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Hi everyone, Long Time lurker here, first time posting. 

 

Been following others Victory builds for a while. 

 

I picked up a very cheap Victory Kit on ebay a few years ago that was already started and Im just now getting around to working on it. 

 

Ive been reading off and on for a few months now on the updated color of the Victory. I could not find anything other than the normal Salmon etc color. So this morning I spent the last few hours playing Mix Master, and did a rough spraying on the model.  This is what Ive come up with so far. Sorry for the bad pics my phone sucks :(

 

The first try I think came out to flat and kind of dark.

post-27671-0-62942200-1484398857_thumb.jpg

 

Second try came out brighter and more of a gloss tone to it. Almost a wet look. 

post-27671-0-28126000-1484398861_thumb.jpg

 

Would love to hear what others think. 

Edited by Kaeendeathwalker
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  • 3 weeks later...

To be a little less terse, I suggest starting with raw sienna and white, and have a mild red and a mild yellow like Naples yellow on hand to tweak the color. According to what I've seen, it should be very slightly redder than the pure tan you'll get  from raw sienna. The yellow is on hand just in case you go too red but can still save it with a little yellow.

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The problem with subtlety in color is that it never translates in photography without being transformed by the camera. Add to that the fact that we are all viewing the image on computer screens from multiple manufacturers, none of us are REALLY seeing the exact same image.thats why museums use a multi colored card placed next to the object they are photographing when they recumbent artifacts with a camera. Wish I knew the name for this sort of card. The idea is that if you yourself have a duplicate card with the same colors on it, you can see instantly if the photography process has altered colors in the subject image.

I'm not suggesting everyone acquire one of these cards. But on the other hand I think the inclusion of a small bit of pure white paper included in a photo will alert the viewers eye to the lighting conditions that prevailed when the photo was snapped. If the color of the white paper is slightly blue or grey in the photo, one will know instantly a lot more about all the other colors in the photo.

post-3035-0-46551100-1486477667_thumb.jpg

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Frankie, that would be a test card or perhaps standard color card.  There is one for B&W also.  The idea is you would match the color on the print to the actual card.  My cheapo photo software has a feature where you can pick a spot on a photo and make it white, gray or black.  This would be one purpose for including a piece of paper, though the test card has a gray scale also.

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The problem with subtlety in color is that it never translates in photography without being transformed by the camera. Add to that the fact that we are all viewing the image on computer screens from multiple manufacturers, none of us are REALLY seeing the exact same image..

 

This is only correct for people who don't calibrate their monitor. Think about it, every company that has a zillion artists would be up a creek without a paddle if there was no way to get consistency of output on multiple monitor types and models.

 

Since I've also been a long-time artist, at various times professional, I always calibrate my monitors. The Datacolor Spyder series monitor calibration tools has been the most popular for years. It has extremely sensitive light/frequency detectors and you place it in the center of your monitor with the lights in the room darkened, and it sends a large number of color values to the screen and records the screen's actual output. It then creates a color correction profile that is saved and loaded every time you start your machine, you can see it happen as all the color on screen will suddenly shift a bit on startup.

 

Not sure if you or anyone wants to go to those lengths, but it is certainly possible to work as a distributed group and still all see identical images on screen.

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