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Paint the eyeball base color, illuminate the white, shade the ends, outline pink tear ducts and eyelid, shape the iris with highlights, then add black pupils and a white dot.
Apply the third light in very specific places on the WWII bust using a round brush.
Apply the second shadow to the lower and deeper areas of the bust, enhancing depth in the figure.
Continue the third part of painting a World War II bust, refining technique and details.
Learn to light a WWII bust's hair and eyebrows using three layers of illumination to create highlights and contrast, then apply an acrylic glaze and re-light to recover hair highlights.
Master the transitions by smoothing tones, applying the first light more diluted in water, and keeping the brush in good condition.
Apply the base color to match the inverted pink of the Ponza troops and dot pink lights. Paint the aluminium wire base in medium gray and add white metallic highlights.
Master the process of painting a WWII bust, focusing on brown stains in part 3 of the technique.
Learn the fourth part of painting a WWII bust, focusing on brown staining techniques to build authentic shading and historical realism.
Illuminate the green spots on a WWII bust, and practice painting a WWII bust properly.
Complete a camouflage pattern on a WWII bust by painting the chips with a brush whose tip is in perfect condition.
Learn how to paint a WWII bust through splinter 3º part, guided by the phrases 'he' and 'they'll be'.
INTRODUCTION
This video contains the basics of painting a face at 1/10 scale. We will learn how to paint the eyes with a high level of detail, how to apply lights, shadows and different skin tones and also to mimic the look of a beard shadow.
I will show you techniques to paint the hair and eyebrows and how to work the hat to simulate the wool texture.
The last part of the video I will dedicate to expose all the necessary steps to represent a camouflage type “splinter” using a mixed technique of airbrush and brush.
INDEX:
Section 1:Introduction
Lecture 1:INTRODUCTION
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Section 2:EYES
Lecture 2:EYES
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Section 3:SKIN
Lecture 3:BASE
Lecture 4:1º LIGHT
Lecture 5:2º LIGHT
Lecture 6:3º LIGHT
Lecture 7:4º LIGHT
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Lecture 8:1º SHADOW
Lecture 9:2º SHADOW
Section 4:LIPS
Lecture 10:LIPS
Section 5:GLAZES
Lecture 11:GLAZES
Section 6:5 O'CLOCK SHADOW
Lecture 12:1º PART
Lecture 13:2º PART
Lecture 14:3º PART
Section 7:VARNISH
Lecture 15:VARNISH
Section 8:HAIR
Lecture 16:BASE
Lecture 17:LIGHTS AND GLAZE
Section 9:HAT
Lecture 18:BASE
Lecture 19:1º LIGHT
Lecture 20:2º LIGHT
Lecture 21:TRANSITIONS
Lecture 22:3º LIGHT
Lecture 23:GLAZE AND SHADOW
Lecture 24:SOUTACHE AND ALUMINIUM
Section 10:SPLINTER CAMO.
Lecture 25:BASE, LUZ Y SOMBRA (AIRBRUSH)
Lecture 26:BROWN STAINS 1º PART
Lecture 27:BROWN STAINS 2º PART
Lecture 28:BROWN STAINS 3º PART
Lecture 29:BROWN STAINS 4º PART
Lecture 30:BROWN STAINS 2º LAYER
Lecture 31:GREEN STAINS
Lecture 32:GLAZE, SHADOW AND SEWING
Lecture 33:BROWN STAINS LIGHT
Lecture 34:GREEN STAINS LIGHT
Lecture 35:SEWING LIGHT
Lecture 36:SPLINTER 1º PART
Lecture 37:SPLINTER 2º PART
Lecture 38:SPLINTER 3º PART
Lecture 39:SPLINTER 4º PART
Section 11:CREDITS
Lecture 40:CREDITS