Quick Tips: Eyes, Triadic Colour Scheme, Cloth Patterns

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Painting the Asandris Nightbloom figure sculpted by Bob Ridolfi appealed to me because she is a great representation of a low to mid level character, the type of character I’ve played most often in role-playing games! Asandris is available as one of the free bonus selections with $40 US (or equivalent) purchase from the Reaper site, or you can purchase her directly. I’m going to share a few work-in-progress pictures and some tips that would be useful to painting her or many other figures.

July blue front2 600Other views of the finished paint job are found at the end of this article.

The Base

I used a mixture of materials to make the base. I have some base texture press moulds, like those produced by Basius. When I have left over epoxy putty, I use it in a press mould. I cut off some of the integral base of the miniature with a pair of flush cutting shears and glued the remainder to the plastic base. I glueed pieces of cobblestone texture from a press mould around it. Then I applied superglue and dipped the base into a mixed-size gravel mixture. I built up a few areas with additional applications of glue and gravel. To add a little more variation, I applied some fine sand texture paste in a few spots. I over-did the glue and gravel stage a bit for my original intention of having it look like an overgrown road, but at least it looks like a nice mix of earth and rock textures.

July metal baseThe grey parts are the epoxy putty cobblestone pieces, brown is the gravel, and white is the fine sand texture paste.

Colour Scheme

I decided a simple, classic colour scheme would be a good fit for a simple, classic character archetype like this. I chose to use the red-blue-yellow primary triad. Any decent colour wheel should generate triadic colour schemes. One of the challenges with getting familiar with colour schemes and using a colour wheel is that they generally refer to very bold saturated colours – cherry red, royal blue, sun yellow, would be examples of a red-blue-yellow triad scheme with saturated colours. But bright colours like those didn’t really fit my vision for the character. When a colour wheel/scheme talks about a colour like ‘red’, it means the entire family of red – brick, blush pink, terracotta, red-brown, all of those would be considered ‘red’ colours for the purpose of fitting into a colour scheme. So I picked colours that were weathered and worn examples of blues, yellows, and reds to use. I used slightly more intense versions of those colours on her hair, lips, and her jerkin to try to focus attention to the main area of interest – her face. The belts, scabbards, and wood staff are desaturated yellow browns to keep them from drawing too much visual interest.

July wip7 front 600You can see that the base echoes colours used on the main figure to tie everything together and help it appear lit by the same light source.

Don’t leave out the base in your colour schemes! I dabbed colours used on the miniature or mixed from those main colours on various sections of the base to tie it in with the figure as a whole. I used red browns from the jerkin shadows, yellow browns from the wood and belts, and mixed a green from the yellow and one of the blue colours to use on the base. I also glazed some dull blue colours and a bit of yellow here and there on the stone sections. You can also use one colour from your colour scheme within other colours. There’s a little bit of red brown shading on the staff to give the wood a little more depth.

The Eyes

Painting eyes on gaming scale figures can be a real challenge! One thing that can make it a little easier is to paint the eyes looking off to one side instead of aiming for a straight ahead gaze. This can also add a bit of interest or personality to a figure. Here I think it helps give her a little sense of being in motion, as if she had been looking off to the side and has just shifted her gaze before turning her head to look back in front of her.

July blue face cuClose up view of the eyes painted off to one side.

The Cloth Pattern

I wanted to do a little something with her dress. Sure she’s an adventurer, and a low level one at that, but she can still enjoy a little personal decoration as most of us do! I had the inspiration for the pattern from character clothing in the Lord of the Rings Online game.

355px Dot LeafbottomI wanted to try to create an effect like the pattern on the skirt above.

