Acrylic Paint: Acrylic paints are a synthetic media made by suspending pigment in synthetic polymer emulsified by water. They are essentially plastic paints that are water-soluble and have good adhesive qualities. They are very stable. They resist oxidization and chemical decomposition, and will not yellow over time. Latex Paint: Water-thinned paint made with synthetic binders such as polyvinyl acetate or acrylic resins. In contrast to oil-based paint, latex paint dries fast, flows smoothly, and cleans up easily with water. High-performance latex paints contain 100% acrylic resins. Oil Paint: Type of paint that uses either natural oil (such as linseed oil) or a synthetic oil (called alkyd) as the spreading and adhering vehicle. Alkyd paints are the most prevalent oil paint. Oil-based paint requires mineral spirits or turpentine to clean and thin. Lacquer Paint: Lacquer materials dry entirely by the evaporation of their solvent. The dried film will re-dissolve in it’s original solvent for an indefinite period of time; no chemical reaction occurs to alter the properties of the film. Generally, Lacquer topcoats are easy to use, fast drying, high gloss, durable, and easy to buff. Enamel Paint: Enamels dry or 'cure' through oxidation and polymerization, which is the combining of individual molecules to form larger molecules. This new film will not re-dissolve in it’s original solvent. Generally, enamels are very durable, high gloss coatings.

Painting Techniques

Painting resin models takes skill, confidence, and the ability to laugh at a mistake and try again.  It should be fun, so if you are satisfied with your results or learn a new technique then be proud of your achievement.

This page will explain some of my techniques and tell you about the mistakes that I have made.  I would encourage you to solicit opinions from other and find out what works best for you.

Priming

Primer will bond to resin better than paint. Many paints are made with 'odd' materials and not all paints have the same 'sticky' power.  Priming your model gives a consistent surface for the paint to adhere to and can help hide repair work and fillers.  

I use a white spray primer from Tamiya meant for model work. Model primer doesn't really 'hide' surface items and will let small detail lines show through.  Automotive primer or other types can be designed to cover everything and may fill in some of the small detail work cast in the resin.

Primers come in different colors.  I like to use a white primer because figures usually have light colored flesh tones.  It is easier to put dark colors on top of light colors and it is much harder to do it the other way around.  

When priming your model make sure that you spray your primer in a well ventilated area and use a mask.  Primers can smell noxious and all paint fumes are dangerous.  You should let your primed pieces dry overnight.  Don't rush your work and give the primer time to properly adhere to the resin.

When your primer is dry you should make a visual inspection of the results.  Look for pin holes and sanding flaws.  You may see spots that were missed during your preparation phase.  I fill pin holes with Gunze Mr. Surfacer 1000 and then re-sand or polish any defects. You may also see small detail lines and other casting marks that are too faint.  I will sometimes use my modeling knife or other sharp instrument to re-sculpt the lines if I think it necessary.   This post-priming inspection is important to ensure that everything is correct before you begin to paint the model.  Remember, it takes time to prepare the surface so if you have had to re-fill and sand you may have to leave your work overnight before you can begin painting.

A primed model is the first time you can truly see the prepared surface.  If it is not perfect, fix the flaws.  It is much harder to repair a model once it is painted and assembled.

Paint Types

There are many different types of paints, but primarily your model paints come in two types - water based and oil based paints.  Latex paints are made with a water base and oil paints are made with a petroleum base.  Latex paints can be cleaned up with water and oil paints require a solvent such as paint thinner.  Many model paints today are of an acrylic type. These are water based paints made from an acrylic resin. They are easy to work with and environmentally safe.

Water based and oil based paints behave quite differently.  Oil based paints can flow in a very smooth fashion and blend together quite well.  I do not have enough experience on the use of lacquer or enamel paints to comment significantly.  I use predominantly Tamiya acrylic paints.

Tamiya paints tend to dry quite quickly and I can usually apply a recoat after 30 minutes. However, the quick dry time of Tamiya paints can occasionally cause problems.  Tiny specks of partly dried paint can get blown onto the model with the airbrush.  This doesn't happen often but when it does these specks look like dust particles that are difficult to remove.  Apparently, a retarder compound can be added to the paint to slow up the dry time.  I have not yet explored this to see if it resolves the problem.

Mixing Paints

Some people are quite particular about their paint colors, but I am not.  I just try to emulate the original model colors as best as I can.  Photography papers have different tints, as do computer monitors, and the color of an object will look different depending on whether you are in early morning or late afternoon light.  It is really impossible to know what the exact and true color should be.  If I am close then this is good enough.  Now, sometimes you may be lucky and find that there are paint mixing ratios printed in the model instructions for the figure colors, but then you need to figure out what the colors are that you need to mix.  Color conversion charts to Humbrol from Gunze, Tamiya and Testors model paints are here.

