Acrylics bronze ?

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thanks for all the tips and links guys, there is certainly plenty for me to
be going on with. my first attempt was with the model of hannibals general,
when I get time I will put a couple of photo's on(y)
 
I think the hardest thing with bronze is trying to replicate a polished finish (which historical records often indicate it was). The main problem with doing this is that there are so few good metallics in the 'yellow metal' camp, and most Bronze paints are something like the colour of a bronze statue which are specifically patinated to be the colour they are.

A mix of silver and gold, possibly tinted with Burnt Sienna (or similar) is worth a shot.

But I think possibly the way to try to do a good recreation of polished bronze is to paint the item in a very good metallic paint, and then glaze over that to give it the right colouration.

Einion
 
I have had some reasonable results with Tin Bitz. Lay it on in a couple of thin layers then washes of sap green oil paint and shaded with Van Dyck Brown.
Cheers
Derek
 
I paint english uniform, give it a wash of burnt umber and then dry brush with metallic gold. This gives me the highlighted or wear area as polished and the english uniform is that dirty, patinated bronze.
 
Picture to go along with my earlier post. I forget what I highlighted with Citadel Dwarf Bronze maybe
 

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Fresh polished bronze (10%tin 90% copper) is golden. What do you think all those gold paints, incl. printers inks are using as pigments? Gold? :whistle::D. They are using bronze, in some case brass. Bronze with more than 10% tin gets a strong silver touch, bronze with less gets more reddish (often sold as antique gold ). As already stated ny Einion, these dark brownish shades we are used to see on monuments etc are stained with various acids and heat, a technique which was not used before the end of the Middle Age. Getting "older" the bronze gets more reddish, down to a orange hue. It does turn to dark orange only after years and getting green will take decades, a little bit depending on enviromental conditions. Buried in water it may last golden for 2000 years...

Here are two samples of 2700 years old axe blades in original condition:
6433643337636438.jpg
 
For figure painting I am using high quality gold paint, my favourite is Kreul Gold or Antique Gold. This is covered with Tamiya Clear Orange, sometimes downed down with up to 50% Clear smoke. Deep shadows are Burnt umber oil (also on acryl painted figures), highlights are pure gold, the last very highlight Kreul Silver.

H

6134613137336461.jpg
 
I use Citadel 'brazen brass' bass, then a red-brown wash, then highlight with 'dwarf bronze', if needed, final highlight of 'burnished gold'. These are all Citadel acrylics.

This is more to the red side then brass, which is more to the yellow end.

Hope this is of use to you

Colin
 
Bronze and other metals.

I sometimes wonder if anything we paint is realistic just look at some of the faces we paint self included, artistic license abounds everywhere ,dark shading
extreme highlights and so on and carries thru to the metallics .
If we were to paint it as it is then things would be very dull and flat looking,
in small scale you have to exaggerate to make it work including the metallics
or they just look like gold paint on a toy soldier.

Im off to work but might add something later :)

Ron
 
just to say thanks again to anyone who took the time to
reply, thanks a lot, will probably have a go at different ways
and see what I think looks the best. as you can see from
Hannibal's General my first effort looks quite crude(y)(y)
 

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I paint english uniform, give it a wash of burnt umber and then dry brush with metallic gold. This gives me the highlighted or wear area as polished and the english uniform is that dirty, patinated bronze.

me too. However, I have seen some amazing results using the non-metalic-metal (NMM) process using citadels snakebite leather and vallejos english uniform. Highlight with japanese uniform mixed with light grey. Shadows with violet brown red and black. Pure white accentuating points of light.
 

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