I've jettisoned 15+ years of time spent painting minis where my skills did not grow, evolve, or otherwise have enough 'DNA' to naturally improve. Without realising it, I was tidally locked into a static paint-by-numbers process but now all that's changing, thanks to you.
There's a bit of Colour Theory in each of my videos but it's been a while since the last one completely dedicated to a deep dive into the topic; in this time my practical painting and my theoretical understanding of painting have changed and evolved so I felt the need of an "holistic reboot" of the series to set a new milestone of my and YOUR growth as painters! Plus, I planned something completely different for this week but I've realised that my choices were difficult to understand without a video reference like this one 😅 or a three hours run 😅. DROP a LIKE to jumpstart the video!!! See you later at the premiere! 😘
Yes, Marco, you are on the spot, putting “the story” on number one. Don‘t we all have stories in our mind when we look at our miniatures? And now you show us how to paint these stories into our figures. You keep providing incredible value. Thank you!
My god you've got skills, Marco. Not only in painting--because obviously--but the skill with which you're able to teach complex techniques is super humbling to me. Thanks for making me better!
Great video! It's really interesting to see your thoughts and teaching style cohere more and more. One small request: the 2D and 3D examples are really useful, but it would also be interesting to see some bad examples, to help us notice if we're misunderstanding something and to recognize when we've not got something quite right. For example, a model with lots of good use of tone, but not enough values. Not to add more to your plate though!
Thanks a million man and thanks for the feedback! The point of view of the bad model/mistake is a great idea and definitely part of the equation of explaining through visual examples!
Your videos are my favorite. This is something I've had brewing around in the back of my mind, but no real way to put into words or work out. Been looking at OSL stuff, and I'm like, this has to be worked into day/night/weather somehow. Keep up this stuff. Ton's of creators say paint a line, paint some shade, paint the whole owl! You sir, are a teacher. Teach me. Side note, a topic I'd love to see is more deep dive into actual brush control, with how to hold brushes properly, positioning with hands, etc. I struggle with this. It's basic but I know a lot of people struggle with this and no one really deep dives it. "hold it like a pencil and cup your hands" isn't an answer I can really practice.
Thanks a million man!!! Super appreciated!!! Yeah OSL effects are like the extremization of these ideas but light, even if super subtle is always there altering the native colours in a way or the other. That's a really cool idea... I did something similar for airbrushing on Patreon but I totally didn't think about the brush lol... Thanks a million man, definitely in the to do list!!!
OSL is today's NMM, IMO. It's really cool when it's done correctly with a lot of skill. But more often than not, it looks like complete ass. People don't factor in environmental light. Campfires, for example, don't project any light at all during the day because light from the sun is more powerful and all-encompassing. People just spray their models with the OSL color after painting their model like it's 12 noon.
i started painting about a year and a half ago, and watched so much marco, trovarion, squidmar etc and was just overwhelmed with the crazy amount of things you could do to get results that were really pleasing. at first it was almost enough to shut me down, like... i will never be that good. i kept painting anyways, and i still have so much growth and things to learn yet to come; however my local hobby and game group seem to constantly love and compliment my work. these videos are masterclass level and if you push through them and try things without fear of consequence and ENJOY yourself, you will get better and better. keep them coming marco, with love from north dakota red river 40k group!
Thank you so much for making these videos. Back when I was younger the resources we had were limited. Even online it was a wasteland. Just nothing there. I knew about the color wheel. I used Dr Faust’s web page. A couple of books. Because of it I stagnated and with life, kids and career I stopped painting. I had no clue how art theory and technique could apply over all. Your channel and others. Blogs by people have helped me improve immensely in just 2 years of being back into the hobby. Now I’m have explored grisaille, brunaille and Verdaille and other techniques. While I am still not very good. My stuff looks good on the table top. It’s been amazing. Thank you again.
Positive comment for the algorythm. Color theory is maybe the most intresting and constructive topic Marco can deliver through his awesome channel. Keep it up!
I’ve just watched some of your videos and I feel like I’ve turned a corner! Your explanation of value and contrast is exactly what I’ve been looking for all these years. Taking a photograph in black and white is a game changer! I feel like I better understand where to put my light and shadow now. I’m so happy with the mini I’m painting right now, thanks for your awesome videos!
Not a question just wanted to say: I fucking love your theory videos. I am all about learning but Art is, and will always be, my favorite. Your videos have helped me learn and evolve in ways other channels couldn't provide and not just with miniatures. Thanks so much Marco! Hope to learn more with you.
You are an exceptional educator. Watching your videos offers me the ability to pursue art education when I wasn't really able to when I was younger. I'm eternally thankful!
Thanks a million man!!! Yeah recipes can be useful at the very beginning to jumpstart the hobby but they don't go very far while with this stuff you can really tackle any crazy personal idea: is like the give a fish vs teach fishing saying XD
Something I'd like to understand (from your point of view) is how to think about color schemes where one of the colors is quite predominantly a neutral tone. For example black, bone, white, grey etc. The Conquest Spires models, for example, which are largely composed of a bone/white color, or even space marines like Black Templars I suppose! Basically how to make those look less boring.
Amazing video and super helpful. The segment just before you shouted "boring" when you cover a triad and the ratios and adjusting them was a major lightbulb moment! Having the visual examples with the theory was huge help to show how it works in practice!
Your videos are just pure gold. its amazing that you not only pack a lot of informtion in them, but also bring easy to understand analogies while still keeping the videos short, both a skill in itself.
