So this blog will be Blog 2 in my Tale of Malifaux Bloggers and also a ‘How I Done it’ painting guide to some of the techniques I employed to Paint Gracie. My First Purchases were the Ophelia ‘Born on the Bayou box and Gracie. First step was the assembly. Gracie, being plastic, was nice and easy. The only work involved was cleaning up mold lines and a little gap filling. I generally use Milliput rather than the more popular Green Stuff. Milliput has the advantage of being water soluble so you can literally roll it out across the gap then wipe away the excess with a wet rubber tipped sculpting tool. Easy! The Bayou Gremlins were a little more demanding requiring pinning, cleaning and filling. Remember Pinning? Almost seems like a thing from the past now with the advent of superb plastic and resin Miniatures (are you listening Corvus Belli?)
Having mounted the whole crew on temporary bases I gave them all a light airbrush undercoat of Vallejo Undercoat Grey. I decided to paint Gracie first….
I decided to do the Flesh with the airbrush and oils. First I mixed up 4 or 5 progressively lighter tones From Vallejo Air Mahogany, Orange Brown and Ivory. These were sprayed on using a very low PSi (around 12-15) and followed the contours of the model getting lighter on the raised areas and leaving deeper tones in the recesses. The result of these layers is shown below.
I decided that this colour needed to be slightly enhanced with other tones so out came the oil paints. With Burnt umber mixed with a little Yellow I mixed a little on the palette until I had the tone I wanted. This was mixed from almost pure oil paint with only a tiny amount of white spirit added. A small amount was applied with an old brush and lightly dabbed onto the model to give a rather horrible looking mess. Then with a clean brush this is more or less removed by wiping it with the brush to pick up the paint on the model. It is necessary to constantly wipe the brush on a clean Lint Free rag. This works in a very similar way to drybrushing with acrylics as it leaves the base colour lightly glazed on the raised surfaces and a darker in the recesses, but with none of the unsightliness of drybrushing and with infinitely more control. And the possibility to go back and blend it seamlessly or even to clean it off completely with a little white spirit. I then repeated this process with Red and burnt umer mixed together in a few areas to add some warmer tones here and there.
A few dots of pure white oil paint were then roughly dotted onto some of the areas where the light would catch and gently blended in. In the photo above I have not yet finished blending the white just behind the ear or immediately behind the front left leg. The same technique has been used on the ridges on the snout and jowls.
Next step was the eyes. First they were blacked in then painted Ivory with a pristine Windsor and Newton Series 7 number 2 brush. Yes, number 2! This is the smallest brush I use. I find that anything smaller doesn’t hold enough paint and constantly dries out. The #2 still has a point every bit as good as the 0, 00 and 000 brushes but avoids the need to constantly rinse and reload. I then picked out the iris with Light blue, plus a highlight and dotted in the pupils in black. The white of the eye was then glazed with an Oil paint wash. On the palette I put a dot of red and added enough white spirit to make this the consistency of water. This was then applied onto the white areas of the eye and once dry repeated in the recesses to add a slightly deeper tone to add shading. the final touch was to add a dot of white acrylic to the top corner of the iris to give life to the eye. The finished eyes can be seen below.
Distressing the Metals
Next I blacked in all the pots, pans and assorted bits and pieces that this poor long suffering animal has had attached to her. These were all based in Vallejo Metallic copper and given an acrylic wash made from US intermediate ble and Green.
Progressively lighter tones of this colour were stippled randomly on and the process of oil washes started. Random dots of Burnt Umber and Burnt Sienna were applied in random places and White Spirit was sprayed over it. This has the effect of diluting the pigment and creating random areas of red browns across the metal surfaces. Once this had been dried with a hair dryer, to speed up the process a little. I added streaking. This is done by putting a few random dots of the same two colours to the ‘armour’. this time the oil paint has been very slightly thinned with white spirit. These dots are then ‘dragged’ downwards with a clean brush to create streaks. The picture below shows the model at the finish of this stage.
Finally the ropes, bottles and saddle bags were picked out with acrylics and I went back to the armour and added some orange rust to introduce another colour. This was done using deep brown and orange stippled on here and there onto the metal areas. She was then stuck to her Bayou base and given a light Airbrush of Matte Varnish to unify the reflective qualities of the different techniques used.
Next up will be the Born on the Bayou box. Can’t wait to get cracking on them. I will do another blog post on Oils and airbrush technoques that I use once I get some more photos together and once I find a suitable model on which I can demonstrate some more of these techniques.
I hope this has been of some interest, help or inspiration to do better. As always if you have any comments or questions leave a comment aand I’ll get back to you as soon as possible or contact me on Twitter @wrkbnchwarriors
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See you next time and thank you for reading