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So my niece is turning 13 next month. She already has a huge interest in minis and loves to paint with me. I'm trying to build her a kit or care package for her birthday so we can video chat and paint together. I'm at a loss as to what to put in it though. She has a ton of minis I gave her and a few brushes but I want to get her like a full starters kit of sorts (paint, better brushes, brush soap, etc.). I'm already considering the first LTPK. What would you put in it for someone just starting out?
Some of these came back as other numbers, but but the rest won't be brought back by Reaper and some might be present in other paint lines.
(Twilight Triad 9727)
9079 Deep Amethyst
9080 Indigo Sky
9081 Pale Indigo - mix equal portions of Imperial Purple and Sky Blue
(Colored Liners Triad 9738)
9112 Red Liner - Reaper 9235 (Back in Bones 3 as 9307)
9113 Green Liner - Reaper 9236 (Back in Bones 3 as 9308)
9114 Violet Liner - Reaper 9237
(Muted Purples Triad 9740)
9118 Dusky Grape
9119 Bruise Purple
9120 Faded Purple
(Clear Brights III Triad 9744)
9130 Clear Orange - Lava Orange 9218 and Explosion Orange 9219
9131 Clear Viridian - Peacock Green 9226
9132 Clear Plum - Royal Purple 9240
(Blush Colors Triad 9747)
9139 Antique Rose - KS Old West Rose
9140 Blushing Rose
9141 Porcelain Rose
(Historic Blues Triad 9751)
9151 Steely Blue
9152 Military Blue - Reaper 9269
9153 Weathered Blue
(Desert Camos Triad 9752)
9154 Dune Shadow
9155 Desert Khaki
9156 Desert Sand
(Mist Greens Triad 9756)
9166 Shadow Green - Reaper 9270
9167 Field Green
9168 Mist Green
(Terracotta Clays Triad 9757) - Redstone Triad 9775
9169 Muddy Clay
9170 Terracotta Clay
9171 Fired Clay
(Cold Greys Triad 9758)
9172 Stormcover Grey
9173 Coldstone Grey
9174 Icy Grey - KS Aircraft Grey (slightly greener)
(Volcano Browns Triad 9760)
9178 Cinder Brown
9179 Volcano Brown - Reaper 9268
9180 Ashen Brown - MSP HD 29831
(Tropical Colors Triad 9761)
9181 Bright Coral
9182 Saffron sunset - Reaper 9247
9183 Cloud Pink - KS Reaper Punk rock Pink
(Reptilian Greens Triad 9762)
9184 Serpentine Shadow
9185 Reptus Green
9186 Scaly Highlight
(Sandy Colors Triad 9764)
9190 Sandy Brown - Reaper 9249
9191 Sandy Tan
9192 Sandy Yellow
(Sea Blues Triad 9765)
9193 Stormy Sea
9194 Clouded Sea
9195 Seafoam Blue
(Humanoid Skintones Triad 9768)
9202 Troll Shadow - MSP Stained Olive 29838
9203 Gnoll Brown
9204 Halforc Highlight
(Reaper Ink II Triad 9771)
9211 Green Ink
9212 Blue Ink
9213 Purple Ink
(Spring Greens Triad 9749)
9145 Moth Green - Reaper 9248
9146 Spring green - Reappaearance at RCon 2015
9147 Luminous Green - Reaper 9248 + 1 drop of white
(Heavy Gear paints)
RPR 61101 Terra Nova Tundra (Possible alternative: NMM gold?)
RPR 61102 Macallen Brown
RPR 61103 Redrider Crimson
RPR 61104 Dune Shadow
RPR 61105 Mekong Moss
RPR 61106 Giant Fern
RPR 61107 Okavango Swamp
RPR 61108 Republique Red
RPR 61109 Armadillo Tusk (hd)
RPR 61110 White Sand
RPR 61111 Paxton Red
RPR 61112 War Paint Red
RPR 61113 Arthurian Blue (hd)
RPR 61114 Blue Crescent
RPR 61115 Atlantean Aqua
RPR 61116 Coated Armor
RPR 61117 Factory White (Ghost white + Blue Flame perhaps?)
RPR 61118 Grel Flesh
RPR 61119 Afterburn Grey
RPR 61120 Hazard Yellow (hd)
RPR 61121 R.a.m. Black (hd)
RPR 61122 Durasheet Alloy
RPR 61123 Skunkworks Gunmetal
RPR 61124 Beacon Yellow
RPR 61125 Fallout Grey (hd)
RPR 61126 Ash Grey
RPR 61127 Waveform Aquamarine
RPR 61128 Gamma Shielding Gold
RPR 61129 Cat's Eye Umber (hd)
RPR 61130 Cat's Eye
RPR 61131 Red Dust
RPR 61132 Drillbit Metal
29803 HD Entrail Pink
29804 HD Rusty Red
29805 HD Burning Orange
29807 HD Mustard Yellow
29810 HD Mossy Green
29814 HD Ice Blue
29816 HD Solid Blue
29817 HD Winter Blue
29818 HD Nightsky Blue
29821 HD Sunburn Flesh
29823 HD Caucasian Flesh
29824 HD Maiden Flesh
29829 HD Golden Brown
29830 HD Ruddy Brown
29831 HD Ashen Brown
29832 HD Concrete Grey
29833 HD Ash Grey
29834 HD Field Grey
29835 HD Dirty Grey
29836 HD Military Grey
29837 HD Armor Grey
29838 HD Stained Olive
29839 HD Maroon Red
29840 HD Garnet Red
29845 HD Gilded Yellow
29846 HD spruce Green
29847 HD Rich Indigo
29848 HD Jungle Camo
29849 HD Umber Brown
29850 HD Elfin Flesh
29851 HD Tropical Aqua
29852 HD Dwarven Flesh
29853 HD Rosy Pink
29854 HD Arctic Grey
It has been years since I posted here but it has also been a while since I painted anything.
