Oh yeah, that's how I get cha! :-)

@@GoobertownHobbies I have no Idea what you said during the time the deer were on. They looked so happy eating that pumpkin lol.

I was very confused what this was about, and now I’ve learned. Somehow deer eating a pumpkin is far more entertaining than it should be on its own… The chem lesson is always a bonus

The weirdest part is how I switched to this video after watching several shorts of people feeding deer carrots and bananas.

That's 100% how I'm planning to get my wife to watch this!

I thought the same. :-)

;-)

Are there even happy little Drukhari?

@@geronimo8159 yes, if they have a friend. Because everyone deserves a friend!

There's a miniature of what I'm sure is this Brent, and it has decidedly barbarian vibes: www.ebay.com/itm/Trouble-In-The-Tavern/124058455513?hash=item1ce275cdd9:m:m6bdE-V66HBNA4F1iPJw_oA&var=424889615525

@@bramverbeek7109 yes that is the Artisan Guild sculpt they did of Brent

Bob ross did have a PhD in chemistry

@@tpdbuilder what? Bob Ross was a high school dropout. He never got a degree.

@@omfgblondie yes, that is part of the story. He did carpenttry, joined the Air Force and bartended and painted part-time. Eventually he was making more money selling his art than from being in the military, so he retired form the Air Force after 20 years.

PINK IS THE KEY

Check out the Vallejo game air metallics. I paint them on and airbrush them - great coverage, a lot less clumping.

@@kriegsblade7094 Pink is the key? Please, divulge these secrets!

@@willjones1696 A pink undercoat gives the yellow a warm "orange" shading. Yellow over a black undercoat is difficult to give adequate coverage, and gives a greenish tinge at times. There's a Goobertown vid that uses the pink undercoat and explains it.

@@BlackCoyote66 Very interesting. I will have to give that a try once I find that video. I plan to experiment with underpainting in greyscale tomorrow and will have to try this pink undercoat for any yellow I paint. Thank you : ]

Indeed! It's fascinating stuff, We'll need to go deeper! :-)

Ancient Egyptians used Bone for white pigment. Imagine a “skulls for the skull throne” made out of actual skulls.

There was a color called, mummy brown, that was made from actual mummies lol.

One of my friends took a class where one of the big projects was just being able to mix the color wheel from 3 primaries, and he said it was super challenging but also really rewarding when he got it figured out. This is such a deep deeeeeep subject to jump into, but it's super fun and useful! :-)

@@GoobertownHobbies as I write in comment, I was searching for your "futur episode" that you didnt seem to done yet, the subjects really interest me because as many people I coulnd make a nice purple by mixing red and blue and we have different sets of primarys as I think you said in a video, the red blue yellow and magenta cyan yellow principaly, in paint, now can I mix magenta with a bit of yellow to have a red then mix on another side cyan with a little bit of magenta to have a blue then use theses (blue and red) then mix them to have a nice purple ? So have basically magenta and cyan and yellow to have a purple.. while yellow is complementary of purple so should avoid making a red with magenta and yellow and instead use directly magenta instead of making a red.. I feel none of these primary sets are perfect. A perfect red(not magenta) and a perfect blue (not cyan) gives a very dark purple that isnt even teally purple, its very redish brown or blue grey. I doesnt really trust in primary anymore or at least do not think anymore that, as the person in the comment said, that you can just have the blue red yellow white and black to do every color.. I would personnaly have both blue and red so a nice pure.blue, kind of cobalt imo PLUS cyan, same for the red, the purest red I can find PLUS magenta. To these double blues and red I would also take two yellow the purest and a cool yellow for the greens then even test.my "purest yellow" with red to see if I have a nice orange, if not I ll take a 3rd yellow that would be an orangish yellow. To this I would buy a purple even having double blues and double reds and test the cool yellow with both of the blues to see if at least ones gives me a perfect green which I doubt because the purest blue as he say for me seems to tend to red and the cyan to have white, to be whitish so even green I would buy .. So I think orange would be the unique secondary I would not buy.. or.. maybe even a "purest" orange.. Plus black and white From there the first thing I would do is preparing unsatured colors, a lot writing the precise mix on the bootles, I.would start with olive/camo colors that I dont call green because.. mix a yellow and black and.. you'll understand.. So I would start with basics ones with each of them using one of the yellows plus black then I would, do more unsaturated ones using different mix of a yellow plus cyan or the other blue and black. Then I ll do some browns, greys and other colors.

