How to Paint Hair

My first ever how to paint video is now available! You can watch my Reaper Toolbox segment on how to paint hair on miniature figures on YouTube. I thought it might be helpful if I posted some pictures of the figures from the video for people to reference as they practice painting hair. I’m also going to include the paints used and links to more Reaper Toolbox how to paint goodness. I’ll post the pictures roughly in the order they were presented in the video, with the colour recipe and links at the end.

At the beginning of the video I shared a couple of miniatures I’d painted from the Reaper collection. These demonstrate two very different approaches to sculpting hair, but I used the same basic approach for painting both of them. Unfortunately both of these were limited edition figures and are not currently for sale. The shirt featuring Sophie (which I am wearing in the video) is still available though!

ReaperCon 2018 Sophie hair exampleI visualized the light coming from the upper left in the front view picture. The figure has wings, so the back of the head is quite shadowed. 

Tristan hair exampleOn this figure I visualized the light as coming from the upper right in the front view.

Hair is sculpted with a strongly defined texture. Washing and drybrushing techniques work well to bring out sculpted texture, and can look pretty good used on surfaces like woodgrain, chainmail, and feathers. These techniques do not tend to look as good when painting hair, however.

Example of drybrushed hairI started with the same basecoat colour as for the rest of the demonstrations, and made a wash out of the same shadow colour. I drybrushed the strands by starting with the basecoat colour and moving up through the highlight colours. (I demonstrated this on only half the head, and have blocked out the other half.)

The fact that hair is made up of thousands of strands does not strongly affect how the surface of hair appears to us visually. Individual strands are barely visible if you’re standing even a foot or two away from someone. Do an image search on the word ‘hair’, and look at some examples. You’ll see that the way light and shadow falls on the hair is not vertical like the strands, but rather appears more in horizontal bands based on the shape of the head/body that it is draped over, and the shapes of large waves and curls.

Hair example from pexels.comThis photo from pexels.com illustrates how you perceive the horizontal bands of light and shadow on curves and curls more strongly than the strand texture of hair.

Example of painting blonde hairThis is an example of painting hair focusing on the larger shapes of the waves and curls and visualizing the light as coming from above – the shadow colours appear most on the underside of the curls, and the highlight colours are strongest on the tops of the curls.

Since it can be hard to get a good look at where people have placed various levels of shadow and highlight mixes if the blending between layers is fairly smooth, I also created a black and white example to help you more easily see where to place the highlights and shadows. This is just one interpretation based on a light source coming from above. Deciding where your light source is and which areas of your figure are more strongly lit or more darkly shadowed is where miniature painting gets more artistic, personal, and fun!

Black and white example of shadow and highlight placementI think some of the highlights are a little too far down the curve of the upper curls, but hopefully it helps you see the general idea.

On the video I demonstrated an alternative to drybrushing that is still quicker for tabletop use, but which follows the principles of where to apply the lights and shadows that I described above. This alternative is something many people call ‘dampbrushing’. When dampbrushing, you remove excess paint from the brush, but still leave it moist. Apply the brush perpendicular to the hair texture pulling it down or up the texture to pull paint off the brush on the raised areas, but leave the depressions shadowed. 

In the video I mention that I normally wear a magnifier and hold the figure a lot closer to paint, and you’re about to see an example of why I have to do that!

Dampbrushing example of painting hairThis example shows the basic idea of dampbrushing, but I could definitely have done a better job with this. The principles I describe work, what I needed to do was another layer or two of the original basecoat colour, and then I think I did need to use an additional transition mixes and work up a little more slowly. This looks choppy because the jump to the top two highlight colours is very sudden. I needed to build up more midtones with the Blond Hair colour and a mix between Blond Hair and Blond Highlight. 

This is a picture of the figure I painted on camera in the video. Once again you can see why I use a visual aid when I’m painting! If you are having difficulty getting the brush where you want it when you’re painting, sometimes the issue is as much to do with your eyes as your hands. Make sure you’re painting in good lighting. Some people use two or even three lamps in addition to the ceiling lights of their painting area! You can also use magnifying lenses. I recommend dual lenses rather than a single magnifying plate. Viewing objects through both eyes helps us best visualize their location in space. With just one magnifier, you will have more trouble getting the brush in the correct place on the miniature. If you don’t wear glasses, all you need is a pair of cheap reading glasses from a drugstore. If you do wear glasses, I highly recommend the OptiVisor brand of magnifying visors.

Comparison of reference example and on camera versionHere’s a comparison of my reference example and the one I painted on camera. This quick version painted without my magnifier doesn’t look as polished as the finished example, but I think it looks a lot more interesting and more like hair than the drybrushed example!

These are the colours used to paint the hair examples in the video. You can buy all of these from Reaper Miniatures online as well as in many retail locations. But as hair comes in a lot of different colours, you should be able to find some similar paints in your collection that you can practice with if you don’t want to buy more paint. The key to a natural blond hair look is to not use a lot of strong yellow colours.

IMG 8299

I’m including some additional angles of both the full colour and black and white versions of the figure in case anyone wants to reference these while practicing. The figure used in all of the examples from the video is Sarah the Seeress. She is available in both Bones plastic and in metal, and she is a terrific figure to practice painting hair on.

Colour example back view

Colour example back side and front view

Colour example top views

B&W example back view

B&W examples front and back side views

B&W examples top views

Reaper now has a playlist for all the Toolbox videos so they’re easier to find.

Reaper’s paint maven is doing live stream videos on Wednesday afternoons on Twitch. These are also posted on YouTube once completed. Anne is starting off by painting a black dragon. Watch episode one, or episode two here.

And in case you missed it, Reaper has announced that Bones V is coming – September 5, 2019.

Problem Solving: Tara the Silent Part 4 – A Sisterly Comparison

Please check the bottom of this post for information on where to buy these figure or receive a copy of the woman with the crossbow as a gift with purchase (during the month of May 2019).

In the previous instalments of this series (links later in the article), I walked through my work-in-progress steps of painting the figure Tara the Silent. My aim was to share the way I try to identify and solve issues during the process of painting a miniature. Progressing your painting skills has as much or more to do with improving your critical eye as it does with improving your brush and paint use skills. I think many people do not understand just how valuable it is to improve your ability to really see and analyze a figure (or other types of visual arts)! I know that I would have improved much more quickly and consistently had I been working on that as much as I focused on blending and other brush tricks.

It occurred to me that I could use Tara for one more exercise to try to help others build their critical eye. This exercise is one of comparison between two figures. Comparison can be as instructive as assessing a single work, whether that is a comparison of more recent work against older work, or comparing one artist’s interpretation of a figure against another’s. This exercise could also give you some insight to the challenges that contest judges face. You can imagine that these two figures are the final cut for a contest award, and determine which which you would choose and why. I will not share my analysis/thoughts until the section after the last picture. So if you want you can test your eye first, and then read my thoughts.

Anwyn and Tara, face viewsAnwyn the Bard is on the left, Tara the silent on the right. 

