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So after too many years of painting with my bottles just in boxes or standing around on my shelf of shame or in various drawers, I have finally at much cost of labor made paint organizers! BEHOLD! I made these to hold up to 204 Reaper dropper sized bottles (Army Painter and Vallejo fit too). They aren't the only ones I use by any means, but they're the bulk of my paint collection.
Wasn't the hardest thing in the world, but honestly I might try another method if I do this again. Right now the units are loose, probably going to lean them on the wall--eventually I would put supports on the backs so they can stand up at an angle (think picture frames). The insane super duper bonus feature is that I can put the two together and transport, or more importantly, SHAKE all my paints at once! The main purpose was organization though and being able to see each of my paints and, when I've organized and sorted them, see the spectrum at a glance rather than digging through a drawer as I have been doing. For the chromophiles out there I'll post pics when they're sorted and in their proper places.
To make them, I sized the bottles and figured out the hole size and spacing (bottles are about 1" diameter, I used a 1 1/8" hole saw (paddle bit blew out the back side) and drilled 102 holes (sandwiched the 3/4" boards together). It took hours as my drills' batteries kept dying and the saw lost its good edge by the 60th holes or so. I used the "holes" I drilled out as supports (had to chisel the middle supports in half) between the silver parts and the 5mm (yes, civilized world, in the US we know how to use proper/metric, and certain sizes of wood are specified in metric!) plywood base (black, not really visible). I carefully glued and screwed these together. Decided to use up some spray paint I had lying around. Enjoy and be inspired!
Hi all, does anyone know where I could find a painting guide (PDF, video, anything really) to help me out with the Brother Lazarus Plague Doctor mini from the Dungeon Dwellers? Thanks in advance!
By Al Capwn
I don't have a blog, and I am not veteran or post enough content to justify making one - so while these musings may be better served in that format, I will leave it here for anyone who is interested to view and chime in. It just so happens that my best friend happens to work at Rustoleum as a colorist; so lately I have been picking his brain since he has an extensive knowledge about pigments, paint make up, and the chemical intricacies therein.
As I have delved further and further into the hobby, I have been looking more into the deep subjects of color theory and how paint is made/composed. After reading James Gurney's Color and Light, as well as Michael Wilcox's Blue & Yellow Don't Make Green, I was really intrigued about what exactly paint is and how exactly color interactions work. Now I am guilty as the next person in owning WAY too many paints - not to say anything about minis!
While color mixing may seem irrelevant to some, understanding how paints function can help even those of us who own a complete gamut of convenience mixed colors. This post is about exploring more of the technical and "scientific" aspects of paint and color theory to hopefully assist others in understanding the what and why of paint.
Rethinking Paint Colors - Subtractive Color:
Up until recently, I have always viewed the primary colors as Yellow, Red and Blue, and with those you can mix secondary colors; Green, Orange, and Purple. While this is technically true after a fashion, the difficulty lies with pigments themselves. Pigments do not actually *contain* color. Instead, they absorb most of the light spectrum *except* a specific wavelength of color. As Michael Wilcox states, "Of all the pigments available to the painter, none can be described as pure in hue. There is simply no such thing as a pure red, yellow or blue paint." That means chemically, there isn't a paint pigment out there that returns a pure Red - unlike in say digital art where a specifically purely calibrated hue can be made, paint is limited by the properties of the physical pigments themselves.
As Michael Wilcox theorizes with a colour bias wheel (bottom-right), primary pigments almost certainly lean towards secondaries. This follows the concept of the Munsell Wheel (bottom-left). You may have heard of a split-complimentary color palette, and this is the reason why. Artistically, these have been described as "Warm" and "Cool" versions of the primaries, but scientifically, they are colors that absorb or reflect more of a particular wavelength. There are Violet-Reds (Cool Reds, often called "Crimson") and Orange-Reds (or Warm Reds, that lean more towards Orange), Violet-Blues and Green-Blues, and Orange-Yellows and Green-Yellows.
One the concepts to understand when mixing paints is that you are not creating a color, but rather you are effectively destroying colors and what remains is what is returned to the eye. Referencing the above color bias wheel, if you were to mix a Violet-Blue and a Violet-Red together, both containing pigment(s) that return a great deal of Violet wavelength, the little remaining Blue/Orange and Red/Green wavelengths in each pigment would cancel each other out, leaving the Violet behind. This would yield a more saturated or more pure hue of Violet. Conversely, mixing a Green-Blue and a Orange-Red ("Warm" Red) would be a very desaturated Violet, with more of a gray tone.
