A SERIES OF MODELLING MANUALS A __ techniques to paintginiie figures : ¥‘ 2 Introduction htand the Basic knowledge of lighting before pa ing, The technique of painting with acrylics Preparation of pieces. ‘asc techniques with acrylics: paint brushes and water The airbrush technique Preparation of pieces Mandi romush. Basic techniqu Make-up effects on figures Treatmentscf shape, shaclow and lumin The painting of races Painting of different skin colors Conversion How to convert stock figures Tools and materials, Painting flats in oils Basic concepts, Lights and shadows. ment of cloths, Advanced techniques Mixed painting technique of brush and airbrush, by Catherine Markqutrodutiot miniature. Far from the rigid schemes imposed by the uniforms glamour or “girlie” figan For female figures the imaginal eroticism of the truly pieces r the painting, ake + offer a wide ng possibilities, with hem quite different from the more usual types of iniatures; they present a real and exciting challenge that wise modellers will not want to everlook. This book is a rly comple detailed course covering most of the skilis needed to deal with this kind of miniature, The eight descriptive chapters illustrate th Processes step-by-step, clearly explaining key concepts essential to successful painting, including the highlighting of a figure, as well as techniques and basic knowledge for painting. with ics, or haw to work airbrush, You will learn tricks to make your figures look unique by mean of make-up effects, how to represent the main ethnic geoups, with their different hair and skin colours and shades, hon do your own conversions of stock figures, and the way to t flat figures in oils, lly, in the chapter edicated to advanced techniques, you will find a jel being painted using s paints and. All been and developed by the ri200 ph > help even ewcomers fo the hobby to discover the attractive scerets hidden in these beautiful models. Those already. in contact with some of our may be able to improve with the help of this publicight ad figure Before the painting of any fig how the begins, itis essential to deci figure is to be lighted, Even though this it is We m trivial in principle indispensable for effective paintin should take into consideration s factors as the intended position of the ther be painted, that is, w 2 will be assembled as part of a group or diorama, or is to be displayed alone on some sort of base or st These circumstances will in me | ws will be projected in condition the lightening, of the m ways depending on erve this, we will work by the piece under a desk lamp hed with a 60W blue bull nerally regarded as the most suitable from Phoenix; itis a w model with to the Overhenutlightin ft Overhead light figure is comple are projected clearly on her S ith a slight sight * Basic knowledge of lighting before painting. do ast below shapes. alld fi fon which the shadow fold hen ¢ od figures, all across cloth, asthe each model, faving made these preliminary comments, we will now study light incidence on the miniature LIGHTING It we decide on ad protuberant shh ographs clearly under the chi es. AS th dows are darker uttocks, andl the in Variations can be observed when the m the aclows will be mone apparent on the ide opposite the light scOverhead lighting, with a slight left a shapes, on the opposite side. As an ‘example, we can sce how the inner different, dey hting on e thighs is totally g on the angle of light incide The other basic type of lighting what we call general lighting. In th case, the figure receives light fr several points, producing, softer shadows. This kind of lighting is good when we want to follow the natural shape of the body or garments, although shadows have to be applied in luneealistic fi F ally, a certain deamatic effect ¢ models by forcing Siu lighting from the right way; for example, light falling from lel to ts shadows para the shapes, This especially emphasizes the face, heavily lighted on one side and with dark shadows on the oth immersed in a half-light environment Once these easy exercises have been done, we are ready to decide which type of lighting will be used and to start the painting process, The different dow arvas will give to our al look, introducing the viewer to the context we have istyed for the miniature avier Huerta General lighting. Shaulows are softer.dintingg with acrylics 1s nowad probably the most common technique among painters of miniatures, probably due to the easy handling, Water solubility, fast drying properties anil lack of toxicity of this medi. Properuse of acrylics demands throe basic concepts; good quality brushes, control of the quantity of water in mixing and some knowledge of eolour theory: These items are detailed in the chart on the next page. ‘Once these points have been properly reviewed, we can start painting the figure. en ato te neal dnd ms Tools and materials: Retouching tools