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Thread: The Weird Saturation Thing

  1. #21
    sure!
    it’s very similar to painting with gouache - there’s no impasto applied, it’s predictable blending-wise, a little bit clumsy,
    but it’s practically ideal for any underpainting/mid-detail painting purposes - I prefer to finish things in clip anyway.


    the brush observations - I’m mostly using flat brushes if painting traditionally, and I tend to use them quite a bit with digital media too.
    here’s an example I built in clip studio with some selections quickly:





    it’s preferable that brush grain is also applied, it makes blending more natural-looking.
    flat brushes work best when aligned vertically.
    I find that if brush dab has a tapered, pointed end it’s better place it to face upwards; artrage doesn’t allow manual rotation of brush dabs after importing them yet, so it’s something I keep in mind;
    it’s better to keep brush dabs as close to opaque black as possible (no light-gray scattered blobs that could work okay in photoshop or elsewhere really worked fine for the custom brush base in my experience.)


    same brush in action:





    artrage tracks tilt and brush bearing, so a narrow, flat brush can be used for broad, sweeping stroke application, and also more precise brushwork.
    there’s also some sort of stroke velocity influence going on, I suppose? - that adds to the real brush handling likeness. I find it works better with directed, sweeping strokes, it really feels like brushing paint onto a surface. (photoshop or w/e else kinda allows for more scribbly/messy application sometimes, it doesn’t work really well for me here.)


    couple more examples, this all been done very quickly with one or two custom brushes max:








    I typically keep dab spacing around 12%, but go up to 20% to avoid lag, and keep source brush dabs under 250x250 px.


    this way, it’s very fast and enjoyable to paint with.


    hope this helps!

  2. #22
    Join Date
    Apr 2012
    Posts
    486
    Wow. Nice. I'm still a novice with the brush designer but I'm sure these tips will be useful!

  3. #23
    Join Date
    Oct 2016
    Location
    Maceió, AL - Brazil
    Posts
    106
    Artrage is awsome. And I've also seen lots of great stuff made in Krita. I wasn't comparing both, just giving an information. I think we should also see these softwares as tools, and the artist side is also very important for the final piece. And some tools are good for some people, and other tools good for other people. I don't think of it as garbage... Neither of the softwares.

    Anyways, back to the subject of the thread...

    Another good way to "solve" the saturation thing is by making short strokes. I know this depends on the style of each person, but if you don't wave around the brush too much on the canvas you will avoid this problem. Kinda like Larriva makes his strokes in traditional oils in his videos: https://www.youtube.com/watch?v=pjaYkLFgFos They are very straight forward.
    This also helps you think better before just making random strokes.
    And then you can blend the paint better with the knife. Again, without swinging it on the canvas too much.

    Sorry for the bad english.
    Hope this helps a bit.

    Cheers.

  4. #24
    Join Date
    Apr 2012
    Posts
    486
    In theory short strokes would be doable. But the restraints on the AR oil brush, its shape and its orientation relative to the direction of the stroke, requires much more messing around to fill-in even a simple area.

    For example, a relatively thin and wide flat (real) brush can be used to make a simple parallelogram by pulling at an angle. Such a simple stroke is not possible with the oil brush in AR even with the aspect ratio dialed-up. The beginning and the end of the stroke always includes a profile of bristles at 90 degrees to the direction of motion.

    Very cool video though! The more I watch them though the more I feel I might go out and buy real media... a lot cheaper than the MobileStudio Pro I keep thinking about getting...

  5. #25
    real oil is something else entirely, it's awesome and feels like nothing digital really does,
    you also have the advantage of keeping/selling the original work.

    it needs a dedicated painting workspace and a good lighting set-up, unless you can afford painting during day-time exclusively, and it's typically nowhere as fast as digital medium making-wise - especially if you're selling artwork and do the dry+varnishing process.

  6. #26
    Join Date
    Mar 2017
    Posts
    20
    I did notice that it works better with short strokes, but that can be really limiting; there are a lot of places where longer and looser strokes are really effective.

    PS, real media is the best by a long shot. Acrylic is kind of meh because they're usually formulated to provide a uniform painting experience, but when you get into some nice oils, they're lively and complex and it gets pretty sexy.

    You can compensate for the speed of oils by working on a bunch of paintings at the same time and/or using alkyd mediums where appropriate. A lot of modern and later painting doesn't involve varnishes, or only minimal varnishes, because they're using the glossiness of the surface purposefully, but if you're working in an idiom that demands varnishes then you will need storage, because you can't really apply the varnish until the painting is totally dry, and that can take up to a year depending on what pigments and mediums you're using.

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