Figure Painting - a cheater’s guide

[ge_rik]

The colour palette of the contrast colours is certainly somewhat different to what I'm used to - from Gore-Grunta Fur to Skeleton Horde .....

Rik

[Durley]

Plenty to get my head into here.
If I can get my figures looking half as good as yours, I'll be happy.

Rik

Thanks for the comment Rik, hopefully my next few posts illustrate there's nothing particularly difficult or time consuming about my approach.

I'm going to jump to the finished figure, then illustrate the various painting stages.

I've imagined this figure as an Edwardian era slate worker, finishing him in clothing that is worn and dusty from hard labour loading finished slates. I've used muted colours and tried to hint at the texture of his workwear, likely to be coarse weave cotton or linen, with a finer weave for his waistcoat. His complexion is light and I have imagined he's relatively young so hasn't developed the weatherbeaten skin tones of someone who has spent many years in the North Wales weather.

Edwardian Worker

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Priming

The first stage is a coat of Brown Primer from an aerosol can (refer to the PDF in a previous post for the Citadel paint references). The primer provides a good base for subsequent paint layers. Note the finish is a smooth satin-matte which is important to help the contrast paints 'flow' across the surface of the model. The primer coat also helps identify any imperfections in the model print (or casting).

Citadel primers dry very quickly, and the model can be handled and overcoated about 10 to 20 minutes after spraying.

Because of the way contrast paints accentuate details in the model, they will also accentuate any imperfections so it is worth taking time to properly inspect the figure and remove any remaining printing supports or obvious printing layers (or casting feeds, mold lines, flash, etc in the case of cast figures). I completely failed to follow my own advice and managed to leave some support marks in places, most prominently on his left hand trouser pocket and one on his chin. I suppose could claim this was deliberate to help illustrate why the removal of imperfections is important, but in reality I just overlooked them in my impatience to get on with the painting! If I do need to sand out any imperfections, I will wash the model to remove any dust then, when it is dry, give it another quick coat of primer to make sure none of the resin material is left uncoated.

Primed

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[Lonsdaler]

So much to digest here already. I've been a user of Citadel paints for many years, and am only now learning that I haven't been using them as they are meant to be used! I'm looking forward to further instalments.

[Durley]

So much to digest here already. I've been a user of Citadel paints for many years, and am only now learning that I haven't been using them as they are meant to be used! I'm looking forward to further instalments.

I am glad some are finding this thread intesting but I should caveat my posts to point out Citadel paints, or paints in general, can be used in many different ways. I would not want to suggest what I am describing is the proper way to use them, rather it is the approach that works for me and, hopefully, provides others with some techniques they can try out.

Clothing - Shirt

I usually find it easiest to paint figures from inside out and from light to dark. That way I am not trying paint in tight spaces against already finished parts of the model that invariably result in paint getting where I don’t want it and having to touch up or repaint parts. Subsequent dark layers will easily cover lighter shades allowing quick and imprecise coverage in the early stages of the painting progress.

Following this logic, I started with the shirt/blouse which I wanted to be an off white / beige colour. The brown primer I used is a little too dark as a base colour, so I dry brushed the shirt areas using my XL dry brush and Cream paint. This dry brush layer was applied quickly and quite heavily, resulting in a layer of cream paint to the tops of the folds/creases and the flatter areas of the shirt, leaving the brown primer showing though in the deeper depressions and creases.

To dry brush, I dip the bush directly in the pot of paint and then rub the brush in a circular motion on a piece of kitchen towel to remove most of the paint from the bristles. It takes some trial and error to work out how much paint to remove but by using textured kitchen towel, I can gauge when enough paint has been removed when the brush starts to leave paint only on the raised parts of the kitchen towel texture.

The lefthand photo shows the figure after initial dry brushing. Note I have just let the bush cover adjacent parts of the model, including areas of skin. I have not tried to keep to just the shirt so this stage is really quick, taking a few minutes at most.

The next stage is to apply a more brownish tone to the shirt and to accentuate the shadows in the folds and creases of the shirt using Contrast Light Brown. To tone down the strength of the Contrast Light Brown I mixed it with Contrast Medium at a ratio of 1:1. Don't be tempted to thin contrast paints with water, this just ruins the properties of the paint.

For the contrast paint to work as intended, it needs to be applied so that the whole of the area being painted is wet, which is what allows the paint to flow over the surface and settle in the recesses, depressions and creases, being drawn in by capillary action. It is therefore necessary to work quickly so that the whole area is coated without time for parts to dry out. I am aiming for a liberal covering of paint without overloading and flooding the area, which will result in the paint running rather than settling, creating unsightly drip marks and puddles. I load my No.3 watercolour brush and aim to paint each area (the 2 sleeves and collar) in one go. Once the paint has started to dry, avoid brushing over it again as this tends to interrupt the natural flow of the paint and leaves obvious brush marks rather than smooth tonal transitions. If an area has been flooded, it is possible to carefully use a clean brush to wick away excess paint from where it has pooled whilst still wet.