I know I'm a few years late to the party, but I also come from sort of artistic background (hobby art, I'm not pro or anything), specifically watercolours and coloured pencils. While not having pigment information with coloured pencils is not a big deal, since you tend to have more colours available for relatively speaking cheaper price, with watercolours it quickly became a problem for me. I love to use limited palette and I was lucky enough that I met artists who explained the difference between "light" primaries (the ones used in light mixing, which could be easily RYB) and "pigment" primaries (similar to in cartridges, CMYK). While CMYK isn't perfect, it's the best 3 (well, 4 or 5 if you count black and possibly white) primary colour limited palette you can find. But I also find that if you start with limited palette and do the mixing yourself, you can learn a lot and creating "muddy" colours is also a skill that's used. Now for watercolour I adopted "split primary" approach, I do have cooler and warmer versions of each colour plus split neutrals. This has given me the most freedom in mixing whatever the heck I want in paints. However, there's one more key thing. As mentioned in the video, titanium white and a lot of black pigments tend to lean opaque. There are other opaque pigments, but these two are the major ones. Transparent colours I find to be the best for mixing new colours. And not only on the palette, you can use with glazes or layering visual mixing with them. But when you go for opaque colours, it starts to get trickier. I started acrylics journey (just miniatures, I don't use acrylics on anything else) with opaque colours. With no pigment information. And I got frustrated super fast with mixing the colours I want. And I don't think it was specifically a problem of not knowing the exact pigment code, I could do without that. But as mentioned in the video, problem is with the colours being mixed from quite a few things, some of them stronger than others, some of them with weird undertones if you mix white in them. It's a pure frustration. If they used a single pigment or 2 similar pigments like you tend to have with most artist colour paints, I could do without the pigment information. Just knowing it's a single/two pigment formula (preferably also knowing if it contains white or black pigment), I could be happy. This made me actually go for artist acrylics instead of hobby paints since I love mixing. And as a bonus, you can find transparent (to an extend, it's acrylics after all) colours in their ranges. And as I mentioned, those work for me much better for colour mixing. Of course most people don't stop with the "basics" and start to aquire "convenience" colours so they don't have to mix every single thing if they use it a lot. But for me the imporant things missing on hobby paints is their opaque/transparency rating and at least something about pigment (like a mix of 2 blue pigments, a mix of green and white, whatever, or just you know, use the pigment codes artist paints use). Both play a huge role in how I mix colours and the success before even trying to mix the colours. The most problematic thing about RYB btw is that you can't mix all the colours in their most saturated form. While you can easily desaturate any colour you want, you never can make it more saturated than the mix gives you. And the reason opaque colours have more of a problem with this mixing is that you need to mix white into some of the paints to bring out their colour, because the mix is too dark to see anything (it basically looks black). This is most visible with mixing purple or green colours, since blue is the colour with lowest value in saturated form. Some of the vibrancy (or saturation) of the colour gets lost when adding white. Hence why I lean toward transparent colours, but as I said, even those in limited palette aren't perfect. But they're as close as you can get. And I wanted to say, lovely to read both of your coments and seeing this video, I really appreciate it.

Hooray!- Glad you liked it! I'll have to keep reading up on this stuff and make some more vids ;-)

@@GoobertownHobbies Hey, I know this is about 2 years after the video, but I do have a reference that you might like: "The Artist's Handbook of Materials and Techniques" by Ralph Mayer It has all sorts of stuff including pigment information including reflectance spectra, chemical formula, common names, color index names, and medium compatibility.

Hey hey!!!! :-)

Same here! I had even gone searching for his channel to see what new video I had missed!

