Lesson Three The basic wash part 3
Overnight, I washed the remainder of the parts. The furnace is drying out the house and the wash is drying quicker than usual.
First, I'll give a preview of the next series of lessons. This post wraps up the washes. There are a few canvas items on the truck that was painted with Humbrol matt 72, one of the colors in the package. It was washed along with the olive drab, not differentiating at all. Now, I will try to make it look like canvas. The photos run dark in my workshop. My photo setup is in the museum and it is simply too far away. I'll go out there and take some photos for the end of this session.
With all Humbrol enamels, the first rule is to never mix the paint. Humbrol pigments fall to the bottom of the tin. That is where you want them. I use a mini screw driver to go through the carriers, the somewhat clear liquids that float on top, down to the pigments at the bottom, scrape a small amount and bring it to the top and out of the tin. Do that with Matt 72.
Place that on a pallet.
Then, use it straight from the tin. I take a Number 8 sable filbert and swirl it in the pigments. Then take a clean t-shirt and using your thumb and forefinger on your left, (Right if you are left handed), hand and squeeze out the paint. Repeat three times and then push the brush down on your pallet and twist as you are doing so.
When you can see just a translucent circle on the pallet, you have it right. Now, I begin jabbing and twisting the brush on the raised areas of the canvas top.
The major mistakes made in dry brushing are;
Too much or too wet paint on the brush.
Too different a shade of paint than the color you are dry brushing.
Dragging or wiping the brush across the area instead of punching, jabbing and always the twist at the end.
Any other way will result in streaks, obvious dry brushing appearance, or too much contrast between the area and the highlights. Dry brushing must be built up in layers, from almost the same shade to a lighter shade, the lighter area always towards the center. If your color jumps out at you from the base color on your first pass, it is too light.
You can go to pretty much any show and see the entries that were dry brushed poorly. They stand out like a sore thumb!
The best modeler at dry brushing I have ever seen is Francois Verlinden. The man can spend hours dry brushing a tank and when complete, it looks as if it was airbrushed. I wish I had his patience.
Punch and twist the matt 72 straight from the tin on the canvas. When it gets to this point, stop and lighten your mix.
Then, on your pallet, take the Humbrol matt 34 white, using the small screwdriver or similar tool, and scrape the bottom of the tin for a small amount and place it on the pallet. Then mix equal parts of the two colors, matt 72 and matt 34.
Then, dry brushing as previously described, punch and twist., apply this mixture to the canvas tarp.
When it is just right, I take a 003 brush, mix the wash again, and gently line the straps and details on the tarp. Later, I paint the buckles with the polished steel and buff. You can see them later down in the final photographs.
It is like a program for us to do the wipe or drag thing. I've been doing this for more years than some of you have been alive and I still have that urge. Suppress it!
Next, I will finish the tools. I start with a tin of Humbrol 270003, polished steel. Again, the same process, use the small tool to remove the pigments from the bottom of the tin and place on the pallet.
Then mix with the rectified turps until the consistency of paint. Then proceed to paint all the metal parts of the tools.
As that is drying, maybe 15 minutes at most, I used an acrylic flesh paint to paint all the wooden parts. The best base color to simulate various kinds of wood is an acrylic flesh. Tan doesn't work. Once dry, I'll demonstrate how to use oils to make the wood.
with these two oil colors, Raw Umber and Burn't Sienna, you can make several types of wood. Walnut, dark or light, oak, teak, and mahogany. For our purposes, I will mix an equal mixture of the two. Just as with the wash, when first applied, they appear too much. After they dry, they will go dead flat, soften and become several shades more subtle.
Then blend.
And, finally coating the flesh base coat.
OK, finally, here are some pics I took at my photo booth in the museum.
A close up of the tools with the polished steel buffed and the oils applied to the flesh painted handles.
Finally, an over all shot of the canvas and the dried wash on the front of the Diamond T.
One last thing, The way I weather never involves pretty models at the end of each step. My goal is to have a realistic looking model when I have finished. In between, it can look pretty ugly at times. I'm just saying this because I forgot to mention it at the beginning.
Next up, lesson four, dry brushing, metalizing and adding scratches, blemishes and chipped paint.
