2014 Miniature Figure Collectors of America
73rd Annual Show and Mart
(Page Six - Matteo Murelli's Metallic Finishes)
(Although Matteo’s program dealt with painting metallics, he actually started his focus on painting flesh colors:)
• Matteo used Golden (acrylic) Paints in his program.
• Windsor Newton Series 7 are the brushes which he paints with.
• His painting pallet was set up with a moist layer below. When the encased pallet was sealed up, the water helped keep the acrylic paints viable.
• Matteo used the following colors, which were blended together to create his flesh tone: Yellow Ocher, Burnt Siena, Raw Siena, Black and White.
• He mixed his colors together until he achieved his desired flesh-tone look. What Matteo was shooting for was a mid-range flesh-tone; later, after it was completely applied, he would go back and add a darker color (green) to his flesh-tone basecoat for his shadows, and then add a lighter color to his base tones for his highlights.
• (Once again), Matteo suggested the application of multiple, light coats for full coverage, (versus just going with 1 or 2 heavier painting applications to achieve the coverage). This layering effect helps to add depth to his figure's skin and colors.
• When painting by brush, Matteo always paints his brush-strokes in the same direction, again layering successive paint coats over previous ones.
• In addition, he attempts to accentuate existing figure features with the application of paint by going in the same direction as these features. This technique is done to give additional emphasis to these features.
• Matteo tries to take into account where his light source will be coming from when applying his highlights. For example, if the light source is coming from above, he works his highlights from the mid-way point (color and position wise), upward, so his lightest highlights will be located at the very top of these areas.
• Matteo applies multiple layerings of both his highlights and shadows. With his highlights, he starts with his mid-tone color, gradually blending in slighting lighter colors up towards the top, until he reaches his highest color. Then, when applying his shadows he would start with his darkest shadow colors, gradually working his way up to his mid-tone base color with successive lighter colors of his basecoat.
• Since Matteo creates his mid-tone flesh color by mixing multiple colors together until he achieves the look he desires, he suggested mixing up a LARGE quantity of this desired flesh color once it is achieved, and saving it in a bottle for later use.
• He never does this for his highlight or shadow colors, though, opting instead to create different hues in future figure projects. This helps each piece he completes look a bit different and unique (color-wise) from his previous ones.
(For Matteo’s focus on painting metallics,)
• He started out applying the following colors onto his pallet: Iridescent Silver, Payne’s Grey, Black, and Pearl (for highlights).
• Additional colors used were rust or orange or brown, (to give the metallics an aged look) along with Cobalt, (to give a bluish hue).
• When painting metallics, Matteo always starts with a Black basecoat; this helps give depth to the metallics which are subsequently applied over it.
• He also applies multiple, light coats (as opposed to 1 or 2 heavier coatings); this also helps to add depth to his paint finish.
• Once his metallic finish has been applied, he mixes some of the Pearl color into his metallic basecoat, and applies it on as his highlight color.
• In addition, he mixes some of the Payne’s Grey into his metallic basecoat for his shadows.
• Cobalt is mixed in with the metallic basecoat to yield a bluish tint, and orange or rust or brown mixed in to give the metallics an aged look.
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