@@GoobertownHobbies Hey from Luci. Thanks for the video!!! You ask for more info on pigment and spectral data on pigments. I work with the most famous and world renown pigment expert and pigment chemist Luke. (from Lucid Colour and Mafia Pigments) You should contact him as he would be happy to work on giving you the technical info (near impossible to get info) from the secret pigment world. Luci

Hey from Luci. Thanks for the video!!! You ask for more info on pigment and spectral data on pigments. I work with the most famous and world renown pigment expert and pigment chemist Luke. (from Lucid Colour and Mafia Pigments) You should contact him as he would be happy to work on giving you the technical info (near impossible to get info) from the secret pigment world. Luci

@@GoobertownHobbies 6666 to on offer too too on out oit is a food that too iou you

Right on! Finding stuff that's the right mixture of science+ art is tricky, but as I keep learning things I'll keep sharing them, I'm glad you like this stuff too! :-)

And Kimera Kolors are absolutely amazing, but they cannot at all used as you are used to by other mini painting brands. It needs a LOT of practice to get nice results with them. However, if you got that practice, there is nothing better (at least for display painting). They are not really suited for casual painting or army painting, cause they have no coverage at all because of the missing titanium white in the hues.

@@KevinvL Interesting! good to know :-)

Those are all on my list of things I'd like to learn someday. Once I understand that stuff I'll definitely make a vid! :-)

MOAR!!! :-)

Whoops! I forgot to include that shot! Nothing funky happened when they dried from what you saw, lots of white poking through after one coat, but all-in-all not terrible. :-)

I was also curious about that. Maybe put up some pictures somewhere Brent?

Probably look like a 80s copy of White Dwarf

@@GoobertownHobbies maybe he can drop a shot on the discord =)

;-) shouldn't you be painting orks???

Hehehe, I'll talk you into it one of these days! :-)

He has a full video on those, among his first ones

Gotta get that yellow! :-)

Oil is more acidic than acrylic too so that means some pigments that are perfectly safe to use aren’t available in the latter medium. Prussian Blue, for example is very rarely seen.

This subject is SO DEEP, I'm really enjoying learning about it. :-) That bit about manufacturers adding titanium white to paints to increase coverage- whoa! that makes sense, I hadn't noticed that!

@@GoobertownHobbies Adding zinc white (which is admittedly more transparent than titanium white) to watercolours is the traditional way of making your own gouache, but that's changed a lot in the last century.

@@GoobertownHobbies Really good paints (very rare to find) will not use titanium to increase "coverage" but use similar shade in combination to original pigment with a low toxicity MMO (mixed metal oxides). Mom are reasonably priced and easy to modify to make more opaque for "coverage". Titanium dioxide is $1 per/Lb ($2per/Kg) = cheap paints... Hidden secrets of the manufacture ;-)

Right on! I'm still trying to get a handle on all this myself, one step at a time! :-)

@@GoobertownHobbies By the way, and I dunno if this is obvious or news to you or not since I'm a physics student talking to a chemist here but I seem to recall that you can get the color spectra for various compounds from the band structures, and those do get calculated for a lot of different compounds so that's something to look at?

Interesting! Yeah I'm thinking of all this as a gas-phase spectroscopist, but you're right, at some point the physicists have a say in how light interacts with small particles ;-) Thanks for the lead, I'll spend more time looking into what Winsor & Newton publish and keep trying to piece together the truth of all this! For the Phthalo compounds there are a few sub-variants based on how the ligand is coordinated with the copper... I've gotta brush up on my inoragnic chemistry too!

@@GoobertownHobbies Physics background, guilty as charged ;) By all means, please keep us all up to date with more videos on the topic! The blend of your Chemistry background and your hobby really did make for a special video :)

I work as an engineer in the R+D of a paint manufacturer. The size of your particles matter very much. The smaller the particle size, the clearer your Hue. If your particles are to big they settle Mode easily at the bottom and your hue will mit be as bright and clear. That are only some examples why this matters, there are more which are very in depth and would need more explaining.

PS: some Pigments need more grinding and extensive force (ie. CIPB15) while others dont.

Tim-Yannick Schulze am I right in thinking one of the key differences between modern gouache and watercolour is the pigment grind? A lot of ranges don’t use zinc white for opacity anymore.