Fille, abby: crift blade, sandpiper. Cements Atalditor similar, t \ { Me Modelling putty; Milliput yellove grey or ( similar Brushes; i Kolinsky 1,2, 3and 4, Paints | Andrea color acrytics. ® af Figure breakilown, PREPARATION This time, the figure is the Storm Raider (cede G-030 in the 3D tures range), but the skills xplained obviously become valid for ny other figures only by changing, ‘colours used Retouching pieces with blade, file aut fine sandpaper. Before the brush begins to paint, the figure must be prepared to recei further treatment. As this figure is a metal casting, the first thing is to wash all parts thoroughly with soap and Sealing joints with Millipnt. * Basic techniques with acrylic * Preparation of piece: paint, brushes and water, water, completely re residue of casting lul secon aning. with the help of files, a hobby craft knife and fine ndpapering to erase any surface eRe es uf if q parts are sealed with (Milliput) separately before ass job easier. (Once the figure ha assembled, it is primed with an alcohol-based paint such as Tamiya or Gunze Sangyo, This base assures good adherence of odelling pu ome pieces will be painted nbly to make theThe primed figure, PAINTING OF EYES AND SKI The first slep is to paint the Throughout the painting. pro will use Andrea Color acrylics, whose codes appear in brackets after the colour name. We begin with a coat af flat white (AC-06). We th ant brush to paint the iris and eyelids in blue (AC-34) with strokes perpendicular to the surface. Finally, few touches of light and shadow will _ Biase for the eves. Outlining andl painting the iris. — ‘The finished eyes. hr nd ttt With regard fo brushes, 9. good! choice are the Kolinsky sables, 8s they "have very smooth hair that makes a good, pointed tip when soaked. It is not necessary to buy alot of brushes. An" Land an® 2 for sihaller areas, and a set Of n’3 and 4 for langer areas will be enough Water is exclusively a technical factor, The painthas to be consistent enough to allow good coverage in few coats, butat the same time adequate” fluidity i Toquired to.assure that paint. doesn’t stick to the briish. To tbe.sure that the Dalit and water stuns correct, Wests ‘ane recommended! on. spare figure ox fs ‘other suitable surface before seal painting on the model begins. This will Save you time and possible corrections. V - ‘Regarding colour, itis very important to decide on the colours with which the ‘figure will be painted in advance of the painting process itself. A chromatic range will thus be chosen for the hase shades that will he lightened or shadowed depending on the ditterent . figure parts to be painted. White or grey shades can be selected, warm or cool tones, always using the same A ee eo teens er seare ees technique larkening or lightening the base tones, using colours within the same chromatic range. ar “weer vee y vuuvY © be added to get the desired effect. For these delicate processes, it is advisable to blot extra paint from the brush onto a towel or cloth befor strokes are painted. ‘Once the eyes are painted, we will apply the base colour for flesh. Thisis a mixture of 70% dark orange (AC-53) and 30%) rose flesh (AC-52), Highlights shadows are created by successive applications of this base colour, lightened or darkened to achieve a satisfactory gradation. Fo we apply successive inc mixture of light flesh (AC-09) added to the base colour in small proportions. These light increases are painted by means of tiny additions of the lighterBase cofous for skin. Flesh shadawing. mixture to obtain a subtle, effective colour gradation, To mix in the right proportions, di an? T brush tlmcany < a First increases on skin, into a drop of 1 flesh), Then mi base colour for the drops for the second, 3 dr third and 30 on u lighting effect is achieved advisable to- create extreme lighting effects; 4 increases should be enou skin, excessive shadowing with colours different from the base should be avoided. The best way is to work by changing. only the propastion of lig and darker colours in the base. mixture can be obtained with 90 orange and 10% rose flesh (AC-52) The base will not change in ex there will only be an i lighter colou h 6 drops of the her checked continually by a sheet of paper, a tor Stroke controlled in comparison to the base colour upon Base colour for ctothing. less water as required. CLOTHING The procedure for painting, the shorts and top is basically the same as for skin, We pa ; highlighted to represent cts and darkened. { base sing a palette wit ‘solour gradations, For the top, we chose turquoise blue (AC-35) as a base. At least thr successive layers will be necessary’ a homogeneous, well-coated base Highlights are given with Napoleon blue (AC-34), with touche blue (AC Prussian blue (AC-22) is used shadows. The base niform (AC-02), the shorts is English First highlights on ctothing.Effects on clothing base colonr fi