Acrylics painting raised detail

[DaveG]

Have been meaning to ask for advice on best method of painting raised detail on figures. This always feels a bit like trying to balance on a ball or walking a tightrope to me and I usually end up dreading it and leaving it to the last possible minute. It also drives me away from attempting figures that have a lot of it to contend with. Mostly talking here about lace on uniform jackets, badges on caps and the like. Look forward to any advice or guidance you may offer.

DG

 

[Gellso]

Hi Dave,

I'll give you an example of the eagle on a german cap.
If you paint the eagle first and go over the lines it's far easier to paint around the mistakes to tidy it up than it is to try and get it perfect after you've done the basecoat.

I did this on my s&t tanker below

I would pinstripe a dark colour round the edges where the eagle meets the basecolour.
This gives the appearance of depth.

For laces I apply a dark wash first so it goes onto the shadows then drybrush the laces to make them stand out.

Hope I made that easy enough to understand.
If you need more info please just ask.
Gells.

 

[kagemusha]

Hi Dave, depending on the scale of the piece you can employ several techniques to enhance the level of detail on the casting. On the bust shown I have used washes of acrylic ink around dry brushed details in most areas. Where space allows, such as the helmet and chain mail, it is shaded with oils or pastels. Hope this helps.

Cheers

Ron

 

[DaveG]

Thanks guys for answering my query. Here is another example of the sort of figure that gives me headaches. All that lace and braiding on the uniform coat and to a lesser degree pants as well would drive me nuts. I would love to hear more advice on this subject. Thanks again.

Also wanted to mention.....beautiful figures you've done as examples here

DG

 

[Steve]

Hi Dave. Using the side of the brush as opposed to the point helps. Also consider using a bright, which is a brush with a flat rather than tapered tip. Using the point means the point will usually get where you do not want it.--

 

[Einion]

I think using a flat brush or the side of a round are two of the main practical tips that you'll see recommended when this question is asked and they really can help prevent that 'balancing on a ball thing' you mention Dave. However with some kinds of raised detail (e.g. some piping, which is barely raised above the surrounding surface) I think the only workable method is to very carefully and meticulously paint along it using a fine brush, using paint at just the right consistency.

Like most tricky tasks, it is mostly a matter of practice practice practice to make it less onerous.

BTW, in case it's a factor for you: it can make a surprising amount of difference being able to see finer detail more clearly so I'd recommend investing in a pair of reading glasses, or an Optivisor or similar.

Einion

 

[DaveG]

I really do appreciate the advice given here. I think the flat vs. round brush or brush edge approach will prove very useful to me for the more raised bits. And when I see completed works on here with such immaculately and cleanly done piping and the like I will continue to be amazed knowing intuitively in the end that it really takes a veeeeeeery steady hand after all.

And also appreciate the optivisor advice, but....that crucial piece of gear arrived in the mail a year ago and it is so nice to actually see where the paintbrush is going now. :lol:

Thanks again.

DG