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Al Capwn

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About Al Capwn

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    Mostly Harmless

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  • Location
    South Texas
  • Interests
    Painting, Woodworking, Music, Games (both Tabletop and Video).
  1. I am actually really looking forward to this, it sounds really cool and of course very thematic to the piece as well. Enjoying watching the refining process.
  2. Al Capwn

    Scale75 - The Chronicles of Run

    So I recently dipped my toes into the water with the ScaleColor skin tones set, and it is very, very matte. Almost dusty matte. Borderline uncomfortably matte. Blends beautifully though - great for glazing as well. Sounds like you need to shake them. No, shake them more. No, even more. All done? Shake a wee bit more. ScaleColor is notoriously "thick". Like the consistency of heavy-cream or melted chocolate. If yours is watery, it sounds like the pigment has separated from the medium and requires fierce agitation to unify. It appears to be a common critique about the line.
  3. Al Capwn

    Ongoing Wip Thread..

    Very nice work so far! Really nice transitions of the purple on the robes - they contrast nicely with the skin tones.
  4. Al Capwn

    10 Rookie Tips... From a Rookie

    I've heard Vince Venturella say, "Don't let perfect be the enemy of good" and 'Uncle Atom' from Table Top Minions say, "The cost of perfection is prohibitive". I think these axioms are extremely valid. I also like the phrase, "Don't compare yourself to others. Compare yourself to who you were the day before." Guilty as charged. I try to meet somewhere in the middle now and save some "fodder" or less-loved minis for newer techniques or experiments, and save the minis for the things that "I don't want to mess up" after I feel somewhat comfortable when establishing a technique or color scheme. Just a personal guideline, not a hard-and-fast rule though.
  5. Al Capwn

    CMON Zombicide: Black Plague

    October 6th (Clovis) So this is what happens when you completely slack off and play Rimworld for hours on end, totally forgetting you had painting projects! It is already the 10th of October! Yikes! With Nelly winding down in terms of small details (touched up the sleeves and footwear) it was time to get down to the last of the heroes, Clovis. Here is where I started, with a bit of zenithal priming and the face pretty much roughed in. (Sorry a little blurry here) I spent the late afternoon painting over at a friend's house to get the bulk of the initial color coats done, and a while later this is where we are at... So for the metallics, I ended up using my friend's Army Painter paints. Overall, I can honestly say they aren't bad. I still prefer Vallejo Metal Color, but overall the coverage was pretty solid and not too grainy/sparkly. I also used some Vallejo Armor Wash for some subtle shading, which is a Payne's Grey color - a blue-gray which for this application, I really liked a lot. I tried doing the belts in a black leather, but it just isn't working out for me. It blends in too much with the armor and thus everything looks like a shade of either silver or black, without a lot of changes in color. I will be addressing this by changing the color to something else to stand out. The cloak was mainly thin glazes over the zenithal, which retained some of the values, but I think I lost some of the contrast. I will likely need to come back and push the highlights some more to give a more dynamic look, but overall I am pretty happy with it. Initially it was way too purple, so I applied Reaper Clear Red over top a bunch of times to push the color more towards the burgundy of the artwork.
  6. Al Capwn