This was a revelation of a video for me and I think it will help me to start thinking more about what to do and how to do it (especially since I'm embarking on learning the art of NMM)! Molto grazie, Marco!
You are a gem marco i al2ays learn so much from your videos and your passion and excitement is infectious and always gives me an extra boost of motivation and inspiration!
Thank you very much for the Polish subtitles. Thanks to you, I discovered how wonderful the combination of oil and acrylic paints is. I love everything you create.
Marco, I enjoy your videos immensely. I am in no way an artist but you have given me some insight into what goes on in the mind of talented artists. You demonstrate a talent for teaching and your videos do a great service to a wide range of painters. I think you would be a great asset to an art school plus you would get to see the results of your teaching. Keep up the great work, it is a pleasure to share in your evolution. Joe S.
I haven't even watched this yet, but thank you so much for revisiting this topic! I've watched your original series, bought the Kimera Kolors set and gotten ready to delve right in and learn how to apply colour theory to my minis. Thanks again! :)
Hey Marco, your videos make it really easy to improve by distilling a lot of new ideas for me. When I started a small Eldar army, I payed attention to creating harmony between the Eldar scheme and the base's colors, so I used online color wheels to find a tetradric scheme. (If you're curious, Iyanden yellow and blue, standing on desaturated purple wraithbone with green glowing leylines.) I mixed the same off-white into highlights for many of the colors to tie the environmental light together. I bought oil paints for the first time and, after some practice models, I'll use them to empower the shadows and highlights. All thanks to your influence!
This video is fantastic! You have helped my painting so much and I’ve come a long way. I am curious on your thoughts for wargaming armies where the setting of the table is going to be changing. Do you prefer to stay more neutral like noon on a sunny day? Or just tell the story of the army and not worry about the table terrain and setting changing around it?
You magnificent bastard... I was just working on figuring out an approach for setting my Infinity miniatures in some stark, neon-soaked environment, and how best to communicate that through both underpainting, and highlights. I'm curious to see what you have in store for the coming weeks...
Are there any pre-shading techniques where you would highlight with a metallic of the same shade and hue as the base before applying any color (either as a zenithal dry brush or edge highlight) as a sort of pre color weathering? And if so would you consider doing a video on it?
Hey talk about color theory as much as you want, I didn't take any art classes in college. I like to learn everything that is useful for mini painters and some color theory is pretty advanced topic for most of us.
Hi Marco, reversing your concept about lights i find important to set the right light color on the work lamp, many times i find the finished miniature having a totally different color scheme when i take photos of it under sunlight and that doesnt feel good. I would really like to hear your take on undercoat, setting mood with that, and tonal contrast.
These videos of yours Marco causes neurogenesis! Great ideas and explanation. It reminded me of how Sin City is a great example of the use of black and white, with colour for only accents
I dropped a like and am now commenting that YOUR CHANNEL IS KING in learning the art of miniatures. Not kidding! Pls in return tell me where you got the black tentacly things you use to hold your lamps? I need a few of those!
Thank you sooooooooo much man! Super appreciated! You can find all the details of the lamps in one of my recent videos, I've recorded and reviewed the whole process 😉
I like to think of the color wheel as a thing that stifles my creativity. Clashing colors, thick goopy paint. Sometimes I use my blood mixed with sand, for gritty texture. No room for smart painting at my hobby desk
At some point you said that when highlights are warm, shadows should be cold and the other way around. I'm now very interested in painting models in a snowy environment and I often saw drawings of snowy sceneries use blueish notes for both highlights and shadows. Would you agree that this is an exception of the rule because of the white snow reflecting the cold light, creating an overall cold tone to both highlights and shadows? Or is there a better way?
Usually it's not necessary because I use only microscopic quantities of oil paint, but if for some reason I end up with a really thick layer I use this trick (I don't like Liquin because it makes oils more glossy) th-cam.com/video/Qi5nIwvgzhw/w-d-xo.html
Great video, exactly what I needed. Been wondering how to tackle a black templar scheme inspired by the new codex art (the purple sky one). The timing couldn't have been any better ! Wanted to mix it with snow bases but then the snow would have to be purple tinted.. might be too complicated :D Thanks a lot !
Nice!!! Check also this one th-cam.com/video/kyXzfVO2Kdw/w-d-xo.html ; it's a good way to start working on black with already a good load of subtle chromatic information easy to modulate and enhance in the right spots
Hello @MarcoFrisoniNJM! I have a question about proportioning a split complementary scheme. I'm planning to use a warmish purple and turquoise for the majority of a saurus warrior. The gold bits will form the yellow component of the split complimentary. Is this insane / stupid, I'd appreciate some guidance as still trying to fully grasp these concepts. Cheers!
This video has helped me to think about color in a new light! (Pun intended) I like how you explained using the superman picture to show environmental light. Thanks!!!
Cool video like always Marco! My man, your videos are really underappreciated 😢 By the way, could you make a video explaining nmm painted only in value scale? I find myself always advising painter on focusing on the reflection when taking on nmm, but the only video I can share to them is kujo's guide on nmm. Most other painter always show a recipe, and never explain light positioning, that is IMO 70% of the work of a painter in a normal art piece, but in a nmm piece is basically all that matter...
Ok, I was already a steadfast team Marco cheerleader before this video... But then he goes and invokes the almighty Feynman??? This guy is a scholar, a gentleman AND an artist. Keep up the amazing work, dude. I am in awe.
