Patreon supporters receive a PDF copy with high res photos and better formatting!
My recent experience repainting a figure I first painted in 2015 got me thinking about the 80/20 rule, and whether we can use that ‘rule’ to make miniature painting quicker and/or more efficient. Can it help us get more figures to the table more quickly? The 80/20 Rule, also called the Pareto Principle, posits that 80% of an end result often comes from only 20% of the input/effort put into it. For example, in a fundraiser you might find that 20% of the donors end up contributing 80% of the final total raised. The idea came about in economic study circles, but it has since been applied to many other fields.
The Betty v2021 miniature on the right was painted in under three hours. I don’t recall exactly how long it took me to paint Betty v2015, but it’s probably fair to say that I painted Betty v2021 in 20-40% of the time it took to paint the original version shown on the left. And that was despite the fact that I was painting on stream where I paint more slowly as I often pause to demonstrate things and chat.
I’d like to tell my fellow frustrated slow painters that the increased speed and efficiency I experienced is purely a result of having practiced via my general painting for the past six years, but I don’t think that’s the case. While I have increased my general painting speed over time, I’d say it takes me 15-30% less time to paint most figures than it would once have taken me. This is probably the only thing I’ve painted in less than 80% of the original time! I’m still definitely on the slow end for ‘pro’ painters.
So I got to thinking – how was I able to paint this particular figure so much more quickly? And more importantly, are there lessons we could take from that experience for ways to paint faster and get more figures to the table? While I want to focus on tips useful to tabletop painting, don’t stop reading if your interest is display painting. My primary focus is and has always been display painting. But over the years there have been several periods where I did some tabletop or speed painting, and the experiences I had with that taught me lessons that were very useful to my general painting pursuits and probably have a lot to do with the speed increases I have been able to make.
As I discussed previously, the two Betty figures have some differences between them in the colour choices and level of contrast, but none of those choices had much affect on the time it took to paint them. There is an additional difference between them that did, however: the polish or finish level of the finished figure. The v2021 figure isn’t painted as cleanly and precisely as the v2015 one. The lining is messy, the blending isn’t as smooth, and the details aren’t picked out as clearly. It’s particularly noticeable in the bouquet, the bodice ties, and the underskirt, but it’s true of the entire figure.
That comparison is what made me think about the 80/20 rule. The less polished v2021 achieves a lot of what v2015 does, but in a lot less time. I’ve had similar experiences in my traditional art studies. The finished portrait on the right in the picture below has more detail and nuance. It better captures the likeness of the person and the textures of hair, skin, and stubble. The finished portrait took just under 12 hours to paint. This is similar to a contest or high display piece, where a high degree of craftsmanship and polish is expected.
The version on the left is WIP picture taken about 20%-30% of the way into the process. It’s more of a block-in where I was working out the overall shapes, colours, light and shadows. The block-in on the left has rough blending and lacks a lot of the details, but it captures all the essential elements of the proportions, colour, lighting, and contrast. You can clearly distinguish the hair vs skin vs shirt, You can figure out the direction of the light, you can see the main facial features, and you can even spot the likeness if you’re familiar with the actor.
If your goal is to get more figures on your game table, painting miniatures more like the block-in version of the portrait or like Betty v2021 is more efficient than spending a lot of time on fine details and super smooth blending. You want to pick colours and values that help the viewer distinguish the key areas and elements of the figure from two or more feet away. You want to paint strong contrast between shadows and highlights so that the figure looks more three dimensional when viewed from arm’s length. In essence, you want to paint 80% of an ideal version of the figure in 20% of the time. The time investment it would take to paint all the details, smooth the blending, and add nuances doesn’t add enough visual impact to the figure to be worthwhile. It would be much more productive to use that extra time to paint another two or three figures.
If I scale the above image down (or view it from further away), it becomes even clearer that the block-in captures almost all of the information of the finished version. I could take a few minutes to add the hair highlights and a bit lighter of a highlight on the nose and under the eye, but that’s all that’s really missing for a distance view. The one on the right is still detectably better, but is it better enough to be worth spending that much extra time to achieve?
