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Painting Trixie

Painted Trixie by Curtis.

The resin that Trixie is made from can make it difficult to see the detail. If you undercoat the model first, it helps to see the mould lines and any small bubbles that may have formed. These should be cleaned up with a knife and a little ProCreate. Make sure the model fits into its base. If not, file it until it does and then glue in place. Super glue or epoxy resin are best.

I undercoated my Trixie with a neutral grey. I then layed on my basic colours. These were silver for the metal, a bright green for the dress and a suitable flesh colour. Her hair was painted a flaming orange to contrast with the dress.

I then began the wash process. A wash is simply mixing paint with water and applying it all over the area you are colouring. Its done with a darker shade and because it runs into the gaps, when it dries it looks like a shadow. It also provides a great texture on the raised areas. On Trixie, I used a rich brown mixed with black for most of the washes and applied them in several stages. Firstly I cover the model in a very watery mid to dark tone. I waited for this to dry and then looked to see where the wash hadn't dried well in the gaps. In these places I applied another wash. Once that dried, I painted a line of dark wash into the deep crevices of the model.

When using washes, you can blend the paint into smooth gradients from dark to light. This is easy. All you do is wash your brush, dry it a little, then brush around the edges of your wash. This will create a smooth transition between the dark paint on top and the lighter colour underneath.

Once the shading was done, I began to highlight the areas that are raised on the model. The first step was to re-apply another coat of the base colour over the washed areas. This was blended at the edges with a damp brush to produce a gradient from light to dark. From there I gradually highlighted the model with progressive layers of lighter paint. Sometimes I pick a lighter shade from the paints I have, at other times I mix a little white or flesh colour with the base colour to lighten them.

When going through this process, its very easy to end up with work that has too much contrast. The dark areas can have too much black and the highlights are too white. The easiest and simplest way to solve this probelm is to use more washes! If you work over areas with a mid tone it will blend the darker and lighter shades together. This kind of wash is called a glaze and you want this to be a thin even coat. This is unlike our shading washes, in that it is not allowed to gather in the recesses. Instead it is applied evenly over all the area.

You can glaze using the base colour or you can apply an affect to the colour. Glazing green with yellow or grey glazed with blue are good examples. On the dress I used a glaze of the original green followed by yellow. I also used red glazes on her skin and face. This makes the skin appear more natural. Rosy cheeks look good too!

I hilighted the stone using drybrushing. To do this you put a light shade of paint on your brush and then wipe most of it off with a rag! When you wipe the paint away, it leaves a residue on the bristle. You then drag the edge of the bristles across the raised areas of the model very lightly. If done correctly, it will leave a thin coat of the paint behind. I repeated this with progresively ligher tones starting with grey, fleshy pink and finally white colours. I picked out the edges of the metal with more silver paint.

Metal and stone look very good if you keep adding glazes. It weathers them wonderfully, so they look old and dirty. Interspersing glazing and highlighting can add great depth and richness to a paint job.

I finally neatened the edges with dark washes and higlighting over the top. At this stage I painted the eyes, lips and makeup.

To finish off, I added a little static grass and some model leaf litter. This was done with a little PVA glue. I also made sure the base was nice and neat by painting the edges to match my other models.