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Al Capwn

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Everything posted by Al Capwn

  1. Ehhh, yes and no. I think what @Cicciopiu is saying is that there are some colors that cannot be built off on the primaries. There are also hyper-bright colors that cannot be mixed. These neon colors are pretty unique. Long story short, it sounds like you are wanting to experiment with a limited palette. Wren did an article about this, and essentially you need a pair of Warm/Cool of the primaries, plus White/Black. Also a brown (such as Burnt Umber) I would highly encourage watching Draw, Mix, Paint on YouTube on the foundations of color mixing and color matching. Specifically Color Mixing Rules to Remember and How to Match Any Color with Oil Paint. The same rules apply to Acrylic as they do to oils. Individual colors are very useful for time purposes, colors that cannot be mixed (ultra neon vibrant colors) and for visually seeing the color you want immediately, rather than by building it up by experience. It also uses less paint in building up particular colors.
  2. I am not an expert, but I did stay at a Holiday Inn Express one time... @Wren had some good advice on how to apply fabric texture, which would be close to what I would try to do: https://forum.reapermini.com/index.php?/topic/74421-how-to-painting-fabric-fabric-texture/ My gut instinct says that this would be a good exercise to attempt some texturing, and I don't think it should be too challenging as the shape is a single cylinder. Maybe someone more experienced with textures would be able to chime in, as I am far from a texture expert. Otherwise I would eyeball some reference pictures of what looks cool and try to replicate that. Just depends on how much time you want to sink into that part, but as it is molded it is a a simple cylinder that will need a bit of love to have it appear interesting. Worst case scenario is you reset and cover the crosshatching and go with leather or alternatively glass.
  3. Very nice, cloak and tunic blending/highlights look very good in particular.
  4. Very nicely done, though it was already very good to begin with. The additional shading on the sword-side helps significantly with the contrast.
  5. You might have, but I didn't catch it? I did notice you tried three different Golden paints, with the most brilliant result coming from PY 74 (Hansa Yellow). I can certainly give it a try at home for fun, and I would imagine that most paints will react similarly. It is curious that it turns Green though, certainly not what someone would expect!
  6. Yep, the pacing is much better for me as well. Pretty fascinating that there is a historical basis for obtaining a solid green prior to the developments of more modern blue pigments. My question would be, is this a result of these particular Yellow and Black pigments (i.e. their unique chemical makeup) or does this apply broadly across different pigment types? I.e. Does this work with say <insert brand of paint here> Black + Yellow?
  7. May 25th Since most of the figure is basically super-ripped flesh, I applied a layer of Reaper Burgundy Wine, followed by GW Bugman's Glow, Cadian Fleshtone and some Vallejo Basic Skintone and Scale75 Pale Flesh. Which gave the following results: Applied a bit of Reaper Pure Black and Vallejo Blue Green for the hood and boots, adding increasing amounts of Blue Green and a little bit for some edge highlights and blending on the top of the hood. Added some glazes to ease the transitions a bit, but I will come back and clean up the lines a little bit with a darker mix to really smooth it out further. Rope was basecoated with Vallejo Flat Earth, highlighted with Reaper Golden Highlight, glazed back again, and repeated that a couple of times. Finally applied a wash of GW Agrax Earthshade to effective wash and darkline the surrounding area. The ripped cloth is basecoated with Reaper Desert Stone, and will ultimately be worked up to Linen White; but haven't got there yet.
  8. May 20th - The Abomination The last of the major players, the Abomination is on deck. Kickstarting off the process with a zenithal prime, with a little extra directed toward the face area. Color will be added to this spooky guy later this week, but this should provide a rough guideline of the shadows and highlights.
  9. May 19th Alright, wrapping up the final details and calling it a day for this guy. The only real step left is the flagstone pattern for the base, but that is easy enough that I will skip the WIP pics for that. I glazed over the staff with Vallejo German Black Brown to tone down the transition bit, base coated the skull...flag...thing with Vallejo Cavalry Brown, then added did the same highlighting as the sash with Reaper Golden Highlight, followed by glazes of Reaper Clear Red. Finally, added a wash of GW Agrax Earthshade and a bit more Reaper Clear Red to unify the colors. The neck-horn-things got a glaze of Vallejo Deep Sea Blue to soft down the spot highlight and darken the recess a bit. Cleaned up the skin tones of the hands with Scale 75's African Shadow mixed with Pale Skin, then added some GW Reikland Fleshshade. Basecoated his dagger with Vallejo Leather Brown, then added Reaper Candelight Yellow to add that same sickly leather look. The crossguard was Vallejo Model Air Steel, and Glorious Gold for the pommel and sheath. Belt cord was Reaper Linen White + GW Agrax Earthshade + highlight with Linen White again. Belt buckle was gemified with Vallejo Model Air Steel, GW Nuln Oil Gloss, + GW Technical Spiritstone Red Beard was Vallejo German Black Brown, highlighted with Reaper Desert Stone (I think). Beard wrap was Linen White + Agrax Earthshade (seeing a pattern yet?) Eyes were dotted in with Scale75 African Shadow; it was an accident but it gave him these deep reddish-brown pupils, which I thought was perfect. I will see about getting a better picture for the Show Off page for when I am done...sometime around 2021 at my painting speed...
