The Best Base Painting Tutorial In The Universe!

The Best Base Painting Tutorial In The Universe!

Calibri;}} {*generator Riched20 10.0.17763}viewkind4uc1
pardsa200sl276slmult1f0fs44lang9 What’s up guys welcome back!par
par This is part 7 of the Night Lord series. par
par That’s right I said part 7, if George Lucas
can start from part 4 I can start from 7!par par
In this video we’re going to look at how to paint the base. par
par This was largely built by a client I’m working
for but I added some extra stuff to it. par par
I used a pin vice to drill some bullet holes into the surface of the wall and used a hobby
knife to cut some scratches into the surface. par
par Then I glued a bunch of extra sand and a few
bits of broken plaster onto the base just to make it a bit more interesting. par
par I primed it by basing with GW Chaos Black
and then Sprayed it from above with some tamiya Super Fine white. par
par I tried not to totally cover it with the white
so that I was left with a bit of a speckled surface to work on.par
par To start off we’ll mix a desaturated blue
grey by mixing some Sc Cantabaric Blue into some GW Cadian Fleshtone. par
par And we’ll thin that down with some water to
a glaze consistency.par par
Now the idea is to simply draw that glaze over the surface of the larger parts of the
wall. par par
The paint is thin enough to allow the speckling from the primer to show through underneath
which is going to give us a nice textured effect. par
par As you move forward in the painting process
you want to try and retain that speckling so make sure that none of your layers go on
too thick or you’ll end up covering all that detail and that’ll end up ruining the effect
that we’re going for.par par
Once I had layed in that initial pass of colour I decided it wasn’t quite blue enough so I
simply added a bit more blue into the mix. par
par And again, keeping the paint really thin I
went back and applyed another layer. par par
Just drawing the glaze over the surfaces leaving that primer showing through underneath. par
par We’re going to be painting basically the whole
base using glazes which is a totally different technique to the way we painted the night
lord miniature itself. par par
That was deliberate as I wanted there to be a lot of contrast between the base and the
model so that the model stands out and doesn’t get overwhelmed. par
par I’m also using pretty much all desaturated
colours for this, again so that it contrasts with the more saturated colours used on the
model.par par
The base is going to look pretty ropey to begin with but once we start adding in more
detail and colour variation you’ll be surprised at just how well it all comes together.par
par Now that we’ve got a bit of colour on there
we’ll start to play about with it. First we’ll add some shadows. par
par For that we can mix some black into the Cantabaric
Blue giving us a really dark desaturated blue to work with and again we’ll mix some water
in there to thin it down to a glaze consistency.par par
And I’ll apply this near the bottom of the base. par
par Then while the glaze is still wet I’ll grab
a second slightly damp brush and with a back and forth motion, I’ll draw the glaze up away
from the bottom, pulling the glaze as far away as possible so that it doesn’t dry with
a hard edge. par line Also notice I’m using pretty big brushes
for this, that’s just to make it easier on myself, if you use a smaller brush you need
to do a lot more work when you’re feathering out the edge of the glaze, so it’s better
to use a bigger brush if you have one.par par
I’ll mirror that shadow at the top aswell, using the same technique of placing the glaze,
then feathering it out with a second brush drawing the glaze away from the shadow. par
par If we make the top and bottom of the base
a little darker than the rest we’ll create a little more focus on the middle which is
where the main figure will be.par par
We’ll do the same thing on the other side. par
par It’s quite fun to paint in this sort of style,
you can build up a pretty good result quite quickly and it ends up looking way more impressive
than the amount of effort justifies. par par
Just remember to keep the paint really thin so that you don’t lose too much of the texture
from the primer.par par
We’ll add a bit of colour varition now by making another glaze this time with Scale
Colour Black Leather, a very dull desaturated purple. par
par These colours are all ones I’ve used on the
main figure, it’s important to reuse colours from the model on the base, that way you’re
not going to get weird colour clashes when you put the two together.par
par So anyway we’ll do the same thing again, applying
the glaze on the bottom of the wall section and then quickly feather it out with a second
damp brush, drawing the glaze up and away from the shadow creating a smooth transition.
par par
Don’t worry too much if you get the glazes onto those little metal strut elements, once
we paint over them it’s not going to matter all that much, it’ll just give you a bit of
colour variation to it so it might actually help you to be a bit messy here and there.par
