Go Beyond the Kit

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Beyond the Kit is the name of my new video live stream show on the Reaper Miniatures Twitch channel! Episodes will also be archived on Reaper Miniature’s YouTube channel. Beyond the Kit airs live on Mondays from 2-4pm Central time starting on May 24, 2021. Episodes are available for Twitch on demand viewing for two weeks, and are uploaded to YouTube a few days after airing.

Paint case openCome with me beyond the kit!

Part of the inspiration for the name is that I am the author of the current generation of Reaper Learn to Paint kits. I crammed as much information as I could fit into the kits, but there wasn’t a lot of space to talk about how to take the techniques or paint recipes from a kit or a class and make them your own. That’s the thread that will weave through many of my episode topics – how do you go beyond the kit, or the video tutorial, or beyond the tips you’ve read online and start learn how to figure things out for yourself?

The medium of video allows me to explore some of these ideas in a hands-on visual way. I’m also excited about the immediacy of exchanging ideas with viewers via the chat. I hope you’ll check out the show and see if it’s something you might enjoy. My interests in miniature painting and teaching are pretty diverse, so I expect episodes will encompass a wide range of topics of interest to different levels and types of painters.

Please be assured that there is still a lot in this vein that I want to continue to discuss right here with words, and pictures, and ideas. In fact, let’s talk about some ideas for how to move beyond the kit right now, with a few examples from my own painting experience. I’m also working on a more detailed article with an example of how to ask yourself the right questions and perform tests to get the information you need to improve your painting experience.

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I think many of us approach miniature painting in a similar way to something like cooking. We start with some basic instruction and simple recipes, like one of the Learn to Paint kits or similar instructions from a friend/video. As time goes by, we see something that looks tasty, and we try to get our hands on the recipe to try it ourselves. What technique did the artist use? What exact paint colours and brushes? We gather up as much of that information as we can, and try to replicate their results. We memorize the recipes we like the most or find the easiest to make, perhaps customizing a little by swapping an ingredient or two.

There’s another level of cooking. The kind that generates new recipes or reverse engineers how to make your favourite restaurant dishes. These cooks learn general principles of how best to prepare various ingredients, and which flavour profiles pair together nicely. They have a foundation of knowledge to help guide their efforts, but they still have to experiment to successfully recombine ingredients together and create new recipes. Undoubtedly a lot of those experiments fail. Some spectacularly, some in more mundane ways. Those that seem promising require iteration and refinement to perfect into a successful replicable recipe.

Miniature painting is kind of like cooking in this regard. Many painters look online for techniques to paint wood or marble or whatever other texture. They look for colour recipes for blond hair or red cloth. They ask for advice about the best colour to use to wash or shade this particular paint. You can learn a lot this way! I’ve looked for a lot of information like this, and I try to repay the miniature community’s knowledge bank by sharing my colour choices and other information. If you’re happy painting in this manner, that is great! That is absolutely how I cook. (At best!)

However, if you sometimes get frustrated with this approach to painting, you might want to pursuing learning a little more in depth and shifting how you think about your tools and techniques.You might want to learn more about the properties of colours and principles of colour theory instead of following the recipe of other people’s colour schemes. You might want to try to figure out for yourself how to simulate a particular kind of fabric or plastic, or explore effects from the real world or other art forms. Maybe you just want feel more confident making your own decisions about what colours to use for washes. In ways small or large, there may be ways that you want to be figure things out for yourself.

Velvet research crA few years ago I wanted to paint the texture of crushed velvet on a figure. I began by studying reference pictures of the fabric both worn as clothing and plain fabric swatches. I came up with a paint approach I thought would work, and tested it on a figure.

I think the most important step you can take to move beyond the kit is simple. And free! But that doesn’t mean it’s easy. That step is to reconsider your attitudes about failure and success. It’s also very helpful to try to find ways to reframe the questions you ask and figure out how to explore those answers on your own.

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Idea #1: You Can’t Out-Study Failure or Risk

Most of us spent a lot of time in school learning facts and knowledge. We may have a very study-based approach to learning. Our experience has been that if you read/watch/think about the subject enough, you’ll memorize enough facts and internalize enough ideas  to be able to pass a test, or write a great essay.