Although I have never before painted Tara, I have painted her ‘sister’, Anwyn the Bard. Reaper sculptors occasionally take a figure and do a significant conversion of it to create a different character. Werner Klocke first sculpted Tara, and then did a resculpt of the miniature to create the character of Anwyn. Even apart from the fact that the figures aren’t identical, this is more of a lemons to oranges comparison than an apples to oranges one. The colour schemes are quite different, even the cameras used to take the photos aren’t the same. But comparing like to like is pretty rare in comparison critique, and definitely rare in contest judging, so while the exercise is a little more challenging than a direct like to like comparison, it is an opportunity to practice the type of thing you’re likely to do more often.

If you’d like to review the previous instalments in this series, here are links:
Part 1: Colour scheme creation (and correction) on the fly.
Part 2: Spotting and solving conundrums of contrast.
Part 3: Giving the figure a thorough once over before calling it done.

Tara and Anwyn, front views

So what kind of factors could you look at when making a comparison? Likely the first elements that will jump out to many people relate to the colour scheme. We are very responsive to colour, and our initial reactions to colour tend to be visceral and subconscious. Building your eye requires a more conscious and critical assessment in addition to that emotional response. As a judge, I have often been a position of awarding high honours to something I might not personally ‘like’ in terms of colour selection or subject, but which is very skillfully done.

* Do the colours work together in a pleasing and effective fashion? (Depending on the subject and the intended scene, ‘effective’ may mean garish or gross colours that aren’t ‘pleasing’ in the traditional sense!)

* Does the colour scheme fit the character and the story/mood that the painter is aiming for with the figure/scene?

* What is the level of contrast between the colours of different areas, and within the shading and highlighting of individual areas? Is the level of contrast sufficient to visually separate different areas of the model and help the viewer identify what the various items on the figure are?

* What is the level of nuance and complexity in the colours? Are there subtle variations of hue within areas? Is there harmony in the shadow and highlight colours over the whole of the piece? Do the colours of the main figure(s) and the scenic element(s) work together and look like parts of a consistent whole?

Tara and Anwyn, right views

Brush skills are another key area to compare. 

* Precision of paint application, both in larger areas, and within areas for placement of sharp highlights and darklining as appropriate.

* The success of execution of details like eyes, small sculpted details, or pure painted details like freehand.

* Rendering of different surface textures – skin vs cloth vs leather vs metal vs wood vs dirt vs stone, etc. Is everything painted in a pretty similar way, or do these different textures stand out from one another in realistic and/or interesting ways?

* Consistency of rendering – is the overall level of the painting on the figure uniform? If you’ve ever wondered why something that looks fairly ‘plain’ scored higher in a contest than something with really great freehand or source lighting, consistency is often the reason. Doing an area or effect on a miniature spectacularly can fall short if the rest of the miniature is not up to a similar standard. That doesn’t mean that everything needs to have the exact same level of contrast or be super detailed! That is usually counter productive. You want to have areas of interest where the viewer focuses, and have areas that are less important fade into the background a little. But a miniature covered in detailed freehand standing on a base that’s had a quick wash and sloppy drybrush treatment isn’t as consistent as one with high quality but less flashy brushwork throughout the whole piece. 

(I will admit that consistency is an area where highly skilled artists can and have gotten away with doing things I just stated should not be done. Figures with errant brushstrokes, or areas that are barely base coated. Those of us of more modest talents are still well advised to aim for consistency as much as possible! I’ve also heard stories of people scoring lower or missing out on awards for having bits they ran out of time to paint to the standard of the rest of the figure.)

Tara and Anwyn, back views

Quality of preparation and the treatment scenic elements can make a bigger difference to a figure than it might seem. They might not jump out at first viewing the way colour and brush skills do, but they’re a critical foundation to those elements.

* Prep work – the figure itself is your ‘canvas’. No amount of brush skill can completely overcome a poorly prepared canvas. Removing mould lines is just the beginning. You may also need to fill in pock marks on surfaces meant to be smooth, accentuate textures, file or carve weapons to look a little more sharp or pointed, etc. 

* Assembly is also important. Gaps between limbs will break the illusion pretty quickly! A common issue is the attachment of the figure to the base. If the feet look like they’re floating slightly above the surface rather than firmly planted, the miniature does not look like it’s part of the scene and doesn’t look like it has weight and substance.

* It is important to paint basing materials and most vegetation type flock. It seems like you should be able to put small rocks or sand or whatever on a base and have it look like rocks and sand, right? But unpainted basing materials do not look in scale to a painted figure. They also don’t look like they’re part of the same scene lit by the same light source. Painting the elements of the base, and using colours you used on the figure in those elements makes everything look unified and more realistic.

The last comparison picture is below, so don’t scroll past it if you don’t want to read my analysis yet!

Tara and Anwyn, left views

I’ll be honest – I hesitated to post these comparison pictures. I painted Anwyn in 2006! I’ve improved in the last dozen years, but not nearly so much as I might have hoped or expected. I wish I had understood the concepts of deliberate practice and focused self-critique so much earlier than I did! (And truthfully I’m still struggling with incorporating those ideas completely into my painting process.) I worked hard to ‘get better’, but in such an unfocused and haphazard way. 

In the end I have decided to take my lumps and share this in hopes that it may help some of you get where you want to be faster and more efficiently. I know the lure of chasing the right brush, painting, blending technique, etc. is hard to resist. But it really is only half the puzzle. Training your eye to see better so you can identify specific issues in your work and iterate through working to improve them is immensely important.

The Photos!

I can’t help but be struck by the difference in the photo quality. My camera in 2006 was a $400-500 mid-range digital camera. The one I used to take photos of Tara is just a little better in quality (it’s a new technology class of camera, but it was also in the $500 range at time of purchase, so fairly comparable.) It’s now six years old and I am considering replacing it. Partly due to mechanical issues, partly in hopes of being able to add video to my repertoire. Both cameras allowed for setting white balance, f/stop, and other features useful to taking pictures of miniatures. Some of the difference is also down to my improving my photo taking set up with more lights, and use of a tripod, as well as using a grayscale card to help with editing the colours to look truer to life. I did re-edit the pictures from 2006 to try to make the comparison between photos a little fairer.

Colour Comparison

I quite like the colour scheme on Anwyn, and suspect many people will prefer it to that used on Tara. I’ve been thinking about having another go of that colour scheme for a while now, and I hope a figure it will suit presents itself soon. Tara’s colour scheme is fairly well suited to the character, but lacks a little oomph from an artistic point of view.

Although there are some nice areas of highlight on Anwyn, I think I have improved my level of contrast over time. There are much deeper shadows on Tara than on Anwyn, as well as stronger contrast between some colour areas. I think the contrast difference is most noticeable in the hair and the non-metallic metal. That said, Tara has some contrast issues and needs stronger and more small top level highlights throughout most of the figure. The level of contrast isn’t that noticeably problematic in a photo, but viewed at tabletop distance she lacks the desired level of ‘pop’.

