Tutorial - Basic Techniques

Hey!

This article should be considered as a basic introduictional tutorial and is only concerned with the theory and a bit practical steps of the most common techniques known to me. It is not checked for completeness and only shows my peronal view  on the things i have learned from others..

There are different ways to paint a figure. By brushing towahsing, ink to Multilayering technical terminology, there are probably already countless different definitions. I am trying to clarify a bit - I hope I manage it in a purely theoretically form.

Also this is just an overview. Plans for talking deeper about it are done - will arrive in the future, like most plans do, so please be patient :)

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1. The dry brushing

Applications:
Figures, terrain, bases, etc. - especially for lighter colored layers of previous stand darker.

Colors:
All colors except special Inks / Inks possible. In the first place "normal" colors.

Advantage:
Simple technique which is quick, can deliver good results even in the new entry, with a little practice can also provide very good results of the brush. Might help painting a large number of models up in a human time.

Disadvantage:
Often, this technique is applied in an uncontrolled manner, which usually leads to "messy" results and could result in the overall impression of a figure strongly going downwards.

When you brush a bristle brush is usually an advantage. You can also brush with a slightly larger finr hair  brush, but this usually leads to a very rapid wear of the brush.

The "brushing operation" in the theory

A tiny color amount is carried on the brush, then this is being "dried" on a cloth or tissue to get rid from the main amount of the color and the color is only "powdery" left on it. Now then brush as desired - from top to bottom or from left to right - more your required figure / model / terrain, will say to you etc. The "dusty" pigments are deposited on the highlights of the figure / model / terrain and allow it to stand out. Can be done in several steps from dark to bright.

Basecoated:

Dark Underground (would have been better to basecoat in black, haha):

Drybrushed with a lighter tone:

+ Fast results, perfect for certain material: sand, fur, chainmail, leather texture
- not much control, not so clean results

Variants:
If there is a dry brush, there must be a "wet" brush, right? It should be mentioned that there are different variants of how to start a brush session. The dry brush is certainly the easiest way. If the color is diluted with water before a minimum, the brush result will not be so dusty, more a fading slightlytouch ofcolor - also try to catch the upper  parts and areas of your model as described above -  but be sure the "drying on the tissue needs some more time and attention, to avoid getting the color everywhere around.

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The Washing / Inking

Applications:
The Washing / Inking is usually used to differentiate wells quickly and expeditiously by higher authorities of the miniature. It also works well in combination with dry brushing before and maybe after the washing.

Colors:
Special Inks / Inks by various manufacturers.

Advantage:
Fast results, gives more depth to a model, quick and good for painting a large amount of models or to find a basic idea of where to go.

Disadvantage:
Inks are often brilliant shining, even after drying. Color running is often not correctly going in places where they should go.

The "Ink-/Washing" operation in the theory

Get some of the Color up via the brush. As Inks and ink drawings are often very fluid should be a previous stripping on a cloth before it goes to the miniature. Also, a dilution with water is possible to mitigate the intensity of the ink.. When you apply, make sure that the ink is specifically brought to the point where it should be-  also you can put it as a thin layer over an existing basecoat to bring different color over it. 

It says "Not wet!" 

 Bright underground:

Leads to:

+ superquick shadows, flows into corners, forms skillset for "glazing"
- chaotic if not used right and with care

Variants:
The Washingn is also possible with "normal" colors. Here one often speaks of "glazing" - this point glazing in the shadows - In the end you make - through dillution with water - a color like a Ink from its way of use / one that does not shine after drying. This glazes are also often used for more sophisticated techniques - but this further below.

Even the Washing/Inking is often used in conjunction with metallic paints to give you a subsequent staining or a structure by underscoring the modeled wells.

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3. The Layering

Applications:
Most common method of painting in the leisure sector.

Colors:
All colors discourage possible - use of Inks and Washes (gloss and opacity, barely take care!)