That is not how skills with a physical component work. You can’t watch videos or read articles and learn how to throw a perfect pass or handle the steering wheel of a car. You have to get out on the field or in the driver’s seat and practice. The same thing is true of miniature painting. Studying what other artists do can be very helpful, but you will make a lot more progress with a little study and a lot of painting than you will with a lot of study and a little painting.

Velvet painted crThe next step in my crushed velvet experiment was to try it on my intended figure. My first attempt is on the left, and represents several hours of applying paint. It’s not bad, but it doesn’t look quite right. I had to compare to my references and identify what was different, and then think about how to better represent what I saw in my painted version. My revised attempt is on the right. The fact that I am an experienced painter who knows how to paint textures was helpful, but it did not mean instant automatic success.

You will never be able to watch enough videos or read enough articles to ensure that the first time you try something you will get a fantastic result and know how to do that thing well every future time you try. It just doesn’t work that way. Beating yourself up for getting a poor result when you do try something new or try to push the boundaries of something you know how to do does not make you more likely to succeed in the future. It only makes you less likely to want to even try.

The way to learn a skill like miniature painting is to sit down and do it. Sometimes you’ll get great results, sometimes not so great. Success is not the outcome. Success is doing the work and trying to learn from your experiences.

I have written some additional tips about embracing failure, and also about unhelpful attitudes to try to root out of your hobby.

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Idea #2: Think Like a Scientist

Although I said you can’t study your way out of failure, be assured that the left-brain analytical skills you may have learned in school are not useless to miniature painting! They can be immensely helpful. Often you just need to reframe the way you’re thinking about things. That can involve figuring out the right questions to ask, and/or conducting tests and experiments.

One way to think like a scientist is recalibrate your mindset about trying new things and experimenting. Experiments are not pop quizzes where you pass or you fail. The results of experiments may be surprising. Often they may not be the desired results. But the nature of the results doesn’t make the scientist a success or a failure.

Whether it was a wild success or a dismal failure, the results of an experiment are always useful information. If you study the results and what you did, you will get ideas for ways to adjust the experiment and try again. Sometimes the failures can be more instructive than the successes. Sometimes the failures can even give you ideas for how to do something completely different than what you were trying to do! Viagra was initially developed as a drug to treat angina. The man who invented acrylic paint was trying to invent a glue. Your attempt to try a certain technique for smoother blending may not work well for you for that function, but maybe those streaky results would be a great technique to use apply to weathering and mud stains! 

IMG 0915Left: Some of the colour tests I did to choose the paint colours for the Bones 5 Learn to Paint kit.
Right: Colour tests made during painting of the Bones 5 Learn to Paint kit figures.

Even though I had been painting and teaching for a while when I wrote the first learn to paint kit, I didn’t create it by grabbing a handful of colours and slapping on paint on some randomly selected miniatures. I did test mixes of colours to see if I could get the range of colours I wanted. I carefully considered whether the figures I chose were good options for practicing the skills taught in the kit. I painted a test version of each figure to make sure that my overall colour scheme ideas worked. I did tests with paint mixes to see if the black wash for this area worked better thinned with three drops of water or with four.

I also do tests like that all the time in my own painting. I get stuff wrong and need to tweak it all the time in my own painting. It helps a lot to think of that as just part of the process. Sure, sometimes it gets annoying or takes time I don’t have. The fact that I don’t intuitively know all the answers doesn’t make me a bad artist, or a bad person, or bad in any other way. It’s just a challenge to me to find ways to figure out the answers.

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Idea #3: Ask More Questions to Find More Answers

When you work to solve problems or figure things out on your own, I think it is helpful to ask a lot of questions that are specific and detailed.

For example, say you try to paint something to match a reference photo or following someone else’s tutorial and your results don’t look the same. It’s not helpful to say ‘I hate it it looks terrible, I’m an awful painter’. It is much more helpful to look at it and say what are the differences? Where did I place light parts and dark parts in comparison to the reference? Is there a difference in the proportion of the sizes between the dark and parts and the light parts. Are my darkest areas as dark as the reference or are they darker or lighter? Is there a texture that is noticeable?

Perez nmm attempts crAfter watching the tutorial video from his Patreon, I attempted to copy the style of non-metallic metal on Arkaitz Pérez’s Uther bust. My first version (left) wasn’t terrible, but it also didn’t look quite right. I analyzed and compared my results, got some opinions from a few painting friends, and then tried again. The second version (right) is a lot closer. Feel free to test your eye and try to spot the differences.

