I tried out the vanishing point assistant for the first time with this painting. I was impressed with the ease of drawing reference lines for perspective. Partly inspired by the video game “Stray”.
Timelapse: (I wish the recording showed the vanishing point lines, but it doesn’t)
Aww, my (adult) kids used to play that game.
Great job as always! 
That is absolutely amazing! I couldn’t stop watching! Beautiful and haunting work!
your painting is amazing!
Love it! Even the cat is in perspective.
I loved watching the timelapse. It’s really cool how quickly the image takes shape once you start adding the local colors.
I am in love of your color selections. Great work
I love it! (and the cat in the foreground!)
About the assistants, I’ve used them quite extensively in the past.
There are things I wish to see some day for it to be incredible:
@sooz It’s that cool perspective tool! First time I’ve used it and it’s really cool! 
@MangaTengu Yes! Brush size changing with the vanishing point would be really helpful. As would all your suggestions. Have you turned that in to the suggestion topics?
I didn’t use a topic at the time, it was more direct talk iirc and I didn’t feel It reached peoples’ interest.
I’ll try to make a nice topic expliciting the suggestions’ added value soon!
Vanishing Point doesn’t have this, but Perspective assistant does, when using the Perspective sensor in the Size option of the brush. Maybe it can be implemented for Vanishing Point as well?
Freehand Brush Tool options “Magnetism” and “Snap to Single Line” under “Snap to Assistants” might be what you’re looking for?
About the artwork itself, it’s pretty neat, I really should watch the timelapses more often.
Unfortunately, the perspective grid doesn’t replace a system with several vp nor does it implement distortions.
I’ve already played extensively with all assistant params combinations, but they don’t provide the behavior I describe:
You can lock to snap to single assistant. BUT, when you start a line, it’s really super hard to accurately determine in which direction you are going, especially when several vp have nearly overlapping lines. It often ends up locking on the wrong vp. It happens so oftent that I got used to work around it by making lines that always go to the vp rather than radiate from it (almost garanteed to fail).
A really handy solution would be single assistant snap, but the vp you want to snap to is reevaluated as you trace your stroke, not determined at the begining.
This painting is really captivating, because there’s a story and of course the visuals are very interesting, with this moody and contrasting lighting.
Did you use many layers? One aspect of this style that I find challenging is defining and preserving edges over time. It’s nice to be able to work in one layer, but selecting the same area over and over is taxing, and separating stuff into layers to have well-defined edges can get out of hand too. I guess there’s a balance to strike between simplicity and accuracy.
Very pretty
@YRH Thank you! What you describe is exactly what I was seeing/feeling in this piece. I’m glad it came over that way to the viewer.
As for layers, I generally start with the background/underpainting layer, then a main subject layer or two, and have them set up as a clipping group. But for works like this one, I end up merging it all on one layer. Mostly because I jump all over the place in the painting and get tired of looking for the right layer to paint on 
On my pet portraits, I fill in the subject with a local color first, then make it a clipping group. Makes it easier to do a nice background.
Most of my paintings’ layers get merged at some point though. Thanks for asking. 
Congratulations! Your artwork has been inducted into the featured artwork gallery row.
May I have your permission to post this artwork on Krita’s social accounts? If yes, I will credit your K-A user name (or a different name that you specify). If no, no problem.
Please type @sooz in your reply so I get pinged.
@sooz Yes, you may! Thank you
wowow very good 
