Up next in 10
Pro Tips to Take Your Miniature Painting to the Next Level
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Dec 17, 2023
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View Video Transcript
0:00
this video is sponsored by Warcraft
0:02
Rumble so you've nailed the basics you
0:05
get into grips of miniature painting but
0:07
what's next how do you take your
0:09
lovingly painted models to the next
0:10
level well luckily here at the painting
0:13
phase we've got you covered we are now
0:15
going to take you on a journey to teach
0:17
those mystical Arts of the experts
0:20
however before we reveal our secrets
0:22
let's hear a little more from our
0:24
sponsors hit it
0:27
P Warcraft Rumble is an action-packed
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strategy game that invites players to
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designed to test their tactical wits
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it's easy to learn but hard to master
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in competitive or cooperative play and
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characters locations and events from the
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of Warcraft as you can see we've already
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got a hold of our Warcraft Rumble
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characters courtesy of we print
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Miniatures so what are you waiting for
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click the link in the description and
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get downloading right back to painting
1:44
and rambling about
1:46
techniques so in our first video check
1:48
the link in the description we covered
1:50
the basics of miniature painting however
1:52
in this video we're now going to move on
1:54
to the more technical side of painting
1:57
the Artistry that is highlighting among
2:00
other things highlighting your models is
2:02
one of the best ways to emphasize and
2:04
Define those details and really helps to
2:06
make it stand out on the table top there
2:08
are a few methods of highlighting your
2:10
minis the traditional and most often
2:12
seen method is Edge highlighting it
2:14
pretty much does what it says you spend
2:16
your time neatly painting the edges of
2:18
those details as you get more experience
2:20
you'll find that your highlights will
2:21
become neater and crisper as well as
2:23
thinner meaning you can build up
2:25
multiple Edge highlights to add some
2:26
lovely transitions in tone another way
2:29
of high item which is my personal
2:31
favorite is dry brushing again this is a
2:33
technique that's quite quick and
2:35
effective it removes some of the
2:36
barriers of entry level so you don't
2:38
have to be an expert painter to use this
2:40
technique but it does require a little
2:41
bit of practice so you will need to get
2:43
used to the technique before applying it
2:45
to your models another popular form of
2:47
highlighting is zenial highlighting now
2:49
what this is aiming to do is to give you
2:52
a light source that's coming from a
2:54
Direction so it's a directional light
2:55
source so mostly this is like from the
2:57
top and then when you start tinting it
2:59
adding colors on top of it it kind of
3:01
gives you a bit of a a lighter tone
3:03
where the sun would be or the light
3:04
would be or whatever light source you're
3:06
using so as opposed to like picking out
3:08
the edges of a model whether that with a
3:10
dry brush or an edge or a brush you're
3:11
just using an airbrush or a rattle can
3:14
to kind of do that for you now the only
3:16
real difference between an airbrush and
3:17
a rattle can is airbrushes give you more
3:19
control and I suppose color as well cuz
3:21
you can use any paint whereas spray cans
3:24
you're limited to what colors are
3:25
available you'll often see a lot of
3:27
airbrush adjacent painters use this
3:28
method as it's very very quick and
3:30
effective and because they do it all the
3:31
time they get very comfortable with it
3:32
and with an airbrush you can adjust the
3:34
amount of pressure you use and have
3:35
better control of the flow coming from
3:37
the airbrush now if you're more
3:38
interested in using colors to do
3:39
zenithal then color Forge also provide a
3:42
range of colors to do this here we're
3:44
using the red zenial and working our
3:45
away from dark red to a mid red with a
3:48
light dusting of orange now depending on
3:50
your intention of tone of color you
3:52
might not use the first or last rattle
3:54
can in some cases what I mean by this is
3:56
if you want a bright red you might just
3:58
use the midtone red and then the orange
3:59
or if you want a darker red you might
4:00
just start with a dark one and then just
4:02
use the midtone and not even use the
4:04
orange and that works with any color so
4:06
next up from a highlighting point of
4:08
view is Slap Chop but what is Slap Chop
4:10
what does it do it is a pre highlight to
4:12
a model so often you start off with a
4:14
black undercoat and you dry brush up
4:16
with some Grays and some whites and then
4:18
you tint it usually with contrast paints
