It's about time again for a Painting Jamaramamammmaaa!
The jungle is answering frequently asked questions - FAQ, related to Miniature Painting and we hope we can help with our answers. Let's see then:
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Sinan asks via mail:
"Hey Roman!
Sorry to bother you, but I have this question in my mind for ages now.
You hold a miniature in your hand in this photo, a schoolgirl with a katana;
Click for photo! May I ask where it is from?
I looked all over and couldn't find it :(
Thanks!
Best
Sinan"
Roman's answer:
Sad story about that figure. Well, it has been available at Mr. Steve Party, who sculpted her. Directly via email request a while ago.
He had very limited casts of her and I am not sure if there is an
option to recieve another one. I don't think so. If you want to try your luck I recommend contacting the sculptor.
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Lee Wai asks via mail:
"I've been following massive voodoo for quite awhile now and the tutorials there have been very very helpful and really appreciate how you guys are helping our noobies like me in the community of painters anyways i wanna ask how do you paint osl??
I have had trouble painting osl as the glow never seems to look right when I resort to glazing and it always seems like a blob of paint instead of a light emitted onto the model itself. could it be the dilution of paint being the problem or the technique used?"
Roman's answer:
Important is to paint the area that you want glowing in the end with pure white. The source of the light has to recieve the most powerful stong bright color there is and this is white. You can't paint a glow effect on something dark. Ok, you can but it will never have the power of a white underground and it might look awkward. So far for the source of the OSL.
Now for the sorrounding light game that comes into play. I do paint all areas to finish before applying a glow effect. When the source of the OSL is glazed with your glow-color you have to do the unbelievable: Think yourself into the model, into the spot of the light source and look around you. Look which areas are influanced by the light and which are not. Look which are close to it and which are far away.
I mainly use Forged Monkey's Day Glow Pigments as glazes on the areas I want glowing in the end. It is important to use strong and powerful colours to recieve a glow effect. No browns or greys or such. Check the article about Object Source Lightning and the article about How to use 'em Dayglow Pigments that should help you. This article about light and shadow might also help you:
Victor asks via mail:
"Hi Roman aka jarhead, The legend himself :P! I am a big fan of your work, sir. I was wondering if you could answer a few questions on the Wild Orc Chieftan you painted
1. What colours did you use for the skin? A recipe would be nice of the base colour, shadows, highlight, and nuance colours.
2. What colours did you use for the leather and the stone axe part?
That is all. Thank you very much sir! Keep up the amazing work and I love the tutorials you guys put out, since it inspires all painters around the world to improve and strive for better painting skills :D Thanks again! Cheers"
Roman's answer:
"Hello Roman!
Can you tell me what putty do you use to hold your miniatures in transporting cases (and as I remember the same you use to hold figures/bases on a cork)
Best wishes to you and Raffa and all members of great MV team)" I have had trouble painting osl as the glow never seems to look right when I resort to glazing and it always seems like a blob of paint instead of a light emitted onto the model itself. could it be the dilution of paint being the problem or the technique used?"
Roman's answer:
Important is to paint the area that you want glowing in the end with pure white. The source of the light has to recieve the most powerful stong bright color there is and this is white. You can't paint a glow effect on something dark. Ok, you can but it will never have the power of a white underground and it might look awkward. So far for the source of the OSL.
Now for the sorrounding light game that comes into play. I do paint all areas to finish before applying a glow effect. When the source of the OSL is glazed with your glow-color you have to do the unbelievable: Think yourself into the model, into the spot of the light source and look around you. Look which areas are influanced by the light and which are not. Look which are close to it and which are far away.
I mainly use Forged Monkey's Day Glow Pigments as glazes on the areas I want glowing in the end. It is important to use strong and powerful colours to recieve a glow effect. No browns or greys or such. Check the article about Object Source Lightning and the article about How to use 'em Dayglow Pigments that should help you. This article about light and shadow might also help you:
A well illustrated guide by Raffa showing you theory about light and shadow.