Differences in details and blending become less significant when we view things from a further distance or smaller size, which is how we view game figures when they’re in use.
That’s interesting in a general theoretical way, but what are some concrete tips you could use to paint more efficiently and quickly?
1. Study Others
Study tabletop miniatures that you like. If you look at photographs rather than observing figures on a table or shelf, remember to scale the photographs down in size! The elements that make a figure look attractive in a large and well-lit photograph are often subtleties like smooth blending and details like well-painted eyes or freehand. Those are not the elements that add impressive visual impact to a figure viewed at arm’s length distance in indifferent lighting!
You will likely find that the figures that read best when viewed from a distance have strong contrasts between adjacent areas that break break up the main sections of the figure and help the viewer more quickly see the character and action of the miniature. Most important are contrasts of value, hue, and saturation, which can be accented by contrasts of texture/finish.
Take a look at the image below for an example of this exercise. These are a selection of figures that I painted posed together on a shelf in room lighting. (And it’s a very well-lit room.) My goal was to simulate the appearance of figures on a contest shelf at a game convention, but it also works as an arm’s length view for table play. Two of these figures were painted to display level or higher and took a lot of time to paint. Three were painted with simple techniques of dry brush and wash in a much shorter amount of time. And the other five are somewhere between the two extremes for time and quality investment. Which figures do you think fall into each category? And which do you think work look better in this arm’s length view?
The breakdown of which looks better on a shelf does not directly correlate to the the amount of time and complexity of technique/effect that went into painting each of these figures! One of the brown blobs is the figure I spent the most time on from this group – the top centre. The pictures of her are the most popular figure I’ve ever posted online; people love her in close-up view. Her face is well painted, and the cloak has a lot of elaborate freehand detail. Little of that is visible in a tabletop context. The thing that jumps out the most in the shelf view are her kneepads, which are not a focal point of the figure, so that’s far from ideal. The bottom second from the right is one of the moderate investment figures, and has similar problems. It was likewise very well-received when I posted large well-lit photographs, but when viewed from arm’s length in regular lighting, it looks like a blob of brown with a dagger.
The bottom centre is one of the more visually effective. It is one of the moderate painting level figures. The dark brown torso armour contrasts well with both her fair skin and hair, and her blue clothing. The blue isn’t a very vivid blue, but since everything else is a more neutral colour, it stands out by being a more intense colour than those it is next to. There is a visible freehand pattern on the blue cloth, but you could remove that and still have an effective tabletop figure colour scheme. There’s enough shadow-highlight contrast to add some dimension and visual interest, though it certainly wouldn’t hurt it to have a little more contrast in a few areas.
The bottom second from the left also reads well at a distance. It likewise has a colour scheme with one more saturated colour than the rest in the yellow tabard and staff wrappings. Although the yellow is the same value as the grey cloth, the saturation contrast is strong enough to visually separate the two. The brown leather trim is much darker, so it stands out clearly against both hues of cloth. You can get a good read of what kind of character this is and what he’s doing from this information. This figure was painted with washing and drybrushing for a learn to paint kit. From a distance it reads as well as the moderate level figure and better than the two brown blobs I spent much more time on.
The woman in the green dress on the top and the man on the top row far right both demonstrate the power of shadow-highlight contrast. You can clearly distinguish the peaks and valleys of the cloth areas on both, and that contrast on the cloth adds visual interest and dimension. The woman in green is one of the high display level figures, the far right one is one of the tabletop quickies. If you look at closeup photos of these, you will see complex painted texture on the green dress and rougher drybrushing on the blue tabard. But for the tabletop, it’s the high level of contrast between the shadows and highlights that makes the cloth on both stand out, not smooth transitions or detailed textures.