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but the idea is you're doing the dry
4:22
brushing so you're mixing a couple of
4:24
things here using contrast paints and
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dry brushing to give you a highlight
4:28
with minimal effort if makes sense as
4:30
you can see on our character here you
4:31
know we've got Coda Grays to whites on
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the black looks very monochrome but then
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when you start adding like bones and
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pinks purples Reds you get the Highlight
4:40
pushing through so you can actually get
4:42
nice highlights with a contrast on the
4:44
black undercoat with a white dry brush
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which in our previous video you want
4:48
light undercoats to demonstrate the
4:50
contrasts in its best format but this is
4:52
a really good way of doing that and it's
4:53
a really cheeky quick way of getting
4:55
highlights especially if you're got
4:57
shaky hands now glazing is one of those
4:59
methods that can be used for a few
5:01
reasons more often than not if your
5:03
highlights are just way too bright it's
5:04
really good for knocking them back all
5:07
you really doing is getting a paint
5:09
usually the color you've been using is
5:10
like your midtone and then you're
5:12
thinning it down and you're just tinting
5:14
over that highlight to knock it back a
5:16
bit the same can be said for Shadows if
5:18
your recess shades are too dark you can
5:20
try and light them up with that same
5:21
thin down coat when I've done any kind
5:23
of glaze in the past I tend to have like
5:25
a dark tone I tend to have a mid tone
5:27
and then a highlight and usually I tend
5:29
to use the midtone mostly as my glaze so
5:32
I thin that down so if my highlights
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become too light I can knock them back
5:35
if my recesses become too dark I can
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light them up as Richard Gray would say
5:39
it's just lots of thin paint lots of
5:41
layers of thin paint that's all it is
5:43
that's all you're doing now another
5:45
reason for using glazing is to change
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the warmth of a model so move it to a
5:49
bit more of a warmer Spectrum or a
5:51
colder Spectrum so if for instance you
5:54
like have a green that's too cold you
5:57
want to warm it up you just put a yellow
5:59
glaze over the top of it again really
6:01
thin paint that just tints it and turns
6:03
that green from a colder tone to a
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warmer tone sometimes you might have a
6:06
color that looks a bit too warm so you
6:08
want to darken it down so then use a
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cold color and why would you do that why
6:11
would you change the warmth of a color
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on a Model well that's a thing that
6:14
you'll notice as you become more
6:15
familiar with painting that sometimes
6:17
you have a lot of warm colors on a Model
6:19
it needs balancing out with a few colder
6:20
colors and colder colors just tend to be
6:23
like darker Bluer looking Blues whereas
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warmer colors tend to be like really
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light looking greens it's that kind of
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thing so you're not like heating them up
6:32
on a microwave or sticking them on the
6:34
radiator I mean you can do but that
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ain't going to help now glazes do
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require some practice and can be a bit
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tricky to get the hang off initially but
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by thinning your paint down so it's more
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of a watery consistency the term often
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thrin around is the consistency of thick
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milk and neatly applying this thin paint
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to the desired area will tint your
6:50
chosen tone now something to bear in
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mind is this is not a wash what you are
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doing is neatly layering the glaze onto
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the area so it tin P if you start
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treating like a wash or a contrast it's
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going to swamp in those recesses and
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it's not going to do what you needed to
7:04
do so you are just taking your time and
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neatly layering over those areas so the
7:09
color the amount of paint that you're
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putting onto the model is evenly
