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Aquilla Guard, step by step (many photos, maybe there will be a load on your traffic).  [RSS] Share on facebook Share on Twitter Submit to Reddit
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Made in fr
Spawn of Chaos






Hello people, this spring I wrote a little step by step, on painting one interesting model from Infinity the Game, maybe you will be interested. Immediately make a reservation, my knowledge of English is limited to Google translator) I asked a friend to translate this text for me, but maybe there still are mistakes. Perhaps some phrases and turns of speech, in English sounds differently or non-existent, request to treat with forbearance) In any case, I think everything is clear from the photo.
If the photos seem fuzzy, click on them and increase, for some reason the photo on the daka looks less distinctly than I have on the disc, although the photo resolution is one and the same.

I got interested in this board game some time ago and I’m quite happy with the miniature quality – both the style/design/proportions and the casting. And of course the material – metal \m/ I’m painting it for myself, and this factor defines the approach – we paint it as we like it ourselves, choose the color scheme ourselves, nobody’s asking to change one color for another. Simply marvelous. I had an idea which is not totally original – using different ancient people as inspiration for my models. For example, for PanOceania I chose norse culture – grim colors, tough images, cold landscapes, deep connection with mythology and magic. The color scheme comes from it – black and white + blue, red as an additional color. The bases – rocks, snow and ice. Let’s begin.

First things first– the primer (surprise!).
There are lots of different primers and you can choose one depending on the task, material and the result necessary… Or you can simply take a can of black Vallejo for the airbrush and spray some white over it – the most neutral result. Or get a grey primer. The only thing to remember – the brighter is the base coat, the brighter the color will be.



It is worth mentioning that you don’t necessarily need to cover the whole surface in white, you can just spray a little on the places where the highlights are planned. Then it’ll be easier to create a contrast between highlights and shadows.

Armor

The model is designed in the first place for tabletop gaming and enjoying the process of painting, and so realism and logic follow the official painting scheme. The highlights will be situated from all sides, emphasizing maximum details, so that a model would not look like a weird mix of three colors from distance.
According to the legend, the armor is made of metal, so if it’s not NMM then it’s something close to it. In such moments you can easily get confused with the placement of glares, especially if there’s no single lighting source. I won’t get into details, one of the reasons for it is that I’m not really a pro in it myself. I’ll give you two main surface types as an example, on a flat one I’m placing the glares simply on the corners (the photos are taken from here - http://www.elite-games.ru/art/start/kova2.shtml)


Blue armor elements
The paint I used for it


Usually I take three colors for each detail – the main one, a light shade, a dark one + black and white. Unfortunately most of the names scrapped off long time ago, so I’ll use simple names like blue, light-blue, black etc. My advise – don’t get overly attached to official names, it distracts you from the essence.


First step – put some moderately saturated color that will be the easiest to lighten or darken.


Mark the extreme highlights with thick strokes of white paint.
Here’s a little thing in it – why am I getting from white to dark and not the other way around? First – this way we get brighter colors, second – it’s easier to make smooth translations, which can be tricky for a lot of people on the early stages of painting. A quick tip – if you draw the brush over the surface, a more sharper edged of the color will be situated on the side of the tip of the brush, a smoother one – on the side of the brushes handle. Of course you can highlight this way too, but because of the sculpt’s particularities usually the shaded parts are situated in such places that it’s hard to place the brush with its tip towards the highlight.


Now we’re adding a first layer with a light shade to make the edges of white highlights smoother. You don’t need to remove them completely, it’s enough just to dim them.


Then we do the same, but we’re using the base blue color from the first step on the edges of the light shade. Now the edges of white highlights must disappear completely. After the base blue we’re doing the shadows. Same there – the darker shade in the deepest parts.



Final points on this stage – hardcore blue for the deepest depth and hardcore white for the brightest highlights. We’re not doing lining now, it’s done best in the end and across the whole model in one time.


Now we’re passing to black armor elements
The paint used



Everything’s pretty much the same, but here I didn’t add the main color and instead marked the extreme highlights on the light primer.


…and then made it soother with two shades of gray – light one and a bit less light one)


Some darker gray, along with fixing the faults in translations with white.


Black is a perfect color, black makes everything better, need more black.]


It’s almost certain that there’ll be some faults in color translations when using the black and white gradient. They are the most noticeable with these colors. The final thing to do is to cover such faults. Now we can go on to the next element.

The coat
The paints used



Red is the main colors, orange for the highlights, violet for the shades. And of course the ideal colors – black and white to accent the folds.


