Jérémie Bonamant Teboul’s Painting Method
Notes from the 2007 U.S. Classes
Information Provided by: Jérémie Bonamant Teboul as learned from all the painters, sculptors, photographers, illustrators, writers, designers…and creators he has met over the last 15 years.
Notes Taken by: Andrew Dyer, Jeff Wilson, Ben Leong, John Rogers, Mike Howell, Jeff Swanson, and David Aymerich
Compiled by: Andrew Dyer
Reviewed by: Chris Borer
Hello!
I hope these notes help painters to find solutions to their problems.
It\'s not easy to write the notes as there\'s no answer to every problem.
It is impossible to understand completely the advices I wrote here as they
need better explanation to be understood,
except writing a 300 pages painting book to cover all the painting methods.
These notes are to help students memorize easily what we discussed at Gen
Con, GD Chicago and other painting classes.
These notes are not from me. I didn\'t invent the techniques that I shared
with you.
I learned these techniques from other painters. I\'m very thankful to the
most important people who have taught me how to paint:
Jacques Alexandre Gillois and Thomas David when I worked for Ilyad Games,
Jose Manuel Palomares Nunes and Alfonso Giraldes when I lived in Madrid, and
Allan Carrasco, with whom I am living with
for a year and half in Lyon. Thanks also to all the painters I met during my
various trips,
and all the students who asked very good questions.
Please keep in mind that these notes are not carved in stone because
everything changes and evolves all the time...
Bonne lecture
Jérémie
www.jeremiebt.com
Tools
• White Spray Primer
o Recommneded: Games Workshop (from Europe, not US), airbrush
• Sable Paint Brushes
NOTE: Jérémie uses a size 0 and 000 for 99% of all painting
o Recommended: Raphael 8400 and 8404 series, Windsor & Newton Series 7, DaVinci
o Available at: Dick Blick, www.dickblick.com
Italian Art Store, www.italianartstore.com
• Acrylic Miniatures Paints
o Recommended: Privateer Press P3, Games Workshop, Games Workshop Foundation Paints, Tamiya Smoke & Clear Red
o Not Recommended: Rackham or Andrea paints, GW inks
• Wet Palette
o Can be made from a plastic plate, sponges or paper towels, and parchment paper
• Putty
o Kneadatite putty, Green and Brown versions
o Standard Milliput (yellow-gray putty in red-lettered box)
Available at: Michigan Toy Soldier, www.michtoy.com
o Tamiya Basic Putty
• Glue
o Super Glue
o White Glue
o Tamiya Extra-Thin Cement
• Various Tools
o Taper Point Color Shaper, size 0
o X-Acto Knife
o Fine Sandpaper (400-600 grit or finer)
o Old Brushes (for glue, Milliput, etc.)
Assembly and Priming
• To fill in surface pock marks, thin the Tamiya Basic Putty with Tamiya Extra-Thin Cement and apply to the area. After it is dry, it can be sanded smooth.
• To fill gaps, apply Milliput to the gap and smooth with old brush dipped in water.
o Milliput is preferable to green stuff here as it is softer when first mixed and less “plastic-y” when cured.
• After assembling the model on the base, glue it to something such as a bottle cap or cork to give you something to hold. Model can be cut from the base later.
• Always spray at angles when priming the model in order to get the most even coverage with the least amount of overlap. The angles depend on the form and volume of the miniature, be logical.
o Apply the primer very lightly. It should be just enough to allow the paint to stick.
o Shake the primer by twisting the wrist side to side instead of up and down. This rolls the agitator around the bottom of the can where the paint may have settled.