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distributed across the high points the
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midp points and the low points you're
7:17
not swamping it like a shade next up is
7:20
basing now this is my favorite part of
7:22
the painting process usually when you
7:23
got to this point it probably means your
7:25
model's finished and you're just giving
7:27
it a nice patch of land that it can call
7:30
home because it's going to be glued on
7:32
that forever so you might want to make
7:34
it nice give me some flowers to pick
7:36
maybe some turnips I don't know but this
7:38
is the part that makes the model stand
7:40
out from the rest of the crowd and adds
7:42
a sense of realism to the finished
7:44
article as well obviously it goes about
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saying you can base your models however
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you want it's entirely up to you what
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you do for your models they're yours but
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there are a few things to consider that
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might help you along the way this is not
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like you must do this it's just a couple
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of things to bear in mind when you are
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basing your figure is now a top tip is
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think of the narrative what is the model
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doing what's it dressed like I mean if
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you've got like a barbaric warrior in
8:07
firsts then sticking it in a desert
8:09
environment probably looks a bit
8:11
narratively weird so you might want a
8:13
snowy environment that might add to the
8:15
narrative and the theme another thing to
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bear in mind is color as well so one of
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the things that I've learned through
8:20
years of painting is if you have a
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really dark toned model so the model's
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like black with really Grim looking
8:27
colors on it then you probably want a
8:28
really light base and that that light
8:29
base doesn't have to be desert or snow
8:31
it could be just like stone or like
8:33
pebbles but lighter the other option is
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if your model's really light then
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chances are you want a darker base so
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you know if you've got like someone in
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white armor or bright Silvers then you
8:43
might want a slightly darker gray or
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like a dingy kind of dirt or something
8:47
like that just again it helps the model
8:48
pop something to bear in mind when you
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are basing is the bass is like a picture
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frame of a painting it's there to
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support it but not overwhelm it you
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don't want your base to be like Stark BL
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latly the only thing you look at is the
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model that you want to be looking at not
9:02
the base and if you're not certain then
9:03
a nice mid-tone brown or arid scheme
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works really well again years of
9:07
painting armors and more often than not
9:09
varied schemes in one collection using
9:11
the same midtone Earth base not only
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helps every paint job stand out it looks
9:15
consistent as a collection two as you
9:17
can see like what we're doing on this
9:19
model here it can be a bit light in some
9:21
places but actually it's a nice midtone
9:23
and any color scheme will work on that
9:24
really well with the texture of your
9:25
base done the next thing you want to be
9:27
looking at is painting the side or
9:29
what's known as the rim of the base now
9:32
if you're new to painting and this might
9:34
seem very odd to you and it's probably
9:36
true there's a bit of a war raging as to
9:39
what is the correct Rim color for a Bas
9:42
Brown is the right choice because I like
9:44
painting my rims brown but actually
9:46
there's there is a bit of a science to
9:47
some of this you can paint them whatever
9:48
color you want to by the way you don't
9:50
have to like follow the information here
9:52
there's just a reason for having
9:54
different tone edges to your bases the
9:56
reason why I use Brown is it's nice and
9:58
natural and if you're doing lots of
10:00
wargaming with it and you've got like
10:02
many different boards to play on it's a
10:04
nice natural jump from miniature to base
10:07