par Speaking of the struts, we’ll start to paint
them in, for that we’ll use some Secret Weapon Brown Rust which we’ll thin down to a glaze
with some water. par par
And then I just applied this in the same way as the panels, drawing the glaze over the
surface letting the speckled details show through underneath. par
par We’ll apply this over a few layers to get
quite a nice base to work over. par par
I wanted these parts to be quite heavily rusted so this Brown colour is going to give us a
really good starting point to build up quite a convincing rust effect. par
par If you haven’t tried any of the secret Weapon
paints you should give them a go they’re really nice to work with. par
par I really like the rust colours, especially.par
par When I’m applying this I’m trying to think
about where there would be more rust and then pushing more of the glaze into those areas
to make them darker. par par
So you can see here I’m pushing the brush into the little rivots because those spots
are going to be super rusty.par par
Don’t forget get to do the edges and try not to get any of this onto your blue panels.
par par
We will be dirtying them up later but you want to be pretty controlled about that so
try your best to be neat at this stage. par par
So yeah you can see I go back over the surface a few times, just building up the brown colour.par
par Take some of that dark blue glaze you make
earlier, and we’ll paint that into the little recesses on the wall panels. par
line So I’m just painting it into the little details there but make them stand out a bit.
par par
And the same thing on the other side. par par
If you get any of the glaze spilling onto the surface of the panel just get rid of it
by drawing it off with a second brush.par par
I’ll also paint the recesses along the side here to give them a bit of a shadow so that
those details stand out.par par
We’ll use some more of that Brown Rust again and just apply it around the rivots on those
metal parts, I just feel they’re not quite dark enough yet. par
par That’s one of the good things about painting
with glazes, you can always go back and add some more if you want, and you’re still going
to retainthat detail in there. par par
When you’re painting with solid colours you have to create all the detail yourself, which
can be pretty difficult.par par
So what I’m doing is building up the colour around the rivots, remember this is just the
base colour of our rust, we’ll be adding other colours on top of this and then adding rust
streaks onto the wall panels, so don’t worry if you think it looks a bit crappy at this
stage. par par
Your first colour usually does. par par
THe idea is to add more detail as you add more colours.par
par You can also do some random little blobs of
colour on the flat areas, especially on these bits that don’t have any details on them.
par par
Just to make them a bit less uniform looking. par
par Try not to over think that, just let your
brush dance around on the surface and let the glaze go wherever it wants to. par
par That’ll actually get you a better effect than
if you are super meticulous about it.par par
We’ll add some colour variation now by using some
Secret Weapon Old Rust. par par
This is a really nice desaturated purple, and we’ll again thin it down to a glaze with
some water.par par
I’ll apply it a bit randomly in the flat expansive areas and then more focused around the rivots.
par par
You can do this over a few layers until you’re happy with it. par
par I fart about with it just adding some of the
colour here and there while I’m moving around the model. par
par Here on the side we’ll use the purple to double
as a shadow so I’ll just place it near the top here, and then using a second brush I’ll
draw the edge down away from the glaze, and the same on the other bits. par
par On the top, again we’ll be more random just
to flesh out the details there, putting little blobs of colour haphazardly over the surface.par
par Alright, I think that’s looking pretty cool
now so we’ll move on to out next colour. par par
We’re going to use Secret Weapon Orange Rust, and as you’ve probably guessed we’ll thin
this down with some water to a glaze consistency.par par
This is going to really sell the rust effect. par
par The idea here is to place the orange over
and around the rivots.par par
Then paint a little bit of it down onto the wall panel. par
par After that you’re going to quickly grab a
second brush and just pull it straight down. par
par It’s going to look a bit too saturated at
this initial stage but we’ll work some magic later to knock it back a bit and make it look
way more natural. par par
Try and keep the streaks pretty straight while you’re doing this. par
par I use the straight edge of the wall as a reference
guide while I’m pulling the glaze down, with the idea being that I make the line parallel
to the edge of the wall. par par
You can go back with some more of the orange and repeat the process if you’re not happy
with the length of the streaks.par par
I’ll do the same sort of thing on the rest of the rivots, just placing the glaze on and
around the little raised details, then drawing it straight down. par