• Wet Palette assembly:
o Place folded paper towel or sponge on the plastic plate
Sponges last longer and are therefore better for the environment
o Pour water (no additives) onto the sponge/towel until saturated
o Place a piece of parchment paper onto the sponge/towel
o When parchment begins to curl upwards, flip parchment paper over
o Wet palette is now ready to use
Miniature Theory
• Three components determine the quality of a miniature (from easiest to most difficult to judge):
o Technique (comes with practice)
o Light (choices)
o Color (often a personal preference)
• Allows artist to organize goals when planning a miniature
Techniques
• Pushing paint
o Pushing the paint with the brush to leave more/most of the paint at the end of the brush stroke; Jérémie prefers this for highlights
• Pulling paint
o Depositing most of the paint at the beginning of the brush stroke and pulling some paint away from the starting point; Jérémie prefers this for shadows
• Blending
o Requires the use of translucent colors – achieved through thinning paint
Approximately 5 to 7 parts of water to 1 part of paint
Darker colors may require more water since they are more likely to leave marks and require more coats
• Base coat
o Apply 3 to 4 thin coats
First coat should just tint the white primer
o Apply coats in erratic fashion and blot up any excess, making sure that absolutely no pools or puddles occur
Drying time can be reduced by using an inexpensive travel hair-dryer
o If the base coat is uneven, any marks or errors will show through on all future layers
o Color should be just slightly darker than the lightest color intended
(Approximately 70-75% of the lightest highlights)
o Should be very homogenous with a nice even, consistent color tone, not splotchy
• Highlights and Shades
NOTE: Jérémie doesn’t apply shades and highlights with the same intensity over the whole model; see section on lighting
o Paint should be thinned about the same as the base coat
o Apply with very long strokes and virtually no paint on the brush
o Strokes should be applied in a “crisscross” or “crosshatch” pattern
First apply strokes going one direction, then apply strokes perpendicular to the first set
Helps blend the two colors
Example:
o Shading
Applied after base coat using several thin coats
Shades should be pulled (see above)
Follow with an intermediary mix
o Intermediary Colors
Apply the brush with less pressure
o Highlights
Applied using several thin coats
Highlights should be pushed (see above)
Followed by another intermediary mix
o Strong Shadows
Applied much thinner than other coats
Used like a wash
o With a very thin coat, apply to most of the area
o Apply another coat to only the deeper shadows
o Finally apply darker shade to the deepest recesses
• Fixing mistakes
o Due to time and difficulty, it is best to not make mistakes
o Apply a color mix between the error and the surrounding area, and blend away the error
o Reapply any needed shades or highlights
• Tips to never leaves brush marks on a model (relative to the physics of pigment suspended in a drop of water)
o Don’t paint
o Push and pull the paint, using only small amounts of paint and long strokes
Make sure not to overload your brush!
NOTE: Paint naturally dries unevenly and there is an increased risk of marks when you paint over a partially dry area!
o Use more water
NOTE: “Hard” water contains minerals which can leave marks. If you have hard water, you can paint with distilled water, available at any grocery store.
o Use a blending or glazing medium
Jérémie does not like this method as it tends to make the coats more viscous and glossy and may causing the paint to pool
o Use smaller “jumps” in color
NOTE: “Jumps” are the difference in tone/color/light between one stage and the next. Medium green to dark green is a small, reasonable jump; while white to black is the largest possible jump and not recommended.
o Crisscross the brush strokes to blend in multiple directions
• Freehand
o Less dilution: 1 part water (sometimes less) to 1 part paint
o Keep even pressure on the brush while painting
o Jérémie prefers to use the tip of his brush for freehand - treating it more like a pencil than a paintbrush.
o Its easier to paint bright colors over dark areas
Allows for easier correction of mistakes
o May need to apply a highlight under the freehand to aid opacity of light colors
o Finish with a very thin wash to harmonize and blend
• Dust
o Begin with medium tones, derived from other colors used in the model and base
o Apply with a “poking” brush-stroke similar to stippling
o Repeat with highlights and shades
o Finish with a very thin wash to harmonize and blend
• Wood
o Since there infinite varieties of wood colors, use tones that are similar to the rest of the miniature for harmony
o Remember to respect the lighting!
• Blood
o Mix Tamiya Clear Red and regular black paint
Tamiya Clear Red is viscous but should not be thinned
o Shade and highlight as needed
• Skin
o Jérémie uses mix of colors from the model to paint his skin tones and tricks the eye into thinking it is a skin tone, even though it is not. Much attention needs to be paid to the color wheel here for selection of colors and light washes.
• Metallic Paints
NOTE: Because Jeremie’s technique desires zero metallic pigment in the dark areas you can’t do the usual push-highlights, pull-shadows method; use only pushing with metallics
o Apply 3 to 5 coats of Boltgun Metal for the base, thinned as non-metallic paint
o Push layers as you would for a highlight.