Keep in mind that this doesn't make a color "bad"; desatured tones by including more complimentary colors is a very useful tool! In fact, for making shadows, using a great deal of complimentary colors to desaturate is a great technique. The problem is when these colors come about unexpectedly; after all, you can have a very "intense" Red and a very "intense" Blue, but mixing them may not produce a very intense Violet if they are "moving away" from each other.
Now that is all being said, it is time to forget it...sort of. RGB is based upon the concept of Additive Mixing, or how colored light interacts. With additive mixing, fully saturated Red/Green/Blue light will produce White light. However, in paint pigments, it should be pretty obvious that mixing pigment primaries of Red/Yellow (or Green)/Blue together will not yield White. This is due to Subtractive Mixing, where pigments effectively destroy each other ala Thunderdome in Mad Max, and only the survivors reflect light back.
A more modern approach to color theory and pigments is CMYK or Cyan, Magenta, Yellow and "Key" (or commonly known, Black). Adding these colors into the standard primaries gives us the "Yurmby" wheel. If you have looked at a color printer, for example, the colors used are NOT Blue/Red/Yellow, but rather Cyan/Magenta/Yellow. This is because due to the subtractive nature of pigment/ink mixing. These colors present a larger printable gamut (i.e. range) of color; for example, without White, it is difficult to produce a Pink tone with Red vs Magenta. A thin Magenta will read more Pink than a thin Red.
Printers do not use White ink and instead leverage the paper for white, effectively printers are printing in an underpainting style. However, we as artists DO use White pigments and this makes things a bit more complicated as we do work with Tints (White) and Shades (Black).
Like most science, the direct answer regarding an accurate color wheel is: it is complicated. For observable light, there is a bit more consistency and repeatability. However, when working with "tiny wavelength absorbing/reflecting mirrors" of pigments, things become a bit more complex. Additionally, there are other aspects that that go beyond the basics, such as the effect of specular and perception of color. It gets really heady when you start dipping into Kubelka-Monk Theory and K/S.
Most paint is made up of 3 parts:
Pigment - particles that absorb and reflect certain wavelengths of light.
Binder - The 'medium' or 'glue' which holds the pigment in suspension and forms a film. For acrylic paint, this is the actual acrylic part.
Solvent - The liquid that allows paint to be viscous; as it dries, it allows the binder and pigment to harden forming the film. For acrylic paint, the solvent is water.
Adjusting the ratios of these can have some interesting, and sometimes disastrous effects in terms of the stability of the paint. For example, introducing too much solvent, and the binder and pigment lattice structure can break apart. This can cause "coffee staining" or splotchy spots where the bonds pull apart, leaving areas without a film at all.
The pigments in paint are held in a suspension. Like hot chocolate mix, there are tiny particles that are suspended in a liquid. Given enough time or evaporation, the liquid will leave these granules behind. If you have ever mixed a packet of Swiss Miss cocoa, you know that the mix can settle at the bottom - and that attempting to add dry powder to a liquid is more difficult than adding a liquid to a dry powder. This is another reason why mixing your paints is important because it is easy for the heavier pigments to tend to settle out of the binder/solvent solution.
Speaking of solutions, that is the main difference between paints and inks. Inks, specifically alcohol inks that use dyes, are a solution. The staining dye actually becomes homogeneous with the liquid. Just like dissolving sugar or extracting coffee/tea, there isn't any particulates that separate out. However, most dyes are not lightfast - a property that will be discussed in more detail further. Acrylic inks that use pigments are not "true" inks insomuch as they are composed just like an acrylic paint. The difference being the smaller size of the pigments and the viscosity of the binder/solvent being much thinner.
Outside of the 3 main components for paint composition, there are also some optional additives that some manufacturer's include in their paint. These can be things such as:
Extenders/retarders, which delay the setup of the paint film, allowing for more mixing to occur before drying. Thinners, which dilute the pigment to binder ratio, usually increasing translucency and viscosity - commonly this is done with water for acrylic paints. Flow Aid, which reduces the surface tension of paint, allowing it to flow more easily and level - Reaper is known for adding a bit of flow aid into their formulation. Opacifiers, which increase the opacity of a paint - usually some type of calcium or bicarbonate. Matting agents, which reduces the glossiness of acrylic medium. Fillers, which are commonly used in student or inexpensive paints to reduce cost and add mass without adding more pigment.