  10. May 17th Another entry into the worklog, and I know eventually folks are going to get tired of seeing this dude. Thankfully we are on the home stretch, with only a few more details and a little more refinement to go before I am going to call him tabletop worthy. I applied a light application of GW's Reikland Fleshshade to his chest region, then added more Reaper Candlelight Yellow to his leather chest suspender thing to push up the contrast a bit. I added Vallejo Glorious and Polished gold to the accents. I cleaned up his Texas-sized belt buckle with Vallejo Silver and a light Nuln Oil Gloss wash. The second bottle was given a coat of Reaper Dungeon Slime, working in Retro Emerald and Turf Green into the mix to add a deeper green into the mix. It probably is still a little light since the twine wrapping doesn't stand out (that whole contrast thing) so I might need some Green Liner or something to add more separation between the colors. His arm wraps I tidied up, basing with Reaper Desert Stone and adding more Linen White, followed by a wash of GW Agrax Earthshade and finally layering up more Linen White.
  11. Nice, I like the pop color on those bottles specifically. I debated making mine green myself, since it seems more...plague-y?
  12. May 16th A little more progress, blocking in some colors and adding some of the rough highlights in some areas. I went ahead and touched up the staff twine wraps with Reaper Linen White, as well as on the twine on the bottle. The staff was basecoated with Vallejo German Brown-Black and highlighted a bit with Orange Brown. I will have to come back and refine the transitions a bit later. I base coated his armor and chain with Reaper Retro Slate, then applied Vallejo Model Air Steel, then apply a couple of washes of GW Nuln Oil to start the shading process. I came back and highlighted the edges of the armor with Steel again to bring out some of the vibrancy. For the leather bits, I wanted to mix it up a bit from the usual formula and really did some experimentation here. It is a mix of Vallejo Leather Brown, Olive Grey and Reaper (Lantern?) Yellow. I wanted something a little more...sickly? So the greens and yellows I feel lend to that. I think it helps separate it from the flesh tones as well, because of the green/red contrast vs. the normal red leather base I use? Maybe? Not a color theory master. I then applied a light wash of Agrax Earthshade to tint it back down to a brown tone and add a little more depth. The bottle is a mix of Vallejo Blue Green and Periscopes, which is a deep aquamarine.
  13. Remember the famous words of Douglas Adams' Hitchhiker's Guide to the Galaxy: Don't Panic. To be fair, not everyone is looking for realism. I for one prefer the outlandish fantasy "comic book" style over more "historically accurate". Not to say that I don't appreciate the talent that goes into that style, but I enjoy the vibrant colors of modern comics over more realistic classical pieces. I also would like to take a moment to motivate and encourage all those who are teaching: some people are taking your classes not because they only appreciate your technical talent with a brush, but also due to your personality, presentation and reputation.
  14. May 14th Alright boys and girls, bust out your 90s Jock Jams CDs, because it is the Return of the Mack... Work has resumed on the necromancer, this time around working on blending some brighter highlights for his bald dome with Scale75 Golden Skin and Pale Skin, as well as working in some flesh tones on his sunken chest and leg. I touched up his eyes with Linen White, and trimmed his giant bushy eyebrow back down to a manageable size. I took the time to use Reaper Red Liner and started black lining some sections; notably his chest area, leg, and around his hands on the staff. This will be cleaned up and refined a bit later, but this is to add a bit more separation. Shout-out to many of the instructors last year on that super helpful tip that I often skipped, or just left to washes exclusively... His horn thing...not sure what is is really, was done a while back, and contains a bit of Vallejo Black and I believe Deep Sea Blue? A very deep and saturated aquamarine color; similar to the Reaper Liners. I pushed the contrast up a bit on the red ribbon by highlighting the edges with Reaper Golden Highlight, then glazing over with Reaper Clear Red. I will likely do a couple rounds of this to get the red to a deeper saturation, as it doesn't show up very well on camera. The chain was basecoated with Reaper Retro Slate (desaturated blue-grey) and then given a coat with Vallejo Model Air Steel. ...and here is a shot from behind ...and just so y'all don't think I haven't been busy, I have been hard at work 3D printing and painting a bunch of stuff for a friend's copy of Gloomhaven. So far I have printed out currency, traps, pillars and treasure chests...
