Bailey03's WIP

BFK, the whole midtone then shadow then highlight seems to be the most popular approach, but I started painting before getting involved in the online community so no one told me that. Going from shadow up to highlight just made sense to me so that's what I did. I've done it that way for so long it's hard to do anything else. I have experimented a bit with midtone first but it doesn't work as well for me. I used to start with the shadow everywhere (and using black primer) but it meant the I had a lot of layers built up under my highlights. What I do now is a slight compromise between the two. I start with a base coat of the midtone over white primer and then sketch in the shadows. Then I start to layer over the shadows dark first to blend up to my midtone. That's where I am on the legs. Then I continue up into the highlights (where the chest currently is, well at least most of the way).

Hmmm....sounds suspiciously close to midtone, shadow, highlight. ;) If I am reading this correctly, though, you place the midtone first, and then go from darkest shadow to lightest shadow. This differs from the norm, I believe, of midtone then shade from LIGHTEST to darkest. A small difference but a difference indeed. My only issue with this method is that I would certainly overwork the paint by trying to make a dark color lighter. Second, I'd find it more difficult to blend. I would have to end my brush stroke in the darker area, and I don't like this because one has more control over where they start a paint stroke than where it finishes, thus it would be tough for me to clearly establish a line of transition and the blend would not be uniform. Difficult for me to put this in words, but I hope I am understood. Anyway, I enjoy talking about technical differences like these because I grow a great deal from such discussions.
 

Bailey03

Well-known member
Well, up until a few months ago I used start start with black primer and then paint dark to light. Now I've moved to a slightly different version of midtone, shadow, highlight. Still leaning towards my old style, but adapting what I can. Not saying it's the right way to do it, just what I'm comfortable doing. As far as brushstroke, I'm mostly pushing the paint towards the highlights. For shadows, since I'm getting lighter the brush starts in a darker area and the paint is pushed towards the midtone. For highlights it starts in the midtone and is pushed into the highlights. With the more normal way you're starting in the midtone and always pushing away, either into the shadows or into the highlights.

As for the Saxon, I'm thinking that's the way to do it. Don't over complicate things with patterned pants but maybe add a detail to the tunic. Just a little something.
 
Right, I totally know what you mean with your brush strokes, and use if dark to light, etc. I think any painter can say that, in their back and forth with smoothing out a blend, we all do just about every method or technique that exists. Sometimes I'll accidentally skip a step and have to carefully place the tone in between, using some wavy up and down brush stroke technique in an attempt to blend it all. Surprisingly, sometimes these unplanned methods work out just fine.
 

Demihuman

Active member
I love the idea of adding some texture and maybe some spot colors with some freehand. My understanding of the Saxons is that they were kind of in the middle of the North Sea, the Franks, Germania, and the Baltic. They are also portrayed as mercenaries. I don't see why he couldn't have any sort of pattern on his clothes. I could totally see this guy with some looted Persian silk he got raiding Dacian caravans. On the other hand this looks like it might be a nice historically accurate pattern that is relatively easy to paint:

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^^Found on a (dead) lady at a saxon grave site per the internet.

As for painting, I too tend to paint from dark to light. Especially for faces as I am a student of the Bailey03 School :) But for other stuff too: I want my dark paints to get into those cracks and crannies first and then they highlights are usually in places that are easier to get too with my brush. Although, AndyG was saying it's easier to glaze with a darker color as white tends to not be as smooth.

I am also trying to work on the "shaded basecoat" program where I have a basic gradient from my airbrush, and then tint, shade and highlight it with my brush.
 

Sionid

New member
Hot diggity, the furs look amazing! As do the roughed-up metals. Would you consider posting a closeup shot of the circular chest armor?
 

Bailey03

Well-known member
Thanks! BFK, do you mean the fur, the metal or both? For the fur I did less highlighting (reducing the area applied more than the brightness of the color) and applied more of the dark brown wash/glaze layers. I did similar shadows on the front in the folds under the arms. For the metal is was essentially the same, smaller areas for the highlights and then more dark glazes. Plus with the back at an angle like this \ the lighting helps exaggerate the effect.

Sionid, here's a close up of the chest armor and it's progression. Starting on the left is a base coat of Brown Liner. You can still see some primer peaking through but the metallic layers will fix that. The next image is my dark metallic base. I'm using Scale 75's Necro Gold mixed with Reaper's Imperial Purple (an idea I got from MassiveVoodoo). The metallic paint is dark but mixing it with a dark flat color (whether purple, dark brown, black, etc) helps take down the shine. I want my dark layer to stay dark even when the light hits it. From there I layer in my brighter metallic tones. Into the Necro Gold + Imperial Purple I mix in Elven Gold (your standard bright gold). At maybe 2 or 3 parts Elven Gold to 1 part Necro+Purple I start to mix in Thrash Metal instead. It's a little hard to describe the color, you can check the Scale 75 website, but I'd say it's a pale bronze. Lighter than the Elven Gold but less yellow. It fit what I wanted and was used for the top highlights and edges. That's the third image. The final step was to go in with some glazes for the shadows. I used layers of Brown Liner, Pure Black, and a just little turquoise, all mixed with Glaze Medium and water.
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The sculpt already had some texture to it, it wasn't perfectly flat. So I played with that by doing a very uneven application of highlights and shadows.
 