You can add some of these additives yourself to your favorite brand of paint to adjust the handling qualities. The most commonly added is solvent/thinner in the form of water to "thin your paints" to reduce the viscosity and lower the overall density of the paint, building up multiple thinner layers of paint films in a "layering" fashion.
Please use the full SKU and name of Reaper minis in the titles of your Show Off threads, per forum guidelines. You can find this information on the blister card or in the online store. I also like to give credit to the sculptor in a tag, so people can find their favorites.
We have a high volume of posts generated from this challenge, which is great! But it's also creating a lot of work for the mods. Ladystorm has already urged folks to comply with these guidelines.
As an works well, this challengehas been moved to be a bi-monthly challenge again. The longer time frame theoretically will give less stress to painting, and allow more complex jobs, and more sinister challenges.
Reaper only? - No.
If going on vacation, can I paint a mini(s) ahead to cover that time frame? - Yes.
Are speed paints acceptable - Yes.
Can it be a mini started previously? - Yes.
Based or unbased? - Yes.
Do minis for exchanges count? - Yes.
NEW RULE - Size Equivilancy
(This list is subject to change as bones 3 releases)
Medium and smaller = 1 ea
Simple Terrain (plain floors, walls) = 1ea
Complex Terrain (http://www.reapermini.com/OnlineStore/Terrain/latest/03518 or such) = 2 ea
Large (Giants and the like) = 2 ea
Huge (Most dragons, Demon Minotaur Lord, etc) = 3 ea
Bigger (Kally, Khanjirra, etc) = half of quota rounded up
Colossal ("Tianot,") = quota
Due to the variable nature of a CAV I compare them against a generic 28mm figure and the Avatar large figure. I take height and bulk into considering if it is worth 1 or 2 figures.
If it's not in this list, it counts as 1. (not yet updated for the CAV II/III figures)
If you have a question on the size, please post it here, and I'll address them individually.
Much like last year, the idea is to help those of us that normally paint VERY little or not as much as one would like, to start painting more.
You challenge begins...now!
And Our Mantra:
If your name is missing, or you believe your count is incorrect, please PM me. Please note: to make counts easier, post in the bi-monthly thread and include the tag RPChallenge
To paint 52+ minis throughout the course of the year via bi-monthly quota
(each bi-monthly thread will have the quota listed as well as the master list)
I request that when tagging your posts, please use "RPChallenge" to help with locating minis from this - I am making a more concentrated effort in 'bookkeeping' this year. If someone would be willing to assist in such, it would be much appreciated.
Darn near anything!
Shelf of shame minis from ages long forgotten!
Armies! (Though I'd encourage perhaps something outside the army as well)
Etc! (I think that covers everything)
Year long challenge
Pick a miniature of size large or greater to complete in the Jan-Feb Block. In Nov-December, purchase (if needed) that same mini and repaint in the same scheme to see direct side-by-side improvement or changes in your methods
Jan/Feb: 8: https://forum.reapermini.com/index.php?/topic/89751-janfeb-rpchallenge/
LE GASP! I'm on time!
Please see the main post here for rules, questions and general chatter, while using this thread to keep a list of links to your show-offs or show-off related comments in a single post: A reminder to please adhere to miniatures posting guidelines as usual.
All the information you need should be here.
Due to the revised format, there will be more than one bonus challenge available for this month. Including a "Hard mode" which Is some combination that may or may not have a source behind it.
Your challenge is: 8!
Bonus Challenge: The First!
Hindsight! - OK let's be obvious, you SAW this coming. *rimshot* paint a miniature with glasses!
Bonus Challenge: The Second!
Our annual favorite challenge returns. February Fingerpaint!
Pick a miniature that is NOT terrain.
This is pretty self explanatory.
Hard Mode Challenge!
February holds "National Margarita Day" and often hand-in-hand with the tropical drink, is gaudy 'Aloha' clothing! Paint a mini if your choice where the majority of the exposed surface must be free-handed in the mannerism of such! Yes that's a lot of freehand.
(I honestly just wanna see someone paint a slime covered in freehanded palm trees >.>)
The game is made up and the points don't matter
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