Professional Documents
Culture Documents
Issue #2
ArtrageUs Staff
Team Coordinator: Bobbyray
Edit Dept: Eileen724
Layout Dept: 337_lee
ArtRageUS Overview
Roll the presses! Issue#2 of ArtRageUS has arrived at your doorstep!!!
We know there were a few glitches with the first issue. We're going to call it a
“learning experience.” But, we have tackled our homework assignments with
determination in hopes of higher grades on our next report card. We hope we have
a passing grade!
There's been some interesting discussions and debates in the ArtRageUS board room
since the first issue. With this, we knew we needed to resolve a few of these
important matters so that we could continue with the ArtRageUS project.
Our first priority was to maintain the idea the e-magazine was indeed, “by Ragers for
Ragers.” The magazine needs to have contributions from the worldwide family of
Ragers to stay alive. That, in itself, became a minor problem. Everyone seemed to
have their own idea on the best way to contribute and format new submissions: JPG
vs PNG, Word vs OpenOffice, PDF vs email. Also, because we're international, small
complications emerged – millimetres vs inches, letter-sized paper vs A4 paper – the
list goes on. To tell you the truth, some are resolved and some will have to wait for
the next issue.
One thing is for certain – it's important to acknowledge the Ragers who contributed
to this month's issue. Without them, this would still be nothing more than a vision of
things to come. Our many thanks and sincere appreciation to the following Ragers
who volunteered their time and efforts to March’s issue:
As always, your comments and suggestions are welcome. We enjoy producing this e-
magazine and look forward to more of your brilliant contributions.
Sincerely,
The ArtRageUS Volunteer Staff
Page 1
ArtRageUS e-magazine – March 2010
I can say that I've seen a transformation in your Surgery has not been scheduled, but remains an option if
painting. Your earlier postings show a raw the diagnosis is confirmed. I have been in and out of the
energy, raw nerve, and raw talent. As we study hospital and clinic the last few weeks. One of the
your submissions over the past couple of years, we ophthalmologists said my eye pain and high pressure may
see a marked improvement in your ability to not be glaucoma (unfortunately, it still can’t be
express yourself. How much of this improvement confirmed). It is more likely an eye migraine that causes
is due to The ArtRage software and the ArtRage the rods and cones to have a problem receiving light or
forums? color, then it creates the black circle, pain, burning feeling
(when looking at bright light too long) and pressure. I
Both the ArtRage software and the forum play equal roles am now waiting to be referred to two neurologists in
in my art journey. Reading, learning and interacting with another hospital which specializes in this condition. I am
all the artists in the ArtRage forum, seeing the first hand lucky to have a specialist referral and I will make the
experiences of their paintings and reading their appointment as soon as possible. For the last few weeks,
descriptions has inspired and influenced me a lot. As for I am not able to look at bright light that easily but its still
the ArtRage software, I think the simple interface of manageable on daily stuff. I just need to stay off my PC
ArtRage brings out my impulsive creative mind - pick up for a week, then on and off once in awhile but for no
the brush and just paint. Especially the paint brush and more than half an hour at a time.
the oil paint. They make me feel I'm connecting to the
canvas and paint.
How does suffering from an eye illness affect you
as an artist?
What does ArtRage mean to you?
I think it hasn’t stopped any of my imagination. In my
This can be a difficult question for me. To me, ArtRage is mind, I still have all kind of images popping up and want
a door that opens my art journey and changes my life. to paint them. It’s just for the time being, I need to get
No, not just change but gives me a new life. my eyes healed first, so I can do more in the future. It
~ smile ~ doesn’t affect my creativity in my mind at all. Instead, it
makes me more eager and passionate about creating
art/painting.
Of your ArtRage forum submissions, which is your
favorite portrait? Your favorite abstract? Your
overall favorite? Where are you from?
Page 2
ArtRageUS e-magazine – March 2010
In the Wind
With this painting, you said it was your first attempt to paint realistic
flowers. What does it mean for you to paint realistic subjects?
