I\'ve been working on my metallics and I\'d like to find a good tutorial that produces the kind of results that I\'ve seen on Arjay\'s huntsman or on some of Seb\'s work, only on \"clean\" metal, like the armor of a lordly knight, etc. If anyone can point me in the right direction to \"clean metal\" toots or any good metallic toots at all I\'d be greatly appreciative. :yes:
Metallic Toot... (not synonymous with \"shiny fart\")
- Thread starter mattrock
- Start date
I appreciate the reply, but I\'m not really looking for NMM or SENMM. There seems to be a wealth of information for both techniques out there and on this site.
While most of Arjay\'s work is done in NMM and SENMM, his huntsman is his first real attempt at actual metallics and it turned out stunning. There doesn\'t seem to be as much out there on getting actual metallics to look as good as some of these guys can. That\'s what I\'m looking for.
While most of Arjay\'s work is done in NMM and SENMM, his huntsman is his first real attempt at actual metallics and it turned out stunning. There doesn\'t seem to be as much out there on getting actual metallics to look as good as some of these guys can. That\'s what I\'m looking for.
Wren
Member
At a guess, I\'d say he\'s probably using a lot of, if not all, of the same techniques as on the NMM and SENMM he does. Most of the best metallics seems to. The painter does a base coat in a mid or slightly lighter metallic, then uses controlled glazes of matte paint (ink for some people, but looking at the Huntsman I think paint was used here) to build up the shadow areas. Then layers of brighter metallic paints to build up the highlights. All using the same principles of where to put the shadows and highlights and of what intensities as NMM does.
I\'ve had the opportunity to see bragon (Jeremie Bonamant Teboul) paint some metallics, and will try to recall what he did that might seem a bit different.
The difference I found most notable is that he thinned the metallic paint down a fair amount to establish the basecoat, which I think made a big difference to avoiding the \'thick\' or lumpy look metallics can get.
Not sure if I wrote this down right, but he uses metII Humbrol enamels for the brightest highlights and hotspots. These are paints that require white spirit thinner and do not mix with regular acrylic paint. Another painter I took a tutorial with used Vallejo alcohol metallics for the hotspots. Sounds like regular acrylics just can\'t get as bright as more annoying types of paint.
He used glazes and colour to do a lot more than just set the shadow areas, which I think he and a lot of the European painters do. So he might add touches of the main colours of the mini to the metallics to capture the feeling of some reflections from the clothes and gear, as well as to increase colour harmony throughout the piece. The demo piece he did for the class, after doing the shadowing he went in with a blue glaze on the deepest shadow areas, a yellow glaze (very thin) on the intermediary areas, and then a glaze of Tamiya clear smoke over the whole thing. Those kinds of colour choices are going to impact a lot on the \'clean\' look you\'d like to try - using blues and/or blacks for the shadows rather than the red tones Arjay used on his piece.
I\'ve had the opportunity to see bragon (Jeremie Bonamant Teboul) paint some metallics, and will try to recall what he did that might seem a bit different.
The difference I found most notable is that he thinned the metallic paint down a fair amount to establish the basecoat, which I think made a big difference to avoiding the \'thick\' or lumpy look metallics can get.
Not sure if I wrote this down right, but he uses metII Humbrol enamels for the brightest highlights and hotspots. These are paints that require white spirit thinner and do not mix with regular acrylic paint. Another painter I took a tutorial with used Vallejo alcohol metallics for the hotspots. Sounds like regular acrylics just can\'t get as bright as more annoying types of paint.
He used glazes and colour to do a lot more than just set the shadow areas, which I think he and a lot of the European painters do. So he might add touches of the main colours of the mini to the metallics to capture the feeling of some reflections from the clothes and gear, as well as to increase colour harmony throughout the piece. The demo piece he did for the class, after doing the shadowing he went in with a blue glaze on the deepest shadow areas, a yellow glaze (very thin) on the intermediary areas, and then a glaze of Tamiya clear smoke over the whole thing. Those kinds of colour choices are going to impact a lot on the \'clean\' look you\'d like to try - using blues and/or blacks for the shadows rather than the red tones Arjay used on his piece.
