(jazzy drumming) WILL: It’s Mini Primetime with your host, Will Friedle! Our special guest tonight, Babs Tarr! Tonight’s episode of Mini Primetime is brought to you by Willingblam’s Lonestar Bidets. Blast the shit out of your ass with the rage of a true Texan. And now, let’s get to brushing! (zany trumpet music) (canned studio audience applause) (forced, fake laughing) Ah, how’s everybody doing? Woo! (sniffs) (plastic bag snaps open) (plastic crinkling) (papers shuffling) OFF-CAMERA: Hey, Will. Will, we’re live. WILL: Right. (plastic crinkling) (cards tapping on table) Hello, Mini Maniacs! OFF-CAMERA: Other camera, Will! WILL: Right! I am your host, Will Friedle. (coughing) Hello, my Mini Maniacs, I’m your host, Will Friedle and do we have a special show for you tonight! We have none other than Babs Tarr here with us. Hi! BABS: Hello!
WILL: How are you? BABS: Good, how are you?
(fake audience applause) WILL: It is very nice to meet you,
I’ve heard so much about you. We have so many questions, the fans have been throwing them in. BABS: Shoot.
WILL: Just right off the bat. BABS: Yes. WILL: What’s happening this season on Blindspot? BABS: (sighs) WILL” You can give it to us, the audience– BABS: That, I’m, but…
WILL: They’re waiting! What’s been happening? BABS: It gets, uh, intense. WILL: You heard it here, it gets intense. What’s it like to be married to Laura Bailey? BABS: Fabulous, everyone loves Laura. WILL: Hornets or bees? BABS: Bees? WILL: Clowns. BABS: Yeah, for sure. WILL: You’re on that side? (cards tapping table)
Interesting. You play the giant, gray fighter lady on Critical Role. What’s that like? BABS: I’m not Ashley or Yasha? WILL: Huh, Yasha, truly one of the greatest characters in the Mighty Nein. (angelic choir sings) BABS: I’m confused. WILL: Me too, let’s paint!
BABS: Okay. (jazz saxophone playing) WILL” Our lesson today is to work with a limited palette to give your character the illusion of dimension and to create a believable color family within that palette. Our resident painting master, Ian Phillips, has already applied a white base primer and has painted all the skin and hair. Now, if you want to see everything Ian used for Yasha, visit critrole.com. So for today’s lesson we’re going to be using three grays, a light, a medium, and a dark, as well as a black wash to make everything just nice and washy. Okay? You ready there, Bim Bam? BABS: Let’s do it. WILL: So Ian got us to where we are here. You see he’s left us a very important part, which is the cape.
BABS: Yes. WILL: Now we are going to be doing a cool technique on this cape. So you’re familiar with dry brushing? BABS: Uh-huh, mm-hmm. WILL: So for everybody out there not familiar with dry brushing, essentially you put the paint on your brush, wash away 80-90% of it so there’s just a bit and then you paint against the grain. It’s a very fine kind of way of covering a large space at a single time. BABS: Yeah.
WILL: Which is kind of cool. But what we’re going to to accentuate this technique is that we are going to use multiple dry brushes over one another with different colors. Put on a dark base, then we’re going to go to a medium base, and then we’re going to go to a light base, which should make it pop but all with dry brushing. I’m going to start with the dark here. BABS: Okay. So what kind of paint is this, is this like acrylic? WILL: These are not acrylic, these are the paints they give me. BABS: Okay! (laughs) WILL: Is what’s going on. So we’re going to put a bit here in our palette. Oh, we need the poker. BABS: Oh yeah, here you go. WILL: We need the poker because sometimes the paints actually get a little stuck at the top of the tip. By the way, one thing you have to learn about mini painting right from the start is there’s going to be an awful lot of double entendres, so please just go with them. So once you poke the tip
(Babs chuckles) you can then have it start working again but the problem is, if you shake and shake and shake and then its clogged and then you press as hard as you can the entire top can pop off and cover us in paint. BABS: Wow, you weren’t kidding about those… WILL: No, and my dad would be–
BABS: — double entendres. WILL: — pissed because this is his suit. This is our medium gray right here, we’re going to give a little bit of that for you. BABS: So this is interesting that we need all these different grays instead of just watering down the black. WILL: We could easily have started with the darkest, BABS: Yeah.
