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Everything posted by awong

  1. I've heard on this, and other boards, mention of Painting Groups/Clubs. I'm curious, as I was a "painter in a vacuum" prior to the Internet, what goes on at these meetings. Do people just show up with their figures and racks and racks of paint, settle in a chair and start painting? or is there usually an adjenda or tutorial/lesson offered? I know that looking at other's work and technique must be inspiring and I'd bet that skills develop in leaps and bounds. I used to visit a local IPMS (Intern. Plastic Modelers Soc.) and they held monthly contests, guest speakers, sellers tables, sometimes tutorials, etc. I'm guessing that these Painting meetings aren't quite elaborate as that. Do you meet in private homes, hobby shops, rented conference rooms? Does one member provide paint or does everyone BYOP. Lastly...is there a directory of existing Painting Groups somewhere? Well, back into the vacuum. Thanks AWhang
  2. I'm a little confused, not being a brush licker myself...what is the purpose? I'm assuming that one isn't licking a brush fully loaded with paint to wick off excess paint or reshape the tip prior to painting (although to read some of the posts, maybe). Is everyone licking the brush after rinsing a color off, to reform the tip, then dipping in paint (hoping the tip stays sharp), then touching to a towel/rag to wick excess, then apply paint? I usually rinse/clean a brush, then just pull it along my towel/rag to form a point, pick up paint, wick, then apply. The brush, having just come from the rinse is moist enough that a quick trip to a rag is all it needs to reform the tip. Is it to help reconstitue drying paint? Are you painting on an empty stomach? Sorry, just trying to understand this interesting phenomenon (you have to admit, it is widely practiced) Thanks AWhang
  3. Thanks everyone! So printer's ink isn't really ink...its a metallic powder Something to experiment with. Thanks Clay, those links will come in handy when I get a chance to experiment. Now, I wonder if I can return my block printer's inks Thanks AWhang
  4. Hello, I've been reading and I've come up against this a few times now. Apparently, some painters use "printer's ink" for their metallics (silver and gold). Oddly, I've never been able to figure out a brand name. I went to my local art store and when I asked for "printer's ink" they directed me to water soluable block printing ink...which I'm sure isn't what is being written about (most references use this mixed with Humbrol or Oil Paints, which makes me think the ink should be oil based). Anyway, if anyone has any idea as to what people are going on about, specifically a brand name that I can research, I'd be most appreciative. Techniques for use would be good too. Thanks AWhang
  5. The stop sign rule that Claymoore is talking about can also be found in Accion Press books' - EURO-MODELLISMO MONOGRAPH, HOW TO PAINT IN ACRYLICS VOL.I Oddly, the pictures do a good job of illustrating the concept while I can't find any text referencing the pictures (very weird editing for this set of books). But, studying the illustrations should help. The nice thing is, it should still be in print. See Liliana Troy's site under Painting References for a description and pic. Thanks AWhang
  6. I hope this isn't bad form but CMON has a very nice article by Bobby Wong on the subject. It's a great read. Thanks AWhang
  7. DM, drawing classes, if they deal at all with perspective and the construction of proper perspective, will teach you all you need to know about the horizon line and its implications. There are many good "how to draw" type books that also deal with perspective (and by association, the horizon line). The "perspective for comic book artists" are especially fun. Anyways, drawing courses can definitely help even we, who deal with colors and 3D :) If you have some time, I'd dive in and give it a shot. Thanks AWhang
  8. sorry about the text color. Thanks AWhang
  9. Thanks to everyone for their replies. It's a tough subject to describe/articulate as WhizH pointed out. That may be why, in all my references, I've only seen it refered to once. It definitely is an area that I'm going to have to work on! Thanks AWhang
  10. I'm wondering if, along with consistency of paint, whether or not the way the paint is "placed" makes a big difference. I've been reading about miniature painting for ever (part of my "vicariously modeling" campaign:) ) and I recently read about how the authors apply the paint (moving from the area of blending to the area where the highest concentration of paint should be E.G. base to highlight, base to shade)...like markers, the end of the stroke seems to leave the most paint. I've actually never thought about "how" I lay my paint down...I'm wondering if anyone else does. Stippling, scrubbing, brushing with the tip, using the edge of the brush, really wet, really dry, and most importantly, when you'd do what. Incidentally, I'm reading the Modelismo Monographs on Acrylic Painting...if you can get through the flowery text, most of which describe (?), the images and few pearls are well worth the price. Thanks AWhang