When it comes to nuance and complexity in colour, there I feel I have made noticeable improvement. Anwyn’s colours play it straight, and that results in a bit of a plastic, artificial look. Shadows and highlights are just darker and lighter variations of the midtones. There is no added complexity of colour in the face like blush or interesting shadow colours. The lack of colour complexity/variation is particularly noticeable in the difference between the two bases. Both are pretty simple, but Tara’s seems much more ‘real’ and related to the figure, largely because of the way it’s painted more than the types of scenic elements used.

Brush Skills Comparison

I don’t think it’s particularly evident in the areas of detail in these two figures (eyes, darklining, and so on), but I am confident that my brush skills overall have improved. The end result may not be strikingly different, but at least the level of frustration and effort required to achieve it has changed!

I am much more conscious of painting different types of textures and surfaces now, and I think that is pretty evident in comparing these two figures. Every area on Anwyn is painted in the same smoothly blended fashion, with the possible exception of her hair. I was obsessed with achieving smooth blends, and I think that shows. Tara demonstrates a lot more of an understanding of different materials having different textures – rough stone, worn leather, wood grain, shiny hair, etc. The transitions on the NMM are a little more varied and better represent the way reflected light can appear than the perfect smoothness on Anwyn’s NMM.

Preparation and Scene Setting

Both of these figures are presented on very simple bases, so there’s not a huge amount to assess there. I do think that my ability to make a decent looking simple base has improved, though that may not be saying much. ;-> Anwyn’s base is very simple, and lacks a bit of variety that would make it more pleasing to look at. The flowers very much look stuck on instead of being a bit more naturally part of the rest of the foliage.

I’ve always been a bit fussy about prep, so there’s not a bit change to look at as far as that goes, either.

Conclusion

The end of the month crept up on me, so I’ve had to write this a bit more quickly than I usually prefer to do. Likely many of you will have spotted lots of issues with both of the figures or differences between them that I did not see. Feel free to share those in the comments. I am putting these figures out there to give people a chance to exercise their critique skills, so I have no problem with you tearing them apart. :->

NOTE: I thought I had set these pictures to display at a larger size. Clearly I’m still working out some blog technology. I will see if my IT department can help me post the pictures I intended.

You can purchase the Bones Black plastic version of Tara the Silent during the month of May 2019 (while supplies last). Orders made on the Reaper website during the month of May will receive one free Tara for every $40 (or other accepted currency) worth of pre-tax/shipping order. So if your order totals 82.99, you would receive two free Taras. A metal version of Tara is also available. Or you can buy a version of Tara sculpted by Sandra Garrity in metal. Anwyn the Bard is available in metal, or in classic Bones plastic.

Problem Solving: Tara the Silent Part 3

Please check the bottom of this post for information on where to buy this figure or receive one as a gift with purchase.

At the end of Part 2  I explained how I try to take photos of a figure when I’m nearly done so I can check for issues to fix. I included my photos of this stage for Tara, inviting you to spot problems in my painting. I’ll share the two main views again now so you don’t have to flip between two blog posts.

Tara WIP final check front

Tara WIP final check backAlmost but not quite done…

Here’s the list I made of things I needed to add, alter, or fix. I just jotted things down in the order I spotted them, I didn’t go through an exhaustive checklist or anything. I will expand on/translate things from exactly as I wrote them down so they’re understandable to people who are not me, however. :-> 

* Soften the edges of the highlight on the nose, and broaden it to a wider area.

* Smooth the transitions on the cheek highlights.

* Tidy the edge of the shirt trim on the left collar point.

* Clean up the bottom edge of the top buckle.

* Glaze the leather texture.

* Smooth the highlight transitions on the arrowhead.

* Soften or increase gradation on the transition from the upper lip highlight to cheek area on both sides.

* Paint the base rim. (Hey, sometimes it’s easy to overlook the obvious!)

* Check the murky look to the shadow under the rib on the bow side.

* Darken the skin? (The question mark was in my notes. I had intended to paint a skin on the darker side of the mid range and wasn’t sure I had succeeded.)

* Paint the lips. Add pink/red glaze to cheeks.

* Add additional bright hair highlights in small areas.

* Clean up overly-wide strand line on the back of the head.

* Tidy up chin highlight.

* Check/improve brightest highlight on the quiver.

* Clean up edge of the bottom of the quiver.

* Add dirt glaze to steel areas.

* Glaze purple into shadows of most areas, particularly skin, blue.

* Clean up the shirt trim near the neck on the shoulder pad side, looks like blue got swiped on some areas of it.

* Increase highlight on waistband of pants.

* Smooth transitions on the steel of the shoulder pad spikes.

How many did you spot? I look at these pictures full size; there may be issues that weren’t too apparent at blog-friendly size, so don’t feel too bad if you missed some.

ADDENDUM: I was asked on my Facebook page to give more detail about the glazes I used on the leather and the steel. This was my reply.

By glaze, I mean heavily thinned paint. Closer to coloured water than thin paint, really. With Reaper paints you can use just water. I often use a mix of Brush-On Sealer and water. I almost always will test a glaze to make sure it is indeed super thin and transparent, since if I get it wrong on something like the leather texture, I’ll be covering over minutes or hours of work with a couple of brushstrokes I can’t remove once they dry. I test it by painting it on to a piece of paper and checking that it just barely tints the paper once it dries.

I also use the term glaze to mean paint applied in a deliberate, controlled manner. So while it’s thin like a wash (or thinner really), I do not slop it all over like you would with a wash. I dip my brush in the paint, and then wick a lot of it off on to a paper towel. Then I apply a thin coat only where I want it to be. In the case of the steel, in crevices and other areas that aren’t going to get rubbed with use or are harder to polish. In the case of the leather, I was using it to shift the colour and tone down the appearance of the texture, so I applied it all over the leather areas.

The glaze did not texture the leather. If you look back at the previous pictures in Part 2, there was plenty of texture on the leather long before I got to the end stage touch ups. The texture was built up in layers with unthinned or only slightly thinned paint. The point of the glaze was to tone the texture down just a little, since she’s a well-kept adventurer and not a half-wild orc or something. I also used it to shift the colour to a little more orange to play up the colour complement contrast with the blue.

On the steel areas, I used a similarly thinned glaze of a dark brown colour. I keep this away from the lighter highlights. Partly because these areas are likely to be well polished and maintained, and partly because even super thin paint like a glaze painted over while will make it darker, and that’ll make the NMM less shiny.

I didn’t use the term, but some of the other places I used glazes were to add purple in the shadows of the skin and blue cloth, and to add a little bit of a blush to her cheeks.

How many did you spot? I look at these pictures full size; there may be issues that weren’t too apparent at blog-friendly size, so don’t feel too bad if you missed some.

More importantly, how many things did you spot that I missed?! On later reflection, I think I may have missed some big picture type stuff. And probably some small stuff, too. Feel free to let me have it with your critique!

Here are the pictures of the finished paint job, after I addressed the issues I outlined above.

