... although crackle may be more appropriate to oils? Haven't tried it there yet.

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Note: these two use different canvas textures. Doesn't affect anything other than general watercolor spreading.

Step 1 for both:

a. Do basic painting, obviously watercolor brush works best (these two were done with the delicate on dry preset).

Step 2 for both (realistic watercolor pigment dispersal):

a. New layer on top
b. Pattern fill with concrete pattern
c. Set blend mode to overlay
d. Fiddle with opacity

Step 3 for top (salt):

a. New layer on top of watercolors but below concrete layer
b. Sticker brush with Art Brush presetting named Mimosa
c. Set current brush color to white/white-ish/ivory/your choice of a white
d. Lower spray frequency in settings to 50%
e. Brush over on the new layer til you get a satisfactory salt dispersal (stylus works best)
f. Lower opacity of salt layer until satisfied (settings below 10% can work nicely)

Some of the other sticker art brushes can give different salt effects, like (I guess) rock salt. I experimented with a few and worked out some.

Step 3 for bottom (alcohol drips):

a. Select watercolor brush "just water"
b. Brush settings: lower thinners to 3% or so
c. Brush settings: lower loading to 5% or maybe a bit higher
d. Brush settings: color bleed 100%
e. Brush color: white/white-ish/ivory/or your choice
f. Use stylus and do some dots on the layer with the watercolors, directly. These are your alcohol dots.
g. Gentle pressure is best.

Step 4 for bottom (crackle):

a. New layer on top of watercolors but below concrete layer
b. Sticker brush: Hair/Fur presetting of curly hair (the one that's kind of sparse)
c. Set current brush color to white/white-ish/ivory/your choice of a white
d. Lower spray frequency in settings to 50% or even lower
e. Brush over layer until you get satisfactory crackle dispersal (stylus works best, again)
f. Lower opacity of crackle layer (10% or lower works well)

You can actually in brush settings turn on flattening to remove the dimensionality of the crackle, but it kind of looks nice on low opacity with no flattening. Your mileage may vary.

And of course, I currently don't know how aging crackles interact with impasto oil strokes in real life, because I am still a wee artist.

I can include a package file of some of my experiments if people like, but it is quite satisfying to experiment on one's own with this stuff.

It's true what, I believe, SomeoneSane said: just like with traditional media, you have to be creative with using multiple tools to do what you want.

It was nice to be able to easily do in ArtRage what would take someone quite a bit of skill to accomplish with Photoshop—although it was through intense observation of Kyle T. Weber's real watercolor salt brushes in action that I realized how he did it, and adapted the method to ArtRage.