A couple of years ago I spent some time doing some experiments and following tutorials of a couple of Spanish painters – Sergio Calvo Rubio, and Arkaitz Pérez. I am an experienced painter conversant with several different painting techniques. My first attempts in both cases were not successes. It wasn’t necessarily that my results looked terrible, but they were different from my inspiration material in ways that demonstrated I had not grasped some of the main points of the instruction. I want to emphasize this point – my goal wasn’t to get an attractive result. My goal was to understand and internalize an approach. So even though I got an attractive result with practice on the following figure, I painted that section completely over to practice again with the approach I was trying to learn.

Anushka comp crI painted this figure after taking a weekend workshop with Sergio Calvo Rubio. I wanted to practice the approach he had shown us. My first attempt (left) had an interesting worn leather look. But I had not really painted in the style from the workshop. I painted it over completely again to get the roughed in sketch version (centre), and then once I was happy with that refined it for the final version (right).

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Keep your eye on this blog and on my Twitch show Beyond the Kit for more information now how to ask questions and do experiments and tests to answer questions and expand your techniques. In the meantime, you might enjoy this suggestion for how to study a face painting tutorial. Or my video analysis of something I painted that I didn’t like.

BWAB OpenScreen Black

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Miniatures in this Post

Two of the Learn to Paint kits I’ve written are available.
The Castle of Deception Female Mage is available in metal.
I believe the medieval dancing woman is out of production.
The Battleguard Golem is available in Bones plastic or metal.
Anushka, Female Fighter is available in metal. 

Many thanks to Gene Van Horne for the Bird with a Brush character and Ron Hawkins for the Beyond the Kit graphics.

Photo of woman wearing crushed velvet by Tiffany Combs on Unsplash.

RVE Preview Twitch Stream

Recently I placed a Reaper order, and Ron very kindly added preview copies of some of the paints and figures that will be included in the various Reaper Virtual Expo swag boxes. I am going to do a Twitch stream to swatch some of the paint colours, give you a closer look at the figures, answer any questions you might have about the RVE classes I’ll be teaching, and just generally hang out and chat and answer questions.

Twitch stream: Tuesday, February 9, 2021, at 9pm Eastern time

This will be on my personal channel, birdwithabrush, not on Reaper’s channel.

IMG 0498The goodies I have to show you!

If you haven’t already heard about Reaper Virtual Expo, it’s an online convention that includes hobby classes, games, painting challenges, panels, and more! All of the activities are free. Head over to the webpage to sign up for games, check out the vendors, and keep up to date with other info.

Signups for RVE classes are live. Although there is no fee for the classes, you will need to sign up to get the Zoom login information and save your spot. I believe the plan is for Reaper to record all of the classes and make them available on their YouTube Channel at some point after RVE. 

I’m teaching two classes. Painting Scales, on Saturday, and Additives, Mediums, and Texture Pastes – Oh My! on Sunday. If you have any questions about those classes, I’ll be happy to talk about them more on the Tuesday stream as well. 

Snake rust rveThe colour scheme I’ll be painting in my class, though I’ll be using the other figure from this pack in class. The class handout has the list of of paints and the figure, as well as suggestions for alternate sculpts and paints so you can participate with whatever you have on hand.

IMG 0472I would like to introduce you to the weird and wonderful world of acrylic paint additives and mediums!

I hope to see some of you there on Tuesday, and at Reaper Virtual Expo!

Upcoming Online Classes – Fur, Feathers and Scales

I will be teaching two online classes this week as part of CYBËR WÅRS, an online convention! The classes will air on my Twitch channel. They should remain available for viewing for two weeks on Twitch. I will be recording the classes to make the videos available to members of my Patreon in thanks for their generous support of this blog and my general teaching efforts.

Fur class

Painting Fur
Thursday, November 12, 2020 from 8pm to 10:30pm Eastern

Fur is found not only on miniatures of animals and monsters, but also as part of clothing and accessory items on figures. I will demonstrate several different techniques for bringing out the sculpted texture of fur. I will also discuss tips for colour selection and referencing real life to help achieve attractive and realistic results.

(I probably will not talk much about detailed fur patterning. I have two previous articles on that topic though! Article one, and article two.)

You are welcome to paint along during the class! Suggestions for good practice miniatures, paint colours, and other supplies are included below.

