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PRIMING paint used for this task is not the same as the one used to give it
direct application, or in a bottle, to apply with an airbrush. It has a strong grip on resin or metal and will also make the paint coats more resistant to touch and to masking tapes and will
more clearly.
Generally, a white, gray or black primer is chosen, although there is no rule preventing it from being of another color.
shades of priming, white or gray for the highlight areas and
directly to analyzing the lighting scheme, through which the
LIGHTING SCHEME For many years, the lighting scheme followed to paint a miniature has been the one known as
noon on a slightly cloudy day, (shading the sharp light spot there would be on a completely sunny day).
Apply small applications, trying not to cover the details with an excess of primer.
It is advisable to let the primer coat dry, before applying another one.
Priming spray cans in the three most used colors: White, black and gray.
Airbrush acrylic priming, ideal for small parts.
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Secondary colors Obtained from mixing the three primary colors in the same proportions.
Tertiary colors Obtained by creating a homogeneous mixture of a secondary color and the primary color that comes next in the chromatic wheel.
All these colors are divided into these three categories, so a great variety of mixtures can be achieved since the change in the proportions will bring out more variations.
Warm and cool colors Within the color wheel, there is a division of colors related to the temperature that they transmit to the human being. On the one hand there are the warm colors, ranging from yellow to red, including orange, ocher and
brown. And on the other hand, there are the cool colors, which range from blue to green, including purple or violet. Green and magenta are colors that are on the edge, so depending on their intensity or tonality, they can be part of one range or another.
Generally, warm colors are associated with the sun
cool colors are associated with the ice or water, and they transmit seriousness, peace and distance.
Within the warm color range, the more red there is in the composition of a color, the warmer it will be; red being the maximum expression. In the cool color range, the coolest shade will be the one that contains the most amount of blue, this being the
associated with the bottom of the sea or a night sky.
Primary colors.
Secondary colors.
RED + BLUE = PURPLEYELLOW + BLUE = GREEN
RED + YELLOW = ORANGE
Primary, secondary, tertiary and
complementary colors.
TERTIARIES
TERTIARIES
SECONDARY
SECONDARY
SECONDARY
PRIMARY
PRIMARY
PRIMARY
TERTIARIES
COMPLEMENTARIES
WARM COLORS
COOLCOLORS
IT CAN BE COOL OR WARM,
DEPENDING ON THE
TONALITY
IT CAN BE COOL OR WARM,
DEPENDING ON THE
TONALITY
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PAINTBRUSH TECHNIQUES using a paintbrush, several essential factors should be taken into consideration. Firstly, it is necessary to choose the most appropriate paint and color ranges for the work to be carried
on the task. And lastly, the way of applying the paint on the
less water until the perfect mixture is achieved.
Another technical aspect when painting with a paintbrush is how to load bristles with paint and how to execute a brushstroke.
the paint on the paintbrush is always the same.
Although it is possible to learn a way to apply and handle
person has his own line and that makes it unique.
Base color:
Highlights: Using a lighter color than the base color, slightly more liquid and transparent layers than the base color are applied in order to highlight the volumes on the light planes.
Shadows: Darker color than the base color is applied on the areas opposite to the highlights.
and clarity. As mentioned above, the most commonly used scheme is zenithal illumination.
2. Wet all the paintbrush bristles thoroughly with water.
1. Put SART40 Raw Umber on the palette. It will be the base color, together with a piece of absorbent paper.
3. Dip the whole paintbrush in paint, not just the tip.
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4. brush, by pressing towards the tip and turning the paintbrush.
5. Sharpen the paintbrush tip and remove excess paint, adjusting the appropriate amount of paint for the step being executed. In the case of the base color, leave more paint than on the highlights and shadows.
6. Apply a uniform coat maintaining the same direction of the brushstroke to create the base color.
7. Two or three coats of this same color will be necessary until a maximum saturation point is reached. It is better to paint several coats of color than to do it with an
8. mixture.
9-12. Dip the paintbrush in water and paint again to prepare
of the base color and this color until it becomes a slightly lighter shade than the base color.
13-14. In this case the stroke used to provide a highlight must be continuous over the whole wrinkle’s plane, pressing the paintbrush at the end of the stroke
be repeated a couple of times with the same mixture, letting one coat dry before applying the next.
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BASE COLORFIRST HIGHLIGHT
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15-16. highlight is marked, starting from the area that is least illuminated and ending at the point that is most illuminated.
17-18. When planes are wider, try to trace a continuous brushstroke with no cuts, moving the brushstroke again towards the point of maximum light point.
19-22.
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POINT OF MAXIMUM LIGHTSTART OF THE BRUSHSTROKE
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2. 1.
3-4.
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second case, clean the nozzle and needle.
8.
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Thinner/paint dilution and first lines Although the same thinner can be used for any of the paint ranges,
paint.
airbrush cup, push the lever down to let the air out and then, without letting go of the lever, pull it back to let
EXERCISE
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9. If you were to start with a black primer, apply the base color from above without going over the black where the shadows are to be located.
10-11.highlight points. Adapt the angle of the nozzle to the position of the surface to be painted, so that the coverage is precise.
12.it will make for a smooth transition.
13. Final overview of the process with black priming.
14. Pa
15.
16. Final overview of the base color over white priming. Here, the contrast is achieved by keeping the highlights.
17.shadows.
WHITE PRIMING SUIT BLACK PRIMING SUIT
Grandur, Silver Wolf, Joaquín Palacios Studio, 80mm.
SPRAY DIRECTION SPRAY DIRECTION
BLACK PRIMING COAT E
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LEVEL UP!
BASE COLOR
HIGHLIGHT
SHADOW
MAXIMUM HIGHLIGHT
Ciacco: King of Gluttons. Andrey Loktionov. 75 mm. Aradia Miniatures.
painted and perform one or more very precise spray patterns until reaching the color saturation point.
application of the base color, and the last shade will further
executed following the method explained, will guarantee success.
PAINTING FEMALE SKIN As you learn how to use and better control the airbrush, you will be able to achieve more
airbrush work highly relies on these details.
Below there is an example on how to paint the body of a female
wrinkles or edges that make it easier to achieve the desired
body should be drawn freehand to achieve that change of shades without covering the highlighted or shaded areas.
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1. First, paint the leather and fabrics that will later become transparencies with SART07 Pink Flesh + SART39 Wood as the base color.
2. Overview of the base color once applied, keeping the white priming in the areas where the highlights will be applied.
3. and fading it as explained in the exercise No. 4 on how to paint dots and specks.
4. Over the white areas, paint the highlight with the shade SART08 Golden Flesh.
5. Finally, deepen the area with a shade made from mixing SART07 Pink Flesh + SART06 Burnt Sienna Umber + SART25 Dark Violet.
BASE COLOR
HIGHLIGHT
SHADOW
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71. Preparation of the wet palette and colors from the Flesh Paint Set SSE-003.
2.
one dry before applying the next one.9-10. Apply an intermediate shade, with a
a mixture of SC23 Indian Shadow + SC19 Golden Skin. Use SC24 African Shadow to paint the inside of the nose and ears.
BASE COLOR FIRST HIGHLIGHT SECOND HIGHLIGHT
FIRST SHADOW SECOND SHADOW
TONO INTERMEDIO
THIRD HIGHLIGHT
7-8.mixing SC17 Pale Skin + SC18 Light
only be applied to a very small fragment of the face, such as the upper cheeks, tip of the nose and nostrils, the beginning of the nasal septum and the upper lip.
4. by painting the second highlight shade with SC18 Light Skin.
3. Following the zenithal lighting scheme,
Skin. Apply two to three coats with a slightly thinner density than the base color. Repeat the brushstrokes on the same areas to be highlighted, until they reach their maximum saturation point.
6. shade. Use this shade to reinforce the shadows under the nose, the upper lip, the dark circles under the eyes and the inside of the eye socket.
