Now that the Patreon page has been up and running, and I keep talking about what it takes to keep this content flowing on a daily basis. So, I thought for the very first time, I would “pull back the curtain” and give a sense of what is involved!
It all starts with determining what could be useful content. Obviously how to posts are at the top of that list! However, these can be tricky, as these projects are almost always my regular work, which has its own set of deadlines, etc. Most of the time, I just have to snap pictures on the fly as I am working, attempting to get all the key moments captured in an image.
This does not always happen, which means that I have to do more writing and descriptions about the process. When working in something like acrylic paints, every second I spend messing around with the camera is one less that I have to manipulate rapidly drying paint!!
All of those images must be transferred and then processed into useable images for the blog. They must be a certain size, and you get about 15 images to any one post max. Beyond 15 images, it takes a long time for it to load, and people tend to tune out before the end of the post. So, I often have to post involved projects in multiple episodes.
This sounds great, but it can be very difficult to get people to realize that they are only seeing one of several episodes! Therefore, I never go beyond 3-4 at a time.
To cut down on the number of images needed, I try to make “inserts”, like the image below…
The “cover image” is very important, as this is what shows up on every blog roll and website. A text based title will not capture anyone’s interest, but you have to make sure that this image is small enough to show up on the gadgets which allow those links.
If it is a full sized/resolution image, the gadget will default to text only.
I often spend more time creating the cover image that most of the pictures in the post. You have to have one image that captures the topic, but also have a title that can still be read as a tiny postage stamp.
Choosing what steps to show can be a challenge, because some folks are not as familiar with the approaches that I use for various techniques. I try not to bog down those who are with too much review.
Now comes the most time consuming bit, and that is writing the article itself. While many people tend to just “look at the pics and run”, I feel that it is absolutely vital to try and convey as much information as I can this way.
I will also try to link back to previous posts, or to refer back to them for people who might be looking at it for the first time. Again, new viewers come to the blog every day, so I have to refer to past posts or techniques every so often, or to sections of the blog.
Even here, I try to keep each text block to a certain size. If there is too much text, people will either gloss right over it or skim through. I don’t know how many times someone has asked a question that was answered 5 times in just one post. Each block is usually 2-4 sentences tops.
Once all the text is written, it is time to set the size of the images, and then make tags for the subjects. I realized a while back that it was very important to include multiple subject tags for each posts, so that it would be easier for me to find pertinent posts for answering all the questions that I get on facebook every day. At least 5-12 come in on a daily basis, and having this “Library of Wappelville” is very handy!!
Now you have a better sense of why I started up the patreon page, as keeping this particular resource going is a 14-20 hour a week investment. Here’s a link to the page. I am hoping to add some more special things, like Painting Pyramid video ‘packages’ with brushes and materials, etc.
Many thanks to all who have contributed!!!
This live session was done to show how you can create your own oil washes, and use those alongside the Mig Ammo oil washes. In addition, I tried to show how you can make regular oil paints the same consistency as the Mig Ammo OilBrushers, and use them together!
Finally, I wanted people to see that using oils on miniatures and vehicles allows you do do all sorts of wonderful mixing techniques right on the figure! Here’s a link:
All too often, I see people using oils on a vehicle, but not take advantage of that ability to do such mixing right on the figure. This is very different from acrylics, and it only makes sense to fully utilize these differences.
On the right is a StuG that was “Primer Painted” with the usual Badger Stynlrez primers. In the upper corner is an Italian M13 tank that was painted during a google hangout session, and to the left was the Panzer III which was done during the facebook live painting session. You can see that the basic framework of lights and darks are similar, but the oils have provided more variations in tone, etc.
Even on a ‘tan’ vehicle, there are many color differences, especially if I want to show the primary weathering of the desert, and that is sun bleaching of the paint.
I hope to do many more of these live demonstrations, as they are very fun, and people can get a deeper view into what goes into these techniques. I will be doing a standard pictorial blog post on painting the M13 as well, so stay tuned!