    CMON Zombicide: Black Plague

    Nelly - Continued (Sept 27th-28th) The next steps were working on the skin on her arms and feet, blocking in the colors of her shoes/sandals, and working in the colors and shading of her sword. I also blocked in the colors of the knife tucked in her apron. For the great sword, I wanted to go for a more "worn" look than the previous ones, like it was stashed in some dingy corner of the bar - so I added a bit more shading and less shine than the other instances. The next steps will be working on the white sleeves of the shirt, and finishing up her footwear.
  7. They were certainly sold and advertised as paint agitators. I am certainly not wanting to pursue legal action and I am giving the company the opportunity to make things right. At the end of the day, I am only out a token amount of paint and paper towels, an inconvenience of 2 hours of my time fishing them out of all the bottles, and some cosmetic rust in the paint. If they offered their line of paint in lieu of my purchased brand as a replacement, that would be acceptable. If they offered a discount to their line, that would be fine as well. To my knowledge, they are only sending replacement agitators, which is likely all I am entitled to if there are no damages, which is fair. I just wanted to make sure that there are no damages associated with the introduction of the rust, otherwise I would ...highly encourage (read: be the annoying customer, rather than the cordial one) ... some type of replacement/compensation.
  8. Ok, fair enough - but even after removing the agitators, and placing them into plain H20 they rusted and oxidized in a matter of hours - not typical surface staining that "true" SS usually encounters. It also was confirmed by the company that there was a mix-up in distribution, so I am pretty positive they were not stainless. That was the thing I was most concerned with, and so long as the paint itself is still a-ok with the oxidation, I am not going to sweat over it. Fun fact, using a super dense rare earth magnet, some of my paints were actually pulling onto the magnet. Similar to iron filings, so clearly there are some pigments that contain a ferrous makeup (such as VMC Dark Sea Blue/Periscopes, both super deep saturated turquoise/blues). I am a bit confused? As an equal-to-equal comparison, if Reaper sold the agitators on their website, labelled them as paint mixing agitators, are you saying they can respond with, "Well, you aren't supposed to put them in paint!"? That seems a bit disingenuous. That is the exact scenario I encountered. I didn't purchase them from a third party, such as eBay or Amazon, where the use or intent could be argued as ambiguous. I obviously haven't named the paint company, but at this point it wouldn't take much to determine who it is... That being said, it is a moot point if the oxidation does not significantly affect the paint, which is my primary concern. From a business/legal perspective, it seems like a can of worms to market something as intended for paint.
  9. So I have a bit of a quandary. I purchased some "stainless steel" agitators last year from a <reputable paint company> and it turns out that they were not stainless. A solid ten of my paints had a significant negative reaction and the agitators rusted in the bottles. I pulled them all out of the bottles after discovering the rusty dot at the bottom the paint bottles. I notified the company, and to their credit, they are sending replacement agitators that should be truly stainless, but at this point I am not terribly enthused to use them and simply go back to known-stable hematite. My question is: Does the introduction of rust ruin the paint composition in any significant manner? Should I seek replacements of the affected paints, or does the introduction of a minute amount of rust negligible? If the paints are compromised, would it be fair to request some form of compensation for the damaged paints? Thanks in advance, as I am not a paint scientist.
  10. As an anecdote, when I was working on blending a cape, Brice told me to hold it under the table away from the light to judge the contrast. If it all looks dull, or the same tone, it probably is all the same value/intensity and I should adjust (up and down). Since paint is working with light and how it reflects, having less light makes sense as another good way to judge it. That part of the science was a trip to wrap my brain around: I am not actually painting with a "color" but rather I am using a pigment that is rejecting/bouncing wavelengths...and yes, I know I should probably have payed more attention in science class.
  11. Al Capwn

    CMON Zombicide: Black Plague

    Nelly - Continued (Sept 22nd-23rd). I spent some time working on Nelly's corset as well as blending her apron. I used Scale75 African Shadow and Indian Shadow for the corset, adding a bit of white to provide the highlights. Man the Scale75 paints are crazy matte, still trying to determine if I like that or not. It just is so different... For the apron, I started with Reaper Cloudy Grey and then mixed up some layers with Reaper Ghost White. I wanted to go with a cool white to contrast the warm tones of the dress and corset, adding additional contrast. Today was tiny detail work, mostly introducing a bit more red and shading and highlighting into her hair. I used Reaper Golden Highlight as the hair highlight tone, glazing back over with Vallejo Orange Brown. I mixed up a bit of Citadel Reikland Fleshshade and Agrax Earthshade to make a reddish brown, and introduced that to the bottom part of the hair, where it turns back towards the shadows. I then glazed over the transition lines with more Vallejo Orange Brown to smooth out the transition.
  12. So my hobby space was getting cluttered; I had multiple sizes of paint/hobby bottles. Now, I could buy a pre-made organizer, but what would be the fun in that! Ladies and gentlemen, boys and girls - lets step into the workshop and remedy this issue... Step One: Come up with the battle plan. This space here needs to be hold an organizer. As you can see, I have larger bottles (Vallejo specials/Daler Rowney Inks), Tamiya Clears, GW pots, and the standard dropper bottle fair. Step Two: Find some scrap material to work with. I grabbed a piece of 3/4" Oak plywood I had lying around and took some measurements to see if it was a good candidate. Step Three: Get to work! I tossed in on my cross-cut sled on the tablesaw, marked the line (and always mark your waste/outside cut line to prevent confusion) and cut it down to size. This humble 2x4 will serve as the sides and shelf frames for the storage unit... I take it to the jointer to get a flat face and edge and we clean up the other side on the planer and the tablesaw. Then to the bandsaw to resaw the board. Resawing is cutting a board's thickness in half. Ta-da! Two halves ready to be used! Here are a few bottles to take as a means of reference to measure the shelf sizes needed. Getting a general idea of the shelf layout. Gluing up and tacking the shelves in place, adding in the trim to the front of the shelves to match the sides... All glued up and ready for sanding and a final seal coat! Sanded and a couple coats of Danish Oil later we have our hobby organizer! Have you constructed something for your hobby battlestations or otherwise? Foam? 3D printed? Welded? Any other DIY'er that have taken the plunge into focusing that into their painting hobby? Super-sized something from IKEA? Let me know!
  13. Al Capwn