5. SC22 Arabic Shadow.
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EYES
SECOND SHADOW
16. Paint the eyeball with SFG41 Hykey Yellow + SFG01 Purity White.
17. Shape the upper eyelid with SFG34 Arbuckles Brown and the lower eyelid with SFG02 Hastur Purple + SFG15 Harvester Flesh.
18.the eye. Use SFG32 Lendanis Grey.
19. Paint the iris with SFG26 Huldra Blue 50 % + Acrylic Retarder 50 %.
20. Lighten the center of the iris with SFG31 Jorildyn Turquoise + Acrylic Retarder.
21. Apply a second highlight on the underside of the iris by painting a crescent with SFG33 Hiril Blue + SFG01 Purity White.
13-15. Bring up some maximum highlight points with SFG17 Moonray Flesh. Also, apply intermediate shades on the cheek area to smooth out transitions using SFG11 Bloodfest Crimson + SFG12 Braineater Azure + SFG14 Resurrection Flesh. For the lower nose area, use a mixture of SFG11 Bloodfest Crimson + SFG17 Moonray Flesh.
10-12. Second shade with SFG11 Bloodfest Crimson + SFG12 Braineater Azure + SFG14 Resurrection Flesh, applied under the
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paintbrush, or vice versa, is currently one of the techniques that most interest the enthusiasts. Scales or themes do not matter, everything is possible and, by following the guidelines described in previous books (No. 1 and No. 2), incredible results can be achieved.
1268, by FeR Miniatures.
For this size, three steps with the airbrush are enough to leave
would be a base color, a highlight and a shadow.
follow later with the paintbrush, since the main planes of
need to repaint everything done before.
1-3. Base color applied from the bottom on white priming, respecting the areas or planes of light, indicated by a zenithal lighting
4-6.
7-9. Shadows with SART25 Dark Violet + SART42 Burnt Sienna + SART08 Golden Flesh + SART40 Raw Umber. Again, paint with the airbrush from the bottom so that the paint only covers the shadows, while highlights remain untouched.
BASE COLOR + FIRST HIGHLIGHT + FIRST SHADOW
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12. Start with a series of intermediate shades that will be applied depending on the area of the face. In this case, overlap
mixture used is SART32 Spring Green + SART42 Burnt Sienna.
13. Another intermediate shade with SART32 Spring Green + SART40 Raw Umber + SART08 Golden Flesh.
14.Orange + SART40 Raw Umber. Apply it to the nostril and the tip of the nose, lips, the upper part of the cheeks and around the wounds previously painted with SART24 Purple.
15. Apply other intermediate shades with a mixture of SART28 Light Ultramarine + SART32 Spring Green +
mixture is a bluish-gray shade.
EYES
INTERMEDIATE SHADES
16.color for the outline of the upper eyelid is SART02 Art Black, and for the lower eyelid it is SART10 Crimson + SART06 Burnt Sienna Umber.
17. Paint the color base of the iris with SART16 Green Grey + Acrylic Retarder.
18. Lighten the center of the iris without reaching the edges with SART26 Turquoise Blue + SART01 Art White + Acrylic Retarder.
19. Paint the pupil using SART02 Art Black + Acrylic Retarder.
20.White + Acrylic Retarder.
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1. Wet palette with the colors part of the Black & White SSE-008 set.
2.
3.than the one applied for the base color.
4. Second highlight. In addition to adding more of the white color to the previous mixture, make the surface of the wrinkles seem smaller with the brushstroke by concentrating the color in the inner part of the wrinkle.
5. For the third highlight, only SC01 White is used. In this last highlight, the amount of water added is minimal, which creates a consistency equal to that used for the base color. Such viscosity (density?) makes the brushstroke in the last section of the inner side of the wrinkle very intense.
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1. Ecstasy.
2. Base color using SC36 Blood Red. Only paint the darker parts of the red cloth shadows, leaving the white of the primer blank in the intermediate and highlight areas.
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5-6. First highlight using a mixture of SC38 Aldebaran Red 40% + SC39 Mars Orange 30% + SFX07 Red Ecstasy 30%.
7-8. First shadow using SC-35 Deep Red.
