around this by converting the Compound shape the result of a non-destructive operation that is a group of two objects to one Curve one whole vector object. Back window We are still missing the back window, which we will create with the Pen tool, and the decoration for the car.
For the two colored stripes, we need the Square tool and then clip-mask these two rectangles into the main bodywork. I added an extra squared shape behind the back fender, which will look like the end of the exhaust pipe. The color is Duplicate the window object.
Select both the window object the one you just duplicated and the orange stripe in the Layers panel. Note: Now that the car is finished, group all of its layers together. It will be much easier to keep working if you do so! You can do the same or change these values to your liking. Drag to draw the crescent shape. Move its center of rotation to the bottom of the bounding box, and give it a degree angle.
The center of rotation can be made visible in the Contextual toolbar section for the Move and Node tool. It looks like a little crosshair icon. When you click on it, the crosshair for moving the rotation center of an object will show.
Make it a bit smaller. Copy the two shapes and flip them horizontally. To create the indentations on the leaves, transform the object to curves, add a node with the Node tool, and pull inwards.
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