Artrage Tutorials Basics

PDF PDF TUTORIALS TUTORIALS
Compiled by Rager Tutorial Authors And ArtRageUS Digital Magazine
Compiled by ArtRageUS digital magazine Volunteers

Hi all you Ragers, We have compiled many of the tutorials posted in the forums for your use. The posts were converted into pdf pages and then compiled into this handyTutorials Book. We have permissions from all of the original tutorial authors which are included in this book. There were many other tutorials also but we recieved no approval from the author/s so they were not included. We would like to thank all of the authors for their contributions. and all of the volunteers that made this book possible for you. We trust that you will find this freetutorial book useful and as a handy reference stored
on your own home computer.
The following ragers volunteered to work on this project: Bobbyray, Barnburner, MagenSparks, Chuckart and Acharya2chn Coverpage by Hanzz
All material in this book is copyrighted by the authors
ArtRageUS Digital Magazine
ArtRage Tutorials by Type Index

Scenery: ....................................................................................pages: 6, 166 Body:..........................................................................................pages: 46,57,75,139,170 Tools: .............................................pages: 35,42,106 Stencils:..............................................pages: 35 Layers:.......................................................................................pages 65,174 Reference:..........................................pages 21 Cloth:..................................................pages: 29 Stickers:Spray............................................................................pages 42 Presets:......................................................................................pages: 42 Canvas:......................................................................................pages: 150 Photo touchup:...........................................................................pages: 133 Portrait .......................................................................................pages: 139 Watercolor:.........................................pages: 154 Blending:.............................................pages: 129
Gradient:............................................page 5 Mountains..........................................page 6 Reference image:..............................page 21 Drapery:............................................ page 29 Stencils:.............................................page 35 Chrome:.............................................page 36 Textures:............................................page 37 Duplication and effects:......................page 40 Stickers/spray:..............................................page 42 Presets:..............................................page 42 Eyes................................................page 46 Skin.................................................page 57 Hair.................................................page 75. Layers:................................................page 65 Picture Frame:....................................page 63 Impasto oils:.......................................page 67 Depth:.................................................page 82 Vignette:.............................................page 93 Soft Knife:...........................................page 106 Old Photo effects:...............................page 133 Portrait Speed painting...................page 139 Simple Canvas technique...............page 150 Watercolor Solution........................page 154 Blend Levels...................................page 129 Advanced selection................................................................... page 160 Making a caricature................................................................... page 170 Layer Blend Modes ...................................................................page 174
ArtRageUS digital magazine
ArtRage 3 Tutorials Tips and Tricks Index
How to paint a gradient How to paint mountains Painting from Reference How to paint Drapery How to change the stencil size How to paint Chrome Using Textures Duplication and Effects Stickers and presets How to paint eyes How to paint skin How to make a picture frame How to dry a layer How to do Impasto oil How to paint hair How to create depth How to do a vignette Soft knife technique Sticker sheet creator and spray Apophysis Flames Watercolor blending Watercolor/Felt pen branch Old Photo effects Blend Levels Portrait Speed Painting Simple Canvas tip Water Color Solution Advanced selection Apocalyps in Bruges Making a caricature Layer Blend Modes
by Someonesane by PeterPickney by Lima by Lima by Someonesane by Someonesane by Docsmith 626 and Someonesane by Alexandra by Someonesane by Mannafig by Mannafig by Jono by Someonesane by Lima by Sketchism71 by Hanzz by Hanzz by Lima by Someonesane by Dany51 by Jules by Gzairborne by Misterpaint by Misterpaint by Misterpaint by Misterpaint by Misterpaint by Hanzz By Hanzz By Hanzz by Hanzz
pg 5 pg 6 pg 21 pg 29 pg 35 pg 36 pg 37 pg 40 pg 42 pg 46 pg 57 pg 63 pg 65 pg 67 pg 75 pg 82 pg 93 pg 106 pg 109 pg 113 pg 121 pg 125 pg 133 pg 129 pg 139 pg 150 pg 154 pg 160 pg 166 pg 170 pg 174
How To Paint a Gradient by SomeoneSane

(converted by Chuckart)
If you're using ArtRage Studio, use the Blur Panel. Just use a tool (I recommend the Ink Pen) to make the different color lines across the screen, then open the Blur Panel (Edit > Blur Layer...) and apply however much blur is required to meet your needs. If you think it needs more then a 100px blur, then apply the blur, and open the panel again to blur it some more (shown in the image below).
Mountains for Sandy and everyone else!

By: Peter Pickney converted to PDF by: MagenSparks




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Painting From Reference: A Traditional Approach

