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FIRST STEPS

1. Prime the miniature with Black Primer Chaos Black (citadel) Spray.

Using the airbrush, apply a Neutral Grey (VMC) pre-illumination from the top. This way we
create a guide of lights and shadows to guide us in order to interpret the figure, as well as to fa-
cilitate the subsequent application of colors.

If you don't have an airbrush, you can use a gray or white primer spray pointing from the top.

2. Use the airbrush again to apply a thin layer of Black Red (AK) to the entire figure. We seek to
frame the figure in a warm environment, with this step we achieve a general tone for the
miniature.
COLOR SCHEME

It’s time to really start painting.

To get a general idea of the outline of the figure and avoid being able to stain it too much later,
apply all the base coats to the figure.

For hair, use Orange (KIMERA). It’s important to dilute it well and apply thin layers allowing to
dry. This orange is quite intense and gives us a matte base to work on later.

For skin, use a mixture of Red Oxide (KIMERA), Magenta (KIMERA) and Beige Red (VMC) 1:1:3.

For leathers, Rhinox Hide (Citadel).

For fur, mix Dense Brown (VGC) and Black (VMC) 3:1.

For the chest fabric, Dense Brown (VGC).

FIRST STEPS ON THE SKIN

1. With most of the base colors applied, we can start painting specific parts of the miniature. To
facilitate this task, try to paint the innermost parts of the figure first and continue layer by layer
towards the outermost parts.

The skin areas aren’t only the innermost part of the figure, if we imagine it as an overlay of
layers of equipment on a body, but also include one of the most important elements in a minia-
ture, the face.

It’s worth starting from here, since the face will be a focal point of the miniature, so all the time
we dedicate to it will be highly appreciated. Besides, at the beginning it will be when we’re fres-
her and more motivated to paint our miniature.

1. On the base coat, apply pure Beige Red (VMC), trying, rather than to illuminate, to begin to
define the volumes.

2. Then light with a mixture of Beige Red (VMC) and Basic Skintone (VMC) 1:1. In this step we
emphasize the nasal septum, forehead, cheekBone Whites, upper lip area and chin. Also, on the
thighs, chest and hands.
SKIN; VOLUME DEFINITION 1

3. Apply a second light, this time with Basic Skintone (VMC) in the same spots, but covering a
smaller area.

4. With very diluted Orange Brown (VMC) and the brush well discharged on a piece of absor-
bent paper, apply a glaze from the lights of step 2 towards the shadows.
SKIN; VOLUME DEFINITION 2

5. Now with Red Brown (VMC) apply another glaze, this time emphasizing the shadow areas
such as temples and cheeks, under the nose, eye sockets, knees, etc.

6. To finish the shading, add a small amount of Sepia Ink (VGC) to the Red Brown glaze (VMC)
accentuating the darkest areas.
SKIN; VOLUME DEFINITION 3

7. With Wine Red (AK) apply a light glaze on the tip of the nose. With a mixture of Basic Skinto-
ne (VMC) and Light Flesh (VMC) 1:1 give the final points of light to the face in the upper part of
the forehead, nose and cheekBone Whites. Now that we have the skin ready, we’re gonna focus
on the eyes and lips.
EYES AND LIPS

1. Paint the lower lip and the brow line with Red Brown (VMC). Add some Black (VMC) and paint
the upper lip and the eyeball.

2. Using White (VMC) paint the eyeball trying to leave a small separation of black between it
and the eyelids. Mix Light Flesh (VMC) and Red Brown (VMC) 1:1 and apply a light to the lower
lip.

3. With Light Flesh (VMC) paint glosses on the lower lip. Use Black (VMC) to mark the iris. This
step requires a lot of precision, so use a short-haired brush with a small numbering, dilute the
black well and carefully discharge it on a finger or a piece of absorbent paper. It’s advisable to
first make a few test points on a surface to ensure that everything it’s gonna be ok.