Advantage:
Good effect - easy to learn,nice looking miniatures.

Disadvantage:
Hardly any! A specialized form of this, the  so called "Blending" or making clean color transitions from light to dark is the basic of high quality painting.

Highlighting operation in theory:

Highlighting is being worked from dark to light, start on a dark base and the process starts by the addition of an ever-brightening tone operated with the aim of the distinctive features (highlight points of a model).

It says from dark to bright:

+ can lead to smooth transitions if you include many steps, basic technique for smooth blending results, fast technique for gaming figures with still being good looking.

- can take a lot of time, needs training

Variants:
Through strong dilluted order you can also accentuated with glazes. The transitions are thus softer and gentler and form a more harmonious overall picture in the end.

With thicker paint you can massage the color in your surface and get a stronger pigment impact. More color power. Therefore you got to keep your steps from color to color small.

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4. The Shading

Applications:
A preferred technique for sounding subsequently stained bodies to be consulted or more the reverse style of Layering.

Colors:
All colors available.

Advantage:
Subsequent follow-up would allow the development of finer differences in color.

Disadvantage:
Just enjoy exercising. Strongly dependent on the value of the painter's experience in dealing with  glazes. So a brush is like a quitar - it is build to paint.

The Shading operation in theory:

When Shading a complete character you start with a very light foundation and pulls them through wispy Glazes / stains in the dark. Here, you work towards the shade sites.

It says from bright to dark:

 Basicly the other way around. You use glazes or inks to carefully work out your  shadows on top of light basic colors.

+ can lead to beautiful blends if enough time and steps are taken
- takes tons of lifetime

Variants:
This technique is particularly well in my eyes subsequently to incorporate areas of color, a certain tension by being carefully retouched with a subtile color flow. The subsequent Shading oftenhelps me to work wild and work out my shadow areas -  brightening is good advice,  in re-identify the points of light afterwards similar to accentuate and shade  with middle tones during the operation to make transitions softer.

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5. The "edge-accentuation"

Applications:
Similar to the accentuation while Layering - raised edges of the figure get more attention.

Colors:
All colors discourage possible, except inks are not  good for  this.

Advantage:
Characters contribute to the removal well by emphasizing the edges, you can set final focus areas or ways the eye is moved to the focus.

Disadvantage:
Hardly any! Is on professional application under inclusion of light and shadow as a basis of professional painting. For faster application with no involvement of light and shadow theory - a lot of attention is needed - unfortunately the miniatures can often look unclean.

The ""edge-accentuation" in theory

When accentuate all existing edges are usually tightened on the model. This means that the figure effectively in their clarity of contours is more impressive and easier to catch. The color is added with the brush and pulled over the edge. Here the fault often happens that you might work the tip of the brush while drawing the accent - this usually leads to shaky results. But one uses the surface of the brush and moves it around in a 45 ° angle over the edge so the result is - after a little practice - clean and fine.

Variants:
To use this technique at a high level, long practice can probably necessary - I do not mean the technology itself, but the combination of different techniques and knowledge of color and its authority can apply harmony (color theory) and the knowledge and clear light situation on a figure.

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6. Conclusion

You can hardly call any of the above-mentioned techniques as the way there has to be dealt with. Each technique has its justification of existence, as they specifically targeted for specific applications and results will be used. Also different people like different things, so it is up to you to find out what is your thing by practice and experience.

Striving for the most ideal one, the gap between the different techniques may be combining the advantages of each. This requires practice and is for sure depending from your own personal experience - what i am saying here is for sure not the holy grail.  Through experiments developed from the above "basic techniques" and other forms, such as the so called "Wetblending" or "Feathering" or any other words and descriptions found out there in the www. Remember everything is just a matter of bravery to do experiments and learn through them.

So far from me - I am also practicing once again ... And remember - The Way of the figure painter must not be struggling one - just keep on Happy Painting!

Regards
Roman

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You want to support Massive Voodoo? 
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.