Tara - final face

Tara - final front

Tara - final right

Tara - final back right

Tara - final back

Tara - final left

If this piece had been intended for competition, my ideal would have been to finish it some time before the deadline. I’d put it somewhere I see often so I could look at it over time. Or perhaps not look at it all for a few weeks, and then bring it out again. After some time had passed and I’d been working on other things, I’d be able to come back to this with fresh eyes. That would be especially helpful to getting a view of the overall effect of the figure, the big picture. When you’re in the thick of painting something it can be easy to spot something fiddly like improving the nose highlight, but a lot harder to step back and see the big picture effect to judge how the overall colours, values, and other contrasts are working. It is very important for a competition piece to ‘pop’ on the shelf/table, not just look amazing when you stare at details close up. Popping out viewed at a distance is what makes the judges and other viewers want to look closer to see and appreciate all the detail work. (And also what looks most effective for tabletop play!)

You can purchase the Bones Black plastic version of Tara the Silent during the month of May 2019 (while supplies last). Orders made on the Reaper website during the month of May will receive one free Tara for every $40 (or other accepted currency) worth of pre-tax/shipping order. So if your order totals 82.99, you would receive two free Taras. A metal version of Tara is also available. Or you can buy a version of Tara sculpted by Sandra Garrity in metal.

Problem Solving: Tara the Silent Part 2

Please check the bottom of this post for information on where to buy this figure or receive one as a gift with purchase.

In my last post, I outlined some of my thoughts as I started to paint the classic Werner Clock figure Tara the Silent, with the aim of sharing how how I spot problems during the painting process and try to come up with possible solutions.

I ended the painting session with the figure as seen below. The light is imagined to be coming from above and to the right in the front view photo. I had settled on the colours for the skin and cloth areas and finished painting those areas, but when I looked it over the next day, there was something I wasn’t quite happy about with how I had painted it. This issue relates just to the skin and/or cloth, the other areas of the figure are just flat basecoats, and are going to be changed to different colours.

Tara - WIP blue clothAt the end of the paint session where I switched the cloth colour from green to blue.

When I looked at the figure the next day, I felt like the highlighting on the front of the legs stood out more strongly in comparison to the other areas of the cloth or the skin. I was unhappy with that for two reasons. One is that I was not intending the thigh/knee area of the figure to be a major focal point for the viewer. The other is that it does not evoke the imagined light source very well. If the light is coming from above and to the right, the right side of the face and torso should be more strongly lit than lower areas of the body. 

I debated whether to just leave things as they were until I was further along in the painting process. It is always challenging to accurately judge elements like value contrast while areas of the figure are incomplete. Our perception of colours and values is heavily influenced by the colours and values around them. (This is particularly true when you use a strong value primer like white or black.) I find I always need to tweak a few things at the end, so often it’s more efficient to wait to address things like this until that stage. If you scroll down and look at a later stage picture, you can see that in fact the value contrast on the cloth overall seems much more muted once the lighter value areas like the trim on the shirt and the non-metallic metal areas are added.

But the lighting being off nagged at me, so I decided to address it before I continued painting other areas. I reduced the brighter highlights on the legs to confine them to a smaller area, and also painted in more midtones and shadows in the front of the legs. I then increased the brightness and the overall area of the highlights on the chest and shoulder.

Tara - WIP blue cloth with adjusted highlights and shadowsNot perfect, but I like it better.

Finally it was time to move on to making more colour choices. Since I was going with an overall darker colour scheme, I decided to go for a somewhat worn leather texture. I’ll be going over this type of contrast in a lot more detail in the future, but it is usually most visually effective to have a strong value difference between adjacent areas on a figure. (An example would be dark skin next to a light value shirt, next to a medium value skirt.) Sometimes that isn’t possible to do, whether because of your concept for the figure, or just having too many areas that are adjacent to one another. When adjacent areas are similar in value, it is important to create contrast between them in other ways. Colour contrast is usually what people will think of first, and I did use that here, picking orangey browns to contrast with the blue cloth. But using different kinds of textures is also a handy tool in that situation. (Note that smoothness like cloth is also a texture, and that there are different kinds of smooth – from dull like wool to shiny like satin.) 

Tara front WIP - main colour scheme establishedMuch more of a classic rogue look now. But maybe she blends into the background a little TOO much for a visually striking miniature paint job?

Tara back WIP - main colour scheme establishedAnd what the colour choices look like on the back view. This is a Klockenbooty figure, the back view is important. ;->

I definitely felt like she was looking like more of a classic blend into the background type of rogue. Almost a little too much so in the sense that I felt my paint job was very dull to look at. That was another problem to work out – what was missing or not quite working? One feeling I had was that it lacked colour complexity. In this case, I decided I would leave making a judgement on that until the end stage clean up. My touch up phase always includes some glazing and colour shifting to add interest and depth. 

Based on conversations I’ve had with people who are frustrated with their painting, I think this is one of those points where frustrated painters would have given up – just stopped painting, or even stripped the paint off the figure and started again. The thing about miniature painting is that you can’t always assess whether everything is working in the middle of the process. Expecting the areas you think you’ve finished AND the miniature as a whole to look good throughout the entire painting process is unrealistic. If you’re thinking like that, your mindset is more the cause of your frustration than your painting skills. What you need to do is push yourself to paint through these points and get several miniatures to the point of completion and THEN critique those figures as overall pieces to get a sense of areas where you’re weaker and need to work to improve. This is also true of many effects within the process – a lot of things don’t look good until you’re done or at least 90% done. (Examples include non-metallic metal, transparent cloth, and numerous others.)

So even though I wasn’t super enthused about the figure at this point, I proceeded onwards with the details – the trim and lacing on the top, the string on the crossbow, the arrow fletching, some decorative gold NMM, and some steel NMM areas, and then of course the hair. The hair is a fairly sizeable area of the figure, not a smaller detail, but I generally prefer to leave painting hair until a later stage as the top of the head is more likely than other parts of the figure to experience paint getting rubbed off while holding it in order to reach to paint other areas. I usually paint weapons extended in hands near the end for a similar reason. Affixing the miniature to a holder really helps minimize these kinds of rub-off issues, but I’m just in the habit of painting hair near the end now.

Tara front WIP - details and hair paintedSince many of the detail areas include lighter value colours, adding them in helps move the eye around and breaks up the dullness of the main colour scheme choices.

As I started to paint in the details, I felt the figure was already looking less dull. Why is that? I think it’s because the major areas of the figure that I had worked on (skin, cloth, leather) are all in the dark to mid sections of the value range. They are also fairly matte textures, so the range from highlights to shadows doesn’t include very many areas of light values. The trim is a lighter value, and so are the midtone and highlight colours of the non-metallic steel and gold areas. Those small pops of lighter value colours help keep your eye more engaged and moving around the figure.

Although I was resolved to leave addressing most problems until the final touch up stage, that doesn’t mean I didn’t touch anything already painted. If I have paint on my palette that fits in with other areas of the figure, I’ll often add some glazes or do other touchups. During this phase of painting Tara, I added a bit more texture and highlighting to the leather, touched up the highlights on the face a little, and added some touches of brown to the rock she’s standing on.