Should be very thin, requiring 5 to 10 layers
Apply with long strokes, beginning in the light areas and ending in the dark areas, making sure there is no metallic pigment in the shadows
Draw tints from other colors used on the model to mimic reflection
• Can also draw colors from the model’s “back-story” if applicable
Example: on a “rich” model, use blues to make the steel look brilliant, on a “poor” model, use oranges and reds to imply rust
Repeat with multiple shades of different tones to different sized areas
If necessary, apply thin black-lining
NOTE: Steel has higher contrast than ordinary colors, going from white to black. Grays only range from light gray to dark gray, never reaching white or black
o Highlight with a small amount of Mithril Silver
You do not have to blend very much
Larger color jumps exaggerate the contrast
o To finish, mix small amount of shade color with Mithril Silver to pick out the rivets and other small points
o To texture, stipple darker colors
Mix concentrations of the colors
o Lighting and Metallics
NOTE: Metallic paints should not be used in heavily shaded areas, as the metal flakes in the paint will reflect light and ruin the shadow effect
Zenithal light is different on metallic surfaces
Highlights and shadows move with the eye to the frontal surface
• Frontal surface is wherever the viewer will look
o Use the same process for other types of metals, using the appropriate colors
o Vehicles
Weld marks on a vehicle do not rust, but can get dirty.
o Non Metallic Metals (NMM)
Use smooth blends on the main metallic piece, but rough blending and larger jumps for any effects
Paint the dark colors first, and blend in the light colors
• Blend 80% of the surface
Glazes of blue tones will increase contrast
Glazes of brown tones will imitate dust or dirt
Otherwise, NMM technique is the same as regular metallics
Jérémie’s suggested colors:
• Mid-tone Steel: Astronomicon Gray (GW Foundation Blue-Gray)
• Shadowed Steel: Astronomicon Gray + Black
• Highlighted Steel: Astronomicon Gray + Light Gray
o Repeat until it is almost white, but not pure white which may look chalky and flat.
• Basing
o You should already know most of this, but here are some basic ideas:
Twigs, wood chips and Milliput are great for basing
Moss can be made from the foam material in most blister packs
Owl pellets are a good source for small bones (wash thoroughly!)
o Only place where drybrushing technique should be used
o Can repeat or contrast colors as needed
o Composition Theory
If the model is static:
Base effects should follow the axis of the model
Example: If the model is vertical, there should be other vertical elements such as flowers, trees, pillars, etc.
If the model is dynamic:
Base effects should break the axis of the model to imply motion
Example: Jérémie’s harlequin model is leaping up and forward while the plinth and base elements lean backward and angle down
• Water
o Paint the base color a mix of blues, greens, blacks, and browns depending on the type of water
o Highlights should be applied near rocks or shoreline, but not near the edge of the base
o Wave lines should be painted fairly straight, see examples of waves and ripples
o Apply gloss varnish, texturing if desired
o Alternative: use 2-part epoxy or water-effect material, see instructions on package
Light Theory
• Light has two influences on a miniature
o Color
o Shadow and Light
• Color
o When light is coming from the top, the higher points receive the most light
o On a flat surface, the entire face has the same light
o On a curved surface, must blend between the colors as the highest highlight is only a single point
Speed of the gradation is directly proportional to the curve
o Larger areas receive and reflect more light than smaller areas.
As a result, sharp folds often require less blending
o On a human figure with light coming from directly above the brightest points will be the top of the head, the shoulders and the top of the feet
o Examples: (1 is the brightest, 5 is the darkest)
• Personalization of lighting
o The “Jesus Effect”
Use brighter tones and highlights on more important points
Example: On a painting of Jesus, the face is always brighter than the feet as that is where the artist wants to draw attention
Can be used when highlighting edges for a dramatic effect
o Points of light
Use small points of a bright highlight to draw attention to those points
NOTE: these small points do not need to be everywhere, only where you deem important
On the human eye, the two brightest points are on the left and right of the eye and there is a small shadow underneath the eye
Contrast Theory
• Contrasts can be used to draw attention to specific areas
o The more contrast, the more impact it has and the more attention it draws
Example: Less contrast will give a natural and harmonious feeling; high contrast will give a feeling of chaos, conflict and drama
• Types of Contrast
o Light and Dark
See the Jesus Effect
o Color
See a color wheel, “opposite” colors contrast
o Quality
Painting the important part more precisely than the less important parts (not used much in miniature painting)
o Quantity
Small point of a color on or in a large area of a contrasting color
o Temperature
Warm shade next to a cool shade
Can be done within the same color
Example: Yellow-green highlights with Blue-green shades
o Texture
Smooth surface next to a rough surface, technological vs. organic items
o Saturation/Vividness
Intense vs. muted colors
Color Theory
• Factors of a Color:
NOTE: All three of these factors should be considered when choosing colors
o Hue
I.e.: is it red or blue?
o Intensity/Chroma
How bright or dull (saturated) is the color?
o Value
How light or dark is the color?
