Painting and tinting is an interesting, multi-stage process, each time unique, full of experiments with shades and effects. Incredibly creative and, at the same time, requiring strict adherence to technology in working with materials and preparing surfaces.
None of the stages of preparation for painting can not be skipped to achieve a good result, despite the rather large investment of time. After all, painting one creature with an airbrush takes on average 6 hours, sometimes several days + cleaning the tools itself and further drying before assembling the creature, not counting the tinting of fabrics and wooden elements.
Airbrush is my main tool in painting. It allows you to create a variety of beautiful gradients, complex effects and the best quality coating with primer, paint and varnish.
The author’s 3D eye technique using 3D technologies, includes airbrush and brush painting. Different types of paints will help to work out and show a very deep, beautiful volume inside the lens.
Many stages of painting begin with the preparation of the surface - matting (it is important to choose a suitable rigidity so that it does not damage the detail and does not create too much risk, but only gives a neat surface matte, for better adhesion). Then degrease, mask parts that paint should not go down at this stage. Soil and painting itself. Necessarily with small layers, with time to dry between them. And of course, it is important to take into account the features of the surface for painting, because each material has separate requirements for this process. It is very important for a high-quality and durable coating..
And only after the paint has completely dried in a day - varnish. And only a day later, effects that also need to be varnished after they dry. Which may take several days depending on the effect.
The transparency and texture of the coating will help to achieve the desired result in working with light.
In this example, the effect of a thundercloud is possible due to the play of light in the form of a 3D printed model and the texture of the coating.
Working with textures, especially natural ones, is literally mesmerizing: this is an incredible interweaving of tactile and visual sensations that are constantly changing and revealing from a new angle ...
The task of painting in this case is to emphasize the beauty of textures and shades created by nature. While reserving the tactile feel of the surface.
Various pigments and additives will help create an interesting effect..
For example, in this dragon, craters and recesses of scales are covered with luminophore pigment. It is absolutely safe, does not contain phosphorus and glows in the dark with a beautiful blue color..
No less important is the texture of the varnish. Matte or glossy, satin, and sometimes almost velvety, like the bark of an old tree. The right combination of these textures creates harmony, completeness of the image, the beauty of the play of light on the surface topography.
After painting, applying a varnish protective coating and assembling the creature, its tinting begins. To get a harmonious, holistic image.
Toning the fabric has no less possibilities and a very wide range of paint materials. These are natural dyes, such as coffee, cinnamon and herbs, and paints that allow you to create an unlimited number of shades and effects, such as oil and acrylic.
Creating your own 'wash' will give an unlimited variety of shades. And the achievement of the desired effect in the study of relief details.
If there is an idea, there will always be materials for its implementation, the main thing is to strive for it, not be afraid to experiment, learn, be a good specialist in your field, be attentive to details, creating high-quality works filled with soul. Which will please their owner for many years, and it is possible to live in a loving family for more than one generation.
Sometimes it is necessary to create your own and completely new type of paint and varnish, as in the case of this stained-glass window.
This requires a lot of time to test coverage and experiment with achieving the required task.
When painting a very detailed texture, the thickness of the coating layer is very important. After all, it is worth taking too thick paint or even the soil and relief may be lost, many details will be hidden by layers of paint.
Therefore, it is very important to take high-quality materials, with a very fine grinding of pigments and particles, and dilute them for the airbrush in the correct proportion.
The diversity of effects and results with samples of various pigments and dyes is unlimited for the printed eyes of creatures.
Here - only imagination is a guide.
'Washing' is a magic wand in creating effects and highlighting textures.
I prepare the wash by myself to achieve the necessary shades and consistency, depending on the need.