When I reached the point of feeling I was pretty much finished, I took a few quick photos and edited those the same way I would my final photos. I find it is helpful to check photos before I go to the final touch up stage. It usually saves time. There is almost always at least one thing that looks odd in the photos that I don’t notice looking at it in person, even wearing a magnifying visor. As another opportunity for you to exercise your artist’s eye, I’m going to share my final check stage photos here. I’m sharing at a decent size. In practice I actually look at the photos heavily magnified so I can see all the issues and goofs as well as possible. Though it is also important to look at them at a smaller size to get more of a sense of how the colours and values work on the figure as a whole. I do want to find the problems with details, but I don’t want to get lost in the details and miss the big picture!

I tend to find my touch up issues fall into a few main categories. I write out the issues I spot on a piece of paper I can take with me to my painting so I don’t forget anything while I’m doing my touch up painting.

Final details: There are a few details I often leave until this stage so I can use the paint colours from those in my touch-ups.

Neatness: stray brush strokes, lining that has gotten fuzzy, or edges that need more highlights.

Blending issues: places that should look smooth but where I see transition lines, or perhaps areas of texture that don’t look as textured as they should.

Value problems: Areas that need stronger contrast between highlights and shadows.

Colour: colours that look a little dull, areas where colour is more uniform than it should be. (Skin is not uniform in colour tone, metal reflects surrounding colours, etc.)

In addition to these pictures, you can also study the face view shown above, it was taken at the same time as these final check photos.

Tara front WIP final check

Tara right WIP final check

Tara back WIP final check

Tara left WIP final check

Did you spot where I went wrong in the first set of photos? Are you ready to scour my final check photos above for errors and issues? I’ll share my checklist of issues to fix in the final chapter of this series on problem solving in a few days. I’ll also share the completed photos, and some thoughts and critique of the paint job as a whole now that I’ve had some time to reflect on it.

You can purchase the Bones Black plastic version of Tara the Silent during the month of May 2019 (while supplies last). Orders made on the Reaper website during the month of May will receive one free Tara for every $40 (or other accepted currency) worth of pre-tax/shipping order. So if your order totals 82.99, you would receive two free Taras. A metal version of Tara is also available. Or you can buy a version of Tara sculpted by Sandra Garrity in metal.

Problem Solving: Tara the Silent – Part One

Please check the bottom of this post for information on where to buy this figure or receive one as a gift with purchase.

Oftentimes I talk about painting figures in terms of planning in advance – working out the direction of your light source with reference photos of value painting, for example. But that’s not always how we paint, and even for those who do plan a lot in advance, sometimes the plan doesn’t work as anticipated and you encounter problems along the waythat you need to figure out how to solve.

I think the ability to critically analyze the issues with your painting of a figure and come up with possible ways to address those is one of the things that separates intermediate level painters from top level painters. It’s a similar skill to what you would use to try to create a new effect like a particular kind of cloth texture or something along those lines –  analyze a particular visual effect,  try a method to try to reproduce it, analyze the result, and adjust. A critical eye and problem solving are useful skills to develop for a number of different purposes in miniature painting or any other art form.

So I thought it might be helpful for me to try to share some of my own experiences doing this. To really help people learn to paint, I think we need to learn to help them have more insight into the thought process behind decisions and corrections. That kind of information can be just as useful as step by step information on techniques or colour schemes. It’s the paint equivalent of teaching you how to fish rather than giving you a fish. ;->

Tara the Silent is an iconic Reaper Miniatures character that there have been a few different sculpts of over the years. I’ve even painted one before! (And then I painted her again, where she provided a good example of ways to paint with more contrast.) Reaper has reproduced the classic Werner Klocke version in their new Bones Black plastic material as the promotional miniature for the month of May 2019, and I was asked to paint the catalogue version of that figure. 

My initial concept idea was to paint her up as more of a scout type rogue than a classic thief sort of rogue. I also wanted to paint her skin tone using some of the colours that paint maven Anne Foerster talked about on a recent episode of Reaper Toolbox. (Jump to minute 11 if you want to get straight to the paint talk.) In this case a somewhat darker skin tone, using Ruddy Flesh as the midtone. To work with that, my first thought was to paint the cloth khaki green, and the main leather a dark reddish brown, with a very dark brown for the hair and other leather accents. My idea was to paint her as more of an army scout type rogue than the classic skulk in the dark type thief. When I sat down to begin painting her, I quickly roughed in that colour scheme.

Tara - block in of green colour schemeA cell phone pic of my initial quick colour scheme idea. I don’t know the trick of taking nice cell phone WIP pics. 

I wasn’t that happy with this test colour scheme, and the art director at Reaper wasn’t, either. One issue is that, as it stands, it has much more of a ranger than a rogue feel. It’s always a bit hard to tell for me on plain mid-tone basecoats, but I don’t think there was a large enough value difference between the main areas of the figure, and the colours weren’t dark enough to convey more of a rogue vibe.

Tara - green colour scheme, painted skinSince I was on a deadline, I went forward with my plan for the skin and painted that up while pondering another direction for the overall colour scheme.

So I stuck with my plan for the skin, but switched to a dull darkish blue colour for the main cloth areas. (The art director also preferred that the figure be painted as if wearing a sleeveless top. As sculpted, I think you could paint it as either sleeved or sleeveless, whichever fits the painter’s taste.)

Tara - cell phone pic of blue colour schemeI settled on a somewhat desaturated blue for more of a classic rogue feel.

We both felt much happier with where that was going. So that is one example of problem solving. If you try something and you don’t love it, study and try to figure out what you don’t love. A lot of these kinds of things, there’s not going to be one perfect correct answer. I think I could have made tweaks to the original colour scheme to make it work better. For example, I think I might have been able to rescue my original scout concept by making both the khaki clothing and the red-brown leather darker value versions of those colours. Or I could have evoked more of a classic rogue feel with black, dark brown, dark purple, or several other ‘shadowy’ colours on the cloth, blue isn’t the only colour that would have worked. (And ideally I might have done the step of working out the colour scheme on paper or on a test figure, but sometimes the real world is far from ideal.)

Tara - work in progress 2 frontA better quality picture of the change to blue cloth for the colour scheme.

Tara WIP 2 back viewAnd what the blue looked like on the back view. At this point only the skin and cloth are the new colour scheme.

While I was happier with the main colour choice, when I came back to look at the figure the next day, I felt that something was a little off about the execution of the painting. Since it’s often easier to do this kind of analysis on someone else’s work, I’m going to end this post at this stage of the painting process and give you a chance to study the photos for a while and see if anything seems off to you. It’s always harder to tell when the painting is mid-process and doesn’t have all the main values laid in. But it’s still a useful opportunity to give you a chance to build your eye a little. It may also be helpful to note that I wasn’t using a reference photo, but my visualization for the light source is that it is coming from above and to the right in the front view pictures. I’m also not locked in to any of the other colour choices, so this relates only to the finished areas of the skin and/or the cloth.

I suspect that many of you will find additional issues to the one that was bothering me, so this is not necessarily a one right answer question!