Well, so far so good. From your discrebtion I think you are using your glazes too thin. Too much water in them and in the end you only paint random tracks of color-dots to the surface. You have two options now: Do more of the thin ones or try to make them more opaque.
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Victor asks via mail:
"Hi Roman aka jarhead, The legend himself :P! I am a big fan of your work, sir. I was wondering if you could answer a few questions on the Wild Orc Chieftan you painted
1. What colours did you use for the skin? A recipe would be nice of the base colour, shadows, highlight, and nuance colours.
2. What colours did you use for the leather and the stone axe part?
That is all. Thank you very much sir! Keep up the amazing work and I love the tutorials you guys put out, since it inspires all painters around the world to improve and strive for better painting skills :D Thanks again! Cheers"
Roman's answer:
Hey Victor,
well, I am just a normal guy, others say such stuff about legend and whatsoever, I am just a normal guy loving to paint miniatures.
This being said I got some answers for you about the Orc:
1. Basecolour was a mix from a bright blue, desaturated with grey to the mix, shadows by adding black to it, but very slowly, Highlights by adding Ivory to it slowly, nuances were done with with a reddish purple, but glazed very thin.
2. Leather was some browns with grey in it as far as I remember, stone axe basic tone was Green Grey from Vallejo Model Colour, shadows and highlights done ... damn, I have no idea which exact colours I used there. I am not the guy for recipes, I just paint what I want to see there without thinking about the colour names, sorry :/
Thank you for the kind words!
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News on Ivo's wetpalette problem:
"Hello there Roman, sorry for the late answer again, cutting firewood like mad right now, so very little time. I was also wondering about my air humidity, but in our current state, i think its very hight. We have like 65-70 percent humidity right now (according to our home meteostation). So I don't think that's the problém unfortunately. Also the temperature is quite low, around 19 to 20 degrees (no firewood left from last year), not like my grandpa who has like 26 degrees in his appartment :)
Anyway, i'll be sure to send a big thank you to Rhodes (who helped via mail), and another huge thanks goes to you, for your kindness and your patience. I truly didn't meet this much kindness since, gosh, forever!"
Roman's answer:
Well, Ivo let us know about the actual state of this problem after the firewood is done. Did you check for the alternative wet palette paper?
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Roman asks via mail:
1. Basecolour was a mix from a bright blue, desaturated with grey to the mix, shadows by adding black to it, but very slowly, Highlights by adding Ivory to it slowly, nuances were done with with a reddish purple, but glazed very thin.
2. Leather was some browns with grey in it as far as I remember, stone axe basic tone was Green Grey from Vallejo Model Colour, shadows and highlights done ... damn, I have no idea which exact colours I used there. I am not the guy for recipes, I just paint what I want to see there without thinking about the colour names, sorry :/
Thank you for the kind words!
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News on Ivo's wetpalette problem:
"Hello there Roman, sorry for the late answer again, cutting firewood like mad right now, so very little time. I was also wondering about my air humidity, but in our current state, i think its very hight. We have like 65-70 percent humidity right now (according to our home meteostation). So I don't think that's the problém unfortunately. Also the temperature is quite low, around 19 to 20 degrees (no firewood left from last year), not like my grandpa who has like 26 degrees in his appartment :)
Anyway, i'll be sure to send a big thank you to Rhodes (who helped via mail), and another huge thanks goes to you, for your kindness and your patience. I truly didn't meet this much kindness since, gosh, forever!"
Roman's answer:
Well, Ivo let us know about the actual state of this problem after the firewood is done. Did you check for the alternative wet palette paper?
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Roman asks via mail:
Roman's answer:
Hey Roman, my brother in name, it is called "Pattafix" or "BlueTac". These two are two different ones, different brands, both work. Best Wishes back!
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Keep on happy painting!
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