You DON'T NEED (Traditional) Blends!

Summary

In this video, Marco from Not Just Mecha delves into innovative painting techniques, focusing on textures rather than traditional blending. He paints Maugan Ra in a cold winter environment, using a combination of oil and acrylic paints to create depth and detail. By employing a mix of additive and subtractive methods, Marco showcases how to achieve subtle contrasts with layers of different textures. He highlights the versatility of acrylic gouache for vibrant, matte finishes and emphasizes the importance of knowing when to stop adding details. This approach encourages a more expressive, character-driven style in miniature painting.

Takeaways

• 😀 Texturing allows for painting without traditional blending techniques, enhancing the storytelling aspect of miniatures.
• ❄️ The project is set in a cold winter environment, emphasizing a ghostly and ethereal aesthetic for the model.
• 🎨 Initial layers involve a zenithal coat to help visualize shapes and prepare for detailed texturing.
• 💧 Different airbrush pressures can create varying textures and densities, enhancing the perception of materials.
• 🖌️ Oil paints are utilized for their versatility, allowing for both additive and subtractive techniques to achieve complex shades.
• 🌈 The model is painted with a mix of warm shadows and cold lights to evoke a stark contrast reflective of a cold environment.
• 🔍 Subtractive techniques involve using tools like Q-tips and sponges to reveal luminosity, adding depth without varnish.
• 🔄 The transition to acrylics is for efficiency and sharper texturing, maintaining the theme of contrasting temperatures.
• 🧩 Using acrylic gouache offers vibrant, opaque colors ideal for intricate details on miniatures.
• 📏 The final result showcases the importance of brushstroke technique, proving that vibrancy and detail can be achieved without smooth blending.

Q & A

What is the main focus of Marco's painting technique in this video?

Marco focuses on using textures to paint miniatures, moving away from traditional blending methods.

How does Marco describe the initial step of his painting process?

He begins with a zenithal coat of neutral grey to help visualize the model's shapes, which he considers more of an adjustment than a strict first step.

What technique does Marco use with titanium white to create texture?

He lowers the airbrush pressure to create fine dotting, giving the impression of an organic fabric rather than a woven one.

What is the significance of using oil paints in Marco's process?

Oil paints allow him to achieve a wide range of tonal values and subtleties, particularly effective for creating depth and contrast.

How does Marco utilize the subtractive painting technique?

He removes paint using Q-tips and sponges to enhance luminosity and create texture, aiming to avoid over-blending.

What is Marco's approach to color temperature in his painting?

He uses a mix of warm and cold tones to create internal contrast, emphasizing the cold environment while maintaining visual interest.

Why does Marco choose to switch from oil paints to acrylics in the later stages?

He switches to acrylics for sharper detailing, as they provide efficiency and allow for the texturing effects he aims for without sacrificing control.

What is the advantage of using acrylic gouache, according to Marco?

Acrylic gouache offers vibrant colors, a matte finish, and quick-drying properties, making it suitable for detailed brushwork on miniatures.

What final result does Marco aim to achieve with his painting?

He aims for a richly textured model that tells a story, showcasing the vibrancy and energy of individual brushstrokes.

How does Marco's philosophy on smooth blending differ from traditional techniques?

He argues that while smooth blending is an essential skill, it is not the only approach and that a painterly style can also create compelling visual narratives.