If you can possibly contribute to the patreon page, it will go a long way to making more time available for the 2-3 hour live demonstrations! Many thanks to those who already have!!
It’s no secret that in the last year, I have been using the Secret Weapon paints more and more and more. There are a number of reasons for this, but the main progenitor of this evolution in materials has to do with using the Badger airbrush products at a greater and greater level.
In particular, the use of the airbrush and Stynlrez primers for executing my Shaded Basecoat technique on a massive scale has meant a corresponding rise in the amount of glazing that must be done.
Since the Secret Weapon paints are designed with glazing in mind, they are the ideal material to go along with the Reaper Clear paints and the Reaper Liner paints.
This banner is a classic example, where a watercolor style technique was utilized with a variety of Secret Weapon weathering paints.
While this looks like complete chaos, the paints are actually designed to work this way. That is, have a moistened surface and ‘drop’ the paints into it, allowing them to mix on their own to create some very nice random effects. This is particularly useful on any kind of worn or weathered surface, such as this banner.
Once the paint dries, you can see that it levels off on its own, and makes some wonderful subtle effects.
This article will continue on with some of the glazing process, as I further enhance and deepen the shadows in the metals.
Anyone who has seen my Glazing video knows that I love to mix lighter ‘opaque’ paints with mediums such as the Vallejo washes. This will create a semi-opaque color which is fantastic for various shades in the “middle tone” region.
When mixed, the lighter opaque color becomes ‘suspended’ in that wash medium, and it allows me to do some interesting things.
You can see how the handle of the weapon has been painted with this ‘wash’, and how I have some interesting color variations right off the bat to emphasize with further weathering.
I did this on all of the beastmen’s weapons and loincloth plates.
Then I took that mix a little further by adding some seafoam green to it, as shown in the right hand image. As that previous layer was still wet, I could go back in and add several new lighter tones… but they were all semi-translucent.
Yes, a light wash or glaze can actually be a lighter color!
Now to darken the metals. I used one of the deeper slate blue colors from Secret Weapon, along with Blue Liner paint from Reaper. These blueish tones would be essential for making the secondary applications of rust look that much “warmer”. The color temperature game is very important if you want subtle forms of contrast!
Both of these colors can be thinned down to very extreme levels, which is why I like them so much. As the initial glaze of the medium Secret Weapon dark was still wet, I could introduce a bit of the Blue Liner into the deepest crevices. I will be doing a technique like this in reverse when it comes time to add that rust.
After all the metals had been completed, I went back in to some of the fur and skin areas that needed a similar addition of darker glazes. This was mostly done with the Reaper Brown Liner paint. I could glaze in very targeted zones where I needed the deepest shadows.
I also love my Vallejo fluorescent colors! I have many blog posts that cover these, as well as a few of my Painting Pyramid series. Ask me about the Object Source Lighting video and the You might even say it Glows video, which covers the fluorescent paint in even more depth.
After adding the semi-fluorescent Eye of Balor to the belt pieces (which was done on all the other figures from this particular army), I was ready to move on to some weathering of the metals! Stay tuned for the next episode which will cover that in depth.
As always, any contribution to the Patreon Fund is appreciated, and allows me to create more of these how to articles. These take a lot more time to create than most blog posts, as I try to retrace my steps into something that is concise and useful!
The second episode in the painted backdrop series begins with the second section, which was the “moveable” version, or the free standing piece that could work on either side.
I have published a few articles already on how to match your terrain to your mats. This mat by Table War has some very rich greens, particularly along the edges. This meant that I had to make some adjustments to my backdrops.
This was a happy accident, because I needed to go lighter and warmer anyway to make the “forward” edge of my backdrop come forward!
This is what 12 feet of painted backdrops looks like!
Again, using the Badger paints and primers was very useful, working with the Patriot 105. The misty nature of the scenes is necessary to make this flat upright board flow into the background instantly.
