And we’re done. We think you’ll agree ArtRage Vitae looks great fun.
This is the end of Daniel Ibanez’s tutorial live blog, but don’t forget you can rewatch any time on the site with his ArtRage Vitae Pro Advice videos.
The oil brush is used for hard edges and the palette knife for soft edges, sounds simple.
ArtRage Vitae can mimic real life color blending, which is fantastic.
“When you have brushstrokes colliding into one each other the paints gonna mix in a real way,” says Ibanez.
You can control this with the amount of paint you’re loading an the stiffness of the bristles.
And… we’re back, with blending.
Thinners are turned up and paint loading down, which gives a “scratchy” dry brush technique.
The palette knife can be used to add chaos. Color mixing can be automatic and haphazard just like painting in real life.
Ibanez is making this look so simple. He paints a reflection in the water and just goes in and smudges and pushes the paint using the palette knife to create an effective look.
Ibanez is once again using big shapes and brush strokes to get an idea of how the painting will take shape. He’s not sketching or using line work.
The palette knife is a choppy but powerful way to work. “Three looks, two things, one stroke,” Ibanez says.
The palette knife is his “sidekick to my oils”.
Part 3… Now Ibanez is showing us how to use the palette knife in ArtRage Vitae.
He mentions he’s using ArtRage on a PC, but it works perfectly well on iPad, tablet, and Mac.
The results are fantastic. There’s a real sense of being able to push the oil paints around the image.
It’s one of Ibanez’s “secret sauce” techniques.
You can even import a Photoshop file directly into ArtRage from Photoshop, and retain all the layers and features of Photoshop.
“It seems so simple but has so much depth,” Ibanez says.
He’s painting over his whole painting on a new layer. Pay attention to the virtual lighting settings, vertical and horizontal strokes have a different ‘chunky’ feel.
We’re moving on now to look at how to give an existing painting a makeover, as Ibanez reveals how to use ArtRage’s real painting tools to work up a Photoshop image.
Ibanez says he likes to work with big brushes and get as much paint down as possible and then go in and begin refining by adjusting the brushes and thinness of paint.
One more quick tip: using stiff brushes to mimic the dry brush technique of painting, merging paint in a bristly and rough way – it scrapes paint together. He uses a different layer to try out a technique.
ArtRage uses wet-on-wet mixing for its paint, so anything on one layer will merge and get messy – a new layer is good to try new ideas and dry brushing.
“You can really make the paint do anything you want,” says Ibanez.
By adjusting the stiffness of the bristles, the loading of the paint, and the thinness of the paint. This could be new to digital artists but traditional artists will feel at home.
“There’s really nothing else for oil painting,” Ibanez says.
Love watching Daniel create his art from simple geometric shapes, it reminds us of yesterday’s James Gurney for painting a plein air biplane tutorial.
The same strong graphic look is here, and Daniel gradually etches at it to define his shapes.
We’re here with Daniel Ibanez to go through some core advice for getting more ArtRage Vitae, if you want more info on how to get started with ArtRage Vitae take a look at our guide.
Let’s learn some painting techniques…
We’re going to leave Ken here and watch him finish the painting process in Corel Painter.
You can watch Ken’s tutorial at any time and find him inside the pages of ImagineFX.
Ken Coleman will be back with us later today as we live blog his tutorial to using Adobe Cloud with iPad to speed up your workflow.
We’re heading from Photoshop and into Corel Painter now.
Saving to Cloud docs so he can export to the iPad, see more on how Ken uses Adobe Cloud and paints on the iPad later today.
Even Frank Frazetta hated painting feet. Ken’s easy fix is to hide them behind foreground so you don’t need to merge the feet and shadows into the scenery.
Love how Ken makes all his own textures and materials – baby powder on black paper becomes bespoke moon dust and a particle glow.
An easy trick shown here by Ken for setting up light sources in Photoshop that matches the model, so you can tie the model into the scene.
Ken name drops Bob Ross there. Nice.
Cheeky here from Ken. But placing your art on a magazine cover is a great way to test your composition if you want to create art for a purpose.
Understanding how other people may want to use your art can give it an extra dimension and even a new revenue.
Consider creating art that could have a use beyond looking great, and you may capture an art director’s eye as they search for new people to work with.
Advice here on how to get a vivid Eighties feel to this image.
Ken’s adding some great home-made textures now, including one created from an rusted old iron gate.
He’s aiming for a “painted palette knife feel”.
Soft light is Ken’s “go to” lighting source, it works great on bringing out Skeletor’s bone texture here.
Another tip here, place your render on a gray background to check for errors and random shadows.
Great advice here, drag materials over and around your screen render to avoid it glitching and needing a reset.
Lighting is crucial. Technically Ken is explaining how to set up lighting spheres in KeyShot, but he’s also passing on some knowledge of what the colors represent and how tone and color can affect the meaning and impact of light in a scene.
Ken mentions ImagineFX , he’s a regular writer for this magazine – the world’s leading mag for fantasy and sci-fi artists.
Read more on ImagineFX and discover its great tutorials and interviews.
Ken’s making this look easy. It’s great when you see someone break down the barriers of 3D modeling to make it more approachable for everyone.
He’s now imported, cut, scaled and attached a piece of scanned geometry into his Daz model. Easy.
If you’re new to ZBrush, we have a collection of the best ZBrush tutorials to follow.
Here we are with Ken Coleman, who’s going to scan in classic Masters of the Universe figures and then paint them into a retro piece of fantasy art. This should be fun!