Wednesday, July 21, 2010
If you're heading to GenCon in August, be sure to stop by the Mongoose Games booth! You'll get to see some studio miniatures I've painted for them! What they are specifically I don't think I'm allowed to say right now, but I'll give you a hint: I AM THE LAW!
If you're interested in commissioning Shackled Goblin Studios for painting one miniature or two hundred, custom conversions or whatever, please email us at ShackledGoblinStudios@yahoo.com for quotes and estimates!
Tuesday, July 13, 2010
1: After cleaning and pinning the models, prime with White. I recommend either Do-it Best Flat White Spray or P3 White Primer, I’ve had good experiences with both.
2: Take Vallejo Game Color “Squid Pink” and base-coat the models with a large flat brush. Thin your paint slightly with water and do two thin coats instead of one heavy coat. Let the pink dry COMPLETELY between coats! If you disturb paint while it’s drying you’ll leave ugly rough, patchy textures on the model.
3: After the final coat of pink has dried, wash the entire model liberally with Citadel Baal Red wash. Once again, I cannot stress enough that you must wait for the pink to dry completely. If you wash the model while the pink is still wet in the crevasses it will bleed into the wash and ruin the effect.
4: After the wash has dried completely, (and once again, completely!) thin down some Squid Pink and highlight the raised surfaces of the model, (tentacles, flexed muscles, jowls, et cetera.) I prefer a wet-brush method with a No. 0 Round, though if you’re a little shaky at it a solid dry-brushing will get you a similar effect.
1: Start by blocking in the flames with VGC Falcon Turquoise, if you’re feeling creative you can have the color running onto the skin of the Horror to simulate an engulfing magical fire.
2: Wash the Turquoise areas carefully with Citadel Asurmen Blue wash. Since Asurmen Blue is a dark wash, you don’t need to be very heavy with it.
3: Just like we did with the pink, re-line the high points of the flame with Falcon Turquoise.
4: Start mixing in White to your Falcon Turquoise, beginning with a 1:3 White/Turquoise ratio, and highlight the flames again, but this time over a smaller area, so that the previous color shows a bit. Do this a few more times, gradually increasing the amount of White each time, (1:2, 1:1, 2:1) and allowing the step below to show through a bit. By keeping your paint thin, you increase the transparency of the paint, which allows the layer below to show through the layer on top and helps with the blend.
1: Base coat with Citadel Tallarn Flesh
2: Wash with Citadel Ogryn Flesh wash.
3: Highlight with Citadel Dwarf Flesh
4: Highlight with Citadel Elf Flesh
1: Base coat with Citadel Dheneb Stone
2: Wash with Citadel Gryphonne Sepia wash
3: Highlight with VGC Bone White
4: Highlight with VMC Ivory
All that’s left is to pick out the eyes in Black and you’re done! Spray with a protective Gloss and then two or three coats of Dull to matte the model back down. I highly recommend Testor’s Glosscote and Dullcote, I’ve used it in high-humidity, winter cold and other undesirable coating conditions and NEVER had it fuzz or frost.
Here's all ten of the buggers together. Some of the Pink Horrors have Blue Horrors evolving/spawning/bursting from them, I used the same technique on the blue parts as I did the pink parts. Just base with Citadel's Mordian Blue, wash Asurman Blue, highlight again with Mordian Blue, then progressively bring the tone up by mixing in gradual amounts of Citadel's Space Wolves' Grey into the Mordian Blue.
Hope this was educational!
Monday, July 12, 2010
Well folks, it's time for another painting session with Ian and Myself. So, if you're in the Dayton/Kettering area at the end of the month, feel free to stop by at the Krystal Keep and share some painting time with us and the crew. Details are in the advert above.
Wednesday, July 7, 2010
Keeping with the hopes of making this site an instructional tool, I've decided to take the camera on a little trip with me as I finished a commission for a customer. These Ogres were painted for one of our better customers, who I will refer to simply as "The Bartender".
For this project, you'll need Elmer's Glue, Snow Flock (I've used Woodland Scenics' snow flock, pictured above), Static Grass, a throwaway brush and a small tray to mix in.
To begin, you'll need some finished models to work with. Have everything painted, based and sealed before you begin the process.
Once you have some models to play with, you'll want to lay out a rough patching of flock on them. Any color flock can work, as long as it fits your models color scheme. Here, I've used Gale Force 9's "Parched Straw" static grass (shown above).
Next, you'll want to mix up your snow. Dump some snow flock and glue into your mixing tray and use the back of your brush to mix the two togeather, adding water as needed. There is no golden ratio to this step, the best way to describe the desired mix is: "Mix to a mashed potato consistency". Your mix should look like this:
Once you have your mix ready, take your brush and start dabbing it on the base of the model. Don't worry about getting the snow mixed in with the static grass; on the contrary, you want it to look like the snow has been caked and matted into the grassy patches. If you're gotten your mix right, you'll notice the snow start to level out on its own once you dab it down (shown below).
After you have your mix dabbed onto the model, you'll want to grab a pinch of your un-mixed snow flock. Sprinkle this over the still wet mix you've just laid down on the model. This will give the snow more texture since, as mentioned above, the mix tends to flatten itself out and become too smooth looking (sprinkled base shown below).
Repeat this process for the rest of your models; dabbing on the mix and then sprinkling them with the snow flock.
Your results should look a little something like this:
I hope this tutorial has given a little confidence to those who need it. Trying a new basing technique on models you've spent hours painting is always daunting.
As with all skills though, practice makes perfect. Get out there and try this on a few test models until you feel confident enough in your ability to turn out consistent results.