By: Orianelima Converted to PDF by: Magen Sparks
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If you look closely, there are not many details in this image. It is a very simple image. A careful observation shows that the detail is in the color of the reflections in the water. The fisherman messing with the water with his left arm is, also, just an expression of the figure in the painting. Another aspect is that this is a digital representation of the image. I am posting the original image here. It would be interesting for us to learn how you do it.
""The process of painting Beginning a painting is always a little confusing. The canvas is blank and the brushes are dry and the artists mind is cold.
An artist paints his environment, he paints what he knows. The world around him is his source and he uses it to express his feelings about what he sees. As a painter you should become aware of what interests you and follow that subject or theme through. Begin to investigate it in all its facets. The more you understand your subject, the better your paintings will be. If other painters and writers have studied and worked on the same subject, then study them and see how they approach the subject. Try and observe special points that they have made central to their work and ask yourself why they found it of importance. Every good painting has a focal point. There is much emphasis on making sure that your drawing is done well and finished off before you begin to paint. This is always good advice but dont forget that you are doing a painting, not a drawing study. Dont spend all your time over working a drawing, especially when it is on the canvas itll only end up a complicated mess. Instead, work on the drawing and develop each part so that it is clear and well-formed so that when you begin to paint you wont be trying to correct it again. The painting stage should be painting only not re-drawing the subject. Be sure that complicated parts of the drawing are finished; hands and feet, facial expressions and ears are easy to indicate with a few lines in a drawing, but if they are important parts of your painting then its worth spending time getting them right before you begin to paint. The point is that when you reach the painting stage, you will want to immerse yourself in the idea of working with colour not line. At this point the line will be your guide. You mustnt lose the line. It will help you with painting colour perspective and proportions.
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You have your drawing on the canvas and you are ready with palette and brushes. Now block the colour into the painting as quickly as possible. Use large brushes and lay very broad and flat layers of paint into each area. Think colour, use a thin layer of shadow tone to indicate the shadows. Try to avoid using white or black at this stage. There are many other possibilities to lightening a colour than using white and darkening a tone doesnt mean using black. If I have an area of green to paint and I want to lighten the green tone, Ill take some yellow and mix it into the green a little at a time keeping the green intact but lightening the tone. Making things darker Ill take blue or red and mix it in a contrasting colour will darken any colour. After blocking the colour in, you can begin to work the colours by adjusting tones, laying in heavier amounts of paint. Creating a feeling of fullness and body to the painting. During this time you are working with large areas avoiding any temptation to become involved in details. I find it is good to avoid detail throughout most of the painting process. This will create a working process where you will get closer to finishing the painting and there will be finally only one option left but to work on the details. When I mention details, I mean all the little fiddly bits of the painting. Things that dont really have any bearing on composition like an earring or a watch on a wrist etc. You must paint them and it your choice as to how important they are, just be sure that in the initial stages of the painting you paint them only to the point where it is obvious what the objects are. Later you can go back and start working up the detail on them. A few more points to consider when working are; always keep your brushes clean whilst painting. I have my bowl of oil next to my palette and on the other side a smaller bowl filled with rough turps to quickly clean off excess paint. This avoids getting dirty colours. After wiping the brush and then dipping it in the turps, be sure to dip it in linseed or whichever oil you are using before painting again you mix the colour with oil not turps! Use an oily rag to soften edges or remove excess paint from the canvas. A palette knife is good for this too. I keep lots of old tee-shirts for a supply of rag in the studio. Remember that if you are painting over a period of days or weeks on one painting, then never attempt to work on yesterdays paint that may still be tacky. Finally, if you come to a point in your work where you have the feeling that you are stumped, confused or just havent got a clue, then thank the gods of art. This point is the doorway for your muse to enter and help. The battle has begun and you are probably on to something worthwhile. Keep at it, keep thinking and focusing on the problem. Wrestle with it, get bits of paper out and do sketches to try and figure it out. Your mind must be constantly engaged in the battle, if so, I assure you that you will find the answer to your painterly problem and you will eventually be enlightened to the solution. When you go through such a process as a painter, you learn from within, you build self-confidence as an artist and you begin to develop quickly. You will produce good work.
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More Examples:
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AR3 Tutorial, How to Paint Drapery and Other Diaphanous Material, by Lima, Converted to pdf by Barnburner Please visit Here: http://www.cleangreengems.com/cowdisley/advanced/cloth1.htm
Technical Settings: These are the settings for the following images All effects done in a single layer.
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Some Experiments Edit 1st Image "Lady Agnew of Lochnaw" John Singer SARGENT
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Painting a Veil in 3 Layers See the sequencein this movie
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AR3 Tutorial, How to Change the Size of Stencils, by Someonesane, converted to pdf by Barnburner
If you're using ArtRage Studio Pro, holding Alt and Left Click Dragging over a stencil allows for scaling a stencil proportionally. Holding Alt and Shift, and Left Click Dragging over a stencil allows for disproportional scaling. You may also select the Transform tool, click the stencil with it and use the Drag bars to scale the stencil. Should you be trying to match the size of the stencil exactly with the size of a tracing, one should first import the image used for the tracing, as a new painting by means of File > Import Image File. This way, when one imports the same image as a Tracing, the Tracing will fill the canvas perfectly. With this done, import the Image as a stencil, right click on the stencil and select "Reset Stencil Scale". The stencil will then be the exact size of your canvas and can then be moved into position by holding the Space bar and Left Click Dragging over it, or by using the Transform tool and clicking on it and dragging it.
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AAR3
Chrome Surface Tutorial
By SomeoneSane
A chrome finished surface is basically a mirror. It's going to reflect the objects and colors around and will distort the reflections based on the shape of the object that has the chrome finish. You might be able to get away with simplifying the reflections, depending on the type of image you're but you'll still need to use the colors of the object around the chrome to create the right look for the reflection. As always, it's best to study some reference images beforehand as well.In terms of tools to use while creating the surface in ArtRage, I'd recommend starting with Oil Brush to block in colors (See point A in the attached image) and then using the crayon tool on a smooth surfaced (like the cell preset) to blend the colors out (see point B). But don't be afraid to try out the other tools to get the right effect you need. In my example I found that using the Airbrush Spatter Spray preset worked well for creating the ground texture and it's reflection on the chrome (see point C).
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AR3 Tutorial, Downloadable Textures by Docsmith626 and Someonesane, converted to pdf by barnburner
Docsmith626: Many of the free textures available on the web come with bump maps. Importing those maps into your canvas picker gives you all sorts of surfaces to work with. Below is an example of ArtRage tools on a brick wall texture. Have fun! Many of the free textures available on the web come with bump maps. Importing those maps into your canvas picker gives you all sorts of surfaces to work with.
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Question by Kenmo: How are jpegs, bmps, tiffs, psds, etc loaded into AR as a canvas? I tried that the other day but quickly found out I don't know how..... Someonesane: To Import a Grain and use it in a Canvas Preset: 1 - Bring up yourCanvas panel. This panel automatically opens when you begin a new painting, but if you already have the painting started, you may go toView > Canvas Settings to bring it on screen. 2 - On the left hand side of the Canvas panel, just above the Opacity dial, you'll see aMenu tab (the box with four black, horizontal lines in it). Click on the tab and select "Choose Canvas Grain" to open thePaper Grains panel. On the Paper Grain panel, you'll see a list of groups available to you, and a window showing which grains are currently stored for use in the highlighted group. Grain images with the small lock icons on them (located in the upper left corner of the windows) mean that those grains are default grains that came with the program. 3 - To import your own grain, it is advisable to create your own group to store it, and others. To do this (if you haven't done so already), click on the Add Group button, input a name, and clickOK. 4. With your group created and selected, click on theImport Grain button, and browse to the image file you wish to use for your grain and open it. Once you do this, you'll see the grain added to the window with the grain images on the right side of the panel.
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5 - If you have more grains to import, just repeat steps 3 and 4 now. If not, highlight the grain you wish to use now and selectOk. 6 - With the grain selected, you may now change its size and roughness using theGrain Size and Roughness dials on the Canvas panel (the changes can be seen in the preview window on the top left of the Canvas Panel). 7 - With the changes made, you are ready to test the grain. To do this, X-out the Canvas panel (click on the x in upper right corner of the Canvas panel). If you find that the grain is to your liking, it would be a good idea to save the Canvas as a preset. To do that, just open the Canvas Panel again, select a group (or create a new one) to save the canvas in and click on the New button. Type in a name for the preset and clickSave, and the canvas preset will be available for instant use next time you open the program.
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AR3 Tutorial, Duplication and Effects, by Alexandra, converted to pdf by, Barnburner
I hope this is helpful. I learned this technique from Peter. The coloring from SCP, and the glazing from Cesare. 1. On cell or completely smooth canvas-I start with drawing a dark petal-black or dark grey. Go over it with the desired color. I use pastel or crayon. I highlight area I wish to be highlighted with airbrush and later another layer of glazing if desired-and shade the lower part of the petal. Blend with smooth knife on about 7% around edges. Clean up with eraser. 2. Duplicate the petal and merge. Do this three times or until you are happy with the results. Once you have a nice shape-duplicate petal and transform moving petal in direction of a flower, duplicating until you have all the petals you wish. Merge them. Duplicate whole flower and merge again. 3. Add new layer and drag to bottom. Be sure to save a lot with this drawing. Paint your background, blend, use a photograph, whatever you wish to upload, trace, or paint as a background. 4. Once you are ready you may enlarge what you have drawn and move the layer to be behind your drawing-and if you do this you can lighten with the tools on the layer-you may duplicated and transform into any effect you choose. I like to use luminosity or change the opacity, where the background will compliment the enlarged flower and will not compete with the foreground. I hope the example is helpful. Good luck!
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AR3 Tutorial, Downloading Stickers (.stk) and Presets (.prs) By: Someonesane, Converted to pdf by: Barnburner Stickers files (.stk) and Preset files (.prs) are two separate things. The methods of getting them into ArtRage are pretty similar, but they go into different folders. Here are some step by step instructions:
For Stickers: If you have downloaded a sticker file (.stk extensions) that you wish to add to the program, it should go within the Stickers resource folder. You may also delete any unwanted stickers from here as well (ArtRage will need to be restarted after deleting the file). You can get to folder easily by using the steps in either of the following two methods: Method 1 illustrated inImage A below): 1.Open ArtRage 3 2.Click on the Stickers Pod to open the Stickers Panel 3.Click on the Menu tab (square with four horizontal lines in upper right corner) 4.Select "Open Users Stickers Folder..." from the menu
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Method 2 (illustrated inImage B below): 1.Open ArtRage 3 2.Select "Tools > User Content > Open Users Stickers Folder"
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For Sticker Spray Presets:
Sticker Spray Presets work in the same way. To get to the Sticker Spray Preset folder, follow one of the two methods below:
Method 1: 1.Open ArtRage 3 2.Select the Sticker Spray Tool from the tools panel This works for presets of any tool. For example, if you have a preset for the Gloop tool you would select the Gloop tool here instead. 3.Click on the Preset Pod to open the Preset Panel 4.Click on the Menu Tab (square with four horizontal lines in upper right corner) 5.Select the "Open User Tool Presets Folder" option from the menu Method 2: 1.Open ArtRage 3 2.Select the Sticker Spray Tool Note: This is important, because it will ensure the next step takes you to the folder for this particular tool 3.Select "Tools > User Content > Open User Tool Presets Folder"
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AR3 Tutorial How I Paint Eyes by: Mannafig, Converted to pdf by: Barnburner
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AR3SP Tutorial How I Paint Skin