    ReaperCon 2019 -- Classes I Would Take

    That is a fair enough point, and I guess I should clarify my own point of view. My suggestion would be entirely up to the artist who has already decided to do the work ahead of time, not necessarily a request that artists do this as a service for pieces they decide to embark upon. That is why I explicitly mentioned a WIP thread that explains technique that has already been done, as well as Derek's guide to eyes. This isn't recreating the wheel, rather it is condensing a lot of questions that I am sure many artists get into a FAQ or repository. Doug recently did so with the "Painter's Glossary" which I think is another great example. ...and I would encourage the instructors to share that information, which quite a few of them do, of course. This is actually very good advice, but it is coming from the voice of prior experience - as they say, hindsight is always 20/20. Story time! My first time at the convention, I was lost. I had no idea what to expect, what to ask, or what to really do. Heck, I barely knew any of the artists or their work - I was just gobsmacked at the level of detail and the willingness of the artists to help me out with my admittedly dumb questions. I was never on these forums, and most of my online knowledge revolved around YouTube tutorials. That means Miniac, Vince Venturalla, Painting Buddha (Ben Komets), Sam Lenz (Tabletop Minions), Kujo Painting, etc. - unfortunately, none of these individuals were at the convention to ask specifics, not that I would have known what to ask to begin with. This second time around, I had a better idea of who was going to be showing up, what their art looked like, and what aspects I wanted to try and learn to emulate - and planned accordingly. I am sure my third visit will be even more targeted and nuanced like how you propose, dialing in specific questions about a particular piece rather than general amazement and absorption and application of fundamental technique. The point is, there are always going to be newbies, who like me the first year, are going to be awkwardly lost and just simply won't know any better. That being said, I would say we are probably both "preaching to the choir" at this point. "Past me" wouldn't have seen this thread. I think the spirit of some of the ideas was meant to save time and effort on the artists/instructors, even if some of the ideas might seem counter-intuitive to that nature. That being said, I do agree that maybe the thread should try to regain its focus on the topical nature of potential information, rather than the manner of its presentation. There is such a thing as scope-creep, but I simultaneously I don't want to suggest "throwing the baby out with the bath water" to new ideas either. After all, isn't part of art about exploring new possibilities? Perhaps that could be in another thread altogether?
  14. Al Capwn

    ReaperCon 2019 -- Classes I Would Take

    Maybe a meet-in-the-middle approach? For artists who document their processes, perhaps there could be "business cards" next to their work, with a URL link to "the poster board". People can easily look at the work, go "whoa, how did you do that?!", the artist can say, "Thanks! Oh here, take one of the cards next to it; that link explains all the steps I took along the way!" and they can look at all the info directly associated with that piece on a tablet, laptop or phone. Not saying that the artist can't discuss the details if they wish, but you get the benefits of a poster-workflow, without some of the space and transport logistical issues. Basically, either just as a neat "value add" to artist row, or if considering a specific class forum - being able to tap into digital assets saves a bunch of physical space, while still allowing educational content to be presented. It is just the natural evolution from books to eBooks, DVDs to streaming, and CDs to MP3s. So either having work easily referenced in picture tutorials that can be displayed on a screen, or just convenient links to a picture/tutorial/reference repository of the piece. Obviously this only works for works that have picture tutorials tied to it, but I think that @Corporea current WIP thread would be a great example of that. Or like Derek's oft-referenced How-To for eyes, which is a forum gem for sure. I do think that a poster would add visual interest, but it also could eat into space. Not sure how much space is a commodity? I do like the concept though.
  15. Al Capwn

    ReaperCon 2019 -- Classes I Would Take

    Does this mean I get to make a baking soda + vinegar volcano?!