I learned from the artists on the ArtRage forum, especially from Bumble. Her
paintings have inspired me a lot. Her patience and attention to detail have taught
me how to do details. So I thought to improve my skills, I should give all kinds of
painting a try.
What was your reaction when you found that this particular “first attempt
with painting realistic flowers” was placed in the Ambient Spotlight forum
which is a place of great honor in the ArtRage forum?
As of today, I still feel unbelievable and don't understand why my painting would be
placed there due to my raw and non-mature skills. I was happy, but still thought my
painting shouldn’t qualify that section.
Page 3
ArtRageUS e-magazine – March 2010
Performing at Sunrise
You mentioned that you were watching the movie, “A.I.”, which got you
thinking about painting this. What was it about this movie that made you
want to paint this mask?
The story of Pinocchio always kind of reflects my life story and A.I. is similar to that.
Looking for unconditional love from the parents.
You said that this painting was meant for your Dad. What inspired you to
do this for him?
Just a tribute to my Dad. Shamefully, I don’t know much about my parents and I
didn’t have many conversations with my Dad since I was born into this world. I did
the paintings for him especially the day he passed away. Just a memorial , I think.
Page 4
ArtRageUS e-magazine – March 2010
Those Days
Like all your paintings, you put so much
care and love into your paintings. What
was your inspiration to painting this and
is this someone who is important in your
life?
Page 5
ArtRageUS e-magazine – March 2010
Dancing Sketch
You say that this
painting was done using
fast movements while
doing the shape and
form of the figure. Is
this part of your usual
process when sketching
out your paintings in
order to help you get the
ideas out and onto the
canvas?
Page 6
ArtRageUS e-magazine – March 2010
Page 7
ArtRageUS e-magazine – March 2010
Moment of Breath
This is the painting that got the
attention of so many ArtRage
forum users. Can you describe
you work here? (Was it painted
from a photo? What was your
technique and tools used?)
Page 8
ArtRageUS e-magazine – March 2010
www.digitalartacademy.com
Digital Art Academy has officially re-opened! Register for your favorite classes from our
newly redesigned course catalog before they fill up!
0-A
Instructor: Karen Bonaker
The Watercolor tool lets you paint with a variety of watercolor strokes using a soft bristled brush on wet or dry
paper. Because it is a wet medium the Watercolor tool is ideal for creating subtle, blended color washes and
detail. The control you have over the amount of wetness of your brush and the Canvas beneath it lets you
produce a wide variety of results.
Before Class
If you do not currently own ArtRage, you may want to download the trial version for this class. However, do not download it
until class begins our sessions are four (4) weeks long and you will need to take into account the time period of the evaluation
software. I guarantee you will love this software!
Getting Acquainted with the Watercolor brushes in ArtRage Working with a Reference Image
• Why are ArtRage watercolor brushes different • Learning to trace your image using the Tracing Panel
• The Watercolor Palette • Learning to use Tracing Paper
• The Watercolor Controls • Building color with layers
• The Watercolor Settings Palette
• The Tracing Panel
• Watercolor Exercise Week Four
Week Two Watercolor Painting
Page 9
ArtRage Forum – Tips & Tricks Tutorial Index
by Sunflower
Canvas
Custom Papers Fashmir
Painting Techniques
Bubble Tutorial flyashy
Inking in ArtRage multiple authors
River at Night Khalid ipda
Simulating Watercolor damasocl
Palettes
Color Picker Grabber D Akey
More Palette Stuff D Akey
Stencils
How to Make Postcard Text Using Stencils heikki
Stencils for Alphabet Lee
Using Stencils on a Mac cathyd
Tools
Blending Efficiently with Oils Someonesane
Blending Tips Sweedie
Drawing Line Art (multiple authors)
Dry Brush gzairborne
Dry Brushing AndyRage
Freehand Lines sweeneymini
Getting Rid of the Filmy White Streaks chambersecrets
Inking Character Design PVIllustration
Make Paints Look Watery Khalid ipda
Pencil Drawing byroncallas
Photo Smudging using Knife Tool damasocl
Photo Smudging using Knife Tool 2 damasocl
Smooth Shading Technique chambersecrets
Tricks for Tablet Users Fashmir
Using Palette Knife for Blending ENCHANTER
ArtRage 3
These tutorials apply to new features only found in ArtRage 3.