par This is probably the most fun part of the
process, there’s something really satifying about seeing it all start to take shape.par
par I’ll add the streaks onto the lower wall part
too.par line Maybe I could make those main ones more
impactful by doing another layer of the glaze.par par
Just to incorporate a bit of colour variation into the streaks we can use some of that purple
Old Rust from before and place it up near the rivot and then just draw it down with
the other brush. par par
That just adds a little bit more interest to the colour. par
par You don’t have to do that, it does make sense
that the colour would be a bit darker closer to the rivot though. I quite like it.par
par Alright so, to knock this colour back a bit
we’ll take some of that Old Rust glaze and apply it directly over the streaks like this.
par par
It’s going to look pretty extreme when you do this but don’t worry. par
par We’ll quickly grab our second brush and feather
it out, pulling it down over the wall panel. par
par And we’ll do the same thing over the other
two. par par
That helps to give a little colour variation to the panels but it also tones down the streaks
somewhat, making them look a bit less painted on. par
par We’ll do some more work on that sort of idea
later but for now we’ll pick out all the bullet holes and battle damage detailing. par
par For that we’ll go back to our trusty Brown
Rust colour and just paint it over all the holes and dents and little cuts on the surfaces.
par par
My thinking here is that the inside of the walls would be metal so, now that they’re
exposed they’d start to get all corroded and rusty, just like the metal trim.par
par Alright so once you’ve painted them in with
the Brown we’ll switch back to the purple of the Old Rust and just apply some variation
to the colour, I try to target the top of the bullet holes with this so that the purple
gives you a shadow tone. par par
And then we can grab some of the Orange rust again and start to apply a bunch of streaks
and rust spots coming from all the bullets holes and scratches and stuff.par
par I’m just showing this on one side but obviously
you’d do the same sort of thing on the other side too. par
par It’s the same process, just starting off with
the Brown, then adding some of the purple before finishing off with the Orange.par
par Alright I think we’re doing quite well with
the colours we have so we’ll move on to adding a few EDGE HIGHLIGHTS!!par
par For that we’ll mix some white sands into our
blue mix from earlier to get quite a bright blue colour. par
par And I’ll leave this as a pretty thick consistency
so it covers well.par par
And I’ll use that to pick out the edges of the raised designs on the wall. par
par So what I’m doing here is using the side of
the brush quite near the tip and just letting it graze along the lower edge of those little
details. par par
And you can see I’m avoiding hitting the little rust smears. par
par It probably makes more sense to do these highlights
before you apply the rust stains, this is just the way I did it at the time.par
par We’ll be doing these a bit brighter later
on, I actually paint over these in a moment but I thought I’d leave this part in so that
you can see if you need to change something it’s no big deal because you can always go
back and repaint it later.par par
We’ll also highlight the heavily rusted parts, to do that we’ll simply mix some of the Orange
Rust into some white sands. To get a really light orange. par
par When you’re mixing light colours like this
it’s always better to add the darker colour into the lighter one. par
par If you do it the other way around you can
end up wasting quite a lot of paint trying to get it light enough.par
par Alright so we’ll use that to highlight the
top of each little rivot. Just hitting the upper edge of each one. par
par Again, using the side of the brush close to
the very tip.par par
Once that was done I also added some edge highlights along the side of the struts. par
par And I’m using broken lines for that to get
a more interesting finish. par par
Essentially you’re just doing an edge highlight as you normally would but every so often I’ll
lift the brush up so that I leave a gap, and I do this fairly quickly so that I’m not putting
a lot of thought into where I’m putting the gaps. par
par That way I can get a pretty random, natural
looking effect.par par
So at this point I realized the rust streaks still looked a bit too saturated and had that
sort of painted on look. par par
To fix that I grabbed some of the Brown Rust glaze and I just applied it over the whole
surface of each wall section. par par
That’s going to help to dull it all down quite a bit.par
par So, now that we’ve done that, we’ve obviously
dulled down all out edge highlights so we’ll reapply them but we’ll also make them a touch
brighter this time to increase the contrast so I’ll mix a little more white sands into
the highlight and we’ll use that for the edge highlights.par
par Again I’m using that broken highlight technique
to make these a bit more interesting.par line Alright so we’ll keep dirtying up the
wall panels, they’re still a bit too fresh looking. par