Enjoy! :-)

Thanks for the recommendations! Yeah I definitely want to experiment with more of these! :-)

Oh yeah, those gits are definitely guarding their little paint recipes :-) All this is fascinating, there's soooo much to learn on this topic!

@@GoobertownHobbies Absolutely. It's kinda strange that' the whole business is such a mystery too. I've tried to find sources of the whole process, with no avail. Please take what I said above with a pinch of salt. Like I said, it's was an old documentary (well over 10-15 years ago) and I am just going off memory...which is not to be trusted. lol

love u 2!

Hi,where did you get Zombicide on sale? Please share the link😁

@@drummerdanny1269 Oh, I live in Brazil, the Zombicides usually goes for around R$350-500 ($60-100), found the season 1 on Amazon.com.br for R$199 ($35), couldn't resist. Also was like 3am and it only lasted for a couple minutes until was out of stock.

@@Wa11breaker I see. It's awesome that you got lucky. The best time to get games is when they go on sale. Thanks for the reply.

Oh they're super handy to have around! :-)

Good job on this video man. Hope you are happy, safe and healthy .

hehehe me too!

Yup yup, there's a bunch of corporate/ IP shenanigans going on there. Still annoying for us as consumers tho! :-)

Can you even trademark a formula? I would think that you could not patent it either.

Yea he does some cool stuff! :-)

Paint to Ink is mostly the ratio of water to binder polymer to pigment. :-)

@@GoobertownHobbies I was under the impression (probably from marketing) that inks tended to have more pigment in them as well.

@@redleg1376 I'm not sure what the exact ration are of solvent to pigment, but inks certainly have less binder than paints. Same basic ingredients, just different ratios. :-)

Redleg 137 you can tell inks have a pretty high pigment load because you can dilute them fairly far without losing intensity. Though it helps that most ink ranges use pigments like the phthalos that have very high staining. Ultramarine blue, by comparison, is very rarely seen in most acrylic ink lines (and you almost never see a hobby paint for Ultramarines that uses ultramarine! They tend to be PB15.1 or PB15.6, red-shade phthalo blue)

@@nicholascaldwell6079 Yeah, I am pretty new to the miniature painting hobby and was pretty bummed to find out that ultramarine is not ultramarine... With the limited painting I did before I was used to just get seven hobby-art colors (lemon yellow, carmine red, magenta, cyan, ultramarine, black, white) and mix everything else. Doesn't work so well with hobby paints. I never heard about pigments before I discovered this channel.

The cowards hide their pigments! No good yellow bellied pigment hogs... :-)

If Macragge is what they're calling Ultramarine Blue now, I'm guessing it's probably just ultramarine blue, which is a standard artist colour.

@@gavinmillar what I would like is a website which gives you RGB ratings or R,G or B powder pigments, like a value of 0-255, then you could mix the powders with matt medium and get the Citadel color just right

It really is fascinating (and sometimes useful!) hopefully we'll keep learning more :-)

Yes, light is additive I believe, you have to add more color to get white. We're as paint (or for more of my area cymk toners and inks) is subtractive. You take away color to get white. (Or I flipped that as I Always seem to flip which is which. Haha) There also the fact that light just has more color possibilities than print (or paint) I don't remember the exact reasoning, there's a chart that shows an example but I can't even remember where that is. In short, I know it has something to do with light waves vs what were able to achieve in print.

Hey hey, I'm glad that you're back into it!! You'll have to paint those sisters one of these days :-)

Hehehe, I'm still wrapping my head around why violet and red are next to each other on the color wheel but opposite ends of the rainbow ;-) When that sinks in, it's gonna be a fun video!

@@GoobertownHobbies really interesting that talks about the phenomenon you are talking about was posted here at Technology Connections: kzfaq.info/get/bejne/q7-Sl9tlrp23hJs.html In a nutshell, violet and pink are only percievable in our minds because nerves in our eyes are being stimulated by opposite ends of the color spectrum at the same time. Our experience of magenta/violet/purple is the brain's reaction to this phenomenon. Our brain creates this color as a subconcious experience to "fill in the gap" in the color "wheel" that our brain creates. Simply put, all the other colors can gradate into eachother, so why not blue and red? Lol