When I placed my new backdrops next to the mat (from Table War), I saw that I needed to make some adjustments. This was not a surprise, and you will see how those corrections were made later in the post.
It was nice to get the first views of the backdrop behind all the terrain that I had worked so hard to create!
In this image, you can get a real sense of how I tried to mimic the appearance of the “real” terrain on the backdrops. Gently rolling hills and clumps of trees off in the distance would be an ideal image to have in the backdrops of all my battle report images.
I was very happy with the way the two sections blended together at the joint. Even at this ‘”open” end, it was blending in quite nicely.
The advantage of having those corner hills meant that I could hold the corners together very well, and hide a lot of the seam. The downside of that was that I had to make the horizon line a little higher to compensate… making it more difficult to get that far distance flattening of the landscape on those backdrops.
These ground level views are the entire reason why I wanted the backdrops. When I take the images of what is happening on these battlefields, this will be the primary ‘cinematic’ angle. Constant images from the bird’s eye view get very boring in a hurry!
I still can’t believe how it has affected the colors of my terrain and the mat. Before the backdrop, the colors seemed burned out in some places, or grayish. I really loved this surprise! I knew that I was using some nice rich greens and browns on my terrain, but it was not until now that I saw this.
Troops moving through these woods will have an extra level of realism to be sure!
This trail that was part of the battle mat was nearly invisible from this angle prior to the addition of the backdrops.
At this point, I did make some adjustments to my terrain pieces, just as I would do on the backdrops. I used the airbrush to add the same brighter greens to the edges of my hills and forest sections which would echo that on the battle mat.
I even sprayed some color on the tree foliage, which made a dramatic difference on some of the sections which did not get as much coverage of the flock on top of the original moss.
As I looked at how the various areas of the backdrop meshed with the terrain board, it was clear that the scatter terrain I mentioned would be necessary. I thought that I would experiment with a few items that I had available.
Some of this were pieces of grassy ‘carpeting’ which will be used for farm fields. It was easy to cut these leftover strips into irregular shapes to place at these seams. The clumping flock from Woodland Scenics could be piled on top of this to create some instant terrain.
Here are a few images of how this worked out. I will definitely make some more special corner sections of trees and bushes for these areas, which will be the next tutorial on this board.
Once again, if these articles are helpful, it would be great if any contribution could be made to the Patreon page:
This unusual project is something that I have wanted to do for many years, a backdrop for my terrain board!
I cannot recall how many times watching or looking at battle reports the inevitable piles of junk or other distracting things would show up behind beautiful tables of terrain and painted minis. I had grown tired of spending hours in photoshop blacking out these messes 🙂
There are many different ways to go about this, but I also had some restrictions on what I could do. I had already tried some cloth backdrops, but they didn’t work out very well. The photo backdrop I had purchased was not a very good color, and I could never get the folds out of it or keep it from wrinkling.
My favorite material to use would have been the thin underlayment foam which I use for my terrain, but I need to save that for my terrain!
What I had available were a number of large pieces of cardboard, so I set about making something I could use from that simple material.
It all starts with the mat, which is from Table War. Most of you have already seen the how to posts on building all of the hills, trees and the river.
This view shows the issue. any time I wanted to take a picture (or film video) from one end of the table or the other, I was going to have a very unsightly view. Unlike the ‘main’ backdrop section, there was nothing behind it to support a big piece of cardboard.
The lower image shows how I made supports for the side wall section by making a few vertical ribs. Now I can take this single section and use it on either end of the board, moving it when I am taking pictures from either end.
Since I will always have some kind of corner terrain, that will help to keep the boards in place, as well as hide any joints.
Even in this unpainted state, it is already an improvement! I have spent many hours in the past trying to crop out or black out distracting objects behind my terrain boards in battle reports. Why go to all the trouble of painting minis, making terrain and having the battle mats when piles of whatever will be seen in the background…
I was able to get the camera angles pulled back a lot more without having to worry about what would be in that background. I can crop out most of it, etc, or more easily photoshop some more. The only option I used to have was to black everything out.