to board so even if you like say you've
10:09
got like a desert base or a brown Rim
10:11
but you're on like an arid sort of
10:12
landscape with like grass and stuff on
10:14
it it works fine the other option is
10:16
gray gray you tend to see M mainly for
10:19
sci-fi stuff because most of it's going
10:21
to be like really blown up worlds with
10:22
lots of Ash and concrete and just debris
10:24
and gray bases look quite cool for that
10:26
and dungeons as well if you got like
10:28
things in dungeons looks cool with gray
10:30
bases but the last one that tends to be
10:32
the quite contentious color is like
10:34
black is best black rims are best black
10:37
rims are great if you are doing board
10:39
games and display pieces like the ones
10:42
we're doing here now normally like I say
10:44
I'm a brown Rim guy but for this video
10:46
and the models in this video black looks
10:48
better because they're display pieces or
10:50
gaming pieces if you're doing like a
10:52
board game for D and D it's up to you
10:54
you can paint them red I don't care you
10:55
do what you want but that's a bit of a
10:57
theory as to why you paint different
10:59
bases just for different reasons that
11:01
might decide what kind of game system
11:03
you're playing or what sort of hobby
11:05
you're using it for the last thing I'd
11:06
like to cover in this video is about
11:08
brush control practice and muscle memory
11:10
now these things to me all work in
11:12
conjunction with each other because well
11:14
you kind of require all those skills
11:16
anyway to be able to do one or the other
11:18
and a lot of the things we discussed in
11:19
this video will benefit from making use
11:22
of these things and practicing these
11:24
things and getting better at these
11:25
things a lot of it is just time and
11:28
practice hence why practice is here so
11:30
don't don't be too stressed don't be
11:32
like oh no you know my brush control is
11:34
rubbish it's fine it just comes with
11:35
time a lot of this comes with time and
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just holding things the right way
11:38
something I would bear in mind as well
11:40
with brush control is hold your brush
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like you would hold a pen because you've
11:45
got the muscle memory there already of
11:46
holding a pen so why would you hold your
11:48
brush any different I used to see a lot
11:49
of people hold their brush so different
11:51
to how they'd write a pen and you've
11:53
been writing like at schools colleges
11:55
uni or whatever for decades so why would
11:58
you hold your paint brush any any
11:59
different so that's something to bear in
12:00
mind CU you might not realize that you
12:01
might just think well it's different
12:03
it's paint and I have to hold it
12:04
differently I have to be like oh little
12:05
tweedly mustache and the canvas and like
12:07
use the my little pinky here and just do
12:10
little sweeping motions down and forth
12:12
on the canvas you not some pretentious
12:14
artists that's putting some of into take
12:17
Gallery you are painting Toy Soldiers so
12:19
don't worry about it it's fine brush
12:21
control really is about handling the
12:23
brushes getting used the amounts of
12:25
pressure to apply and when to apply them
12:27
you can use models or Petes to practice
12:29
Different Strokes and pressures but
12:31
really it just boils down to practice
12:33
and we all know the more you do
12:34
something the better you get it putting
12:36
the hours in the chair or your painting
12:39
set up is indeed a thing the more you do
12:41
something like I said the better you can
12:42
get at it and the prime example of this
12:44
is when I worked in retail I painted
12:46
stuff for the cabinets I thought I was
12:48
okay I thought I was pretty good I
12:49
applied for a job to be an army painter
12:52
and I went there thinking I'm good at
12:53
painting I was okay but the more I was
12:56
in there the better I got my first week
12:58
literally eight hours a day for S days
13:01
there was a vast difference in my
13:03
painting that I'd been doing higgledy
13:05
piggledy here for the cabinets when I
13:07
was in retail so just hours in the chair
13:10
getting used to it and I know not all of
13:12
you watching this video have millions of
13:14
hours a week to to spend painting but
13:16
the more you do something you better get
13:17
it so if you have a regular time just
13:20
keep to that if it's like an hour in the
13:22
evening or a couple of hours a week just
13:24
maintain those couple of hours if you
13:25
can and you'll find keep to it you'll
13:28
get back better at it the more you do
13:30
some it the better you get and I've said
13:31
that multiple times in this video I'm
13:32
going to keep hammering it home but it
13:34
is true you just repeat rinse and repeat
13:37
and muscle memory will come in time now
13:38
there is a thing where some of our
13:40
viewers and some of our patrons have
13:43
shaky hands and again you will find
13:46
mechanisms and strategies to hold your
13:48
brush slightly different or how to
13:50
support your hands obviously in the
13:51
video I support my hands on the table
13:53
like this I I use that I hold my breath
13:56
I take my time with my breathing slow
