When I was gathering new blog ideas, Jay Arr asked about handling the transition zone between paint types (non-metallic, metallic, turboshift). I admit I flippantly responded that I do not do anything special. I still stand by this, but I was persuaded that it made sense to post examples of juxtaposing different paint colors and types to depict camouflage and magic effects. Also, for I am including info on several of my near misses/failure.
Cloaking (Shadow Color)
Greg suggested that I start this blog with a Tau Stealthsuit and I was lucky to find some pre-assembled on eBay. I admit upfront that I cheated in this example as I painted two figures rather than one to represent the transition. I had hoped to video these two figures on a rotating turntable to blend into one another. However, the two figures that I bought did not match up perfectly. Therefore, I was left with the photo below (non-cloaked on the left and cloaked on the right).
I used matte black to base both figures. This was followed by either four coats or a single coat of Molten Mantle. In addition, the cloaked figure was sprayed with a light coat of Testor's Dullcote to eliminate most of the shine. I chose Molten Mantle as a dark, purplish-red shift that would look good as a "transparent" layer over the black basecolor on the digitally cloaked figure.
Camouflage (Multiple Turboshifts)
Cephalopods change color for camouflage using pigment-containing skin cells called chromatophores. However, they quickly transition the whole body from one color scheme to another. This left me with making up something that could mimic an in-between state.
I wanted to mimic the colors I saw online for an octopus — mottled purples and pinks. So I decided on an ombre effect to make it look like my model (3D-print sculpted by Vesna) was changing from bottom to top. I started with Let Them Eat Cake on the tentacles. Then I moved on to Dream On followed by Sugar Rush. I painted a& section and then did the next section to overlap the top edge of the previous color blending the two.
Color Communication (Multiple Metallics)
In trying to learn about chameleons, I found that they do not change color for camouflage. Rather they use color to communicate and regulate temperature. I was particularly taken by a drawing of a veiled chameleon which was green overall with yellow blotches and brownish gold edging. Therefore, I decided to communicate that this Saurus Oldblood was ready for battle with this color scheme. Yes, I know a saurus is not a chameleon but the model was the coolest model I could find on eBay that was still a lizard.
The model below was based with matte black and then painted with Appleseed. This goes against the suggested base color for Appleseed listed on the bottle and the website. However, I was willing to put a few more coats on the model in exchange for a slightly darker shade of green.
I then painted the back spikes with Black Ice and wet blended it with Gordian Knot to cover the area just below the spikes. I then added a "stripe" of Malum Malus between the Gordian Knot and Appleseed. I painted a similar transition over the other leathery parts of the body. The model was topped off with Gold Rush jewelry and a Black Ice and Gold Rush shield.
Magic Object (Opaque ---> Metallic)
I wanted to do a magic carpet transitioning from a "normal" carpet to "flying" via magic. So I bought a Funko Pop Vinyl figure. Unfortunately, I realized that I had broken my own rule. I hand-brushed the metallic over the large smooth carpet area. I should have airbrushed the metallic.
In addition, as shown below, feathering a metallic over a very large matte finished area did not exactly convey the look I was going for (colors: opaque purple, People Eater, and All That Glitters).
Note: This type of transition can work in smaller areas as illustrated by the next example. The small transition area small area covered allows for a smooth transition from matte finish to metallic.
Magic Potion (Opaques --> Metallics)
I had a great idea to paint a bottle with a magic potion swirling around inside of it. So I stared at a corked glass bottle for a long time and realized that painting the outside of the glass would not work out how I wanted it. So, I shifted gears and found an alchemist model (3D-print sculpted by STL Miniatures).
I did the figure in flat blues and browns to contrast with the sparkly potion bottle painted in Pearly Gates. The swirling stream of smoke rising from the bottle "pops" with various blues, each subtly flowing into the next --- starting with two royal blue opaque shades moving to Cool Ranch, Da Ba Dee, Maguro, and ending with Pearly Gates. The magic in the photo below is escaping into thin air.
Magic Sword (Metallics)
Big swords are fun and magical ones are even more fascinating. I saw this Armored Wizard of Change (3D print sculpted by Edge Miniatures) and knew that I needed to get this model. While I planned to use a lightning bolt to indicate the magic on this piece, I ended up doing something a bit different. The sword seemed a bit too narrow to pull off my original intent.
So as shown below, I started out making the robe Red Queen. Everything else was done in an opaque black. I wanted the contrast between the red metallic shine and the mysteriousness of flat black. I then made long streaks in Red Queen and Sparkle Motion to show the movement of magic from hilt to tip. Sparkle Motion contains silver particles. So it is just the thing to make something glisten.
Lightning (Zenishift)
In looking for other minis, I found this Grimdark Battle Brother Flame Wizard model (3D-print sculpted by 8Legs Miniatures). It looked like he was carrying a lightning bolt and a lightbulb went off above my head. Maybe magic, maybe not, but cool nonetheless. This also makes up for no lightning bolt on the sword shown above.
I painted the wizard's body with Six Shooter with Silver Fox highlights to keep the armor shiny but subdued. The object in the figure's hand was based with matte black and then small areas were strategically painted with matte white. Lastly, I painted the entire firebolt with Midnight City. This resulted in a beautiful electric blue and pinkish-purple streak. I was also able to use some Midnight City to show a reflection on the wizard himself.
Note: Before finishing, I want to mention a magic object not included in this blog. I painted a wand encircled with several shades entwining gold leaves. However, even though it looked good IRL, I found out that photographing a long, thin object does not work out well. So I left it out as it was too hard to see the transitions.
Conclusions
I hope these examples give the reader some inspiration for successfully depicting transitions both ordinary and magical. The trickiest part is a Metallic/Turboshift transition over a flat opaque. However, even this is doable if the transition is concentrated in a small enough area. Otherwise, transitions using just Turbo Dork paints work well by simply feathering one over the other.