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Artrage 5 vw rebelle 31/12/2024 ![]() They utilise the best UI features from Artrage, Paintstorm Studio and Adobe products. The Rebelle team seem to have made careful study of what’s out there. If you already know one of these programs you’ll easily learn the other, because they are similar.Rebelle is quicker to learn because there is less to know.If you’re working on a piece which requires maybe 50-100 layers, Rebelle isn’t going to be the software you’re using from start to finish, but is still useful if you want to create some layers in magnificent watercolour, which you can then export and use in a different piece of software. Basically, the developers don’t MEAN users to make heavy use of layers. I have read the manual cover to cover and now I’m sure of it - though I found it unbelievable - you can’t group layers. The reason I could never fully utilise Rebelle 3 as my main digital art software is its very limited layer management. But if watercolour is not your thing, Artrage has a lot more functionality. The short answer: nothing matches Rebelle 3 for digital watercolour simulation. If you have to choose, which should you buy? In my case, would I get much use out of Rebelle when I’ve been an Artrage fan since 2011? With both, you can pick up your pen and start drawing right away. They are both excellent, lower-priced digital art software which replicate real-world media and painting techniques. all I know is the software that cracks that nut and makes a real oil painter feel that blending colors on screen is the same as in real life.Artrage by Ambient Design, and Rebelle, by Escape Motions, are in some ways similar. ![]() it may be incorrect or simply not the best way of doing this. and arbitrary levels of thinner (RGBCMYKT - T for transparent?) could be simulated.īut the above is speculation as regards to how one achieves simulation of real world media blending. All kinds of pigments in theory should be capable of representation using this and mixing colors should reduce to mixing these kinds of pigment element amounts. The recipe for these can be discovered with some math and experimentation. The RBG reflected through the CMYK remains the same in proportion to the light directly from RBG, but both become proportionally dominant with coverage due to the increasing opacity contributed by the RBG. Which is also added to the light due to RGB in the bulk of the paint reflected but also as attenuated by CMYK.Īs the bulk paint is added (more coverage) more and more CMYK results more transmissive attenuation of the paper color, and while the bulk RGB is added in proportion, since it is opaque, it simply attenuates the overall amount of light from the paper transmitting through CMYK. The light reflected by the canvas through CMYK pigment components (which attenuates transmission subtractively) ![]() ![]() Light reflects directly off of RGB pigment components, which is combined with I think the first developer to introduce into their software a subtractive and additive color system, one which mimics the real additive (opaque) and subtractive (transparent) elements in real world pigments, which are found in real media, so that an experienced oil painter familiar with for example the the Zorn palette can mix away and get expected results, will take the market by storm.Ī paint material element at a pixel could be broken down as consisting of RGBCMY or RGBCMYK which builds up in proportion as paint is added and mixes in proportion as it is blended. IMHO for the next leaps in this technology to win over real media and mixed media artists, the focus has to be on the process of painting itself, daubing and stroking, and blending, and having that process feel more like using real paint. In my view, when simulating an existing media (like oils) this superficial focus on whether laypersons can make things look like what they think oil should look like, is a mistake by most developers. I don't know what melts paint quite like that. Something like instadry is used first (I do like how the already dry paint acts as texture for the subsequent strokes.) and then alla prima with a knife. The teaser video shows a guy doing stuff in a way that does not seem to match reality. It seems like the software (Rebelle 4) is focused on the end result (of skilled or unskilled strokes) looking like oil (to a layperson), rather than the process of painting feeling (to a real media artist) like using real oils.
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