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In Squidmar Miniatures paintbrushes, the insight of accomplished painters, impeccable production quality, luxurious aesthetics and the finest Kolinsky Sable are all brought together to create an experience which combines style, comfort and practicality in equal measure.
Our brushes feature a wide body (AKA the “belly”) while maintaining a sharp point. This allows a Squidmar Miniatures brush to hold more paint in its bristles without losing its point, and lends it the stability and elasticity needed to make the brush feel properly responsive to your movements. Additionally, this design allows you to use a larger brush than you might have normally to accomplish even finer details! The Tobolski Kolinsky hair is compared to Synthetics well rounded and great at keeping its original shape. Giving you a longer working time during paint jobs and lasts you longer keeping the tip pristine even after working on big projects for longer times.
Squidmar Brushes - Size Comparison - Equivalent of approximately 00-2 (differs from brand to brand) Our basic brush set contains four Squidmar Miniatures brushes, ranging from XS to L. We chose these four because we feel they represent the most common, and best suited, brush sizes for miniature painting. In addition to our basic set, however, we've also designed a tiny brush, for the finest of details, and an XL brush for heavy duty paint jobs! Armed with a full set of Squidmar Miniatures brushes, you'll be ready to take on any painting project! No wargaming army is too massive, no immaculately detailed display miniature too exquisite!
The brushes, from Tiny to Extra Large! Wow, those are some cool ferrules! Not only are the brushes wider, so are the handles! They are designed for comfort and ergonomics, adapted to the anatomy of the human hand. The handles of Squidmar Miniatures brushes are therefore thicker and slightly triangular. This allows the brush to rest naturally in your hand, which lets you relax and focus on painting without risking the dreaded “painter’s cramp”. Oh, and did we mention the fancy gold ferrule? We thought it’d look cooler that way.
Your brushes are the safest when they're guarded by an antediluvian squid-being! Our brushes ship in a sleek cylindrical storage case. The bottom of the case is lined with a dense storage foam to stick the brushes into. This allows a Squidmar Miniatures brush to rest standing up, and avoids having any pressure placed on the bristles themselves. An open storage case additionally serves as a handy paintbrush stand while sitting at your workstation, your entire collection standing at attention! Handy, right?
Cool and practical in equal measure! Not only are we Kickstarting world-class paintbrushes, we're also introducing a line of exquisite miniature busts, custom sculpted for our campaign! Each bust is incredibly detailed, imaginatively designed, and bursting with character - sculpted by such renowned artists as Joaqin Palacios and Leonardo Escobar Quintero! There are 5 of these resin cast miniatures in total at 1/10 scale, ranging from 6.5 centimeters to as large as 10 centimeters. The retail cost of these never-before seen miniatures will range from 45€ to 55€, but all will be exclusively available for 40€ each through this Kickstarter, or even cheaper when purchased in a bundle!
These fantastic miniature busts are specifically designed to help you become a better painter, sculpted to enable you to practice (and master!) painting everything from warm, rugged skin to cold, gleaming metal! Don't worry, though, we're here to guide you through it. Each bust is accompanied by a YouTube video painting guide where expert painters demonstrate advanced techniques, made simple!
Squidmar's Boxart of Illonth Magic in the making! The Squidmar Miniatures paintbrushes are hand-crafted to exacting specifications by experienced professionals, using only the highest quality materials and the finest Kolinsky Sable hair. The union of comfort and practicality in each brush is perfect for experienced painters working to master their craft, beginners who are brand new to miniature painting, and everyone in between!
This Kickstarter is a great opportunity to not only grab a set of fantastic paintbrushes but a set of beautiful miniature busts as well! These finely detailed miniature busts, bursting with character, will allow you to grow and develop as a painter. We'll be with you throughout your journey through our custom painting tutorials, where we'll do our best to guide you through a variety of advanced techniques.
Finally, a heartfelt thank you from our entire campaign for taking the time to read this, and we hope you pledge a contribution, no matter how small. Join us in our quest for the miniature paintbrush of our dreams!
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
Hi!! my name is Katerina and I'm new to painting miniatures, I begun
with a miniature from NonSenseminiatures, the Barbarian, I buyed the
54mm because it's bigger and maybe easier to paint.
I asked some help to NonSense and he already made a base coat for me, I
would like to get some help for painting because I see too much
information and don't know were begin.
I already make painting but totally different
Also he gave for me a discount code Katerina10%, because he will sell my
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.
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