green (AC-49). The base cola already quite dark, so that shade limited to the eroteh area, Ada ‘of black makes these s! same mixture is used to oulline the and th 1 flesh, torn between cloth, ‘THERS ing leathers is not so difficult as fone might think, and a few siniple tricks will give the original met pieces the look of authen Two main factors in achieving this are finish and the colo Different finishes are obtained by mixing matt and gloss colours satin grad For this figute, the select dark colours, but these mixture also be made with light colours stich as beige, golden brown o . For the backpack and boo use a mixture of 407% gloss 27) with 20% English uniform (AC-02 and 40% matt black (AC-25) of gloss and matt colours will give a lustrous, realistic finish by ing glossy brightness. We will » with English uniform (AC-02) and paint shadows with a mixture gloss black (AC-27) and matt black (AC-26) at 50% ne dust on ons, dep toni This To get s, a bit of confederate grey applied once all the leathe the bo are painted The pistol rig is painted once again, using a mixture of blacks, this time intmaducing a 70% gloss. Medium grey (AC-19) added in ‘small amounts is. Clothing finished and the Highlights on leather, leathers, used for lightening later on. A very effective, wer finish leather. obtained by highlighting leather edges st colour GUNS The typi ally blueish finish of modem. We begin with 85 black (MC-27) sic blue (AC-21) as the! ting is done by éding Effects-om le medium grey (AC-19) a (AC-7) in small prop apply two ligh 4 gun metal ons. We will Increases to edges an the barrel sights. The lower barrel frame Is painted gloss after the original, which icp THE GROUND ‘Once the figure is completely painted, only the scenery remains tor finished. Here we have discarded th typical option of pain reys, with dry-brash treatment to represent moisture and. weathe Base colour for guns. Effects am the gums.nonetheless, this would be right if equally but distributing th effects ina more original, daring This colour base is composed aviation green (AC-56) andl tt black (AC-26). After the scenery is coated with the base colour, we start the lightening process by adding light green (AC 24) to the base for the highlights. These light effects are used on the floor to draw tile edges and on the olumns, especially on the top areas Further highlights are obtained by adding pale yellow (AC-50) to the mixture, and are painted in selected areas such as the upper edges of the columns and the floor surfaces closer to the figure, Some final touches of pure ellow will mosphere we want for this figure. Lower column areas and branches on the floor were highlighted with brown leather (AC, the luminows y FINAL ASSEMBLY Only a few last touches are needed to finish the work. We shape the tiny photoetched glasse supplied with the kit, checkin that they fit the face properly before painting and gluing. Lenses in Napoleonic red followed by a coat of gloss varnish (AC-45), and the frames are painted (AC-27) Finally, the plat is placed in location, taking care not to damage it, and the spare eases on ted gold (AC loss. blk round are pal With the Final assembly. 10 Base colour for the grommd, passing of David RomeroThere is little doubt that, when — prepare the figure, we painting large figures, the best results use a blade to cut are obtained using the airbrush, In this away flaws, a file to chapter, we will learn the basic erase mould lines, techniques and the necessary _ fine grain sandpaper knowledge to do this kind of work. The figure this times in 1:6 sealeand a miniature d belongs to the Sexy Series by JJ Models; on the lingerie that are lost during the choice to show how the — retouch it isa per process. The airbrush technique works. best cement for resin is Before any painting really beg) cyanecrylate. Once the very important to leam how to pr partsare glued, all joints are a resin figure, as is the case here. The sealed with modelling method is similar to that explained for putty using a modelling figures, but resin castings need tool soaked in water, sprues to allow resin flow into with Body Putty d tone meta lang the mould, and thus require more — in retouching. In addition, air bubbles are the stockings to simulate a common in resin castings and have to light texture. After this, the be thoroughly sealed; otherwise the figure is ready painting could be spoiled later on. To airbrushing, but Fee Preparatian of the piece for painting UF A Retouching and sealing joints. tosmooth down any imperfection to redefine any & * Preparation of pieces. Handling the airbrush, * Basic technique: proceeding, we should le ume basic nations on how to work wit The breakslozwn of resin pieces that make np the ode, AIRBRUSH HANDLING Among the different types of iv on the market today, the most appropriate for p tures are om these release stment of pa The figure eeady for paigood