This is a step-by-step tutorial for painting the Daggertooth King Lizard made by AntiMatter Games for ShadowSea. The way this model is painted is in steps that require the paint to completely dry before going to the next step. It is a lot of washes and glazes that build up on top of each other and not wet blending.
Step 1 was to prime entirely in white. Then in Step 2 the underside was painted with a mixture of Liquitex Muted Gray and Matte Medium, about 50/50, then thinned with a touch of water. By touch, I mean dipping the tip of the brush into water after putting the color on the brush. The ink mix needs to be thin enough to flow but not so thick it collects in thick pools.
Step 3 was to paint the top side with thinned Yellow Oxide from Golden Fluid Acrylics, mixed with Buttermilk (Americana Brand). More water was added to glaze this color onto the edges of the Muted Gray underbelly.
Step 4 was a shading step, where the underside was given a wash of Black Ink + Phthalo Blue ink (20/80), mixed with Matte Medium (50/50 of mixed color to medium). Black can overpower the color, so only a small amount is needed. The top side was given a wash of Burnt Sienna ink + Matte Medium (50/50). The inside of the mouth was given a wash of brick red paint mixed with black paint and a bit of matter medium. The underside was done first and allowed to dry. When painting the top side, the model was flipped upside down so that the ink did not run down onto the underside.
Sep 5 is something a little different. This is a glaze of thinned white paint to reduce the “intensity” of shadows and even things out. More layers were applied to the tops of muscles and areas that are highlight zones and to also make the belly lighter overall. The white paint was basic craft paint from Americana brand.
Step 6 was a glaze step. Glazes of Burnt Sienna ink, thinned with about 50% water, were painted on the upper body and head and Burnt Umber ink was applied to the top of the back. The claws and spikes were given a wash of Burnt Umber ink + black Ink + Matter Medium (50/50 with color).
Step 7 was to give paint some stripes. This was pretty simple, using black paint + Turquoise ink, thinned with water so it was translucent (maybe 60/40 water/color).
Step 8 was the basic highlight stage. Thinned Buttermilk color was painted on the top edge of scales to simulate light reflection while thinned white was used to highlight the legs and underside. This was done with a very small brush, unlike all of the previous steps. The spikes on the back were painted with more Burnt Sienna ink mixed with Buttermilk to blend them, then thinned Buttermilk for the edge highlights. Some final highlights were with thinned white on the top of the spikes.
Step 9. Final Highlights and Base. The claws were painted like the spikes in Step 8 while the teeth were glazed with white to build up brightness, then painted in the edges with pure white. Small details, like eyeballs were done here also, using bright yellow and orange for the eyeball and back pupil with a small white dot for the reflection. The base had rocks painted in gray paint and the ground a light tan. This was allowed to dry, then a wash of a mix of Raw Sienna + Turquoise ink + Matte Medium was applied. The ground was washed with Raw Sienna ink + Matte Medium. Highlights were made with the tan paint on a bristly brush (an old drybrush brush with bristles pointing all around). The paint was put on the tips of the bristles and stippled around to add some random patterns. A bit of thinned white was used to add some edges to the rocks. Then the while model was given a coat of Dullcote, which ended up being a bit glossy, but that’s how it goes sometimes.
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.
Hello, and welcome to the Foglio Portfolio!
Kaja and Phil Foglio have illustrated 117 cards for Magic: The Gathering, with their first image included in Magic's very first expansion, Arabian Nights. Here are all of the cards they've illustrated for the game.
After being away from the game for many years, the Foglios are back to offer officially licensed Playmats and Prints of their most famous and popular Magic artwork.
The Foglio Portfolio offers you a once in a lifetime opportunity to bring your favorite Foglio art to your gaming table.
Each Playmat has the following features:
Premium Stitched Edge - A brand new offering from UltraPro, each mat will have high quality stitching around every edge, ensuring that your Playmat will last a very long time. Limited Edition - We will never be reprinting any of these Playmats with a stitched edge, ever again. This is your only opportunity, ever, to get this artwork on a stitched playmat. (Playmats are printed in units of 50, so we'll print to demand, but no more than the closest unit of 50.) Signed by the Artist - Phil and Kaja will be hand signing each and every playmat. Minimal Logos - We've worked with UltraPro and Wizards of the Coast to minimize the impact of their logos as much as we possibly can. If you don't see your favorite piece of Foglio art in the options above, don't fret! Additional Playmats will be unlocked through Stretch Goals.
If we meet all of our initial Stretch Goals, Backers will be able to vote for additional designs. The design with the most votes will be added to the project.
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