You can purchase the Bones Black plastic version of Tara the Silent during the month of May 2019 (while supplies last). Orders made on the Reaper website during the month of May will receive one free Tara for every $40 (or other accepted currency) worth of pre-tax/shipping order. So if your order totals 82.99, you would receive two free Taras. 

A Very Special Miniature (and I Have Awesome Friends)

This is going to be a bit of a departure from my usual blog post topics. I’m going to mention some miniature related stuff, and a convention, but I’m also going share my personal thoughts about some pretty special people. I try not to go on about it too much online (or even in person), but I’m not always the most positive of people. Sometimes it seems like every day brings another piece of news that shakes my faith in humanity a little bit more. But recently I have found my crumbled faith being built back up by the altruism of a number of people I know. Some are good friends, others I don’t yet know very well, but all have shown impressive compassion towards myself or other people in a way that has profoundly touched me. (And in many cases in ways that relate to miniatures or general geekery, so this a little related to my usual topics. A little. ;->)

Convention season continued for me this past weekend, but this one is a little different than the others. For one, the convention is local to my home town of Knoxville, Tennessee and I didn’t have to travel. But what really makes Save versus Hunger stand out is that all of the proceeds of the convention apart from operating costs are donated to Second Harvest Food Bank of East Tennessee. The convention is even held at their facility! (Which is a former furniture showroom/warehouse they rent out for banquets and such, so it’s actually a pretty nice environment.) The convention is primarily for role-players, but my husband and I help out to provide some other activities people can enjoy. I run a miniatures paint and take table, and he sets up a library of board games for people to play.

Save vs Hunger convention miniature Sprout von Harvest IIMeet Sprout von Harvest II, brave hero and wielder of the Save vs Hunger shield. Sculpted by Bobby Jackson.

Last year one of the convention organizers suggested that it would be pretty nifty to have a custom miniature for the con. Although I do know some people in the miniatures industry, it seemed like quite a long shot to ever get a figure made. And yet, it happened! Bobby Jackson did a fantastic job sculpting this piece, which turned out exactly as we all had hoped. And Ron Hawkins from Reaper Miniatures helped me to get it cast, even though Reaper no longer does contract casting work. I’ll share a little bit about the painting of this figure in a future post, including the front view. :->

SvH logo on Sprout's chest armourBobby Jackson didn’t just sculpt the shield to look like the Save vs Hunger logo, he included a teeny tiny version on the chest plate of the armour!

While a collectible unpainted miniature is a new addition to the convention, traditionally Save vs Hunger also has a show stopper painted miniature available as a prize on the raffle table. The raffle table is full of geeky delights like games and dice bags, and ticket sales are a big donation generator at the con. Usually Cera Smith (who also does cool Magic card repaints) contributes a giant painted dragon that drives a lot of raffle ticket sales. Unfortunately she was not able to do so this year. I wasn’t up to painting a dragon, but I thought a painted version of Sprout ought to be in the raffle. And since that wasn’t much of an offer compared to a whole dragon, Sean Fulton stepped in to help beef up the prize offer. He contributed two wonderfully gory ghouls for Sprout to fight, AND a pack of very well painted resin bases! And he also donated some new brushes to the paint table! That’s on top of all the charitable work he does with the Nova Open Charitable Foundation. (And if you’d like a chance to buy raffle tickets for charity where you can  win some amazing painted miniatures, you will want to check out NOCF!)

Ghouls frontSean Fulton did a fantastic job painting these ghouls up to be super creepy and gross.

With a special con miniature lined up, I thought that the paint table at Save vs Hunger would be even busier than usual. And I worried about that, because most of the local friends I was hoping could help me out were unavailable. Even some of the non-locals who’ve come in the past had other commitments. Once again some wonderful people stepped up. Erin Hartwell (Corporea in the miniature world) drove all the way over from North Carolina, as she has done several years in the past. And this year we were able to offer miniature painting classes for the first time ever thanks to David Cecil (LordDave) coming in from Louisville, Kentucky. (If you’re into mini painting and near Louisville, check out the great painting group they have in the area – Llama!)

IMG 7099Here’s a pic of David Cecil reaching into his literal bag of tricks during one of the painting classes.

I also put out a call for help to our local Knoxville painting group (Knoxville Area Miniature Painters, aka KAMP), and I got a great response. Thank you so much Kristen, James, Brad, and Tammi. It was wonderful to get to know you all, and I really appreciate your help this past weekend. And a big thank you to all of the people who came out to paint, play, eat, and buy raffle tickets in support of the cause. My husband and I have a variety of charitable interests, but being able to use our personal passions and knowledge to help raise money to feed people in our local community is very meaningful to us. I am deeply moved by the friends both near and far who contributed to the effort this year. (And in years past, of course!) Thank you!

The final total raised this year was announced a few days after the end of the convention. $19,311! I believe that exceeds last year’s total by more than $1000.

My husband and I have been very fortunate to have been helped by friends on a more personal level lately, as well. One of the distractions that’s been keeping me from getting back to making meaty blog posts is that our home suffered some damage in the flood rains that hit the South a few months back. Our damage was pretty minor compared to what many suffered, but more than our feeble non-handy abilities could deal with on our own.

Just after the floodOur rec room flooded along one wall. Everything had to be moved to pull out rotted shelves and rip up the carpet. Which was made more difficult by the fact that planned house repairs meant we had even more stuff in the room than usual.

We have been very fortunate to have friends who do know what to do who have generously shared their knowledge, tools, and most of all, precious time to helping us not only damage control, but even upgrade and improve the room. (Begone horrible 70s decor!) I want to shout out our thanks to Trip, Norm, Nathan, and Astra. It means a lot to have you use some of your precious non-work hours doing such hard and tedious work to help us!

Improved rec roomIt’s not quite done, but what an improvement already! New paint, new floor, new doors. Same old cranky cat, though. This flooring is waterproof. Just in case…

Efreeti Paint Process and Colours

There seems to be some interest in knowing more about how I painted the Efreeti figure for Reaper Miniatures March promotion. The promotion – for every $40 you spend at the Reaper site during the month of March, you will receive a free copy of this miniature, which can also be purchased separately. It is provided in Reaper’s new Bones Black plastic, and was also available as a selection in their fourth Kickstarter, which will be shipping out to backers soon. (So it’s available now during March, then will ship to Kickstarter backers, and then will be available on the website again at some point in the future.)

(NOTE: I will be attending the Cold Wars convention to teach classes until next week. I will try to approve comments and answer questions as best I can, but if my schedule or tech access doesn’t permit, I will catch up on them next week, promise!)

Efreeti front on black backgroundMy painted version of the Efreeti figure from Reaper Miniatures. This is a resin master copy, as the figure was not yet available in the Bones Black material at the time I was assigned to paint it.

Every miniature (with the possible exception of completely scratch sculpted figures) is a collaborative process, and that is certainly true of this one. It started with Izzy ‘Talin’ Collier’s fantastic concept art, which sculptor Bobby Jackson did a wonderful job of bringing to three dimensional life. Before I began painting, Reaper’s art director Ron Hawkins and I talked about his vision for the colours of the character. While I have played role-playing games for many years, I’ve played in a lot of low level and custom world campaigns, so I’m not as familiar with some of the classic creatures and characters of the RPG world as you might expect. As a result, I always like to collaborate with Ron to make sure I’m painting the classics in a classic way!. 