Hi there Marco! Thanks for the awesome content once again. There's one big thing in this video that I find very confusing, and that's your switching from color wheel to another without much explanation. That feels very misleading and contradictory. Is this intentional or just accidental? First I saw the wheel on you wall (looking a lot like the RCW - Real Color Wheel you also show and refer to later in video). Now that one seems to have the primaries and their complementaries (CMY & RGB, whichever way around you look at it) properly arranged. It matches how our screens, paints and thricromatic eyes work. Now, why not stick to that wheel and the solid color theory behind it? Because instead of that, you later on suddenly switch to showing the color wheel with "traditional primaries - blue, red & yellow" in 9:25 for example, and refer to something like "basic rules for color schemes and color harmonies" in 2:28. In those universes, we get pairs of colors that maybe shouldn't be called complementaries (yellow and purple for example), and situations that don't quite seem to match our reality or the RCW you also use every once in a while. Very confusing! Can you elaborate? Sorry for the long winded babble, and thanks again for the video! All the best.
Hi! Thanks a million man 😊 It's totally intentional! Colour Models like RGB for lights RBY and CMY for pigments or even something like the Zorn palette are just reference frames that you choose based on the results you want to obtain, the colours you like or own or your teaching needs.The primaries are not an absolute thing but a parameter you choose; CMYK is the most effective model for mixing but the size of the gamut of tones is not always a priority (again think about the Zorn palette!). I used different wheels because they fit better different teaching situations and they are all still valid. Proof is that the Superman/Ultramarine scheme is still great both if you consider it an equidistant triad in the classic system or a split complementary on the Real Colour Wheel; mixing efficiency and harmonies are two separate things 😉
@@MarcoFrisoniNJM Thanks for the answer! :) Yeah, using something like the Zorn (or any other limited) palette to paint miniatures and mix colors from is very much okay. As is using the Superman colors. But why try to force and squeeze such personal choices (or any other random colors for that matter) in to a color wheel format, call the opposites complementaries and even go as far as try to justify things based on that? One could place any colors on a wheel shape in any order, but that doesn't magically make the opposite ones real complemetaries, or create proof that some things have harmony. If any color can be in any place on a wheel, it kind of invalidates the using of any such terms and tools like complementaries or split complementaries. Complementary colors are pairs of colors which, when combined or mixed, cancel each other out (lose hue) by producing a grayscale color like white or black.
The point is that this is not a stretch or a personal choice. The wheel based on red-blue-yellow even if not scientifically accurate is part of our western culture and it has powerful psychological and emotional meanings and traditional trends and expectations. The definition of complementary is for sure based on the fact that their pigments neutralise each other into grey but this is not the reason why they are perceived as harmonious. These are two different levels of meaning and a cool harmony and general composition is not based only on the scientific side of things (as a matter of fact is mostly based on culture, perception, historical trends, taste...); yellow and purple works well opposed to each other (Emperor's Children) both if you consider them on the exact opposite sides of the wheel or slightly off center. Again I'm with you saying that the real colour wheel is the best reference for our work with pigments, but a wider point of view extended also to the history of the subject and its cultural/emotional side gives you more possibilities and it doesn't reduce art to a mathematical equation
@@MarcoFrisoniNJM I completely agree with the psychological / emotional / history / trends / taste etc. side of things and our perception of harmony partly based on those kinds of elements. And again, I got no problem at all with one using any combinations of colors for paint schemes & mixing. I also like yellow and purple together, wherever in whichever wheel they happen to be in. I just feel it would be useful to be clear about the scientific side (and related terms like complementary & primary colors which do have quite specific meanings and even uses), and when that might sometimes differ from our tastes / emotions / history etc. side of things. It feels contradictory and misleading (sorry for repetition!), when sudden jumps are made from one side to another. Especially when it's not pronounced, and when certain terms (complementary color, for example) continue being used in wrong context. Sorry for the rant! And to be perfectly clear, I absolutely adore your paint jobs Marco! And you've also made one of the best videos I've ever seen about the color wheel and this topic at hand ( th-cam.com/video/SI127pDPsK0/w-d-xo.html ). So thank you and keep it up! ❤
Not to take anything from your point about Mignola's use of black, I would just like to mention that his Hellboy work was coloured by the great Dave Stewart.
Knew there was something dodgy under that hat! You're a robot sent from the future to teach us how to paint aren't you! Just had some upgrades eh....Did you loose your sweet rainbow Afro in the swirly terminator style vortex thing you used to travel here? Happens, those things are wild. Don't worry though, there's others who have lost their fro's in similar tragic accidents, usually involving kids/mortgages/working all the time. On a side note your videos are really helpful - being a new painter I don't know what to do with half the knowledge/tips your providing but some of its sinking in :) I hope. Time to sniff some paint and get practicing, keep up the great work!
This video does a pretty good job at explaining why 'eavy metal style is a boring style of painting, because despite the shading and highlighting, its still ignoring the idea of environmental lighting and tinting.
It's a good style to deliver a vanilla representation for box art models that have to look cool but achievable and simple to copy but sadly a ton of painters get stuck into it like if it's some sort of cult lol
@@MarcoFrisoniNJM Yeah it's simple and effective for getting down an army, but the issue is that you don't feel compelled to explore. Like I've struggled to find people even experimenting with blend of different colours, instead just using lighter or darker colours of the same colour which creates a flat effect. Like yellow for example looks really flat if you do not use other colours like red and purple to to create depth.
@@oliverp3545 I call it an "artistic dead end"! The top of that look, both in terms of aesthetic and technique, is the official GW rendering and there's nothing more to explore or to do better; your models can be only a bad copy of the box art!