By Mannafig, Converted to pdf by Barnburner TOOLS Airbrush Palette knife Eraser
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Alexandra: Thank you Amanda, great tutorial. Any preferences on type of canvas? Mannafig: Hi Sandra I just use the basic paper setting on this one but other settings work just as well in my opinion depending on what look your after.
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AR3 Tutorial, How to Make a Picture Frame With a Drop Shadow, using AR3, by: Jono, Converted to pdf by Barnburner
Here are the basic steps to follow (they look worse than they are ): 1. Add a new layer group by clicking the button to the right of New on the layers pallet. (See graphic below) 2. Draw a rectangle (or whatever frame shape you want) using a stencil or the selection tool. Fill this with the colour you want for your frame. 3. Duplicate this layer twice. 4. Fill one rectangle with a background colour and make slightly smaller using the transform tool. To make it more interesting it can be offset by moving it up and left as required. 5. With the other rectangle layer selected, use Edit --> blur layer, with about a 4px blur setting. Move this rectangle down and to the right, as required to make the shadow. The intensity of the shadow can be reduced by either lowering the layer opacity or changing the brightness in the adjust layer colours option. 6. Now duplicate the whole layer group and merge the new groups content. This turns the layer group into a normal layer. This new layer is displayed directly on top of the original layer group, so use the transform tool to move it to a new position on the canvas. Layer groups can be hidden by changing their opacity to 0. 7. Now bring in your first ArtRage painting using Import image file to layer. Resize/crop as required and position over the top of your picture frame. When happy, merge down the imported image layer and picture frame together. 8. Repeat steps 6 and 7 for each new painting in your gallery. 9. If you want a different size frame, its possible by duplicating your layer group as normal, then use the transform group contents option. This works best when keeping to the same aspect ratio and making the frame smaller.
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AR Tutorial, How to Dry a Layer, by: Someonesane, converted by Barnburner

The first option is using theInsta-dry feature. By turning this setting on, any new watercolor paint added to the layer will be applied over the existing paint. The downside to this, is that it won't really react at all with the old paint (almost like using a new layer), which is can be an issue if one is hoping to create a bleeding effect. This leads me to the second option, which I happened upon during my experiments with the tool. If you select theEraser tool and turn it's pressure down to0%, you can use it to dry specific areas of the watercolor layer, without actually picking up any paint (if you're using a pressure sensitive pen tablet, be sure to rub lightly). Doing this, one can dry one section of a wash, while leaving the other section wet, allow for new color bleeds. I've attached a quick example of this in the screen shot below. On the bottom left side I used the normal settings for the watercolor tool, wet on wet, with no eraser use. On the bottom right, I used the eraser to dry the top part of the blue wash (the red arrow points to this area), then used the watercolor tool (default settings), to apply a stroke of red color across the blue wash. Notice that even though the color itself blends like it should, the mark it makes on the top half of the stroke reacts as though it's being applied to dry canvas, but the lower half of the stroke reacts with the still wet paint area, and blends into it. Here are a couple of links that may be of some extra help: http://www2.ambientdesign.com/forums/showthread.php?t=32860
http://www2.ambientdesign.com/forums/showthread.php?t=33202
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Ar3
Impasto Oil Painting Technique