I started off by using a stipple brush stroke to add the highlighting and shading to the dress. The stippling technique can be used to create a range of results. I have used in the past with a very small brush, uniform application, and a LOT OF DOTS to create textures like this. With a more dynamic range of colours and applying a lot of dots I you can get something like Madame Delia’s dress. You can apply it more loosely with a larger brush to get hammered metal or scuffed leather effects that work particularly well on larger figures like giants or busts. I used a brush stroke along these lines for the leather on Asandris’ jerkin and boots. In the case of the dress, I was going for a rougher woven look, so I used a smaller but not super small brush and applied the stipples somewhat haphazardly. This is one of the techniques that is I find challenging to explain with words and pictures, maybe some day I’ll be able to show it on a video. There is a bit of a WIP example on the Madame Delia link above.

July dress test combo 600Dress pattern tests.

The underlying fabric look was just one element of the pattern. I also had to create the diamond shapes or criss-crossing lines. Here I was on less familiar ground, so I did a couple of tests on another figure. Painting flat lines with the tip of the brush as on the above left did not result in the look I was after. It might work well for more of an embroidered decoration look, or a strongly woven pattern like a tartan, but it didn’t fit with the soft woven pattern I was aiming for. So I experimented with doing lines of stipple strokes on the above right. That looked like more of a woven effect to me, so I used that technique on the figure.

July wip4 front cu 600In this picture you can see the base fabric texture stage on the sleeves, and the addition of the diamond pattern on the skirt.

Additional Views

July blue face 600

July blue back full

July blue right 600

 

Paint Colours Used

For the most part I painted from darkest colour to lightest, though there were a few areas where I added additional shadows such as the hair and the staff. To save time I use paints straight from the bottle as pre-mixed layer steps whenever I can. So it would be entirely possible get similar colours using a smaller set of paints and more mixing. I am not suggesting you need to have all these paints to paint a simple colour scheme like this!

NOTE: Colours in italics are out of production. Colours in bolded italics are currently out of production but are available for preorder in the ReaperCon HobbyBox. (And will be available for sale outside of the boxes on the main Reaper website closer to ReaperCon 2020.) Turkey Brown will likely be available to purchase again during the next Winter holiday season.

Skin: 9224 Redstone, 89542 Shoanti Sienna, 9494 Gnome Flesh, 89540 Taldan Pink, 9487 Yellow Mold

Jerkin and boots: 9307 Red Liner, 9235 Red Shadow, 9223 Redstone Shadow, 9224 Redstone, 9225 Redstone Highlight, 9494 Gnome Flesh. Glaze with 9663 Big Top Red.

Blue cloth: 9229 Worn Navy, 9230 Soft Blue, 9056 Templar Blue, 9231 Heather Blue, 9057 Ashen Blue, 89529 Hobgoblin Blue. Diamond pattern: 9317 Moonstone Blue, plus a little white.

Belts and scabbards: 9199 Russet Brown, 29829 Golden Brown, 9429 Rich Leather, 9075 Buckskin Pale. Glaze 9691 Turkey Brown on belts and scabbards. Glaze 9074 Palomino Gold on side pouch.

Staff: 9429 Rich Leather with a dab of 9231 Heather Blue to dull it down. Then add 9075 Buckskin Pale for highlights. Added a bit of 9199 Russet Brown for shadows.

Cloak: Base of 9109 Ruddy Leather. Washes of 9307 Red Liner, 9685 Corporeal Shadow, and a little 9066 Blue Liner in the deep crevices. Then highlight up with 9109 Ruddy Leather, 9305 Tarnished Copper, 9232 Bright Skin Shadow, and a touch of 9306 New Copper. 

Hair: 9429 Rich Leather, then 9199 Russet Brown for shadows. Highlight up with 61101 Terra Nova Tundra, 9074 Palomino Gold, 9075 Buckskin Pale, 9039 Pure White. Glaze with 9095 Clear Yellow mixed with 9247 Saffron Sunset.

The greys of the non-metallic metal steel and stones on the base were mixed from colours used on the figure. Mixing a little bit of colour used elsewhere on the figure into standard neutral grey paints would work as well.

