An Old Man Addresses The Paint Issue
Now, I want to talk to you about paints...
Back in the dark ages, a new hobby appeared in the shape of wargaming and roleplaying. Along with it came miniatures, little lead dollies if you will, and we were encouraged to decorate them using paints to make them more appealing.
And this we did...
We used tins of enamel for the most part and if we were flush with cash some new fangled water based paints with a strong ammonia smell from the U.S called 'Poly S' which were handily given names like 'Worm Purple', 'Cave Fisher Magenta' and the like for those of our parish who were playing D&D.
In the early 80s, Humbrol paints in the UK released a limited range of paints aimed at a younger market in natty little glass jars aimed at young model makers, being acrylic and washable, but with a very limited colour range called 'Bobcat' paints each sporting a picture of said feline on the lid. However, these colours were exactly the basic colours you needed to mix any secondary and tertiary colours with a little bit of knowledge of the colour wheel.
We soldiered on, and some of the finest miniatures that I have ever seen, I repeat ever seen, were painted in those days. Around 1984 I met a gamer who was one of the two inspirations to me as a painter, by the name of Andy Ritson. He was using Liquitex professional tube paints. These were cutting edge back then and were not the poor quality stuff you see today. At £8 per tube in 1983 they were truly expensive, and were all but useless, unless - like Andy, you knew a bit about artist's materials. I was lucky, because I did, but these were above my pay grade back then.
Andy was using techniques that defined how I learned to paint, as was another innovator, Pete 'Greblord' Armstrong who at the time, long before he went on to manage the GW Hammersmith store, was working in the Sheffield GW store and was almost the defect painter for the 5 store chain... He was good.
Many was the time I saw Andy and Pete saying how much they were inspired by the other and let me tell you, my peer group were amongst true giants then. We wanted to paint like them and so we studied things like permanence, opacity, the colour wheel, mediums, varnishes, brushes, compatibility of mediums, interminability and toxicity of pigments which governed the relative strength of some of the paint colours. Yes, we actually had to learn something.
At the same time, war-games luminaries such as Peter Gilder and Dave Hoyles were using oils and alkyds to paint large numbers of figures using a whole different slew of techniques which required a whole different skill and knowledge set.
I challenge anyone who visited either the War-games Holiday Centre or Q.T Models back in the day to say they were not captivated by the figures on show there.
Look up Pelican Plakka too... Milk based paints. I kid you not. We used them and they took skill but boy did they have their uses.
Varnishes were brushed on and some had to be carefully heated before use. It was dangerous and yet very satisfying work.
We developed our own techniques, whilst reading every manual on the subject. If you have not read the painting guides by Tony Ackland and Pete Armstrong, and you have an opinion on the subject, go away and read them because you are late to the party... They are the foundation texts of the subject. Dig out some old Military Modelling magazines in your local 2nd hand magazine dealer's junk boxes, or on eBay. Go on, go now...
There were no magic bullet products. It was about knowledge and skill, and practice.
Within my own peer group, the best painters showed a similar style and ability, but everyone had their own flourish. Roger was a master of strong reds (yes I know his secret) and warm yellows, I specialised in yellows and greens. Paul Green (well known comic illustrator these days, but back then a student) painted in almost pastel shades that you immediately recognised as his work in any cabinet. Andy Ritson had a similarly recognisable style of subtle translucent layers, whilst nobody painted the bold greens and strong purples like Greblord.
Citadel paints changed it all. They admittedly improved the painting of many youngsters because they were affordable paints and back then, very good. But it also began a cult like belief that unless you used a certain product you could not paint and that the paint rather than your skill, derived from the confidence a more reliable if very limited (remember Bobcat ?) range of colours.
Over the years, gaming companies have released their own ranges. Some have been great and others less so. Professional artist materials manufacturers such as Vallejo have also released paints aimed at model makers.
Now, I will say that each artist finds his own 'happy medium' - pun intended - and that is how it should be. What I really get aggravated by is the slavish 'If you don't paint in this style, with these paints you are no good' mentality.
I also don't fall for hype - EVER.
I have followed said hype over the Contrast Paints from GW and have seen varied reports on them. The more negative reviews seem to be from people who don't understand the more traditional concepts of pigments and mediums and how to apply them or who, are set on one way.
I actually bought Wargames, Soldiers & Strategy at the weekend, to read 'Testing out Citadel Contrast Paints' by Ruben Torregrosa, and in doing so I wasted £5. The article told me absolutely nothing and to be honest Ruben seems to be playing in the sandbox and getting paid a few Euros for doing so.
So, I sat down myself yesterday with a borrowed set of Contrast paints, some Vallejo Transparents, Valejo Glazes, Pebeo and Liquitex liquid acrylics and a couple of other similar products at varying prices.
