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LETS PAINT: 1/35 Faces Beginners Tutorial



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hey guys welcome this quick tutorial on

painting 1/35 scale of faces so in this

tutorial i'm going to try to break it

down step by step how I paint face is my

trainer toss what's going on and why I'm

using these products in what in the

sequence I am I have a nice little head

here from Alpine will rather let me

painting up and in this tutorial I'm

going to be using paint from the aka

skin and flesh set so the four colors

I'm going to be using so throw off the

base color so the base color the focus

so this is going to be the foundation to

our actual the flesh tone it's going to

give us our shadows and a good base a

tone it's all good and all starting from

the dark to the light so this is going

to kind of help give our character some

complexion then we'll have an

intermediate skin tone this is the first

highlight color in the set or light

flesh and we're gonna start focusing on

the the top speeds brows using all these

lips and things like that with this and

finally for a final highlight with the

light catching figure the most full of

using a highlight flesh and that's going

to be really focused and disciplined and

how we apply it will really kind of

applying to like to take the tops of

these cheeks and the leading edge of his

jaw these ears and things like that and

finally we're going to be applying a

cheek bone glaze as the name might

suggest it's a glaze that goes on the

cheeks after those you who aren't

familiar glazes their ended the wash and

filter a family basically it is a tin

down transparent paint that can be

applied like a wash but very very

localized we don't apply it to the

entire face and we literally focuses in

to the depressions of the cheekbones and

not to worry either you will see all

this live and I will talk

truth so that's going to be the four

colors and this is will be the sequence

in which we use going from dark to light

even though this color is dark but this

is going to give them a complexion and

that's the important thing about cheek

glaze so let's start by giving our model

its foundation so on take a K base flash

I'm going to plug it in my airbrush

so there we have our base coat apply it

to our thicker so this as you can see

it's a free warm you so this is going to

help give our character or figure here a

very lively complexion a help made them

not look like a corpse you can apply as

many light coats as you wish I always

recommend that is to quite light water

down coats in that case you do not lose

any detail and you can either apply it

by brush or by airbrush depending what

type of system you're using do however

give your coats plenty time to dry in

between unless you're going to do wet

blending but this will not be covered in

this video as I tend not to use it that

much so I'm going to allow this to dry

for these 30 40 minutes as it's an

acrylic it'll dry quite quick once this

is dry you start doing or highlighting

sequins this is nothing we get worried

about it's actually very intuitive

sequins more leaders following the

lighter color to the highest point of

the face it's quite simple and once you

see as an operation it should be quite

simple to grasp so we begin with that in

a moment okay so we're going to begin

putting in our highlights so I'm going

to take our first highlight color which

is so I put a small amount onto my wet

palace and I've tended to be a little

bit of water and I'm using a long good

point of brush

this is a number tree from the Windsor

Newton cotton range just one small

amount of my brush we are not reassure

where to begin with this it's easy just

to start with the brow the nose and the

jaw line and work away from there

just take your time to build up the

paint there is no hurry can also be

working on a different segment of the

figure while you're waiting for an

you're waiting for another segment to

dry as a handy way to do's and it's what

I would recommend but keeping our paint

nice and thin we achieve a level of

translucent Ness transparency and this

is good because this will kind of help

everything blend in together as we begin

to add more and more lighter layers and

what I'm doing is I'm simply working the

light recorder to the areas of the scope

that isn't in recess and leaving the

original darker color in areas where

there is a recess it's quite simple 20

inches if it's not a difficult process

so at the inner ear I will leave in the

original color now I have gotten a

little bit heavy in places but once

again not to worry about I can always

come in here later where subsequent

layers did hide it up and also become

less use washes as well to tidy up if

you have mistake but more on that later

just keep it to simply using this set

again I just use a little bit the same

color to the bottom of the jaw leaving

the area just below the lip I'm in the

original shadow color again the brow