  15. Alright, back from my hiatus - here is a picture of the finally finished table. It certainly is not perfect, but I am pretty proud of how it came out. Now I just have to make a matching bench...but that is for later time.
  16. Fantastic start! I consider myself an analytical left-side brain personality, so I really enjoyed the science, details and comparison! Style reminds me very much like GGP Grey. Like robinh said, perhaps slow down by about 20-25% to give viewers time to catch up a bit. Otherwise, the amount of information to pacing is very good. Not too much to be overwhelming, but not too little as to leave a bunch of unanswered questions. Looking forward to seeing more!
  17. Hey, I am back from my hiatus as well! Only took a few months to be sidetracked building and finishing a table, so I should be back on the forums being a productive member of society again...hopefully. I've been busy 3D printing and painting up Gloomhaven terrain with a new resin printer as well, but didn't bother taking pictures during that time. My advice is to save your nice brushes for when you need them. Cheap brushes can generally apply basecoats and roughing in of colors just as easily as an expensive one. Where the natural bristles shine is in how they handle thinner paints and keeping/holding a fine point. Each brush stroke you use on your $1.00 brush is one brush stroke you save on your $15-$20 brush's life. Also, welcome back!
  18. Yeah, there are a couple of hobby shops that have some table toppers that function similarly. I really wanted to purchase a Geek Chic table, but they were 1) very expensive and 2) went out of business. When the plans came out for this table, I jumped on it...then promptly sat on them for a year or two. This year I finally got the gumption to start on the project. The inside is actually an insert of 1/4" ply, 1/4" foam and a layer of poker speed cloth applied. To be fair, the cloth is closer to a marine-outdoor fabric rather than the smooth poly/felt blends that actual casinos use, so I will likely replace it with something that is a little more "slick" when I have the chance. With exception to the bottom of the table, and what will be the top panels, this is made out of solid Cherry, so up to the same "heirloom quality" that GC sold. The accessory rails will come into play later on when I make the obligatory cup/wine glass/tablet/book holders. Here is a picture with the insert removed. I haven't applied any finish to the cherry ply bottom, so it looks almost white compared to the rest of the table. and should look something like this when done (although I plan on doing 3 panels, with Sapele for the accent wood):
  19. I have been busy in December, and there has not been a lot of free time to post, but I thought I would share a preview of what I have been up to.... More details and notes to follow. Original plans by Marc Spagnuolo (aka The Wood Whisperer).
  20. Taking classes, and actually taking time to practice the tips and techniques learned. I can't count how many videos I've "watched" compared to practicing the techniques demonstrated. Posting work is helpful, as it provides a log of your work and something to go back through to catalog your progress. I've tried to put in enough details for "future me" to look back on and understand what I was thinking and what my processes were. Maybe they will be the same in the future, maybe they will change. Who knows. It also provides the readers with some rough guides if I manage to execute something well. I would also say to establish goals and deadlines, and having a definition of what "done" is. Endlessly tweaking a mini is likely the answer for competition, but if you are painting for a board game, there has to be an acceptable level that you must yield to. For what it is worth, I have been on a temporary painting hiatus as I am working on building a gaming dining table...so my cycles are all in the woodshop at the moment, but I will be back at posting my own progress soon...ish. So other advice would be: don't have too many hobbies taking up your precious time!
  21. I posted a paint rack that I ended up making in one of the threads here (pa-chow: http://forum.reapermini.com/index.php?/topic/82762-welcome-to-the-workshop-picture-intense/) You have a few different options, design-wise. The first rack I made was using a drill press and a forstner bit; the forstner bit will allow you to cut the perfect circles with the flat bottoms needed. I believe the one I used was a 1" bit - but I can double-check. I recycled a 2x6 pine board that I had, so really inexpensive. The second storage unit I made, I decided on a smaller "bookshelf" style design; so more vertical storage. You can cut rabbets/dados on a table saw relatively easily. You could use plywood or solid wood, both would be fine. You shouldn't need any nails or screws - wood glue should be plenty strong provided you have a good glue surface (not end-grain).
  22. For me, the textures are what stand out to me. The back of the cloak, as well as the worn leather bits. What aspect/detail was the greatest challenge of this piece?