This was my colour brief – red skin on the darker side, hair with flame-like colours, and yellow metals for armour and accessories. So yellow, orange, and red, both in fully saturated form for hair and skin, and less saturated form for the metals. That sounded like a classic analogous colour scheme. An analogous scheme is one that uses 3-5 colours that are side by side to one another on the colour wheel. Because the colours are adjacent, they work very harmoniously with one another, and you can be confident that everything ‘goes’. What you lose in that colour scheme is the punch and pop you can achieve by pairing complementary colours – colours which are opposite one another on the colour wheel. Analogous colour schemes can be very effective in graphic design, and with certain subjects/approaches in traditional art forms. But when it comes to portraying something of any complexity, to me they seem a bit gimmicky or limited in the situations in which they work effectively.

Colour wheel showing red through yellow analogous colour schemeA colour wheel can be a handy tool to help you choose colours for painting a figure, and quick reference for useful concepts like complementary colours. I like that this one shows tones and tints as well as pure hues. There are also a lot of great pages and programs available online related to colour schemes and selection.

I was excited about the prospect of being able to try a true analogous scheme on a figure since I had never done it before. Neutral colours are generally considered apart from the colours that make up a colour scheme, so I added black to the colour options both for mixing shades and as a minor colour for leather straps, horns, and claws. This was also a departure – I very rarely use plain black to darken colours. I far prefer to use a dark blue, brown, purple, even green or red depending on what I’m shading. White was added to make the hottest part of the fire and for the top highlights on the metals.

I had a firm deadline for completing this figure, but a whole lot of outside life issues kept getting in the way (flu followed by literal flood, and that was after some other issues even getting started!) While I enjoy colour mixing in my traditional art studies, for miniatures I often prefer to use as many pre-mixed convenience colours as I can, supplemented with custom mixes of my own as necessary. This allows me to quickly get paint on my palette and refill as necessary if I start to run low on a mix. This figure is almost three times the size of a standard gaming miniature, which is a BIG figure for me. I definitely ran out of mixes as I was painting! (You can read a little more about paint choices, colour mixing, and convenience mixes in a previous blog post.)

IMG 5727The bottom row on the palette shows the value range and the intermediary mixes I used to paint the skin. After I had paint on everything I added one slightly brighter final highlight to a few small areas on the face. You can also see the corner of my reference photo over on the right, and some colour scheme test figures behind the Efreeti.

Before starting to paint, I did a little testing to pick my colours. I chose to go with a cooler red rather than a warmer red mix for the skin, and I also had my colours set for the hair from the outset. (A cooler red has a touch of blue, a warmer red is more orangey.) I did some Google searches for bronze items and picked out a few I liked the look of, then picked out some colours paint colours that matched. Since I was trying for the analogous scheme, I didn’t want to use colours that appeared to have green in them. I also didn’t want colours that were too yellow, since I wanted the bronze to look as distinct as possible from the gold. For that same reason, I picked out strong yellows and reddish browns for the gold areas. I will list the names of the paint colours I used at the bottom of this post for those who are interested.

Efreet test paintI tested several different versions of the red skin on a few of these Bones figures, which I love for testing! Once I had a skin colour I liked, I tested a hair colour. Then I began to paint on the Efreeti itself. I kept the test figure available to use to check on my choices for other areas of the figure, such as the cloth and bronze. Even very rough tests of a basecoat for the cloth and just roughing in highlights and shadows on the bracer for the bronze were useful to help me see if the colours worked together. You don’t have to know every colour you’ll use before you start painting, and you don’t have to have an ‘instinctive’ sense about colour to make successful colour choices. But it definitely helps a lot to be willing to test and play around!

Colour choices are just one part of the puzzle for why the skin of the figure looks like it does. I think the way that the skin seems to glow a little is strongly impacted by the depth of the shadows, and the degree to which I painted in the shadows. I didn’t want the skin to be much lighter in value than a bright red/dark orange. Using white and yellow only in the hair would separate the two areas visually more effectively and help the hair read better as fire-like. The shadows of the skin are nearly black in the darkest areas, and there is a fairly large proportion of shadow. The lightest areas are in a circle on the right side that includes most of the face, the right arm and hand, and the right unarmoured hip. The highlights on the armoured leg are almost, but not quite as bright as those. Throughout the skin there are strong areas of shadow next to areas of light – light on the cheekbones, very dark in the hollows under the cheeks and the chin and neck. Very light at the top of the right hip, shading down to near black above the knee. Even darker on the opposite leg, so although the highlight there is not as bright in value as the face and hip, it looks pretty bright. 

Efreeti front on gray backgroundThe background you use to photograph miniatures can have a surprisingly significant effect on the end result, both in terms of how your camera may perceive colours, and the mood that is created for the viewer. This photo on a grey background is less dramatic, but the colours are probably a little more accurate.

As I’ve mentioned in some previous posts, it is increasingly my preference to try to separate out some of the steps or considerations of painting as much as I can. To ask yourself to think mentally about where the shadows/lights should go based on your light source, at the same time as placing them on the actual figure with paint, while at the same time trying to achieve a smooth blend or create a texture is like juggling a bunch of balls in the air at the same time. It can be done with a lot of practice and/or luck, but more often than not you’re likely to be dropping balls all over the place. You’ll have a much easier time with just two balls, or even just bouncing one ball back and forth against a wall.

My first step was to take a photograph of the figure under a strong light. I chose to make the direction of my light source above and to the right from the orientation of this photograph, and I took pictures with this lighting from several angles. (I think I’d like to get a lazy Susan type thing to make this easier to do!) This showed me where my main areas of light and shadow would fall on the figure. If you compare the reference photo below to how I painted the skin, you’ll see that I followed the placement shown in my reference photos pretty closely. Skin has a sheen but is not a strongly reflective surface, so a photograph of a resin figure seemed a pretty good guide to how skin would work, and likewise a good guideline for this type of non-shiny fabric. For the shiny metal surfaces, I had to extrapolate and use my imagination a lot more. In all areas I fudged or exaggerated whenever it seemed like it would look more visually interesting or effective to do so. As an example – the light falling on the right foot is about as light in value as that falling on the right hip in my reference photo. I chose to paint the foot darker because it is not a strong area of interest and should not be competing with the hip and the face for attention. The skin of the left arm is more heavily shadowed in my lighting reference photo, and I initially painted it that way, but I lightened it up a little because that area seemed too dull and indistinct when looking at the figure.

Efreeti front light refence photoThe unprimed resin figure illuminated by a single small light source placed above and to the right. The soft transition from light grey to near black on the right thigh is an example of a form shadow (see below). The sharp line across the right arm under the shoulder pad or the diagonal line of shadow on the left sword are examples of cast shadows.