Brushes
The following tips and tricks can help with composition, but an artist must not allow rules or tips to hinder
their work. They are helpful when you are unsure about where to place elements in your paintings. Rules
are made to be broken, but an artist should know what rules they are breaking and why, so a mistake is not
made due to a lack of knowledge. For example, an artist knows that a shadow is used to anchor an object
to the ground, so knowing that, an artist can break that rule to make an object float.
I have made some crude alterations to the paintings, with the artist's consent, to show how these tips
affect a painting.
From a compositional standpoint, a landscape, or seascape, whether it be fantasy or realist, should have a
main center of interest. This will be the area of the painting that is the most visually dominant point
because of a sharp shift in values (light to dark), the brightest or darkest color, or where the action is. It
should not be placed at the center or at the halfway point of the canvas. It should be the focal point of the
painting and it should draw the eye to it because of a touch of purer color or a significant value contrast.
The surrounding area should be subordinate. The center of interest should not be blocked as that will
diminish the strength. The other elements should point to or lead the eye to the center of interest.
This painting by Peter Pinckney is an example showing a dominant center of interest through the use of
color and a shift in values.
Notice how the land points to the center of interest to lead the eye towards that area. The horizontal lines
that cross the picture slow the eye down rather than letting the eye race to the center – letting one casually
gaze at the painting and slowly arrive at the center of interest. The cloud line then lets the eye slowly exit
the painting on the left.
Page 15
ArtRageUS e-magazine – March 2010
I have altered this picture (with Peter’s consent) so look now what happens if the center of interest is
muted:
It has clearly lost the center of focus and is no longer as powerful a picture. The land mass just sort of
points out to nothing and the eye just drifts around the painting with no place to focus. The horizontal lines
of the waves crossing the picture cause the eye to stumble with no direction. Not only that, the eye has no
logical place to enter the picture and no logical place to exit the picture, which is key if one wants their
audience to pause in front of the picture and actually look at it.
Clearly, when the sharp center of focus is lost, the painting loses its interest. I did nothing to the water on
the right side, but even that becomes muted and loses color when there is nothing else to compare it with.
In this example, we see the use of a dominant point of interest and the way horizontal lines can help or
hinder the movement of the eye through a picture. The altered picture lacks a dominant point of interest.
To improve it, one would need to mute the horizontal lines of the waves that tend to stop the eye from
entering the picture and it would need something on the left side of the picture to force the eye to stay in
the picture and not just drift away. But when it loses the dramatic point of interest, the entire painting is
changed.
Lets go back now to the picture as drawn and look at where the center of interest is placed:
Page 16
ArtRageUS e-magazine – March 2010
Placing important elements, or the center of interest, within the visual center of the painting is another
composition trick. I have put red lines on this piece to show approximately where the actual center of the
painting is.
The visual center of a landscape or seascape is usually above the horizontal line and either just to the right
or just to the left of the vertical center. The visual center I am talking about here is where the eye naturally
goes, not where the elements of a painting take it.
This is a trait the artist can capitalize on by also using that visual center and making it the center of interest
as well. Let me just stress this a bit. If you take a blank canvas, the visual center is not the actual center
of the canvas. Try it for yourself on a blank canvas. If there is nothing to attract your eye, you will first
look above the center line and either left or right of the actual center. It has something to do with being left
brained or right brained.
Making the center of interest just below and to the left or right is second best, but placing the center of
interest exactly in the actual center of the painting is fraught with difficulty.