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PAINTING A CLOTH WITH HATCHING TEXTURES WITH A PAINTBRUSH the most frequent and complex colors, let’s take a step further and learn which textures can be applied to fabrics or cloths, depending on their manufacture.
In this section, the fabric that has been imitated is a corduroy jacket. When making these patterns, do not exagerate the size
challenges textures will pose.
be painted independently, so as not to create monotony and continuity in the lines.
the process by painting the jacket as usual, applying its base color, highlights and shadows.
Start painting the weave of this jacket by making a series of vertical lines with a lighter shade than the base color. Take the line outlining the jacket, where the buttons are fastened, as reference and
brushstroke.
In order to achieve a continuous line with the paintbrush and not run out of paint in the middle of the process, bear the guidelines below in mind:
Use a No. 0 paintbrush with either a new tip or a tip that does not open when loaded with paint.
Load the entire paintbrush bristles with a paint and water mixture, not just the tip. Regulate the paint on the brush by removing the excess using absorbent paper, sharpening the tip at the same time.
Make a mixture where the water/paint ratio is not too liquid. Test the mixture on a white sheet of paper to see if the brushstroke is too liquid or
mixture is the goal.
It is also possible to add a bit of Acrylic Retarder to the mixture, which will help break the surface
the paintbrush.
of these aspects. Perhaps the range that complements these processes the most is
the Scalecolor Artist range because of its consistency and amount of
pigment.
When using the acrylic retarder, it is possible to remove the lines just painted by just going over the area with a clean paintbrush immediately. Once the area is dry, paint over it again.
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1. Base color of the jacket: SART26 Turquoise Blue + SART27 Cobalt Blue + SART32 Spring Green.
2. First highlight. Add SART18 Naples Yellow + SART26 Turquoise Blue + SART32 Spring Green to the base color.
3. Second highlight with SART17 Vanilla Yellow + SART26 Turquoise Blue + SART32 Spring Green.
4. Shadows with SART24 Purple + SART34 Sap Green.
5. Start drawing the lines by taking as a reference the vertical line of the edge of the jacket and adapting to the shapes of the wrinkles. Use the following mixture: SART26 Turquoise Blue 25% + SART32 Spring Green 25% + SART17 Vanilla Yellow 50%.
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6-8. Proceed with the hatching of each piece of the jacket,
9-10. Draw the lines from the areas corresponding to the maximum highlight and outer outline, with a mixture of SART43 Vanilla White + SART32 Spring Green.
BASE, HIGHLIGHTS AND SHADOWS
HATCHING
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DARK BROWN LEATHER Brown leather is usually easier
mixtures available to represent this color are much wider and
Dark brown leather can be painted in warm or cool shades,
same criteria as in the examples above.
Below are two examples of this leather color. One is in a warm color range and the other in cool colors
Belt case, the leather will be painted in a ‘warm’ dark brown shade. Start by creating a mixture for the base color with SART06
results in a very dark toasted brown shade.
In most cases the base color plays a very important role for creating the rest of the colors; however, it can also vary according
color can be light toasted brown and then be progressively darkened with darker shadows, or conversely, as in this case, the base color can be darker, and be progressively lightened by
1. Base color with SART06 Burnt Sienna Umber + SART42 Burnt Sienna.
2. First highlight using SART42 Burnt Sienna.
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7. Apply some glazes with SC95 Inktense Brown, starting from the intermediate
paintbrush at the maximum shadow points.
8-9. Two or three brown ink glazes will be necessary to
maximum shadow areas
3. Second highlight with SART42 Burnt Sienna + SART22 Orange.
6. First Shadows with SART06 Burnt Sienna Umber + SART25 Dark Violet.
5. Intermediate shades with SART22 Orange + SART23 Magenta.
4.
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8-9. Second shadows with SC81 Inktense Chestnut + SC95 Inktense Brown. Use another mixture to paint an intermediate shade with SC81 Inktense Chestnut + SC101 Inktense Olive.