Marco you are missing the most valuable lesson of all regarding color theory, we all know how color interacts with light, but within the shadow of color we must think in terms of contrast (complimentary to the base color). Allow me to explain, when I shade a color, in example we will say I am shading the color red, I do not mix the color red with the black, I mix the color green with the black and I shade the red with the mixture of black and the complimentary color to the red color. And it can be taken further depending on the shade of the color and the lighting conditions, but it is good to start with a slightly light black with a dash of the complimentary color in the shadows, you want the addition of the complimentary tint to be so subtle that it is barely noticeable, but the results work well with cinematic post processing style color schemes. I hope this made sense
Thanks for the vid. Trear my comment for more of - more comments better for youtube. And not that I want to argue, but... The matter is not about setting something, the matter is allowing viewers to perceive that. And that's the hard part, as viewers might be quite inexperienced and would not appreciate all your nuances at all. And on paper it would be "it looks appealing anyway, just viewer cant gets an idea why", but in practice, he might be just confused. Correct me please if Im saying rubbish - but that is why GW boxarts in 28mm scale are so popular - they are stupidly simple to understand. Green ork, blue space marine are bloody simple to grasp without the need of properly reading of what environment it been put in and such. And that's why lots of people are after "clear and vibrant " minis. So not a statement but more of a question - shouldn't we exaggerate that environmental impact, especially on a small scale?
Ciao Marco, finalmente un nuovo video, stavo pensando, perché non intervalli ai video ogni due settimane delle livestream? 1/2 orette al giovedì alternando i video. Il canale avrebbe più visibilità perché comunque posti qualcosa e per te sarebbe costerebbe praticamente solo quelle ore di streaming. Pensaci 😊
Ciao! Eh l'ho valutato, ma la questione è meno semplice di quello che sembra. Le live performano meno dei video classici e per l'algoritmo è meglio meno video forti e con prestazioni costanti piuttosto che più frequenti, ma con prestazioni altalenanti. Al momento sto usando il tempo extra per dare più attenzione e qualcosa di extra ai patrons e Twitch sta diventando un'opzione interessante per live frequenti
I've transitioned to Battletech. Many people paint minis for smaller games like Infinity or Malifaux, or for RPGs like DnD or Pathfinder. GW are just the most popular manufacturer.
They are my first love with gunpla and mechs! All my airbrushing skills come from the work on anime resin GK kits :) I'm looking for the right time to paint these: th-cam.com/video/ap5Hg1aHKlI/w-d-xo.html
@@MarcoFrisoniNJM Cool I did not know that. I have never tried resin kits, I build the Bandai figure rise standard kits and I also think about trying Frame arms girls or Mechamesume.
@@statoilbensin2190 True. Not just customers, but creators as well. I'm switching to 3D-printing (Anycubic Photon Ultra Kickstarter just finished) and it is outrageously cheaper than GW stuff, even when buying commercial licenses for STL files or a Patreon subscription.
I've jettisoned 15+ years of time spent painting minis where my skills did not grow, evolve, or otherwise have enough 'DNA' to naturally improve. Without realising it, I was tidally locked into a static paint-by-numbers process but now all that's changing, thanks to you.
Man, thanks a million to you! I can't tell you how happy I'm knowing that the videos are making a difference in your growth as a painter :)!!!
Same. Marco really brings in the art theory, but in a practical, approachable way.
Well said. I think this applies to a lot of us.
100% true for me too, except it's more like 40years but including periods of drought caused by career and kids and attendant exhaustion. ;0)
@@philgee486 I fully get it. I took a 11 year hiatus for similar reasons. Glad your back.
There's a bit of Colour Theory in each of my videos but it's been a while since the last one completely dedicated to a deep dive into the topic; in this time my practical painting and my theoretical understanding of painting have changed and evolved so I felt the need of an "holistic reboot" of the series to set a new milestone of my and YOUR growth as painters! Plus, I planned something completely different for this week but I've realised that my choices were difficult to understand without a video reference like this one 😅 or a three hours run 😅. DROP a LIKE to jumpstart the video!!! See you later at the premiere! 😘
Maybe I missed it, where can I get this model?
This is such great news, such a great way forward and I can't wait
@@mattbridges385 Aradia Miniatures ;) !
Your Italian Accent is very unique!!! Your Videos are very interesting! Thank you! Greetings from Germany 🇩🇪
Yes, Marco, you are on the spot, putting “the story” on number one. Don‘t we all have stories in our mind when we look at our miniatures? And now you show us how to paint these stories into our figures. You keep providing incredible value. Thank you!
My god you've got skills, Marco. Not only in painting--because obviously--but the skill with which you're able to teach complex techniques is super humbling to me. Thanks for making me better!
Great video! It's really interesting to see your thoughts and teaching style cohere more and more. One small request: the 2D and 3D examples are really useful, but it would also be interesting to see some bad examples, to help us notice if we're misunderstanding something and to recognize when we've not got something quite right. For example, a model with lots of good use of tone, but not enough values. Not to add more to your plate though!
Thanks a million man and thanks for the feedback!
The point of view of the bad model/mistake is a great idea and definitely part of the equation of explaining through visual examples!
Your videos are my favorite. This is something I've had brewing around in the back of my mind, but no real way to put into words or work out. Been looking at OSL stuff, and I'm like, this has to be worked into day/night/weather somehow. Keep up this stuff. Ton's of creators say paint a line, paint some shade, paint the whole owl! You sir, are a teacher. Teach me. Side note, a topic I'd love to see is more deep dive into actual brush control, with how to hold brushes properly, positioning with hands, etc. I struggle with this. It's basic but I know a lot of people struggle with this and no one really deep dives it. "hold it like a pencil and cup your hands" isn't an answer I can really practice.
