11 comments on “Painting Class: Part 1

    • It was a great class. We kept bombarding her with questions, and she was incredibly insightful.

      I’m definitely looking forward to attending a class again if she does one next year.

        

  1. I was very sorry I missed this class, I may have to try a step by step pnemo too, just to keep up my street cred!

    Interesting that she characterized what you described as ‘two brush blending’ I always think of that as ‘one and a half-brush’ since there’s no second color, just spit/water on the second brush. I think of ‘two-brush’ as being ‘two-color’.

    Model looks like it’s coming along well.

      

    • I believe blending with two-colors wet on the model at once is more commonly known as “wet-blending”.

      Your double ended brush was the perfect blending brush. I could keep both ends wet, and I didn’t have to keep track of which way I put the brush in my mouth to hold it while applying the paint – both ends worked.

        

  2. Thanks for the article – I want to see more!

    One small niggle: I think the McVey in the video you link is Ali McVey, who is a woman! Unless I’m mistaken you might want to edit where you call her a “he”!

    Michael: What’s the type of blending you’d call two-brush? I’ve never heard of blending with a brush with colour on it. The closest I can think of is wet blending by painting two colours adjacent on a model and blending them together with a brush wet with water.

      

    • Thanks for pointing that out, I made the references to the McVey video gender neutral so there’s no way I can be wrong!

      The model’s done, so there’ll be lots coming up soon!

        

      • That’s a cunning plan, that is.

        I’m jealous as well, just to make that clear, either good teaching or your own natural talent means you’re kicking ass at two-brush. Is this your first try?

          

        • I’d watched youtube videos, and I’d read about the basic idea, so I knew roughly what was *supposed* to be happening. Meg made a good point about each person having their own trick or way of looking at it. As I was trying to help some of the other folks in the class, I noticed I was explaining it 3 different ways.

          Thanks, by the way, it’s nice to know it’s looking good. I’m no where as smooth as Meg is, but I’m very happy with what I’ve achieved on pNemo.

            

  3. I had a blast during class! I agree, she really was pretty insightful and really took time to answer anyone’s questions and give color opinions (such as my purple coils). If I can afford it, I want to go again next year (assuming she comes again).

      

  4. Hey, thanks for sharing what she taught you with us. I’ve had both Matt DiPietro and Ron Kruzie give me pointers of Two Brush blending (only the PP crowd call it that, everyone else calls it “Feathering”) in the past but never picked up on the moving your brush up and down slightly perpendicular to the fade before, will have to give that a try. All my previous success with the technique has come down to just the right consistency of thinned paint, medium, and saliva; and a crescent motion with my brush. Thanks again for sharing.

      

  5. Crap, one more thing. I wanted to mention that when creating shade tones you can also mix a colors complementary color into it in small amounts to desaturate the color. This creates a more natural looking shade tone and helps with contrast. So for example, when I paint the reds on a Khador model, I use Skorne Red as my midtone or sometimes a mix of Skorne Red and Khador Red Base. I then mix Gnarls Green into the mid tone for the first shading pass, then adding a bit more into the previous mix for the final one. If I do not think the crevices are dark enough I usually add a drop of coal black to the mix for one more pass. For highlights, I use Heartfire mixed with the mid tone as it creates a peachier red as I don’t like the orangeness of Khador Red Highlight. You just mix more and more Heartfire into the previous mix till you are happy. I then usually apply a few glaze layers of red to bring all the layers tonally together.

      

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