as you can kind of see I'm doing very

small and gentle brushstrokes I'm not

really working the paint too

aggressively into the model as I want

this to be a gentle transition and also

if you work it too hard into the model

you will find that the bristles of the

brush begin to well plaster it up the

model with paint and give a texture we

want to avoid adding textures if at all

possible also keeping your PIN your PIN

your pink pin again is something to keep

in mind at all times so as you can see

it is beginning to take shape now we're

beginning we're beginning to give them a

complexion so on will it be on your

right or the left side of this figure

you can see the basic first layer

highlighting and on the my arrives the

model what I was highlighting so you can

see the light difference and what we're

dealing with is we're just working our

way slowly up to the to the light using

less of the lighter color as we go in

between each layer I'm again we just

keep our paints nice and thin

and we let the model really paint itself

and I'm just going to apply some this

lighter color to the lips I tend not to

give my figures too much kind of

rosiness in the lips and makes it look

like they're wearing lipstick and for me

personally I always tend to avoid this

so I just tend to give them a very

gentle highlight and then don't really

make a doughnut any already too Sam it

tends just to make them look a bit

toyish in my opinion there is why don't

you tend to apply eyebrows either just

because I find it a very difficult

exercise is to achieve correctly and

realistically and when it's not done

correctly it looks free toyish once more

so I tend to avoid doing that but again

diocese my technique everyone has a

slightly different aesthetic to what

they enjoy when it comes to painting

models and that's just mine however

there are plenty of other ways of doing

it but this is a nice simple way and it

can do a lot with it's very flexible now

as you can see I'm applying the lighter

color to the tops of these inner ears

know how well the camera is picking that

up kinda keeping some focus is proving a

little bit tricky but this you guys have

a better a better chance of seeing so

you can kind of see already the

difference both the original color of

the base shade shining true so under his

jaw or Andres upper lip in the recesses

of his eyes now I will be painting in

the eyes in a few moments but a brush

like this is too white so we'll be

switching treat your brushes as well

through your tools different tools do

different jobs those different sized

brushes do different jobs a number three

or number four brush is great for doing

blocking work this is a term we use when

we're painting in the main colors or the

main components of color into a model

whether it be a figure or a tank it

doesn't matter and then when we switch

to the more finer detail work a finer

brush I can

to our number1 with a fine point is

strongly recommended I'm just mixing a

small amount of water into my my paint

as is begin to draw someone and I can

see by the consistency you will actually

you will notice a change in consistency

and the painful arms behaves somewhat

tacky and go down on it's like a plaster

or almost like a porridge like

consistency under the model this is an

indication that your paint is beginning

to dry out or add a tiny amount of water

just literally a tip of a brush amount

of water into your pet into your web

powders mix it into your your paint and

you're good to go and I'm just keep

working up the base clutter or should I

say the first highlight color until I'm

happy and once again the only real

person it has to pass muster is with you

so if you feel that the color is

accurate accurate or to an acceptable

level then by all means but we want an

even and consistency this is what gives

good figures is consistency there's no

point having a blotchy face because it

just looks like you got it you tried it

in England I don't like this any more if

you commit to try to see a true but try

not to overwork it meaning don't go for

a layer upon layer upon layer but just

try to go for a nice smooth even paint

coat and once the game you will see it

as well this is visual art as well as it

is a technical one

you can also know that I'm pulling the

brush only in one direction we each

stroke

so I'm I'll pick a direction of paint

and I'll just only paint in that

direction I'm sure that they thought you

would be in paying attention we'll have

noticed that quite early on and this is

done not to create any texture in the

paint

like I said texture is not good when it

comes to painting flesh again just keep

working up and building it up in the

areas where I feel the light would hit

the model the most again I can't tell

you where exactly that maybe every

figure is different again look at your

look at your light source and how its

behaving with your model it's always

good to have a single light source at

times to foil painting figures and have