By Orianelima
Impasto is an art term used to describe thickly textured paint that is almost three-dimensional in appearance. Using an impasto technique often leaves visible brush strokes in the finished painting. You could almost say impasto is a type of sculpturebut for painters. And on a canvas. Mostly it involves loading up your brush or painters knife with more paint than youd normally need. Then, instead of dying or scrubbing the canvas with color, just let the paint squish onto the canvas and sit there. You dont want to fiddle with any one spot too much, otherwise youll lose that three-dimensional quality by overworking the paint. Impastos a simple way to give an average painting a big boost, so why not challenge yourself to try out impasto in your next painting? If youve never really done it before, break out of your comfort zone and pile on the paint! I put the technique in the form of self explanatory images. If there is any doubt we can clear up with time.
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By Orianelima Alternate Impasto Shadow Modification
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AR3 SP TUTORIAL PAINTING HAIR By: Sketchism71 Converted to pdf by: Barnburner
This is the number one question that I frequently get asked after one of my large projects. There are a million different ways to paint hair, fur and grass. This is how I do it....
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Since I did this tutorial rather quickly, the graphics in it don't really do this technique justice. I thought I would add some more examples of this used in some of my artwork. All these are crayon on crayon as mentioned above.
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Rowena: Sketch, your graphics examples are outstanding and your method seems simple. Are you saying that you use a blender tool to blend each and every strand of hair?? ..if not, then how do you get around the blob that comes with every thin crayon line?
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Sketchism71: Ah... Rowena, I forgot to mention those little blobs that can appear. They are caused from the beginning of the stroke when the pen first touches the tablet. Two ways to reduce them. 1. First, lightly place the pen on the tablet, if a blob appears (without picking up the pen) lightly rub it out. It will blend away. 2. While I am painting the strands of hair, I do it very lightly and try to minimize the amount that I lift the pen of the tablet. If I want more pressure for more color I do it after the stroke is started. This sounds complicated but it is really easy once you get the feel of it. I don't use any blending tools (blend only with the crayon). Try the crayon at different pressures to see if that helps as well. I think the key with this effect is learning how much "hand/pen" pressure to use. Like I said, I use very light hand/pen pressure and for deeper color I apply more pressure once the pen is already on the tablet and the stroke is started.
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Rage It With Artrage: Part1 D. O. F.

By Hanzz Converted to PDF by MagenSparks
For starters, I give you a picture I took in Bruges (B). The D.O.F. (Depth of Field) is a trick to enhance the feeling of depth to a picture. If over exaggerated it looks like a funny miniature city. Works best with pictures, taken from a little more height than this. So the first thing to do is to save this image to disk, and open it in ArtRage3 Studio Pro.
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Import the file by clicking file > image file. Locate the file you just saved to disk, and click OK.
Duplicate the layer (see first image) and blur that layer (ctrl+ b) make the blurring around 2.5 3px
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As our main tool we will be using the Eraser. Erase in the blurred layer the complete statue, and surrounding ground level. The little black fence (front of it) on both sides of the statue, and the front most flags. -Forgive me the little typo in the picture where you chose the eraser tool-
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Duplicate the new layer, and blur it again, in the same amount of the previous time. In that layer, erase a bit of the first background: the people on the bench, the scooter, the next row of flags...
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Duplicate the layer another time, and blur again. We are duplicating and blurring smaller parts each time. So the new parts get blurrier every time, while the others stay sharper. Erase this time the umbrellas and the canopies Take care of the edges of the earlier erased parts, with the blurring it's possible you need to refine that a bit. Nothing much really, depends on how much you blurred. Now, when looking back at the result, I find the effect could have been stronger. What I did, was from the second layer up (statue must stay sharp!) Selecting each layer again, and blurred them again. It gave me a much stronger result. See next post.
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Notice the difference? It can sometimes pay to look at your work with a critical eye.
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Rage It With Artrage: Part2 Vignette

When you have a pretty picture as the one here, you might want some kind of vignetting here. This is not a step by step, but a few ideas and tips bundled for you to choose from. I give some suggestions here; feel free to add some yourself. First make sure you have your picture ready. This is me 50 years ago..
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Then open the stickers panel and open a library by clicking the button on top and selecting a series from the list. Select a brush you like, and paint on a new layer in the colour of the background.
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Another tip: You could open the stencils pod, select a stencil you like, and click on it. Place it where needed, and with the eraser you could erase some of the border of the photo, or paint around the stencil on a new layer.
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Another possibility is to import a shape you like, or use a stencil. I used the one that was open, inverted it (right click, select invert the stencil) and filled it with black. Then I removed the stencil.
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On the layers panel, where the black disk is selected, click on the menu icon, and select "transform layer contents", and elongate the shape. Choose "edit" and "Blur layer"
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Choose a blur level to your needs.
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Right-click the menu icon on the layer, and select the option "new Stencil from Layer Contents. Now you have a stencil, you don't need the shape anymore. Click on the menu icon again, and select "clear layer"
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I inverted the stencil, and used it to erase the edge of the picture.... If you like you can save the stencil for later use.
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Results:
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AR3 Tutorial, The Soft Knife Technique, by: OrianeLima, Converted to pdf by Barnburner
The soft knife technique. Painting human figures and small figures with ArtRage. Another small trick for those who are beginning to use the program. The figures below show the parameters used for the knife. See two short films here: Painting Human Figures with ArtRage Small Painting Figures with ArtRage This technique can be used with only one layer or several layers. Enjoy.
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You practically need not be painting or repainting, the shape and color of a figure or an object. The use of soft knife technique obviates, briefly, the need for tools such as brush, pencil, eraser, etc ... You can use it even wet on wet paint with great simplicity. I use this technique with frequency especially for modeling and correct imperfections of small figures and objects in a painting. Probably many artists use this artifice. I am providing the technique for those who are initiating and composing landscapes or other forms of expression that contain elements such as human figures, animals, etc, etc ...
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Sticker Sheet Creator and Sticker Spray Tutorial