If you take a piece of paper and fold it in half horizontally, then unfold and refold in half vertically, the lines
cross at the exact center. Put a dot at that point. Then fold the paper in thirds horizontally, unfold, and
refold in thirds vertically. When you then unfold the paper there will be four squares around the center dot.
If you put the center of interest in one of those squares, the balance is easier. If the center of interest is
moved out of those squares, then some other subtle element needs to be added to the opposite side to
balance it out.
Rivers, streams, and roads should enter the picture with an “S” movement or some sort of curve or twist.
Straight lines and smooth lines should be avoided unless they are being used to achieve a desired effect.
When the line is straight and smooth, the eye immediately gains velocity and runs through the painting
without seeing it. The eye should be allowed to casually walk through a landscape so it can savor all the
beauty.
Notice that this focal point is pointed to by the lightning bolts and the clouds. All these elements lead the
eye to the focal point of this landscape. The eye then exits the landscape at the top right with the bolt of
lightning. The brightness of the bolt increases the exit velocity but the twisted and wavy lines slows the
velocity so the eye walks out of the painting while enjoying the colors of the clouds.
This altered picture has lost the wonderful interest it had before. The obstructions and the colors in the
stream still slow the eye somewhat, but the velocity as one looks at this landscape is much faster than the
original work.
This example shows how straight roads, streams, paths, lightning bolts, and other straight lines speed up
the velocity of the eye as it finds its path through a painting and how curves, objects, or colors can be used
to slow down the speed and make the eye take a casual walk through the painting.
The lighter colored area before the center of interest is called a rest area and is placed there to further slow
the eye down as it moves through the picture. When a straight line is made through the rest area, the eye
does not slow down and hardly sees it at all. Go back and look at the first picture and see how that rest
area made your eye slow down.
Had the artist wanted this to be a fast moving straight stream, he would have had to add many parallel
lines to slow down the velocity of the eye. He would have added color, small waterfalls, rocks, and sharp
angled logs to slow the eye so it would casually pause at the rest area as it approached the center of
interest.
Page 18
ArtRageUS e-magazine – March 2010
Now, let's alter it just a bit and see what that does to it:
I extended the fence so it completely crossed the painting from side to side. The eye can no longer enter
the painting and go around the fence.
To enter the painting, the eye jumps over the fence and effectively only sees the painting from the right
side of the fence where the waves hit it to the sunset. The entire lower left side of the painting is lost to
the viewer. This happens because there are spaces in the fence that almost, but not quite, let the eye enter
the picture.
Page 19
ArtRageUS e-magazine – March 2010
The fence now completely blocks the entry and what you see is not the center of interest. It's supposed to
be the sunset but you only see the fence. You will find it is difficult to get beyond the fence to look at the
center of interest.
Reduce clutter on the screen by hitting the Enter key and all pods disappear. To bring only the samples pod back, use Ctrl +
Alt + W (For Mac: Cmd + Option + W). To bring tool settings pod back, use Ctrl + Alt + O (For Mac: Cmd + Option + O)
In ArtRage 3.06, all pods are user controlled through the menu. Go to View -> Pods and uncheck any pods that you don't
wish to display.
Page 20
ArtRageUS e-magazine – March 2010
Page 22
ArtRageUS e-magazine – March 2010
It really matters where you put your tablet – Bad: Your lap, soft surfaces. Good: Hard and steady
surfaces.
JeffRC adds:
Use a lectern or an inclined plane to place your tablet. I use my tablet directly on my computer
desk. However, I find that placing it on an inclined plane helps me draw better, as the angle
emulates a drawing table and helps me draw by holding the pen in a "brush fashion" (as opposed to
the way we hold pens to write).
Page 23
ArtRageUS e-magazine – March 2010
Page 24
ArtRageUS e-magazine – March 2010
Color Pickers (Palettes) [File Format - Image Files: JPG, PNG, etc.]