par So I’ll take some of the Orange Rust glaze
and apply it quite liberally along the top of the panel and then using a second brush
and draw it out down over the wall section. par
par This helps to make the surface look more dirty,
in general but it also helps to make the streaks more convincing because it places them underneath
a layer of paint so they don’t look like they’ve just been painted on, you get more of a sense
that they’ve been there for quite some time and layers of grime has been forming over
the top. par par
I do this over any of the major rusted parts to help sell the effect.par
par I’ll show that on the other side as well.par
par So if you’ve never tried this sort of two
brush approach, don’t be scared to give it a go. par
par You do need to be quite fast when you’re switching
between brushes but if you have the second brush close by it’s not that big a problem.
par par
Sometimes I have the second brush held in my mouth so I can quickly grab it, and I don’t
bother to drop the other one, I just hold both in the same hand so I don’t lose time.
par par
Then when I finish feathering the glaze out I just wash the brush and put it back in my
mouth so that I’m ready to grab it again after I apply the glaze. par
par Or you can have the second brush on the desk
in front of you and pick it up when you need it. par
par Whatever way you feel more comfortable with.
par par
In order to maximise contrast I’ll push the highlights a bit more on the rusted parts,
just with white sands on it’s own. par par
Again I’m not covering the whole edge with the paint I’m just picking out little bits
here and there along the edge. par par
I feel that when you make it a solid line it just looks really plastic and kinda boring.par
par I’ll also do the same on the wall panels,
adding some of those extreme highlights with the white sands. par
par And we’ll put some on the bottom of the little
bullet holes aswell, again trying not to hit the rusted stains.par
par I think it’s starting to look pretty sick
now. par par
I really like how all the colours are working. par
par Originally I was going to add an osl effect
on the light and have it casting an orange glow over the middle of the wall and also
onto the figure, but the more I painted the wall the more it seemed like the lights would
probably not be functioning. par par
Would someone really let the wall fall into this level of disrepair and still come out
on the regular to change the light bulbs? par
par I can’t see it happening myself.par
par That’s probably just me trying to reason myself
out of having to paint the osl effect, but I think the logic makes sense. par
par Anyway we’ll finish off the broken light later,
for now we’ll move onto the lower part of the base.par
par For that we’ll start off by using some Valejo
Dark Brown Wash. This is a really good wash, it’s great for dirt effects. par
par So there’s nothing difficult here, I just
wash it over all the sandy parts on the base, I try not to get it onto the larger bits of
rubble or the little dead guy but if I touch them a little bit with the brush it’s not
the end of the world, they’re all going to be pretty beat up and dirty looking anyway
so it doesn’t matter all that much, just don’t cake them in the wash, or you’ll have trouble
getting a nice effect later on.par par
Once that’s dry I’m going to mix a little bit of black into some Scale 75 Chestnut Ink
and a bit of water to thin it down slightly. par
par And we’ll apply this to the dark, putting
into the recessed parts to darken them down. par
par And you can use a second brush to draw the
edges out a little. par par
So aswell as giving you a bit of colour variation this also dries a little shinier than the
dark brown wash so you get a nice difference in the finish between the two.par
par Once that’s dried we can add another colour
this time some Scale Colour Cantabaric Blue mixed with a touch of black. par
par Again thinned down with some water to a glaze
consistency. par par
And we’ll apply that nearer to the outer rim of the base. par
par Just to help darken that area down, don’t
forget you can use a second brush to help pull the glaze out onto the surface.par
par We’ll add another colour now, this time with
the Secret Weapon Old Rust. par par
And I’ll dab that onto the dirt, just pretty randomly here and there on the surface. par
par And I’ll use that second brush to tease out
the edges of the glaze, drawing it out a little over the sand texture, just so it doesn’t
dry as a single blob of colour. lineline I think when you’re painting dirt it’s a good
idea to add in a few different colours, because if you look at actual dirt it’s never just
one tone, there’s lots of variation in there. par
par So I’m trying to emulate that by adding a
bunch of colours. A lot of which I’ve used elsewhere on the model. par
par It’s always good to reuse colour from other
parts of the miniature so that everything looks like it belongs, and it’s not just been
plopped on as an afterthought. par par
Yeah I think that looks pretty good. I’m not going to bother doing any drybrushing on it,
I don’t really think it needs it. par par