I was especially eager to see these ground level views! Without a backdrop, this angle was almost certain to show piles of art supplies lurking behind the board.
I switched the board to the other end of the table to see what that would look like. Since I took these images, I have since made some more simple corner and straight wall elements to better make this blend in.
Time to paint this! However, this phase will be tricky, given the use of cardboard for material. If I had used the pink foam, I could have used a brush. and any kind of paint that I needed.
Doing so with cardboard would have guaranteed that it would warp with all that moisture, so I tried to prevent that. I had a can of regular spray primer, and used what remained to at least get a coating on the cardboard.
Using an airbrush to paint it (a Badger Patriot 105) would cut down on this moisture drastically… and it would also save a TON of time. In addition, it would give me the soft, misty look required to create an immediate sense of depth.
After working a number of sky colors onto the board, including the Stynlrez slate blue, etc., I used some of the “landscape paints” that are also made by Badger. These were originally intended for model train builders, so it would be perfect for this task.
You can see how soft the horizon line is. This is essential, especially if I am taking any images of figures close to the backdrop. It must immediately sink into the distance.
The primers and paints from badger are now at a new website. If you use the discount code wappellious, it will definitely save you some cash :
To create a few tree lines that mimicked my terrain board, I ripped out a few shapes from my newspaper to get some randomness. I made sure to leave the lower section of each tree stand the original sky color, which would give me more of the misty feel.
I constantly looked back at my terrain board to see just how I could get the same feel in the distance. The ends of each board had to be as “generic” as possible, with no tree stands and the exact same horizon line. Keep in mind that I have to match four different edges with just two pieces!
I mixed a deep green with the Ebony Stynlrez primer to get more definition in the tree lines, and get a ‘layered’ look to create more distance. As I got closer to the front of the scene, I used some more warmer and more saturated colors to further push my orginal sky and tree line into the distance.
If I were simply painting a forest scene, I would more detailed elements in the foreground, but that cannot be done here. Since I want to move my terrain around, this scene has to be more like wallpaper, a soft pattern that is barely noticeable and repeats itself over and over.
The larger section is done! This gives you a sense of how big it is… around six and a half feet.
Uh oh, what is that lurking in the forests of France? Beware the battlefield T-Rex.
In the next article, I will show how I painted the other section, and discuss a few methods for dealing with seams as well as matching the colors of the battle mat.
If you want to see more unusual articles like this, it would be very helpful if you could support the patreon page. This will allow me to have a few free moments to tackle projects such as these with all the engineering involved!
These Rolljordan Blood Bowl figures were very different from the told GW Norse figures that I had painted in the past.
I used the same kind of “Primer Painting” technique on these guys that I had on the Beastmen that I had been working on recently. This group was particularly reliant on the post primer glazes!
This is also one of the very critical reasons that I used many layers of the Stynlrez primers, because Blood Bowl figures can spend much of the game face down or flipped over. That is a lot of extra abuse that most figures don’t see.
Speaking of the primers, there will be a new website where you can get them, with an easier layout to find what you need. If you use the discount code Wappellious, you will get a nice chuck off the order 🙂
I also tried out a new snow technique on this group. Originally, it was supposed to be for terrain, but lo and behold, it is a very sturdy, very quick way to get some nice fluffy snow!
I put down the Vallejo Ground Texture snow first, piling it up like I do with the Oxide Paste and other mediums. While that is still wet, sprinkle some of the snow flock on top. It gives a very nice added texture!
You can even add a little bit of sky blue paint to the snow to give it a bit of a tint, and make it more icy.
In the previous episodes, you saw how the figures were “Primer Painted” and the first layers of glazing. The process continues with more work on the bases and the initial glazes on the metal surfaces.
I mentioned in the last post that glazing is not always about making things darker. You can also do lighter glazes, which is what I am doing here. In fact, I was also able to add in these lighter colors while the previous layers of glazing were still wet.
