Using the grid made it an easy approach as opposed to having perspective, but it was still a bit tricky getting the lighting etc., correct,” Peter explains.

The drawing up took a while to get right as I had to search out the various buildings etc. I love architecture and flying cars, so it felt like a great fit as an idea to show off the isometric route for this piece.

“I wanted to create an image that was a fantastical illustration that would be a challenge to create as an isometric. We’ve long admired the sleek vector artworks of Peter Greenwood, and we were delighted when he agreed to give the Isometric Studio in Affinity Designer a whirl to create a commissioned illustration for our 1.8 update. You can check out more of Kevin’s isometric work here. “And, as a bonus, the grid dictating the placement and positioning really gives the work an internal compositional consistency, while at the same time allowing for a different sort of exploration and expression I probably wouldn’t attempt or discover in a non-isometric piece.” This self-imposed or limited framework makes it actually easier not to stray off into unnecessary or timewasting creative side trips,” Kevin explains. By having to adhere, more or less to a grid, you are challenging yourself to come up with new ways of depicting the elements and shapes you need for a successful composition within an isometric structure. I did, however, find sticking to a structured grid format to be sort of creatively freeing. “Working in the isometric style started many years ago, and I’m not really sure what drew me to it in the beginning.

Among other styles, he loves to draw isometrically. Kevin House is an early adopter of Affinity, and you may already recognise his work from our Affinity Designer Workbook.

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