![]() But I still have no idea why I so often get green, or if other users have found the same! Also, this may only be because I know Artrage better and am familiar with its quirks, but if you smooth around the edges of a locked transparency layer, the edges incorporate the colour of the canvas (white by default) and you get that colour dotted around the perimeter. I have actually learned to go with this and my style has incorporated it as a result. In Artrage, I so often come out with a green colour when mixing two non-green colours. Colour selection and mixing is more complex and ‘true’ in Rebelle.(Pushing paint around with a straw/hair dryer etc.) The main one being: the hand blowing technique of painting as described here. There are therefore things you can do in Rebelle that you simply cannot do in Artrage.I’m pretty confident the skills you learn in Rebelle would transfer back into the real world, where you’re painting on real watercolour paper. You could do any watercolour course and apply the realworld techniques digitally, without spending a fortune on paints and papers. Rebelle is therefore better for watercolour, a medium which is heavily influenced by the thickness, wetness and tooth of the paper.You’ll see the difference as soon as you try it. All other software out there mimics the effect of paint interacting with paper. There is a genuine, physics based interaction between paper and media. Rebelle paint interacts with the paper.I find kids love these features but few professional illustrators make use of them, partly because of printing limitations, partly because of wanting to avoid… kitsch? Artrage features lighting effects which allows for metallic textures and glitter, and Artrage 6 offers more control over lighting direction than Artrage 5. ![]() But this is no copycat mashup - Rebelle still does its own thing. 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. ![]()
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