By: Someonesane of the ArtRage Forums
Step 1: Begin a new painting and (for the purpose of this tutorial) set the Width to 600 and the Height to 100 and then click on the "Canvas" window box to open the Canvas Panel. On the Canvas panel click the small light bulb tab to turn off the 3d lighting and select the "Cel" preset from the "Special" presets. Now Click "Ok" to close the Canvas panel and again to close the "New Painting" panel (which will open your new canvas so you can begin).
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Step 2: Open the stencils panel and put two of the Rulers onto the canvas. Position one of the rulers horizontally across the bottom of your canvas so that the "0" lines up with the edge of the lower right side and extend it so that it measures just beyond the "600" pixel mark (the end of your canvas). Using the second ruler, draw a vertical line to mark off a square every 100 pixels (see image below).
Step 3: Create a new layer to work on (do this by going to: Tools > Layer Options > Add New Layer, or clicking on the "New" tab on the layers panel). With the new layer created, go down to your color panel and left click on the color window (the part that shows you which color you currently have selected) to bring up the color panel menu. Select the "Precise Color Picker" option to open its panel. On the Precise Color Picker panel, change the options to read: Hue: 0% Luminance: 50% Saturation: 100% Red: 255 Green: 0 Blue: 0 It's important to use the pure red these options provide if you plan to use the sticker in conjunction with the Sticker Spray tool, because pure red is the starting base color for the hue options there. More on this later though... For now, be sure to click "Ok" on the Precise Color Picker panel to accept the color change.
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Step 4: Fill in each of the six boxes of the canvas with a number (I wrote the numbers in by hand, you can feel free to use a stencil). Just be sure that each number is centered within each box.
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Step 5: Click the menu tab located on the layer you wrote your numbers (or right click on the layer) to bring up the layers menu panel and select "Export Layer". Save the layer as .PNG file (you can give it any name you'd like, but I'm calling the one I'm making here "Tutorial").
Step 6: Open the "Stickers Panel" and click on the "New" tab, which will open the sticker sheet creator
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AR3 Tutorial, Using Apophysis Flames With Artrage, By: Dany51, Converted to pdf by Barnburner
I want to share with you one of my lately experiments, working with Apophysis and making the composition in Art Rage 3 SP. Is very simple and the possibilities are multiples of compositions. For those who don't know yet , Apophysis is a freeware Windows program for designing and rendering fractal flames . You can download it here . It can be a very rewording program but need time to be discovered either ways , by trying it and by the tutorials and books. First of all then I used this flame image to do my composition, You are free to use it too and make your experiments.
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Now I will simply show the "how to" procedure. I did the choice of the size form , color and texture of the canvas in Art Rage in function of the image that I intended to use. I did import image to layer and begin to create my selection image, because of the shapes in the image I did the choice of a circle.( The Selection tool, page 56 and 82 in the AR3 Manual) I first copy the selection that I created and pasted in a new layer. Here are the image of the selection, you can use it if you like to do your own image ; of cause, you have to transform all the images to create your personal composition.
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From this unique selection (In function of the size I make the choice of the PNG to upload but you can transform it as you like. I duplicate and transform each layer by resizing and rotation and made the choice of the number of layers in function of how they fit in the image. At this moment I did the choice of moving the center of the first layer and transform it in function of the other selections. My first layer became like that :
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After transforming the first layer and the multiple circle selections, the image looks like that, still not finished yet for me but all the raw elements are there.
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I finished the composition by experimenting the different blending for the different selections, also I duplicated the first layer and used the highlight mode for the blending between the two layers. The final composition looks more interesting to me. Hope that will help !
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Water Color Blending

By: Jules Converted to PDF by: MagenSparks
I have done many watercolor paintings using ArtRage effectively, I even experimented with the gloop tool with some interesting results.... here look http://bit.ly/b5UnsZ not impossible; you don't have to stick to the presets, once you have figured out how to do a wet on wet, save it. Don't forget to use the real color blending option, also the palette knife has some great effects that mimic watercolor blending... also experiment with the canvas and layers, these can make a BIG difference to a painting.
I used the delicate on dry preset, each individual color on a separate layer, then overlapped the colours and blended them with the just water brush.. I like the desired wet on wet
I also use traditional watercolor. Neither method is in your absolute control. That is what I like about the medium be it real or digital.
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The finished piece.... I blended all the layers into one another with a palette knife then I merged all layers down...
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Here is another sample, 2 layers; one layer is rough, blended with frost palette knife.
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This is based on the gloop setting I used for my Haworth painting (the one with the church and snow) the arrows show the pen tilt direction (I used a Wacom Intuos3) the gloop pen setting is a variation of the pseudo-water blob As for the wet on wet effect, I just used the delicate on dry preset and blended the two together in the same layer.
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AR3SP Tutorial, Watercolor + Felt Pen Branch Tutorial, By: Gzairborne, Converted to pdf by Barnburner
here is the technique I used to make textured branches using watercolor, felt pen, chalk and a little touch of sticker spray.
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1. start by making a watercolor stroke close to the color shown 2. click on the transparency lock (the little lock) on the layer 3. now using the felt pen setting I made calledgz soft pastel select a darker brown tint and go over the watercolor stroke. 4. select a lighter tint of that color and use the chalk preset calledgz texture chalk and go over the branch again on the same layer (transparency lock still on) 5. select the sticker spray and select thegz a paint splatter preset using a lighter tint and larger brush for larger spots and a darker tint and smaller brush for the smaller dark speckles note: you will need to place the Freckles sticker in your stickers folder if you don't already have my Freckles sticker from another thread the watercolor preset calledgz artist watercolor goes in your watercolor preset folder the felt pen preset calledgz soft pastel goes in your felt pen preset folder the oil brush presetan ultlra thin oil brush goes in your oil brush preset folder. the chalk preset calledgz texture chalk goes in your chalk preset folder if you like you can sketch some lines on the branch with thean ultra thin oil brush that's it! Enjoy! Attached Files
gz a paint splatter.prs (6.2 KB) gz artist watercolor.prs (4.2 KB) gz soft pastel.prs (6.0 KB) gz texture chalk.prs (142 Bytes) an ultra thin oil.prs (7.0 KB)
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here is the Freckles sticker and a painting using the technique.
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try some different combination of the brushes... experiment with textures you can make.
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Blend Levels for Simulating Oil Painting

Tutorial by: MisterPaint Converted to PDF by: MagenSparks
Simple tutorial I have used the blend level effect for simulate an oil painting.
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AN EXAMPLE:
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OldPhoto Effect - tutorial

