Another round of Painting Jam... trying my best beside being busy and busy - here we go!
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Noah asks via email:
"Hey Roman,
I recently started a Necron army of my very own. When I bought these guys I was so sure that I was going to do something in a ceramic style. Then I saw your photo over at miniwargaming.
I just can't get over how good this guy looks. I'd love to base my army on your paint scheme here. I was hoping you might remember what it is that you were using to get those results. Any info you can provide would be greatly appreciated.
I found your website after being linked to that photo in an image search. Keep up the great work!
All the best,
Noah"
My answer:
Thanks, glad you like this guy, as far as i can remember i did start this guy on a basic of Oily Steel by Vallejo with a small brush tip of Scorpion green in it with some highlights in Mithril Silver. Then i glazed him with some red, damn, Teracotta? Dark Flesh? Pigments? I just can't remember... some rusty pigments will for sure do the job... The gun thing was primed to and the light source has been painted on it with going from a white basic to glazes of Scorprion Green, maybe a bit yellow in it... nah, i can't remember much more - the weathering was made with a Blister Foam piece (dark Spots on the metal parts)... hope it helps!
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Carsten asks via mail:
"How can I get realistic and plasic looking white or black surface? Espacially for clothes."
My answer:
Now that isn't really a simply question, haha. To understand these two colours there can't be the perfect recipe so i'll try to explain it my way. Go outside, catch some references for your eye, look at some photos or other reference material you can find. Taking a look on white and black surfaces. Are they always pure white or black? Is there another colour in it that changes this white/black appereance dramaticly, for example cold and warm colours... Now when it comes to painting my idea behind painting whites/blacks is never ever use them without mixing them with another colour to change their appereance, i did not find pure blacks and whites outside in this world, there was always another colour involved, in the basic tone or it came from a light source... if you keep that in mind your blacks/whites will soon look better. Simply mix in a drop of a colour to it to make it more real. Take this as your basic colour - some greyish black/white with a nuance of the colour you've chosen. Now work your way down to the shadows by adding your shadow colour (not too deep shadows when doing whites) and work your way to the light areas of this colour tone by bringing the model into zenithal lightning (not too far when doing blacks as it fast changes to a grey)... hope my thoughts could help you...
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Ivan asks via mail:
"...a vampire counts armybook i was very inspired by artwork on the cover
So, the picture depicts a powerful vampire clad in gleaming red(blood red!) armour and surrounded by a sea of undead minions. I think it's awesome)
Actually now I want to create on my shelf a small army led by a vampire in a shining crimson armor. So, this is my question - how to create this effect on armor. Use paint and varnish or red metallic? something else? I am sure you may have some ideas on this. Very interesting to hear your thoughts about this."
My answer:
I would paint him in bright bronze/gold metals with maximum lights and shadows in TMM and then glaze him several times with soft Tamia-Clear Red X-27+ a tiny dip of black glazes. Hope this thought can help you :)
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David asks via mail:
"I've been a follower on Massive Voodoo since I started painting a year ago, and I was wondering how you felt about the Andrea Flesh set. I'm looking into trying out this set. How do they compare as far as the other brands as far as pigment and thin-ness"
My answer:
I like them (6 Bottles), but i guess i don't work with them the way it is described on in the manual. I completly use them as tones for itself, mixing in other colours and so on. I have never used them in the order which is proposed by the Andrea manual, so at this point my own information power is useless i guess. I do like working with them as their bright tones (4) have a lot of power to bring another colour into its brighter tone. I don't often use the dark tones (2). I often use them as a basic skin colour where i mix in other colours from different brands. What i have recognized is that when you'll try to work with really soft and highly water thinned glazes of the bright tones it is not easy to handle the pigments. Had my problems there. Working on a normal water thinned basis is pretty cool with those colours. I don't know what you like most at a colour when you work with it. My proposal to you would be - grap it and try it, only there is experience, my words are just candles in the wind :)
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So far from today's Painting Jam... stay focused :)
Keep on happy painting!
Regards
Roman
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