This greenish color was used on all the lion cloths, and that process of wet into wet was used to get some lighter tones in very rapidly.
I added in some warmer Secret Weapon weathering paint, and that was used to make the lighter tones. Again, it was done so quickly, the paint didn’t have the time to dry, allowing me to use that wet into wet method.
All the tunics have a decent amount of shading on them. The deepest darks and highlights are yet to be placed, because I want the ‘context’ of all the other colors surrounding it first.
I brought out a few Badger paints to work on the snow. This is mostly due to the requirement that all my snow match previously painted figures. Since I have a lot of these two Badger colors, I knew that I would never run out!
Also, I wanted to show that just like the primers, Badger paints can be used with a regular brush… no airbrush required…
The process was pretty simple. Mix up a middle tone color, and apply that all around the hooves and rocks.
As you might imagine, progressively lighter layers were applied. While I do emphasize glazing quite a bit, I still use layering when it is the right approach for a given result.
As I work on these layers, I am using one of the #8 round craft brushes which is a bit worn out. This means that I can “flatten out” the bristles of the brush, which in effect creates a Filbert style brush. This is excellent for feathering out each layer of paint, acting like an airbrush.
With the bases painted, I moved on to the metals. These will eventually be heavily weathered, but I need to get some blue/greenish gray shading on them first. I will use a few Secret Weapon weathering colors, along with the Grey Liner from Reaper.
I thinned down the lightest grey for the first layer, removing the excess with one of the makeup sponges. I don’t want to destroy all of the lighter colors that I established with the primer painting. Also, keep in mind that several darker layers of glazes will be added after this.
I worked from one beastman to the next, setting up the second and third layers of glazing.
You can see the effect that the second darker layer of glazing has. Stay tuned for the next episode, where I will put additional layers of glazing on the skin/fur, begin to weather the metals, and work on other elements… stay tuned!
If these kinds of how to articles prove useful, I have the patreon page up and running to try and fund more articles like these. While I love taking pictures of the process, and making the step by step articles, it does slow down the progress that I can make on commission pieces such as these.
Even a $1 pledge is very helpful, since that will also go towards more supplies which I can use for live experiments, etc.
Here’s a link to the page:
While I have done a few episodes on how to use the Badger Airbrush and Stynlrez primers for my “Primer Painting” technique, you have not seen as much of what happens after that process! So, here’s the first series which demonstrates what is done with all those nicely pre shaded figures!
Here’s a link to that original Primer Painting post:
I began with putting some darker glazes on the bases, using a few simple colors. The Reaper Umber brown and Brown liners make fantastic deep glazing tones.
I worked my way around the snow piles, using the watercolor “negative painting” technique. The brown liner gets down into the deepest crevices, making them nice and dark but not black, which is a dead, uninteresting color. The ‘warmth’ of the umber and brown liner will also help to make the cooler blues of the snow seem that much colder and icier!
As you can see, I am using the same green handled #8 round craft brush as I always do!
Once I have a decent coverage on all the rocky areas, I grabbed one of the makeup sponges and dabbed away at the sections which are supposed to be lighter. All of the crevices remain dark, but now I have tinted the rest more of a warm brown. By wiping away the paint, I am taking better advantage of all the pre shading that was done in the orginal “Primer Painting” phase.
Each base is a little bit different, so found that I had to use a few different types of makeup sponges… some were eye liners, other for lipstick, etc. You too can be a master of the beauty products domain.
I used a Secret Weapon Miniatures weathering paint to get some deeper tones on the weapon handles, just the same as I put the dark glazes on the bases.
I also wiped away excess paint on some spots to reveal the lighter pre shading underneath.
Now for the most important bit, and that is all the skin and fur. This is going to require several layers of glazing (both darker and lighter glazes), but for now I just want to establish some mid range tones… nothing very dark.
Mixing a Reaper flesh type color with the Secret Weapon weathering paint turned it into a semi-opaque glaze. Yes, not all glazes have to be super transparent! I also had a mix of the umber and that flesh color, so that I could vary the tones that I was placing on the fur, etc.