control of linewidth, ating pai the itis best to do s0 8 picee of pape thatof the figure to check 8 surface similar to. paint uimost importance to solvent ina the milk-like co case, Continue the tests ture is optimal, with sistency. IF the paint is and coverage, and ts (6 ppider feet by some) will appear. The Dp flows in a bubbling rush, 5} extreme is pasty paint that oiling Another key pressure. U is airbrush to paint Sr smaller are press Tange areas and | First sha Second shadows with Base colour for skin of airbrush pressure is effective, we are moving in smooth concentric circles. ready t ith noth perpendicular to and at a co paint. Pai n the base colour. ance from the figure should be sprayed ta obstruct the motion of with, the hand side th Begin shooting p. and finish the same w, avoid any drops of excess paint falling or figure, If the surface is not well covered with a single coat, apply a second on but never insist on a single point An exercise to help achieve control of the airbrush is to draw thenANING tat low pressu h small areas and 1 ct function. Use paint flow to get and i ot too thick a line free cloths. ‘The second shadow, a bit di first, isc very absorbent, but they colour darkened by ). The line th and ¢ t the nozzle brow (AC: Long interruptions should e avoided du ing painting, as ps Once skin i painted, we will paint dry inside the airbrush and the stockings and the gloves. For this, malfunction. If it doesn’t work wel all parts already painted are masked stop and clean the with adhesive tape and plastic yyed, fill the Black paint is used for the st and shoot to clean applying a fen. colour has bee tank with solv rer to the legs to the transparency expected for this type At the ‘of each pain Bess thorough cleaning, of the airbrush is obligatory. PAINTING THE FIGURE First we will apply layers on the base colom the figure with a flesh colour, usiny Gunze Sangyo's Flesh Hi, The whole model is pai c worry about the areas to be painted in ou Gloves ar satin, us inted as if they were of , without too @ mixture of black with a bit of silver to necreate the sleek finish er colours, as the stockings are ff covered. This will be solved Later with asking tape The next step is to apply shadows, for the lighter and a heavier one for darker contra: The first brown leather using Ai of garment. We will later (AC-42), which will be sprayed Two are used, one Masking with adhesive tape, pply darke ar example, the shadows below areas, light. Shoot the — the ankles. ng the stockings for a realistic finish,Painting the gloves: typleal of this fabric. The same effect could be represented by spraying, first coat in silver and a second in black, almost covering the silver coat, b allowing a subile glitter finish to show All finishe embroidery and f ice will be with acrylics using the andpainted Andrea Color f As a final remark, we insist ‘once again on cleanliness as the ey factor for this kind of painting, tush in If we work with the ai a1 conditions and give the right treatment, surprising, tained in one might think. opt parts of the figus sults can be 0 Fess time th Allborch Jorg Face patted vith Draw Detail af lingerie painting.Sometiones face, although not necessarily w: modelled, does not fully meet sirements oF si of ply differs far from beauty. Just as ine nbe making-up™ the figure hts, z effects differe In this way, shadows, oF the among many possible examples In this ch thet ‘our Figures. Wie will paint four ie pter we will devel Inniqques oF "tricks" to person. by their hair colour (black, blonde, chestnut and ginger), make the diff evident heads, indie I treatments more Throughout this painting process, n colour mixtures will be specified, they are but posi hie des of ealour can be applied for skin, ake-up. ‘used in this chapter ca be: found in chy form * Treatments of shape, shadow aid Inntinosity. * Personalization of figures. Base colour with airbrush BLACK In this first case, explained completely, the usual priming base of flesh ct hich will be ve begin ~ after by airbrushing a although the same can be done with a simple brush. The wext step is to paint highlights and shadows following the techniques explained in previous chapters. One has to be aware that, depending on the direction of the brushstroke and vividness, the face's shape will change ance. Dark, shadows under the cheekbones will in appe: Painting the eyes. First shadows. Outlining tipsColanr base for hair fhadows — mastel. The whites of vertically, the final — the model closely, with a centred iris in ance will be tat of a lo i of lighter green to a glittering effect. This will In this first example, shad ¢ cheekbo lth the jaw reduce the force the face's expressiy Eyelashes are painted in bl i can be seen by «0 although some make-up effect could be photos in the introduced here by painting, the lower Now we ge to the eyes, doubtless the lashes a different