One lesson I derive from this quick study is that the basic colour choices we make for a figure have a huge impact on how eye catching it is from a distance. It is helpful to vary the values, hues, and saturation levels used throughout the figure. The more contrast between key areas, the better the viewer can read the main sections of the figure and determine its characterization and action. When values, hues, and saturation levels are very similar throughout a figure, the different sections visually blur together. This is less interesting to look at, and gives the viewer less information about the character. I’ve also learned that a colour scheme with one or two strong colours paired with a few more neutral colours can be very visually effective, and that contrast is even more critical for the tabletop than display (though it is important there, too!).
You can see another example below. These Robb Stark models were painted in a 90 minute speed painting challenge at CMON Expo 2018. The painters included several people who paint for a living, including Jen Haley, Elizabeth Beckley-Bradford, and Clay Williams. My figure is second from the right. I spent a fair amount of effort on nicely blending the cloak and some other areas like the leg armour. My figure has much less visual impact than the others. The biggest issue is that my overall colour scheme lacks effective contrast of value or saturation. That is compounded by too little contrast between shadows and highlights, and also a lack of contrast between textures.
The painters of these Robb Stark figures painted in a 90 minute speed paint challenge include Jen Haley, Elizabeth Beckley-Bradford, Clay Williams, and myself.
You can see the positive effect of value, hue, and saturation contrast on the other pieces. Compare the shine of hair and the highlights on the foreheads to see the positive effect of strong shadow-highlight contrast. The three pieces that use at least one saturated colours are more interesting to look at – they ‘pop’ a little more. The other painters all accented the textures of the quilted armour on the leg and the fur across the shoulders in a much more interesting way by using and adding to the texture sculpted onto the figure. The other painters have had much more practice than I have painting figures to look great when viewed from a bit of a distance away in a more limited amount of time, and it shows. Their experiences painting more quickly have taught them a lot about choosing colours, painting for the big picture, and prioritizing what to spend time on.
These observations suggest to me that spending more time thinking about and testing colours before I begin painting would be a very effective use of my time regardless of what I’m painting. Even if my goal is to paint something very quickly, spending some time on colour choices will have much more significant benefits than if I spent that time on painting details or using complex techniques.
Another lesson I see is that strong contrast between highlights and shadows within an area adds visual interest and clarity to a figure. For tabletop viewing impact it is much more important to push the level of contrast than it is to achieve flawless transitions between softer highlights and shadows.
You can see a group/unit example of some of these ideas in the photo below. I didn’t paint this goblin troop for the tabletop, but I used a lot of the principles I talked about above, and I did paint them more quickly and efficiently than most figures I paint. The skin is a strong saturated colour, the most saturated colour used on any of the figures, and that keeps the focus on their faces and postures. The cloth of each is painted in a variation of blue, which is the complementary colour to orange. So it contrasts with the skin, but because I used less saturated blues, the cloth doesn’t compete with the skin. The rest of their gear and the bases are painted with more neutral colours (browns, tans, greys, etc.). I used true metallics because I wanted the shine to contrast with matte colours used on the rest of the figures and help their weapons (and intent to use them) stand out a little better since these are pretty small figures. They aren’t perfect, but I think they read pretty well and look like a related group even when viewed from a distance.
Note that these kinds of colour choices still work as a great foundation when you do want to spend a lot more time and detail on a miniature. In fact, the best display figures have exactly this kind of foundation, and then the painter layers fancy brushwork like freehand and blending on top of that. The figures I’ve painted that look great in closeup photos but like blobs from a distance would look even better in close-up view if I’d done a better job choosing more effective colour schemes. It would be fair to say that I often use technical brush skills as a crutch to make figures I paint that have poor colour scheme design look better than they truly are!
I tried to bring out all the great details in these sculpts by Bobby Jackson if you do look more closely at them, but you don’t have to look more closely to understand who they are and what they’re doing.
You may see different lessons that you can apply to your painting if you make your own study. You might also find more specific ideas you want to try, like particular colour combinations.
