New! Theory Color Set – by Scale 75 & Miniature Art Academy
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New! Theory Color Set – by Scale 75 & Miniature Art Academy

Hi everybody and be welcomed to this second season of Miniature Art Academy, our Patreon This is the first video of a serie of many that we will release along next year and that intends to show you different products and different ways to use them, for free, in our Youtube Channel. and supported by our sponsors, in this case. Scale 75 as you see we are covered by their products They are our first big sponsor and our first support on this adventure with their products we have chosen their range of colors and products because we have been using them since the beginning specially Alfonso because his way of painting fits better with the products He has been saying all the time that the products were high quality ones and that he loves them and that´s the reason because we recommend them to you and they are our sponsors now because we really like them. So, this first video is for all you, because this month will be the month of the last Color Theory Course by Alfonso, as you know and we are releasing, with Scale 75, an special set of paints, designed by Alfonso, that are focused on his way of painting, to start mixing and learning in the best way possible in the big world of the Color Theory full of possibilities and ideas. So, we are going to show you the paint set, how to use them why we have chosen them, what are their different utilities which are their characteristics that make them different or how to combine them to make them different along this video. But first, I want Alfonso to explain why he has chosen those colors and not others. Well, is a selection of colors based on two main criteria: the first is the color itself obviously, as we are talking about color the quality of the pigment its vibrancy and its intensity and of course the pure that the pigment is and a second characteristic is the fluidity, thats the reason why I have chosen a combination of inks and heavy body colors as many of you already know, the heavy body is very important. In this case, the Scale Artist paints has a texture and viscosity that is very creamy like a cheese cream similar to other artistic brands of high quality, that´s the reason because we love them The election of colors of the set is based on the purity of the color and also in having enought elements of each color family so you can combine and mix them and obtain an infinie range of colors and tones, as you are going to watch on the video. The second characteristic, as I was saying, that I have been looking for is the possibility to combine different viscosity and densities so you can generate different fluidity for each mixture. So, in one hand, we have the heavy body acrylics, that are more dry, more chalky, and have less traceability but have a lot of pigment, very concentrated and concentrated in a paste, so we can play with high densities and in the other hand, we have a selection of inks, that are going to help us no matter if stand alone or mixed with heavy body colors to obtain a lot of different tonalities and give them that fluidity that we need sometimes. This is a starter pack of Theory Color that obviously you can mix with any other acrilyc paint that you own It doesn´t mean that those are the colors that you must have and if not, you can´t paint. It means that is a selection, in my opinion, very acurate and condensated with the must-have colors that I do believe you would need to generate that infinite mixes that we have said. Great, so guys, if you are not convinced on purchasing this Color Theory pack from Scale 75, that is fantastic, and you are going to watch it we have to convince you in a practice exercise with the set. So it´s time for Alfonso to show you the utilities of the pack he has designed David: Here we go! Alfonso: Let´s do a bit of magic! Well guys, here we have the selection of colors as you see is a selection of colors with a lot of options I´m going to explain why this decision, and why I have chosen those colors and not others It haven´t been an easy decision, because Scale Color Artist has a very beautiful and rich range of colors, actually the first selection of colors was almost double than this one but I reduced it with a lof of effort to this selection, and I´m going to explain you why. This is based on all the test I have been doing for 3 days making extreme mixes to obtain as many tones as I can, and we can say that this is the more primary or basic selection of colors that you can use to develop new tones and mixes First, we have the three primary colors, that in this case are the primary blue primary red and primary yellow Thos are the bottles, I´m going to show you them… so you can see the packaging that is really beautiful very elegant and cool. you can see the intensity. The colors are VERY intense in an acrilyc level, probably, are the most intense brand in the miniature world are quite similar to other artistic brands but less expensive that them. This is the primary red…. And they have a very high creaminess. You are going to see that the viscosity that the color has is very creamy, and extends very well and they have a good coverage Now I´ll explain why I have choosen more tones from the primary colors We can say that this is the starter point the three primary colors that we need to, we can say, start explaining the Theory Color the theory of the mixes and the practice. Those three colors are the more neutral ones, more intermediate of each family and the ones that are going to offer me more options. Nevertheless, we have choosen other tonalities, because of different reasons. In example: this magenta which, reality, would be the primary magenta, yellow and cyan. But in this case, as I explain in the Theory Color classes, I prefer to use and understand this one as my main primary because the magenta is too pink, too fuchsia, and has a cold tone, so most of the times we are thinking in a red like this. Nevertheless, this color will allow me a lot of variety while mixing because to obtain something like this if we don´t have in primary color, we will obtain always a very desaturated one That´s the reason because I add it to the set. It´s a very valuable and interesting adition. We have now, like a one version of the red family very cold but still intense in terms of pigment and another one more neutral, right? We have also another yellow more I add this Intense Yellow because despite of the fact that the Primary Yellow is great and has a lot of luminostity (the ability of a color to transmit more light without being more white or black without the necessity of bright) so I´m assuring with that having a more neutral yellow that even I can mix with white or any other color that desatured it to obtain a cold yellow and I like to vary the temperature with a warm yellow like this, a golden looking yellow. Is a very intense yellow and one of my favourites of the range. So, we are going to have by this side, two yellows and two reds Anything else? Of course, we have another blue because of the same reason. This blue is more related with the main characteristics that we are thinking on when we think in a range of blues, wich is the dephness. This is a very deph blue, very intense a bit more dark and that is more difficult to desaturate because it has a more resistant pigment to the mixes than the primary blue. I think that in combination with the blue ink, that I have choosen, is a range of blues quite interesting and