January 12...Half hour cafe sketch.
January 12...Half hour cafe sketch.
Thanks for the question. I almost always finish them up in Photoshop, where I'll sneak some textural effects in at the back end...so these end up being roughly 85 percent ArtRage on the iPad, and 25 percent Photoshop with varying degrees. A little stamp tool with some scatter sometimes helps add some randomness.
Occasionally I'll use some overlays and underlays of traditional paintings in ArtRage layers to help rough it up a bit. That latter method results in a lot of 'happy accidents'. My process varies sketch to sketch. There are a few images that will purely be ArtRage.
I love the painterly effects of the program , but the iPad app can get pretty slick looking without some additional texture help. Haven't gravitated to the desktop version yet, but I will soon. Then I can share some scripts!
Last edited by Chad Weatherford; 01-15-2018 at 07:38 PM.
Day 13...about 15-20 minutes
Painting of our deck again in the early morning fog. This one could use a bit more value balancing, but it's fine for a sketch I guess.
Sketch of a co-worker at the Noodlebox last January.
If anyone is curious, here is an example of where I took this in Photoshop from ArtRage.
The attached image is the original ArtRage file from my iPad.
Once in Photoshop, I shifted the figure to the left a bit, toned down the background with a Photoshop brush. I also added a few small marks to the hand to get it to read clearer. These are things I find looking at the image on a larger screen with a fresh eye. After a few more marks l added the date stamp to arrive at the above image. I could do the stamp in ArtRage, but it's easier and more consistent for me doing it in Photoshop at the very end.
Sorry to pester... What did you use to get the dark speckled pattern in the middle of the right hand edge of the painting?
Very exciting "oil" painting look. Reminds me of a Russian painter Nicolai Fechin who inspired many of the oil painters on the west coast of the USA when he was teaching here. One of the things he did with his oil to make it behave in a particularly impasto way was to squeeze out his oils onto cardboard that then soaked out much of the linseed oil, thereby giving him an extra direct thickness that he didn't blend once on the canvas. Nice stuff. You're probably already aware of him, but here's a link in case anyone is interested in the quality you're getting that I'm referring to (to some degree).
https://www.google.com/search?q=nico...&bih=457&dpr=2
"Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream
It doesn't feel like pestering! That area was created by the speckled roller over a painting texture underlay.