2. Observe your Process
Start by observing the process that you currently use as you paint a miniature or three. Identify the tasks that take you the most time. Then assess how much those time-consuming tasks contribute to the end result of an effective tabletop mini, and think about whether you need to adjust how you approach those, or even if there’s a way to skip them altogether!
Painting eyes might be an example. For many of us this is a time-consuming part of painting a figure. Can you even see the eyes of the figures on my shelf picture above? How about the eyes on the figures below, all of which are well-lit studio photos.
You can also study this set of figures for more tips for what does and doesn’t read well at a distance. I paint a lot of what not to do examples!
How about the eyes in these photos of actual humans viewed from afar, how well can you see those?
Notice that strong value, colour, and saturation contrast in clothing and accessories is eye-catching in real life, too. You can immediately see the white bag next to black shorts, and the white apron and cleaning cloth against a red shirt. You probably did not notice on first glance that the woman wearing a white shirt is also carrying a white box, because there’s no contrast of any sort between her shirt and the box.
When we look at faces from any distance we often see two pools of shadows to either side of the nose rather than the details of the eyes and eyebrows. Well painted eyes add a lot of life and personality to a figure, and they impress those who pick up a miniature to look at it more closely, but they are not necessary for a figure to do its job on a game table. If you’re trying to get more miniatures on the table in less time, it’s a step you could skip. Just paint shadow into the eye socket area instead. You can always come back later and paint the eyes in more detail as your skills improve or when you have more time.
Think about other areas where you run into slowdowns and roadblocks. Those could make up the 80% of the time you’re spending that only contributes 20% to the end result. Are there places where you’re duplicating effort? Are you using more refined and time-consuming techniques than you need to? Are there ways to combine or streamline tasks? (I also have some suggestions for issues related to setup or time constraints.)
Also consider whether you’re currently spending enough of your working time on the elements you identified as effective in your study of other people’s figures. You will likely find that you aren’t. I don’t think I’m the only painter who often jumps straight into painting instead of taking a few minutes to plan out a visually effective colour scheme!
3. Experiment with a New Approach
Depending on what you observe when you study your process, you may want to experiment with some different approaches. Many of us paint area by area, working up a section to completion before moving on to the next. We may put more effort than we need to on a section and lose a lot of time that way. Or we may find that we need to repaint a section further on in the painting process because it doesn’t work with the colours we’ve added to the rest of the figure.
Using a sketching type of approach may be more effective. In this approach you work on each stage in all areas in sequence. So you start with all the basecoats (or zenithal highlighting or black and white sketch or similar methods.) Then you rough in the shadows and highlights on all major areas. Then you refine as much as time and desire permits by adding detail, smoothing blends, refining textures, etc. You can keep refining until you have a contest level entry, or stop as soon as you think the figure looks table ready or you run out of time.
The Betty figures are an example of the difference in these approaches. With Betty v2015, I painted each section individually in turn, aiming for a high degree of near-perfect finish in one area before moving to the next. On Betty v2021, I painted the basecoats first. Then I established the bulk of the values, transitions, textures, etc. in a few hours of painting on stream. At the conclusion of this stage, Betty v2021 looks less polished than Betty v2015, but she is completely painted. She met my goal of painting the figure in a single stream, and she’d look fine on a tabletop. Or I could choose to put more time and effort into the figure and clean up the messy lines and rough blends until she is a display quality figure with a similar level of polish to Betty v2015. (This final stage would be similar to the process I used to revise this blacksmith and this bugbear.)
When I use my section by section approach, I have to decide the standard I want to paint the figure to at the beginning. I also have to keep painting until I’m done, or if I run out of time there will be areas that are unpainted or painted to a lower standard than the rest. If I paint the figure as a whole, I can stop at any given point and consider the figure done, or refine to whatever degree I wish.
The following is an example of a figure painted in this manner by Sergio Calvo Rubio in a class demonstration. If you assume he painted the entire figure (to keep the class moving he didn’t paint the back or the one boot), he could stop at any one of the stages of these pictures and put the figure on the table to play with and it wouldn’t look blatantly incomplete. He could also keep refining and improving it past the point of the last photo in this sequence until it was a high display level quality piece. In terms of painting a display piece, if he found at one of the stages in the photos that his colour choices weren’t as effective as he had hoped, he wouldn’t be losing much time if he wanted to make some changes and repaint.