Your tutorials are always very well explained and inventive. Your methods are very creative and you use colors and techniques that I would never consider. I'm thinking this is what distinguishes you.

Can an you please elaborate on this a bit? I don't think I understand your meaning:

"The sculpt already had some texture to it, it wasn't perfectly flat. So I played with that by doing a very uneven application of highlights and shadows."
 

Bailey03

Well-known member
I just meant that the circular plate wasn't smooth, it had some waviness to it. It's a little hard to convey with the pictures, but I think you can get an idea in the unprimed photo below. As for the uneven application of highlights/shadows, next to it I've got the armor prior to the washes/glazes step. As I do the early steps, with the metal shades just above the darkest level (2nd picture in the previous series) I'm doing more dabbing or short brush strokes rather than long ones from bottom to top. I can use the sculpt here, hitting different areas as the surface angles change, painting those different angles individually rather than the whole piece. This helps break up the surface as dark gaps/lines start to show between the brush strokes. Then, as I continue to highlight, I continue to treat them as individual surfaces. The alternative would be a smooth gradient from bottom to top plus some edge highlights which would produce a smooth sort of look.

You can do the same thing to create texture even on a smooth surface. I did that on parts of Sumothay and the armor on the Saxon's waist (the large center section is smooth). Just early on, with the second layer of color, I do short brush strokes over a dark base coat. Keep them close to each other but don't try too hard to overlap (overlap some, but not others). You'll start to see a texture forming as little dark lines/cracks appear between the strokes. So with the next layer of highlights I'll apply them as if the pseudo texture really is there. Or you can repeat the semi random short brush strokes for several layers and then start to develop it with more intentional placement of highlights/shadows.

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See, that's the graduate level stuff I am talking about!!! This is the kind of technique that intermediates like myself truly benefit from. I would admittedly use a different technique, or forego such a texture, when using NMM. But nonetheless, this sort of thing isn't discussed enough: strategies of the brush and how to use it to accomplish different end states.

I often dab my brush for different purposes. I think I understand what you meant on the painting an uneven surface. You use short strokes and dabs to leave shades in the lower areas, and then highlight the other, higher areas. I would never have thought to paint that textured effect-all I know is to blend it as smooth as possible and then when complete you may glaze or weather it to make it appear mottled. Thanks for another lesson :)
 

Bailey03

Well-known member
Thanks, BFK. Looks like a great tutorial, it'll definitely come in handy when I work on the gladiator.

With only small sections left, this is the point in the project where things seem to slow to a crawl. I did manage to make some progress on the arms and legs.
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The shield was a bit light on details. It's got a boss on the front, but the rest is perfectly smooth. I figure it's a wood shield with a leather covering, so I wanted to add the detail where the covering folds over the edge and is tacked onto the shield. So I used a little putty to fix it up.
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Bailey03

Well-known member
Thanks, Meph and Krule.

I wanted to do a little photo experiment and take a few pictures using my camera phone (iphone 4S) instead of the fancy regular digital camera. I mentioned in a post over of BFK's thread that if you have a decent lightbox and light setup (daylight bulbs) you can still take nice pictures with the camera phone. So I thought I'd do just that and put my statement to the test. These pictures were then resized and cropped, but no tweaks made to brightness, contrast, or color.
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Now there are a few difference between the camera phone and the regular camera. With a regular camera I will step back from the subject and zoom in (the same way you'd do a portrait of someone). With the camera phone I have to move the camera closer to the figure. Yeah, you can zoom with the camera but that's a digital zoom and not an optical zoom. Optical zoom means you change the focal length and get a larger picture at the same quality. Digital zoom is the same as hitting the magnifying glass on the computer, it just blows up the image and the quality drops (so no good). You can see a comparison below. The one of the left is with the camera phone and the one on the right is the regular camera. To get in nice and close with the phone leads to a sort of fish eye effect that mildly distorts the image. Using the zoom on the regular camera does not.
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Also worth noting is when I turned on the HD photo option in the camera phone it seemed to slightly overexpose the image. The picture on top is just the regular photo and the one on the bottom is the HD photo. You can see the bottom one is a bit more washed out.

Okay, enough about the cameras and back to the figure. There's a quick peak at the beginning of my base for this guy. I have a tendency to take a figure like this, plop him on a dirt base with some grass and then call it a day. But that's not very interesting so I'm trying to push myself to come up with some more creative scenes. The story I want to tell here is this guy is raiding a village and he's busted into someone's house or a mead hall or something like that. I want to give the idea of a building without actually making one. It's a small base and adding a wall will block a portion of our view of the figure. So my hope was if I add a structural element like a supporting beam and soon a wood floor that would be enough to show he's inside a structure. Next I plan to create some debris to show that there's been a fight. Probably some broken furniture, spilled cup, shattered plate, etc. I made a section of overturned table but it was too large for the scene. Even part of a table took up too much space on that base. So I'm thinking I'll do a smashed chair instead. It's definitely a challenge to figure out what I can put in the limited space available in order to tell the story I want for this guy.

As I'm sure you've guessed, the post is just a few pieces of balsa wood. Arts and Crafts stores often sell bags with assorted sizes and shapes, perfect for what I want. I cut them to the desired size and then used an x-acto knife to give them some wear and tear.
 

KruleBear

Active member
The first photo with the phone looks nice. If you don't want to go with a broken chair, maybe a thrown tankard and overturned plate with food splattered about.
 
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