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Was asked by mods to start this Air Brush thread to be pinned and I'll keep it up to date with links/tutorials as we go along. Keep the chatter/off topic to a minimum please.
Feel free to add links/websites/tutorials/videos/books/articles in this thread and I'll compile them here in the first thread post (just no commerce links per Forum rules).
Here we go!
VEX Part info
Reaper VEX Videos:
Ed Pugh, Disassemble and reassemble the Vex
Aaron Lovejoy's First impressions
Getting to know your vex, with Aaron Lovejoy
The Crow's Nest #15 - The birds flew off with the New Reaper Vex Airbrush! (Full review inside)
Airbrush for Hubby
Care & Feeding for Airbrush
My Next & Last Airbrush
Airbrush & Paint Question
Airbrush Cleaning and Advice
Airbrush Newb Help
Help Setting up First Airbrush
Cheap Airbrush and Cheap Paints
Learning to use Airbrush
To Brush with the Air
Airbrush Equipment & Recommendations
Airbrush & Thinning Reaper Paints
Airbrush Cleaning Tutorial from Massive Voodoo
Painting Miniatures From A to Z: Masterclass Volume 1, By: Angel Giraldez (linked image)
This book provides pictures of step by step of Airbrush and brush painting. Not as through as some other airbrush books, but still good.
I have been playing Doom Eternal lately. Several stages within some of the missions are set inside massive demonic fleshy creatures or structures with organic tunnels. Organic as in made of living meat, like a skinned carcass, with giant meaty blobs, bladders, tendons and instestines everywhere. The floor covered in pools of acid...one can only imagine the smell.
Naturally, this made me want to paint up some of the minis for the Shadows of Brimstone Belly of the Beast Otherworld. This otherworld is just such an organic hellscape, set inside the entrails of some enormous cosmic creature. The Belly of the Beast Expansion rules, cards and map bits come in the "Temple of Shadows" expansion set, an expansion for the japanese-themed Forbidden Fortress base set. The Skin Crawler minis are also included in this expansion, while the Gastral Tyrant, Bone Eaters and Acid Blobs each are in their own little enemy packs. I have at least the flesh mites still to do, and I am thinking some more giant tentacles would fit this theme well, if I can find them. Maybe even some of the new, japanese-themed heroes too.
This lot took me a couple of evenings to do, mostly drying time in between prepping the Bones 4 Lost Valley Expansion minis.
Lots more pictures below.
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.
This is the second of my dropfleet starter sets. The fleet represents the United Colonies of Man (UCM). After humanity was chased off the planet earth and forced to scatter to its colonies to lick their wounds, the colonies united and formed an armada to take back the home planet. These ships are the final gasp of mankind to keep from becoming nests for a truly invasive species. the game itself is a little different from Most because battles are fought in nearspace around planets. The map is a planet viewed from low earth orbit and the ships can move from high to middle and low orbits, each having an effect on the ship speed and who can attack what. The game itself is pretty fast, a starter fleet battle will resolve in about an hour for us on the rare occasions when i get to play and the sides are pretty evenly matched although they have very different play styles. TTcombat took over the license this year and saved the game from fading away and have put quite a bit of effort into new miniatures and rewriting the rules to fix problems and make the dropfleet game compatible with its companion game Dropzone. now you can run a companion game allowing the two games to interact on a limited basis which, i think adds a lot to both sides, if you can find that many players...
I decided to takes some liberties with these vessels. i wanted each ship to be distinctive and easy to spot on the game board so the grid pattern built into the armor of the ship, which is usually blacked out, i lined in white and then traced over with various florescent colors from Scale 75. The effect was not quite what I was after but it's still pretty good and certainly usable on the field of battle. The ships are a starter set of 3 crusiers (2 heavy 1 light) and 4 frigates. The base color is black with a midnight blue ghost tint and then highlighted with white and flouresents
Hope you enjoy them! I certainly enjoyed painting them!
Time to get the year started with a little space adventure! It took me about a week of spare time to get this fleet assembled and painted. Space ships are one of the few miniatures i find where less is more and although they look intensely detailed, there really isnt that much to work with.
This is an enjoyable game that I wish i had the opportunity to play more often but, time being what it is, i am limited in what i am willing to teach people to do and I get tired of always having to explain the rules. Anyway, the Scourge are a bunch of nasty alien body snatchers who have invaded earth, forcing the remanents of humanity to go hide in the colony worlds to rebuild for the re-invasion of earth. They also have some of the coolest ships! These were done mainly with airbrush work except for some of the lights and engine fire. I started with the badger metal colored primer and then sprayed the front with plasma fluid ghost tint and the back with blue ghost tint winding up with a really wonderful color shift across the minis. The last piece is a leftover Aquan dreadnought from a game called Firestorm Armada I used a slightly different color profile so it would blend with both this game and the original firestorm fleet (okay i have a soft spot for spaceships. I just wish the games would play half as cool as they look!) This is basically a starter fleet consisting of three versions of the Cruiser class and 4 Frigates. That and as I said, the dreadnought for good measure!
Thanks for looking!
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