Painted by Sergio Calvo Rubio during a class.
I usually paint in my midtone colour on a section, then add shadows, then highlights, and then any tweaking I might want to do with blending, details, etc. I find that I am most successful in assessing the correct placement and value of shadows and highlights when I work in this way. Since taking a workshop with Sergio, I have been experimenting with painting up from the darkest shadow colour of an area. I do think that this is more time efficient. I might still rather work in my customary approach for really high level display work, but I suspect I’ll get more proficient with working up from the darkest colour the more I continue to practice.
There are several different approaches for how to get paint on a miniature, and I think it’s worth experimenting with them. You may find a new method that you love, or just some tips to integrate into your current process. If you do experiment with other people’s methods, remember that you will need to practice over several miniatures before you can accurately decide if you have a good handle on the approach and how well it works for you. Painting with any method or technique once and expecting that to it immediately catapult you to a new level or style of painting is very unrealistic! (I speak from experience on that!)
4. Tweak Your Current Approach
What if you feel like you aren’t currently in a position to practice radically different approaches to painting a figure? Maybe you don’t currently have the mental energy. Maybe you’ve found that working with colour mixes for one area at a time works better with the time and/or space you have available for painting. Maybe you’ve tried working more globally but found you don’t currently have the brush control needed to make that approach work. While I do think there’s a lot of value in exploring completely new approaches, I also think you can make smaller tweaks to your process and improve your speed and/or level of results.
Often the biggest challenge you’ll face in making smaller scale changes to your approach is that it’s very easy to just slip into autopilot and do what you’ve always done the way you’ve always done it. When first trying to make a smaller change, you need to stay conscious of what you’re trying to do differently and push yourself back on track if you start to drift back into your old ways. You’ll probably need several practice sessions where you turn off distractions like background music or video and work to keep your mind focused on your current goal.
I think it helps to start with what I suggested in point 2 above – observe your current process. Paint as you usually do, but consciously observe what you do. Identify the tasks where you really slow down. Take note of those points. I recommend actual notes not just mental ones. Then spend some time thinking about changes you could try that might address those issues. It might take a little thinking and experimenting to work out some possible solutions or improvements, but you’re likely to come up with ideas for how to use your time more efficiently.
Sometimes you’ll find the answers are simple things that will seem very obvious in retrospect! Years ago I decided to put together pre-mixed sets of paints for my convention classes because I was frustrated with the amount of class time that was being lost in discussing how to mix the colours. It took a year or two more for me to realize I could also pre-mix some paints for my own speed and convenience! Now I have a set of paints ready to go to paint white non-metallic metal (or monochromatic schemes), and another set for my most frequently used gold NMM recipe. I don’t use these on every figure, but when I need to paint a little more quickly or simply, they come in very handy! Pre-mixing some colours would be especially handy if you’re painting an army where you use certain colours repeatedly on a large number of figures.
Another approach I’ve tried that offered a lot of time savings (and that I’ve heard others recommend for a similar reason) was to work on all the midtones and highlights of the figure first, and then apply shadows to everything. A single shadow colour often works to shade several different midtone colours. For example, you can use a dark blue or purple colour to shade blue, green, purple, teal, grey, metallics, and sometimes even red. Dark brown works on natural flesh tones, green, gold metallics, most neutrals, and others. I think you could do this with washes as well as painting in shadows with layers, but you might need to selectively apply the wash just to more shadowed areas to avoid shifting the overall colour too much.