First step – orange. Because mine is semi-transparent (it’s an airbrush paint line), I put it over the light primer in a couple of layers, but without covering the primer completely.
By the way, after writing this paragraph I noticed that I forgot to add one color on the photo of the paints, Scarlet Red (on the second part of the photo), it’s a basic light-red, second color.


Next color – burgundy, I’m using it mostly for the shade rather than a color on its own. Plus, the first layer of violet in the shadows. Because of some particularities of this exact paint I’ll have to put several layers of it.
[url=https://www.dakkadakka.com/gallery/918672-.html][img]https://images.dakkadakka.com/gallery/2
017/12/2/918672_sm-.JPG[/img][/url]

The second layer of violet and the first ideal color in the deepest shadows. The second ideal color will

be put during the finishing lining.

Border
The most fun part of the process. I’ve dedicated this element for the symbolic. Because there’s no amazing conversion or anything else to identify this model as a dweller of snowy landscapes, I’ve decided to add there an appropriate pattern and a short runic sign. To be honest, the pattern is not really connected to the runes, but not many people will get it anyway)


Lyrics – the sign is made in Elder Futhark and represents the word Aquila (though you’d better not think much if it’s correct). Of course, it enchants the model to be completely overpowered and wreck everyone in the game. The first and the last runes were then changed from Algiz to Ansuz – it looks better and suits more to the meaning.
Essence – I used a liner to make it simple. It’s a great tool for adding text and marking future freehands. I also added the markings for the future pattern with grey color.



No comments here, if you are interested in this kind of patterns you should go and google “celtic ligature” and check out some more detailed tutorials on its creation.


If a pattern is very small, like on a border of a space marine shoulderpad or something like that, you can suffice with the option on the left) Nobody will check out the details too much anyway. But we’re continuing to go full hardcore. Draw an uninterrupted net.


Now we need to make the shadows so that the lines would “cover” each other in turns.
It’s important here to understand the preliminary markings and then understand which line goes on top of another. If you’ve braid some hair at least once in your life – you’ll get into it from the first try) In the end we need to highlight the corners of the pattern and separate lines (each from one end) with white.

Final look (before adding white)


Glowing elements
The paints



Yep, there’s also black here.
The main color for the glowing elements – red, highlights – orange+white, black – creates the edge between the element and armor.


Everything’s absolutely identical to previous steps: white-orange-red, taking the size of the detail into account. There was a bit of confusion in the working process – not all of the supposed elements were made glowing in the end.



The gun has a little different scheme – white-orange-lightblue over orange-green) The result of an accident turned out to be pretty good-looking, so I decided to leave it be.
The result


The gun
The paints


As the main idea is cold shades (if we ignore the coat) and there was already blue, I’ve decided to take the grayish blue as the Space Wolves in Warhammer have. We could add some symbols, markings or at least numbers on the gun, but at the moment I didn’t feel like it)
The main idea of the process didn’t change and there’s no need to repeat it for the fifth time, it can be seen well in the photos..
The main color is light one – shadows – again the light one to smooth the translations.




What we’ve got in the end







The last step – lining. I didn’t take photos of it because it would be a copypaste of the same pictures. On the last two images you can see it well enough – we add white color with thin touches on all the details, even the coat. If you try to be serious you should do the lining in two layers, first one – simply a light shade of the detail’s main color, second one – white, on the edges or simply places where an especially bright glare is supposed to be.
As you may have noticed I didn’t describe the process of creation of the base – it’s incredibly boring) A cork, some pieces of plastic + soda with glue sprinkled with GW snow. By the way, after that I bought some “realistic” snow from Green Stuff and sprinkled it over the already ready one. It looks great IRL, but I couldn’t take good pictures of it. Simply google it a bit.


What should be said in the end
If you’ve scrolled until this moment, I’d like to thank you for your attention)
This step-by-step is not really very different from the last one, but I hope that somebody might like it and maybe even get inspired to new thoughts and ideas by some particular moments.


Good luck in your art!)



I accept commissions.

fess700@gmail.com
http://www.coolminiornot.com/artist/Wermilion
https://www.facebook.com/profile.php?id=100003740584057

 
   
Made in us
[MOD]
Friendly Peat Beast






The Great Marsh

Thank you for the incredible step-by-step! That cloak is just unreal
   
Made in us
Fresh-Faced New User




That is really good painting. The cloak is especially good.
   
 
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