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AntiMatter

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About AntiMatter

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    http://www.lonebrushman.com

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    Miami
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  1. Ogre Guard 77456

    Thanks folks. I also tried these liquid paint from which is essentially the same thing as the inks. Dr. Ph. Martin's Spectralite https://www.amazon.com/dp/B015X0D61G/ref=sspa_dk_detail_0?psc=1&pd_rd_i=B015X0D61G&pd_rd_wg=1GwgP&pd_rd_r=KKVRCFTP7F61PGJ28M38&pd_rd_w=vK4Fa
  2. Ogre Guard 77456

    Here is a painted Ogre Guard done mainly in washes and glazes of Liquitex inks. I really liked this sculpt and Bobby gave the model some real character. The Bones model was also really solid. There was a strange bit of miscast on the skull on the front of his belt so I made it into a jelly bowl for some squashed hobbit jelly.
  3. Tips for painting larger "minis"

    You may want to consider using washes and glazes of inks to bring out textures, like scales. Smooth surfaces like wings still require blending but many large creatures with textured surfaces can be done really efficiently with washes and glazes. Here is an old example a dragon done this way.
  4. Ol' Ginny Greenteeth - the Sea Hag

    Hi folks, Here is my painted version of the Sea Hag, Ol’ Ginny Greenteeth for the Nereids of Blood Reef, for DeepWars. It's a pre-production model as the final one is coming out later. She was done with a lot of washes and glazes over a “zenith-primed” base. Most of you already know how this is done, with a base coat of black primer all over, then white primer sprayed from above to simulate how light falls on the model. The skin was started with Phthalo Green ink + black paint + Matte medium. The clothing was started first with an olive hue, made with an Ivy green paint mixed with Burnt Umber and Burnt Sienna ink. The skin was highlighted with the green ink + a light golden white (Buttermilk color – Americana brand) and white. This clothing was highlighted with addition of the golden white paint. Kelp was painted with additional Ivy green and highlighted with a touch of yellow and buttermilk. Shells were glazed with golden white and then glazed with Burnt Sienna ink before getting edge highlights with pure white. Her hair was done with a “Sea Foam” color, which was Phthalo green and a touch of Phthalo blue ink and white paint for the base, then highlighted with white. The base was done with a light glaze of Burnt Sienna ink over the rocks, then let dry, while the spiky coral was painted with Deep Violet ink. When all dry, the rock was washed with Phthalo blue ink. The crab was painted with a light glaze of Burnt Sienna ink, then Pthahlo blue on the back shell and highlighted with thinned white. The worms were painted with a blue-purple gray, highlighted with white.
  5. Vanguard Scout and Crabby