Finally, I had some of the brown liner on hand, which was used to glaze the bottom of each leg and the hooves.
You can see that process taking place here. Just as I did with the previous sets of glazes, I used a variety of sponges to remove the excess and bring back some of my original lighter shades.
I was very glad to discover the larger triangle shaped sponges, because those can be cut up into different shapes, or even to remove dirty sections which are no longer useful!
I think you can see in this view how the lighter glazes blended into the deeper brown liner glazes at the bottom of the legs. By starting at the waist and working my way down, gravity worked naturally in my favor as I glazed down towards the hooves.
So we are now at the end of stage one! I will be doing a few more episodes to show how these “Primer Painted” figures go from pre shaded primer to completion!
I have corrected some of the crazy linking issues to the Patreon page, which only revealed themselves once the page went live (of course!) So hopefully this one works as it should! Stay tuned for the next episode, where I work on the snow, the banner, horns and more…
I think the last little step by step that I made of “primer painting” showed a unit of Bolt Action minis, so I thought I would snap some images of a more diverse group. There are a number of different manufacturers here, ready for some Stynlrez Primer from Badger Airbrush.
As you know, there are already a dozen colors, which means that you really can paint with primer! I Began in this case with one of the new dark brown primers, which is called Ebony.
It is a very nice Van Dyke Brown shade, which was a great initial layer for these big beastmen figures from Mierce Miniatures. At this point, I am just looking to cover every surface.
There’s even more sitting over here, including some telephone poles that I quickly made for the urban table (there’s a how to on those coming as well!)
I prime dozens of figures all at the same time, along with large creatures and even terrain. Once that all has the first darker layer, I will start to add in some lighter colors and let those ‘mix’ in the reservoir of the airbrush. The lighter tone here is the ‘Skintone’ primer.
That is allowed to mix in the reservoir with the remaining Ebony primer, and the figures will be primer painted lighter and lighter…
I continued with this process on the Reaper and Red Box Games figures, gradually lightening that mix… but making sure not to wipe out the original darker color in the shadow areas. Some of the Mierce beastmen are shown in the inset image.
Remember, what I am trying to do here is the replication of my Shaded Basecoat technique on a mass scale. Since you are going to be making a bit of a mess anyway, why not do a whole bunch of minis at once, instead of just a handful?
I gradually add lighter colors into the mix, such as tan and then ultimately a tiny bit of white primer. I do not clean out the airbrush at any stage here! It is important, because allowing the colors to mix and flow from the brush means that you get those smoother transitions of light to dark along the way.
I also have to keep in mind that I sometimes go back into the darker areas with another tone once I have all the lightest colors established. Sometimes I will do that by mixing in the ghost tints with primer colors. You still get the benefit of a primer, but now it is tinted in a way that you could not make a primer color…
Here’s that lightest color established on the beastmen. The bases will have snow on them, just like all the previous figures in this massive army. So even more lighter colors have been added in those areas.
There are certainly more colors in the primer range than tans and browns! There are greens and even a blue, which I will use here on a few Mantic figures, which have an obvious under sea theme. You can see what the slate blue primer looks like on the test spray.
After I put the blue primer layer down, I started to mix in some seafoam green to get a few quick color transitions. I will be painting glazes over this with the Reaper clear paints to enhance the depth of tone and shades, along with golds and copper NMM which will see the original greens and bues showing through.
That is all a part of the Shaded Basecoat technique, which is setting up the layers of glazing in advance. Sometimes the glazes are meant to darken and enhance these early layers, which is the case on the beastmen. Sometimes, however, I will actually put layers of color that are the opposite of what I did during the primer painting phase, using that as an underpainting.
Finally, I added a few spritzes of the slate blue on metal areas, such as the weapons and armor on the beastmen and this Gondor figure.
I will try to do a few step by step articles to show how I take advantage of all this rapid primer painting, so stay tuned for those!