3D Custom Palette simmy
3D Grays, Portrait2, Purple & Blue – Post#7 Viktor
3D Oils - Post#1 Dany51
3D Portrait1, Landscape, Seascape – Post#1 Viktor
Artist Oil Palettes PART 1 CASHMORE
Artist Oil Palettes PART 2 CASHMORE
Black & White Palettes PVIllustration
Chalk Dust – Post#33 Viktor
Color Palette pinkpanther
Colorwheel Palette hrodgair
Color Wheels Dany51
Corel Painter 11 Palette CASHMORE
Custom Palette Template Itdedn
Dark and Scary Color Palettes sethren
Do It Yourself Picker – Post#52 Viktor
Fantasy Palettes hypervox
Greyscale Palette - Post#2 Fashmir
Main Colors – Post#32 Viktor
Misc Color Palettes Anu
Multi Palettes 1 RobertSWade
Multi Palettes 2 RobertSWade
Oil Artist Colors Dany51
Oily Palette 1 CASHMORE
Portrait 3 – Post#49 Viktor
Poster Palette 1 CASHMORE
Rust 1 Palette CASHMORE
Rust 2 Palette CASHMORE
Spectrum Palette CASHMORE
Tropical Sea Palette CASHMORE
Victorian Colors Palette CASHMORE
Watercolor Tablettes – Post#51 Viktor
Weak & Grey Saturation Wheels as Pickers 337_lee
Color Wheels/Charts
ColorSchemer Gallery Link Liv Lukas
Playful Color Pickers Link Dany51
Tube Oil Color Wheel Link Boxy
Universal Palette Base Link Caesar
Page 25
ArtRageUS e-magazine – March 2010
Miscellaneous
Custom Picker Utility azathothgr
Drawing Dragons Site kenmo
Human Anatomy Tutorial Links chambersecrets
Skin Tone Tutorial Link – Post#2 Juz
Watercolor Examples for Reference Jules
Photoshop Brushes
Free Photoshop Brushes Link – Post#3 & 4 Dany51
Free Photoshop Brushes Links kenmo
Free Photoshop Brushes Link Valerie
Page 26
ArtRageUS e-magazine – March 2010
Page 27
ArtRageUS e-magazine – March 2010
Page 28
ArtRageUS e-magazine – March 2010
Stock Photos [File Format - Image Files: JPG, PNG, etc. or Links]
50 Eyes Collection Photos misterpaint
Animal Photo Reference Link yachris
Botanic Garden Photos Silentman
Copyright Free Images Liv Lukas
Facial Expressions Photos misterpaint
Flower Stock Silentman
Free Clipart Link Silentman
Free Image Resources cthorpe
Free Stock Image Site ulfilas
Free Stock Photos Sites kenmo
Heavy Snow Reference Photos haakoo
Historical Photo/Reference Site foxytocin
Human Poses Link chambersecrets
Image Link shellcrackerjr
Misc Photos foxytocin
My Lily Photos yachris
Orchids Photos Silentman
Oval Stencil Sweedie
Perfect Skin Reference Images misterpaint
Photo Reference Link SiriusArtWorks
Photo References misterpaint
Photo Source foxytocin
Photos for Stencils Bumble
Portrait References misterpaint
Reference Photos Bumble
Repeating Pattern Link yachris
Rose Photos yachris
Royal Free Clipart fraser_paice
Royal Free Images Link juhoover22
Stock Photos ginem_ginem
Stonehenge Photos Silo_Artist
Sunflowers misterpaint
Sunset Photos Link SiriusArtWorks
Page 29
ArtRageUS e-magazine – March 2010
Templates
Frame Gold Template misterpaint
Frame Wood Template misterpaint
Old Photo Effects misterpaint
Safari Frames MaryS.Hines
If you create a drawing with the ink pen and use the fill tool, it leaves
a thin white line at the border, especially when black is used for both
the pen and fill.
“Antialias edge” will smooth the edge of the fill so that instead of an
abrupt edge there will be pixels which are a mix of the fill color and
the background color. However, if this is not desirable, uncheck
“Antialias Edge” and try again. Use 100% spread and 100% opacity on
the fill.