    Hi folks, A couple more here, done with washes and glazes. These were given a zenith prime with black all over before white from above. What we have here are two new models for DeepWars, the Vanguard Scout and the Ethereal Thotag Crab. The Vanguard Scout armor was first given a base wash of Burnt Sienna ink while the weapon, respirator and scale armor were done in bright gold. Skin, tentacles and the crystal warheads were painted with Cerulean blue ink. The cloth on the back was given a light wash of Ivy Green paint. For the crab, the carapace was washed with a mixture of Turquoise ink and white paint on the top and golden yellow and white paint on the underside, having them overlap a bit a the middle and on the face. The Chelae were painted with the Turquoise/white mix with a bit of Phthalo blue ink mixed in. Next, the scout was washed with 50% Phthalo blue ink mixed with a bit of black paint and 50% Liquitex matte medium. This glopped on and got into all of the cracks and tinted the shade down a lot, though leaving an orange hue to the armor. The metal parts were washed with 50% Burnt Umber / 50% matte medium while the cloth was washed with a mix of 50% medium and 50% Dioxazine purple ink mixed with a a bit of Sap Green ink. when it was all dry, the armor plates were glazed with Burnt Sienna ink and the edges of the armor plates and barnacles were then painted with an golden white (Americana brand Buttermilk). The biofouling growth on the armor was given a light glaze of Sap Green ink after highlighting with golden white. After the armor was highlighted. The metal parts were highlighted with bright gold and silver, with some gems done with Phthalo green + a bit of yellow, given the classic "gem" treatment with shadows and hotspot highlights. The skin on the feet was highlighted with thinned white mixed with Cerulean blue, adding a few lines for texture. The crystal warheads were washed with Turquoise ink first to shade them, then highlighted with white and shaded a bit on some of the facets with thinned black. The cloth was highlighted with Ivy Green paint mixed with golden white, adding a bit of crosshatch texture here and there with very thin lines. Tentacles peek out from under the armor here and there and they were shaded with 50/50 Phthalo blue ink + medium, with the tips glazed with magenta ink. Highlights were applied with thinned white paint by making small lines across the tentacles and a single line along the bottom on each side. The base was first washed with Burnt Sienna paint (Golden Fluid acrylics), a shade less saturated than the ink. Then, the rock parts were washed with Phthalo blue ink + matte medium (50/50) while the vegetation god Sap Green ink, the sponges Magenta ink, some little mussels with Dioxazene purple ink and the shelf coral 100% Burnt Sienna ink. This was all done fairly wet so some colors blended into each other. Highlights were applied when everything dried, using golden white and then white for some hotspots. Fine lines and small dots in thinned white were added all over the rocks for texture. For the crab, Washes of Turquoise ink + Phthalo blue ink + matte medium (40/10/50) were applied on the top of the carapace while the bottom got some light washes of the same mixture but with 90% medium and about 10% ink. The Chelae were washed with some additional blue ink. Highlights were applied using golden white with some pure white paint on hotspots. The eyes were the main feature and are just classic gem style using red paint with dark red shadows, orange highlights and a white hotspot highlight. The base was meant to be a shadowy sand bar, so it was painted all over first with golden white then allowed to dry fully. When dry, it was washed with Phthalo blue ink + matte medium (20/80) and allowed to dry. Then fine edge highlights were painted along the rand ridges with thinned white. Here is a combo shot with them both so you can see the size difference.
  6. Sea Serpent Step-by-Step painting

    Thanks, glad you all liked it.
  7. Sea Serpent Step-by-Step painting

    Hi all, Here is one more step by step painting tutorial for the Sea Serpent for DeepWars, Blood Reef. This scaly creature is related to dragons so it has very heavy scales that work well with washes and glazes. Inks are Liquitex Pro inks and the Matte Medium is by Liquitex. Paints are Golden Fluid Acrylics. White and black are standard Americana brand craft paint. The first step was to paint the whole body in a light yellow shade over white primer, leaving only the mouth white. This was left to dry. Next, the body was given a wash of Pthalho Green ink, mixed with a touch of Sap Green ink, mixed with Matte Medium and water. The fins and mouth were washed with a Magenta ink, medium and water mix. The ratio of ink/medium/water was around 40/40/20. This was allowed to dry fully before the next step. Now comes the ugly step of shading down everything. The body, fins and mouth was washed with a mixture of Violet ink and a bit of black paint to darken it, and mixed with medium and water. The ratio was 20/30/50, so thin enough to go into all of the cracks but not so dark that it stained all of the green into oblivion. This was allowed to dry fully before moving onto highlighting. Finally, the step that makes everything pop out of the shadows again. The scales wee lightly drybrushed with wet layers of a mixture of Cerulean Blue ink, Sap Green ink and white paint. This was like a drybrush with a glaze, with the mixture at around 20/80, paint+ink to water. The key was to try to be subtle and give a bit more softness to the shading on the scales. The idea is not to paint completely over the green scales though or even to add a bright blueish highlight. After the glaze-drybrush, edges were painted in thinned white paint using the tip of a brush. This seems a bit tedious but is quicker than you may think since only the portion of the scale facing the light needs to be highlighted. Some scales on the neck behind the head needed a bit more highlight in the center, so a very thin glaze of thinned white was applied with the tip of the brush. The mouth was given washes of black to shade it more, then highlighted with thinned white, then glazed with Magenta ink. The tongue was shaded with Dioxazene purple ink, then highlighted with Magenta ink + white. fins were highlighted on the edges with white, then had some tiny white dots added for additional texture. The eyes were done with yellow over white, shaded with Burnt Sienna ink, then given a black slit pupil and hotspot reflection of pure white. To finish things off, the body was shaded with glazed of Deep Violet ink + black paint + medium and water (20/40/40) ratio of color, medium and water. adding the color more to the bottom of the body. An additional glaze of Pthalho Blue ink was applied to deepen the shadows. When these glazes dried, some scale edge highlights needed to be re-applied. The base was done with Raw Sienna ink first, then when dry, given a wash of Pthalho Blue ink + medium and water. Corals were glazed in Burnt Sienna ink and Violet ink. When all dry, it was drybrushed with a light golden sand paint.
  8. Step by Step painting the Silver Death fish

