Bringing a Prussian Yeoman to Life

We then mix the previous colour with approximately 33% Admiral Grey IONIC-0166 to create the next layer: the intermediate shadow. This layer should cover around 80% of the surface, leaving the pure dark colour visible only in the deepest recesses and shadowed areas. Rather than applying the paint uniformly, we begin to follow a subtle zenithal logic, placing the lighter tone primarily on the upper areas of the miniature. In this way, we start to suggest the direction of light.

Next, we add another 33% Admiral Grey to the previous mix to create the base layer. We now reduce the painted area further, concentrating on the volumes that naturally catch the light. Always guide the highlights upward, reinforcing the zenithal effect and preserving the darker tones in the lower sections.

We continue with pure Admiral Grey. At this stage, the painted surface is noticeably smaller. We focus only on the most exposed areas: the upper folds, edges and raised sections of the uniform. The previous layers must remain visible to ensure smooth transitions and convincing depth. We do not need to be overly clean. In fact, introducing a bit of texture will enhance the realism of the fabric. We can gently create small dots or fine lines here and there, especially in the transition areas.

Finally, we mix Admiral Grey with 25% Vanilla IONIC-0012 to create the final highlight. We apply this tone very selectively on the highest points and sharpest edges, using fine brushstrokes or small dots. This last layer should be subtle but precise. It is worth noting that Vanilla contains white, which increases the value and makes the original colour lighter, but it also includes a subtle yellow component. This yellow brings luminosity and warmth, counteracting the desaturation that pure white would introduce. For this reason, I rarely use pure white. Instead, I favour a cream or very light yellow to achieve brighter highlights while preserving richness and intensity.

While the paint is still fresh on the palette, we mix the previous colour with 33% Brown IONIC-0153 to create the intermediate shadow and apply it over roughly 70–80% of the surface, leaving the pure Black Brown only in the lower sections.

Next, we add another 33% of Brown IONIC-0153 to the previous mix and create the base tone. We reduce the painted area and concentrate on the volumes that naturally catch the light: the upper edges of straps, the central areas of pouches and the front of the boots. As before, we preserve the darker tones in recesses and lower sections to maintain contrast and depth.

For the highlights, we first use pure Brown for the intermediate highlight. We apply this tones on raised areas, focusing especially on the edges. For edge highlighting, it is often more effective to use the side of the brush rather than the tip. By gently dragging the body of the brush along the edge, we achieve cleaner, sharper lines with greater control. On leather, we do not need to be excessively clean. Small strokes, subtle lines and even slight texture help suggest worn material.

For the final highlight, we mix the previous colour with 25% Vanilla IONIC-0012. We apply this layer very selectively on the edges and corners that are most exposed to the light source. It should be applied as a very small dot or a thin line, placed deliberately to capture the viewer’s attention and suggest a sharp reflection of light.

To build volume, we enrich the previous mixture with 25% Dunkelgelb Dark Base. This lighter tone is applied to the upper areas of the helmet and visor, following a natural zenithal logic. On the shoulder pad, we focus on the upper sections of the sculpted details and raised edges. The brushstrokes remain slightly irregular, allowing controlled imperfections to soften transitions and introduce a subtle, realistic texture.

For the third layer, we use pure Dunkelgelb Dark Base, repeating the same process while reducing the painted area. Each successive layer covers a smaller surface, gently reinforcing the light and adding character to the armour.

For the highlights, we introduce Dunkelgelb IONIC-1007 as an intermediate light. This is applied to the most exposed areas, carefully reducing the painted surface. We can refine the effect by adding small dots, fine lines and subtle scratches in the transition zones, helping to create smoother transitions and a more natural finish.

For the final highlight, we mix Dunkelgelb with 25% Vanilla IONIC-0012, creating a warm and luminous tone. The brightest highlight is reserved strictly for the highest points and sharpest edges. A delicate edge-highlight along the contours of the helmet and shoulder pad will complete the effect.

Using pure Red IONIC-0054, we repeat the previous step. However, the goal is not to cover the entire area again. Instead, we apply the colour more selectively, always keeping the light source in mind. We focus on the upper sections and the most exposed areas, allowing the darker red to remain visible in the lower parts and recesses.

Next, we move to the intermediate shadow by mixing the previous colour with 50% Tanned Flesh IONIC-0034. This mixture is applied on the raised areas, leaving the darker red visible in the recesses, basically between the fingers here. When painting a face, we can leave this colour around the nose and mouth.

We then apply pure Tanned Flesh on the raised planes of the fingers and the upper areas facing the light source. Remember, the paint should be thinned with 20% water to improve flow and ensure smooth transitions

For the first highlight, we use Dwarf Skin IONIC-0032. This lighter tone is applied in a reduced area, focusing on the top of the knuckles, fingertips and sharper edges of the fingers. The contrast should now be clearly visible but still natural. To achieve this, we must progressively reduce the painted area.

Finally, we mix the previous colour with 50% Vanilla IONIC-0034 and apply very fine lines or small dots on the most exposed points. These tiny accents capture the viewer’s attention and enhance realism. If necessary, we can return to DarkRed IONIC-0058 to carefully redefine the separations between the fingers and reinforce the shadows.

Next, we apply the pure metallic paints. We follow the same light direction established earlier, focusing on the upper areas and leaving the darker tone visible in the lower sections and recesses. Whenever possible, we use the side of the brush to apply controlled edge highlights. This keeps the finish sharp and clean.

Metallic paints already reflect light naturally. However, we can push the highlights further by mixing the base metallic colour with 75% Bright Silver IONIC-0800. This brighter mix is applied only to the most exposed upper areas and sharp edges. The goal is to reinforce contrast without covering the previous layers.

To give the metals a grimdark atmosphere, we introduce subtle weathering effects. This also increases the overall visual richness of the miniature. For the gold or brass areas, we create a patina by thinning Turquoise IONIC-0104 with 80% water. For the steel, we use Rust IONIC-0156, thinned in a similar way. These are applied as controlled washes in selected recesses and lower areas. We avoid covering everything, as variation is key. Once dry, we can apply a second layer in specific spots to intensify the effect and build a more natural, aged appearance.