• 3 parts of color theory
o Influence of the color of the light
o Organization of the colors between parts of the model
o Color choice for highlights, shades, and intermediate colors
• Color of the light
o Temperature affects the color
Fluorescent lights produce a harsh white light
Sunlight has a slightly yellow hue
Twilight has a blue hue
The same temperature should generally be used across the entire model
Warm colors generally have reds or yellows in them
Cool colors generally have blues in them
o Color of the light can tint the model
Example: sun light may make a red object look a bit orange
o Color of the light affects the whole model
• Color choice for highlights, shades, and intermediate colors
o Must link the colors inside the colors
Example: Yellow and Yellow-green
o 2 main choices for colors to add for a highlight:
White
• Reduces saturation
• Can make the model appear flat and washed out
Yellow or another light color (Jérémie’s preference)
• Creates a feeling of closeness
• Can use another light color based on the opposite color of the base
• Can also start with yellow and move to a lighter color as needed
o 3 choices for colors to add for a shade:
Black
• No color, so loss of richness
Dark Blue
• Gives a sense of distance
Example: shade red with a blue mix and it appears deeper
• Does not always work (see below)
Opposite color
• AKA: complimentary color
Example: Yellow and Purple
• Only requires a small amount
• Flesh tones are an exception – most are naturally reddish, but adding green or blue tends to make it look unhealthy - browns may provide better results
Random Musings
• When sculpting large objects, apply tightly compressed aluminum foil to the armature to add bulk, since it is cheaper than putty
• Color shapers/clay shapers are excellent for sculpting
• Use photos of live models for references to correct anatomy
Notes from the 2007 U.S. Classes
Information Provided by: Jérémie Bonamant Teboul as learned from all the painters, sculptors, photographers, illustrators, writers, designers…and creators he has met over the last 15 years.
Notes Taken by: Andrew Dyer, Jeff Wilson, Ben Leong, John Rogers, Mike Howell, Jeff Swanson, and David Aymerich
Compiled by: Andrew Dyer
Reviewed by: Chris Borer
Hello!
I hope these notes help painters to find solutions to their problems.
It\'s not easy to write the notes as there\'s no answer to every problem.
It is impossible to understand completely the advices I wrote here as they
need better explanation to be understood,
except writing a 300 pages painting book to cover all the painting methods.
These notes are to help students memorize easily what we discussed at Gen
Con, GD Chicago and other painting classes.
These notes are not from me. I didn\'t invent the techniques that I shared
with you.
I learned these techniques from other painters. I\'m very thankful to the
most important people who have taught me how to paint:
Jacques Alexandre Gillois and Thomas David when I worked for Ilyad Games,
Jose Manuel Palomares Nunes and Alfonso Giraldes when I lived in Madrid, and
Allan Carrasco, with whom I am living with
for a year and half in Lyon. Thanks also to all the painters I met during my
various trips,
and all the students who asked very good questions.
Please keep in mind that these notes are not carved in stone because
everything changes and evolves all the time...
Bonne lecture
Jérémie
www.jeremiebt.com
Tools
• White Spray Primer
o Recommneded: Games Workshop (from Europe, not US), airbrush
• Sable Paint Brushes
NOTE: Jérémie uses a size 0 and 000 for 99% of all painting
o Recommended: Raphael 8400 and 8404 series, Windsor & Newton Series 7, DaVinci
o Available at: Dick Blick, www.dickblick.com
Italian Art Store, www.italianartstore.com
• Acrylic Miniatures Paints
o Recommended: Privateer Press P3, Games Workshop, Games Workshop Foundation Paints, Tamiya Smoke & Clear Red
o Not Recommended: Rackham or Andrea paints, GW inks
• Wet Palette
o Can be made from a plastic plate, sponges or paper towels, and parchment paper
• Putty
o Kneadatite putty, Green and Brown versions
o Standard Milliput (yellow-gray putty in red-lettered box)
Available at: Michigan Toy Soldier, www.michtoy.com
o Tamiya Basic Putty
• Glue
o Super Glue
o White Glue
o Tamiya Extra-Thin Cement
• Various Tools
o Taper Point Color Shaper, size 0
o X-Acto Knife
o Fine Sandpaper (400-600 grit or finer)
o Old Brushes (for glue, Milliput, etc.)
