Basic Painting Techniques

1. Dry brushing

Applications:
Figures, terrain, bases, etc. - especially for highly textured areas.

Colors:
All colors except special Inks / Inks are possible.

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 fine 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 "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.


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 slightly touch of color - 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 order, 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.

Variants:
The Washing is also possible with "normal" colors. Here one often speaks of glazing - this point glazing in the shadows - In the end you make - through dilution 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. 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).

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


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4.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 guitar - 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.

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

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5. "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 on the web. Remember everything is just a matter of bravery. Do experiments and learn through them.


(Probably not the best writing as I'm about to pass out. I'll re-edit this later with pictures)


thwart
\ THWAWRT \ , verb;
1.
To oppose successfully; prevent from accomplishing a purpose.
adjective:
1.
Passing or lying crosswise or across; transverse.



caterwaul
\ KAT-uhr-wawl \ , intransitive verb;
1.
To make a harsh cry.
2.
To have a noisy argument.
noun:
1.
A shrill, discordant sound.