Rebelle 4

[Pat McDonald]

Artrage is IMO by far the best digital art programme around.

But I do have others, and Rebelle is one, so in anticipation of the new Rebelle 4 I did a painting in Rebelle 3.

It is good, very good, and I like it, but ...

... I have a very simple way of comparing differing applications: I do the same painting in both Artrage and any alternative.

The outcome is always the same. Artrage is better. Always !!!!!!!!

I saw a user's comment last night in Rebelle's YouTube pre-announcement saying that Artrage is so 'past it'. That the programme is never (rarely, surely) updated and is showing its age.

So this morning I did my normal process; a painting in Rebelle 3 and the same job in Artrage.

The winner? As ever, Artrage. You lads (and lassies, obviously) have a winner (even if Argentina did defeat you!).

Pat

[markw]

Hi Pat
I may just have to agree with you
All paint programs have their good and bad points, and AR is no exception, but it is the one I keep coming back to if not reaching for first when painting.

[Kate12345]

I do love the water affects in Rebelle and the oil effects in Artrage. Good excuse to buy both!

[nekomata]

I've just watched the video announcement, and judging by that, as well the screenshots that escapemotion have posted, it looks inspired by the vile corel painter thick paint oil brush set.

rebelle watercolors are genius, but this oil thing is not it. not interested at all.

[DarkOwnt]

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. The teaser video shows a guy doing stuff in a way that does not seem to match reality. 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.... and then "melting" of the paint with... I don't know what melts paint quite like that.


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.


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.



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.


A 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.

Light reflects directly off of RGB pigment components, which is combined with
the light reflected by the canvas through CMYK pigment components (which attenuates transmission subtractively)
which is also added to the light due to RGB in the bulk of the paint reflected but also as attenuated by CMYK.

As 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 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.


The recipe for these can be discovered with some math and experimentation. 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. Glazes, and transparent paints... and arbitrary levels of thinner (RGBCMYKT - T for transparent?) could be simulated.


But the above is speculation as regards to how one achieves simulation of real world media blending... it may be incorrect or simply not the best way of doing this... 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...
that indeed will be the winner.

[dhaniya]

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