I applied them all with my usual Rosemary & Co, sable/nylon blend, hand made brushes (remember folks, that £22 brush you got taken around the corner and butt fucked for on the promise of wondrous powers is hair - put some paint in your own hair and see what problems arise... ) I use a blend, because you get loading, spring, retention and easier cleaning if you have to suddenly sum up from the table and answer the door. (Note: I paint around 2000 hours per year at least and so I think I have a handle on this shit) and to be honest saw zero difference in the results, save that some are slightly more transparent (see my previous comments on pigment strength back in 1983).
I used identical figures, with an identical base coat of Halfords matte white primer, and diluted only with tap water - the most base diluting fluid I have in my studio.
Yes, the Contrast Paints covered well, (Ruben, you really, really, need to get your brush loading and application skills tuned up if you are going to appear in magazines.) but so did the others I used and to be honest, if Vallejo extended their transparent colours and glazes out they would be very affordable alternatives. Liquitex and Pebeo did equally well as you'd expect from serious art materials and cost about the same as citadel but give you a lot more and have built in pipettes in the lids.
So, I am not going to eulogise that the Contrast paints are a new product, a second coming or the answer to your mediocre painting skills. They are not...
An interesting fact is that the Vallejo glazes and transparent differed only in the dilution required to get the same finish.
All of the paints I tried out dried pretty quickly and had pretty much identical finishes. All of them used in the same simple manner will speed up your painting - if you have the motor skills to control brush loading and control. If you don't respect the borders between areas of colour, you will end up with a Jackson Pollock homage.
So, in closing, let me make the following points:
1. Learn about traditional artist materials.
2. Experiment.
3. Learn more about artist materials.
4. Understand permanence, pigments and mediums.
5. Find a brand or brands that you feel comfortable with.
6. Mix brands - If they work together and you like them - GREAT!
7. Go back and read some old school painting guides. They are a solid foundation and will teach you something.
8. There is no magic bullet. It's about practice and familiarity.
9. Establish your own style. There will always be fans and detractors of your work. That's part of being original, being an artist and understanding aesthetics.
10. Don't slavishly follow a company because they say their paint is great. If you need to be part of a pack mentality, take up being a soccer hooligan. It costs less.
Above all, enjoy what you do because of what it is, and be comfortable with your own style. Remember - Your figures, your rules.
TTFN
Back in the dark ages, a new hobby appeared in the shape of wargaming and roleplaying. Along with it came miniatures, little lead dollies if you will, and we were encouraged to decorate them using paints to make them more appealing.
And this we did...
We used tins of enamel for the most part and if we were flush with cash some new fangled water based paints with a strong ammonia smell from the U.S called 'Poly S' which were handily given names like 'Worm Purple', 'Cave Fisher Magenta' and the like for those of our parish who were playing D&D.
In the early 80s, Humbrol paints in the UK released a limited range of paints aimed at a younger market in natty little glass jars aimed at young model makers, being acrylic and washable, but with a very limited colour range called 'Bobcat' paints each sporting a picture of said feline on the lid. However, these colours were exactly the basic colours you needed to mix any secondary and tertiary colours with a little bit of knowledge of the colour wheel.
We soldiered on, and some of the finest miniatures that I have ever seen, I repeat ever seen, were painted in those days. Around 1984 I met a gamer who was one of the two inspirations to me as a painter, by the name of Andy Ritson. He was using Liquitex professional tube paints. These were cutting edge back then and were not the poor quality stuff you see today. At £8 per tube in 1983 they were truly expensive, and were all but useless, unless - like Andy, you knew a bit about artist's materials. I was lucky, because I did, but these were above my pay grade back then.
Andy was using techniques that defined how I learned to paint, as was another innovator, Pete 'Greblord' Armstrong who at the time, long before he went on to manage the GW Hammersmith store, was working in the Sheffield GW store and was almost the defect painter for the 5 store chain... He was good.
Many was the time I saw Andy and Pete saying how much they were inspired by the other and let me tell you, my peer group were amongst true giants then. We wanted to paint like them and so we studied things like permanence, opacity, the colour wheel, mediums, varnishes, brushes, compatibility of mediums, interminability and toxicity of pigments which governed the relative strength of some of the paint colours. Yes, we actually had to learn something.
At the same time, war-games luminaries such as Peter Gilder and Dave Hoyles were using oils and alkyds to paint large numbers of figures using a whole different slew of techniques which required a whole different skill and knowledge set.
I challenge anyone who visited either the War-games Holiday Centre or Q.T Models back in the day to say they were not captivated by the figures on show there.
Look up Pelican Plakka too... Milk based paints. I kid you not. We used them and they took skill but boy did they have their uses.
