Rebelle badly needs some dry/scumbling brushes

Following

Maybe if rebelle could zoom the grain too when pressure is increased? (Tick a bix to enable..)

*box

Following also. I do like the backgrounds you are getting in PS. Great work!

Escape Motions recently releases some gesso textured papers, which was based on my request in this thread: 

https://www.escapemotions.com/community/forum/t/39017/can-we-get-some-gesso-textured-papers-in-rebelle/1

Here's a quickie test I did using one of the gesso textured papers, and it does look like the kind of gesso textures I have used in my past artworks.

The way the brushes/paint interacts with the gesso texture isn't 100% there yet, as it's hard to get a setting where the transition from thick impasto to dry brush/scumbling can be controlled intuitively with stylus pressure. I'd have to constantly adjust the oiliness setting on each brush to get it right. I hope they tweak it so that it can be more intuitive like real paint, where even if you have a brush loaded with lots of thick paint, you can still just barely scrape the tooth of the canvas texture and still get that dry brush look. 

The next thing I hope they work on is dynamic brushes that can have the virtual bristles splay apart or clump together based on the direction of your strokes and the pressure. This combined with the gesso surfaces and better transition from thick paint to dry brush/scumbling, will be the most realistic and expressive digital painting experience.

Here are some examples of how real paint can be thick but still have that "scraped onto the tooth of the canvas/paper texture" look, which Rebelle's brush engine cannot do yet.

Right now, the brush engine when pressing lightly on the stylus, will decrease the thickness of the paint and the result looks more like the fine grains of dry media, instead of thick paint scraped onto the painting surface.

And I know others have requested for much thicker impasto, and I want to again bring that up, because it will add so much more expressiveness to paintings, like in these examples:

I also want to show some examples of what dynamic brushes can achieve. These are from some of my favorite digital artists, and they are some of the finest examples of how digital art can look very expressive and almost indistinguishable to real paint and paper and canvas. As far as I know, all of them were done in Photoshop, which is not a software people tend to associate with very natural and expressive looking brushes, but having purchased and created many Photoshop brushes over the last 25 years, I know firsthand just how good they can be--in fact many of the very natural effects you see in these artworks are done with brushes that I also use in my own work (and I'm sure you can see their influence on my own work too). 

The reason I want to show these examples is because I want everyone to see just how expressive dynamic brushes can be, and it's one of the main reasons why despite Rebelle being touted as a realistic painting software, it still cannot achieve the same level of expressiveness as these examples below. And also, I would like think these example will light a fire under the butts of Escape Motions developers and inspire them to push boundaries even more. 

And lastly, I haven't really talked about the dry media brushes in Rebelle, and it's because they are so behind many other art apps in that area that I can't even uses any of those brushes. Whenever I want to do a dry media piece I would just use Photoshop, Artstudio Pro, Procreate, etc. Some of these examples below also showcases how much better Photoshop's dry media brushes are, and I hope Rebelle will catch up in that area soon. 

Some more examples. And BTW, these are all by Yizheng Ke and Wangjie Le, two Chinese digital artists that pretty much pioneered this style of digital painting. If Craig Mullins was the first digital artist to use digital tools to draw and paint in a traditional style that's very expressive, then I think of these guys as the second wave of pioneers, who took the realism of the natural media look to the next level. And all of them used Photoshop. 

This also brings up another point. Why are these digital artists of the highest caliber still using Photoshop when so many other art software had been developed in the decades since, many of which touted realistic natural media brushes and advanced brush engines? Shouldn't they have all jumped on Corel Painter, Artrage, Rebelle, etc., by now? Sure, they all have played around with other art software, but they all still stuck to Photoshop as their main workhorse, and I think just by looking at these examples, you can see why. Despite Photoshop being ancient compared to all the newer art software out there, its brushes are still unbeatable, even if there's no realistic impasto or watercolor physics. I feel that if Escape Motion really wants to capture the attention and loyalty of these top-tier digital artists who are global superstars, they will need to improve/rethink Rebelle's brush engine at a fundamental level, asking themselves how they can first at least match the expressiveness of Photoshop's brushes even without the fancy impasto and watercolor physics, and then with those added on top, will make it the most advanced brush engine and realistic results that even loyal die-hard Photoshop-based digital artists will jump ship and start using Rebelle as their workhorse. 

I "second" the last post by LunatiqueRob.  Rebelle is so close to being the best digital 2D art program available.  I have stopped using it temporarily as I get frustrated at being unable to utilize better impasto effects and the stated lack of stumbling brushes.

I still applaud the team at Escape Motions.  Great work...so far.  I look forward to the implementation of these suggested upgrades.