The middle photo shows the effect once the contrast paint has dried, which takes 15 to 30 minutes, depending on how liberally it has been applied.

To further accentuate the highlights, and at the same time hint at the fabric texture of the shirt, I went back over the areas of the shirt with the same Cream and dry bush as used in the initial stage, this time with a lighter covering and brushed from top to bottom so that the paint only catches the very tops of the creases, replicating where the brightest highlights would appear on a real figure if lit by the sun from above. This is shown in the righthand photo. That completes the painting of the shirt. Notice how the process has left the gradual tonal transition from highlight, through mid tone to shadow, which is the effect I am after. Also note how the details already in the model are brought out and enhanced.

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[Durley]

Skin tones

The next stage is to paint the skin tones on the face and forearms. I had already dry brushed the skin areas with Cream when painting the shirt, and this provides a good base layer for a light skin tone. If I wanted a more tanned complexion, I would apply a lighter dry brush coat of Cream to leave more of the Brown Primer showing in the recesses and depressions of the face. Conversely, a fairer completion can be achieved by painting the whole of the skin area with Cream Primer so none of the Brown Primer shows through. This is how I created the different skin tones between the male and female first class passengers shown in my first post.

Contrast Caucasian Flesh is mixed with Contrast Medium at a ratio of 1:1. This is applied with the No.3 watercolour brush, making sure to cover the whole face in one go and allowing the paint to settle in the features (eye sockets, mouth, nose, ears, hairline and around the neck)...and that's it. As long as there is the correct amount of contrast paint (wet to allow it to flow, not too wet to cause pooling) the paint finds it's way into all of the depressions and features, giving a natural graduation in flesh colours across the whole surface. When applied to a finely detailed figure such as this, it really does feel like cheating, as the contrast paint does all the work for you.

If the flesh tone is too light, it is possible to repeat the application of Contrast Caucasian Flesh and Contrast Medium mix, maybe altered to 1:2 ratio, once the first application has dried. I was happy with the finish I got in a single application on this figure.

Note in the photos how the paint has picked out the detail of the face. Under the cruel high magnification in the second photo, you can also see how the paint has emphasised the layer lines in the 3D print, this is not visible at normal viewing distances however.

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[Peter Butler]

I use only Citadel acrylics, and have done so for many years, and have admired the skills of Warhammer artists on their figures. Your methods achieve a higher level in producing real-life skin tones and natural contrasts and shadows, which is generally not required for wargaming figures.
My paint stock is in need of updating so I can follow your method more closely.... please don't ask for results too soon!

[Durley]

I use only Citadel acrylics, and have done so for many years, and have admired the skills of Warhammer artists on their figures. Your methods achieve a higher level in producing real-life skin tones and natural contrasts and shadows, which is generally not required for wargaming figures.
My paint stock is in need of updating so I can follow your method more closely.... please don't ask for results too soon!

There are some very talented painters around. My Grandson is now interested in Warhammer so at least I have an excuse to keep an eye on the latest developments in the world of Warhammer, and have someone who can explain what all the strange terminology actually means.

Clothing - trousers

The next stage is the trousers. I wanted these to be a darkish grey so I chose to paint them in a darker base colour. Two coats of Dirty Grey were applied with the No.3 watercolour brush. Citadel layer and base paints are quite gloopy and require thinning with water before use. They tend to be the consistency of thick double cream in the pot, I add a small quantity of water to the paint to get to a consistency more like single cream. This is best done using a palette, dispensing a couple of brush loads of paint to the palette first and then, from a cleaned brush, a small amount of water.

The thinned paint is then brushed on. I needed two coats of paint to get full coverage. These layer and base paints dry in a few minutes. I was batch painting a few models at the same time so the paint on the figure was drying whilst I worked on another figure, ready for me to come straight back and apply the second coat. The lefthand photo shows the grey base coated trousers.

Next, as shown in the middle photo, I applied the shadows using Contrast Grey paint, mixed with Contrast Medium in a 1:1 ratio. As before, this needs to be applied quickly so that the whole area is wet. With larger areas of a figure like this, I will tend to paint up to a seam line, painting one leg first, then the other. That way if the paint does start to dry out before I have covered the whole of the trousers, I can work up to a natural separation point and avoid brush marks caused by going back over semi-dried areas.

Once the contrast paint was dry, I dry brushed the trousers with my small dry brush and Light Dirty Grey. This dry brush layer was applied quite heavily to pick out the highlights on the tops of creases, represent wear, fabric texture and simulate slate dust, all in one. The small dry brush allowed me the control to go right up to the already painted areas without paint spreading where I didn't want it. The finished trousers are shown in the righthand photo.