This is the approach that James Wappel was using some years ago. His methods and tools are constantly evolving, so he might be working a little differently now. Whether you study the wisdom of past or current Wappel, he is a terrific person to follow if you want to learn more about painting both well and fast. (I’ll include more links on where to find James’ wisdom at the end of this article.) He paints a lot of armies both for himself and clients. At the time when I painted the figure James was selling a Painting Pyramid series of videos. I painted the figure below following the approach he outlined in the foundational DVDs, and it was definitely more time efficient to do all the shading and weathering and such after the bulk of the painting was complete. (He has released many of the Painting Pyramid videos to his Patreon subscribers.)
I am the cause of any issues with this figure, not the approach. I did this exercise only once. It would have been much more fruitful to study the successes and failures of this attempt, practice again, study again, and so on through a few miniatures to really get a good handle on the approach.
5. It’s all in your Mindset
Many years ago I took a speed painting class with Aaron Lovejoy. He had us do a few things in class that were were not directly related to painting. He made us turn off our lights. He had us take off magnifiers or reading glasses (if we were using those). The goal was to get a miniature painted in two hours. A fussy, perfectionist-oriented painter like myself needed to be shocked into looking at the big picture and getting paint slapped on to all the miniature instead of worrying about perfect blends. And Aaron’s shock therapy approach worked! I painted (and flocked!) the figure in two hours. Does it look like one of the studio models I paint for Reaper or Dark Sword in a photograph? Of course not! But it looks pretty snazzy on a table!
I know longer remember why the red cloth is so shiny. I do remember how challenging it is to photograph shiny figures!
Some years ago I was asked to participate in a celebrity speed paint contest as a charity fund raiser. Not wanting to let down the charity, I thought I had better practice to get used to painting a full figure in an hour. I set a timer and got to painting. I did not finish the first one in an hour. Nor the fourth. But a dozen or so figures later, I managed it, and I managed it at the event, too. I also learned some tricks and got some ideas that served me well in my general painting. Every now and then I try to paint something quickly to keep on learning from the experience.
I wrote the time on the bottom for most of these. From the left – #1: 60 minutes, #2: did not record, #3: 120 minutes, #4: 70 minutes. These were painted at the end of my speed paint practice period, and are much better than the first few I painted I probably could not paint any of these as quickly now since I have not kept up my practice. Speed is a skill!
Both of those experiences suggest that one thing you might try to paint miniatures faster is give yourself a defined time limit to complete a figure. Maybe you’d like to start with two hours or 90 minutes, but whatever time you pick, take it as a serious challenge and motivation. Stop after your time limit and see where you are. You can go back later to touch it up if you want, but if you use the deadline for several miniatures, I suspect you’ll get closer and closer to finishing up within your allotted time.
The sketching method I described in point 3 might not work for everyone. It can take a certain amount of brush control, or require you to work with more colours out on your palette than works for you. Something else you could try is to scale down the sketching idea and apply it to individual areas. Another way to think about this is to change the goals/expectations you set for yourself rather than changing the method you use to apply the paint. For example, set the expectation that you’re trying to rough in shadows and highlights on each section and get this to the table rather than getting distracted attempting to paint super smooth blends and get bogged down spending a lot of time painting one part.
More and more I find that I begin with a roughing in process like that regardless of what end result I’m intending. Once I have things roughed in, I refine as appropriate for my end use. Unfortunately I don’t have as many pictures of the process as I would like to share with you, but I do have some examples. I have an example of roughing in and then refining some steel NMM. I also used a roughing in process on a little dragon. In both of those examples I could have left the blending rough and immediately moved on to adding some lining and details if I were painting a tabletop piece. You can also see me using that approach in the video of painting Betty v2021, particularly on the skin and hair.
6. Make Peace with It
Sometimes the problem isn’t what we’re doing, but how we feel about it. A lot of us torment ourselves by having conflicting expectations and behaviours. If you’re happy with your current approach (or do not currently feel able to significantly alter it), that’s great! There’s only a problem if you’re expecting your speed to dramatically increase but you’re not actively working on improving your speed. When you’re new to the hobby or new to a particular technique or tool, you will likely get faster using it as your familiarity and proficiency with it increase. However, there comes a time when that progress slows down and you will need to put conscious effort and practice into getting faster just as you have make conscious effort to get better.
