Dear friends, after the publication of the first material about filters, I received from you a large number of letters with questions. It became clear that the article was not exhaustive and rather caused more questions than answers. I decided to fill this gap and drastically reworked the article, adding to it a large amount of photographic material. In fact, it turned out a new format, something like a virtual master class. Fortunately, in recent years I have accumulated a lot of pictures in the process of creating models, which will help to clearly share with you my experience. In the near future there will be workshops on washes, chips, pigments and much more, but for now, move closer to the monitors - please read the filter material! I am sure that the new format will be more visible and understandable! p> So what is a filter?
Just want to draw your attention to the fact that to get an organic result of toning, it is highly desirable to feel like an artist. Well, at least a little bit! (And of course, do not overdo it!))))
Why? It's very simple - the filter, like most other methods of tnirovki, migrated to modeling from the visual arts. p>
In fact, filters are a very liquid diluted oil paint (approximately 5-10% of paint and 90-95% of solvent). Each modeller will be able to prepare the filter himself, although you can purchase ready-made filters from MiG Productions. This will save time and avoid a series of trial and error, through which you will inevitably have to go through, mixing the filter yourself.
The filter is the first stage of tinting and is applied to the model immediately after painting, and can be applied in one or several subsequent layers, until you achieve the desired effect. It serves to complicate the color scheme of the model, not overlapping the previous layer of paint, but only changing its shade. It is optimal to apply the filter on a matte or semi-gloss surface. As for gloss, here the filter can play a cruel joke, accumulating like a wash. Therefore, I do not recommend applying the filter on a glossy surface. For application, it is desirable to use a large flat brush of medium hardness. Particular attention should be paid to the fact that the filter when applied to the model does not accumulate in the seams and grooves. If this happens, then the surplus should be removed from the model with a clean brush. p>
An example of the correct application of the filter. p>
Remove excess filter assembled in recesses with a clean brush. p>
In this case, filter clusters were not removed in a timely manner. p> How does the filter work?
It should be borne in mind that the filter is not a pronounced independent reception. The effect of applying a filter subtle, but it can not be underestimated! After all, the filter is the basis for all subsequent work on tinting. I would even say that it is the foundation of weathering.
I think the best filter effect will illustrate the Zundapp motorcycle. The model was originally wholly blown out with dark yellow paint, and all the elements were absolutely identical in color. Then filters of different color were applied to the trailers and motorcycle. Please note that due to this trailers and motorcycle have acquired slightly different shades. There is no doubt that after this procedure, the model takes on a much more original and interesting look.
In addition, the filter can help you avoid the need to repaint the model, if the shade of paint was chosen is not quite right. In order to achieve the desired tone, you can simply apply a few filters to the model. Agree, it is much easier than uncovering the airbrush again! p>
It is perfectly clear that the trailers and the motorcycle have acquired distinctly different shades. p> Filters MIG Productions
If you do not have the desire and time to experiment with filters yourself, then you can stop at the ones produced by MiG Productions. They produce four themed lines with three bottles each.
German Filter Set
Allied Filter Set
Afrika Korps Filter Set
Winter and UN Filter Set | In principle, this arsenal is enough for all occasions. Below you can see classic examples of using filters. Those. they are used as recommended by the manufacturer. p>
Please note that the blue filter for German gray, gives the armor characteristic fading, bluish outflow. Now it will be seen that the self-propelled device for several months "withered" under the sun. p>
The brown filter for the dark yellow technique will lead the shade to a warmer range, making it more difficult. Excellent basis for further toning of this tanker. p>
Filter for three-color camouflage combines shades, eliminating the model from excessive variegation. Now Tiger Wittman will not look unnecessarily motley. By the way, this filter is perfect not only for German equipment, but also for most camouflage schemes of other countries. p>
Bright green filter will make the green shade more fresh and juicy. It can help show a freshly painted surface. Just what is required for the tower of this trophy Panther! p>
A gray filter for a bright green surface will help you muffle the shade of the model, imitating the paint that has faded in the sun. A great way to make this Syrian Four's juicy color look faded. Desert after all! p>
A gray filter for a dark yellow color pursues the same goals, easily turning a freshly painted model into a faded tank as a result of the elemental effects of the elements, like on this museum Gochkiss. p>
A gray filter for bright white is an ideal tool for tinting sanitary, winter or UN equipment, slightly muffling the snow-white tint, but not over-toning it. The effect is well noticeable on this sanitary Khanomag. p>
The brown filter for green technology is the most versatile in the MiG product line. It can be applied not only on green, but also on almost any tone. In this case, it is perfectly darkened gray B1bis. With the same success it can be applied to sand and camouflage equipment. p> Alternative Filtering Examples
Above were considered standard methods of applying filters. So to say, "according to the instructions." But filters can be used in other directions of tinting. Using them for several years, I repeatedly tried to experiment, using them to achieve different effects. By trial and error, several new filter application options have emerged, and I can say that this technique is much more multifaceted than is commonly believed. p> Imitation of rain drips
The filter may well be suitable for simulating mild rain patterns on the model. The difference is that in this case the filter is applied with a round brush (brush size preferably 1 or 2) with vertical movements, repeating the route of the raindrops. p>
On this three-ton filter was applied to simulate slender rain drips. Particularly noticeable effect on the roof of the cabin. To obtain it, the filter needs only a little differently applied to the surface. p> tsimmerita tinting
Another unexpected application of the filter is the tinting of taper coated surfaces. Washing for these purposes will not work, because on such a textured surface it will look overly contrasting and completely unrealistic. At the same time, if you do not tint tsimemer, then it looks too monotonous. All this made me conduct a series of experiments. As a result, the brown filter P245 Brown turned out to be optimal for tinting tsmmerita (Once again this filter proved its versatility!).
In contrast to the classical application of the filter, in this case, the accumulation of washing in hollows and depressions is just welcome. In fact, the filter acts as a wash, emphasizing the relief pattern of the tsimerita. This method is as simple as it is effective! p>
You can clearly see how noticeable the effect of applying the filter. The surface of the Panther instantly acquires relief! p>
Please note that the filter is applied only on areas covered with cimerit. p>
The relief of the tsimmer pattern on the Tigre is much larger and the filter is even more relevant here. p> Tinted wooden body
Well, another unusual way to use filters is to tint wooden bodies of trucks and tractors. p>
Once I had a question - how best to focus on the wooden body? In my opinion, this element is often a weak point in the model, due to the complete absence or incorrect reproduction of wood texture. This forced to seek options for artistic solutions to this issue. I decided to follow the path of highlighting individual boards with different shades, so that each looked like an independent element, and not a boring array. By trial and error, it came to the conclusion that the most suitable method for this purpose is applying different filters. The technology is simple - you need to apply a filter with a thin brush on each board, alternating shades. 4-5 different filters are enough. Thus, the monotonous body is visually “broken” into separate segments and becomes much more interesting from an artistic point of view. The main thing here is not to overdo it, so that individual boards do not “fall out” too much of the overall picture.
This technology is very simple, but it allows you to quickly achieve an interesting result. Experiment! p>
A filter is applied on each board, alternating shades and preventing them from repeating on adjacent boards. Due to this, the body became divided into separate elements, while remaining a single entity. The color scheme has become more complicated and interesting, there is a desire to examine it. p>
On darker shades, this technique is also relevant, although it is noticeably less noticeable, as can be seen on the body of this Mercedes. p>
That's all! The first workshop is over. If someone has any questions - feel free to ask. I will try to answer exhaustively. p>
With you was Vladimir Yashin p> Tell your friends