Painting with Polygons

Over many years of working as a graphic designer and a digital illustrator, most of my works are vector-based. I prefer working with vectors for their scaling flexibility. Vector-based graphics can be scaled and printed onto mediums of any size, as small as a business card or as large as a banner on a high-rise building; all can be done without facing pixelation problems or losing in quality. One of the trade-offs is that illustrating with vectors is much more time consuming than painting a raster image with a digital pen or stylus.

Working with vector-based graphics requires extreme precision; every point and node of every polygon must be exact. A high quality and clean vector-based graphic demands artists to place points and manipulate nodes with precision and accuracy; waving a digital pen on the screen as I would with a brush on a canvas just would not do. I have learned to be an expert in creating art using a mouse just as I would with a pen or a brush.

I currently maintain subscriptions to Adobe CC, Autodesk 3Ds Max and Maya. I also regularly keep my graphics hardware up-to-date to meet current demands of the graphic industry. I am thankful that my daily work gives me much experience with grand-format plotters, cutters, routers, engravers and many other wonderful print and signage production machineries. Working hands-on with many production machineries helped me to improve my graphic design skills, challenging me to design vector graphics that are not just for the sake of visual appeal, but also for compatibility with production machineries.

I still love sketching with charcoal and painting with acrylics to immerse myself in the mess and to get my hands and clothes smeared with ink and paint whenever I could get a chance. I am still a fine-arts artist at heart; however, as the human race moves toward urbanization and cloud computing, digital art is just more suitable and practical for the future.

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