  23. Pre-2000, I would have thought of Command & Conquer. Post 2000, I would take it as comments & criticism/critique. Like Guindyloo mentioned, I also believe there is a good point in encouragement being celebrating the effort, and not really the results. Lots of people put a lot of time into their work, and some people are able to execute more techniques in that same span of time. The number of hours doesn't necessarily change. Personally, I post my work because: 1) I feel it is of a quality I am not totally embarrassed to show. 2) Provides a log of my progress, in a notebook of sorts that I won't lose. 3) Hopefully give inspiration to others if I executed something well. I believe most people put a small "disclaimer" regarding what they are seeking improvement on because they may be aware of other aspects that they are not seeking to work on at this time. For example, if I am asking specifically for feedback on improving say, blending skin tones, I am not looking for advice or suggestions on how to paint eyes or pupils. It is "out of scope" in terms of the request for critique. I think some folks (myself included) prefer to define aspects of technique execution they are actively working on. Information outside of that scope doesn't help troubleshoot problems that are actively being worked on. If it is an "open" request to critique and pick apart the paint job, then sure, fire away. I do have a few cautions when offering critique specifically. One, is that it is very easy for people to pick out the faults, rather than acknowledge when things go right. <Insert Heath Ledger Joker Meme Here> It is equally important to reinforce the good as well as offer advice on how to correct mistakes. I am not saying to offer undue praise or "blow sunshine", but rather to acknowledge and reinforce aspects that are being executed well. Two, on the internet nobody knows you are actually a dog. Meaning anyone can be the biggest know-it-all and simply press e-glasses up their nose and offer unsolicited advice where it is not wanted. They may or may not know what they are talking about. Furthermore, not everyone has the same level of diplomatic tact with the written word, and not everyone interprets written words in the appropriate tone. As we have been on the internet for any length of time, we know "flame wars" or even simple disputes often erupt from effectively nothing, usually due to a lack of vocal inflection to impart intent. I tend to believe that may be the reason for an overabundance of caution. All in all, I think that critiques can be honest and genuine while also simultaneously being positive and encouraging. Critique should be aimed at improving an area where a painter is seeking improvement. So it is best proffered in response to a prompt, i.e. "Why do my layers have tide marks/visible lines?"
  24. I've tried all of the things you have mentioned and I generally tend to default back to a pre-made wash. I use GW, friend of mine uses Army Painter - both quite good. This tends to work the best in textured areas; faces, chain/chainmail, fur, ropes, etc. It is almost worthless for large flat areas (cloaks/capes). I sometimes will use something like Reaper [Blue/Brown/Red] Liner for "manual" dark-lining certain areas, such as the the flats of capes/cloaks. As an example, we did this in both Coulson and Markon's (Kuro Cleanbrush) classes at ReaperCon. With inks, they tend to "leach" into existing paint and the surface tension tends to cause them to "stain" or "tint" an entire surface much more than a traditional wash would. This means I find them poor for washing purposes, but great for glazes and boosting the intensity/saturation of an existing color (i.e. red ink over red paint to boost the intensity of color). Thinned paint, for me, tends to act like a diluted ink - staining an entire surface more than running into recesses. It can still work with a bit of fiddlin', but I find that the contrast is not nearly as stark due to the surface tension issues.
  25. December 2nd (The Necromancer) Rumors of my demise have been greatly exaggerated! I have too many hobbies, and between that and the holidays, I have been away from the painting desk. I finally picked up a brush again and after touching up the belt buckle on Clovis, I figured I would keep moving along so that these minis actually get painted before Zombicide: Invader comes along sometime in Feb-March. The usual zenithal priming setup, but this time I added a bit of black wash and re-applied the white highlights on top. This was to add a bit more depth into the recesses and areas to quickly black-line to get an idea of where the outlines should be. Front: Back: I started working on the mini using layers of Reaper Twilight Purple for the robe, introducing a little Vallejo Black into the mix for the deeper shadows. I then airbrushed some Vallejo Mecha White back over top, and repeated this purple glaze over white routine a bit to boost contrast and add highlights. Beard is done with Vallejo German Black-Brown. The eyebrows on this guy are pretty huge, but I still overshot them a bit and need to come in with some magnification and clean up. Skintones were done with the Scale75 skintones set, using Indian Shadow, Basic, Pink and Light skin tones. The skulls were coated with GW Screaming Skull, which contains a fair bit of Gray in the mix - if you mix Vallejo German Black-Brown, instead of pushing more towards Brown, it starts turning more Gray. This has been my first "gee that is weird" interaction with color mixing. It still works out, just not what was expected. Ribbon/sash is base coated with my perennial favorite, Vallejo Cavalry Brown, which will be worked up to a bright red in the next steps. The first phase of the handwraps were given a light coat of Reaper Linen White and given a light coat of GW Agrax Earthshade, as were the skulls in hand and staff. So with all of that, here is phase one of the necromancer. Still a lot of work to do, but getting a rough idea of how it is coming along.
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