Edwardian worker - trousers

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[Durley]

Clothing - Final details

The final areas of clothing were painted next. I used a mix of Contrast Grey, Contrast Light Brown and Contrast Medium in a ratio of 1:1:2 for the waistcoat. This was left as is. By not dry brushing a lighter colour over the top, the finish is smoother and hints at a finer weave fabric than the trousers and shirt that have had a dry brush applied.

The shoes were painted with Contrast Dark Grey. I subsequently dry brushed the shoes and lower trousers with Medium Brown to pick out the highlights on the shoes and hint at a coat of dust/dirt.

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The hat was painted with Contrast Grey mixed with Contrast Medium at a ratio of 1:1. Once dry, this was dry brushed with Light Grey.

Switching to the No.1 watercolour brush, the neckerchief was painted with neat Contrast Dark Red which produces a deep burgundy tone.

Facial Details

A cruel close up of the face shows the crude application of the facial details. It also shows how the approach highlights the layer lines in the 3D print which are 0.05mm striations, these are not visible from normal viewing distances however.

Using the No.1 watercolour brush, the whites of the eyes were painted in Cream. I avoid using White for the eyes, this tends to make the eyes stand out too much, giving the figure a somewhat startled expression. The eyes were painted one at a time, as I am right handed, the figure's left eye was painted first, from inner to outer part so I am not trying to draw the brush over the top of the figure's nose. I then turn the figure upside down to paint the other eye.

The iris was painted in neat Contrast Dark Green, with one brushstroke from top to bottom being sufficient to suggest the iris in each eye, leaving a small section of the previously painted Cream on either side. You'll see I have overshot slightly and got some of this paint on the figure's lower eyelids.

The hair was painted in Contrast Dark Brown and, when dry, a few streaks of Light Brown were added in the direction of the hairs to provide some additional highlights.

That's the painting finished.

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Once all the paint has dried, I sprayed a light coat of Humbrol Acrylic Matt varnish. This protects the painted areas from subsequent handling and also ensures the finish is consistent across the whole model. Contrast paints can dry with a slight satin sheen which generally is not wanted, although can be a useful effect if trying to represent fabrics like silk or satin.

Here's one final photo of the figure. He looks to me like he's contemplating the stack of slates that need loading into the slate wagon, resigned to a few hours more of hard labour!

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[philipy]

Thanks for all of this info, there is a lot to be absorbed, but we can no longer say " I don't know how..."

[Peter Butler]

I will pay more attention to improving my painting skills(?) in future, but of all the 1:19 scale figures I buy, none seem to have that level of detail. Are you showing a larger scale of figure, possibly 7/8th scale?

[Durley]

I will pay more attention to improving my painting skills(?) in future, but of all the 1:19 scale figures I buy, none seem to have that level of detail. Are you showing a larger scale of figure, possibly 7/8th scale?

I sized the Edwardian worker to be 95mm tall when I printed him, in 1:19 scale he would be 1805mm or just under 6ft. This model is particularly well detailed coming from a high definition 3D scan of a real person.

[ge_rik]

Excellent! Thanks for this detailed tutorial.
It's interesting that you paint from light to dark. My wargaming mate paints from dark to light from a black primer. However, I think your figures look a lot more realistic. The shading is much more subtle.

Rik

[Phil.P]

I find painting anything, a challenge..
But flesh-tones, and eyes, are the hardest thing in the world to get right..

[Durley]

It's interesting that you paint from light to dark. My wargaming mate paints from dark to light from a black primer. However, I think your figures look a lot more realistic. The shading is much more subtle.

Rik

I would say both approaches are equally valid, with a dark primer the dark colour provides a pre-shading effect and with a light primer the light colour provides a pre-highlight. Zenithal priming is a combination of the two that uses a dark colour sprayed from below and a light colour sprayed from above https://thearmypainter.com/en-gb/blogs/ ... VPU2O3NDgZ

I would tend to avoid pure black for a scale model figure just because it can result in an overly harsh shadow, but for wargaming, high contrast is more relevant to help the miniatures stand out on the tabletop.

Coincidentally, I stumbled across this video that uses a zenithal priming method and new AK Interactive speed paints which are similar to the Citadel contrast paints but come in more muted tones better suited to scale figures. It shows what someone with more skill then me can achieve.

[Lonsdaler]

Thank you for taking the time to do a comprehensive guide to your method, and also all the links you have supplied. Plenty to go at there.

[philipy]

I find painting anything, a challenge..
But flesh-tones, and eyes, are the hardest thing in the world to get right..

Yep, I agree Phil, especially the flesh tones. I intend to give John's idea's a go next time I have a figure to paint.