Thanks a million man!!! Super appreciated!!! Yeah OSL effects are like the extremization of these ideas but light, even if super subtle is always there altering the native colours in a way or the other.
That's a really cool idea... I did something similar for airbrushing on Patreon but I totally didn't think about the brush lol... Thanks a million man, definitely in the to do list!!!
@@MarcoFrisoniNJM Yep, I'm a patreon, saw it. :P Thanks!
OSL is today's NMM, IMO. It's really cool when it's done correctly with a lot of skill. But more often than not, it looks like complete ass. People don't factor in environmental light. Campfires, for example, don't project any light at all during the day because light from the sun is more powerful and all-encompassing. People just spray their models with the OSL color after painting their model like it's 12 noon.
i started painting about a year and a half ago, and watched so much marco, trovarion, squidmar etc and was just overwhelmed with the crazy amount of things you could do to get results that were really pleasing. at first it was almost enough to shut me down, like... i will never be that good. i kept painting anyways, and i still have so much growth and things to learn yet to come; however my local hobby and game group seem to constantly love and compliment my work. these videos are masterclass level and if you push through them and try things without fear of consequence and ENJOY yourself, you will get better and better. keep them coming marco, with love from north dakota red river 40k group!
Thank you so much for making these videos. Back when I was younger the resources we had were limited. Even online it was a wasteland. Just nothing there. I knew about the color wheel. I used Dr Faust’s web page. A couple of books. Because of it I stagnated and with life, kids and career I stopped painting. I had no clue how art theory and technique could apply over all. Your channel and others. Blogs by people have helped me improve immensely in just 2 years of being back into the hobby. Now I’m have explored grisaille, brunaille and Verdaille and other techniques. While I am still not very good. My stuff looks good on the table top. It’s been amazing. Thank you again.
Best explanation of highlights and shadows I've yet seen for mini painting, set into context! Thanks!
😊😁😊😘😘😘
Positive comment for the algorythm. Color theory is maybe the most intresting and constructive topic Marco can deliver through his awesome channel. Keep it up!
I’ve just watched some of your videos and I feel like I’ve turned a corner! Your explanation of value and contrast is exactly what I’ve been looking for all these years. Taking a photograph in black and white is a game changer! I feel like I better understand where to put my light and shadow now. I’m so happy with the mini I’m painting right now, thanks for your awesome videos!
🤩😁🤩 you made my day 😁😘
This is a wonderful video, thank you so much 🙏
Having been a fan of your videos since the very first one, I can safely say that this is still the best - and shouting “boring” gave me a good laugh 😂
Not a question just wanted to say: I fucking love your theory videos. I am all about learning but Art is, and will always be, my favorite. Your videos have helped me learn and evolve in ways other channels couldn't provide and not just with miniatures.
Thanks so much Marco! Hope to learn more with you.
I’ve been watching for about a year, and you’ve really put the joy back in my painting!
I can't tell you how entertaining Marco is. Absolutely love his channel.
Was NOT expecting a shoutout to the great Richard Feynman, a personal hero of mine.. Great explanation of his technique.
You are an exceptional educator. Watching your videos offers me the ability to pursue art education when I wasn't really able to when I was younger. I'm eternally thankful!
great help especially the grey scale model and imagining the environment to establish its colour
Nice Marco, too many ignore this (really fun) topic to focus on recipes, it’s always been a pleasure to watch and learn from you.
Thanks a million man!!! Yeah recipes can be useful at the very beginning to jumpstart the hobby but they don't go very far while with this stuff you can really tackle any crazy personal idea: is like the give a fish vs teach fishing saying XD
@@MarcoFrisoniNJM 💯 thanks Marco, you’re a legend
This blew my mind, cant look at anything the same after that!
Marco thanks for your excellent work and your dedication to teaching you are a shining star that makes the world brighter
Thank you for helping me think more like an artist. It helps me deepen my enjoyment of painting.
10:03 got me really good haha!
I love your editing!
Something I'd like to understand (from your point of view) is how to think about color schemes where one of the colors is quite predominantly a neutral tone. For example black, bone, white, grey etc. The Conquest Spires models, for example, which are largely composed of a bone/white color, or even space marines like Black Templars I suppose! Basically how to make those look less boring.
What an exciting video!! Can’t wait….let’s go!!
damn over 71k already!!!! Another gem video. Thanks for sharing your tips!
Amazing video and super helpful. The segment just before you shouted "boring" when you cover a triad and the ratios and adjusting them was a major lightbulb moment! Having the visual examples with the theory was huge help to show how it works in practice!
Holy Jaffa Cakes, you've just blown my mind! Thank you for this video and I'm so excited to paint my new minis using, I hope, some of these ideas.
As always, great video Marco. Head and shoulders above any other hobby painting channel imho.
Big heart for All Star Superman artworks
😁😊😁 I'm a huge fan of Frank Quitely work!
Your videos are just pure gold. its amazing that you not only pack a lot of informtion in them, but also bring easy to understand analogies while still keeping the videos short, both a skill in itself.
Thank you for this!
You make me excited about painting. Thank you.
This was a revelation of a video for me and I think it will help me to start thinking more about what to do and how to do it (especially since I'm embarking on learning the art of NMM)! Molto grazie, Marco!
This was fantastic thank you
You are a gem marco i al2ays learn so much from your videos and your passion and excitement is infectious and always gives me an extra boost of motivation and inspiration!