Varnishes were brushed on and some had to be carefully heated before use. It was dangerous and yet very satisfying work.
We developed our own techniques, whilst reading every manual on the subject. If you have not read the painting guides by Tony Ackland and Pete Armstrong, and you have an opinion on the subject, go away and read them because you are late to the party... They are the foundation texts of the subject. Dig out some old Military Modelling magazines in your local 2nd hand magazine dealer's junk boxes, or on eBay. Go on, go now...
There were no magic bullet products. It was about knowledge and skill, and practice.
Within my own peer group, the best painters showed a similar style and ability, but everyone had their own flourish. Roger was a master of strong reds (yes I know his secret) and warm yellows, I specialised in yellows and greens. Paul Green (well known comic illustrator these days, but back then a student) painted in almost pastel shades that you immediately recognised as his work in any cabinet. Andy Ritson had a similarly recognisable style of subtle translucent layers, whilst nobody painted the bold greens and strong purples like Greblord.
Citadel paints changed it all. They admittedly improved the painting of many youngsters because they were affordable paints and back then, very good. But it also began a cult like belief that unless you used a certain product you could not paint and that the paint rather than your skill, derived from the confidence a more reliable if very limited (remember Bobcat ?) range of colours.
Over the years, gaming companies have released their own ranges. Some have been great and others less so. Professional artist materials manufacturers such as Vallejo have also released paints aimed at model makers.
Now, I will say that each artist finds his own 'happy medium' - pun intended - and that is how it should be. What I really get aggravated by is the slavish 'If you don't paint in this style, with these paints you are no good' mentality.
I also don't fall for hype - EVER.
I have followed said hype over the Contrast Paints from GW and have seen varied reports on them. The more negative reviews seem to be from people who don't understand the more traditional concepts of pigments and mediums and how to apply them or who, are set on one way.
I actually bought Wargames, Soldiers & Strategy at the weekend, to read 'Testing out Citadel Contrast Paints' by Ruben Torregrosa, and in doing so I wasted £5. The article told me absolutely nothing and to be honest Ruben seems to be playing in the sandbox and getting paid a few Euros for doing so.
So, I sat down myself yesterday with a borrowed set of Contrast paints, some Vallejo Transparents, Valejo Glazes, Pebeo and Liquitex liquid acrylics and a couple of other similar products at varying prices.
I applied them all with my usual Rosemary & Co, sable/nylon blend, hand made brushes (remember folks, that £22 brush you got taken around the corner and butt fucked for on the promise of wondrous powers is hair - put some paint in your own hair and see what problems arise... ) I use a blend, because you get loading, spring, retention and easier cleaning if you have to suddenly sum up from the table and answer the door. (Note: I paint around 2000 hours per year at least and so I think I have a handle on this shit) and to be honest saw zero difference in the results, save that some are slightly more transparent (see my previous comments on pigment strength back in 1983).
I used identical figures, with an identical base coat of Halfords matte white primer, and diluted only with tap water - the most base diluting fluid I have in my studio.
Yes, the Contrast Paints covered well, (Ruben, you really, really, need to get your brush loading and application skills tuned up if you are going to appear in magazines.) but so did the others I used and to be honest, if Vallejo extended their transparent colours and glazes out they would be very affordable alternatives. Liquitex and Pebeo did equally well as you'd expect from serious art materials and cost about the same as citadel but give you a lot more and have built in pipettes in the lids.
So, I am not going to eulogise that the Contrast paints are a new product, a second coming or the answer to your mediocre painting skills. They are not...
An interesting fact is that the Vallejo glazes and transparent differed only in the dilution required to get the same finish.
All of the paints I tried out dried pretty quickly and had pretty much identical finishes. All of them used in the same simple manner will speed up your painting - if you have the motor skills to control brush loading and control. If you don't respect the borders between areas of colour, you will end up with a Jackson Pollock homage.
So, in closing, let me make the following points:
1. Learn about traditional artist materials.
2. Experiment.
3. Learn more about artist materials.
4. Understand permanence, pigments and mediums.
5. Find a brand or brands that you feel comfortable with.
6. Mix brands - If they work together and you like them - GREAT!
7. Go back and read some old school painting guides. They are a solid foundation and will teach you something.
8. There is no magic bullet. It's about practice and familiarity.
9. Establish your own style. There will always be fans and detractors of your work. That's part of being original, being an artist and understanding aesthetics.
10. Don't slavishly follow a company because they say their paint is great. If you need to be part of a pack mentality, take up being a soccer hooligan. It costs less.
Above all, enjoy what you do because of what it is, and be comfortable with your own style. Remember - Your figures, your rules.
TTFN
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