For the past few months I’ve been studying shadows in traditional art. In particular, I’ve studied cast versus form shadows. Shadows occur where light is occluded from falling on a surface. When you stand out in the sun your body blocks the light of the sun from falling on the area where your shadow appears. That is a cast shadow, and there is a noticeable line around its edge that separates it from the area where the light is illuminating the surrounding surfaces. If you hold your arm out in the sun or a room with a ceiling light, you’ll see that your arm appears lighter on the top where it faces the light, and the skin that slopes down towards the underside of your arm appears to darken gradually. That transition from lit area to dark shadow area is a form shadow, and it is generally very soft and gradual, rather than having the sharper line or edge that defines a cast shadow.

As I was starting to paint this figure, I got to thinking that in miniature painting, we generally emphasize painting form shadows – those gradual transitions that show rounded forms sloping away from the light. But unless we’re painting figures that depict and emphasize the light source within the scene, we rarely paint cast shadows. I suspect this is because we look at miniatures in the round in a variety of lighting conditions. Cast shadows define the imagined light source more strongly and may look odd from certain angles or if the viewer has light coming from other angles. Also cast shadows tend to have hard edges, which require more precise placement to appear correct to the viewer. One of the exceptions to this is lining. One of the reasons lining often looks more natural than you might imagine is because there often is a ‘dividing line’ between overlapping surfaces that is created by cast shadows. If you look at a sleeve overhanging an arm, you’ll see the sleeve casts a thin line of shadow just below itself – a cast shadow that we paint as a line. You can even see this on the reference photo above – the thin dark line between the bracer on her right arm and the hand below it.

Drawing demonstrating different types of shadows and edgesThis is a reference diagram from my study of shadows and edges in traditional art that hopefully demonstrates a form shadow versus a cast shadow. The light is coming from above and to the left.

Important note! There are definitely miniature painters that paint cast shadows! Even apart from the example of the many painters who have painted shadows on the ground/basing when painting source light scenes. Alphonso Giraldes (Banshee) has done it, Aythami Alonso Torrent (NotOriginalMinis) has a short video demonstrating it, and I’m sure there are many, many, many others. I’m not under any illusion that I’ve invented anything unique here! I’m just exploring the idea that I think we emphasize form shadows and smooth transitions in miniature painting, and rarely paint the more sharply defined cast shadows.

Because yellows, oranges, and reds are not the best coverage paints, I decided against doing a grisaille primer approach or something similar. Instead I blocked in the main shadows and lights with the colours I intended to use on the skin and armour. For this figure, I decided I wanted to more actively paint in cast shadows. If you compare the figure to the reference photo, you’ll likely spot areas where I did this. It is most noticeable on the right arm, where I painted both the shadow cast by the large overhanging shoulder plate, and another area of shadow cast by the contour of the bracer. 

Efreeti WIP pictureIn this photo you can see the block in version of the bronze armour and swords. Blends are rough, and I haven’t added the brightest highlights or darkest shadows, or done any lining between the scale plates, nor any other kind of detailing. The goal is just to lay in an idea of where the big areas of dark, light, and midtones go.

Efreeti WIP pciture 2This is further along in the process. I’ve completed the gold non-metallic metal, and I’m starting to work on refining the bronze. I’ve finished the scale armour section on the bracer and her right breast. I’ve increased the contrast on the swords, but will do a bit more work on that as well as refining the blends. The placement of highlights and shadows on the metal areas is a little less straightforward than just following the reference photo, since super shiny surfaces behave differently than matte ones. You may find this video helpful.

In general I suspect that the shadows on the skin look natural enough that people might be (consciously or subconsciously) reading them as being partly paint, partly naturally occurring from an overhead light source. I have set up my photo area to cast as flat of light as possible so as to create as few shadows on the figure as possible. If you look around the area of the base in the finished photos near the top of this post (or scroll down a little), you’ll see only faint shadow cast around the base of the figure. The very dark areas next to the skirt are painted shadows, and my willingness to go down to near black there (and to follow a reference photo to help me visualize where things should be placed) is what makes the lighter areas of the skin appear to glow or pop. Committing to the cast shadows only enhanced the effect of that I think.

So how did an analogous colour scheme work out for me? In the end, I’m not entirely sure whether or not this piece qualifies as one. The purple colour on the skirt was mixed by adding gray to my darkest red (and then using a very close match pre-bottled colour for simplicity.) But in the final stages of painting I added a glaze of a true purple colour in the shadows of the skin, cloth, and gold NMM. It is hard for me to paint without using purple! Although I was attempting to avoid using any paints that seemed to have any blue or green in them,  I didn’t mix the NMM colours from my basic colour set, so I can’t guarantee they could all be achieved from my analogous colours plus black and white. Perhaps I will try an analogous scheme again in the future and conform to it more strictly, but in this case it was more important to me to make the piece as interesting and well done as I could manage given my time limitations.

Special thanks to Jen Greenwald for her suggestion for a way to paint glowing eyes that I’m quite happy with. If you like work in progress pictures and frequent updates, you’ll enjoy her blog a lot more than mine. :->

Scale picture of EfreetiOne more picture, this one indicating the scale of the figure. She’s big! But Sir Forescale doesn’t mind dating a taller woman, he’s secure in his masculinity. 

Paint Colours

All colours used are Reaper Master Series Paints unless otherwise noted.

Colours in italics are out of production or special edition colours not currently for sale. You can approximate Bruished Purple by adding Stormy Grey to Crimson Red. Garnet Red is a cool red with a value between Crimson and Brilliant, and several MSP colours should work in its place.

Colours marked * are currently unavailable and were previously part of the MSP HD line. They will be available in the near future as part of the Bones HD line.

Colours are listed from darkest to lightest. Bolded colour is the closest approximate midtone. Note that there may be intermediary steps of colours mixed together to create smoother blends.

Skin: Solid Black* + Crimson Red*, Crimson Red*, Garnet Red, Brilliant Red*, Red Neon Glow (pre-release colour, will be available soon), touch of Lava Orange + Linen White, glaze in the shadow areas with Imperial Purple

Bronze Non-Metallic Metal: Solid Black* + Woodstain Brown, Woodstain Brown, Tanned Leather, Blond Hair, Blond Highlight, Linen White

Gold Non-Metallic Metal: Solid Black* + Bruised Purple, Bruised Purple, Chestnut Brown, Chestnut Gold, Palomino Gold, NMM Gold Highlight, Blond Highlight, Linen White

Skirt: Solid Black* + Bruised Purple, Bruised Purple, Linen White + Bruised Purple

Hair: Crimson Red*, Garnet Red, Brilliant Red*, Lava Orange, Fire Orange, Lantern Yellow, Candlelight Yellow, Lemon Yellow, Pure White

Horns: Solid Black*, Dusky Shadow, Dusky Skin, Dusky Highlight, Vampiric Shadow, Vampiric Skin, Vampiric Highlight

Bone carved skulls: Same mixes as the horns, but emphasizing the lighter end of the colours. Glaze with Bone Shadow

Base: Grays mixed from Solid Black* and Pure White, glazed with colours used elsewhere on the figure