To Daytona - thanks!
This is very cool to see, Tony! Thanks for sharing. Realise I don't paint with a brush (yet), but I am surprised that you don't have to over-stroke the colour further into neighbouring bits. Also, how to you get such a wide range of values for any given colour? Does your pallette get pretty complicated?
Tom, I didn't realise I was so neat until you mentioned the 'over-stroking', I didn't consciously try not to cover other ares, it just worked out that way. If you use a clean water wash first, the paint tends to go where you want it to, but small, detail areas don't seem to generate feverish brushwork!
My palette/s got pretty messy! I used heavy china palettes with five hemi-spherical depressions and five sloping recanguar depressions - fairly standard - but they got a bit expensive towards the end for such a simple piece of pottery. The moulded plastic ones were very light, I felt there was a chance you'd be chasing them around the desk. I used a few basic colours for nearly all the mechanical bits, unless - oh joy! - a car had some brightly anodized bits other than hose couplings. Jet black, zinc white, cerulian blue, yellow ochre and several warm greys, mainly #'s 3, 4 and 5. The grays were fantastic, but unfortunately Winsor and Newton started messing around, changing some, deleting most, and in the end I bulk-purchased #'s 4 and 5 just so I could carry on. Still got most, slowly hardening in the tubes, no doubt...
The tyres were greys 4 and 5 for the tread, 4, 5 and jet black for the sidewalls. Magnesium castings were greys 3, 4 and 5 with various tiny amounts,sometimes, of olive green, all black components were jet black and cerulian blue, from pure blue to pure black, with yellow ochre for the lower reflection, tone down with black. A small black tubular part would have the yellow and blue painted, then black and it all blended with a damp-wet brush, and if necessary more yellow, blue or black added to get the right effect. I can't claim to have got anything right first time without some luck! All you have to remember is not to overpaint an item that is still wet, or one bleeds into another, so paint something else in the mean time. For highlights on a black component I used blue with zinc white, then finally, if it needed it and it wasn't too wet, a process white 'sparkle'.
With a bit of thought and not many colours you can create a load of different shades and tints. Grey #4 and cerulian blue mixed gave an interesting colour...
I would add that hardly any part of the Lotus 79 sample is finished, I would have gone over the area changng odd bits and cleaning up towards the end - I was torn between finishing everything as I progressed, and covering as much as I could per session, then finishing. The latter approach normally won!
To my shame this was my desk! I do not pretend to be permanently neat except for the illustration itself. This is obviously during an airbrushing session, but it didn't look very different when brush-painting. The dimpled pint beer jug used for water was to remind me, not so much of what I was missing, but what I could look forward to! Funny how water-soluble paint can, given time, adhere to glass.
Edited by Tony Matthews, 12 November 2009 - 16:09.