directly over your head because it

actually cast natural shadows and then

just replicate where the light falls or

heritage with your lighter colors is

quite sick it's quite straightforward

again fill that up a little bit too much

but again I can just clean off my brush

and then work it in and kind of in

effect kind of wet blended in Oersted

version should I say be more the correct

term so you can kind of see oh maybe

can't the transition is getting there

slowly but surely

I'm going to focus on this side of the

head as I have built up enough color on

the other side this is a good idea to

keep alternating between both sides of

the face as we do not want to overwork

the model I want to mean by overwork

means but to sweep on too many layers

and we're basically on doing your hard

work and once again I can tell by the

consistency of my paint that I need a

little bit more water I'm just going to

mix that in let's have a canola brush I

use for mixing my paints I'll try not to

use the paintbrush

am i mixing this but however if you are

I'll show you a small simple technique

forget the point back on your brush

instead of using your lips and your

mouth not a good idea so you just pull

and twist into the paper or whatever

you're using on your palate and that

reforms the tip of your brush so very

simple but handy little technique

nonetheless so he's nearly there is

almost where you freeze next set of

highlights I'm just kind of taking out

some of the blotchiness

now I'm not going to touch his cheek for

a couple of seconds sisters because

there's too much paint and if I touch

that will happen is also i pulling

semi-dry paint and I'll create some

Ridge lines in the model so again I'm

going to leave that alone for a couple

of seconds I'm simply going to do a 360

turnaround with the model and simply

pick out some areas I think that need

attention and there we have our first

layer of highlights the next step is

going to be adding final highlights and

that's going to be done with her

highlight flash so we have light flash

which is the shade we just applied and

as you can see I painted over most of

the base flash shade I've only allowed

this be in areas such as the area around

his chin his uh his where his eye

sockets are he's in her ears and behind

his ears basically anywhere where the

light would be disrupted it also gives

us a nice contrast the last element and

this is where must be the most

disciplined is the final height life now

this is I only tend to use a tree color

not a trifecta if you will or a triage

some people tend to go much more to town

but that's down to personal preference I

always find tree shades works just fine

especially for 35th scale figures and

you want to spend on it you're really

looking for the challenge yourself but

that's not the purpose of this tutorial

so with this color we must be our most

disciplined and we're going to focus on

areas where only the most intense light

is falling on the figure and fur - we're

going to focus on the center of his chin

the portion of these nose and his

nostrils and the leading elements of his

brow and cheeks and all and the top of

these ears only this breaks up and adds

even more contrast to the model by being

more disciplined and adds the style

element of realism that we're looking

for

so now I'm going to take our highlight

flesh and we are going to be very

disciplined in the application of this

color as you can see if I show you on

the dry palate the highlight flashing it

naturally is the lighter shade there so

it's a quite a large jump and we don't

want to go too mad with that or we'll

lose all contrast in the flesh and the

skin will look very flat and

uninteresting so I'm going to only

really apply it in areas I feel with the

light it's gonna be as most intense so I

like I always say if you're unsure

always start with key of the face which

I mean by that is the brow on the nose

and kind of work your way back from

there so as when I was finding the

easiest way is when you're trying to

figure out where to start and it's no

different now so I'm gonna do that here

so I'm just going to remove the excess

in with the paint off this brush so I

can control it and how I did that was I

just really tapped it off my my my palm

and a lot of the paint transfer it over

this is acrylic so I won't poison myself

by doing so and just tap that in to ease

nostrils I'm going to tap it in to the

bridge of his nose and then it's going

to work it back

I tell out my painters a little bit

because it's slightly intense keeping

our paid skin and Larry my mean tenor of

my paint I just mean dipping the very

leading edge of a brush into a smaller

of the water and then just mixing a

small amount as you can see by the

consistency of the high light flesh you

haven't it's not it's not that runny it

just allows the flow mildly better we

don't want too much water in if it's too

runny

you put too much in and you'll have a

hell of a time trying to control the