I mix my paint in the airbrush paint cup when small quantities are required.  I try and remember my color wheel and the fact that red and blue make purple, yellow and red make orange, and so on.  But I really don't understand this.  So, if I am mixing paint to get a particular color, I use the tried and true method of experimentation.  I start with a paint close to the color I want and then add a drop or two of the missing colors to adjust the overall tint.  In many cases all you need is a tiny bit of new paint and at most two or three different colors.  I use quite a bit of white to lighten the colors as I find most colors out of the bottle are far too dark for my needs.  I adjust the reflectivity factor of the paint by mixing either gloss white or flat white as required.  

If I expect to have to apply paint in a second coat where the identical color is not absolutely required I will remember the approximate ratio of paints that I mixed so that the color can be recreated.  This is not very accurate, but it really doesn't matter.  An airbrush recoat is a light spray and the underlying color will show through.  New and old colors will blend.  A second coat with a brush gets feathered into the old paint so any slight difference in color variation becomes imperceptible.

If you do expect to have to touch up your work or possibly paint different pieces with the identical color at different times, then you really should save some extra paint.  Approximate colors are not the same as original colors.  Touch ups will occur when you know that you are going to have masking problems and filling problems that need repeat coverage.  In cases like this it is helpful to choose a manufacturer's standard color so mixing is not required.

For mixed colors such as flesh tones, you will need a good quantity of paint.  In these cases the manufacturer's colored paint  is much too dark and strong for figure models.  For flesh I add gloss white right into the bottle to make a slightly reflective medium toned color.  Then when I want a darker flesh tone I can always mix more dark flesh in my paint cup, and when I want a lighter tone I can always add more white.  I use at least three different shades of flesh on my models to highlight and shade the skin.

For the practical aspects of mixing paints, remember that all paint must be stirred before use.  I use a toothpick for this.  If you are mixing flat or matt paints some settling of the contents will occur.  Flat paints have a chalk component added to break up the light reflectivity so that the paint does not appear to be shiny.  Did you know that all paint, if not treated, is gloss?  You can actually convert a gloss paint to a flat paint by adding a compound called Flat Base to your paint.  And, of course, you can always spray a clear gloss coat over a dull painted surface to make it shiny.

You can get your colors quite close, as can be seen in the picture of Haruka below.

Base Coating

Base coating refers to laying down a base underlay of color on the piece.  The airbrush is particularly useful for this.  Simply spray color on the primed piece without worrying about where it goes.  Airbrushing applies many light coats by spraying over and over as you hold and rotate the piece.  Just make sure that you do not apply too much paint to the point where it begins to run.

In most cases your original base coat will leave thin spots.  For example, if I applied a base coat to Haruka's skirt above this would leave thin spots inside the pleats of the skirt where the spray would not quite reach.  Always plan on applying a second base coat after the first coat is dry.  This second coat will let you cover the thin spots and ensure that you have a consistent color over the whole piece.

Usually the whole piece is base coated the same color but sometimes this is not possible.  For example, Haruka's leg above was base coated with a medium flesh color.  Then, after the skin had been shaded and textured the leg was masked off and the lower part with the sock and shoe was base coated white.  Similarly, the sock was highlighted where necessary and masked off, and then the shoe was painted with a gloss brown.

Base coating refers to the first, basic coloring of the piece.  Base coats are always bland and uninteresting.  After painting, the piece always looks all the same and this is not realistic.  The artistic part comes when color variations and shadings are applied to the item to bring out highlights and add emphasis.

After spraying a base coat, let the piece dry and give the paint a chance to partially cure.  Leave it overnight before moving on to the next stages.

Air Brushing

Airbrushing is an art.  If it was a science I would know how to get the results that I wanted, and this I cannot do. 

It's really simple to use the airbrush to apply base coats to your model.  All you must do is spray the paint on the piece and try not to mess it up.  This means that you don't want to get the brush too close so that the air pressure blows the paint off the model, or spray too much paint on the surface so that it begins to run.  You must always keep the brush moving and approximately pointed at the right place.

It's really hard to use the airbrush to do detailed work.  All you must do is spray paint on the piece and pray that you don't mess it up.  To draw fine lines or start and stop painting at the right places takes hands as steady as a gunslinger and a god-like ability.  Practice helps.  You must always keep the brush moving and exactly pointed at the right place.

There are three things that have to be in balance and harmony for successful airbrushing.  This is the airbrush trilogy of life.

  • Air Pressure.  This can range from 10 psi to 30 psi.

  • Viscosity.  This is your thinner to paint ratio.  Your paint should be watery or milky.

  • Proximity.  This is how close the airbrush is to the work.

