Lands of Arran – Oösram painting tutorial

By Martin Goumaz

Introduction

Hello!

For this work and as I know I had to write a tutorial, I decided not to mix too much colors during the painting to keep it simple if you want to recreate some parts.

I also mostly worked with the brush, starting with a dark base and pushing the lights. I dont always work this way, but this may be the fastest and also the easiest way to follow for a step by step tutorial. Working this way, remember to always pull the paint from dark to light, ending your brushstroke on the light areas.

One last thing, don’t thin too much the paints, at least with the first layers. Even if you dont have a perfect blending at the beginning, it will be easy to correct later, with small glazes or the airbrush. The main advantage of this method is that you will get strong colors and contrast in the end.

Paint list

Dwarf's skin:

  • 2nd shadow flesh paint set (Andrea)
  • Beige red (Vallejo Model Color)
  • Ivory (Vallejo Model Color)
  • Nuances with Basic red (Andrea)

Tunic:

  • Dark sea blue (Vallejo Model Color)
  • Lights with Caribbean blue (Scale 75)
  • Ivory (Vallejo Model Color)

Beard:

  • 2nd shadow flesh paint set (Andrea)
  • Basic red (Andrea)
  • Golden brown (Andrea)
  • Ivory (Vallejo Model Color)

Fur cloak:

  • Dark sea blue (Vallejo Model Color)
  • Burnt umber (Vallejo Model Color)
  • English uniform (Prince August)
  • Bronzed flesh (Prince August)

Shield:

  • Mat Black (Andrea)
  • Burnt umber (Vallejo Model Color)
  • 1st shadow flesh paint set (Andrea)
  • Bronzed flesh (Prince August)

Boar's fur:

  • Mat Black (Andrea)
  • Mournfang brown (Games Workshop)
  • 1st shadow flesh paint set (Andrea)
  • Bronzed flesh (Prince August) 

Silver metallics:

  • Black (Vallejo Model Color)
  • Dark sea blue (Vallejo Model Color)
  • Black metal (Scale 75)
  • Cobalt alchemy (Scale 75)
  • Chrome (Vallejo Model Air)
  • Emerald India Ink

Gold Metallics:

  • Black (Vallejo Model Color)
  • Black red (Vallejo Model Color)
  • Viking gold (Scale 75)
  • Chrome (Vallejo Model Air)

Stone:

  • Mat Black (Andrea)
  • Dark sea blue (Vallejo Model Color)
  • Stone Grey (Vallejo Model Color)
  • Sherwood Green (Scale 75)
  • Emerald India Ink
  • Nuances with Rouge Cad Brûlé (Prince August), Army Green (Andrea), Burnt Sienna (Andrea) and Smoke (Vallejo Model Color)

   Click on any picture below to enlarge it in a new tab!   

First steps

To paint Öosram the Wanderer, I had the original illustration as a base, but I knew I would have to take some distance with it to fit a 3D model.

The lighting and color harmony will have to be a little bit different to make it work and interesting.

Miniature preparation

I had to do quite a lot of cleaning before starting the painjob.

First removing the mold lines and the flash residues. For this you can use the scalpel and sanding paper/files.

At this step I also decided to paint the dwarf separated from the boar, at least at the beginning.

I also used milliput to fill all the gaps between the different parts of the model and to add some elements and textures to the base. Some the of the boars hair have been damaged during shipping, so I had to resculpt them using green stuff.

Finally and before priming, everything is cleaned using a toothbrush and dish soap, under warm tap water. This removes the grease on the resin and might avoid problems later when painting.

Primer

To prime it I used the airbrush and some black primer.

Secondly I used some flesh tone to lighten it from the top, making it easier to see the details. It also creates a little grain helping the future layers to stick on the model.

Base colors

Once the primer has fully dried, we can apply all the base colors to the model.

No lights or shadows.

This might be one of the most boring steps, but it will be useful for the next steps because you wont be disturbed by the primer color when you are adjusting the lights and tones.

The Dwarf

We start with the dwarf, since he is the most important part of the model and will lead the rest.

The skin parts received a base of a dark skin tone. Remember on this model we will paint mostly from dark to light. We gently push the lights, adding more and more pale flesh color and ivory to the base.

Finally some nuances are added using glazes of reds.

The Tunic

The blue tunic now also receives some light using a bright blue then an ivory color, over a base of dark blue.

Be careful there to not go too far in saturation or contrast because you want the face to remain the focal point.

The Beard

Over a base done with a mix of dark browns and reds, lights are painted adding some yellow, red and ivory to the mix.

Dont focus on individual hair, but paint it as a mass, showing the main volumes and ondulations.

Only with the final highlights you can paint some individual hairs where you feel it can add something.

Leather

I love painting leather, because you can almost use any color, you can add textures, dirt or whatever effect you want. Dont hesitate to play with colors to add some depth and life to it.

You can be « dirty » at start, and then bring it together and smoothing it using glazes of colors or inks.

You can always come back to it when you bring further other elements.

Metallics

Now we start the metallics.

Over a base of a dark true metal color, we start adding the lights, not being afraid to bring some textures and life to it with small brushstrokes here and there.

Once the lighting is done we add some depth placing the shadows and bringing the effect close to finish.

You can also use some colors to simulate reflections or rust.

The Fur Cloak

As for the hair, fur has to be painted as a whole and not as individual hair.

Painting in the wet, I used different browns and nuances.

Once the first lights and shadows placed, I used the airbrush to smooth it a little bit using a midtone.

I also paint the inside of the cloak using warmer colors.

Finally I highlighted some hair here and there to finalize the effect.

The Shield

From a dark brown base, we use fleshtones to push the lights and simulate the wood effect drawing lines.

We can also draw some perpendicular lines to add texture and battle scars.

Glazes of different colors are applied to blend every layers together.

 

The metallics are painted following the same recipe as before.

The Axe

Time to paint one of the main parts of the model, the axe!

Some special attention is involved in the metallic effect here.

Using the same colors as on the other metallic parts, I took more time to think about where I wanted the lights and spent more time on the transitions.

In a way, I almost painted it in a non metallic metal way, but with metallic paints. 

The technique here is a mix of paintbrush and airbrush, coming from one to another until reaching the objective.

The Boar

Focal point

Now the Axe is finished, it’s time to glue the dwarf on the boar. Remember that the dwarf has to be the focal point. Glueing him before painting the boar will prevent us from pushing the lights and contrast too far on the boar.

Boar’s Fur

At this step we will push voluntarily too far the lights on the boar’s fur.

Then, with the airbrush and a midtone we will soften it down.

 

We will also take some time to paint the details like the snout and the eyes.

Metallics

The metallics of the beast also receive some lights and shadows, making the piece easier to read.

Now we have a clear vision of what it will look like when finished.

The Base

Base and details

To finalize the color scheme and harmony of the model we give some attention to the base, adding contrast, textures and colors to it.

We also finish painting some details like the tusks and the leather cord.

Grass and more details

Using artificial grass turfs we cover the soil to bring some details and realism to the base.

Dont forget to paint the boars jewelry using fleshtones.

Metallic nuances

At this point the miniature was almost finished. But I felt like it was lacking some punch.

I decided to take some more distance with the original illustration and to add more nuances to the metallics.

For this, I used glazes green-blue inks to add some saturation and power to the model.

We also took some time to correct mistakes here and there, adjust some lights or whatever we saw we have to change.

Last step

As a final touch, I glued some real plants on the base found on a field, to add some variety and details to the soil.

The piece is now finished and we can take the final picture, Yay !

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