No3l
Well-Known Member
- Joined
- Dec 12, 2019
- Messages
- 81
Hello dear PF friends,
it is quite a busy period of time and shame on me I don't spend enough time here on the forum as it would deserve.
Yet let me share with you a quick SBS explanation on something that I have been experimenting lately on my French revolutionary bust (from Stoormtroopers, sculpt by Carl Reid.. really a wonderful piece imho).
Historical is not my cup of tea nor painting bicornes but as usual as long as we learn and enjoy I guess it is always good. Had no references this time but had some weathering sticks in the closet that I had never used.. so here is something new that I've tried with the purpose of creating a realistic texture over what would normally be a 'plain' surface.
The process is a mix of weathering brush from Greenstuffworld /airbrush/brush:
1. (Weathering brush) Painted some basic textures over a base of GamesWorkshop Mechanicus Grey using Kimera Kolor Carbon Black (+ a dot of Kimera Kolor ground brown). I like KK Black in these circumstances because it keeps the appearance pretty matt and desaturated. Here I am trying to do something more "realistic" in line with the historical subject without too much saturation so it fits pretty well my purpose.
2. (Weathering brush) sketched the main light distribution using KK White and KK Cloudy Sky. Here I still didn't care too much about the details, more a study to make sure the light direction is consistent with the one on the rest of the bust and also preparing couple spots where the fabric will be deteriorated
3. (Weathering brush - with color relatively dry in order to create the “3D” texture) introduced the colours variations using mostly the basic hues that I had used in other parts of the bust and be consistent with the context (mountain, cold, daylight): KK Carbon Black, KK a yellow Oxide, KK Morning Sun, KK Cloudy Sky, Vallejo Light Brown 70929.
Here really worth to stress that this step is the main one to build the "3d texture" appeal. Just being careful to do multiple steps and let the colour dry by leaving kind of "micro drops" on the surface
4. (Airbrush) multiple airbrush layers over the whole bicorne using progressively darker mix of KK Silver Grey and KK Carbon Black.
Another note on this step, although I am not a pro with the airbrush here it was a forced choice because using glazing with a brush would have probably killed the 3D texture at step 3. On top to that even with my limited airbrush skills it was possible to keep good transparency and let in some areas the reflections of the colours underneath the surface show up gently.
5. (Brush) adjusted and detailed shapes of the lights and colour variations underneath the airbrush layer , this time doing “traditional” stippling with a simple brush n.1
6. (Airbrush) very thin last pass just in the darkest shadows with KK Carbon black + KK magenta to add some depth and create some "movement" in the volumes.
Here it is, hope it might be useful to some of you or simply an inspiration to others in order to further develop this kind of approach.
Cheers and happy painting!
Ale
it is quite a busy period of time and shame on me I don't spend enough time here on the forum as it would deserve.
Yet let me share with you a quick SBS explanation on something that I have been experimenting lately on my French revolutionary bust (from Stoormtroopers, sculpt by Carl Reid.. really a wonderful piece imho).
Historical is not my cup of tea nor painting bicornes but as usual as long as we learn and enjoy I guess it is always good. Had no references this time but had some weathering sticks in the closet that I had never used.. so here is something new that I've tried with the purpose of creating a realistic texture over what would normally be a 'plain' surface.
The process is a mix of weathering brush from Greenstuffworld /airbrush/brush:
1. (Weathering brush) Painted some basic textures over a base of GamesWorkshop Mechanicus Grey using Kimera Kolor Carbon Black (+ a dot of Kimera Kolor ground brown). I like KK Black in these circumstances because it keeps the appearance pretty matt and desaturated. Here I am trying to do something more "realistic" in line with the historical subject without too much saturation so it fits pretty well my purpose.
2. (Weathering brush) sketched the main light distribution using KK White and KK Cloudy Sky. Here I still didn't care too much about the details, more a study to make sure the light direction is consistent with the one on the rest of the bust and also preparing couple spots where the fabric will be deteriorated
3. (Weathering brush - with color relatively dry in order to create the “3D” texture) introduced the colours variations using mostly the basic hues that I had used in other parts of the bust and be consistent with the context (mountain, cold, daylight): KK Carbon Black, KK a yellow Oxide, KK Morning Sun, KK Cloudy Sky, Vallejo Light Brown 70929.
Here really worth to stress that this step is the main one to build the "3d texture" appeal. Just being careful to do multiple steps and let the colour dry by leaving kind of "micro drops" on the surface
4. (Airbrush) multiple airbrush layers over the whole bicorne using progressively darker mix of KK Silver Grey and KK Carbon Black.
Another note on this step, although I am not a pro with the airbrush here it was a forced choice because using glazing with a brush would have probably killed the 3D texture at step 3. On top to that even with my limited airbrush skills it was possible to keep good transparency and let in some areas the reflections of the colours underneath the surface show up gently.
5. (Brush) adjusted and detailed shapes of the lights and colour variations underneath the airbrush layer , this time doing “traditional” stippling with a simple brush n.1
6. (Airbrush) very thin last pass just in the darkest shadows with KK Carbon black + KK magenta to add some depth and create some "movement" in the volumes.
Here it is, hope it might be useful to some of you or simply an inspiration to others in order to further develop this kind of approach.
Cheers and happy painting!
Ale
. Mike