It should be noted that you can seal the snow after you've finished the process, but I've gotten varying results on how this affects the grass and the overall look of the snow.
As always, comments and questions are welcome and, indeed, helpfull.
Special thanks to "The Bartender" for the use of his models.
Thursday, July 1, 2010
The most common synthetic materials are Nylons and Taklons, which both come in white and gold colored bristles. Nylons mimic the soft natural sable-hair bristles and tend to be more delicate than the Taklons, which while Taklons also mimic sable, they tend to be more robust and hold their shape when loaded with paint. For the life of me, I have not noticed a difference between the gold and white Nylons/Taklons, and about 30 minutes of intensive internet research tells me there is no difference aside from aesthetics.
While almost all animal hair will work in a pinch for a brush, (examples being goat, camel, boar, badger, horse, deer, rabbit and tiger for starters) the most common that we’re concerned about are Sable bristles harvested from small mammals called martens.
So why is it called a “Sable” brush and not a “Marten” brush? According to the Internetz trappers nicknamed the Marten the “Sable” for whatever reason and the name stuck. Sable brushes are what I tend to run into at art stores.Another very popular type of natural brush is the Kolinsky, which oddly enough is not named after a person, but the Russian Kolinsky mink from which the bristles are harvested. Kolinsky brushes have been dubbed to have the highest quality and most desirable spring and absorbency (the amount of paint the brush can hold).
So now that we’ve discussed the two generic types of brushes, (natural and synthetic) let’s talk about the attributes of a brush and how each type performs.
Absorbency: Like a fountain pen, the brush holds a reservoir of paint that allows it to be used for more than a stroke or two. Absorbency is how much paint a brush holds. Technically, natural brushes have a better absorbency because the individual hairs are “scaled” as shown in this microscope picture.
These scales give more surface area to the hair, allowing more paint to be held. Synthetic bristles are smooth and therefore cannot hold as much paint. I have been told that the scales also hold onto the paint better, giving you more control because the paint flows off the brush at a steadier pace. Since synthetics do not have these scales, paint can collect at the tip or rush off the brush when stroked. Realistically, with the amount of paint scale-modelers use, the difference in absorbency between natural and synthetic is nearly indiscernible.Spring: I’ll also call this the “action” of the brush. When the brush is stroked, the bristles bend based on the amount of pressure applied. The more pressure applied, the more of the length of the bristle is touching the surface, the more paint is applied. The more pressure applied also means that the bristles can fan out, giving you a larger area of coverage. While Kolinskies are considered to have the most desirable spring, I find that Taklon is a close second. I consider Spring to be intrinsically connected to my next attribute, Reliability.
Reliability: What do I mean by reliability? I mean that every time you stroke with the same amount of pressure, the brush behaves in the same way, the bristles spread out to cover the same area, the same amount of paint flows onto the model. If your brush seems to behave differently on the same stroke, consider getting a new type!
Longevity: Literally: how long the brush will remain consistent and usable. If your brush loses its point and frays out after a few strokes (I call this “getting tired” and it’s indicative of a brush nearing the end of its life, though sometimes it just means you need to clean it,), if it starts to curl at the tip, or get stray bristles poking out at odd angles it’s probably time to toss it in the trash. A long lifespan does not make or break a brush, because high-quality long-lasting brushes are usually expensive.
Ability to Hold a Fine Point: Your brushes absolutely MUST be able to hold a fine point. As mentioned in 101, rookies often make the mistake of buying teeny-tiny brushes like Spotters for fine detail work. Unfortunately Spotters have almost no Absorbency, which can make for a frustrating experience trying to do free-hand or eyes. A good No. 0 Round or 5/0 Liner that can hold a point will serve you better, simply because it will have a better paint capacity.
Cost: Cost must be balanced against all the above attributes, and it really depends on how much you paint. For example, a weekend-warrior who logs only four or five hours a week at his paint station can probably buy a $15 Reaper Kolinsky No. 0 Round and have it last for several months or even a couple years, provided he doesn’t abuse it with excessive base-coating/washing/dry-brushing. I log between 40 and 60 hours a week painting, I use my No. 0 Round for hours at a time every day. I’ve found that the $15 Reaper Kolinsky No. 0 Round lasts me about six to eight weeks, while a $5 Reaper Taklon No. 0 Round lasts four to five weeks. Financially, it makes more sense for me to by two Taklons instead of one Kolinsky; I simply wear out brushes too quickly, even if they’re the “high-quality” ones! But more importantly, I can get the same results with a fresh Taklon as I can with a fresh Kolinsky. I used to buy a new Kolinsky every month until I tried the Taklon on a lark and discovered what I know now.
I use the same approach with my other types of brushes. My favorites are these:
I get them at Wal-Mart for less than $5 a bag. They come with 10 brushes, and I regularly use all of them with the exception of the Glaze ¾” which I still use on tanks. Sure, they don’t last more than a month, but if I paid $5-$10 per brush for a high-quality natural-hair, or even $3-$6 for a high-quality Taklon they’d still get destroyed almost as quickly. Not that I always go for the cheap and easy, though! And it’s not like I’m saying there’s no difference between the cheap and expensive, but for my purposes, with how much abuse my brushes take, there’s really not a difference for me. I often go to Michael’s or United Art and Education and see what’s on sale, spend about $20 and get four or five high-quality brushes. Sometimes I’ll even spring for a $15 Kolinsky just to treat myself!
Hope you enjoyed reading Paint Brush 102! Join me next time for Paint Brushes 103: Proper Maintenance and Cleaning.