    Thanks! The base actually comes with the mini.
  9. Step by Step painting the Silver Death fish

    No, they are just regular colors.
  10. Hi all, It has been a while since the last post, but here is a quick, step-by-step painting guide to the Silver Death Fish for DeepWars. This model is suspiciously similar to an ancient Xiphactinus fish, but has slightly different fins, with a few finlets near the tail like a tuna. This model was primed in white and painted using the techniques very similar to the Dire Fish-Lizard from the AMG painting guide, Painting Scaly Beasts. The key was to use washes and glazes to give it the basic colors, then lighten sections with thinned white paint and make edges pop with pure white. The majority of the colors were Liquitex Professional Acrylic Ink, while paint was Golden Fluid Acrylics and Americana white and black. All ink was mixed with Liquitex Matte Medium and water to give it more body to flow into the cracks. Otherwise it tended to stain the scales instead of flow into them. So the first step was to paint the upper sides, back with very thin washes, almost glazes, of Deep Turquoise ink and medium. The mixture was around 20% ink, 40% medium and 40% water. These are not exact numbers, but the mixture was light enough to apply color and flow into scales but left a lot of lightness. A key here was to set the model upside down while it dried so the color did not flow down the entire body. When it was dry, the next color applied was Quinacriadone Magenta ink, painted in a very light glaze around the middle of the body and onto parts of the head and the fins. The mixture was more about the same density as before but less was held on the brush so it did not run everywhere. The model was held upside normally while applying this glaze also. Next, The head, belly and lower body was painted with a glaze of the original turquoise mixture. Finally, a wash of Pthalho Blue ink (same medium and water percentage as before) was applied on the top of the back. The model was inverted and light brush strokes were used to push the glaze further down the back and blend it with the Turquoise scales. The next step was basic shading, done with more glazes or Pthalho Blue ink on the back and Turquoise ink on the sides, going over the Magenta scales. This glaze was very thin, closer to 10% ink, 40% medium and 50% water, with the here to tie all of the colors together with blue. Also applied were glazes of black paint mixed with Pthalho blue ink onto the top of the back and in the mouth. It looks pretty messy now, but you can make out the basic idea of the light and shadow. When all of the color had dried, the next stage was adding basic highlights. This was done with slightly thinned white paint, maybe 60/40 paint and water, applied lightly onto areas that would reflect light. This mixture was used with very careful drybrushing in multiple layers on the scales to build up edge highlights. It is important to brush perpendicular to the scales and not scrub in all directions here as otherwise the scales just get a coating of white. The goal is to just do the edges of the scales lightly and build up layers. Also, a glaze of white was applied along the upper third of the body to increase lightness there, allowing it to flow into the cracks and all. This glaze is just paint and water and was "scrubbed" around a bit with the brush to blend it. This technique is also called "feathering" but is basically just quick brush strokes to reduce the sharp edge of the glaze. The final stage was done with edge highlights of more white paint, mixed with less water, around 80% paint, 20% water. This mixture was used for some edge drybrushing on the scales, and on the fins and teeth, with some additional black paint glazed in the mouth and around the base of the teeth. This mixture was uses with a fine brush to pick out scales using the tip of the brush to add highlights where the drybrush missed. Some pure white paint was used on scales that were lightened in the previous step. On the fins, the edges were highlighted with 80/20 white, but some fine line details were added with 50/50 white using a fine-tipped brush. To finish off the glazes, a light mixture of Raw Sienna ink and Primary Yellow paint (10% color, 40% medium, 50% water) was applied along the middle of the body, above the magenta section, and on the head and around the eye. The eye was painted with a mixture of yellow and white paint, with a black pupil and a tiny dot of pure white for a hotspot reflection. The base was done in steps similar to the body, with a wash of Burnt Sienna paint, medium and water (20/40/40), then when dry, two washes of Pthalho Blue ink (20/40/40) to build up color. The base had some small cracks in it that were filled with extra Matte Medium and allowed to dry, then painting over them. Sections of sponges were painted with Pure Burnt Sienna ink and the starfish was done with Dioxazene Purple ink + white paint. Some Sap Green ink was applied as a glaze to add more color to the rock.