I am also going to start doing the live sessions again, now that we have learned a few things about gaining more control over the camera focus and macro settings! If you want to see more of that, I have established a patreon page which will create a bit more time for those live action tutorials:
As most of you know, I have been at this blog thing for quite some time… well over 5 years. There have been thousands of posts, nearly 1 every 24 hours over the life of the blog!
I have also tried to create as much variety as possible, with every possible manufacturer and genre, also including all important basing, which you know is my favorite 🙂
I try to blend how to posts with introduction to new materials and tools, so that folks who play with their minis have a great setting for them too.
As you can imagine, this takes a considerable amount of time. Between the photography, image processing, writing the articles, etc., it can take 2-3 hours every single day. Now that I am doing the facbook live tutorial sessions, that can be 5-6 hours in a single day of blog/tutorial maintenance.
This is on top of the normal work that I have to do, which is a 7 day a week job all by itself. For almost a year, it had become very evident that I needed to find some way to fund these projects. I didn’t want to ‘monetize’ the blog or you tube pages, because those ads are very irritating!
The Patreon route seemed to be the least obtrusive, and the most flexible.
The Patreon page has now gone live, as a basic framework with 1 pledge level. It is $1, because I wanted to keep things as simple as possible at the outset. There will NOT be exclusive content, because I have also found that irritating on other web pages. If you feel like you can pledge more, it will help a great deal. I wanted everyone to have a chance to see everything.
I have one ‘reward’ thus far, and that is the chance to win a raffle of this Nocturna miniature. All patrons who pledge their $1 have a chance to win this figure. Should the page grow, I will add more of these raffle figures.
Hopefully the patreon page will do very well, so that I can make the raffle figures larger scale figures like this one from Nocturna! I really love these, and it would be great to paint more like it.
I want to say thanks in advance to anyone who contributes, as it will be a tremendous help! I really enjoy doing the blog, the facebook live sessions, and answering questions on facebook, etc. This will just make it a lot easier for me to reach a greater number of folks!
Here’s a link:
Here’s something that I was able to work on during a podcast recording with the folks at Models Workshop. I had originally worked on it over 10 years ago when I first started up my Lizardman army!
It was interesting to do this, since at that time, I was just starting to develop the Shaded Basecoat technique. While that has undergone many alterations since, the essential idea is the same. Start with the light middle tones and work lighter as fast as possible to cover the entire surface of the figure.
Once all the surfaces have been covered, and the lights and darks established, I can do several series of glazes. The aspect that has changed the most is what I use for those glazes, and that I do more color contrasts in those mid tone areas.
These days, I use a lot of the Reaper Liner paints and Clear paints, along with the new Secret Weapon weathering paints. All of those are fantastic for glazing, and better yet, they are just as effective for the mid tone work that follows!
He’s also here:
This set of doggies had an interesting juxtaposition of colors and tones, balancing the deep reds, golds and blueish tint of the snow.
These had to match some previously painted units, which emphasized the hell hound theme.
I had to draw on a number of the techniques that I describe in a few of my painting videos, especially the Raging Reds and Painting Gold NMM. It seems that people have a lot of trouble with reds, both making them lighter and darker.
Making them darker by adding a very deep blue helps to keep them from becoming a ‘dead’ brownish red. This also sets up your lighter version of the reds, where yellows are used to lighten it. The yellows keep the reds from becoming a chalky pink, and now that warmer tone is set against the ‘cooler’ shadow reds.
The bright yellowish golds are handy for accentuating the darker reds, and form even more of a contrast to the darker blues that were added to the reds for shading.
Finally, the lightest, blueish snow helped to make the reds seem even warmer, but still there is a hint of commonality in the colors, since blues were added into the shadow parts of the red.
This was certainly an interesting set of figures to work on! If you are interested in the videos that I mentioned, you can get those directly from me on a USB drive. I have many other colors that are covered as well, along with several NMM videos and lots of basing too!