WILL: And then just kept almost white palette, like whiting it out and whiting it out and whiting it out. But this is certainly an easier way of going. It also frankly, I think, looks better and if you keep watering down your paints sometime, unless you’re doing an entire wet palette, it can get a little droopy. BABS: Or like if I was painting a painting, I would start kind of– WILL: Light and adding, sure.
BABS: With a base. I would imagine you’d have like a medium color and then you’d add like the grays and– WILL: Again it– BABS: The lights and the dark afterward. WILL: Yeah.
BABS: It’s interesting! WILL: It depends on the technique you’re using. So in a way we’re going to be doing both, we’re going to be starting with dark
and then going to light, but then we’re going to be reapplying dark. Because we’re going to go back in with black and we’re going to hit some of the crevices in the cape and the folds and the shadows. And then we’re going to hit it all with a wash, which is really going to make everything pop. So remember, we’re going to take a little bit of paint, starting with the darkest. BABS: Okay.
WILL: Don’t need a whole lot, and then we’re going to get rid of most of it. And then go against the grain. BABS: Oh yeah, don’t go crazy. And we, do I need to stress about full coverage? WILL: We should be having fun, you don’t need to stress about any of it. Is the joy.
BABS: Yeah yeah yeah. And I have these gaps of white. WILL: Right now that’s okay, because again, everything’s going to add layers. BABS: Okay. WILL: And you want to make sure that your brush is not wet. That’s the other thing, so you want to make sure it’s dry. BABS: Oh, I was going to use the wet to take some of it off. I’m not used to this paint, so let’s see what happens. WILL: Hey, it’s your mini. That’s the joy. BABS: But we’re going to add a lighter gray, so I can always fix that later. WILL: You can, you absolutely can. Right now, we’re just kind of dry brushing and hitting… BABS: Okay, I’m going to do it right the– WILL: The coat. BABS: Fix that.
WILL: Going against the grain, just a little bit and then get rid of most. See, so it’s not really about coverage, it’s about shading more right now. Contrast is always a good word. And then we go, any mini painter knows, you go from the contrast to the detail to the pop. BABS: Okay. WILL: And the pop is what you’re looking for at the end where you give it a pop of color or… BABS: That’s the wash part, maybe? WILL: A wash is more like, we always like to say the wash is The Dude’s rug, where it really ties the whole room together? BABS: (laughs) WILL: That’s the good thing. And the cool thing about this technique, too, is you’re putting on so little amount of paint that you don’t now have to walk away for 20 minutes while your paint dries. BABS: Yeah!
WILL: It’s like you’re kind of ready to already move on to another round. Now, there’s a couple interesting techniques here you can use, as well. We could dip–
BABS: Okay. WILL: And then dry and then start with another color, or if you’ve dry brushed enough of this off, but there’s still just a bit of the dark still on your brush, and you go to the lighter, then you might actually get flecks of the dark in with the light and it actually looks kind of cool. BABS: Okay! WILL: So as long as it’s not saturated and you’re not actually mixing paints, you’re just, “Hey, if there’s some black “going into what, your lighter color,” it might add for a cool contrast of color actually. BABS: Okay. So same technique, like really light– WILL: Same exact technique. We’re going to go, and if you want to, you can do I’m going to do a little bit more because I want to go on the top here, but if you want to what we talked about is you then start the lighter up at the top and don’t drag it as far down the mini. So the bottom of the mini remains darker than the top of the mini, even when you’re adding stuff. And I’ve been rude, do you want half of a sandwich that my mom gave me that was in my pocket? BABS: Um, no, that’s all you. WILL: All right.
BABS: She made that for you. WILL: She did! BABS: I wouldn’t dare want to that that away. WILL: She likes when I eat. So we go, there we go. The other thing you can do which is kind of cool is if you want to go back with the darker now and you want to hit the bottom of the cape… BABS: Oh, I did, I’ve been doing that. WILL: You have, so you’re jumping ahead of me, look at that! You’re jumping way ahead of me, and it’s like you don’t need me at all. BABS: No, I do!