Step1:
In this example I have created a new file 12x16inch (30x40cm) to 200dpi and color of the canvas as in the picture below.
Step2:
Now.... use "file/import image to layer" for load the "image file", and press "OK" when you are ready.
Step3:
you go on the properties level (click on the black arrow near to the level). Select as blend option "More Blend Modes" and select "OVERLAY" (as in the picture below.)
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Step4:
now... you must select the background level (click on brown level.) and load your favourite photo "as layer" (file / import image to layer) and press ok when you are ready. (as in the picture below.)
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Step5:
you must go on the properties level of the photo (click ever on the black arrow near to the
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level) and select as blend option "LUMINOSITY"
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EFFECT
CREATED!
You can download paper textures here: http://browse.deviantart.com/?qh=&se...=1&q=old+paper
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This effect is interesting with photos and paintings (I'm creating other effects with this system.. I hope you'll like it) Note: if you change the background color, you'll change the effect (you can try many variations) by Misterpaint www.artrage.it
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Portrait Speed Painting

1 PART
This is a partial tutorial for a quick portrait. I have not completed all painting... The tutorial is only a demonstration.
Tools: Felt pen, Palette Knife Flat, Misterpaint SoftCanvas n.22, Air Brush
Go! Open a reference photo, create a variety of colors and the first sketch of the face. Create small areas of shadow and light (marked with pencil).
Put the lighter color of the skin as a base, and give a dark color for the hair
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With feltpen, coloring in a non-perfect the colors light and dark... taking a cue from reference photos.
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Set the color white for the bottom of the eyes. Coloring the bases for the eyes
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add some areas of light and shadows (with white and dark brown)
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Now... Hide the level with the pencils and use the tool "Palette Knife Flat" To combine colors well together. Great size for large areas, and small size for the parties around the nose and eyes. Begin to define the background of the painting.
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Coloring the first details of the lips and eyes.
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to define the outline of the face, moves the color of the cheek with "the palette knife flat" towards the background of the painting. With the feltpen take the background color and redraw the outline of the portrait. With dark colors define the contours of the nose.
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Use the airbrush for strengthen the shadows and the lights
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END.
I repeat: This is a partial tutorial for a quick portrait. This is my method of working.
TIPS1: use stickers or textures (adapted for stencils) to create a realistic skin texture.
Sometimes just a simple texture to create a special effect.
TIPS2: you can use "LIQUIFY" filter of photoshop to change the proportions of the
drawing.. as in this example.
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IN THIS EXAMPLE I HAVE USED "PHOTOSHOP FLUIDIFY + MY FILTER SWEET DREAM" and some improvement with the feltpen (for small details)
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TIPS3: for a magical effect, I recommend the use of my filter SWEET DREAM (you can
download here http://www.artrage.it/plugin.htm)
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Simple Canvas Tip

Tutorial by: MisterPaint Converted to PDF By: MagenSparks
Hi! With the Palette Knife Flat may we use a wide range of textured effects ... how? 1) Select a canvas (in this example I'm using the soft canvas No. 22 from my collection) 2) paint (with felt pen in this example... I always suggest for realistic portraits) and use the "Palette Knife Flat" as you wish 3) Open "Canvas Settings" 4) Increase or decrease the Grain Size (40/70/80 or whatever you prefer) and move the colors of your painting again with the "Palette Knife Flat".
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Simple Canvas Tip

5) Now ... You can also change the canvas and make the same procedure. In this way, you will have different textures on your painting. 6) Put the canvas you have chosen to start Tips: when your painting is completed, you can set the GrainSize and the Roughness to "zero." In this way the main canvas is canceled, but remain the strokes with the other canvases.
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Simple Canvas Tip

Other example from my work in progress.
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Simple Canvas Tip

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A Simple Solution for Watercolor Paintings (for ArtRage 3 Studio Pro)

