View single post by Dallas_M
 Posted: Fri Jan 18th, 2013 12:18 am
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Dallas_M

 

Joined: Tue Oct 30th, 2012
Location: Baltimore, Maryland USA
Posts: 258
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Greetings On30ers!  (Read that in Bullwinkle's voice for extra amusement) :)

In today's episode, we'll have some fun with acrylic paints!  For inspiration, let's take these standard gauge (sigh) Army boxcars rotting away in the dual-gauge (hooray) EBT yards ...



And combine that idea with one of the new Boulder Valley Models "Hunkered Down" 18' composite boxcar kits ...



Which is a freelance design based on several narrow gauge prototypes, such as the old boxcar turned into a shed here, the WDLR composite boxcars built to serve the trenches in WW1 and several other narrow gauge examples.



And we'll capitalize on the idea that narrow gauge railways in Alaska and Hawaii served an important role during WWII to tie it all together!



This time around, let's try some intermediate and/or slightly advanced techniques and do some stuff that may not be "familiar" in the world of painting model TRAINS ... we'll draw on techniques used by military modelers to enhance realism, figure painters for the same ... and a gifted On30 modeler and artist for more inspiration.  It's tricky as heck to shoot step-by-step photos of every little bit of the process (glare from wet paint, trying to work with the paint before it dries vs reaching for the camera, etc) ... so here are some videos that do a good job of demonstrating brush techniques and lots of interesting ideas.

HOT LEAD / How to Paint a Better Miniature:  This is my favorite painting DVD and it has NOTHING to do with model trains!  It focuses on painting figures for war-gaming, mostly in 28mm size which is a bit  smaller than O scale, and IMO does an outstanding job of covering all sorts of interesting techniques using acrylics.  He covers the "basics" from mixing paints, blending colors, using dry-time extenders, glazes, washes and so forth and so on ... then covers a variety of techniques like wet-blending colors, layering colors, using glazes to tie things together, etc, etc.  For me, this made a huge BREAKTHROUGH in my approach to working with acrylics ... but I lent the 3-disc set to a friend whose painting I respect and his response was "meh" ... so, um ... well, there are sample clips on you-tube and I think it's great stuff.  I got mine at FRP Games for a discount ...



AFV Acrylic Techniques by Mig Jimenez:  Mig is one of the "greats" from the military modeling field.  After developing widely-followed techniques using solvent-based materials, he turned to using acrylics for this demo.  IMO, there are some weak spots, like clumsy use of pre-mixed acrylic washes ... BUT ... holy mackerel, there is some amazing stuff.  He covers pre-shading, color modulation and so forth, which is all about PAINTING LIGHT & SHADOW on the miniature (which has a very different effect than just using your room/desk lights to light up the model!) ... and it's truly amazing to watch the finesse with which he freely hand-paints little tiny chips in the paint, etc.  I'll be attempting some of that here ... but, fortunately, there's no video to show my lack of grace!  Various sources, including FRP games.

Realistic Color for Railroad Modeling by Troels Kirk:  Now this one DOES come from the model railroad field ... and On30 to boot!  Troels is a gifted artist who has created The Coast Line On30 model railroad to the delight and amazement of many modelers.  On this disc, Troels talks about PAINTING LIGHT & SHADOW onto the model as well.  He uses a much simpler palette and also much "simpler" approach to achieve his amazing results ... but, er, um ... well, I just don't have the "gift" or finesse or something to do it that easily.  So, if you're like me ... or more like me than Troels, maybe my somewhat more complicated, convoluted approach will help you get there too!  (Maybe we should wait and see how this boxcar actually turns out?)



The idea of painting light & shadow that isn't "really there" is nothing new ... it goes back to the Old Masters, who often did an under-painting using umber tones BEFORE adding color.  The dark areas of the under-painting add depth to the shadows, while the lighter or untouched areas of the under-painting allow the light/highlight areas to "pop."

Now, give me a "few minutes" to sort out the next batch of photos and we'll get started.  :Salute:



____________________
Cheers,
Dallas
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