WILL: What’s the point? That was fake, but that’s sweet. BABS: (laughs) WILL: God, you get on a big NBC show– BABS: Listen–
WILL: And you’re just the coolest person in the world, I get it, I get it. What’s Brian Foster like to live with? BABS: Oh my god, the worst. WILL: That’s what I figured. BABS: (laughs) WILL: Is what I figured. So when you turn your brush sideways and just drag it along the side, that’s called edge highlighting and you just get a quick (tch). BABS: When you do that technique,
do you use the tip of the brush or do you hold it on the side? WILL: You use the edge, use on the side of the brush. But you go in, turn it on the side and give it quick swipe down the side and bam, see how, look. Just on the side of the… BABS: Yeah.
WILL: There’s just a… BABS: You did a dark one now.
WILL: I did. BABS: Okay. WILL: So you can go a little light and then a little dark, and then we’ll go back in and we’re going to hit those with our dark detail brush a little bit. This is one technique where you really want to use the brush to your advantage. BABS: You really don’t need a lot of paint. WILL: At all. BABS: Barely any. WILL: No, you really don’t. BABS: Man, I love this like this technique, it kind of, when you add the whiter, look, it kind of creates the shadow with the paint. WILL: Yeah, there you go, that’s exactly, that’s perfect. Yours is much lighter at the top than mine is, but still they both look really cool. BABS: Yours looks more realistic, I feel like I kind of have a more cartoony one, which is– WILL: But that’s okay, again, there’s nothing–
BABS: Which is more kind of my my actual art style. WILL: Exactly, I’m falling on of my chairs here. There we go. And you’re supposed to follow your art heart, I’ve been told. BABS: It’s a good saying! WILL: It’s a good saying. Do you go to a doctor and they’re like, “I’m sorry, you’ve got art heart.” What, no! BABS: It’s good to have. WILL: So there we go. And now what we’re going to do is we are going to move on to the next little step which is just very lightly detailing some stuff. BABS: Okay. WILL: See some of the nooks and crannies that are actually in the cape? BABS: Yes. WILL: You can hit little parts of that with just like the tiniest little speck of paint. I mean to the point where, you’re going to find that when you take some of these smaller brushes, you will put paint on your brush and then go to do something and the paint is already dry on your brush because you put so little on such a small little paintbrush. So you got to move a little quickly. BABS: Okay.
WILL: There’s times where I literally will– BABS: I think I’m going to use the tiniest… WILL: — kind of decide what I want to do before I do it and I’ll do it without paint on and I’ll go, oh, I know I want to hit that– BABS: I saw you doing that earlier, it was like you were practicing. WILL: You do, yeah, you got to, you kind of, it’s the zen of it all. So, you’ve got to decide what you’re– and again, keep in mind, if you put something on and you hate it, we dry brush right over it and it’s done, you start over. This is where the nitty-gritty gets involved, which is kind of fun. BABS: So do you do this at home for fun? WILL: I do. Anybody who knows me knows that I deal with anxiety, and nothing relaxes you like mini painting. BABS: Dude. WILL: It’s just the greatest thing. BABS: Just making stuff is like so good for the soul. WILL: It’s very, very zen. Even when you screw up, you kind of go, eh, you know, I’ll fix it tomorrow. BABS: Yeah.
WILL: So this is a fun medium where I found something I can do that I enjoy that anybody can do. If you’re out there going, I have no talent whatsoever, well, I don’t either, but this is a really cool and fun way to do it. And so I went in and I went a little more extreme and I did the bottom of the cloak black black. BABS: Oh! I like that, I might copy you. WILL: You’re going to copy? BABS: I might copy it. Too late, I already saw it, it’s going to happen. WILL: It’s the SATs all over again. I’m kidding, I never took those! BABS: I didn’t think so. (laughs) It looks so good. (laughter) WILL: That was awesomely fake! “This looks so good!” Wow, I got to be honest, I am getting ready to wash. BABS: Yes.
WILL: How close are you? You getting there?
BABS: I could be there. WILL: Yeah? BABS: I feel like you could totally fuss with this– WILL: Forever, you can just keep going and keep going and keep going. Can I look at your work?
