Top 10 things to Consider when 3D Printing on Commission

Skies of Sordane Airship

Over the last several years of 3D printing as a hobby I have had my fair share of people approach me with an idea, an easy project, or something random they found on the internet they wanted printed for them. In general my typical response has been, “absolutely no problem” and taken the mantle of the challenge as a new way to challenge myself in 3D printing. However some of these “easy projects” were of course the most difficult tasks I’ve ever encountered in the hobby. General rule of thumb, just because there is an object file or STL in existence and someone has found it does not necessarily mean that model is actually printable, but I am getting ahead of myself… let’s start at the beginning of one of these “easy projects”. 

An idea of the complexity and size of the Skyship

In July 2022 I was commissioned to print the LARGEST 3D and most time consuming project I have ever attempted. This project was the Sentienel Light Cruiser by the Skies of Sordane kickstarter in March 2020 which raised over $280K CA or $208K USD on kickstarter. The reason why I say how much it has raised is that there are very few 3D printing stl crowdfunding projects to have ever gone over the 200K mark let alone this early in the 3D hobby printing revolution.

I remember vividly this project releasing and the waves it has made in the community. I even have a ship or two in my own STL collection that have been given to me as cross-promotions over the years even though I never backed the main project. So being asked to print the largest of the medium class ships from the core bundle of this kickstarter, I immediately felt it was safe enough to agree to the project with such a wide community backing it, instantaneous name recognition, and enough time has passed since it’s initial launch that surely there is strong documentation of the project and troubleshooting. 

So using this project as an example I thought I’d share the lessons I’ve learned with you.

Skyship with the elemental ring attached

Since completing the project, I have completely changed my view and approach on commission 3D printing through trial and error. Here are my top 10 lessons/rules and takeaways from the project if you are considering 3D printing for commission.

#1 Know your Value

One of the largest things I struggle with personally is making sure I receive payment for my services and time investment. I’m the type of person who significantly undervalues myself with the goal of bringing things and being as accessible as possible to others. I typically only charge printing cost in materials and file cost in almost all of my prints with an expectation of people tip what they are able to. Letting them pay for the print in what they value it as or can afford. This of course breaks down as you need to do much more in order to make the model print.As a result i’ve had to set a value per hour or minimum service fee for a product i’ll be printing. If a file requires work before or after printing put it in your service fee. Be transparent of your cost breakdown and expectations up front. Your time should not be for free.  

Make sure you have a point in the clause where cost could change if you over estimate or under estimate project. 

Post processing support removal

#2 Know the Terms of Service

I am not a 3D printing studio or have a merchant license to print and am merely a printer as a service for people that do not have a printer but find files they are strongly interested in. My first rule is that the person asking for a file to be printed is always either 1) buying the STL and send it to me to print with proof of purchase or 2) I purchase the file and add the STL cost to the final cost breakdown at the end. This ensures that the original creator always gets paid for their work and its single use print and purchase. Always make sure you are reading the terms of service for your files before printing them to verify nothing you are doing is breaking terms, General rule of thumb, I only print something once per purchase of a file for personal use.

#3 Determine the Scale, Commitment and Cost of the Project

In some cases this is incredibly hard to estimate without seeing the files beforehand and diving deep into the project but here are the

The moment I realized the true scale of the project I accepted to do

5 primary cost factors in a print commission. 

1) Digital Model cost

Discussed in the previous bullet but if you are buying the file for the client then make sure you add it to your total.

2) Material Cost

Most of the time you will need to put the file into your software to get an estimate of total materials used in the print job so this can be difficult to blindly estimate unless doing something similar in scale and scope frequently. Oftentimes keeping track of slicing estimates or using software like Octoprint for filament printing can help give estimates but only after you have gotten the files in your hands and are deeper in the project. I have also found that you should never be cheap on the materials you purchase. You’d end up paying more for it in the end. Use materials and quality of products that you would be happy with. In which case I am always a perfectionist.

3) Print time & Printer maintenance 

Some individuals and print shops charge per hour their printers are running as business. Often if the print commission is a singular print that takes an hour or two I consider this negligible. But in the case of this project I estimated over 31 Days of non-stop continuous printing. Perhaps including costs for new nozzles, print beds, etc should also be factored into the equation. 

4) Tip for service

Most often when buying 3D printed models from sites like Etsy tips are not often considered. But when working on one off projects such as these and their customization in nature it is strongly encouraged that you ask for a tip for your time. If you are not comfortable asking for a tip think the question of “what is the minimum amount you will do this project for.” Add that value to your print cost.

I often use tips as a method of which I can gauge the satisfaction of my client on the project. These I consider as icing on the cake and a bonus and not part of my rate.

