How to Dry Brush a model

By Colin Wessel (Aplaceofwyzdumstudio@gmail.com)

Dry brushing is a painting method used to highlight your models where you apply a small amount of paint to the raised edges of the texture of your piece. Dry brushing is typically done with a slightly stiff-bristled, round-headed brush , but it does not need to be. However, be prepared that your brush will no longer be good for anything other than dry brushing after you use it once, as it damages the neat bristles.

Dry brushing is basically the opposite of applying a wash. When washing a model, you are applying watery paint to the recesses of the model to define shadows. Dry brushing is applying very small amounts of undiluted paint to the bumps and ridges of your model in order to simulate areas that are brighter in light. Using dry brushing as well as washing helps to make the models appear more realistic as combining the two techniques replicates light and shadow.

It is generally best to apply your washes to a model before dry brushing and allowing them to totally dry. Washes will slightly darken anywhere they flow, with the darkest areas appearing in the deepest recesses where the paint is allowed to pool. 

When you are ready to dry brush your piece, be prepared to use lighter shades of the existing colors that have already been applied. You can easily create lighter shades by mixing small amounts of white to each color that you want highlighted. 

The Technique

The technique used to apply the paint, while dry brushing, is that of scuffing and/or dragging your brush across your model, only applying paint to the highest edges.

After dipping your brush into your paint container, drag the brush across the edge, returning most of the paint back in. Then, you must carefully remove more paint, a little paint at a time from your brush, by dragging it over a white paper towel until just trace amounts of paint color can be seen. You are trying to keep only enough paint on the bristles to deposit a small amount when you apply it to the top edges of the model.

Knowing how much paint to keep on your brush is the most difficult part of the process as too much paint will cover deeper areas than what you are trying to paint. This is where practice makes perfect, but it will become easier the more you try. By the way, it’s also easier to add more paint than to remove or cover up excess paint. So, in this case, less is more.

Happy painting! 

How to blend wet or dry paint

By Colin Wessel (Aplaceofwyzdumstudio@gmail.com)

The following description is only true for acrylic paint.

In the blending of either wet or dry paints, the end results are essentially the same in that you want to achieve as smooth a transition from one color to another.

Wet blending 

The wet blending approach is the mixing of two paint colors directly on a model, while both paints are still wet. The hardest part is keeping both colors wet while you're working. This can be achieved in a couple of ways.

The first way is to utilize a wet pallet. They can be purchased either online or in a good art store. They can also be made relatively easily using the following method:

Get a small shallow plastic tray with slightly raised sides, (approximately 5"×7"), a few absorbent paper towels, and some parchment paper, (used in baking). Fold the towels in several layers and cut to fit the tray size. Pour clean water into the tray until the towels are damp but not soaked and pour off the excess water. Lay a piece of the same size parchment paper on top. When ready, place your desired paint colors directly onto the parchment paper. The wet pallet will keep your paints moist for a longer time so that you can apply each color on the model and blend them as needed.

The second way is to use a blending medium, sometimes called "Slow-dri". Adding a few drops to your paint extends its useful application life time. Using this method is by far the easiest way to keep your paint moist while blending it. Of course, it also takes a little longer to dry on the model. So, be ready to wait before applying more paint. 

Dry blending 

Dry blending is a general name given to the techniques of both layering and feathering. Both methods require you to wait for the first color(s) to dry before applying the next colors. It is, therefore, essential to know what your colors will be and have them ready to apply.

For layering, you are mixing colors on the model itself through thinly applied layers of color, and the thinner the layers you apply, the smoother the blend comes out.

For feathering, you move your brush with back-and-forth types of strokes, almost as if you were buffing the paint on. If done correctly, you can "blur" the color transitions and make the blended areas look very natural. 

Creating light and shadow on a model

By Colin Wessel (Aplaceofwyzdumstudio@gmail.com)

Creating light and shadow on any model, but particularly on miniatures, is an extremely effective way to make them look realistic. There are a few ways to apply paint to achieve the proper results. But first it is most important to understand light sources and the shadows they create.