Page 30
ArtRageUS e-magazine – March 2010
Someonesane
Color Palette – Demo
Digital Painting in ArtRage 2.5
ArtRage Speed Painting
Sun Set Peir - Speed Painting Done in the Graffiti Mode
Using ArtRage to Create Seamless Tiles
Crayon Tool Color Blending in ArtRage
Making a Font Stencil with ArtRage
Demonstration in ArtRage
ArtRage 3 Sticker Spray Tool
Using ArtRage Stencils
ArtRage Drawing of Lee – Demo
Using ArtRage Color Panels
Sketch of Spiderman – Demo
ArtRage Studio Pro - Sticker Sheet Tutorial
L Skylar Brown
An Autumn Memory - Work In Progress
Golden Road Painting – Demo
Landscapes – 2009
Green and Gold Still Life – Demo
A Quiet Place – Demo
Truckin West Painting – Demo
Country Road Painting – Demo
Falling Water 2 – Demo
Veils of Ardor – Demo
Horse Head – Demo
Sweedie
How to Pixelate a Photo in ArtRage 3
Page 31
ArtRageUS e-magazine – March 2010
Judith Tramayne
ArtRage 2.5
Tutorial-How to Paint Folds EZ-ily - Part 1
Tutorial-How to Paint Folds EZ-ily - Part 2
Tutorial-How to Paint Folds EZ-ily - Part 3
Page 32
ArtRageUS e-magazine – March 2010
SCP (SconradP)
ArtRage - Grey to Colour
gorec (sashagorec)
Head Sketch
Egg Drawing
Cube Drawing
misterpaint
Portrait for Beginners
Felt Pen: Painting Color of Skin, Lips and Eyes
Photomontage
Fashmir
Feelt Pen Simulation of Watercolors
Moatddtutorials
Landscape Painting Without Reference Picture
danielchingworks
Angelina
Virgatron
Monument Valley Utah/Arizona
Christmas Card
Straight Lines
Use the pen and ruler on the pen tablet surface. (You
can use curves, and circular objects on tablet surface
as well). With the symbol-ruler, you can draw symbols
or other specific forms, like cad-designers do.
In ArtRage 3, hold down the Ctrl key, left click and drag
for a straight line.
Page 33
ArtRageUS e-magazine – March 2010
BladeZofSorrow
A Review of ArtRage 2.5 Full Version Tools
How to Draw the Pink Panther
How to Draw Garfield
Drawing Scooby Doo
Drawing Courage the Cowardly Dog
Painting Simba from the Lion King
How to Draw a Cartoon Dragon (Pinky)
Drawing Puss in Boots
How to Draw Harry Plopper aka Spider Pig
How to Draw a Cartoon Dragon (Big Head Style)
Horse Speed Painting
Speed Painting Naruto
Drawing Razor/Jake from SWAT Kats
Drawing: Buck
Drawing: Ginga Densetsu Weed
Torley
How to Make an Awesome Shirt
Daprato
References and Stencils
ArtRage 2.5 - The Mediums
Page 34
ArtRageUS e-magazine – March 2010
Page 35
ArtRageUS e-magazine – March 2010
Page 36
ArtRageUS e-magazine – March 2010
I've just been puzzling over how to get my crayon line to be thinner. If you have a very tiny picture, all of
your tools will have VERY big points and all of your lines will be very thick.
In other words, if you've got a low resolution picture – say, 200 x 200 pixels – your crayon tool on 1%
thickness will be VERY fat. In high resolution – say 3000 x 3000 – that same 1% crayon will have a very
fine point and the line stays thin when the painting is resized down. Block your paintings in on low-
resolution say 72 DPI. Then, do fine work by resizing the painting and raising the DPI to 300 where tool
tips are finer. Changing DPI changes the screen size in pixels but does not change the print size of the
picture.