paint of your model and this is not good

not good at all

it's going to focus this small amount of

this color and then feathers

please chin to the leading edge of these

brows and it's feather it back

I did this is the exercise here to show

that just with a little bit of work and

a bit of patience you can get a reason

to be a nice looking figure just with by

taking your time however you can go way

more of the time with this if you so

wished if you wanted to invest a couple

of hours on the figure which you could

easily do I know it's not to everyone's

cup of tea and I want this to be kind of

a general purpose figure painting or

flesh painting so now I'm going to focus

really is on the tips of the ears

once again that's where the lights gonna

be is most intense and it's going to run

it down that way and I know this looks

very stark and jarring but there's a way

around the make this alsace and blend

and work together but then again you do

want to draw attention to it when the

last details you have to do before we

start adding our cheekbone glazes is our

RI detail now this is something that

would say to any new figure painter that

if you're somewhat new to it you're not

sure how best to go about it there's no

harm or more so it's best practice to

practice on a figure you don't mind kind

of sacrificing to the painting gods for

some of the fact being is eyes badly

painted I can really undo a model so if

you've you've done a great job painting

the head face open from now or the

uniform and I haven't painted eyeballs

yet maybe try lon

a figure you don't mind messing up

because it does take a little bit of

practice but then again it is not but

anyway some type of sin mat see kinda

send master secret type thing that you

needed 20 years old on a mountaintop

fines now it's just all down the brush

control keeping your paint in and simply

be patient and after all our model

makers patient should be our thing

so yeah

so you can't get this into focus

so it looks almost clown-like

which is something that you must not be

to dissuade about you if this it's not

until we start mixing everything or put

our cheekbone glazes in and our final

touches would all come together now to

do these lips I'm going to do is I'm

going to take two colors on my web

Palace which is light flesh and

highlight flesh I'm just going to make a

light mix of them not envy any racial

here just kind of delight both somehow

warm you and this is what I'm going to

use for painting in these lips there's

the color there that it will mix so it's

kind of got warm but like you I don't

want to go to a gram to brighter color

because they look ridiculous I'm just

going to paint in his lips I said a

little bit intense but I'm going to do

it's going to wipe the paint off my

brush dampen my brush and when the paint

is still wet I'm just going to work it

in

and there we have

if you find you've gone to lights which

I kind of feel I have here on this side

of the face I'm just going to go back to

my light flesh and then just tap that

into kind of I feel like it's running a

little bit too much with the light fly

or highlights flash I don't really like

to use I'm just going to apply small now

back in here just to Derek and that's

slightly and there we have it so once

again you can add paint if you find it's

too stark you can always just use the

colors you have and then slightly

darkness try not to go too extreme one

or the other and just kind of slowly

work your way up to it that way gives

you allow control and much easier on

undo anything you may not like now will

do I'll talk about briefly on how I like

to paint eyes and everyone's gonna have

a slightly different way you're doing is

due to their brush control my brush

control isn't the greatest so I have to

work around that so well what I like to

do is I'd like to take a Cyril brush and

then just do what I like to do if

anyone's watching my two toys in the

past a slash in a - a slash or the white

and a slight small - for the pupils

however I do not use flat white try to

avoid using flat white if at all

possible

because it's to Jerry and garish we do

not want this or at least in my opinion

it is not really desirable however if

you like it then go first

but this is a the needs - it's too stark

and it's very unrealistic so I'm going

to take if I can find it I'm going to

take an off-white color this is gain

color off-white however you can use any

other kind of kind of sky gray color you

have and this one makes a better

off-white and then I'm going to mix a

little bit of light flesh into it I know

these are two different brands but

they're both acrylics and you can get

away with mixing them and it's going to

mix them here using the back of my brush

and I get this kind of weird egg light

color

as you can quite see there's a little

bit more orange on camera than it

actually is but is that almost a frayed

pale salmon color another reason why I

use this clarifying white just to start

