I reckon I need to build a tent or something for the palette cam, so it doesn't get so blown out by the lights. You could go that way with oils; glazing over the silver once it's dried. It'd also preserve more of the shine since it'd be just a filter, but I admittedly haven't played with that method much.

@@mendedbrushstudio I think in the interests of simplicity, I'll follow what you have illustrated, rather than re-invent the wheel. So many options, so few miniatures.

Thanks for the ideas! I was originally going to make this about glazing over metallics but got caught up with how versatile the Silver can be. I still may do one on it, as it's still a good technique and a nice gateway if you're trying oils out.

Awesome, welcome to oils! Have fun, and I hope you report back with how it goes.

Haha it'll get there. Thanks as always for the support!

Fantastic! Glad you've given it a go and are having fun with it. I find organic shapes to be even easier in a lot of ways, as you can really lean into the blending and work in a lot of interesting hues. I'd like to do some videos on it soon, but for now: If you're wanting distinct areas of colour that fade into each other, remember that the more you work the paint the more things will mix and potentially get muddy, so try and keep them apart, use dedicated brushes, then work on the parts where they meet separately. For more subtle effects like blush or beard stubble: you can mix that colour into your flesh tone but I find it easier to use the model as a palette and touch the slightest amount of colour directly on, then use a blending brush to work it in. Try both and see which works better for you. Varying your pre-glaze across the model can also lead to some interesting and subtle effects down the line, but also serve as a useful roadmap for future layers. You can really go to town on Tzeentch and Nurlge daemons with it in particular.

On smaller objects it can be harder to maximise contrast. You'll likely need to use a lighter touch and fewer strokes so that your layers aren't all blending together. You'll also want to focus on getting the right thinner:paint ratio to ensure that what little paint you're applying is adhering.

It's why I started making my own, but making this video showed me how versatile the Silver can be. I'm keen to use it more.

Opacity is a property of the paint you're applying, so should be independent of the primer. That said the colour of the primer will have some influence over the way it looks, so if it's a darker grey or tinted blue then it could make a yellow pre-glaze look slightly green, for example. That will matter less, though, once you start putting additional layers on. I haven't used that particular primer but I'd be surprised if it was the reason it's not adhering. Is it not going on at all or is it more that it's not leaving much of a stain when you wipe it away? A lot of the W&N starter paints don't stain as well as their Artist's grade counterparts, but I find that the act of pre-glazing is more important than how much a colour stains, as it's just there to give your subsequent layers a boost. Some strong stainers like Indian Yellow or Egyptian Violet can actually be harder to work with, as they're so potent that they can easily overwhelm everything.

@@mendedbrushstudio The colour is a fairly neutral grey so shouldn't be too different. As you say the oils are the entry level ones so that must have an impact. When I go to wipe away the preglaze, it's like I'm going back to primer even when rubbing away very gently. Most of the paint remaining is only in the areas I can't reach. Generally I leave the glaze on for 10 minutes but maybe going on thicker with a longer wait time could help opacity?

@@MercStrider Definitely worth trying. I'd also try brushing a touch of white over once you've wiped it off, as that should give you a better sense of both what's left behind and what you can expect from it.

@@mendedbrushstudio Thanks I appreciate the help!

I've not used enough of the Williamsburg metallics to notice a difference but the Gamblin Silver does dry quickly compared to your typical oils, as it's pretty heavy on the alkyds. I'd still give it a couple of days, but it'll usually be one of the first to dry.

Aside from waiting for it to dry first, you could layer on your gold mix if you're careful. The trick is getting your thinner to paint ratio such that it'll cover in a single brushstroke, as the more you have work it the more it'll blend and turn green.

I haven't used either, but the W&N looks closer to me. I find their Artists' grade comparable to Gamblin so I'd go with that.