Light sources 

Light sources on models are usually thought of in two types. One is known as “OSL” or Object Source Lighting. This is where the model has some kind of light source as part of the model – like a hand-held flaming torch. The second type is generally referred to as “lighting effects”. This is where the light source is assumed to be coming from a source not being part of the model – like the sun. The very nature of light is that it not only brightens whatever it is shining on, but that it also creates areas of shadow wherever it is not reaching. Since these areas of light and dark intensity are what you are trying to recreate using paint, it is important to understand how to blend your colors. You want them to still look like the same colors, only lighter or darker.

Blending colors to make them lighter or darker is often as simple as adding varying degrees of white or black to the color. However, since white and black are not truly colors, but rather shades, they may not give you the results that you want to achieve. They may make the colors look chalky or muddy. In order to alleviate these problems, it is often better to use lighter and darker paint colors instead.

For example, if you are painting a flowing cloak that has a number of folds, with a “base” color of green, the recesses should be darker to depict shadow and the outer most ridges should appear brightest. So, use a hint of red or brown to darken the green recesses and yellow to lighten the edges instead of black and white. The use of colors will allow you to create more realistic light to dark transitions.

An excellent tool to use (which I highly recommend getting) is an artist’s color wheel chart. These charts are a must to determine between primary, secondary, and tertiary colors and how they appear when grouped near or next to each other.

Once you choose which lighter and/or darker colors to add to your base colors, you will need to practice different methods of making smooth, realistic transitions of blended paint. There are a few ways to color-blend paints such as wet or dry blending techniques.

Additionally, the use of washes (watered down paint) can be a very effective way to create shadows in the recesses of a model. By adding a little darker color to your existing base color and then thinning it out, you can apply it wherever you want to depict shadow. Alternatively, there are several companies that sell pre-made tinted washes that are really good. Whichever you choose, it is best to use this method first, allow to dry, and then add your lighter colors to the edges to depict light. 

Priming a model before painting

By Colin Wessel (Aplaceofwyzdumstudio@gmail.com)

Note: the following guide is for most models and miniatures. However, there are some brands of models, such as "Reaper Bones" that should not be painted or primed with anything but acrylic paints due to the type of plastic they are made from. If you are uncertain, it is always best to research your model's material and what paints can be used on it.

Why use a Primer?

Priming, or undercoating your miniature is essential as it is a way to pre-treat the model in preparation for subsequent coats of paint. This process compensates for any flaws in the surface, making it smoother and more even. Additionally, since most miniatures are painted using acrylic paints, which do not stick well to plastics, resins and metal alloys, primer bonds to the surface and gives it a "tooth", so the acrylic paint will stick.

There are both brush-on, as well as spray-on primers. But spray primers tend to cover more evenly and with greater ease. (The exception being the models mentioned in the preface of this article where brush-on acrylics are preferred). Most people prefer to use black primers as it gives your model "instant" shadows. Alternatively, the use of grey or white primer might be beneficial depending on how you want your finished piece to look. Experiment with all three to see how colors applied after priming appear.

Preparation and Application 

After cleaning off unwanted mold lines and flash, which is excess plastic or metal; and before applying any primer to your model, clean it using gentle soap with water and dry it with a lint-free cloth. The reason for this is because various chemicals such as oils and release agents, as well as the oils from your skin, may be present from the process of molding and handling them. Printed 3d models may have also some kind of residue. If present, these oils and chemicals can prevent even primers from adhering to your model's surface. 

Before spraying any paint, including primers, you should consider where the paint that is not hitting your model is ending up. It's important to protect yourself and the environment from the fumes. If possible spray outdoors. If not, use a well ventilated area - preferably enclosed. Wearing a protective face mask and gloves is a really good idea. This is especially so if you intend on holding your model at any point while spraying. For ease of control, with the least chance of getting debris and finger prints on your model, I highly recommend using some kind of double stick tape or sticky tack to temporarily attach your model to a sturdy surface that you can put down or hold.

