I prepared an step by sted a while ago about the Dagon’s cult priest by Carnevale. First of all I’m sory of the low quality of the photos, they’ve been done with my mobile and fast thats why they are not at 100%, but I think that the pics are understendable.
CC: Citadel Colours. I’ve used the old colours because is which I have, but you could use equivalent tones)
LF: Life Colors
VMC: Vallejo Model Colors
The base coat is not a difficult topic, but in this occasion, in which we want to achive a non metalic effect, we have to have some things clear speaking about colours. We don’t have to search a yellow tone because, if it happens, the effect will be lost, two things could happen, or a strange nmm or something more close to yellow painted scales similar to Iron Man. The paint mix which I used in that occasion was: Snakebite Leather CC, Calthan Brown CC and Bronzed Flesh CC.
The reason to use that colours is the next:
-Snakebite Leather: That colours for me is one of the better to represent that kind of effect.
-Calthan Brown: A brown so close to the Snakebite Leather but without any yellow, it has another advantage, as it is a Fountation colour, it covers perfectly the imprimation with only a brushstroke. That advantage is maintaned in the mix.
-Bronzed Flesh. As we have to use it as light in previous stages, we add a little bit of that colour to give life to the base colour obtained until the moment because without Bronzed Flesh the colour is too dark.
As the sculpture is so small and precise, now I do a proces that it could be called preshadowing. With Flat Black of LF we apply a glace which will give notoriety the wonderful sculpture of the scales. That is basicaly a way to get a esqueme and/or to se the things clear, but you have to continue working the zones.
With the base tone we will get again the scales colour, and will be appled in a way that help us in the next lighting stages. There are three things to have in mind: General shape, light incidence and reflexes. If we see the shape of the scale mall it is like a cylinder, then, the light will be concentred in the center and is degradated to the sides. The light in a metallic zone are backwards as it will do in a flat material illumination, it will be aplicated downwards, beign the upper parts darker, and the inferior lighter. If the scales were complete, in the superior edge will be outlined with a light colour, but as the sculpture don’t show that, we don’t have to worry about that. As we have scales mounted one on the others, the light part of one reflects into the dark part of the other which are next of it. With that, we will achieve two things, the first is that we will get more definition to the whole part and second we will get a shiny effect. With all that clear, beggan to apply the basecoat colour with lot of care, scale by scale.
Take the Bronzed Flesh and light the whole scale following the same esqueme, aplication and theory, taking care to apply the lighter colour in smaller zones that we have covered in the previous stage. Meanwhile the lighting stages are applied, the shadows are have outlined, equilibrating the contrast of the scales with darker versions of the basecoat plus black to pure black.
Now we take the Ice Yellow VMC and re highlight the whole scale mall. Appling it in smaller zones than in previous stages.
With pure white every scale is outlined, putting lot of effort in the most iluminated zones. To end, with Glossy White VMC we do the last spots of light in the pure white outline. That step makes the white more vibrant because it reacts with the light source getting more sight because the little shine of the paint.
I hope that this sbs i useful, it has some time, but is still the same.