BABS: Yeah. WILL: Yeah, I like that, so you did a much more blended coat, which is very cool. But that’s great!
BABS: I’m just playing it safe because I’m kind of– WILL: But that’s great. Now watch when we hit it with the– see, I went a little more toned. BABS: Yeah, yours is like more solid, the gradient’s more even. WILL: But now we’re going to do something very cool and we’re going to show a big difference between the two. So now comes washes.
BABS: Okay. WILL: Which is just awesome. So what we’re going to do for washes, though, is to show how different they can be. We’ve used all the same colors going in, but now we’re going to use two different color washes so you can the difference that’s going on. BABS: Yes.
WILL: I’m going to give you what’s the equivalent of black. BABS: Okay.
WILL: To go over your cape. I’m going to go purple and we’re going to see, unless you really are a fan of purple, but we’re just going to show the difference between what goes on. BABS: So like, in oil painting, you really shouldn’t use black right out of the tube, but you can make a pretty dark purple that acts like a richer black, so that makes sense that one of the washes is like a more purple. WILL: Yeah, see, there you go. I don’t know what you’re saying about oil paintings and stuff like that because again, nothing.
BABS: Yeah, sure. WILL: This is, we use the bigger, rounder brush, because you want to cover more area. And again what you’re going to do is you’re really going to wet your brush. It shouldn’t be dripping everywhere, but you really want it nice and wet. BABS: Sure.
WILL: And you are literally just going to brush over the entire thing you just did. If it pools in certain places, that’s fine. If it’s going to get caught in some of the little nooks and crannies– BABS: That’s good–
WILL: — that’s a good thing– BABS: — that’s what you want.
WILL: — because that’s what, again, you don’t want to saturate it on to where when you turn the mini back up it’s dripping off the bottom, BABS: So should I…
WILL: But you definitely want to cover it. BABS: Have painted it lighter since we’re going to do this darker wash, maybe?
WILL: No! No no no, wait til you see what happens with the thing, it’s going to be totally cool. And I’m going to show you the difference between when I do my purple and it’s going to be a different sheen than when you do yours. BABS: I want to watch you first. WILL: You’re going to watch me first, all right. So you go in and you get, again, a good amount on there. And then you wash it over. BABS: Cool! WILL: And you let gravity– BABS: Do the work.
WILL: — do some of the work. Bring it all the way down. BABS: Oh shit! WILL: That is the normal reaction– BABS: “Oh shit!” WILL: — the first time somebody uses a wash. And you do this, and then you come in and whisk and you do this and you come in a whisk. BABS: Cool! WILL: When it dries, look what the purple did.
BABS: Ooh! I love it. WILL: Look at the difference of what the black did. The black really made the grays pop and everything, where the purple brought out the real dark crevices. BABS: Yeah! WILL: And when it dries more, which it will, it’s still wet, obviously you’re going to be able to see it’s going to hit the different cracks where that’s going to be dark, whereas that’s going to be dark but this is going to be lighter, this is going to be lighter, all this around’s going to be lighter. BABS: Yeah. WILL: It really adds a sheen to everything. BABS: That’s so cool! WILL: Isn’t that neat?
BABS: Yeah. WILL: Well, I thank you so much for coming, Bingle, it was great to have you here. I’m glad we learned some stuff and then thanks for that awesome “Blindspot” tip. BABS: Yeah. WILL: You know, so today we learned how to work with a limited palette to give your character the illusion of dimension and to create a believable color family within that palette by first using your colors and working your way out from there. Now next week, great show, we’re going to have Dermot Mulroney here to show us how to paint fades. Doctor McDreamy himself! So if you want to paint Yasha or any of the Mighty Nein, our mini sets from Steamforged are available in the Crit Role shop or wherever Steamforged minis are sold. Stay colorful, you maniacs, and don’t ever forget, it’s not the size of the mini, it’s how you paint it that matters. Thanks, everybody.
(canned fake applause) (cheering)
(boppy jazz music) BABS: Are we done? Is this it? (paper crumpling)
(cup scrapes on table) (footstep clomping) (metal switch clicks off) (groovy saxophone music)