by Sigma66 » Sun Dec 16, 2012 5:02 pm
ArizonaBB39 wrote:Hey gang. I tried looking through this section but didn't really find this topic. I use acrylics to paint my models and have always had a hard time weathering with them, especially washes. Does anyone have tips on how to achieve good results? My problem is my black washes always turn out splotchy and don't really leave a shadow effect like they should. Thanks
Although some may differ, they do come out blotchy if you aren't doing a "pinwash" on a very small area. Dave Griffith refers to the effect in his book on kit building as "tidal."
However, this is if you use a brush. If you airbrush you don't have this problem. I've also used a pump sprayer, (I learned this in art class). For mediums I've used oils in turpentine, as well as artist's water-color tubes in rubbing alcohol. For colors above the water I use ivory or lamp black for vents, and a dark grey, (Winsor-Newton Payne's Grey, available in both their oil and watercolor line) and burnt sienna or umber below the waterline.
The only trick left is figuring out the saturation level, which you'll have to play around with to get right...
[quote="ArizonaBB39"]Hey gang. I tried looking through this section but didn't really find this topic. I use acrylics to paint my models and have always had a hard time weathering with them, especially washes. Does anyone have tips on how to achieve good results? My problem is my black washes always turn out splotchy and don't really leave a shadow effect like they should. Thanks[/quote]
Although some may differ, they do come out blotchy if you aren't doing a "pinwash" on a very small area. Dave Griffith refers to the effect in his book on kit building as "tidal."
However, this is if you use a brush. If you airbrush you don't have this problem. I've also used a pump sprayer, (I learned this in art class). For mediums I've used oils in turpentine, as well as artist's water-color tubes in rubbing alcohol. For colors above the water I use ivory or lamp black for vents, and a dark grey, (Winsor-Newton Payne's Grey, available in both their oil and watercolor line) and burnt sienna or umber below the waterline.
The only trick left is figuring out the saturation level, which you'll have to play around with to get right...