I came here because I heard it’s easier to paint nmm with oil colours. I watched your video and now I’m convinced I don’t know how to paint at all. You just did nmm, it was just there
It's just plain crazy that this channel, that these considered and carefully explained vids have only garnered 1k or so subscribers. The quality of information and explained technique, it's direct applicability to really practical, really fast and really effective mini painting demonstrated on the most popular minis of the day should have reached and excited tens of thousands of painters. The sheer density of information means I have to watch the colour theory vids three or more times to absorb all that's taught. These are pure painting gold. Black, white, red, yellow, these hold no more fear for me, bright and saturated, grim dark and deeply moody, I've followed along and tried them all. This stuff is full of answers to fundamental shadow, highlight and specular issues that make these colours a struggle. I'm so lucky to have found them given the algorithm ignores them. ((you might notice this comment cut and pasted on all of these vids because it bears saying and I can't put it plainer.
Tried oil painting for the first time yesterday. Didn't go as sooth as I expected, but a couple offhand comments you made here (that aren't even mentioned in the tutorials I watched) probably pointed me in the right direction. Just wish I could tell how thin/not-thin any of the paint on your palette is, but I'll check your other vids, thanks
Great video! I unearthed my Abteilung 502 oil paints but I've the feeling they are not the best. Would you recommend buying some foundational artist oil colors?
Thanks! If you have a specific army or colour scheme you like to work with then it may be worth picking up a strong stainer as a time saver. But staining power isn't everything and if you're looking for alternatives and/or just starting out I'd recommend a basic W&N start or something similar (I have a Getting Started video in the back catalogue).
@@mendedbrushstudio I'll check out the video and maybe go do some small shopping :) Thank's a ton, love to see your channel grow, 1000 subscribers are basically done!
I was one of the people asking for this subject so I love this content tx. I'd like to extend my ask to a part 2 if you will entertain me, and I'll explain why I was aware it's all about how you handle the spherical, conical and cylindrical shapes for reflections, but I was not sure how, so you have to imagine what is being reflected back at you from the metallic object and that takes great artistic imagination, skill and technique to pull of this on a figure which most of us can't see in context, because they are being thrown onto the gaming table. So to the extended part 2, which is "Object source lighting", imagine that this is now "a knight in their shining armour with their group of adventurers in a dark cavern". Their group are carrying torches and lanterns as the only sources of light. How would we represent the flickering light and shade of red spectrum light sources (the open torches or lantern light) using the oils techniques? Tx for considering
At this scale I feel it's more about creating an impression of those things, which can be tricky. There a number of videos out there on Sigvald from Age of Sigmar that play with this as he's often done in NMM and has a great round shield that a lot of artists use to reflect a wider scene. I'd use that as a starting point, taking advantage of the oils' working time to experiment and push things around. Lantern/torch reflections will largely depend on the proximity and relative strength of those lights. If your figures are in a dark cavern then the OSL will be more dominant and your contrasting shadows a lot stronger and more abrupt. If it's more campfires or torches in the near-distance it'll be more a few touches of colour in the place of specular highlights to help sell that effect. I believe James Wappel has a video where he paints a Nazgul in this way that I recommend checking out. In any case I recommend prioritising consistency with light placement and behaviour (shapes, value, contrast) over colour, as the latter lends itself even more to artistic expression and even if it's "off" it will still likely read as OSL due to the former.
@@mendedbrushstudio so am I correct that for the painter to get a correct lighting from those warm-tone sources on a shiny "steel" surface you would not use a blue base for the steel as you used here, but an orange base to those shades then?
Pretty much, especially in a torchlight cavern situation where that red & orange light would be so dominant. Blue in the shadows or places otherwise shielded from the brunt of the light would give hints of the steel and the blue/orange contrast would be visually pleasing, as well.
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Interesting technique. Thanks for recommending my video. Glad you found it helpful. :)
Thanks for making it. Your videos have been a great help over the years.
I came here because I heard it’s easier to paint nmm with oil colours. I watched your video and now I’m convinced I don’t know how to paint at all. You just did nmm, it was just there
It's just plain crazy that this channel, that these considered and carefully explained vids have only garnered 1k or so subscribers. The quality of information and explained technique, it's direct applicability to really practical, really fast and really effective mini painting demonstrated on the most popular minis of the day should have reached and excited tens of thousands of painters.
The sheer density of information means I have to watch the colour theory vids three or more times to absorb all that's taught.