Thanks a million man!!! I love this flow of inspiration :) !!!
Thank you very much for the Polish subtitles. Thanks to you, I discovered how wonderful the combination of oil and acrylic paints is. I love everything you create.
Yes, finally! I was waiting for an update. Looking forward to the video!
You are a precious resource, Marco. I'm a huge fan and supporter. I'm really looking forwards to this new Color Theory series.
Thanks Marco really appreciate the content and effort you put into these videos! Another great video.
I love it! You are helping me move past the point where I slap paint on a small toy to really understanding and appreciating art.
Marco, I enjoy your videos immensely. I am in no way an artist but you have given me some insight into what goes on in the mind of talented artists. You demonstrate a talent for teaching and your videos do a great service to a wide range of painters. I think you would be a great asset to an art school plus you would get to see the results of your teaching. Keep up the great work, it is a pleasure to share in your evolution.
Joe S.
I haven't even watched this yet, but thank you so much for revisiting this topic! I've watched your original series, bought the Kimera Kolors set and gotten ready to delve right in and learn how to apply colour theory to my minis. Thanks again! :)
You're a godsend, love your videos I always learn so much!
Hey Marco, your videos make it really easy to improve by distilling a lot of new ideas for me. When I started a small Eldar army, I payed attention to creating harmony between the Eldar scheme and the base's colors, so I used online color wheels to find a tetradric scheme. (If you're curious, Iyanden yellow and blue, standing on desaturated purple wraithbone with green glowing leylines.) I mixed the same off-white into highlights for many of the colors to tie the environmental light together. I bought oil paints for the first time and, after some practice models, I'll use them to empower the shadows and highlights. All thanks to your influence!
Great video. I'm excited to see what you do, next.
Grazie mille from a franceze neighbour, loved it, struggled for years to get my creative process back on track, this might just do it!
😊😉😊😘
I hope you'll do a guide on painting someone in a winter area, I'm doing that basing for a 40k army and I've got no idea how to do the lighting
this so exiting, I can't wait for the next chapters!!!
I'm going to have to watch this video a few times.
Great video again!
Really enjoyed this one. Its so much more helpful to learn the painting principle than just a paint receipe.
I feel like I'm going to watch this video about 100 times before my mind stops being blown by unlocked revelations. Fantastic as always Marco!
these videos about colour theory and art are the absolute best!
This video is fantastic! You have helped my painting so much and I’ve come a long way. I am curious on your thoughts for wargaming armies where the setting of the table is going to be changing. Do you prefer to stay more neutral like noon on a sunny day? Or just tell the story of the army and not worry about the table terrain and setting changing around it?
You magnificent bastard... I was just working on figuring out an approach for setting my Infinity miniatures in some stark, neon-soaked environment, and how best to communicate that through both underpainting, and highlights. I'm curious to see what you have in store for the coming weeks...
Most important question! Where is that shark pirate mini from? It's perfect!
😁 Aradia Miniatures!
@@MarcoFrisoniNJM thanks!
This is some intense stuff. Well explained, I will certainly come back to it several times!
My head has just exploded, jebus I am totally lost now :)
this is so amazing.... thank you!
oh my graphic design course days .... cheers Marco :)
Are there any pre-shading techniques where you would highlight with a metallic of the same shade and hue as the base before applying any color (either as a zenithal dry brush or edge highlight) as a sort of pre color weathering? And if so would you consider doing a video on it?
Hey talk about color theory as much as you want, I didn't take any art classes in college. I like to learn everything that is useful for mini painters and some color theory is pretty advanced topic for most of us.
Hi Marco, reversing your concept about lights i find important to set the right light color on the work lamp, many times i find the finished miniature having a totally different color scheme when i take photos of it under sunlight and that doesnt feel good. I would really like to hear your take on undercoat, setting mood with that, and tonal contrast.
Love it! Not steps, but a new way to see!
Great video Marco! Can't wait until I can take the time to paint some models 💚
yeeeees Marco love it!!!!!
These videos of yours Marco causes neurogenesis!
Great ideas and explanation. It reminded me of how Sin City is a great example of the use of black and white, with colour for only accents
I dropped a like and am now commenting that YOUR CHANNEL IS KING in learning the art of miniatures. Not kidding!
Pls in return tell me where you got the black tentacly things you use to hold your lamps? I need a few of those!
Thank you sooooooooo much man! Super appreciated! You can find all the details of the lamps in one of my recent videos, I've recorded and reviewed the whole process 😉
@@MarcoFrisoniNJM thanks man!
Love color theory videos!
I like to think of the color wheel as a thing that stifles my creativity. Clashing colors, thick goopy paint. Sometimes I use my blood mixed with sand, for gritty texture.
No room for smart painting at my hobby desk
That's dedication 🥲
A fan of comics and rock too? My type of channel!
😁😊😁😘 Welcome in board!!!
At some point you said that when highlights are warm, shadows should be cold and the other way around. I'm now very interested in painting models in a snowy environment and I often saw drawings of snowy sceneries use blueish notes for both highlights and shadows. Would you agree that this is an exception of the rule because of the white snow reflecting the cold light, creating an overall cold tone to both highlights and shadows? Or is there a better way?
Do you make something in particular to make oils dry faster?
Usually it's not necessary because I use only microscopic quantities of oil paint, but if for some reason I end up with a really thick layer I use this trick (I don't like Liquin because it makes oils more glossy) th-cam.com/video/Qi5nIwvgzhw/w-d-xo.html
@@MarcoFrisoniNJM Thank you very much :)
Hello Marco, will you be at the World Model Expo 2022? I would love to thank you in person for all of your fantastic content if that is the case :)
Great video, exactly what I needed. Been wondering how to tackle a black templar scheme inspired by the new codex art (the purple sky one). The timing couldn't have been any better !