NOTE: I will not start the class material until after the Reaper Live Twitch stream concludes to give people an opportunity to attend both. I will take painting questions from the chat for the first 10-20 minutes until we begin the main class subject. So this is a great opportunity to corner me and ask me questions on other painting topics. ;->

Feather class

Painting Feathers and Scales
Saturday, November 14 2020 from 2pm to 4pm Eastern

There are several different techniques you can use the paint the sculpted textures of feathers and scales. Which is best to use depends on the time you can spend on the miniature, and the level of results you’re looking to achieve. I’ll demonstrate various techniques and discuss the advantages and disadvantages of each. I’ll also discuss some thoughts on colour choices and research and reference.

(I have a couple of articles available about painting a scaly hydra – article one, and article two.)

You are welcome to paint along during the class! Suggestions for good practice miniatures, paint colours, and other supplies are included below.

Class Materials

My goal is to share general techniques and information you can use to paint a variety of texture types in the colours of your choosing. Please don’t stress out about whether you have the exact same supplies as I do. The following are suggestions for figures and tools to get the most out of the class. 

Class Materials: Miniatures

For both classes, aim for figures with well-defined sculpted texture. Try to choose something at least 28mm humanoid size or larger. You can use some of these techniques with tiny familiar size figures and small areas of texture, but it will be easier to practice on something larger, especially if you want to paint during the class. Here are some photo examples of options that are better and not as good for both topics. These are all Reaper Bones figures, but you’re welcome to use whatever figures you have on hand and would like to use.

For fur I will probably use the large wolf in the centre and the fur cloak figure on the far left.

Fur practice good

Fur practice bad

For scales I will probably use the cobra on the far left, and the angel second from the left at the front. I may switch to the griffon wing if people are having trouble seeing what I’m painting onscreen. 

Feather practice good

Feather practice bad

Class Materials: Paints

My goal is to demonstrate general techniques that should work with just about any colours. To follow along in the class it is much more important to try to match the value of the colours I’m using rather than worrying about whether you have exactly the right colour. Value is how light or dark a colour is. 

I’m going to use a range of grey and brown paints. Aim to have on hand a range of lighter, medium, and darker grey and/or brown paints as well as white and black, and you should have little trouble following along with what I do in the class. 

The following is a scan of some suitable paint colours from Reaper Miniatures with their product code numbers. You do not need to have all of these paints or even any of these exact paints! These are just examples of the colours of paint I will use so you can try to find something similar in your collection.

These are examples of greys and browns of various values. The far left column are true neutral grey examples. True neutral greys do not look as natural as warmer greys, but if you find the chart confusing you might find it easier to just use simple grey paints during the class.

Each row is an example of browns and more natural greys that are similar in value to the example on the left.

The top row includes examples of light colours you could use. Try to have one of these plus white on hand.

The second and third rows are examples of medium value colours. Try to have at least one of these available to use.

The fourth and fifth rows are examples of darker value colours. Try to have one of these available.

The bottom row is an example of very dark colours – black or nearly black. Have one of these on hand to use.

Paints rectangle

Class Materials: Brushes

I will be using a selection of round and flat brushes. The picture is examples of brushes I might use. As with paints, I don’t expect you to have all or even any of these exact brushes to be able to follow along! They’re examples to help you find a few brushes in your collection that should work for the class.

Try to have a medium to larger flat or filbert brush. Also a medium size round brush that forms a smooth end without a lot of stray hairs sticking out to the sides. Have on hand whatever brushes you feel comfortable with for doing base coats and washes.

If you have a brush with a fine tip like a Kolinsky sable, that will be useful for lining on scales and feathers. You don’t need something super tiny like the two second from the bottom in the picture, just brushes that form a nice sharp point. The two second from the bottom in the picture are what I would use to paint faux fur texture on smooth surfaces. There probably won’t be time to demonstrate that, but I’ll have them on hand just in case.

If there is time, I want to experiment with a few different brushes for drybrushing to give you an idea how different ones work. The three brushes at the top are super soft makeup brushes. The green handle one just below it is a similarly soft brush I got from the art store. I have really enjoyed working with these for drybrushing lately.

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I hope that I’ll see some of you on Twitch in a few days!

I am pretty busy right now, so I’m not able to spend the time to round up links to every miniature and product mentioned in this post. If you need to know the name/product code for a particular miniature, let me know in the comments and I’ll find that info for you.