glazing driving me insane WIP
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Thread: glazing driving me insane WIP

  1. #1

    Question glazing driving me insane WIP

    Over the holidays i spent lots of time watching Vince's hobby cheating vids and got inspired to try new techniques and get better at painting minis.

    This time i focused on the grey cloth which i tried to first give some "value sketching" with basically white rough highlights that i glazed 7-8 times with original midtone grey.

    Second step i did was take my "tint" color and mixed it with some white (reaper twilight blue+ white), and i went over the value sketch areas as it looked like i overdid the glazes originally. Once I placed 5 glazes of this light blue highlight i went to the basic twighlight blue and did 7 glazes to bring it into somewhat of a balance. I am overall happy with the outcome on the cloth esp for first time glazing but....

    This took 2hrs on a single model and is not that great of a work, further i feel like i killed all the shadows with glazes.

    The model was not zenithal'ed and I plan on doing this in the future, but if you were to paint/improve this a bit would you maybe add some black to the twighlight blue and try to deposit this into recesses and then glaze this over with twighlight blue after to even out or something else.

    I didn't go this way as this would prob add another cpl hrs to my work time. If you notice any redundant steps, what can be skipped to stay or improve this?

    I tried to glaze over my orcs skin afterwards and results are way worse than my original basecoat,wash and edge highlight...

    Photos here
    http://imgur.com/gallery/q4ifuYE

    Any feedback is much appreciated

  2. #2

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    To me it looks like your glazing is still too heavy and not a glaze yet. A glaze should be extremely thinned out and it should be very transparent and resemble “tinted water” .when it’s this thin and only when this thin can you apply it in many layers.hope this helps.

    BaM

  3. #3

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    Quote Originally Posted by BloodASmedium View Post
    To me it looks like your glazing is still too heavy and not a glaze yet. A glaze should be extremely thinned out and it should be very transparent and resemble “tinted water” .when it’s this thin and only when this thin can you apply it in many layers.hope this helps.

    BaM
    This is the paint consistency I go with for glaze, this is one layer on my thumb after wicking off water/paint on paper towel first

    http://imgur.com/gallery/2f7vHyj

    Is this still too thick? I did it couple of times where i could not see anything on layer 1, it was just like water but i thought thats too diluted.

  4. #4

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    You should have in mind that using glazes isn't a speed painting technique. You will usually need to put quite a bit of time into it, especially when you're new to the style of painting. Often when you use glazes you will have to go a bit back and forth, re-applying highlights and shadows as they will lose intensity, glaze a bit more, more highlights and shadows and so forth until you have the result you're after. With experience, you can probably get a bit quicker, but if you want to paint quick this might not be the way to go.
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  5. #5

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    Me personally I go even thinner. Are you unloading it on a napkin -don’t bend the brunt just lightly and quickly draw it against a napkin. I mean not even a seconds worth of time. Another thing are you using paint or something a bit thinner like actual glazes from GW.? I don’t use paint I’ll use the glass by gw and I’ll add for every 2 drops of water a drop of Lahmian medium . So a good start would be 1drop of glaze /2 drops of water and/ drop of lahmian medium. .i also agree about that glazing and other blending techniques are not a one shot deal -RATHER A BACK AND FOURTH EXCERCISE. however yours still seems to be coming out thick and covering previous work so we need to find out exactly what’s doing that. I’ll helo as best as I can.
    Last edited by BloodASmedium; 01-08-2019 at 12:03 PM.

  6. #6

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    Also just looked at your puddles in your before and after .thats waaaay to thick. The grey and blue puddles as I said should be transparent should be see through . When I get home I’ll show you.you should be seeing through it down to the yellow sponge on your palette .”tinted water” kinda imagine a glass of water with a few drops of food coloring . Tinted water. See through.

  7. #7

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    Here is my palette with a glaze set up look how transparent the puddle is Name:  3DF37421-16F5-4E27-BB2E-8ACE3C86B656.jpeg
Views: 371
Size:  711.0 KBeven in the well you can see the stains of previous dried paint showing through. So this extreme solution along with unloading the brush will further make the glaze even thinner when applied. It take many passes. Be patient and you’ll get it

  8. #8

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    I found that the best rule of thumb was to not change the consistency of the water. It should be tinted not thickened. It may take you a dozen passes to begin to build colour.

  9. #9

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    Exactly egay the bullfrog said...I concur.

  10. #10

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    I haven't done much glazing be cause it takes sooo long. But it does look great when you are done.

