Well, 4k TV's seem to be here for a while.
That made me think of my favourite Painter paper textures "Big Canvas" and "Italian Watercolour paper" could have an overhaul.
I guess that would mean an enormous overhaul of the size of all the texture samples.
It would be FABULOSO to have a paper texture where the grain can just zoom in and in and in and still look like a real watercolour on paper.
My favourite brush is the 2011 Digital Watercolour "New Simple Water" which I haven't found a replacement for, but the way it interacts with the current grains also doesn't withstand intense close-up scrutiny. zoomed in the grain appears more on/off tone rather than having paper peaks and valleys. The size I do my artwork those peaks and valleys don't matter at full size, but it would be nice to be able to scrutinise the work up close too.I love that that brush is so easy to use yet does so many different things with intuitive use of the stylus.
I'd love a ramped up version that intuitively bleeds with the (hi def) grain without having to use extra commands... so it's closer to my own analogue painting experience... all feel and no thought!
I didn't delve too deeply into the straight Watercolour or Real Watercolour varieties because they weren't as intuitive to use.
I haven't been sniffing the turpentine, but it DOES get harder to think and learn key commands by the day's end!
Listening to myself in the post above I thought it was time to go back again and try the "real Watercolours."
It was a pleasant surprise to discover one or two that suit me down to the ground. It's amazing what a second look does for the palette!
While "New Simple Water" is still the PEACH of the digital watercolours I also discovered Speckled Coarse Dry Brush and Real Pointed Bristle amongst the digitals.
I reconsidered the on/off contrast of the texture in New Simple Water and realised it only appears when I wash over a darker stroke to soften it with lighter pressure. This is compounded when additional layers of light strokes are applied after drying: The pleasant shadows and highlights that appear in the grain when a heavy colour is applied get washed out by the light stroke leaving a simplified grain pattern.
Amongst the Real Watercolours, Fractal Wash Fringe was a treat to find and Real Pointed Bristle was quite "magic" to use too.
New Simple Water is still my main go to- but the grain on the light strokes is its "least best" feature.
Looking further into it I believe the texture "issue" (see stroke 5 in pic below) isn't Painter's texture samples at all but the way light paint-strokes portray the texture. 1 to 3 are absolutely delicious(!) and still with firm strokes but a lighter palette choice in 2 then 3. The texture is maintained even though the tone is lighter.
4 is the same colour as 2 but using lighter stylus pressure. The paper texture has started to look unnatural.
5 is two or three layers of light strokes with the paint dried between strokes. The realistic texture doesn't come back thought it would be desirable if it did.
The orange toned pic following that is an extract from a large painting, showing how many more layers of tone and colour applied in light strokes appear in context. It looks fine from a distance but really doesn't capture the realism of the texture the heavy strokes do.
This quirk appears in all of the textured digital watercolours.
I believe it CAN be fixed by applying surface texture to the finished canvas, but only if the exact scale and position of the texture is consistent...