13:58
slow it down all those things in time
14:01
will help you improve the handleing the
14:03
brush and the obviously the edge
14:04
highlights you do even with Shak your
14:06
hands you can find ways of doing it and
14:07
slowly but surely steady those and if
14:09
you can't that's what slap Chop's for
14:11
it's fine You' be good freehanding is
14:14
one of those elements and skills that
14:17
scares some people because they're like
14:19
I'm not an artist I can't do this I
14:21
didn't go to college and learn how to
14:22
draw I'm not a master it's fine
14:25
freehanding is about breaking things
14:27
down into shapes and taking your time
14:29
the model we've got up on screen is very
14:32
simple freehanding um you might not seem
14:34
it but it is what I've done here is
14:35
literally done a diamond shape to start
14:37
off with so a cross with a diamond and
14:40
then all I'm I'm doing is filling that
14:42
in I do this all in the base coating
14:44
stage so if I make mistakes it's easy to
14:46
correct I'll come back to that in a
14:47
moment so painted it blue to start off
14:48
with the body then getting some white on
14:50
there doing that diamond shape and then
14:52
start adding a little bit more Essence
14:54
to that diamond shape because the actual
14:56
physical figure on the website has has
14:58
lots of cool little I think it's F I
15:01
think it's a tattoo I'm not sure but it
15:03
looks cool so I mimicked it and in the
15:05
center there's like a bit of a void like
15:07
a another blue diamond which is
15:09
obviously a bit of it belly shown
15:10
through again because I've done this in
15:11
the base C stage I can do that bit after
15:14
with the blue that I use for the skin
15:15
and then tidy up anything around the
15:17
edges they may look a bit wibbly wobbly
15:19
or not quite right if you do this later
15:20
on after you've done some shade and some
15:22
highlighting it's a lot harder to
15:24
correct so if you've decided on your
15:25
shield for your footmen you're going to
15:28
like do some Coats of Arms at the back
15:30
and then you make a bit of a mistake on
15:31
it you're going to have to redo the blue
15:34
reshade that section of blue reh
15:35
Highlight that section of blue chances
15:37
are you're going to get some of that on
15:38
the other color you've just done as well
15:40
so if you do all your freehanding in the
15:41
base coat stage it's easy to correct and
15:44
then you can do all your shading after
15:45
and all your all your highlighting when
15:47
that's all done the big key thing here
15:49
for any freehanding is break it into
15:51
simple shapes start off with a cross
15:53
then turn it into a diamond and then
15:56
fill it in and if you're not sure squint
15:58
your eye see what the shape looks like
16:00
there's been many many designs I've done
16:01
over the years which is just like oh
16:03
it's a circle oh it's got a triangle on
16:04
the top of it and then just do that and
16:06
if you're not sure get a Post-It note or
16:08
a piece of paper and do a few sketches
16:10
and this is another thing you can do is
16:12
once you've got a design and you happy
16:14
with it you've sketched it is paint that
16:16
large on a piece of paper or on a pallet
16:18
pwder something like that start large
16:20
then move to the side do it a bit
16:21
smaller then move to the side get a bit
16:23
more smaller and then keep doing that
16:25
until you're happy with the desired size
16:27
and shape now moving on from the
16:29
freehanding sometimes you can use your
16:31
brush control and the pressures of your
16:33
brush to get effects of a 3D sort of
16:38
texture just by doing some 2D Strokes so
16:42
if we look at hogo here who is a bit of
16:45
a a wolfy looking guy he's got loads of
16:46
fur but there's no texture of fur how do
16:48
we give that fur a sort of texture and
16:51
it's all about just little flicks and
16:53
brush strokes and again talking about
16:54
brush control you know making sure
16:56
you're getting that pressure right and
16:58
then just just slowly but surely just
16:59
moving that brush across to get like
17:01
consistent flicks and again because hair
17:04
on dogs and animals can move around a
17:06
bit just follow the flow of where it
17:08
looks like it's going to go so if it's
17:09
going up an arm you might want it a bit
17:10
more vertical and then like across the
17:13
PEC or something like you might want a
17:14
bit more horizontal but just go over a
17:16
bit of a flow and take your time and
17:17
once you've done that you can then
17:18
highlight up but if it doesn't work out
17:20
get a thin bit of brown cover over start
17:23
again but it is just about the pressure
17:24
of your brush starting off very lightly
17:27
and then just doing little flicks a tip
17:29
here as well is I kind of go in doing
17:32
that movement before I make contact with
17:33
the model as well and then eventually
17:35
hit it and then keep doing that and it's
17:37
repetitive just keep adding and as
17:39
you'll find with the practice section
17:41
get better at it a really easy thing to
17:43
do for patterns if you don't want to do
17:45
like free hand in or you don't want to
17:46
do fur is just make some little dollops
17:50
and shapes to add a pattern whether
17:52
that's tiger stripes or here on the