Bob
Overnight, I washed the remainder of the parts. The furnace is drying out the house and the wash is drying quicker than usual.
First, I'll give a preview of the next series of lessons. This post wraps up the washes. There are a few canvas items on the truck that was painted with Humbrol matt 72, one of the colors in the package. It was washed along with the olive drab, not differentiating at all. Now, I will try to make it look like canvas. The photos run dark in my workshop. My photo setup is in the museum and it is simply too far away. I'll go out there and take some photos for the end of this session.
With all Humbrol enamels, the first rule is to never mix the paint. Humbrol pigments fall to the bottom of the tin. That is where you want them. I use a mini screw driver to go through the carriers, the somewhat clear liquids that float on top, down to the pigments at the bottom, scrape a small amount and bring it to the top and out of the tin. Do that with Matt 72.
Place that on a pallet.
Then, use it straight from the tin. I take a Number 8 sable filbert and swirl it in the pigments. Then take a clean t-shirt and using your thumb and forefinger on your left, (Right if you are left handed), hand and squeeze out the paint. Repeat three times and then push the brush down on your pallet and twist as you are doing so.
When you can see just a translucent circle on the pallet, you have it right. Now, I begin jabbing and twisting the brush on the raised areas of the canvas top.
The major mistakes made in dry brushing are;
Too much or too wet paint on the brush.
Too different a shade of paint than the color you are dry brushing.
Dragging or wiping the brush across the area instead of punching, jabbing and always the twist at the end.
Any other way will result in streaks, obvious dry brushing appearance, or too much contrast between the area and the highlights. Dry brushing must be built up in layers, from almost the same shade to a lighter shade, the lighter area always towards the center. If your color jumps out at you from the base color on your first pass, it is too light.
You can go to pretty much any show and see the entries that were dry brushed poorly. They stand out like a sore thumb!
The best modeler at dry brushing I have ever seen is Francois Verlinden. The man can spend hours dry brushing a tank and when complete, it looks as if it was airbrushed. I wish I had his patience.
Punch and twist the matt 72 straight from the tin on the canvas. When it gets to this point, stop and lighten your mix.
Then, on your pallet, take the Humbrol matt 34 white, using the small screwdriver or similar tool, and scrape the bottom of the tin for a small amount and place it on the pallet. Then mix equal parts of the two colors, matt 72 and matt 34.
Then, dry brushing as previously described, punch and twist., apply this mixture to the canvas tarp.
When it is just right, I take a 003 brush, mix the wash again, and gently line the straps and details on the tarp. Later, I paint the buckles with the polished steel and buff. You can see them later down in the final photographs.
It is like a program for us to do the wipe or drag thing. I've been doing this for more years than some of you have been alive and I still have that urge. Suppress it!
Next, I will finish the tools. I start with a tin of Humbrol 270003, polished steel. Again, the same process, use the small tool to remove the pigments from the bottom of the tin and place on the pallet.
Then mix with the rectified turps until the consistency of paint. Then proceed to paint all the metal parts of the tools.
As that is drying, maybe 15 minutes at most, I used an acrylic flesh paint to paint all the wooden parts. The best base color to simulate various kinds of wood is an acrylic flesh. Tan doesn't work. Once dry, I'll demonstrate how to use oils to make the wood.
with these two oil colors, Raw Umber and Burn't Sienna, you can make several types of wood. Walnut, dark or light, oak, teak, and mahogany. For our purposes, I will mix an equal mixture of the two. Just as with the wash, when first applied, they appear too much. After they dry, they will go dead flat, soften and become several shades more subtle.
Then blend.
And, finally coating the flesh base coat.
OK, finally, here are some pics I took at my photo booth in the museum.
A close up of the tools with the polished steel buffed and the oils applied to the flesh painted handles.
Finally, an over all shot of the canvas and the dried wash on the front of the Diamond T.
One last thing, The way I weather never involves pretty models at the end of each step. My goal is to have a realistic looking model when I have finished. In between, it can look pretty ugly at times. I'm just saying this because I forgot to mention it at the beginning.
Next up, lesson four, dry brushing, metalizing and adding scratches, blemishes and chipped paint.
Bob