Assembly and Priming
• To fill in surface pock marks, thin the Tamiya Basic Putty with Tamiya Extra-Thin Cement and apply to the area. After it is dry, it can be sanded smooth.
• To fill gaps, apply Milliput to the gap and smooth with old brush dipped in water.
o Milliput is preferable to green stuff here as it is softer when first mixed and less “plastic-y” when cured.
• After assembling the model on the base, glue it to something such as a bottle cap or cork to give you something to hold. Model can be cut from the base later.
• Always spray at angles when priming the model in order to get the most even coverage with the least amount of overlap. The angles depend on the form and volume of the miniature, be logical.
o Apply the primer very lightly. It should be just enough to allow the paint to stick.
o Shake the primer by twisting the wrist side to side instead of up and down. This rolls the agitator around the bottom of the can where the paint may have settled.
• Wet Palette assembly:
o Place folded paper towel or sponge on the plastic plate
Sponges last longer and are therefore better for the environment
o Pour water (no additives) onto the sponge/towel until saturated
o Place a piece of parchment paper onto the sponge/towel
o When parchment begins to curl upwards, flip parchment paper over
o Wet palette is now ready to use
Miniature Theory
• Three components determine the quality of a miniature (from easiest to most difficult to judge):
o Technique (comes with practice)
o Light (choices)
o Color (often a personal preference)
• Allows artist to organize goals when planning a miniature
Techniques
• Pushing paint
o Pushing the paint with the brush to leave more/most of the paint at the end of the brush stroke; Jérémie prefers this for highlights
• Pulling paint
o Depositing most of the paint at the beginning of the brush stroke and pulling some paint away from the starting point; Jérémie prefers this for shadows
• Blending
o Requires the use of translucent colors – achieved through thinning paint
Approximately 5 to 7 parts of water to 1 part of paint
Darker colors may require more water since they are more likely to leave marks and require more coats
• Base coat
o Apply 3 to 4 thin coats
First coat should just tint the white primer
o Apply coats in erratic fashion and blot up any excess, making sure that absolutely no pools or puddles occur
Drying time can be reduced by using an inexpensive travel hair-dryer
o If the base coat is uneven, any marks or errors will show through on all future layers
o Color should be just slightly darker than the lightest color intended
(Approximately 70-75% of the lightest highlights)
o Should be very homogenous with a nice even, consistent color tone, not splotchy
• Highlights and Shades
NOTE: Jérémie doesn’t apply shades and highlights with the same intensity over the whole model; see section on lighting
o Paint should be thinned about the same as the base coat
o Apply with very long strokes and virtually no paint on the brush
o Strokes should be applied in a “crisscross” or “crosshatch” pattern
First apply strokes going one direction, then apply strokes perpendicular to the first set
Helps blend the two colors
Example:
o Shading
Applied after base coat using several thin coats
Shades should be pulled (see above)
Follow with an intermediary mix
o Intermediary Colors
Apply the brush with less pressure
o Highlights
Applied using several thin coats
Highlights should be pushed (see above)
Followed by another intermediary mix
o Strong Shadows
Applied much thinner than other coats
Used like a wash
o With a very thin coat, apply to most of the area
o Apply another coat to only the deeper shadows
o Finally apply darker shade to the deepest recesses
• Fixing mistakes
o Due to time and difficulty, it is best to not make mistakes
o Apply a color mix between the error and the surrounding area, and blend away the error
o Reapply any needed shades or highlights
• Tips to never leaves brush marks on a model (relative to the physics of pigment suspended in a drop of water)
o Don’t paint
o Push and pull the paint, using only small amounts of paint and long strokes
Make sure not to overload your brush!
