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Sebastian - The tutorial

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  • #16
    love metallic medium!
    Shop at the Wampstore

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    • #17
      If it helps here is the Vallejo colour chart
      http://www.acrylicosvallejo.com/asp-...olor&p3=1&p4=0

      Also their own eqivilancy information
      Doesn't include PPP or GW though :(
      I have some other comaprison site links at hime I think
      So I'll have a look later this evening
      http://www.acrylicosvallejo.com/asp-...modelcolorinfo

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      • #18
        Here's 2 others

        Totengraber's
        http://www.totengraber.net/paintdb/i...&frm_return=pn

        And the Silicon Dragons one
        Let me know if you find out how it works :)
        http://colors.silicon-dragons.com/

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        • #19
          cheers Conrad
          Shop at the Wampstore

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          • #20
            Originally posted by PrawnPower
            And the Silicon Dragons one
            Let me know if you find out how it works :)
            http://colors.silicon-dragons.com/
            For this site, I change the first box to Paint Search from RGB Color Search.
            In the next box (Search Parameters) I enter the paint line I want to find a substitute color for. In this case for Sebastian I don't have very many of the VMC paints Ritual had so I entered VMC into the Select Lines to Search field.

            Then the in last box (Color Match Config), go to the Lines to Search box and hold CTRL while you click the individual lines you want to add to the search. I wanted to find substitutes only in P3 and GW paints as that happens to be what is available at my hobby store.

            When you click Submit Query all the colors should pop up for the line of paints you're searching for. Find and pick the one you want (ie: if you didn't have Field Blue and wanted to see if P3 or GW had a replacement, click field blue) and a window will pop up with your searched color example in the middle, and any other substitutes around it.

            It's not perfect, but it's in the ballpark on the most of the colors. Sometimes you get an oddball that just doesn't look right on the monitor, and is even more off when you look at the paint pot it suggests. Color formulas change I suppose and it may be using old information but like I said, it's close on a lot of stuff and you can adjust a little by mixing.
            It's a cool little site for what it does.

            I'm sure you can do a lot more with it, but this is what I've been able to use it for with my limited brainpower :)
            "I'm not superstitious, but I am a little stitious."

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            • #21
              The result is not just down to the paints being used, but how you use them as well. So, it is not important to have the exact same colours, as chances are it won't look exactly the same anyway.
              Combibo vestri peniculus quod fio a melior pictor.

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              • #22
                Also, I've caught a cold these past few days, so things are going a bit slow here... sorry about that.
                Combibo vestri peniculus quod fio a melior pictor.

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                • #23
                  Good point.
                  For me it's just nice to know if someone says they use some color I've never seen before, (and with some of these names of the colors, who would know what they look like without seeing it :) the almighty computer can tell me & I can see if I have something from a different line in my paint arsenal that its close enough.
                  "I'm not superstitious, but I am a little stitious."

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                  • #24
                    BTW, that silicon-dragons site is nice to use the RGB colour search if you use the adobe Kuler site to come up with a colour scheme & need to find which paints to use

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                    • #25
                      Originally posted by Ritual
                      Also, I've caught a cold these past few days, so things are going a bit slow here... sorry about that.
                      Not a problem mate , none of us are in a rush (except maybe scott!) just crack on when you have the time and inclination
                      Shop at the Wampstore

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                      • #26
                        Also, I've caught a cold these past few days, so things are going a bit slow here... sorry about that .
                        That is actually a little bit of good news for me at the moment Ritual (sorry to hear you have caught a cold though), as we are experiencing an unseasonal heatwave here at the moment it has been roughly 37degrees + Celsius \100+ Fahrenheit since last Friday and not expected to end until at least this Sunday and this is during the last month of spring :hot , so i am definitely in no rush at the moment sorry .
                        "Painting is so poetic, while sculpture is more logical and scientific and makes you worry about gravity" - Damien Hirst

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                        • #27
                          Nah I'm cool. I have one or thirty things I should be doing instead anyway.
                          "Who needs weights? Animals don't lift weights, and animals are STRONG!"
                          -Chuck "the Truck" Wallace

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                          • #28
                            Part II: Painting the robe

                            Ok, let's get started on the actual painting. Here's the paints I will mainly use for the robe:



                            Fairly straightforward. Shadows are done by adding black to the base coat, and highlights by adding ivory to the base coat. I usually try to avoid using white, as I think white easily gives a sterile and harsh look. The ivory colour gives a softer and more pleasing "light", in my opinion. The GW washes will be used later on to give the robe a more complex and non-uniform colour.