Ok so, for the rocks, we’ll use the dark blue from earlier, I made with the cantabaric blue
and black, and we’ll simply glaze that over the surface of those fallen bits of masonry.par
par There’s not much to say about this part, just
try not to let the glaze pool on the surface so it doesn’t dry with any staining. par
par Once it dries go back in with the same colour
and apply another layer of the glaze.par par
Alright so now that we’ve got that initial colour down we want the stones to look like
they belong there so we’ll take the original wash colour from our dirt, which was the Valejo
Dark Brown wash and we’ll paint onto the side of the sides, just to dirty them up a bit.
par par
Using that same colour from the dirt is going to help make them look like they’ve been in
that same setting.par par
We’ll do the corpse now, and we’ll do this really simply, by mixing some Black into some
Scale Colour Deep Red to get us this really dark red tone. par
par Which as per usual we’ll thin down to a glaze
consistency with some water. par par
And all I’ll do is glaze the dark red over the whole surface of the body. par
par Once that dries I’ll apply another layer of
the same colour.par par
Next up we’ll use a bit of ripped sponge, this is actually a bit of packing foam that
I’ve ripped to get a ragged surface. par par
And we’ll dip that into some of the dark red and tap it against a paper towel to get most
of it off the sponge.par par
Then we’ll press the sponge onto the surrounding areas near the corpse, the stones, the ground,
even over here on the wall, this can just simulate general dirt and wear and tear on
the building, but on the rocks it’ll look more like dried blood.par
par To finish that off.par
par We’ll make a roughly one to one mix of Tamiya
Clear Red and Tamiya Smoke. par par
Again to get us a dark red colour. par par
I usually use a bit of scrap plastic to mix this stuff rather than using a palette, it’s
really nasty stuff so make sure you use an old brush as well, preferably a synthetic
one. par par
And whatever you do, don’t lick your brush! Holy shit, that’s a mistake you only make
once.par par
And we’ll paint this gloppy gunk over the exposes inner parts of the body. par
par I’ll paint it over the skull too. Save us
having the paint the thing properly.par par
As a finishing touch I’ll use the sponge again and sponge on the gloppy red stuff just around
where the body is, an on the fallen masonry.par par
Actually we could probably put some more of that stuff underneath the body, it would be
pretty gory in there.par par
Alright so that’s us almost finished with the base, we’ll do the broken light now.par
par And we’ll do this just like we did the other
rusted parts, first painting on a glaze of the Brown Rust colour. par
par Just put it all over the metal parts and the
light itself, the rust from the metal would run onto the light so that would be pretty
messed up looking.par par
Once that’s try we can use our Old Rust glaze.par par
Then well use the Orange Rust and just randomly splodge it onto the metal parts.par
par And then using that two brush technique from
earlier we’ll rust up the surrounding areas of the light by adding a glaze of Orange Rust,
then feathering it out with a second brush.par par
Finally adding some bright highlights with that White Sands and Orange Rust mix. par
par Don’t go crazy with the highlights, just a
little bit here and there is fine.par par
Alright, so the last little thing I did, just to finish off the wall was to use some Army
Painter Strong tone and add it to the bottom of the wall sections. par
par to darken them down a bit. par
par Then I feathered that out with a second brush,
drawing the edge of the wash away towards the top of the panels. And I did that same
thing on the other side.par par
And then my favourite part is painting the rim black. par
par There’s something really satifying about painting
the rim right at the end.par par
If you’re left with a bit of the white showing near the edge at the top just take one of
your darker mud colours and paint that out.par par
And that is it!par par
Alright guys so that is how I went about painting this base. par
par You can see you can get pretty far just by
building up thin glazes, it’s quite a fun way to paint and honestly it’s pretty difficult
to mess up. par par
Just be careful that you don’t make your paint too thick or you’ll cover up a lot of the
speckling from your initial primer, that’s really the main thing you want to avoid. par
par This is probably my favourite way to paint,
I find it more fun than the using layering or blocking in techniques I usually use, plus
it gives you a much less intense finish so it’s great for using on bases because you
can make them fade into the background more, so they don’t overpower the figure.par
par Anyway, I hope you give it a go on your own
stuff, just try and use some of the colours you’ve already used on the main figure and
be open to experimenting with other tones and you might surprise yourself at what you
come up with.par par
Take care guys, more videos coming soon!lineline Thank you for all your support. lineline
Bye for now…par }