Contrast: The Power of Light

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I’ve talked about contrast a lot in the past. Recently I woke up to a great example of contrast in the real world that I thought might be helpful to share. (I’ll link to the previous contrast articles at the end of this post.)

Window light 1 crop 600Look closer and you might also see the power of cat hair in action.

The picture above is of a wall in my bedroom. The black shape on the right is a blackout curtain. The picture was taken on an overcast day, but you can still see the light sneaking through the curtain to shine on the wall. My bedroom wall is a dark green colour. I’m including the official paint company swatch below, but I’d say it’s even slightly darker than that in real life. Close to the colour of Reaper Paint’s Forest Green if you have that one. (It’s called Night Watch. We didn’t pick it for the nerdy name, but it’s a nice bonus. ;->)

Night watch ppg timeless paint colors ppg1145 7tsg 16 64 1000

So that’s the midtone colour of my wall. If you look at my room picture above, you’ll see that the shadows go down to pure black, and the highlights are much lighter green in colour. You may think they appear almost white right next to the edge of the curtain. We’ll take a look at the exact colours in a minute, but for now just take a minute to appreciate how large that range of contrast is. Probably a lot stronger than the contrast you’re painting on your figures, particularly if you’re a painter who worries that too much contrast will look cartoonish and not realistic.

This contrast is created because light is powerful stuff (and the absence of light is likewise powerful in creating dark shadows.) The effect of the light is particularly dramatic in this scenario because there’s a small bright area of light penetrating into a dark room. 

So if this effect of dramatic contrast actually is realistic, Why do we seem not to be able to ’see’ this dramatic effect in the colour and value (lightness vs darkness) of objects around us?

One answer is that often the appearance of highlights and shadows is not quite as dramatic as this. If there are numerous or larger sources of light, the light bounces around and creates a more diffused lighting effect. Very diffuse light may be a lot easier to paint, but it is not very exciting to look at. If you study movie making or photography at all, you know that photographers and movie makers choose to shoot at certain times of day or use lights and reflectors to light their scenes in very specific ways. They do this to help convey emotion and story, but also just to make their scenes more interesting to look at. Our miniature figures will benefit a lot if we paint them with more interesting and dramatic lighting. If you know anything about movie making or photography, I recommend that you apply everything you know about dramatic lighting in those fields to how you approach painting shadows and highlights on your miniature figures, and you’ll improve your handling of contrast immensely!

The following is a picture in the same room taken with the overhead light turned on and sunlight coming through the window. It is less dramatic, and probably a little less interesting. There is also still a wider range between the value of the lightest colour on the wall and the darkest colour of the wall than many people feel comfortable painting.

Overhead light 600

This next picture is the same scene but using the flash on the camera, which is an additional light source. So it has three light sources – the overhead light, the sun coming through the window, and the flash from the camera. The flash is bright enough that it overpowers the effect of the light coming in from under the curtain so that’s not really visible in this photo. It also creates a pretty dramatic range in value between the brightest highlights and darkest shadows on the wall.

Flash light 600

The other reason we have trouble seeing the level of contrast around us in every day life helps explain why we often fail when we attempt to paint stronger contrast. We are literally ‘of two minds’ about the things we see. (At least two.) Part of our mind looks at things exactly as they are. There’s another part of our mind that adds our general knowledge and experience in to our view of what we see. It interprets the things we see with or into information it thinks we will find useful to performing various activities. That information is useful for a lot of areas of life, but it can be actively unhelpful when trying to create art.

Let’s return to my wall to see what I mean. The paint swatch shown above is the midtone colour. I know that’s the colour of the wall – I went to a bit of effort to pick it out! ;-> So when I look at the wall, part of my mind can see how light the colour of green is next to the window, and how dark the green is next to the corner of the wall. But the other part of my mind knows what colour the wall is. That part is going to give me second doubts and pull me back from trying to paint highlights that stray too far away from that midtone colour by making me feel that they look ‘wrong’. That part of my mind is also the part that tends to be in charge for many day to day activities, so it’s really hard for the part of my brain that accurately sees the correct highlight colour to override the part that knows what colour the wall is. Or to put it in a different way, we spend so much time listening to the part of our mind that knows how things are that we have trouble trusting the part of our mind that more accurately sees things and using that in our art.

