I just watched a terrific video I think many people would find it very useful to view. In addition to linking to the video so you can go watch it too, I’m also going to share some information related to the topics of the video, and suggest a sort of study guide for how you might put the material from the demonstration into practice.
A still from the video on how to paint a face by starting with a sketch of highlights and shadows. Painted by Jaume Ortiz.
The video is called Painting a Face in 75mm Part 1: Creating a Sketch of Highlights and Shadows, and it is a painting demonstration by Jaume Ortiz. It is produced by Miniature Painting Masterclass in partnership with Vallejo paints and FeR Miniatures, but the principles demonstrated are applicable to most figures, painted using any kind of paints. There are several points in the video that I think people may find useful to consider in their own painting.
Mixing Layers and Paint Transparency (Consistency)
How to mix layers, how many, and how much to dilute the paint to use the layering techniques are all very common questions among miniature painters. At the start of the video Jaume demonstrates the paint mixes he will use to paint the highlight and shadow layers. He mixes these onscreen. All paint colours used are clearly listed, but he does not detail the precise ratios of one paint colour to another for the layer mixes beyond what you can see him place on his palette. Since paint colours are unique in strength, transparency, etc., you can’t use a universal guide of X to Y drops for all mixes. You need to judge by the visual results with your specific paint colours. If you look at Jaume’s palette once the paints are mixed, you can use that as a tool to get an idea of the appropriate value steps between the highlight and shadow mixes.
Likewise, Jaume indicates that he’s added a little water to his mixes, but he’s not specific about how much. Some paint colours are much more transparent than others, so the amount of dilution you need to add to a paint to make it the right transparency for a particular function varies from paint colour to paint colour. Instead, take a look at the way the edges of the paint look on his palette. You can see some of the palette through the paint, but it’s also still opaque enough to make noticeable strokes when he layers one paint over another.
Sketching (also known as Roughing In or Blocking In)
I used the sketch approach to paint the non-metallic metal on Caerindra. On the left, you can see that I roughed in the main shadows and highlights on the armour. I ignored blending, and I also ignored details like the rivets and lining between panels. My goal was to establish the key areas of light and shadow. In the finished version on the right, I refined the blending and added details. I wrote a blog post about painting Caerindra, and my post about painting an Efreeti includes another example of blocking in highlights and shadows on NMM.
Roughing in colour or doing a sketch is basically what you see in the above pictures – the highlights and shadows are painted in with no concern for blending smooth transitions. This accomplishes several goals:
* Quick application of highlight and shadow colours allows the painter to verify that the colours they’ve selected work well and provide enough contrast without investing a lot of time in painting everything to a high standard and THEN discovering you need to change your choices.
* The painter can concentrate their focus on precise placement of where areas should appear darker or lighter. (More on that below.) Breaking a task down into separate elements increases the chance of you performing each of those elements well. (In contrast to trying to manage placement and blending simultaneously, which is more challenging and thus more likely to run into issues.)
* The painter can customize their vision of where light and shadow appears based on different types of lighting. The video demonstrates placement in a zenithal lighting scenario. You can photograph a figure under a small bright light to customize your light direction and know where to place lights and shadows. I’ve got an example of such photo reference here and here.
* The painter can use this approach to push themselves to create a more dramatic level of contrast. It’s easier to do that using a completely different method of paint application than you usually do. It’s easy to vow to push your usual approach, but easier to fall back into usual habits and do what you always do.
The sketch on the left was painted with the light imagined as coming from above (zenithal lighting). The sketch on the right imagines the light coming from the upper right angle.
Placement of Highlight and Shadow Layers
Even you aren’t interested in learning more about the sketching approach, the way it is applied in this video provides valuable information for painters. When you look at something painted with smoothly blended transitions, it is quite difficult to deconstruct it to determine where the painter applied each of the specific levels of highlight and shadow mixes. When you watch this sketch approach video, it is very easy to see exactly where Jaume is putting each of the highlight and shadow mixes.
The demonstration figure in the video is 75mm scale. The general location of highlights and shadows under zenithal light is the same on gaming scale figures, but there may be cases where the highlights and/or shadows need to be simplified a little to read well at scale. (Or you may need to simplify if you have trouble applying them to some of the more detailed elements at smaller scale.) Jaume’s knowledge of anatomy is impressive, and encourages me to hurry and get to that point in my study of drawing!
Can you tell where I placed the third level highlight in the finished version? It’s a lot easier to see where the various layers are placed in the black and white sketch version on the right.
Suggestions for Practice and Study
These suggestions for how to practice and study miniature painting pertain to this video specifically, but also instructional tutorials in general.
Following a step by step example using the same figure and paints as in the demonstration can be very helpful for many people. It allows you to just focus on following the steps, rather than having to improvise to work around differences in materials. You can find the figure from this video at FeR Miniatures, and the specified Vallejo paints through many local and online merchants. (The Face Painting Set used in the video is available from US Amazon, and likely international Amazons as well.)