5) Shipping

Shipping can be an extremely tricky factor when working on 3D prints as well as keeping your print safe and secure. I have come to depend on USPS priority mail system and their free flat rate box. They come with a default insurance value of $100 a tracking number, arrive in a decent amount of time, boxes are free, and are the most affordable shipping options. Their prices are also transparent:

Box NamePriceSize
Small Flat Rate$10.208 5/8″ x 5 3/8″ x 1 5/8″
Medium Flat Rate$17.1013 5/8″ X 11 7/8″ x 3 3/8″
or
11″ x 8 1/2″ x 5 1/5″
Large Flat Rate$22.8012 1/4″ x 12″ x 6″
USPS Priority Mail Flat Rate Boxes

#4 Agree upon Deadline


One thing you will hear commonly regardless of type of commission is that they can commonly hang over your head as something you “need to do” and detracts from other aspects of your life or even your own hobby time. Setting a deadline can help eliminate the “when will it be done” questions and force you to focus on getting the project out the door and no longer hanging over your head while also building consumer transparency. 

#5 Set Expectations of Product Quality


One of the hardest things about printing commissions from files others have found on the internet is the simple statement that all files are not created equal. Not all files SHOULD or CAN be printed. A render for a file could be absolutely breathtaking but it doesn’t mean that the considerations of 3D printing the model are taken into account and could make your job extraordinarily more difficult. That on top of expectations. How much post processing are you expected to do? If printing in PLA do they understand that layer lines are going to be visible? How much support scaring is acceptable? Is the model going to have to be assembled on your own time? These things should be asked or you determine as a result of your product if you open your own store. Often times it might take more than one print to optimize the quality of a print due to the design of the model itself or your print settings. Proper calibration as well as familiarity with the company helps tremendously.

Poor print quality due to support removal and print orientation. Required a reprint

#6 Keep Track the Project as you Go

There is nothing worse than finishing a large project and then having to go back and calculate the time commitment and cost breakdown for final billings. Make sure you are breaking down what you did and why as you go. If you had to manipulate a file on your own, presupport a file, any reprints etc. Trying to remember what you did months ago can be incredibly challenging. If the scope is extremely large.

My print progress tracking: part, material usage, print time

#7 Don’t be Afraid to Say No

If this is not your primary form of income and it is merely for fun on the side. Don’t hesitate to turn down projects that you don’t want to do or necessarily have the time to do. Sometimes these things can massively take away time from your own projects and hobby time. People can find others to print projects or wait until you are ready. 

#8 Maintain Communication of progress and project Status

As a way to help build confidence, keep everyone honest and on track. I commonly find that sharing work in progress pics is fantastic to maintain positive energy on the project. Their excitement helps keep you motivated while also making sure that they are still invested in the project.

One of many project progress pictures

#9 Account for time variance for printer repairs and real life situations

Not every project goes as expected. There are times when you will have to spend days repairing, troubleshooting, replacing parts on your printers which can be incredibly frustrating. Account for taking time off. The printers do not have to run 24 hours a day 7 days a week.

#10 Make sure the process is still fun

In the end of it all this is most commonly your hobby and enjoyable past time. Don’t focus so heavily on making a profit from it and become a professional hobbyist. This is for fun and not a job. If it isn’t fun don’t do it.


Conclusion

Every project you undertake you can learn a lot about yourself as well as your hobby. Do you print professionally? Do you buy printed projects? What takeaways have you made?

As always Happy Hobbying,

Crazmadsci


Fun Facts

Skyship project

  • Total Filament usage: 6.348 kg
  • Resin usage: 247.38g
  • Filament length 2,094.87 meters or 1.30 miles
  • Print time: 748.66 hr or 31.2 Days
  • Total number of pieces: 98
  • Estimated post processing time: 30 hr
Frost Giant Final Photo Black backdrop

2022 Benchmark Model: The First Attempt


For 2022’s benchmark I have decided to paint the giant model from December 2021’s CastnPlay release Adventurer’s Guild. This included a group of adventurers coming in from their days dungeon crawling and drinking at the tavern resting and relaxing. The models also include an amazing tavern bar build and a quest board which is on my painting agenda. The giant in question I do not think was sculpted with “Frost Giant” in mind but rather a friendly giant adventurer. However I painted a Hill Giant last year and wanted to accomplish something different. Applying one of my goals for the year of trying to paint in different skin tones I decided to approach the model with a blue skin for Frost Giant and do something I’ve never done before, apply paint to a model that wasn’t primer via a brand new tool in my arsenal.

Printed, unassembled Frost Giant Model
Frost Giant printed and unassembled.

While painting this model I was faced with a few hurdles that I am sure you are familiar with.

  • psyching yourself out
  • burn out
  • being paralyzed from self imposed extreme expections

Well in my 2022 Benchmark Model I encountered all the above. I have had such a difficult time trying to articulate everything that I felt, did and aspired to do while painting this model that I even have been procrastinating in writing this post.