42 thoughts on “The Best Base Painting Tutorial In The Universe!

  1. Such a good result!!
    I was wondering if there was a reason why you used two different desaturated purples. Especially when you emphasise on reusing colours to tie the elements together. Not a criticism, just curious ๐Ÿ™‚

  2. Amazing stuff! I get unnaturally excited when I see a new Kujo video in my notifications. Always so much great info in them. Thanks for sharing!

  3. Wtf I wish I had seen this a week a go lol beautiful work as usual take care my friend ๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ˜โœŒ

  4. The final result is amazing, great job man.
    There is something super satisfying about seeing a 24m video from Kujo pop up in my notifications. 24 minutes of great insight and detail about painting. I watch painting videos quite often, but no one makes me think more about my painting process than Kujo.

    Thanks for the video mate ๐Ÿ™‚

  5. Your colour control on the washes is brilliant. I can also see the impact of desaturating the base. Thanks for the vid.

  6. God… why it looks so simple on your films ! Thanks for a great tutorial, I see I have to practice a lot… ๐Ÿ˜‰

  7. Great video as always you are such a good teacher. Would it be possible to get an update on your bees?

  8. Seeing so much beautiful effort put into painting the base ironically reminds me of that miniac feedback about your spotlight base… ๐Ÿ˜›
    The rust is probably my favorite part–very well done!

  9. That is a very special base, I really love your use of glazes…..and the term farting about, goes without saying

  10. Thanks for another great video. Do you ever run painting workshops? Specifically in the central belt though, if you've moved to Paraguay or somewhere it's not for me.

  11. A touch of retarder makes two brush blending a lot easier. Generally extends the open time enough you don't have to rush the second brush. Might want to give it a go if you've never tried it (I don't recall seeing you use many additives).

  12. I want to collect dark angels, but I donโ€™t know how to glaze their armour. I ask You to make a tutorial how to paint dark angels. I hope You will help me.

  13. Hello Kujo I wanted to know, when you are going to do the second part of the HOW TO MAKE A DISPLAY BASE video, published on September 29, 2018, how to paint that concrete base.
    Thank you.
    Greetings from Spain.

  14. Another great video, I know you said you was going to do a video on feathering but this was a great insight on how you go about it. Your porco rosso video regarding layering the skin tones and feathering the hard edges I also find helpful for blending and easing transition so thanks a lot. I finally bought the daylight lamp you recommended as well which came yesterday so looking forward to trying these new techniques with my new setup ๐Ÿ™‚

  15. Kujo I have a question. Is Patreon safe? I would like to join your Patreon but I'm scared because of the bad reviews. Has any of your Patreons ever had any problems? I would appreciate an answer. And thank you in advance.

  16. That's a wonderful job mate ! I was wondering, what materials did you use to create those realistics rockd on the ground?

Leave a Reply

Your email address will not be published. Required fields are marked *