When I tried the technique I described in tip 4, I did find it faster to paint the midtones and highlights first and then work on all the shadows. I also found out that I did not enjoy the process very much. I really like moments of transformation during the painting process. James’ method was quicker and more efficient, but also less satisfying for me. I made the conscious decision to stick with painting in my usual technique. In making that decision I also accepted that my usual technique took longer and that’s just how it was. I had to choose whether I cared more about speed or enjoyment. The only wrong decision would have been to go back to my slow ways and also feel bitter about the slow speed. (I recommend that you identify what you like about painting to help you make decisions like these.)
I think one of the main reasons my speed has improved since 2015 is that I have relaxed my expectations and loosened up a lot when I paint. I no longer expect myself to paint every miniature I paint to absolute best standard I can manage in the circumstances. I don’t have to get this part as close to perfect as possible before I can move on to the next part. Sometimes good enough is good enough. Acrylic paint is forgiving and I can go back and fix things later if there’s something I need to improve. With practice it gets easier and easier to match the colours of something I’ve already painted to make tweaks, and it never required the kind of exact match that I imagined it did.
The painters I know who are able to paint great looking miniatures in shorter periods of time have put a lot of work into getting faster. They’re painters like the ones I competed against in the pro speed paint event I mentioned in point 1. They paint for a living, and that makes them highly motivated to figure out methods to paint figures that look good in less time. They also paint a lot, and they use that mass quantity of painting as an opportunity to experiment with different ways to get results faster.
There are two painters I particularly recommend following: Aaron Lovejoy and James Wappel. Both are constantly experimenting, changing, and refining their approach to painting. While both of them do this because it’s their job, they also both stand out to me for their attitudes. They embrace the challenge and the experimentation. They’re excited to try new products and approaches. They love figures, they love painting, they love gaming with painted miniatures, and they love sharing what they’ve learned with others. I’ve enjoyed studying both of them as much for the lessons about enthusiasm and positive attitudes towards miniature painting as for the specific tips and tricks they’ve taught me.
People and Miniatures Featured in this Article
Sergio Calvo Rubio: website, Patreon, Instagram, YouTube, Facebook
Aaron Lovejoy: Patreon, Instagram, YouTube, Facebook, More
James Wappel: Patreon, Instagram, Twitch, YouTube, Facebook
Elizabeth Beckley-Bradford: Patreon, Instagram, Facebook
Clay Williams: website, Instagram, Facebook
Jen Haley: Putty & Paint
Betty the Bonesylvanian is a limited edition figure currently available while supplies last
The noblewoman is available in metal, coming soon in Bones plastic.
Madame Delia is available in metal, coming soon in Bones plastic. (Painting article)
Alistrilee is available in metal or plastic.
Thregan Helmsplitter is available in metal, coming soon in Bones plastic.
The Rum & Bones pirate is a member of the Wellsport crew.
Alec, Young Mage is available in metal, coming soon in Bones plastic.
Asandris Nightbloom is available in metal.
Romag Davl is available in Bones USA plastic. (Painting article.)
The Troglodyte is available in plastic.
I think the Robb Stark figure is included in the base set of the game, but I’m not 100% sure. I’ve seen it sold on the secondary market as well.
Two of the Bloodbite Goblins are currently available in metal. The entire crew is coming soon in Bones plastic. (Painting article.)
Beach Babe Libby by Hasslefree in metal.
Eriu, Champion with Greatsword in metal.
Tristan, Loremistress in metal from Reaper.
Female Shaman in metal from Dark Sword.
Barglemore and Camille in metal from Reaper.
Tiviel, Hellborn Rogue in metal and in Bones plastic from Reaper.
The goblin is Bocanegra the Little Tyrant.
The orc is available in metal or Bones USA plastic.
Ithamar, Pale Reaver is available in metal.
The Pathfinder Goblin Warriors are available in Bones plastic or metal.