  11. After rolling out the greenstuff, let it cure for 30-45 min. It'll start to harden a bit and it'll be a bit easier to lay it over the figure and will better retain its shape while you tease it into form. Thanks AWhang
  12. Although I like the idea of a modular book, I don't want to be nickeled and dimed to get the thing. I think what Crusoe is suggesting is very neat and I've seen this done as cut out supplements in magazines, (E.G. FineScale Modeler) but I'd like to buy the thing in one go. I'm willing to bet that buying a book in installments, even if one were to forego sections deemed unnecessary, could end up costing quite a bit more than annuals. Another picture book might be good too, but I think CMON's annual would cover that nicely (although, one can never have enough of really well painted references). I have to say, for the price, CMON's annual is a great reference and source of inspiration! I'd put my vote in for a techniques book. Definitely feature/bio the artists and get their comments (sidebars) and good, large, clear, relevant photos. Thanks AWhang
  13. Having seen the GW book and bought the CMON one(x2), I'd like something with well organized hints, tips, and tricks, and geared toward improving techniques. A bit more advanced than your standard "...here's a paint brush...here's a cup of water..." level. I think a really good, well rounded, techniques book is hard to come by. If you could swing the licenses, a full color chart that brings together Reaper, GW, Vallejo, Tamiya, Folke Art, Yadda, yadda would be peachy (I know I'm just dreaming but what a resource that would be!!) Needless to say, the tutorials would need to be well documented with decent sized pictures (preferably taken by a second party). I'm not sure whether tutorials should be organized by completed figure or by technique...I'd prefer by technique but a really good step-by-step article at the end to act as a summary to tie all the "lessons" together would be neat. Techniques I'd like to see covered with lots of inprogress pics (maybe a second person shooting the photos so we can catch the wet blending in action:) ) are... NMM (practice and theory) Advanced MM Wet blending Layering Thinning of paints for various techniques (formulas, mediums) Gem painting Shading/highlighting Freehand Color selection/color theory Composition/basing techniques (although the basing techniques could be another book) Lighting concepts... gosh, everything that I've been reading and downloading from here and CMON, and (name your favorite site), but all in one place. And at the beginning of each chapter/tutorial, a selection of great minis using the techniques discussed in the upcoming chapter. I'm rambling. But it sure was fun. Thanks AWhang -edit- Oh yeah, since I'm dreaming :) Lots of books (at least the technical how-to-books that I read) now come with CDs. Wouldn't it be nice to have a CD full of short tutorials, extras (color charts for different companies, catalogues, links, etc.) and AVIs of (name your fav artist) doing his/her thing...invaluable! I know that this now means I'll need to buy a laptop or move my painting station, but heck..."dare to dream". Thanks AWhang
  14. Hello all, I'm new here but I've really enjoyed and learned from what I've been reading. Now, back on topic... To add to what Vaitalla said... In addition to wiping the exterior of the nozzle, I suggest tapping the bottle a few times to get the glue out of the nozzle, then squeezing the bottle, while upright, into the towel to force any glue near the tip out. Recap when not in use and store in a fridge. I have a bottle that has lasted me about 3 years (its just starting to get super thick). Some tips while using the glue- I put a drop onto wax paper and use an applicator to put the glue where needed (this is for attaching detailed items, straight from the bottle is fine if you're gluing large items...sparingly though...a little goes a long way). Wax paper, and this was explained to me by a rocket scientist friend, acts as a dehumidifier, pulling air moisture away from the glue (moisture helps the glue solidify). You'll be amazed at how long a drop lasts sitting on waxed paper! You can buy tiny brush applicators from hobby stores (I believe testors has a packet), train stores, dental supply (I think they came up with the little brush dealies:) ) or, you can snip the eye of a sewing needle so it's a "c" shape, drive the sharp end into a dead brush furrel and use that to accurately apply a tiny drop. Yikes...I've written a thesis...sorry. Anyway, hope this helps. Thanks AWhang
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