                            First, though, the base coat is applied. I do this in two, or maybe three, layers. Using thinner paint and more layers than that for the base coat is a waste of time, I think. With good brush technique you can get a perfectly smooth base coat in just two or three layers with a paint of roughly this consistency (the paint where the brush is... the blob of paint to the left is simply paint straight out of the pot):



                            I usually pour paint straight onto the pallet without thinning, and then load the brush with water before dipping it in the paint. I adjust the amount of water loaded in the brush so that I get the consistency I want. This way I can jump back and forth between thicker and thinner paint without having to pour and mix new paint.

                            Ok, here's the mini with the base coat on:



                            For this tutorial, I concentrate on doing one arm and shoulder and show it step by step. Then I will do the same procedure over the whole mini, and just show the finished result. Ok, I start applying the shadows by blocking in the largest shadowed areas. In this case the underside of the arm and in the bend of the arm. I use roughly a 70/30 mix of Field Blue and black. Then I glaze in the rest of the shadows and start blending the edge between the blocked shadows and the base coat by glazing over it with a slightly lighter mix, perhaps 80/20 or 85/15 (the black is fairly dominant here, so a small amount of black will go a long way... this might be different if you use other paints).

                            When glazing I use paint of roughly this consistency:



                            The trick of applying shadows and highlihgts by glazing is not only to use the right consistency, but also to use the right amount of paint on the brush when you apply it. This amount is very, very small. The less paint you have on the brush, the easier it is to control it. Since the paint is very thin and thus quite transparent you will get very faint results when the paint dries. The amount of paint must be so small that the paint don't spread out or pool when you apply it. A brush stroke should result in a faint line that hardly looks wet anymore when the stroke is drawn. In folds and wrinkles, it usually suffices to just draw a line along the fold. Repeat this as many times as necessary. For larger areas I usually draw fine lines, parallel to each other, very tighlty, so that they form a smooth layer. This is similar to how you'd colour a surface with a pencil. I hope I make sense here. This is much easier to show than to describe. Don't hesitate to ask if you want me to try and explain more detailed or in a different way.

                            And here's the result after blocking in the deepest shadows and applying a couple of glazes for the rest of the shadows (and blending the edges of the blocked shadows):



                            Next I make a darker mix, 60/40 or so, and glaze in deeper shadows. I also deepen the shadows where I did the blocking in before, by using the same glaze. Here's the result:



                            I'm happy with this, for now. If you're uncomfortable with this glazing technique you might benefit from doing more intermediate steps than I have done.

                            Now, let's get on with highlighting. I do this pretty much in the same way as I do the shadows, that is, I use the same glazing technique. First step is to pick out all the raised areas in just a slightly lighter tone than the base coat. This step will cover quite large areas. By glazing two or three times you get a fairly nice transition, but you can also use thicker paint and a few more intermediate steps and get more or less the same result. Here's what it looks like at this point:



                            Then I mix a lighter tone, perhaps 50/50 Ivory/Field Blue, and start glazing the more extreme highlights. I concentrate these on the sharpest folds, and the shoulder where most light will be reflected using an overhead light source. Here, it's important not to cover too much surface. We want a good range of tones between the darkest and the lightest, not dark-light with nothing inbetween. Here's the result:



                            I'm quite happy with this for now. I might go a little bit lighter later on, but I'll wait with that until I've painted the other stuff on this mini. I will also wait with using the green and purple washes, so that I can make sure that what effects I do will work together with everything else. As with the shadows, if you feel this is going to fast, achieving too much in just a few steps, you can increase the number of layers and use more intermediate steps. It is much easier, but takes longer. A good way to train paint control, though, which is really essential.

                            Ok, this is it for this part. Next time, I will have finished the whole robe to this stage and then go on with the apron.
                            Combibo vestri peniculus quod fio a melior pictor.

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                            • #29
                              Nice!
                              Do you usually use black & off-white to shade & highlight?
                              I've started using more colour in my shadows this year - cooler, complementary colours.
                              I'm interested to see how you use the washes after this step.
                              I might be able to squeeze in a little work now, or I'll just have to catch up when I get back in a few weeks.

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                              • #30
                                It depends on what colour I paint with, which colours I use for shadows and highlights. I try to avoid using black as well, but for certain colours black simply is the best option. I use a dark brown for a lot of colours and a dark red for skin. I prefer doing shadows with either a neutral colour or something that harmonises with the base coat, and then work some complimentary, or contrasting, colour into the shadows afterwards by glazing.

                                For highlighting I use Ivory a lot, and for some colours I use a basic skin colour for highlights (black, brown, purple, red etc.). But for some things I light bluegrey might work better. It's all depending on what you're trying to achieve.
                                Combibo vestri peniculus quod fio a melior pictor.

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