    This video was very helpful for me.
    https://www.youtube.com/watch?v=4ePwy9qED28


  11. #11

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    It sounds like you're trying to glaze to unify rough layers that aren't blended? If so, I think you'd be better off stippling a mid-tone between the two layers onto the dividing line. The consistency should be like a heavy glaze, with not enough on the brush to pool at all. I've found that highly effective for rapidly blending.

    Glazing to unify is very useful, but only to blend small differences, not large ones.

  12. #12

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    Hmmm -i dont get that at all Patyn. I looked again ,a few times at those said photos that milk men was showing. It seems from my end to show that the glazing used was altering the actual results ina way where it obscures all the work from the prior results shown in photo 1. Itreally doesn’t show results of a glazed area where it is unblinded and a diff tone. If it was unblended that’s how I would expect it to come out. Chalky but in a diff hue. What it does show is a certain color with blends that has turned to a dark blue looking like a base color has been painted over the prior results. So yes glazing should be used to unify and yes if not blended properly glazing would also show this however no I don’t think that’s what’s going on here.
    BaM

  13. #13

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    Quote Originally Posted by BloodASmedium View Post
    Hmmm -i dont get that at all Patyn. I looked again ,a few times at those said photos that milk men was showing. It seems from my end to show that the glazing used was altering the actual results ina way where it obscures all the work from the prior results shown in photo 1. Itreally doesn’t show results of a glazed area where it is unblinded and a diff tone. If it was unblended that’s how I would expect it to come out. Chalky but in a diff hue. What it does show is a certain color with blends that has turned to a dark blue looking like a base color has been painted over the prior results. So yes glazing should be used to unify and yes if not blended properly glazing would also show this however no I don’t think that’s what’s going on here.
    BaM
    Oh I agree that what he's essentially doing. I was just suggesting what might be a more appropriate technique given his starting point. Like, if your goal is to lay in your highlights/shadows at full opacity (Which is what his first picture looks like) then blend them, stipple glazing is an excellent technique. There's a great youtube video on this subject that I can't for the life of me find, but I first saw it demonstrated by Kirill Kanaev here http://miniaturementor.com/painting_tutorials.html

  14. #14

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    Hi milkmen,
    You could try progressing for low through to high dilution glazes to see if you get faster and better results. To explain I'll use the analogy of sanding a rough piece of wood to a fine finish (where the rough sand paper represents a fairly opaque glaze thorugh to the fine polishing paper that represents a very dilute glaze).

    Wood sanding analogy...
    So starting with the rough wood, you need to use course sandpaper to knock back that roughness fast (if you go straight in with polishing paper you'll be there until Christmas ans still get a naff result). Once you've got an even surface you progress to less rough sandpaper to remove the deep scratches created during the first sand. When all those deep sanding marks are gone you again progress to a finer paper to remove the marks from the previous grade... repeat... until you've applied the finest polishing paper at which point you should have a smooth polished surface.

    Analogy applied to glazing
    The rough wood is a sharp transition between different colours which you are aiming to 'polish' to a smooth blend. The first 'rough sand' is a fairly opaque glaze (try between 3-5 parts clear to 1 part paint, but this will vary significantly between different paint) which you apply with each original colour in turn in a stripe along the transition line. If you end reach four equal colour steps (colour 1, colour 1 glazed, colour 2 glazed, colour 2) you're ready to move on. Double the dilution factor then apply a colour 1 glaze along the colour 2 side, and a colour 2 glaze along the colour 1 side with a bit of overlap for good measure. You should find that the steps in colour are now far less distinct. As with the sanding, repeat the process working up through progressively more dilute glazes, until you get that smooth blend you are looking for. Remember with the wood analogy I pointed out that going straight in with the polishing paper will take forever and give a poor result... the same applies with going straight in with super dilute glazes.

    There'll be a fair amount of trial and error involved to start with, and it's something that get's much faster with practice, but give this a try and see how you get on. Once you get confident you can start adding other colours and targetting darker glazes into shade areas and lighter glazes around highlights so that your glazes enhance and enrich shading and tonal variation.

    It is something that you have to learn for yourself, and you will doubtless end up with your own personal approach that best suits you. I do definitely recommend that you persevere though, once you get confident with glazing it opens up so many new avenues to improving your skills.

    The only downside is when someone asks "That looks great, which colour did you use? "Ummm, you see those fiteen colours on my paint station..."

    Good luck!!

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