to cut it kind of draws too much

attention away and the resting thing I

know like the idea might be to Gateway

to the solo but if they're overdone and

scale it kind of them undo your work a

little bit so I'm going to take a number

zero brush again I tend to like these

long bristle brushes just because I want

control with them and I'm just going to

put a small amount onto my brush again

if you're not comfortable doing doing

eyes practice on an old figure that you

don't mind start revising now because I

was shaking my hands I tend to lock my

um my wrist to the desk now hopefully I

can do this on frame or in frames place

a slash in - not to criticize I've ever

done but I'm not bad with a camera under

my nose so we have uh stutters I painted

in now a model make of a better hand

controlled and I would even get that

finer but for me that is good enough

then what's left it's be done is the

pupils loungers different ways to do the

pupils some people use black some people

use blue and I tend to go for like a

dark blue or gray a gamma a German gray

color I never like using flat black

however one the lad Sam who's another

quite accomplished and freight hunk a

figure painter and a good friends lamb

but even from that one 35th scale show

he used blue so I'm actually try doing a

little bit of blue just to see what it's

like you know there's no harm in ever

experimenting on these things because

that's how we best learn and as all this

is is more like encouragement to

experiment so I'm going to take a little

bit of just regular deep blue from the

army painter range again you could use

never delete blue kind of navy blue

shade you have

again I want almost all the paint

removed from my brush and I'm just going

to do a dash and then there's the first

sight people in again I'll bet some

focus and course it's not a push and

then I'm going to do the next one it's

important that you take the time to make

sure you don't give them cross eyes but

any short bow ties are looking in the

same direction

there we have orgies actually understand

why the blue works we can gives a little

bit more debt so there we have our basic

skin painted in and excluding the drying

time after laying down the layers it

only took about 40 minutes of painting

so it doesn't take that long to get

reasonably nice figures and I've scanned

yet the objective of this little

tutorial is to kind of give someone an

introduction into bumping cameras no end

in a quickly inducting introduction the

painting figures and it's not that

difficult to paint faces and again it is

an art form in the sense that it does

take a lot of practice to paint figures

and to like master class levels which

this surely is not design course - the

same because that both it doesn't look

bad sitting in a tank hatch and they

said that is a good step in the right

direction towards that if you so wish to

take that journey and the last pair I'm

going to do

it's the cheekbone glaze you know the

color is a little bit thick so I'm not

going to apply it that it so I'm going

to put a little bit of water through it

just to ten of them makes a small amount

of water if you're not much but just I

don't want to be in too intense and then

I'm going to use go back to my larger

brush line number three I'm just going

to tap this in to these cheeks and this

is going to give them these complexion

it's a little to take book it's going to

dampen my brush and and I just ruined it

haha but we can wipe away if you don't

like that's 19 I like bio acrylics if

you don't like it before it rises wipe

it away

and there we have kind of cheated there

I use my finger but I even is applying

it almost like a wash and wiping the

excess away I've kind of got an effect I

want it I'm also going to apply that to

these lips just because I want a little

more definition in them there we have

just a little bit more work to be done

there especially just around the side of

these jaw so again because the web

palette and the long drying time we get

out of them I just going to take my

light flash which was the first

highlight color we went back to and I'm

just going to do a little bit of work

here just to link that in because it

looked a bit silly without

there

so this is a quick beginner's guide to

painting 1/35 scale faces and as you can

see it is not a difficult task just take

your time kind of follow a logical

darker to lighter step in your colors

and just be patient I didn't get some

pretty nice effects like this is 40

minutes of work and so I really hope

this proved to be somewhat of use to you

stay tuned for further painting

tutorials and hopefully I'll have better

camera angles were is actually in focus

because that would be nice and but

hopefully this has will give you a good

idea so you have any comments please

leave them in the comments which video

or any any questions please just feel

free to ask and I'd be happy to help you

out so thanks for watching stay safe and

watch out for those bosses bye bye