  11. Hi folks, Here is an abbreviated step-by-step guide for the Dark Mariner Cephalid Ethermancer, a summoner of foul entities of the void. The model was painted with the glaze style, starting with a white primer coat. The first base layers were very light, doing using mainly thinned paint or inks. The carapace was painted with Golden Fluid Acrylics Indian Yellow mixed with some Reaper Golden highlight, as was the front trim of the robes and the eye on the hand. The tentacles were glazed with Cerulean Blue ink (all inks used are by Liquitex). The ethereal eruption coming from the side was glazed with Magenta Ink + a touch of Cerulean blue and white paint. The inner robes were glazed with Dioxazene Purple ink + white, while the metal belt and buckle were painted with Bronze ink. The "shirt" was painted with thinned English Ivy Green (Americana acrylics) while the sleeves were painted with a grayish mixture of blue, purple green and black paint. The hands were done with a thinned blue-gray mixture (Cerulean Blue ink, white & black paint). The crystals hanging from the belt were painted with Deep Turquoise Ink. Finally, the staff was painted with Reaper Golden Highlight and the top statue was glazed with Sap Green ink + black paint + white paint to make a bit of a jade appearance. The next step was to shade down everything. The blue tentacles were washed with Phthalo Blue ink mixed with some black paint. When dry, the tentacles on the face were glazed with a bit of Magenta ink under the faceplate. The "sprouting" tentacles were washed with Phthalo Blue ink, then when dry, with some Dioxazene Purple ink. The carapace was given a thick, gloppy wash of Burnt Sienna ink + Matte Medium, then when dry, it was washed with Phthalo Blue ink and Matte Medium. The goal was to have t pool in all of the recesses smoothly. The staff was washed with Burnt Umber ink, as was the golden trim of the robes in front. The robes were washed with thinned black paint + Burnt Umber ink. The eye on the hand was washed with Burnt Sienna ink to make a the orange rim. The Metal was washed with Burnt Sienna ink + Black paint. Now comes the long step. The washes and glazed needed to dry completely before starting the highlights. most highlights use opaque paint, or semi-opaque mixtures of paint and ink. The Carapace and front robe trim was highlighted with Reaper Golden Highlight + White paint, with final highlights of pure white on hotspots where the light would be striking from above. Some Sap Green ink was glazes on the patches of barnacles and algae on the carapace, then the edges of the barnacles were highlighted in white. The staff was drybrushed with Golden Highlight + white paint, then glazed down a bit with more Burnt Sienna ink and a bit of Sap Green here and there. Each blue tentacle was highlighted with white paint, mixed with a small amount of Magenta Ink. The tips of the blue tentacles also got a touch of Megenta to vary the color tone. To do the highlights, the tip of a small brush was used to paint lines along the tentacles, giving them more definition, then the suckers were highlighted. Small line reflections were painted from the tip to further back each tentacle also. The "sprouting" tentacles were highlighted with White paint + Megenta Ink, up to pure white, with some blending done with multiple layers of thinned paint. The inside of the mouths were glazed with dark red paint (red + black) to add contrast. The skin on the hands was highlighted with blue-gray paint + more white on edges. They eye was painted like a gem with lighter yellow + white paint on the bottom and darker orange-red on the top. A small vertical pupil was added, the a large reflection hotspot near the top with pure white paint. The robes were drybrushed with Golden Highlight + White paint, then glazed with Purple and Green ink to add some more color tone. Edge highlights on the robes were done with pure white to make them stand out. The metal was highlighted with a bit of silver + gold paint. The crystals took a bit of blending to complete, using Turquoise Ink mixed with white to make the gradients. Edges were painted in pure white. To show that they are glowing crystals, the area around them was drybrushed with some the the Turquoise/white mixture (staff, robes, trim, belt, arm, fingers). The statue on the staff, which was highlighted Sap Green + Gray + white, up to pure white. to finish it off, the Base was done with a quick method. The rocky parts (no coral) was given a wash of Pthalo Blue ink and allowed to dry. The coral was washed with Burnt Sienna Ink and allowed to dry. The rock and coral were drybrushed with Golden Highlight + White paint. When dry, the coral was glazed with a touch more Burnt Sienna ink while the rock was glazed with Sap Green, Burnt Umber and Dioxazene Purple inks. Some white dots were added as final highlights on the rock.
  12. Sharky