Wanted to mix it with snow bases but then the snow would have to be purple tinted.. might be too complicated :D
Thanks a lot !
Nice!!! Check also this one th-cam.com/video/kyXzfVO2Kdw/w-d-xo.html ; it's a good way to start working on black with already a good load of subtle chromatic information easy to modulate and enhance in the right spots
Great content. Theoretical lessons are really interesting.
Great stuff friend 👏 👍
Отличное видео, спасибо!
Hello @MarcoFrisoniNJM!
I have a question about proportioning a split complementary scheme. I'm planning to use a warmish purple and turquoise for the majority of a saurus warrior. The gold bits will form the yellow component of the split complimentary. Is this insane / stupid, I'd appreciate some guidance as still trying to fully grasp these concepts. Cheers!
This video has helped me to think about color in a new light! (Pun intended)
I like how you explained using the superman picture to show environmental light. Thanks!!!
Cool video like always Marco! My man, your videos are really underappreciated 😢
By the way, could you make a video explaining nmm painted only in value scale? I find myself always advising painter on focusing on the reflection when taking on nmm, but the only video I can share to them is kujo's guide on nmm. Most other painter always show a recipe, and never explain light positioning, that is IMO 70% of the work of a painter in a normal art piece, but in a nmm piece is basically all that matter...
Are you going to show us how you painted the shark guy????
Yah this video was great but I really want to see models get painted by Marco lol
Ok, I was already a steadfast team Marco cheerleader before this video... But then he goes and invokes the almighty Feynman??? This guy is a scholar, a gentleman AND an artist. Keep up the amazing work, dude. I am in awe.
So goobertown roulette is a good way to trick the painter to start to think about story.
Eet tha bell boton!!!
Eet eet NOW!!
just be honest - you're creating a set of course materials for a class right? Where do I sign up :)
Hi there Marco! Thanks for the awesome content once again. There's one big thing in this video that I find very confusing, and that's your switching from color wheel to another without much explanation. That feels very misleading and contradictory. Is this intentional or just accidental?
First I saw the wheel on you wall (looking a lot like the RCW - Real Color Wheel you also show and refer to later in video). Now that one seems to have the primaries and their complementaries (CMY & RGB, whichever way around you look at it) properly arranged. It matches how our screens, paints and thricromatic eyes work. Now, why not stick to that wheel and the solid color theory behind it?
Because instead of that, you later on suddenly switch to showing the color wheel with "traditional primaries - blue, red & yellow" in 9:25 for example, and refer to something like "basic rules for color schemes and color harmonies" in 2:28. In those universes, we get pairs of colors that maybe shouldn't be called complementaries (yellow and purple for example), and situations that don't quite seem to match our reality or the RCW you also use every once in a while. Very confusing! Can you elaborate?
Sorry for the long winded babble, and thanks again for the video! All the best.
Hi! Thanks a million man 😊 It's totally intentional!
Colour Models like RGB for lights RBY and CMY for pigments or even something like the Zorn palette are just reference frames that you choose based on the results you want to obtain, the colours you like or own or your teaching needs.The primaries are not an absolute thing but a parameter you choose; CMYK is the most effective model for mixing but the size of the gamut of tones is not always a priority (again think about the Zorn palette!). I used different wheels because they fit better different teaching situations and they are all still valid. Proof is that the Superman/Ultramarine scheme is still great both if you consider it an equidistant triad in the classic system or a split complementary on the Real Colour Wheel; mixing efficiency and harmonies are two separate things 😉
@@MarcoFrisoniNJM Thanks for the answer! :) Yeah, using something like the Zorn (or any other limited) palette to paint miniatures and mix colors from is very much okay. As is using the Superman colors.
But why try to force and squeeze such personal choices (or any other random colors for that matter) in to a color wheel format, call the opposites complementaries and even go as far as try to justify things based on that? One could place any colors on a wheel shape in any order, but that doesn't magically make the opposite ones real complemetaries, or create proof that some things have harmony. If any color can be in any place on a wheel, it kind of invalidates the using of any such terms and tools like complementaries or split complementaries.
Complementary colors are pairs of colors which, when combined or mixed, cancel each other out (lose hue) by producing a grayscale color like white or black.
The point is that this is not a stretch or a personal choice. The wheel based on red-blue-yellow even if not scientifically accurate is part of our western culture and it has powerful psychological and emotional meanings and traditional trends and expectations. The definition of complementary is for sure based on the fact that their pigments neutralise each other into grey but this is not the reason why they are perceived as harmonious. These are two different levels of meaning and a cool harmony and general composition is not based only on the scientific side of things (as a matter of fact is mostly based on culture, perception, historical trends, taste...); yellow and purple works well opposed to each other (Emperor's Children) both if you consider them on the exact opposite sides of the wheel or slightly off center. Again I'm with you saying that the real colour wheel is the best reference for our work with pigments, but a wider point of view extended also to the history of the subject and its cultural/emotional side gives you more possibilities and it doesn't reduce art to a mathematical equation
@@MarcoFrisoniNJM I completely agree with the psychological / emotional / history / trends / taste etc. side of things and our perception of harmony partly based on those kinds of elements. And again, I got no problem at all with one using any combinations of colors for paint schemes & mixing. I also like yellow and purple together, wherever in whichever wheel they happen to be in.