I don’t know if I’m explaining it very well, but this is why you have to fight yourself sometimes when you’re painting. First you have to push out of your current comfort zone and be willing to paint with more contrast. And as you do that, you also have to fight the part of your brain that is telling you what you’re painting looks wrong.

This is a similar idea to the principles and exercises of the book Drawing on the Right Side of the Brain by Betty Edwards. Many of the same issues affect our ability to use colour and value to best effect in our art, it’s not just about literal drawing. I mention that book because I suspect many will have at least some experience with it, but a book I would recommend as much or more is Your Artist’s Brain: Use the right side of your brain to draw and paint what you see – not what you think you see by Carl Purcell. Both of these books help explain what’s going on in our minds that can lead to things like the very common situation that we like miniatures other people paint that use quite a lot of contrast, but we have a lot of difficulty using that level of contrast on our own figures.

If you are already familiar with this idea and successfully pushing your contrast, keep reading for the advanced credit version of this post. Or skip to the bottom for a photo that isolates the main colours and values in the picture, and also links to more information on why you need to paint with more contrast, and some methods to actually do it.

Window light 3 cropSame view, but with some additional objects.

Once you start to get more comfortable with painting a more dramatic effect of lighting, the next step is to consider how different types of surfaces and textures are affected by the light, and attempt to render more of that in your painting.

Above is a view of the room scene that includes additional objects. The wall paint is an eggshell finish. The lampshade is a smooth shiny plastic, and the neck of the lamp is a dull metal. Notice that each of these surfaces reacts to the light in a much different way. The bright areas of highlight are smaller and much more sharply delineated from the midtones and shadows on the lamp than they are on the wall. There is a gentle transition from light to dark on the wall, whereas the light and dark areas appear in sharper bands on the lampshade and lamp neck.

The water sprayer and the fabric piece at the bottom of the photo appear much more evenly lit than either the lamp or the wall. They are made up of more matte materials than the wall paint or the lamp. You can see a subtle edge highlight on the fabric piece, and shadows on the white head of the sprayer, but the effect of light and shadow is not as dramatic.

Two things to note about the water bottle and fabric piece. One is that I would exaggerate the light and shadow on those objects if I were painting this scene on a miniature scale. It would be necessary to do so simply because of the smaller scale. Two, this is also an example of how photographs do not exactly capture real life. (And that I’m no great photographer or photo editor.) I adjusted the exposure and it’s a lot better than what I started with, but both objects appear much lighter in the photograph than they do looking at this scene in person. 

In the final photo below I have isolated the colours from several areas of the photograph so you can see their exact values. It is very likely that you interpreted some of these values as darker or lighter than they actually appear. This is another thing our eyes/brains do that can lead us astray in creating art! Note that the only true white in the following photo is on the captions for what each of the arrows point to. The background behind the text is neutral gray. So both of those give you points of comparison in judging the value of the isolated colour squares.

Window light labels cr 600

Links to Previous Articles on Contrast

More and less contrast demonstrated on the same figure.

Visual comparison of more and less contrast and lining on the same figure and between two figures.

Contrast versus Realism, and Why You Should Choose Contrast.

How to Paint with More Contrast Part I: Mindset.

How to Paint with More Contrast Part II: Visualizing Light and Methods of Paint Application.

Example of using lighting reference photo, then rough colour block-in, then details and refining on Caerindra Thistlemoore.

Example of using value mapping/grayscale (and freehand practice) on Sophie 2018.

Example of using value mapping/greyscale, then rough colour block-in, then details and refining on Dragon and Stocking.

Using a lighting reference photo, and the difference between cast and form shadows.