well.. I have used a "free "plugin for this experiment (only PC version) Filter: Thredgeholder http://www.littleinkpot.co.uk/FreePlugins.htm
1) "FILE / IMPORT IMAGE FILE TO LAYER" to import your image, and apply Thredgeholder filter for create the sketch
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2) Create a new layer (or more layers) and set "Blend Mode/Tint"
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3) Uses water colors on the layer (or multiple layers)
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I recommend these Watercolor presets: Delicate on Dry, Dried Strokes, Dry on Wet, Wet on Wet Ciao!
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RAGE IT WITH ARTRAGE
The picture with the difficult To select hairs
Some background to place our young lady on (my garden ,by the way)
Ready to go crazy again with the best software around ? I hear some have troubles with the selections in ArtRage Studio Pro 3 . Mainly the delicate kind of selections tend to give us grey hairs.....Talking about hair...hair is THE most difficult selection to make.....if its not my hair, that is .
What do you need? Well, besides two pictures, you will need the free plug in called ghost from Flaming Pear. Download for free here : Windows : http://www.flamingpear.com/dl/freebies.zip Apple: http://www.flamingpear.com/dl/freebies.dmg Ok, now we are set. Load the picture with the hair, to select.(1) ;In the layers menu for that layer, we select duplicate layer. Now you have a copy above your picture, that will serve for the mask, to separate the girl from her background.
To do that we alter the color of that layer. (2) Select edit > Adjust Layer Color...(see picture)
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Take the lower slider called color, and take out all color of this layer. Dont worrie, the picture will remain a colored picture, just this layer gets affected. Dont click OK yet, do that in the next stage (4) where you alter a few other settings....
While the menu is still open, change the contrast to a high point, and upp the brightness also. The intention is to get as much contrast between the girl,and the space around her. Now you can click OK.
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Now take your favourite painting tool, to paint the whole face black.,and other parts that are not black, that need to stay on the girl. Here are some strands white, paint those black too, the arms, folds in the shirt, paint it all black.
5
When that is done, set your color to white. Now make the background all white.Take care not to overpaint the loose hairs, because otherwise they will get lost in the selection...
6
Now its time to take out our filter. Go to : Edit > Filters > Flaming Pear > Ghost. You will see much more filters to play with, but I only use this one, I erased the others... Now comes the magic....
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As you can see on the thumbnails in the layersmenu, the black/white layer is changed to only black, the white got transparant.(9)
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In the menu for that layer, select New Stencil From Layer Contents. This is the reason for the filter ghost. Without it, you would have a stencil from the picture, wich is a rectangle. We would need a more refined stencil than just that rectangle. Now we have a selection with the hair.
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Rightclick on the stencil, and choose: Invert The Stencil
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Import the picture, intended as background into a layer below the colored picture of our young lady. The order of the layers is seen here on the right. On top is the black selection layer, below that the girl, and on the bottom, the new background. Now use the eraser tool, on a wide tip. And erase all the background that was in the picture with the girl. The places where the stencil is, will remain intact.
Richtclick in the stencil, and choose : remove This Stencil The red stencil will go away, leaving us with the needed pictures.Only the girl is still black.
Select the black layer, and choose : Delete Layer from its layer menu. Now you will see the result of your hard work......
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Thanks for reading. For more tutorials, visit the ArtRage Homepage, or the ArtRage official Forums
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APOCLYPSE IN BRUGES
The answer to this question can easily be answered with an answer I heard in election times: YES, WE CAN ! So I started thinking, could we do a thing like that in ArtRage Studio Pro 3 ? I also want to state, that we dont call these pictures Photoshopped, but RAGED . So come on, and Rage it with me !
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When that is done, I duplicated the layer, I wanted this layer to serve as a help for my selection. As you can see on the left side is a tree , and how does one select a complex thing like that ? I made the second layer very dark . Again I used the Layer Adjust Colors function of ArtRage Studio Pro 3 . The parts that were not entirely black, like houses , and roof of the bus, were painted black. Same for the sky, where I painted with white. I also used the white paint to eliminate some of the edges thaat were created by the panoramic software in the top of the picture.
Brrr ! Heavy storm approaching ! But we are not there yet, there is more....
Then I selected the black part , selecting he first thing I did, was look for a decent very nicely the contours of the tree and its leaves with the magic wand. picture on my disk. I also used the Add function of the selecI found a panoramic picture that I made on one of my frequent visits to the histori- tion tool, to add to my selection, or Subtract to get rid of parts that were not cal city of Bruges in Belgium. I will use the above picture as the base for needed in my selection. my new Raged picture. Then I searched for a storm sky on the InThe first thing I did was altering the bright- ternet, and imported that in a new layer . I also made this one darker, and gave it ness and the contrast in the picture. The some more contrast, I also gave a twist on Raged picture will be very dark and sinister and the built in tools of ArtRage Studio the Hue-slider, giving it an appearance that sent shivers down my spine...... Pro 3 provide just that.
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Using the selection I created earlier, I chose the Eraser Tool from the Toolbox, and with a largebrush size , I started erasing the sky, making it appear behind the houses. The selection helps us to get really nice
I decided I did not want to loose my black layer, that helped me select everything, but I used the layer- modes to give it the mood I needed. So I turned it in Overlay. I also turned down the opacity settings for that layer See the difference ? Then I imported a wave , again I found this on the Internet, on a new layer. I erased roughly the shape of the wave freehand. Around the edges of the water splash, I used the selection tool, with lower spread settings. I then erased the wave in detail.
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I imported a few waves , again found on the Internet, and enlarged them as needed, the first in length the other in height. Again both layers got the same treatment with the adjust colors -function for their own layer. On a new layer I added another wave, to indicate more water was coming from the streets .I added small spatters of water with the airbrush tool.
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On the ArtRage forums ,I did a quick search to find the Rain Stencils provided by long time member JackTar. I added it as a layer, not as a stencil, and gave it the exclusion Layer-mode. It only covered half of my image, so I duplicated the layer, moved it into place, and then merged the two together. After that I duplicated the layer again, enlarged it, and lowered the opacity. With the airbrush I added a lightbeam coming out of the red car . And thats it ! I could have done more,but Ill leave it at that I hope you enjoyed it, and remember : Just say Rage it, because we already know its art !
Have fun making your own with ArtRage Studio Pro 3
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DRAWING AND PAINTING A CARICATURE
e had sent me quite a few pictures to choose from, and I chose two of them. I decided on the view, and the one with a nice big smile. A caricature is always made to have fun, so a big smile only adds to the fun ! So , if you are ever asked to send some pictures for a caricature, make sure you smile! Based on a few of the other pictures ,and the view here, I went for a drawing that focused on the lifted eyebrows, and the ivory smile. I drew some lines ,and show them here in big blue lines for clarity . I drew a wave for the eyebrows, and a plain curve for the smile. I draped the rest of the features around this. This does require some training though. But if you are committed to doing this , it is worth it to bite the apple. Most caricaturists will say, make about 1000 drawings, and youll start to get the hang of it. These first lines are just a frame, there is not even a thought for a perfect line, I just make some hasty scribbles, to draw the features as I have them in my head right now. All very quick, just enough to show proportions. I also exaggerated on the strong jaw line, and doing this I gave in on the forehead . It is all a matter of mass: take from one side,and give in from the other side. For the hair I made sure to make some nice waving lines, to go with the lines of the eyebrows. To draw I used the pencil tool, with settings: Pressure 69%, softness 92%, and smoothing 39 %. When doing the actual drawing, and lines become important, I will increase the smoothing amount. For now the rough lines will do just fine.
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Below this layer, I created a new layer, and filled it with blue. I picked the color from the reference picture. By now I have made a combination of the two reference pictures, and made one photo to continue with. The lines appear much paler now, against the blue background. Above these two I make a new layer for the actual drawing. As color I use Black, the pencil is set to a higher level of smoothing .The reference picture is zoomed in to the detail I am drawing on. I draw as accurate as possible, zooming in and out as needed. I zoom out a lot to keep an overview of the whole drawing. And finally it is there, the drawing as I imagined it. I check on likeness, details like the features and the shape of them, are they accurate like I want them? Would they make this a Hanzz - caricature ? I find it is a very good drawing ,and there is no need to make a new one. I clear the old sketch layer ,as it is no use to me. With a crayon . I block in plain color for the face and the hair and sweater It is no problem to do all the different colors on this base layer , like hair ,and glasses ,and sweater . I made a copy of the glasses on a new layer , for later use. If I start painting in shadows , highlights ,and stuff around the eyes, the glasses would get lost in the painting, therefore it would have been useless to even begin drawing them. I also made the drawing half transparent, and merged it with the base colors - layer. As stylus I prefer the airbrush stylus from Wacom. It works so nice with the ArtRage Studio Pro 3 Airbrush tool.
Airbrush stylus
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Now it is time to do things a bit bigger. I enlarge the drawing by 300%, and make it 300 DPI. So it will be large enough to print a small poster. Then it is time for the shading and first details. I zoom in as far as possible on the reference and on the painting, . I use only the airbrush tool, as it gives me the freedom I need to paint these paintings. It works very smooth ,it is so greatly improved in this version of ArtRage Studio Pro 3 . Probably the best airbrush one can find in a digital painting program. I try to copy every detail, as if I was trying to paint a realistic portrait. For choosing colors,and values, I use the eyedropper tool, and change the color I picked with the colorwheel in ArtRage. I want more saturation, and warmer colors. I also use many layers , to separate features .For example I make a layer for the lips, and below it I do the gums and teeth. This way the finished lips,dont get spoiled accidentally ,by painting the inside of the mouth. I paint the gums completely, and then, to preserve them,I cover them with a painted selection .And then I have all the space I need to paint the teeth. I could also have painted on a new layer below this ,but I wanted to get your attention on this way of making selections. This is one of the best and easy controllable ways of selecting in ArtRage Studio Edition .
For the glasses ,I did another trick. I drew the frame of the glasses with the Pen Tool. I have set it at a higher smoothing than normal, to get it to look a bit right .I did not mean to draw the perfect looking glasses, but good enough.
When done, I lock the opacity for that layer. This is done by clicking the lock ,on the top right ,in the layer Icon . Now I can only paint in the areas where I have my lines of the frame. I airbrush some light and shadow elements on them. Then I use a fairly small brush to paint hairs . Beard, eyebrows, and eyelashes are all done this way. For the hair, I spray a wide strand, in the darkest tone. Then I change to a lighter color, using a smaller brush....
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Every time I did all of the hairdo ,I change to lighter color,smaller brush again. In the end, to paint individual hairs,I used the pencil tool ,at high smoothing. When everything is done ,I check it all, to see if there needs to be stuff done in contrast , or if I did not forget something. Have fun doing your own Caricature with ArtRage Studio Pro 3 !
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Layer Blending Modes

