Tones around purple, put together as a themed whole. They follow on from a pale cast to a deep position in shadow, so purple does not have to be broken with black.
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Among colors, purple is the most delicate. It lies low on the scale of brightness, and so any darkening knocks it toward black before a shadow has a chance to arise. Adding white, in turn, fades the shade at once into gray and it loses its saturation. A set built around one color family sidesteps that problem by having the positions already mixed, so the modeler only chooses between them.
The lightest position tends to be pinkish or even lilac and serves on the backs of scales and on the edges of the wing membranes. The middle one holds the area of the body. The darkest keeps to blue or to wine, not to black, because a shadow tinted with blue reads as a saturated gloom, whereas a black one reads as a hole. The transition between two positions is softened with a thinned intermediate position applied two or three times.
A saturated color needs a counterweight. A warm ocher or a bone tone on the horns, claws and belly scutes works as a complementary contrast, and purple next to it looks stronger than if the whole model were pitched in one color. A damped green on the base will do the same.
The paints are acrylic, matte once dry, and thin with water. The dropper in the cap helps measure out the ratio in which you mix an intermediate position.
The advantage of a themed set is not in what you spend but in the tones already going together. Anyone who assembles a palette a bottle at a time usually ends up with positions between which the step is either too large or, conversely, imperceptible, and has to make it up by mixing. Here the ladder is ready and all you do is walk down it.
Naši poradci a znalci sortimentu jsou připraveni odpovídat na Vaše dotazy (Po–Pá, 8–18 hod).
Zeptejte se na co potřebujete, odpovíme co nejdříve.
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