I just feel it would be useful to be clear about the scientific side (and related terms like complementary & primary colors which do have quite specific meanings and even uses), and when that might sometimes differ from our tastes / emotions / history etc. side of things. It feels contradictory and misleading (sorry for repetition!), when sudden jumps are made from one side to another. Especially when it's not pronounced, and when certain terms (complementary color, for example) continue being used in wrong context. Sorry for the rant!
And to be perfectly clear, I absolutely adore your paint jobs Marco! And you've also made one of the best videos I've ever seen about the color wheel and this topic at hand ( th-cam.com/video/SI127pDPsK0/w-d-xo.html ). So thank you and keep it up! ❤
You are the Caravaggio of miniature painting.
Not to take anything from your point about Mignola's use of black, I would just like to mention that his Hellboy work was coloured by the great Dave Stewart.
Knew there was something dodgy under that hat! You're a robot sent from the future to teach us how to paint aren't you! Just had some upgrades eh....Did you loose your sweet rainbow Afro in the swirly terminator style vortex thing you used to travel here? Happens, those things are wild. Don't worry though, there's others who have lost their fro's in similar tragic accidents, usually involving kids/mortgages/working all the time.
On a side note your videos are really helpful - being a new painter I don't know what to do with half the knowledge/tips your providing but some of its sinking in :) I hope. Time to sniff some paint and get practicing, keep up the great work!
Hahaha I'm secretly an Inkling from Splatoon and I must hide the tentacles!
thanks marco, as always very enlightening thougts. love your artistc approach ! please more videos like this !
buona giornata :)
This video does a pretty good job at explaining why 'eavy metal style is a boring style of painting, because despite the shading and highlighting, its still ignoring the idea of environmental lighting and tinting.
It's a good style to deliver a vanilla representation for box art models that have to look cool but achievable and simple to copy but sadly a ton of painters get stuck into it like if it's some sort of cult lol
@@MarcoFrisoniNJM Yeah it's simple and effective for getting down an army, but the issue is that you don't feel compelled to explore.
Like I've struggled to find people even experimenting with blend of different colours, instead just using lighter or darker colours of the same colour which creates a flat effect.
Like yellow for example looks really flat if you do not use other colours like red and purple to to create depth.
@@oliverp3545 I call it an "artistic dead end"! The top of that look, both in terms of aesthetic and technique, is the official GW rendering and there's nothing more to explore or to do better; your models can be only a bad copy of the box art!
Marco you are missing the most valuable lesson of all regarding color theory, we all know how color interacts with light, but within the shadow of color we must think in terms of contrast (complimentary to the base color). Allow me to explain, when I shade a color, in example we will say I am shading the color red, I do not mix the color red with the black, I mix the color green with the black and I shade the red with the mixture of black and the complimentary color to the red color. And it can be taken further depending on the shade of the color and the lighting conditions, but it is good to start with a slightly light black with a dash of the complimentary color in the shadows, you want the addition of the complimentary tint to be so subtle that it is barely noticeable, but the results work well with cinematic post processing style color schemes. I hope this made sense
30 sec in and very cheeky
Thanks for the vid. Trear my comment for more of - more comments better for youtube. And not that I want to argue, but... The matter is not about setting something, the matter is allowing viewers to perceive that. And that's the hard part, as viewers might be quite inexperienced and would not appreciate all your nuances at all. And on paper it would be "it looks appealing anyway, just viewer cant gets an idea why", but in practice, he might be just confused. Correct me please if Im saying rubbish - but that is why GW boxarts in 28mm scale are so popular - they are stupidly simple to understand. Green ork, blue space marine are bloody simple to grasp without the need of properly reading of what environment it been put in and such. And that's why lots of people are after "clear and vibrant " minis. So not a statement but more of a question - shouldn't we exaggerate that environmental impact, especially on a small scale?
Ciao Marco, finalmente un nuovo video, stavo pensando, perché non intervalli ai video ogni due settimane delle livestream? 1/2 orette al giovedì alternando i video. Il canale avrebbe più visibilità perché comunque posti qualcosa e per te sarebbe costerebbe praticamente solo quelle ore di streaming. Pensaci 😊
Ciao! Eh l'ho valutato, ma la questione è meno semplice di quello che sembra. Le live performano meno dei video classici e per l'algoritmo è meglio meno video forti e con prestazioni costanti piuttosto che più frequenti, ma con prestazioni altalenanti. Al momento sto usando il tempo extra per dare più attenzione e qualcosa di extra ai patrons e Twitch sta diventando un'opzione interessante per live frequenti
Im I the only one here who makes anime model figurines? Or does everyone makes the scary GW models?
I've transitioned to Battletech. Many people paint minis for smaller games like Infinity or Malifaux, or for RPGs like DnD or Pathfinder. GW are just the most popular manufacturer.
They are my first love with gunpla and mechs! All my airbrushing skills come from the work on anime resin GK kits :) I'm looking for the right time to paint these: th-cam.com/video/ap5Hg1aHKlI/w-d-xo.html
@@p_serdiuk Cool, I have heard that a lot of people that come to my local hobby shop are dissapointed with GW. They say they treat customers badly.
@@MarcoFrisoniNJM Cool I did not know that. I have never tried resin kits, I build the Bandai figure rise standard kits and I also think about trying Frame arms girls or Mechamesume.
@@statoilbensin2190 True. Not just customers, but creators as well. I'm switching to 3D-printing (Anycubic Photon Ultra Kickstarter just finished) and it is outrageously cheaper than GW stuff, even when buying commercial licenses for STL files or a Patreon subscription.