NOTE: Paint naturally dries unevenly and there is an increased risk of marks when you paint over a partially dry area!
o Use more water
NOTE: “Hard” water contains minerals which can leave marks. If you have hard water, you can paint with distilled water, available at any grocery store.
o Use a blending or glazing medium
Jérémie does not like this method as it tends to make the coats more viscous and glossy and may causing the paint to pool
o Use smaller “jumps” in color
NOTE: “Jumps” are the difference in tone/color/light between one stage and the next. Medium green to dark green is a small, reasonable jump; while white to black is the largest possible jump and not recommended.
o Crisscross the brush strokes to blend in multiple directions
• Freehand
o Less dilution: 1 part water (sometimes less) to 1 part paint
o Keep even pressure on the brush while painting
o Jérémie prefers to use the tip of his brush for freehand - treating it more like a pencil than a paintbrush.
o Its easier to paint bright colors over dark areas
Allows for easier correction of mistakes
o May need to apply a highlight under the freehand to aid opacity of light colors
o Finish with a very thin wash to harmonize and blend
• Dust
o Begin with medium tones, derived from other colors used in the model and base
o Apply with a “poking” brush-stroke similar to stippling
o Repeat with highlights and shades
o Finish with a very thin wash to harmonize and blend
• Wood
o Since there infinite varieties of wood colors, use tones that are similar to the rest of the miniature for harmony
o Remember to respect the lighting!
• Blood
o Mix Tamiya Clear Red and regular black paint
Tamiya Clear Red is viscous but should not be thinned
o Shade and highlight as needed
• Skin
o Jérémie uses mix of colors from the model to paint his skin tones and tricks the eye into thinking it is a skin tone, even though it is not. Much attention needs to be paid to the color wheel here for selection of colors and light washes.
• Metallic Paints
NOTE: Because Jeremie’s technique desires zero metallic pigment in the dark areas you can’t do the usual push-highlights, pull-shadows method; use only pushing with metallics
o Apply 3 to 5 coats of Boltgun Metal for the base, thinned as non-metallic paint
o Push layers as you would for a highlight.
Should be very thin, requiring 5 to 10 layers
Apply with long strokes, beginning in the light areas and ending in the dark areas, making sure there is no metallic pigment in the shadows
Draw tints from other colors used on the model to mimic reflection
• Can also draw colors from the model’s “back-story” if applicable
Example: on a “rich” model, use blues to make the steel look brilliant, on a “poor” model, use oranges and reds to imply rust
Repeat with multiple shades of different tones to different sized areas
If necessary, apply thin black-lining
NOTE: Steel has higher contrast than ordinary colors, going from white to black. Grays only range from light gray to dark gray, never reaching white or black
o Highlight with a small amount of Mithril Silver
You do not have to blend very much
Larger color jumps exaggerate the contrast
o To finish, mix small amount of shade color with Mithril Silver to pick out the rivets and other small points
o To texture, stipple darker colors
Mix concentrations of the colors
o Lighting and Metallics
NOTE: Metallic paints should not be used in heavily shaded areas, as the metal flakes in the paint will reflect light and ruin the shadow effect
Zenithal light is different on metallic surfaces
Highlights and shadows move with the eye to the frontal surface
• Frontal surface is wherever the viewer will look
o Use the same process for other types of metals, using the appropriate colors
o Vehicles
Weld marks on a vehicle do not rust, but can get dirty.
o Non Metallic Metals (NMM)
Use smooth blends on the main metallic piece, but rough blending and larger jumps for any effects
Paint the dark colors first, and blend in the light colors
• Blend 80% of the surface
Glazes of blue tones will increase contrast
Glazes of brown tones will imitate dust or dirt
Otherwise, NMM technique is the same as regular metallics
Jérémie’s suggested colors:
• Mid-tone Steel: Astronomicon Gray (GW Foundation Blue-Gray)
• Shadowed Steel: Astronomicon Gray + Black
• Highlighted Steel: Astronomicon Gray + Light Gray
o Repeat until it is almost white, but not pure white which may look chalky and flat.
• Basing
o You should already know most of this, but here are some basic ideas:
Twigs, wood chips and Milliput are great for basing
Moss can be made from the foam material in most blister packs
Owl pellets are a good source for small bones (wash thoroughly!)
o Only place where drybrushing technique should be used
o Can repeat or contrast colors as needed
o Composition Theory
If the model is static:
Base effects should follow the axis of the model
Example: If the model is vertical, there should be other vertical elements such as flowers, trees, pillars, etc.