lend Modes can be used to tell layers how to interact with layers beneath them in different ways. By setting Blend Modes you can make paint darken paint below, tint it, or otherwise adjust it. ArtRage provides a number of Blend Modes, including the standard ones from Adobe Photoshop and some of its own. The default Blend Mode applied to each Layer is Normal, which means that paint will sit on top of paint on the layer beneath and cover it like normal paint on a surface. To use layer blend modes you have to have two or more layers. The blend mode will react with the layer below it. For this tutorial I will be using an image with two layers. The blending mode will be applied to the top layer and we'll look at the way they both interact. The background layer is a picture I took on a holiday in one of my favourite places in Belgium. The one I will use for the layer modes is made of some grayscale and colour samples.
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The tint mode takes the color of the paint on your layer and tints the paint underneath it. In this example the blue sample has applied a blue tint to the Photo beneath. Use this mode if you want to apply color to something in gray scale, or tint the color below with a new color above.
The highlight blend lightens paint beneath it, allowing you to make paint brighter by applying paint above it without washing it out to plain white. The darkest (black) sample leaves the original picture intact. The lightest gives a white effect to our photo.
The shadow mode darkens paint beneath it, allowing you to make subtle adjustments to the shading of paint from a layer above. The lightest (white) sample lease the picture intact, the darker we go, the darker the picture gets.
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The Watercolor mode is an interesting one because it's specific to ArtRage. It blends a Multiply style blend with a normal blend depending on the density of the pigment. So translucent pigments become multiplicative as light is transferred through them, but as the pigment becomes less translucent it starts to override the colour beneath. You should see the look of the blend change as you reduce the opacity of the layer, for example.
The edge of our picture gets a rough edge. This mode randomly replaces colors of some pixels on the selected layer,with those of the underlying layer to create a speckled effect The selected layers opacity determines the number of pixels replaced : the lower the opacity, the more pixels that are replaced.
Darken compares each pixel value of the upper layer to its counterpart's pixel value of the lower layer and chooses the darker of the two to display. Pixels lighter than the underlying layers disappear
Multiply darkens the lower layer based on the darkness of the upper layer. No part of the image will get lighter. Any applied tone darker than white darkens the lower layer. White becomes transparent. Multiplying any color with white leaves the color unchanged.
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Color Burn burns in the color of the upper layer with the lower layer. No part of the image will get lighter, white leaves the picture unchanged.
Linear Burn works like multiply but the results are more intense.
Lighten compares the two layers pixel for pixel and uses the lightest pixel value. No part of the image gets darker. The black sample becomes transparent,and does not alter the image.
Screen brightens by lightning the lower layer, based on the lightness of the upper layer. The result is always lighter, and makes it a good mode for correcting exposure in photos that are too dark. The black sample leaves the photo intact.
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Color Dodge dodges the lower layer with the upper layer, resulting in a lighter image. No part of the image will be darkened. The white sample produces the most lightening, the black sample has no effect
Linear Dodge works like screen but with more intense results.
Combines the Multiply and Screen blend modes. If the color channel value of underlying layers is less than half the maximum value, the Multiply blend mode is used. If the color channel value is greater than or equal to half the value, the Screen blend mode is used.
Soft Light will multiply the dark tones and screen the light tones. It is a combination of the Burn and Dodge-blend modes. In general, use the Soft Light blend mode to add soft highlights or shadows.
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Hard Light muliplies the dark colors and screens the light colors. It is a combination of the Multiply and Screen blend modes. In general, use the Hard Light blend mode to add highlights or shadows.
Vivid Light will dodge or burn the underlying layer pixels depending on whether the top layer pixels are brighter or darker than neutral grey. It works on the contrast of the lower layer. The mid-range of the grey tones leaves the photo intact.
Linear Light is the same as Vivid light but it works on the brightness of the lower layer. Again, the mid-range of the grey values leaves the photo intact.
Pin Light changes the lower layer pixels ,depending on how bright the pixels are in the upper layer. It acts like Multiply when the upper layer color is darker than neutral grey, and acts like screen if the upper layer color is lighter than neutral grey.
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This blend mode is a combination of the Vivid Light mode and a posterization effect (i.e., where the image appears more pixelated). It will posterize the bottom layer pixels through the blend layer and recolor the image using the specifications of the Vivid Light mode. A higher Fill Opacity on the top layer will increase the posterization effect on the image. In the example, the Fill Opacity is set at 100%.
Difference reacts to the differences between the upper and lower layer pixels. Large differences lighten the color, and small differences darken the color.
Creates an effect similar to but softer then the Difference blend mode.
Hue changes the hue of the lower layer to the hue of the upper layer without changing the brightness and the saturation .
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Saturation changes the saturation of the lower layer to the hue of the upper layer without making changes to the brightness and hue of our photo.
Color changes the hue and saturation of the lower layer to the hue and saturation of the upper layer but leaves luminosity unchanged.
Luminosity changes the luminosity of the lower layer to the luminosity of the upper layer while leaving hue and saturation the same.
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