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Showing results for tags 'feathering'.
Second last model for the Foorians and Miniotaur I posted earlier in the forum. Ocean themed with green and blues for the skin. It's another Confrontation model, and again done with very little blending. Mostly glazing and feathering for a fast turn-around. This one took yesterday afternoon - around 4 1/2 hours. I also have no idea what model this is. If anyone does, let me know! Thanks for the info Xherman!
So I was commenting on one of Willen's threads and promised I'd post some of my thoughts on blending. Feathering is one of the primary blending techniques I use, and the below is the basic gist of it. Keep in mind that this is a really quick and dirty tut, so it's not the prettiest painting I've ever done, but it should get the idea across. The basic technique comes from the class I took from Rhonda Bender (Wren) at Reapercon 2013. Anything useful you find here should be credited to her; anything that totally destroys your paintjob should be blamed on my poor understanding of her techniques. (And Rhonda, please feel free to correct/suggest/etc if you see this!) I'm painting on a Bones Bathalian figure. My paints are all RMS: Military Grey (HD), Ghost White and Nightmare Black. First up: the basecoat. It's just a few smooth layers of Military Grey built up to an appropriate opacity/saturation. Next, the first layer of feathering. I'm using about a 50/50 mix of Ghost White and water to make this layer: I'm using much starker gradients than usual so the technique is very apparent; if you look at the top fold in this photo, you can see an initial layer that I would normally put down (it's Concrete Grey, I think, from the HD line), but it's subtle enough you can't see the brushstrokes...which is the idea, but doesn't help illustrate the idea. As you can see, the brushstrokes are perpendicular to the peak of the fold. You can also think of this in relation to the gradient, to the direction of dark to light. If your gradient is bands of color in order from dark to light, the feathering stroke runs perpendicular to those bands of color. This was the most counterintuitive part of what Rhonda taught us, but it is well worth the brain-bending! The stroke starts as close to the "dark" as it can (without losing the midtone) and pulls up to the brightest peak. In the photo above, the brushstroke moves upward. The reason for this is that paint tends to leave the brush at the end of the stroke more than at the beginning, so your featherstroke is naturally creating a gradient by concentrating the pigment at the top of the fold. With fairly gentle folds like these, you'll do this from both sides of the fold (with pleats, or heavy creases, you'll only use one side, usually, since the other side of the peak is in deep shadow). Here's an image of the same layer: There are strokes from left to right and from right to left, meeting at the peak of the fold (shown in the inset by the red line; this is the line that will end up with the most light). Next, I do the same thing for the shadows. Again, about a 50/50 mix of water and paint, this time with Nightmare Black. Brushstrokes still move toward the point of greatest pigment (for shadows, that's the deepest part of the fold). SO, at this point, things look pretty rough. So what's next? Next is a glaze. I mix about a 70/30 water/basecoat puddle of color and smoothly cover the whole area. In a lot of ways, this is like a wash, but I want to wick enough off my brush before touching the mini that it brushes off rather than pooling. I want to cover the whole area, both shadow and light, with a unifying, nearly transparent, layer of the basecoat color. Here you can see the Ghost White has been knocked down quite a bit and the Nightmare Black has come up a bit. The feather-strokes are starting to fade into the midtone. I may apply several layers of the glaze at this point, and I may apply it in specific places rather than globally, until I have a smooth look. Next, I'll go back in with the highlight and pull it up again, this time in a smaller area than before: The glaze down/pull back up may happen several times, depending on how smooth I want it. Generally, the more times you glaze and reapply, the smoother your gradient will get. I'll do this with the shadows, too, of course. Other fun tricks are using a glaze that isn't your midtone to globally shift the color a bit, for example giving a basic grey a hint of teal, or skewing the shadows of a blue into purple. Also, once you get used to making tiny brushstrokes like this technique requires, playing with the kind of rough-woven textures that Derek frequently uses gets easier. For some examples of this technique fully realized, I invite you to check out these paintjobs of mine. I'm not a master by any stretch, but these have all been painted with my understanding of the technique. Charnel Grub - My low-to-mid display level. Deathstalker - Armypainting. Meant to be high-contrast to show up well on the table. Phoenicia - Near-competition quality. She was at Reapercon '14 and was nearly the piece the judges looked at, so I'm guessing she would have picked up either a Certificate or a Bronze if I'd just entered her (the piece they did pick brought a silver). I hope this has been useful to someone. If anyone has questions or comments please feel free. Specific to Willen: we were talking about wet-blending and 2-Brush Blending in your thread. I don't know enough about 2BB to say for sure, but I suspect the perpendicular brushstroke could be useful for pulling pigment the way you want to in 2BB. For wet-blending, if you can start putting the next feather-layer down while the glaze is still wet you can get some really smooth transitions.