If you don’t have access to the same figure and paints (or you want to jump in practicing while waiting for supplies to arrive), search through your figures for a male figure with a head similar in size, pose, and expression. If possible, you want a larger than gaming scale figure – a giant or ogre or something else with a larger than 32mm face for your first time practicing. The closer your supplies are to those used by Jaume, the easier you’ll find it to obtain results similar to his. You also want a figure with the head facing forward and not tilted to one side or the other. (If the head is tilted, you can remove the head from your figure and place it on a holder so you can paint it as if it is posed straight up and facing forward like the demonstration figure.) The location of highlights and shadows would be different if the head were tilted in a different position.
For paints, it is most important to match the value – the relative lightness or darkness of the colour. If your colour choices are a little more yellow or a little less red or whatnot, that will present far less of an issue than using paint which is much lighter or darker than the paints Jaume uses to mix his layers. Once you understand the principles of mixing and applying layers in this fashion you can use crazy colours to paint fantastical skin tones, but I do recommend practicing with natural human skin tones the first few times. The fewer variables you have that differ from the example you’re following, the more likely you are to obtain similar results and come to a better understanding of the principles. And if your results do differ, fewer variables make it easier for you to try to isolate and resolve the problems you might be having.
This is a still from the video isolating the highlight, mid-tone, and shadow paint colours. (On the mid-tone, look at the edges of the pool for the best look at the colour, the centre of the pool looks lighter due to paint separation and/or reflection of the studio lights.)
I converted the palette image to black and white to give you a better view of the values of the paint colours. You can lay out drops of your own colours and then take a black and white picture of them to check how well the values match. Notice how dark that shadow colour really is! Reddish colours are often much darker than we perceive them to be.
Once you have your supplies in hand, I recommend that you start by watching the video all the way through at least once. When you’re ready to paint, it is handy if you can put the video up on a tablet or PC near where you paint so you can pause the video and restart it as necessary for you to follow along completing each step. You may also find it helpful to take screen shots to reference where to place each highlight or shadow layer as you paint.
After you finish each step, stop and compare your work with the example. Do they look roughly similar? If not, spend some time studying your work against the reference to try to identify what’s different – do you have a layer in the wrong place? Did you make a highlight too wide or too narrow? If you don’t get it correct straight away, don’t beat yourself up! The purpose of practice is to learn. Think of an error as an opportunity to build your eye’s ability to identify issues, and your brain’s ability to come up with potential solutions for them. Both are very helpful skills to improving as a painter.
After you’ve finished painting through the tutorial, put your work aside for a day or two. Then come back to it with fresh eyes and compare again. You may find that your level of contrast is much less than you thought it was while painting, or you might spot new errors in layer placement. This is a very common experience! I often walk away from a session of painting with an impression of what I did, and when I come back to look at the miniature find that my impression was pretty off and I need to adjust the very thing I thought I was doing well while I was painting.
Once you’ve practiced the demonstrated technique as closely as possible to how it’s demonstrated, spend some time thinking about the experience. Did the method seem to work well for you and you might like it better than your current approach? It can take more than once practicing something to get a good sense for whether or not the technique or approach works for you.
However it’s also the case that instead of adopting a new technique or approach whole cloth, you might find that it works better for you to incorporate it into the way you work. I normally paint the shadows first, and I normally work down from my lightest shadow to my darkest. In this video, Jaume Ortiz paints the highlights first, and then begins painting the shadows with his darkest shadow, then a step lighter, and then a step lighter again. If I try this approach, I might find that it works very well for me. If it does not, I can still incorporate valuable lessons about where to place the shadows and highlights and how to use a sketch approach into my normal approach to painting shadows and then highlights.
I haven’t always worked to improve my miniature painting with this kind of study and deliberate practice. I wish I had, as I think it would have helped me learn things much easier and more quickly than I have. But I still have a lot to learn, so I am trying to take more of this kind of approach now. I’ll have a few experiments and experiences of my own to share in upcoming posts.
If you want to see how Jaume Ortiz turns his sketch into a beautifully painted face, part 2 of this video series is available.
Follow Miniature Painting Masterclass on Facebook for links to more great videos, and also galleries of step-by-step picture and text instruction.
I included some information about how I sketched in initial highlights on a black cloak in this PDF.
I sketched in both black and white and then colour on this Christmas dragon figure.
Figures Referenced in this Post
Officer of the 5th New Hampshire Volunteer Regiment 1862 by FeR Miniatures
Caerindra Thistlemore by Reaper Miniatures
Ingrid the Gnome by Reaper Miniatures is available in metal or Bones plastic
Tyrea Bronzelocks by Reaper Miniatures is available in metal or Bones plastic