01 BLACK STAR - ADVANCED PAINTING TECHNIQUES.pdf

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Teruel, Spain, my family moved to Valencia when I
was a kid. I was around 13 years old when I first
had a scale model in my hands, and from then
hobby.
until now I have dedicated all my free time to this
to a single category or specialty. I have built all
type of scale models, but if I had to choose I
would stick with dioramas and vignettes. I
consider these the most demanding models to
models, and combinations that can be used.
I don't consider myself a modeler dedicated
I'm 42 years old and although I was born in
build due to the variety of materials, techniques,
my friends and I love competing in contests. It is
I am crazy about this hobby. I enjoy it with
subject of this handbook is an old, unfinished
something that motivates me to better myself and
to improve my skills, but also motivates me to do
paint it with nothing more than some paint,
paintbrushes, and a jar of pigments.
something as simple as to build an old model and
There are many times that I felt like making
scale model, but it has allowed me to compare
the effects and techniques on something as basic
us modelers who love German stuff as these two
as the yellow and the grey colors. There is nothing
so simple, and at the same time so significant, for
colors. Maybe the next time will be for the green!
something similar to a test bed, without any
innovation, but at the same time without fear. The
Dedicated to Maria Jo
ytThe approach of this guide is not very
conventional, as is the paint scheme chosen for
this model. The question solved in the end is to
convert any model, in this case an old StuG III
from Tamiya, into a workshop of demonstrations
for applying different techniques, or rather,
processes used, for finishing a scale model of a
military vehicle.
And why do all this? The simple answer is
because this was a workshop that I presented at
the World Expo held in the beginning of July of
2008 in Girona, Spain.
After thinking about several different ideas,
I chose one that attracted me from the
beginning and stood out above all the rest. The
idea was to paint a tank with two different
colors. "What an innovation"! (I can here the
sarcastic modelers saying now). It may not
sound so innovative; however in this case, the
two colors divide the tank into two totally
different work areas, as much for the color as for
the effects and techniques that can be used on
each one of these halves. I suppose this is an
innovation.
One half would be painted in a uniform
layer of desert yellow and would receive the use
of "dry techniques", while the other half would
be painted in a dark uniform layer of panzer gray
for applying "wet techniques". Besides these
differences, all the colors or methods used in all
the techniques, (filters, oils, pigments), are on
one half, and vary on the other. However there
are exceptions that I call "jokers". These are
colors or methods that I use on all kinds of
vehicles with any base color, from any time
period, or operate in any environment, since the
effects are possible on any of them, and they
don't depend on specific factors.
This guide first shows how I apply certain
techniques and with what means and tools to do
so. Later discussion shows in what order and
what distinct colors I have applied to this model.
The process order is especially relative and the
best thing to do is to try it out on your own. A
technique used in a previous phase may need to
be used again to make the wanted effect more
visible, or to reinforce the effect in a specific area.
As you can see in the pictures, the model is
not
finished.
This makes the techniques and their effects
contrast more. What you are going to see
presented is a way for painting or applying
painting techniques to scale models. It is not the
only method, nor does it mean that it is any
better than others; it is simply my way only.
I hope that by reading this guide your
modeling will improve, but the best advice that I
can give you is to watch other modelers paint
their models. Although books are always of
great help, no picture will ever teach you how to
hold the paintbrush, or what quantity of paint to
load up in the brush, or how to move your hand
across the model. This is all better learned by
seeing it being performed by other modelers.
Before beginning to describe how I used
each technique, or rather as I interpret it, for
what reason I use it, and how and with what
tools I use, I have made a script of what is my
way for painting a model. But keep in mind what
I have already commented on regarding the
order of application of these techniques. The
script should be flexible. It should adapt to our
way of painting, not us to it, and you should
interpret to your way. I think that it is always
necessary to contribute a personal touch to our
models.
Although I don't always follow the same
rule, I believe that these are most of the rules I
usually follow:
1.- Airbrushed base coat
Base paint is chosen
Shadows and highlights are added from the base color
Tonal variations of the base color are added
2.- Treatment of the base painting with a paintbrush
Change of color or shade in some distinct areas
General filters are applied
Outlining of details with washes
3.- Chips and scratches
In the first stage lights chips are added
In the second stage, red primer, or dark brown, or both are added
over the previous chips
Texture is added on the biggest paint chips
4.- Oil paints
Choice of the colors made in relation to the base color
Treatment of the horizontal surfaces
Treatment of the vertical surfaces
5.- Rust
Streaks and stains of rust are added
Rusted paint chips and other rusty surfaces are added
6.- Dust
A choice of the surfaces and areas to add dust is made
Treatments with oil paints are done
Treatments with pigments are done
7.- Oil, grease, and fuel stains
A choice of the surfaces and areas to add to are made
Oils, pigments, and varnishes, used alone, or in combinations, are added
8.- Bare metal areas
A choice of the surfaces and areas to add to are made
Paint, pigment, and graphite, used alone, or in combinations, are added
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