These are pure painting gold. Black, white, red, yellow, these hold no more fear for me, bright and saturated, grim dark and deeply moody, I've followed along and tried them all. This stuff is full of answers to fundamental shadow, highlight and specular issues that make these colours a struggle.
I'm so lucky to have found them given the algorithm ignores them.
((you might notice this comment cut and pasted on all of these vids because it bears saying and I can't put it plainer.
Again another stellar video. Always makes me happy when you post!
Thanks! And thanks as always for the support!
As an oil painter as well, where have you been all my life. Incredible video!
Great video, will definitely be referring to it again as i try nmm oils on new skaventide box
Tried oil painting for the first time yesterday. Didn't go as sooth as I expected, but a couple offhand comments you made here (that aren't even mentioned in the tutorials I watched) probably pointed me in the right direction. Just wish I could tell how thin/not-thin any of the paint on your palette is, but I'll check your other vids, thanks
Wow, I thought I was impressed before with what you could do with oils, hands down best look gold armor iv seen
I really like how this model turned out. You made an excellent case for oils. I feel like I'd be keen to try oils now. Thanks for this vid
The model looked great at 7 minutes in.
Exemplary effort as always. Keep them coming.
This video is great - I’ve been growing in my use of oils and amazing to see what’s possible with them
Saved all your videos. Love them all.
Can you do a video with orange?
I really enjoy your videos! Gave me some inspiration to get back into oils :)
Wow! Great video again
Very nice tutorial !
I found a mix of oil paints recently... might try it out on a spare model
great video thanks mate. can you do some OSL tutorial, with torch or latern
Thanks, mate. OSL is on the list!
Would it be possible to add the paints used in the descriptions? I don't know all the names already and it would be a great reference :)
Done!
really working with limited pallet and mixing
Great video! I unearthed my Abteilung 502 oil paints but I've the feeling they are not the best. Would you recommend buying some foundational artist oil colors?
Thanks! If you have a specific army or colour scheme you like to work with then it may be worth picking up a strong stainer as a time saver. But staining power isn't everything and if you're looking for alternatives and/or just starting out I'd recommend a basic W&N start or something similar (I have a Getting Started video in the back catalogue).
@@mendedbrushstudio I'll check out the video and maybe go do some small shopping :) Thank's a ton, love to see your channel grow, 1000 subscribers are basically done!
I was one of the people asking for this subject so I love this content tx. I'd like to extend my ask to a part 2 if you will entertain me, and I'll explain why
I was aware it's all about how you handle the spherical, conical and cylindrical shapes for reflections, but I was not sure how, so you have to imagine what is being reflected back at you from the metallic object and that takes great artistic imagination, skill and technique to pull of this on a figure which most of us can't see in context, because they are being thrown onto the gaming table.
So to the extended part 2, which is "Object source lighting", imagine that this is now "a knight in their shining armour with their group of adventurers in a dark cavern". Their group are carrying torches and lanterns as the only sources of light. How would we represent the flickering light and shade of red spectrum light sources (the open torches or lantern light) using the oils techniques?
Tx for considering
At this scale I feel it's more about creating an impression of those things, which can be tricky. There a number of videos out there on Sigvald from Age of Sigmar that play with this as he's often done in NMM and has a great round shield that a lot of artists use to reflect a wider scene. I'd use that as a starting point, taking advantage of the oils' working time to experiment and push things around.
Lantern/torch reflections will largely depend on the proximity and relative strength of those lights. If your figures are in a dark cavern then the OSL will be more dominant and your contrasting shadows a lot stronger and more abrupt. If it's more campfires or torches in the near-distance it'll be more a few touches of colour in the place of specular highlights to help sell that effect. I believe James Wappel has a video where he paints a Nazgul in this way that I recommend checking out.
In any case I recommend prioritising consistency with light placement and behaviour (shapes, value, contrast) over colour, as the latter lends itself even more to artistic expression and even if it's "off" it will still likely read as OSL due to the former.
@@mendedbrushstudio so am I correct that for the painter to get a correct lighting from those warm-tone sources on a shiny "steel" surface you would not use a blue base for the steel as you used here, but an orange base to those shades then?
Pretty much, especially in a torchlight cavern situation where that red & orange light would be so dominant. Blue in the shadows or places otherwise shielded from the brunt of the light would give hints of the steel and the blue/orange contrast would be visually pleasing, as well.
great videos! love seeing the oils!
Likey 😊
nice tutorial. Thanks!
Another mini amazingly painted with oils. Thanks for this video! Any specific oil paints you advoce to use or not to use?