    Thanks for the comments!
  13. Sharky

    Hi all, Here is a short guide on painting a big shark model, the Beast of Blood Reef. The model was first primed in white, no zenith priming or anything like that. The reason was to make it easier to keep the white belly on the bottom. Fish and sharks are countershaded so that they are darker on the top than the bottom. Zenith priming could be used by spraying at the model upside down, but there is also the sharp delineation of dark and light for sharks to consider, so a gray gradient would make it harder to do that. The first coats were done with a mixture of Cerulean Blue ink (Liquitex Pro ink), Raw Umber ink and black paint. The mixtures were varied, with more black and blue on the upper back and more umber closer to the mid-line. The mixture was thin due to the use of inks, but was a very strong color, so it was painted on with long brush-strokes. There was no real blending going on as they tended to make the paint very patchy, so the idea was just to quickly apply paint like a watercolor painting. The color was painted down to the edge of the midline, where the counter-shading switches to white. Below that, a mixture of Cerulean Blue ink, black and white paint was applied and blended to make a gradient darkening under the shark, where more black was mixed in. This creates the shadow below, so the overall tone goes dark - light - medium from top to bottom. It is fairly ugly at this point actually, but the colors are blocked out now. The next step was to smooth out the top gradient, adding more layers of blue+black+umber, with some white mixed in to help add some opacity where there the ink mixture was streaking. It took a few layers of this to smooth it out. The flanks were highlighted with thinned white and the edge of light and dark was cleaned up. The major part of this step was adding highlights to the scratches using thinned white paint, adding them to the bottom edge to make it appear like light from above was striking them. Lots of little scratches, dings and dots were added for texture to the skin. inside the dings was added thinned red+black paint to make the wounds appear fresher. The older dings were shaded with a glaze of black paint + Cerulean Blue ink. The mouth was painted with thinned pink paint on the gums and a bit on the underside of the nose, then black+red was used to shade around the teeth, which were finally highlighted in a few layers of pure white, building up to the tips. The most important highlight was done along the lower back about 1/3 of the way down, using thinned white paint in an airbrush. This is the diffuse reflection on the shark from the light above. It would have been done with multiple layers of white paint using a brush and a lot of blending but I was in a hurry, and the airbrush makes this step simpler. Some splatter from the airbrush needed to be cleaned up but it worked out well enough. Finally, the rope was given a thin layer of a golden bone color (Reaper Golden Highlight) and the hook a layer of bronze metallic ink (Liquitex). These were then shaded with pure Raw Umber ink. The last steps were more of of the same, adding more edge highlights with thinned white paint, enhancing the shadows with thinned back paint and a bit of blue ink. The broken harpoon and spear stuck in the beast were painted with a light tan first, then let dry, then glazed with Burnt Umber ink a few times to add some deep brown color. A few thin black grain lines were added along the length of the shafts, which were then highlighted with a very thin line of white paint on the bottom edge. The ropes were pained with Golden Highlight and shaded with Raw Umber ink. Highlights were done with a mix of Cerulean Blue, Burn Umber and white, applied in thin glazes. Some white edge highlights were added here and there, then some Sap Green ink was glazed on the parts where the rope and metal fixing was attached to the shaft of the harpoon. Sap Green was also glazed on the spear shaft in a random pattern. The eyes were painted with thinned black to start, then with a central area covering most of the eye with a mix of Cerulean Blue ink + white. When this dried, layers of thinned black were added to the center of the eye to leave only a thin circle of light blue. The eye had a diffuse hotspot reflection added near the top with thinned white. This is not meant to be as bright a reflection as a eye would have on land. The last step was the base, which was painted with a mixture of red, orange, yellow and magenta inks for the corals, and Sap Green ink for algae. Shadows were added with thinned black paint, Burnt Umber ink and Phthalo Blue ink. highlights were drybrushed with Golden Highlight + white paint, up to pure white paint for some edge of the corals.
  14. Kalath the Reaver - Step by Step Painting

    Here are shots of the sculpt. I used FIMO classic to make the dinosaur fist, then cast it in resin to have something to sculpt the armor. The rider was FIMO also.
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