If the model is dynamic:
Base effects should break the axis of the model to imply motion
Example: Jérémie’s harlequin model is leaping up and forward while the plinth and base elements lean backward and angle down
• Water
o Paint the base color a mix of blues, greens, blacks, and browns depending on the type of water
o Highlights should be applied near rocks or shoreline, but not near the edge of the base
o Wave lines should be painted fairly straight, see examples of waves and ripples
o Apply gloss varnish, texturing if desired
o Alternative: use 2-part epoxy or water-effect material, see instructions on package
Light Theory
• Light has two influences on a miniature
o Color
o Shadow and Light
• Color
o When light is coming from the top, the higher points receive the most light
o On a flat surface, the entire face has the same light
o On a curved surface, must blend between the colors as the highest highlight is only a single point
Speed of the gradation is directly proportional to the curve
o Larger areas receive and reflect more light than smaller areas.
As a result, sharp folds often require less blending
o On a human figure with light coming from directly above the brightest points will be the top of the head, the shoulders and the top of the feet
o Examples: (1 is the brightest, 5 is the darkest)
• Personalization of lighting
o The “Jesus Effect”
Use brighter tones and highlights on more important points
Example: On a painting of Jesus, the face is always brighter than the feet as that is where the artist wants to draw attention
Can be used when highlighting edges for a dramatic effect
o Points of light
Use small points of a bright highlight to draw attention to those points
NOTE: these small points do not need to be everywhere, only where you deem important
On the human eye, the two brightest points are on the left and right of the eye and there is a small shadow underneath the eye
Contrast Theory
• Contrasts can be used to draw attention to specific areas
o The more contrast, the more impact it has and the more attention it draws
Example: Less contrast will give a natural and harmonious feeling; high contrast will give a feeling of chaos, conflict and drama
• Types of Contrast
o Light and Dark
See the Jesus Effect
o Color
See a color wheel, “opposite” colors contrast
o Quality
Painting the important part more precisely than the less important parts (not used much in miniature painting)
o Quantity
Small point of a color on or in a large area of a contrasting color
o Temperature
Warm shade next to a cool shade
Can be done within the same color
Example: Yellow-green highlights with Blue-green shades
o Texture
Smooth surface next to a rough surface, technological vs. organic items
o Saturation/Vividness
Intense vs. muted colors
Color Theory
• Factors of a Color:
NOTE: All three of these factors should be considered when choosing colors
o Hue
I.e.: is it red or blue?
o Intensity/Chroma
How bright or dull (saturated) is the color?
o Value
How light or dark is the color?
• 3 parts of color theory
o Influence of the color of the light
o Organization of the colors between parts of the model
o Color choice for highlights, shades, and intermediate colors
• Color of the light
o Temperature affects the color
Fluorescent lights produce a harsh white light
Sunlight has a slightly yellow hue
Twilight has a blue hue
The same temperature should generally be used across the entire model
Warm colors generally have reds or yellows in them
Cool colors generally have blues in them
o Color of the light can tint the model
Example: sun light may make a red object look a bit orange
o Color of the light affects the whole model
• Color choice for highlights, shades, and intermediate colors
o Must link the colors inside the colors
Example: Yellow and Yellow-green
o 2 main choices for colors to add for a highlight:
White
• Reduces saturation
• Can make the model appear flat and washed out
Yellow or another light color (Jérémie’s preference)
• Creates a feeling of closeness
• Can use another light color based on the opposite color of the base
• Can also start with yellow and move to a lighter color as needed
o 3 choices for colors to add for a shade:
Black
• No color, so loss of richness
Dark Blue
• Gives a sense of distance
Example: shade red with a blue mix and it appears deeper
• Does not always work (see below)
Opposite color
• AKA: complimentary color
Example: Yellow and Purple
• Only requires a small amount
• Flesh tones are an exception – most are naturally reddish, but adding green or blue tends to make it look unhealthy - browns may provide better results
Random Musings
• When sculpting large objects, apply tightly compressed aluminum foil to the armature to add bulk, since it is cheaper than putty
• Color shapers/clay shapers are excellent for sculpting
• Use photos of live models for references to correct anatomy