Here's what can go wrong.

  1. The airbrush gets too close to the work and spider patterns show up because it blows wet paint off the model;  

  2. The paint begins to dry inside the airbrush and little flecks or specks of material show up on the work;

  3. The high pressure from the air blows your temporary masking material away; 

  4. The airbrush pops and sputters because the paint is having difficulty flowing evenly;

  5. The airbrush tips in your hand and paint drips out of the paint cup all over your clothes.

Here's what can go right.

  1. You get a really nice consistent quality finish;

  2. You get shadings and color overlays that are difficult to produce with a brush;

  3. You can apply paint without covering up fine details etched in the model.

If you want to be a good airbrush painter then you must practice.  For an excellent discussion on airbrushing for model makers, see Chapter 6 of the Model Master Technical Guide from Testors.

Dry Brushing

Dry bushing is a technique where you dip your brush in paint, then take all the paint off the brush by wiping it on a cloth or paper until no more paint comes out, then taking this 'dry' brush and painting your model with it.  Silly, huh?

Well, silly or not, even though your brush is 'dry', there will still be some paint left in the bristles.  This paint will touch the tiny imperfections and bumps on the surface as you brush it.  This will deposit small areas of color on the high parts of the model. As you brush, more and more paint gets laid down and this slowly builds up the color.

Essentially, dry brushing means that you paint without putting much paint on the brush.  This lets you control how much paint is applied and better manage the coverage.  Dry brushing is typically used to apply lighter color highlights to the raised parts of the model.  This often adds more realism to the work.  You will usually use a larger sized brush for this, rather than a small pointer or spotter. 

Depending on the model I will occasionally dry brush, but I more often apply shading highlights with the airbrush.  I use the airbrush like a light source and will point it at the model and lightly spray color as necessary.  Kotone Himekawa's hair, as shown in the picture below, was highlighted with a silver spray to give it light flecks of color .

   

Washes

If dry brushing applies light highlights to the raised portions of the model, then washes apply dark highlights to the recessed parts of the model.  Washes are highly diluted paints that wash over the model and deposit color in all the cracks and crannies of the surface.  The excess paint is wiped off the upper layers so that the original color remains.

Your model must be sealed before you apply a wash.  Sealing applies a clear coat of latex over the piece so that the wash color does not soak into the base color.  This ensures that the wash can be wiped off without affecting the previously painted surface.  You have been warned.  If you forget to seal your model and apply a wash and the wash stains your work, you will have to start again and repaint the base surface.  

I tried a wash once. The model was badly stained.  I forgot to seal the model first.  I haven't tried a wash since.  

When I successfully perform a wash I will provide more details.  Expect some minor staining of your work when you do a wash as it is nearly impossible to remove all the wash color by wiping.

Sealing

If you spray a clear coat of latex over your model you seal the surface and protect the paint. There are times when you will need to do this, such as if you are apply a wash or a liquid masking compound to the model that will need to be removed.  Sealing a model also protects the surface from dirt and fingerprint oils.

Sealing sprays can be of a gloss type or a flat type.  Testor's DullCoat is a good, flat latex sealer.  They also provide a gloss coating, too.

If you simply spray a complete model with a sealing compound then you will apply a consistent texture and reflectivity over the whole model.  Guess what?  Your whole model will now be glossy or flat.  This may not be realistic.  Therefore, I tend not to seal my final work as I try to pay attention to the different textures of the figure and its clothes.

Note that it is important to seal your model before using a liquid masking compound.  I did not do this when painting the black parts on Ruri Hoshino's costume below and the masking compound bonded to the paint surface.  When I removed the mask it took the paint with it.  Well, I had to strip off all the paint from the whole model and start again, from scratch.  That's the problem.  Every once in a while you make a mistake that destroys hours of work.  Don't get discouraged.  Just put it away for a while.  When you feel better come back and start again.

You may also consider sealing your model if you are doing some tricky paint work and suspect that you might make a mistake.  It is easier to remove paint from a sealed surface, however, do not seal just because you think it reduces painting risk.  In most cases painting errors can be better corrected by repainting the flawed area, rather than trying to remove paint.

One day I was watching an artist paint a picture.  He had put in days of work and the painting was nearly complete.  I asked what he did if he made a mistake and his brush slipped, leaving a swath of color across the canvas.  Well, he looked at me, smiled, and did precisely that!  And then he proceeded to show me that he could wipe up most but not all of the paint, and simply take a few moments to blend what was left in to his current work.

Masking

The ability to hide or protect some part of a surface from view while you work on another part is a fundamental trick that people have been using for thousands of years.  Did you know that the microprocessors and silicon electronics that power your computer are all created using miniaturized photographic etching and masking?