Page 37
ArtRageUS e-magazine – March 2010
Images should be JPG because of the smaller file size. We know you lose some quality as a JPG, but we are making an e-mag,
distributed over the internet, and the final PDF file has to be small enough for people to download. Also, the PNG format makes
huge files and e-mailing those huge files back and forth is a real burden. The truth is, PDF actually converts the images to JPG, so we
really don't gain too much (if anything) by having the extra high quality PNG as the original.
Since we're working on an e-mag, the maximum image size shouldn't be bigger than a standard piece of paper. So, we would suggest
that image sizes be no bigger than that.
Image Guidelines:
• Image needs to be no bigger than 2400 X 3300 pixels (at 300 DPI or 12 pixels/mm for those that worry about that kind of
thing)
• Images should be a JPG (at about a 85% quality level)
• Images should be in a separate file and not embedded into the original text document you submit.
• Any images not meeting these specs will probably be converted to fit into the layout of the e-mag.
Contributors are welcomed – and even encouraged – to submit a layout design for their article. We will do our best to use that
layout if we can make it fit into the pages properly. Or just tell us with a quick sketch or in a few words, how they see the final result.
It is suggested that you do NOT use flat images (PDF submissions) because it limits the search engines ability (like Google, Bing, etc)
to find it as well as not being able to do any of the promotional work. Search engines can look through the pages we create as
editors and layout people, but not if they are submitted the way we have asked people to create their PDF submissions previously.
ArtRageUS Volunteers
The ArtRageUS E-Magazine is an all VOLUNTEER e-mag by fellow Ragers. So, it is a vital importance to having volunteers contribute
some of their time, as they can afford, to help us continue with publishing ArtRageUS for each issue.
Page 39
ArtRage Studio and Studio Pro contain 20 painting and utility tools, an easy to use interface that gets out of the way as you work, and
powerful utilities such as stickers, stencils, and tracing images. Both versions contain the same toolset, including the new Watercolor
brush and Sticker Spray.
ArtRage Studio: Ideal for artists who want to work with the wider range of tools
Studio and Studio Pro offer but do not want the filtering and detailed editing options
Studio Pro provides.
• All of the tools from ArtRage 2, many with new features.
• New tools including Watercolor, Gloop Pen, Sticker Spray, Text, and an auto-
smoothing inking pen.
• Unlimited Layers and Layer Groups, including Layer Blend Modes.
• Peel-off stickers: Place premade objects on your canvas.
• Improved interface that makes it easy to get right down to painting.
• Customizable keyboard shortcuts and other utilities.
• And much more
ArtRage Studio Pro: Ideal for artists who want to be able to manipulate their images
without leaving ArtRage, or work with stickers that can be edited after spraying.
ArtRage Studio Pro contains all of the features of ArtRage Studio and also includes:
• Additional tool features such as wet blending and feathered selection.
• Inbuilt Color Adjustment and Blur, with support for Photoshop Filters.
• Unfixed, post-editable sticker spray, and custom sticker sheet creation.
• Real Color Blending
• Tint/Tone color pickers and quick access popup color pickers.
• And much more
For a closer look at the features of ArtRage Studio & Studio Pro, click here.
Languages: English, French, German, Dutch interface. English manual. More translations will be added in the future.
System Requirements: WindowsXP, Vista, or Win7. MacOSX 10.4 or later with 1GHz processor (Intel/AMD or PPC G4/G5). 1024 x 768
screen size, 512MB Memory, 100MB disk free.
ArtRage 2.5 gives you 12 painting tools in an easy to use environment ideally suited for
beginner artists, schools, and anyone who just wants to play with paint. A full list of features
available in ArtRage 2.5 can be found here.
For a full comparison of the features of the different versions of ArtRage, click here.
To download the ArtRage 2 Starter Edition, which allows you to try out the features of the product, click here.
System Requirements: Windows 7, Vista, WinXP or Win2K. 800MHz processor. Mac OSX 10.3 or later, G4/G5 or Intel Processor. 1024
x 768 screen size. 256MB Memory.