4. Put a small drop of Emerald Green (VMC) on the palette adding a dot of color to the iris. With
White (VMC) and being very careful paint a tiny glow on the iris and … face is finished.
HAIR

1. Start by marking the volumes with Orange (VMC) in a very general way.

2. Next apply a Red Brown (VMC) wash to all hair.

3. Use Orange (VMC) again and apply the first lights, now working the strands a little more.

4. With Light Orange (VMC) continue to illuminate the hair, beginning to take into account the
shine patterns that it usually has. You can find lots of good references online that we can use a
guide.

5. Finally, with Light Orange (VMC) and Bone White (VMC) 1:1 and a pinch of yellow, paint the
reflections of maximum light.
CLOTHING AND LEATHERS 1

Now that the more complicated part and the one that requires to be cleaner is finished, move on
to the next layer.

1. Start by applying a Dark Prussian Blue (VMC) wash to all clothing and leathers. With this we
seek to achieve more contrast between the components of the figure that have or will mostly
have something orange. Blue and orange are complementary and therefore have a good con-
trast to each other.

2. Now apply the first lights in a very general way, marking volumes and light planes.
For the loincloth use Burnt Red (VMC). For leathers use Rhinox Hide (Citadel), for the chest fabric
use Dense Brown (VGC) with a dash of Orange Brown (VMC) just to add warmth.
CLOTHING AND LEATHERS 2

Continue lighting, as always, trying to follow a zenith pattern and in each step trying to cover less
and less area creating some textures on purpose.

Red Brown (VMC) for the loincloth.

For the leathers of the boots, the torso and the armbands I use a mixture of Rhinox Hide (Citadel)
and Red Leather (VMC) 2:1 and highlight using stippling to create a worn texture.

For the chest, a 1:1 mixture of Dense Brown (VGC) with a pinch of Orange Brown (VMC) from the
previous step and Dark Sand (AK).
CLOTHING AND LEATHERS 3

Last lights. Add Lugganath Orange (Citadel) to Red Brown (VMC) for the loincloth and as we light
up, randomly draw some lines by drawing overlapping crosses to simulate worn fabric.

For the boots and bracelets use Red Leather (VMC) to make the stippling effect more marked.

Add a pinch of Light Flesh (VMC) to the Red Leather to apply a few final dots of light.

For the chest, first pure Dark Sand (AK) and then add a little Bone White (VMC) to give a final
point of light.
CLOTHING AND LEATHERS 4

The fur and leather bands remain to be painted. For the coat paint in a very general way the first
lights with Deck Tan (AK) and Dense Brown (VGC) 1:1.

For the leather bands use Chocolate Brown (VMC).

CLOTHING AND LEATHERS 5

With some reddish and brown tones from the palette, apply a very very diluted wash to all the fur.

While drying apply a first light to the leather bands with Flat Earth (VMC).

With Deck Tan (AK) paint the fur trying to apply the brushstroke making successive lines to simu-
late the hair. For the leather bands mix Flat Earth (VMC) and Sunny Skintone (AK) 1:1 and apply a
second light rise. Finish by outlining with light the leather bands with pure Sunny Skintone (AK)
with a fine brush.
 AXE AND SHOULDER PADS

1. Start with a mixture of Dark Prussian Blue (VMC), Black (VMC) and Dark Gray (AK) in a 1:1:1 ratio.

2. For the first lights, mix Dark Gray (AK) and Blue Green (AK) 3:1.

3. Make a mixture of Light Flesh (VMC) and White (VMC). Adding more of this mix to the previous step as
we light it up.

4. To finish the metals, outline the edges using a much higher proportion of the mixture from step 3 than
from step 2. With the mixture of Light Flesh (VMC) and White (VMC) apply some points of light as shines

5. For the neck of the axe start by applying a base coat of Rhinox Hide (Citadel) and illuminate following
the pattern of the bark adding successively Old Wood (VMC). For the leather simply apply the steps that
we used for the rest of the bands when we painted the clothes.
TERRAIN WORK AND LAST DETAILS

Paint the base wet mixing different reddish, orange and ocher tones that we have on the palette.
Also add some reddish tone in the shadow areas of the axe using glazes and finish outlining some
details better such as strings and leather. And … Miniature Ready !!
SERGIO LUQUE
@sergio.minotaurostudio