Let’s talk about the “drybrushing” technique, loved by some and hated by others. Some painters even do not consider it as a “real/valid painting technique” (Yes ! I assure you). Depending on how much paint you have loaded on the brush and how much pressure you put on the surface you can achieve any effect from smooth to highly textured.
By always painting in the direction of light with this technique (usually that would be from top to bottom) it will naturally cover the convex/protuberant parts and avoid the concave parts. This way, you have the ‘correct’ light placement just by painting in the general direction of the light (similar to airbrushing by the way ! ).
I apologise about forgetting the source of the below bulletpoints (I saved it in PDF and forgot to note down the original link), but here’s additional information:
- Drybrush technique: a technique of painting that uses dry (undiluted) paint straight from the bottle. You apply the paint with your dedicated drybrush brush starting from removing the excess paint by tapping the brush in a paper towel, until there’s very little paint left. Then you apply the paint over an area by strongly pushing with the brush from top to bottom. This technique is almost exclusively used to apply highlights (lighter paint on top of a darker one).
- Drybrush brush: a brush used for a drybrush and stippling technique. I use a variety of makuup/smudge brushes as well as standard kolinsky brushes with short hair and rounded tips of various sizes.
- Stippling technique: a variant of a drybrush technique, where you use thick paint and apply it by tapping with the tip of the brush to create tiny dots. Can be used on large surfaces with a big brush, as well as applied with single dots with a 000 brush.
Precise brush: a high quality kolinsky sable brush with fine tip, for painting small details and precision painting. I usually use brushes of sizes between 000 – 4.
- Detail-work technique: a technique of painting small details in a very precise way. You use highest quality kolinsky sable brushes and apply the paint in small amount by just the tip of the brush. This technique uses diluted paint, but the dilution rate is much lower then in glazing technique (between 25-50% of water to paint)
Shading brush: a high quality pure squirrel brush, known for its’ high flexibilty, ideal for applying diluted paint in a precise, highly controlled manner. If you don’t have these type of brushes just use your precise brushes for that purpose.
Glazing/shading technique: a technique of painting that uses highly diluted paint. You apply the diluted paint in small amounts to specific areas in order to blend transitions between layers as well as to add additional hues.
- Darklining: a technique of painting that uses pure black or dark color to strenghten shadows by painting precise lines in the deepest crevices. This helps to increase the light/dark contrast and makes the surfaces stand out more from one another.
There are a lot of reviews about the new Citadel Contrast range, while the GW marketing engine pushes for accessibility for beginners to paint quickly and easily, you can also use them to push your work, example here with the test from Latham.
D’autres ont fait des tests, sur differents primers, comme ici:
The work of Patricia Sancho on this project is bluffing of course, but a particular learning can be picked up in her very early first stage; read further…
The way she is building up her shadows is something more of us should work on before rushing in on jut doing a “zenital” spraying. The 3 pictures below speaks for itself.
Lots of people are talking about the new Citadel Contrast paints. I found a review about the use of this range on metallic paint published by Pete The Wargamer which is interesting because often the Army Painter shades or Vallejo washes are not easy to apply on a metallic basecoats.
With my work on terrais, I need massive amounts of black and brown wash, one receipe from Black Magic Craft works really well, this is what I mixed together: