posted by roman, jarhead, kongHi,
this Tutorial shall bring you an overview over the different thoughts i have made to the chapter of "Weathering". If you are searching for inspiration or just don't know what i am talking about - check this:Weathering InspirationOk, now i'd like to start with making something rusty...Making something rusty
... like this'n'that:
As visual aids, I take 2 times Ogerstomacharmoury from Games Workshop where I want to test different variants.
It is still a little experiment, so to speak (just for me) - the preparation of the metal parts is therefore in my eyes rather unimportant, there will be single tutorials about this stuff somedays - enough trivial talk - we proceed to action:
Priming
Made white over black like in described in this
Tutorial.
Base colour with basic metal and additional "dirty water" glazeMithril Silver was the basis of this story. Since I always have a water tank with so-called "dirty water", from washing out a thousand brushes over the years i want to left some words about it - there on the ground is the perfect match to collect vast amounts of old pigments and certainly there might live one or the other evil kraken monster down there. After the metal basic was dry i brought some of this old water over the objects to darken down the bright shine of mithril silver.
Experiment with Schorched Brown Glaze
On both plates a highly water-based glaze of Schorched Brown was drawn, but before you go on the plates always wipe the brush on a tissue from most of its water. This is how the glaze looks:
Bringing this up left me with this result:
Dirt experiment with "Smoke"What you need:
- A piece of foam from a blister (Sponge!)
- The object
- Vallejo Model Color Smoke (70939)
Brought on the surfaces with the sponge, used as my brush, dabbed:
What have i done? I dabbed the foam/sponge in the color, and used the randomly created effect the sponge forces me to on the chosen place. What's happening at all? Looks like this and can be done withever colour you may like - here done on a tissue:
Rust experiment with "pigments"What you need:
- The object
- Artists paint pigments for mixing - (I have only recently started and am even on the trial & error path), you may use here also different Weathering Pigments from different companys, or go out and scratch off real rust and make it to pigments - you are the boss.
My Pigments I have here, "English red" by guardi in a big amount:
These are coming out really brightly orange. Sure there are others like "Ironoxid brown", Umbra, and way more - just grab some and collect your own experience in using others or mixing them or eati... no!
Brought the pigments out of the box with a dry brush:
Water with a brush brought into them and making it to a glaze. The good point at working with pigments is the fact when you make them wet and they will dry - they always dry out to the same result as before - the dusty, dry pigments as they have been before. If you put something else in the mix like an ink or a something like smoke or coffee it becomes something different. Bringing in Smoke for example makes the pigments dry out harder, not so dusty as they might do only with water - just get some experiments of your own on some small test pieces.
Now i brought this upon the upper piece:
Final steps in this experiment
I used a glaze of Citadel's Vermin Brown on the two plates ... I do not know - I guess because I wanted to give the lower plate a little bit special Rostton. I have also added this to the bottom or by the addition of chaos to Black Smoke points to a deeper effect.
Conclusion:
Main thought: Never stop experimenting.
I've noticed here that I subconsciously rather the effect, or just like the color along the edges and rivets to incorporate or draw even the most careful glazing technique leave.
I would running out of my time if i would go deeper in this overview, but experience always grows and i will go further in the details with this content sooner or later
If armour plates are motionless to each other there might grow rust.
If the armor pieces are designed and made for the movement, there should be no place for rust as the owner should keep them clean, otherwise the carrier simply can not move (for example: Chain Gloves).
On a fallen, forgotten knight in the swamp that would be cool instead, haha.
Next step ...
Making something dirrrrrrtyI will not tell much about this. Everyone got dirt in his thoughts, let them out and do some experiments... hehe :)
Nah, i just can't leave you with this information. For example:
For such dirt you may use black pigments or charkoal (picture above).
For such dirt on a wall, for example you may use some old "dirtwater", several glazes of different experiments and so on - you see there is no end in sight, learning by doing.
Making chipped paint
I mean such things:
You may also go at this task with these experiments:
To represent such a decomposition on a figure, it is necessary to be inspired about the desired effect of nature. Nature provides to every observer, the best impressions.
Chipped Paint and Dirt all together now
I am trying to take a fundamental approach to the subject with chipped paint and dirt, not to explain the issue at the highest level, just to bring you an overview, my way of approaching this theme with only inspiration in the back of my mind. Detailed stuff for sure to come.
Purely instructive this will be submitted as showing to learn from your own experience, your own curiosity of ideas and limits "learning from mistakes" may show you - your path to your individual style. Therefore, this guide is intended as an approach - not as the holy grail ... blabla - let's go:
As a test object a plastic barrel from Games Workshop was used and has been primed by this
method:
Now I have in this case - applied for illustrative purposes only a basic layer of Hawk Tourquise and Ice Blue (Citadel), added by a small drop of Chaos Black (GW) to glaze a simple shadow in it:
With a heavy water-based glaze of Schorched Brown (GW), I tried to represent dirt, as I have simulated a kind of running down on the barrel.
Also I have tried on 2 different ways to get a simple effect of scratches/chipped paint on the barrel. I did use a sponge on the right side to bring up black randomly created areas, also an old toothbrush rocks for dirt from moving through dirty areas before and chipped of paint. On the left side i took a brush and set some spots/lines with pure white - more explanation coming in soon:
Scratches
Now i want to talk about looking at a scratch with light from above - found this example in a wall at night which really fits to this purpose. Ok, damaged wall, light from above:
As you see if the lights hit the the wall from straight above, the lower edge of the damaged area is hit by light and comes out way brighter.
On the left side this was painted on the white spots/lines with black , assuming that the light comes from above, the lower edges of the "crack" in white are allowed to stay.
On the right side fine white lines have been painted on the larger advisable "cracks" on the bottom.
Conclusion:
In principle, this approach to a basic thought of sophisticated techniques Weathering is developed, i guess.
To achieve more intresting or higher quality results means for example the "Dirt" to be created with many glazes that produce different effects in combination.
Also "cracks" can win several colors at depth.
The effect of flaked-color works in my experience with the dabbing of metal sounds pretty good.
Even the rust is by a combination Weathering can achieve the possibility of different effects.
As I said initially, this tutorial will serve as a basis and not to bring the ultimate, brilliant result, as this will be different for each of us as well.
Keep on happy weathering, painting and experimenting and have a nice upcoming weekend rolling in!
Regards
Roman