When you’re ready to begin spraying a model with primer it is essential to shake the "rattle can" for about a minute before applying a few light coats of spray from about 12-18 inches away. Being sure to get the spray in-between and under the inner recesses. It is also important to spray during times or places when it's not too hot, cold, or in high humidity as paints do not work well under these conditions. Finally, allow your model to thoroughly dry before adding acrylic colors.

Model painting basics

By Colin Wessel (Aplaceofwyzdumstudio@gmail.com)

Assuming you are not already familiar with painting miniatures and do not have any experience, or as a refresher for you experienced painters, the following is a brief article about some basic steps that you should complete before beginning painting. 

First; if your model has parts to assemble then familiarize yourself with how it goes together and if the pieces all fit as they're supposed to. Do a "dry fit", where you hold the pieces together without glue and be certain they will stay together once glued. If there are any issues such as excess plastic or metal, then carefully remove them with a hobby knife or small file, checking until the parts fit correctly. If there are gaps, then you might need to fill them with model putty, allow to dry, and then file to fit. After you are sure that all the model's parts fit correctly you can use your glue, (typically a super glue), to assemble your model. 

Second; whether or not you need to assemble your model, the next step is to examine it to see if there are any mold lines or excess flash. These lines and/or excess materials are not supposed to be part of the model and need to be carefully removed with either a hobby knife or small file.

Third; wash your miniature with mild soapy water and allow to completely dry. This is done to remove oils and release agents from the model so that your paints, including primers, can properly adhere to your model. Using a hair dryer and a lint free cloth can speed up the process.

Forth; attach your miniature to either a hand-held vice, or a base of some kind. These tools are for you to be able to paint your miniature without needing to touch the actual model. If you plan on making a custom, built-up base then it may also be suitable to attach to at this time.

Fifth; prime your model with the appropriate kind of paint primer so that subsequent layers of paint will properly adhere to it.

On a final note, it's important to study your model to note it's details and where you want which colors to be. After completing these steps most models are ready to begin painting.

NOTE:
The following painting method is a method I developed to paint most miniature figures. This method is based on using a black spray primer, as it represents areas of deep shadow. However, I do not use this method when painting subjects made up mostly of elements such as water, wind or fire. When priming pieces that incorporate them, I will usually utilize grey or white, as there are not really any black areas in those elements.

After completing the basic "prep" steps to get a miniature ready, including priming the model with a flat black spray paint as mentioned above, I will select a light brown or tan color and dry brush the entire piece with it. (I may additionally dry brush the top facing areas of the figure sparingly with a little white or yellow wherever I have decided light will shine). This dry brushing does 3 important things.

The first two things are due to the same reason. By dry brushing with a lighter color over the black it shows up everything clearly - all the raised edges that are either nice details or unwanted mold lines. 

Seeing the nice details makes it easier to add colors to those areas as well as help you to understand the subtle designs of the sculpture. Seeing the unwanted parts such as flash and mold lines, makes it easier to remove them.

The third benefit has to do with light and dark values. By creating areas of lighter high areas and darker low areas - made naturally by the dry brush method, the subsequent layers of thinly applied colors are also lightened and darkened. This effect allows your base colors to already get a "jump" on the lighter and darker areas the model should have. (There may be exceptions to this such as when there are one or more additional light sources creating separately lit areas.) 

The next step is to lay down your desired base coat colors to all the different parts of your miniature figure. Do this in small amounts so the details and underlying dark and light areas affect the base color a little at a time until the desired light and dark colored effects are achieved.

After the entire miniature is painted by building up thin layers of color, I add washes and or highlights to the different areas of the figure to replicate the lit areas and shadows. I will often make use of a small light source, (like a mini LED flashlight), to shine on the figure from the direction my desired light source will be coming from. This allows me to see which parts of the figure appear brighter and darker so I can replicate them with lighter and darker paint shades.

The methods to lay down both the base colors, as well as the various darker and lighter shades of color, should be whatever you are most comfortable with. I use both wet blending and dry blending methods to achieve the look I want.

I encourage you to watch videos from several people who's artwork impresses you and can show you clear step by step instructions on their methods. After all is said and done, there's no substitute for practice.  

Happy Painting.