colou fac For When we came 0 the mouth, we this first example, we dec wal was a bit on the change the of nal expr was later painted in and enlightened with the me colour mnixed with white, enhancing the shape bby creating fleshy, more appealing lips. The hair is pain nd with a base black matt highlighted in m Prominent shapes a some bluish reflect chromatic monotony of black di finished with nto break the ow paint them thin, arched and a they had been plucked. Once the face Shkadors om the finishes! face. applied tenet Highlights om the finished face fects. Eyes shadows. Hair lights. reflections. the heavy side this as the the nose, and greater contrast adowed in bluish The subsequent exa d are using the same at procedures, 80 andl the specifics to each are discussed,Base coat without higltights or shadow Final lights ara shadows. BLONDE F second protagonist, we decided on what might be called a ed look", th make-up effects at "elear jt is, with no We tried toshade this face to a cooler, harder look than the previous one To do this, x concentrated on enhancing the different shapes in th not treating ain features that might be much more First shadows, appealing with slight treatment, Soft 1 important rol they are helped by highlights to © the desined effect. here; Eyes were outlined on the eyelid, which is raised slightly sculpting, to look as if the eyes are half closed. Irises were painted centred ane blue, painting a glitter a littke lowe than in the previous case, and leaving line in the eyeball colour to represent an upward glance. Thesc subtle touches allow to the creation of different glances, although both figures infact are looking te the front, As te the lips, we kept th shape and used a much lighter tone than in the previous ease, to suggest that no lipstick has be result is a more natural att tive mouth, ‘CHESTNUT In this thied exam expressiveness Eyes looking to the side, th right glance, a eyebrow acec npanying tl the mouth shape with the First highlights and shadows. rd help to phere of angular than bs cal are applied more intensely on both sides af the face and some extra light is added on the forehead, chin and noses; this creates a depth e The lips, this time in red painted with a thinner upper lip and thicker lower lip, with a reinforced shadow below the lower lip, The trick with the eyes was to paint the upper eyelid a little abave the sculpting, The eyes n to be this way, according to oe Lup effects were applied this to show facial expression can be controlled. Wie ju time, how ded a small mole above the lips, GINGER is last Indy has been ps intecd will very smooth make-up effects in which Base coat Final iightights and shadowscommand over sha ne features kbones. The fest thi paint very soft shadows on the base lights et stich as 1 was to vas mone ment flesh colour to lig] than others, This tre also mphasises the lower eyelids, an effect Further enhanced by the eye shadow applied lateron. The mouth is painted pink, similar to explained for the black-haired gil, 1 ou painted a bit smaller and with ne curbs om the upper lip, adding more importance to the mouth’s comers Some highlights were painted on the lower tip in a lighter shacke than the base colour, to enhance shape. To continue the exercise of remaking shapes using highlights, the area urrounding the — mouth was highlighted as done before with eyes nd cheekbones, In the end, welhav woth f and soft shadows, although the ent im the painting of this face remains, bright face with cHesTNur ‘Ski Dark Flesh (AC-10) Shasows: Dark Flesh ¢AC-10) + Metiums Brown (AC-16), Highights: Light Fles (AC-09), Hair: Dark Brow (AC-17), Shas: Dark Browen (AC-17) + Flat Black (AC-26). Highlights: Wad (AC-41) Eyes: Wow (AC-41). Highlights: Earth (AC-40), Lips: Basic Red (AC-12), Highlights: Freach OrangetAC 32), Colour Guide (Andrea Color) Base coat Genera shat CONCLUSION The ti sueeinet base for perso ned here are a niques expla izing figures; the possibilities of painting faces this way are nearly unlimited. By mixing them and adding many ether techniques that the modell may want to try, figures full of expression —feminine or note can be created, There obviously are many other treatments that can be applied apa ‘Highlights applic tw prominent from these; type of figure to be painted. Fantasy or re mak lo winy BLONDE obviously depends on the Lup can be represented easily the basies introduced this chapter and addi mn, ater a close study’ of the figure to be painted and deciding, (on its possibilities for effective painting, (Ac.0n) AC-09), Press team GINGER ‘Skins Dark Flest (AC-10). Stans: Dark Fless (AC=10) + Brown Lesthee (AC-42) Highlights: Light Flesh (AC-09) Hair: Reis Brown (AC-18) ‘Shades: Relish Brown (AC-18) + Ela Black (AC-26), Highlights: Resic Ret (AC-12) Eyes: Napoleonic Green (A Highligits: Light Geeen {AC Lips: Magenta (AC-1), Highlights: Light Flesh (AC-09)