different (don´t trust in the label, because what you have to see the real color) See how different are. And we have also this add-on, the ink. I´ll explain also the reason to choose those inks and only one color of the regular range of Scale 75 In this case, the white that we have here. Summing up, the base are those tube colors, two blues two “reds”, magenta and primary red and two yellows with different temperatures, that are not opposite but different enought from each other Obviously the yellow is warm, the blue is cold and the red is the more neutral and versatile, as it can change its temperature easily. I always insist in my theory color classes that is not necessary to have a lot of greens, despite of the fact I have choosen three greens (I´ll explain why, because they are difficult greens to obtain by mixing) all the greens you can imagine can be obtained with this colors. Two options: starting with the three greens or combining yellow and blues or even yellow and purples (I have a purple ink here) But we can say that that three green tones that I have choosen, are tones very characteristic by themselves. I have choosen… well, I´ll talk you later about the inks, ok? I have choosen this turqoise blue because the turqoise is not a difficult color to generate, but is difficult to generate one with intensity, with power. I mean, when we are mixing pigments, the “battle” between them makes mix to loss richness and intensity. That´s the reason why I always recommend a turqoise or similar, maybe a jade something similar to this tonalities of greens…how to say…water-greens sea greens… I reccomend always to have a tone similar tu this one. We jump now to the lilac, the one that generated me more doubts to add it or not. but it happens the same thing that happens with the turqoise: obtain a violet or a lilac is not so difficult…but you need the correct purple pigment to do that. so in this case, what I have choosen is a violet that, despite of the fact is a pastel color, it has a lot of power. Why? Because purples, lilacs, violets…are colors that if you mix a bit more than needed, becomes desaturated easily, so we are interested in obtain intensity of color in some way. Let´s go to the oranges, in this case the scale range hasn´t got many oranges, probably they will develop new ones because is interesting to have a variety of oranges but in this case the orange that they have, is true that is a very good tone because is a neutral tone a tone in between yellow and red. It´s true that tends to the red Depending on the screen you are watching this you will percieve it more neutral or more red It´s true it tends to red at the beginning, but you are going to see that the yellow is very noticeable when we develop it. I think an orange like this, as a starting point, is quite interesting, specially if we take into account that mixing those two, or mixing those two we are going to obtain a huge ammount of oranges by themselves. So, I think that, as colors the selection of heavy body colors is quite diverse interesting and very intense, and they are colors that are going to serve you perfectly as starting point colors to generate infinite tones by mixing, as we are going to see. After that, we have, also in heavy body, those two colors the Art White and Vanilla White. The reson to choose them (the vanilla has been also one of those doubts) The white obviously is one I have to choose because you must always have a real intense white and it´s true that, in a comparison with other brands, there is some brands with a more powerful white but we can say that, inside the brands of paints for miniatures this one is one of the more powerful whites if not the most powerful one. It has very good creamness, very nice, and a very very intense pigment, so 100% recommended because it will give you a pounch of bright that is very interesting. And pay attention! Obviously it can desaturate a lot as it´s very powerful. And also I have choosen this Vanilla white, because I think is interesting. This color is possible to generate by mixing this is the only color that we can generate by mixing with the others, but I find interesting to offer the painter the possibility to desature colors in two different ways. One, more dirt, with an Off White, ok? that you will see… that has a bone tone very intersting… This is an easy color to obtain by mixing but also is difficult to obtain it with this intensity at the end the mixed pigment, because of a process of chemical qualities, is more powerful than the mixing by your own. So this one is quite interesting, to give us more options when adding value to the colors and desaturate them. Tthose two colors. And you probably are asking yourself, there is no black? First: I consider that probably all of you have at least one black, if not many on your display, and what I have choosen is an ink, a black ink. Why? Beucase to me, the black, specially in the areas of shadow or more dark, where I want to add not only dephness but also intensity and many times are areas less accessible, where we need more fluidity. Because of that, I take this black ink, a very intense one, and one of the best inks in the market related to miniature paints and modelism. And, obviously, you can mix them to boost others blacks in case you have any kind of black that you love to use. It´s a great support color, and because of the fact that is an ink, I can measure carefully the quantity I want to use to add to a mixture, so if we want to darken a mixture, with a bit of black, knowing that we are going to get the mixture more dirt, and to desaturate the color this color is very interesting, because it´s a very liquid and fine pigment color, very cohesive, in a liquid form, it allows me to make a big gradiation of the color, In the moment we add water we lost the power of the pigment but we can make a long range of tonalities of black to grey by diluting the paint. What more we have? You can see that I have a lime green and an Inktense green a cold green, dark a bit bluish and the lime green that is the opposite. We can say it represent the two opposites of the green family: a very powerful green that allows me to mix for lights, take advantage of the yellow that has inside, is a very radiactive yellow that will help me a lot in the mixing to obtain vibrant colors and a color that is very difficult to obtain by mixing, because you can reach a similar tone but not with the intensity or the vibrancy of an ink (you will see it soon) And then, this one, which is more or less the opposite: this we can say is the light green and this one a green of shadows, this one a cold green and this one a warm green Is not so noticeable in the bottle, because the plastic affects the perception but when you will see the tone over the paper or a miniature, you will see that is a green tone very radiactive. We have also a support red, in this case is a inktense red, that it´s true is not the most powerful red, is a tone very useful to add fluidity to those two colors Obviously the color will vary, because is more intermediate, we can say is the intermediate tone between those two, ok? But, as I said, you have to see it out the bottle but it adds a third tonality of red to our posibilities. If you want to mix less or if you want to have three different starting points of reds, that are the colors that, in a first stage, are more difficult to mix because it´s easy to loss the redish tonality. Because of that I find it useful to add this neutral red but in ink version.

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