For models, what we want is a very precise and highly versatile way to cover up one part of a surface while we paint another part.  So, I use plastic wrap.  It is flexible, stretchy, and sticks to itself without sticking to the resin surface.  I can cut the wrap into strips with my modeling knife and use the wrap anywhere I have to mask on a reasonably straight line. 

I begin by wrapping the plastic film over the piece near the mask line.  This lets me wrap the plastic strip around the piece so that the plastic wrap sticks to itself.  I then continue to wrap on the mask line and pay particular attention to ensure that the edge of the strip is precisely on the line.  The edge can be hard to see.  If you are careful and catch the light reflection just right or if you use colored plastic wrap you will find it easier.  Many layers of plastic wrap can be put on the model.

However, plastic wrap is not useful for cases where sharp corners are required.  When I need to mask in a corner I use a low adhesion masking tape.  I cut the tape to the proper angle and place it on the figure.  Now, this type of masking tape must often be put down on a curved model surface so it tends not to stick very well.  I will use plastic wrap over the masking tape to hold it down and force it to conform to the model surface.

Plastic wrap can also has problems if you use it over a high gloss surface. I have seen cases where high gloss finishes are marked by the plastic wrap. If you need to mask a gloss surface you should ensure that the gloss paint has properly cured.  This can take up to five days.  I certainly don't wait that long, but I do wait 24 hours.

For larger pieces I wrap most of the piece in a soft paper towel or paper napkin.  I only put the masking plastic wrap close to the masking boundary.  The paper towel protects the piece from damage and the plastic wrap must be tightly applied to the painted surface to obtain a precise line, so it is possible to stress the underlying paint. 

I have also seen cases where the plastic wrap can 'sweat' over time.  Perhaps the tight surface tension is drawing moisture out of the underlying paint if it is not completely dry.  Therefore, I put the masking wrap on, paint, and try to remove the plastic wrap within a half an hour when the paint is superficially dry.  I do not leave the model masked overnight.

I also sometime use a low adhesion masking tape. This is a less sticky type of tape that tends not to pull the paint off the model. Normal masking tape is too strong so don't use it. The big problem I have with this low adhesion tape is that it doesn't stay stuck where we want it to. The tape takes a perverse pleasure in sticking everywhere else. We usually put this tape over a curved surface. So, after we carefully cut the tape with our scissors to the shape that we want, peel the infernal tape away from our scissors and fingers where we didn't want it to go, then put it on our model and turn to pick up our airbrush or hand brush, you will find when you turn back to your model that the tape has sprung away from where you put it. Plan on it. Put your brush down, fix the tape, turn away to pick your brush, and return to your model and see that the masking tape sprung again. The tape will do this because it is evil.

Or, you could try some special modeling masking tapes. Let me know if they are evil, too.

Touch Ups

Regardless of how careful you are, model work is never perfect.  You should always expect your mask lines to be not quite precise, tiny pin holes and other defects to show up, and the surface to be just not quite right.  This is when you need to pull out your spotter brushes and have a final attempt at correcting the flaws.

A dry brush technique is useful to apply paint in a slow and controlled fashion to a tiny area.  

Filling tiny holes with a drop of paint over and over again until the hole disappears can sometimes work.

Using your clear cyano-acrylate cement (super glue) to fill seams tends to hide various cracks.

And in the worst case, you can sand the surface at the point of interest and re-paint with a brush or airbrush.

Lastly, Murphy's law says that, left to themselves, things tend to go from bad to worse, or what can go wrong will.  In other words, shortly after you have finished your model and are admiring your work, it will fall over or the dog will chew it or something else will happen to it.  Plan on this.  Expect that your perfect creation will need repair within 24 or 48 hours of being finished.  I don't think I have ever made a model yet that didn't require some type of post completion touch-up.

Removing Paint

I recently found a really neat way to take fresh paint off a model right after I have airbrushed the wrong way or goofed up with the color. Use a popular window cleaner with ammonia! Put some cleaner on a paper towel or napkin and wipe the nasty wet paint away.

The ammonia seems to cut the paint which may have already began to partially dry. Not only that, but window cleaner tends to evaporate reasonably quickly so that you can repaint as soon as you wipe the piece dry.

Note, this window cleaner trick seems to work with acrylic paints. I do not expect that it will work with oil paints or lacquers. You have been warned. Oil and water do not mix.

Previously dry paint that has cured should be reasonably impervious to the cleaner but this can't be guaranteed. Be careful that you don't rub too hard. You might take lower layers of paint off, too. I had a great time cleaning my dusty old models until I noticed slight streaks of color on my paper towel! In most cases I do not seal my models so the paint is not protected. Clearly, my window cleaner with ammonia was strong enough to affect some paints.