17:54
panther doing like a bit of a leopard
17:55
stripe I'm being a bit cheater here as
17:56
well cuz I'm using a contrast paint
17:58
which is black and then I'm just finding
18:00
little dots little shapes that look like
18:02
dots and like leopard pattern dropping
18:04
them on leaving it to dry for a moment
18:06
or two i' say about 30 seconds 40
18:09
seconds when paint dyes especially when
18:11
it's water down paint it starts to have
18:13
what we call a tide line if you leave it
18:15
to dry it will be flat and solid but if
18:16
you like soak it away you would leave a
18:18
little TI line like a a t-ring on a
18:20
table you'd get like a little effect
18:22
around the sides which is perfect for
18:24
leopard pan so what you do is just get a
18:26
brush that's dry and then just soak off
18:28
some that paint from the middle and
18:29
you'll find you get a bit of a tide line
18:31
going around the side and then a
18:32
slightly lighter bit in the middle which
18:34
is perfect for leopard patterns do the
18:37
same for tiger stripes or whatever kind
18:39
of stripes or whatever kind of patterns
18:40
so if you're not in the mood for
18:41
freehanding or first Stripes then this
18:44
is a good way of doing it now Edge
18:46
highlighting doesn't always have to be
18:48
with a brush or highlighting in general
18:50
a nice quick way of doing that is
18:52
getting the sponge so this is where we
18:54
get a little bit of packing sponge
18:56
whether that's from a figure case or
18:57
whatever and we use the little sleeves
19:00
that you get for your paint brushes
19:01
courtesy of a nice painter from the
19:03
internet stole this idea from him so all
19:05
you do is you just twist some of that
19:07
sponge and then you put it down the tube
19:09
and you got yourself a little sponge
19:11
brush if you like and what you're doing
19:13
is a bit like dry brushing you're just
19:14
dabbing this off removing some excess
19:17
and then you start attacking those
19:19
raised areas of the model like on the or
19:20
we've got here we're just giving a bit
19:21
of a texture to its skin you don't have
19:24
to do this I just thought it looked
19:25
quite cool cuz Orcs have quite thick
19:26
leathery skin so they're going to be a
19:28
bit more mtled a bit more textural so
19:29
just adding this and then again you can
19:31
use smaller sleeves to do more accurate
19:33
sponge effects F around it's also really
19:36
good for doing chipping as well so if
19:38
you want to chip up armor on edges again
19:40
using the sponge to do that is a really
19:42
good way of doing that it's kind of like
19:43
highlighting it's a nice cheeky way of
19:45
doing it with minimal effort so I'm now
19:48
going to talk about my secret weapon a
19:51
weapon that I use a lot for metal things
19:55
not like actual physical made of metal
19:57
But Metal metal paint jobs and it's what
19:59
I call reverse highlighting it is a new
20:02
technique I'm going to come up with a
20:03
name for it at some point so what we're
20:04
going to do if you look at the orc here
20:06
is we've got a lot of metal work he's
20:08
got some red shoulder pads and he's got
20:09
some sort of metal spikes coming out of
20:11
it all I'm going to do is get the same
20:13
red and I'm going to paint in the middle
20:15
of those spiky bits but I'm not going to
20:17
go to the edges no no that's silly
20:19
because I'm doing two things here I'm
20:21
reverse highlighting so I've got an edge
20:23
highlight already but it's not an edge
20:24
highlight it's a battered piece of armor
20:27
that the paint's worn away from so it
20:28
kind of highlights it but it also looks
20:30
like chipping and again doing on the
20:32
little bits around the side a little
20:33
banding on his armor just do the same
20:35
thing and it works for anything I mean
20:36
you can do it on the uh the human the
20:39
footman I've done it on that as well on
20:40
some of the shoulder pad bits on like
20:43
the blue bit that before it gets to the
20:44
puldon you got the poldon you got the
20:46
blue trim on it you can also do it on
20:47
there as well so it's a really really
20:49
simple way of highlighting is just using
20:52
a darker color in the middle and then
20:54
not going all the way to the edge but
20:56
yeah reverse height line top secret
20:58
don't tell anyone well I hope you've
21:00
enjoyed this video and I found many a
21:02
thing useful to take away onto your next
21:04
project now do keep an eye out for part
21:07
three where we're going to use a
21:08
multitude of the techniques we've been
21:11
discussing and of course don't forget to
21:12
hit the like And subscribe button that's
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channel and a massive thank you to
21:18
Blizzard and Warcraft Rumble for
21:20
sponsoring this video and of course John
21:21
from weint minis for printing the
21:23
Miniatures out for it as well now as you
21:25
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as well as many of benefits but until
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our next video take care I love you and
21:38
enjoy painting and just just enjoy it
21:41
remember patience patience but don't
21:44
tell anyone the
21:48
secrets
21:50
oh
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