Re­belle 2

Es­cape Mo­tions’ bud­get pro­gram is the lat­est evo­lu­tion in dig­i­tal art soft­ware, which at­tempts the recre­ation of tra­di­tional me­dia

ImagineFX - - Reviews -

We find out what’s changed in the lat­est ver­sion of the low-cost pro­gram that recre­ates the look of tra­di­tional me­dia.

You can achieve very in­ter­est­ing ef­fects if you choose to mix medi­ums. All with­out any mess, too!

Af­ter launch­ing the pro­gram for the first time, Re­belle feels like a low-calo­rie ver­sion of Pho­to­shop. There are no­tice­ably fewer tools and menus. The list of brush tips is a lot smaller (at least in the pro­gram’s de­fault in­stal­la­tion pack­age) and there ap­pear to be fewer op­tions.

But this pro­gram is a dif­fer­ent beast from Pho­to­shop. In the top left cor­ner is a small set of re­al­is­tic-look­ing paint brushes with dif­fer­ent shapes. Yet click­ing them doesn’t give you a va­ri­ety of shapes, but rather dif­fer­ent paint­ing me­dia.

Fur­thest on the left is wa­ter­colour, then acrylic, pas­tel, coloured pen­cil, ink, marker and spray paint. Within each of these is a sub­menu of brush tips, each with a clutch of op­tions.

Re­belle’s de­vel­op­ers have re­built the pro­gram’s brush en­gine from ver­sion one. There’s now a range of in­dus­try­s­tan­dard set­tings such as Jit­ter, Opac­ity, Pres­sure and Shape for cus­tomis­ing your brushes. Sim­ple slid­ers en­able you to ad­just a brush’s op­tions,and we loved the look of the re­sult­ing paint splat­ters, strokes and ink lines. You can achieve very in­ter­est­ing ef­fects if you choose to mix medi­ums. All with­out any mess, too!

In­deed, while there are paint­ing pro­grams that can sim­u­late real-life tools, such as Painter and Fresh Paint, Re­belle takes it a step fur­ther with fea­tures like the abil­ity to speed up or slow down dry­ing time. It’s not a perfect recre­ation, but it’s the best we’ve seen to date.

As you’d ex­pect, Es­cape Mo­tions has been lis­ten­ing to the Re­belle com­mu­nity since the pro­gram’s launch in 2014, and ver­sion two in­cor­po­rates a range of new fea­tures.

Tra­di­tional wa­ter­colour artists use mask­ing fluid to help them cre­ate clean shapes and edges. Re­belle en­ables you to do the same, and bet­ter still, any tool can be used to paint a mask. The in­tro­duc­tion of sten­cils also helps you to achieve strong shapes on the can­vas – and as well as us­ing the de­fault se­lec­tion, you can also im­port or quickly cre­ate your own sten­cils. Other new high­lights in­clude se­lec­tion tools (miss­ing from ver­sion one, per­haps un­be­liev­ably), im­port and ex­port op­tions for PSD files, and the abil­ity to Lock Trans­parency.

You could ar­gue that Re­belle al­most recre­ates the be­hav­iour of paint too much. For artists un­fa­mil­iar or out of prac­tice with tra­di­tional me­dia, it can be jar­ring when colours dry dif­fer­ently to when you put them down. But that’s also its ap­peal. Down­load the trial ver­sion and see for your­self!

By tilt­ing the can­vas you can make paint drip and move from sim­u­lated grav­ity, as Rana Dias has done in this piece.

Once you choose your me­dia – in this in­stance, pas­tels – you can vary the brush shape to suit.

Jay Hardy used Re­belle’s acrylics to paint this strik­ing por­trait piece. Martin Han­schild was in­spired by the bri­dal head­dresses of the Vel’ký Lom re­gion in Slo­vakia for this dig­i­tal wa­ter­colour study. Peter Blaškovicˇ has made full use of Re­belle’s up­dated brush cus­tomi­sa­tion tools and op­tions.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.