View single post by Dallas_M
 Posted: Fri Jan 18th, 2013 02:19 am
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Joined: Tue Oct 30th, 2012
Location: Baltimore, Maryland USA
Posts: 258

The step-by-step by follows is "almost live" ... haven't done this particular project before, so there may be some mistakes or miss-steps, but  we'll fix any of those along the way.  (So, if you decide to follow along, you might do well to read ahead!)

Now, going back to the "under painting" idea ... we're working on a 3-D object rather than a canvas, so we'll start with a flat black or dark gray base coat (like Krylon or Rustoleum spray can primer) ... that will put shadow into all the little recesses and such without  a lot of brush strokes (well, we'll actually go back and enhance some of those) ... and we'll use a sort of dry-brushing technique to put some "light" into the under-painting.

BTW, the base coat looks a bit patchy here, because I painted the interior flooring before gluing the roof on ... then masked off the door to paint the roof ... and used a different paint can to paint the roof ... so you see both dark gray and black, but that shouldn't make much difference.

We'll "wet-drybrush" the wood surfaces using these Vallejo and Reaper (Master Series) paints.  You can use various other acrylics from the craft store, Polly S, etc.  The exact colors don't matter ... just a variety of similar tones will do.  For military colors and inks, I tend to favor Vallejo ... for non-military colors, metallics and flesh tones, definitely Reaper.  Both are available from a variety of sources.  I like Miniature Market, because they carry BOTH brands at a discount and have good service.

Did he say "wet" DRY-brushing?  Huh?  Yup!  It's just like "regular" dry-brushing ... but you use a damp brush and diluted paints.  Dip the brush, wipe out most of the paint on scrap paper and then apply to model.  The advantage is that it builds up more gradually and provides more control.  If you look at the paper above, you'll see that even the darkest tones are actually translucent.  BTW, I love having a ceramic palette for acrylics, especially this one with 12 little wells.  Easy clean-up and I frequently use many or all of the different wells -- great for mixing tiny bits of a lot of different colors.  Search "12 well mini ceramic palette" on the web if you like the idea!

Let that crazy wet dry-brushing begin!  The paints were mixed 3 drops paint to 1 drop wet water.  (Wet water is 90% water + 10% Liquitex Flow-Aid or similar.)  I started with the Splinter Blotches, then the Golden Skin, applying them somewhat randomly in a cross-hatch pattern -- to catch the grain without going up/down.

Finished dry-brushing with the Dirt, Weathered Stone and Golden Shadow ...the amount can be varied to suggest more or less wear, tear and paint chipping ...

Now we'll use some Vallejo inks ... these are great!  They're transparent and mix/blend with all your other acrylic paints ... don't think there's a craft store equivalent, so if you're only going to splurge on a few "special" items, the inks and glaze medium are  a good choice!

The inks were mixed 1 part ink to 3 parts wet-water ... a pretty dilute mix.  Here, I've switched over to one of my "good" fine-tip sable brushes and used the black ink to outline the groove between boards and along the edges of the ribs ... that's been done on the area to the left of the door ... and makes a difference when compared to the area to the right, eh?

Here I've used two more applications of ink:
-- The Vallejo "brown" ink has a very reddish tone to it ... used that to apply a second layer of ink into the groove between boards and along the underside of the diagonal braces.  Then lightly streaked the surface of various boards.
-- Sepia ink (very golden brown tone) streaked across the surfaces of various boards to add a little more color variation.
-- The door is "closer" to the viewer ... and the "foreground" details on the car should get more light ... so the dry-brushing was done to create a brighter effect there, followed by the same inks ...

And, that's a good place to take a little break.   Obviously, this isn't a "quickie" approach with the various little steps, but if you're steady with a fine-tip brush for the outlining bits, the process is pretty easy ..

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