2. Base color with SW17 Camo Red Brown. Apply two coats of this color to achieve a homogeneous base.
3. First highlight with SW17 Camo Red Brown + SW31 Desert Yellow.
4. and retouch some intermediate shades using the base color.
5. First shadow with SW17 Camo Red Brown + SW51 Us Dark Brown.
6-7.
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4-5. Create a second highlight using the paintbrush and a
of wear and decrease the color intensity.
6. Using a new lighter mixture, SART08 Golden Flesh + SART13
leather wear is higher using the paintbrush tip.
7-8. Paint a shadow using SART38 Burnt Umber, and paint intermediate shades using SART06 Burnt Sienna Umber.
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Painting a Roman helmet with special reflections (paintbrush)this Roman helmet by FeR Miniatures, part of a bust at a scale of 1:10, are part of a painting scheme in which highlights and shadows are predetermined, aiming for a more realistic and
To paint a piece with metallic pigments, the highlights and shadows created by the paint are generated at random depending on the ambient light.
However, in this example, even when using metallic paint,
shadows.
To do this, study how these highlights and shadows would
on which to paint the parts with a dark base color and a lighter one.
Once the map of light and dark contrasts has been distributed over the piece based on the ambient light, move on to enhancing the maximum points of highlight, shadows and intermediate shades.
On this type of metal, where the surface is absolutely smooth and polished, the coats of color must be very thin at the beginning of the process, so as not to leave any trace of the brushstroke. To ensure that the metallic paint is saturated and that the metallic pigment has enough shimmer, the water/metallic paint mixture should be creamier at the end of the process, using very little water.
before use. Ideally, use some kind of electric shaker or stainless-steel balls to leave the paint in perfect condition during all its phases.
When employing a more realistic painting style, do not ignore
elements. One example is the red hackle that crowns the Centurion’s helmet.
red, green, etc., which are perfect as intermediate shades or as complements to the most commonly used colors. Besides these, the range of chromatic possibilities is very wide, as it is
1-4. e map of the dark shade base color uses SC63 Black Metal +
DARK BASE COLOR
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9-13. Outline using the ink SC79 Inktense Black. Paint an intermediate shade with
SC66 Speed Metal + SC68 Cobalt Alchemy.
MAXIMUMHIGHLIGHT
INTERMEDIATETONE
OUTLINE
14. Paof the hackle would be projected, by mixing SC89 Garnet Alchemy + SC96 Inktense Crimson.
15. Blprevious step with a mixture of SC68 Cobalt Alchemy + SC70 Amethyst Alchemy.
16-17. Final photos
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Painting a golden armor When painting a golden chest
Roman chest armors, helmets, or shields.
mm ‘Hoplite, 480 BC’ by Scale75.
shades of inks. As commented before, they are the perfect complement to paint intermediate shades and shadows and enhance the mixture intensity when combined with a metallic paint.
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BASE COLORPRIMER
FIRST HIGHLIGHT SECOND HIGHLIGHT
PALETTE WITH THE COLORS USED
1. Start by black priming. In many cases, it favors the painting process when golden colors are used.
2. Paint the base color using SC71 Necro Gold. Apply two paint coats.
3. First highlight using SC73 Dwarven Gold and a slightly more liquid mixture than the one used for the base color. Apply two or three coats of this highlight until reaching the maximum saturation point.
4. Brighten highlights using a clearer and brighter mixture of SC74 Elven Gold + SC75 Citrine Alchemy.
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7-10. Apply a glaze with a mixture of SC81 Inktense Chestnut + SC86 Inktense Yellow to restore intensity to the intermediate shades. To make a shadow outline, mix SC83 Inktense Blue + SC95 Inktense Brown.
To achieve a stronger highlight on the protruding parts of the engraving on the chest armor and greaves, use SC75 Citrine Alchemy.
OUTLINE
BASE COLOR
HIGHLIGHT
SHADOWS
11. Base color of the shield using a mixture of SC71 Necro Gold + SC84 Inktense Green, on black priming.
12.
13. Shadows with SC84 Inktense Green + SC95 Inktense Brown, following the same criteria as with the highlights.
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