Good morning Gunslingers!
Today's Daily takes a look at making large areas of NMM a little more interesting.
I've used an Airbrush today to speed things up but all these effects can be achieved with wet blending, feathering, drybrushing and glazing.


I used the following:
P3 paints and Inks

  • Umbral Umber,

  • Heartfire,

  • Menoth White Highlight,

  • Morrow White,

  • Yellow ink

  • Brown Ink.


For those of you interested in the airbrushing side of things I use an Infinity CR plus with a 0.15 needle. 

Colour comparison: deep Brown, golden yellow, pale bone, white, yellow ink and red/Brown ink.

Colour comparison: deep Brown, golden yellow, pale bone, white, yellow ink and red/Brown ink.

Umbral Umber was laid down in two passes. One of the great things about P3 is that there is no need for thinners, retarder or any other medium apart from water. I water my Airbrush mixes down around 3 parts water to one part paint.

Umbral Umber was laid down in two passes. One of the great things about P3 is that there is no need for thinners, retarder or any other medium apart from water. I water my Airbrush mixes down around 3 parts water to one part paint.



Umbral Umber was laid down in two passes. One of the great things about P3 is that there is no need for thinners, retarder or any other medium apart from water. I water my Airbrush mixes down around 3 parts water to one part paint.

Umbral Umber was laid down in two passes. One of the great things about P3 is that there is no need for thinners, retarder or any other medium apart from water. I water my Airbrush mixes down around 3 parts water to one part paint.

Pure Heartfire was applied towards the centre of the panels treating the light source as coming from directly above the miniature.

Pure Heartfire was applied towards the centre of the panels treating the light source as coming from directly above the miniature.

A mix of 50/50 Heartfire and Menoth White Highlight was applied to the areas that would catch the most light.

A mix of 50/50 Heartfire and Menoth White Highlight was applied to the areas that would catch the most light.

Spots of pure Menoth White Highlight were applied to the highest points of light and Umbral Umber was reapplied to the deepest planes to accentuate contrast and add visual interest.

Spots of pure Menoth White Highlight were applied to the highest points of light and Umbral Umber was reapplied to the deepest planes to accentuate contrast and add visual interest.

The entire area was edge highlighted in Menoth White Highlight. Small scratches and light blooms were also added at this point to break up any large flat areas.

The entire area was edge highlighted in Menoth White Highlight. Small scratches and light blooms were also added at this point to break up any large flat areas.

Deeper scratches and dings were added with Umbral Umber to add further visual interest.

Deeper scratches and dings were added with Umbral Umber to add further visual interest.

The scratches were then under lit with Menoth White Highlight.

The scratches were then under lit with Menoth White Highlight.

The whole area was glazed with a 50/50 mix of yellow and brown ink watered down 10-1 to create a glaze. This was not allowed to pool.

The whole area was glazed with a 50/50 mix of yellow and brown ink watered down 10-1 to create a glaze. This was not allowed to pool.

Edge highlights and light spots were reapplied with Morrow White and we can call it a job done. For studio work I tend to focus glazing and highlighting a few more times to aid transitions and add more depth but this looks great for tabletop standard.

Edge highlights and light spots were reapplied with Morrow White and we can call it a job done.
For studio work I tend to focus glazing and highlighting a few more times to aid transitions and add more depth but this looks great for tabletop standard.