Regardless I am incredibly proud of this years benchmark model and can’t wait to see what I come up with in improvement for the year. But before I get ahead of myself, what the heck am I talking about?


What is a Benchmark Model?

A benchmark model is essentially a painted figure or model which you can use at a later time as a form of measure of standard to compare to. Therefore a benchmark model is my attempt at gauging my personal growth in the miniature painting hobby. The rules are simple I’ll paint a model to the best of my ability and then I will paint a second version of the same figure (thank you 3D printing) in one year to see how I’ve grown in that year. 

Can I See My Growth Two years in a Row?

I did a benchmark model comparison for 2021 and it was actually really quite incredible as a way to Gauge my Growth in miniature painting. I never thought i’d be able to see my growth yet let alone have people actually comment guessing the areas of growth I focused on for that year. Interested? Read More from 2021’s Benchmark

Front view 2021 Benchmark Model first painted January 2021, left. Right benchmark model painted January 2022 to see personal growth in hobby.
Left 2021 Benchmark, Right 2022 Benchmark

Battling your Worst Enemy, Your Mind.

So if I successfully set a benchmark last year and could see my growth, why was it so intimidating this year? Well to put it simply I kinda felt surprised that I could see growth in the last year as I didn’t paint many models and put as much time into gaining skills as i’d like. My mind is my enemy married to my low self esteem that I could pull it off again. 

I also suffered from burnout. Painting to the best of my ability two models in a row was exhausting. Sometimes not seeing much completed on your hobby table can make you feel like nothing will ever get accomplished. Spending so much time on these really exhausted my desire to paint and push through. It also didn’t help that I decided to paint one of the largest models I’ve ever tackled. A frost giant. 

On top of that I have decided to focus on areas of painting that are difficult or out of my comfort zone. This has resulted in more anxiety in my color palette, techniques, etc. 

So What am I working on this year?


2022 Painting Goals

While I did make a lengthy list of things I want to work on for my 2022 Hobby Goals. The goals for painting this year are simple….

Master the airbrush

Having just receiving an airbrush I have barely started utilizing it to the best of its ability or know how it can help me in painting. I am aiming to get started in airbrushing and making it a regularly used tool in my toolbox.

Learn more Skin Tones

Learn how to paint non Caucasian skin tones. This includes different colored skins like green, blue, purple, red etc. for monsters. I have recently started my airbrush journey and am still not confident in my knowledge.

Paint out of my comfort zone

I am tired of painting generic fantasy character with a green or blue cape. I need to stretch my imagination beyond and try more color schemes.

Gain a better understanding of volumes

I want to understand how light hits various shapes and be better at highlighting models. This will start with muscle groups but I hope to go beyond that and especially show in armor.

Color Theory?

Begin my long long journey into a greater usage of color theory. 

Painting Hair & Fur

I am ready to build on the above statements and paint hair and fur to a more realistic mentality and result. 

Utilization of Environment & Basing Methods

I deeply believe that a base can drastically change the story of the model, its tone and really elevate figures. I am going to try to improve my basing game while also improve model storytelling.


Setting the Standard: Benchmark 2022

Now lets get into the painting of the model.

Breaking Out the Airbrush

I received an airbrush for Christmas 2021 and up to this point have only primed a few miniatures with it. I have gotten better and have to say that I am immensely proud of the zenithal highlight of this model. It might be the best I’ve ever done.

After priming I applied a blue contrast paint for the skin to see how contrast paint would go through an airbrush followed by various browns that make up the leather of the body. My goal was to try to go from largest areas of the model to smallest in the attempt to improve my aim via practice. I have never used my airbrush to apply base coats to a model before and am genuinely surprised and thrilled by how fast it was to get a model base coated. 

The entire time I was doing this I was being supported by my friends of Goobertown hobbies as the continuously encouraged me to Paint Bravely. I pushed through and worked up the various layers of skin. I definitely feel like I should have pushed this highlight more but alas I did not get to it.

To finish off my spray basecoats I painted the tree and did my best to not have too much overspray. An area of improvement is definitely improved aim, masking off areas of a model to prevent overspray, and gaining a better understanding of how to angle my airbrush to help me in highlights and volumes. 

All in all I feel like this was a pretty strong showing and attempt for using an airbrush to paint for the first time. It definitely helps that I choose to paint a large model knowing that my aim was not going to be very great and wanted a place to practice before I paint a standard miniature.

The Devil is in the Details

Once I put my airbrush down I set to work on the details. Picking up a brush to paint the model was actually really exciting and I felt a significant sense of relief now that I am using tools that I am familiar with. I set forth to do colors and choices I have not used before, namely in trying to not use brown hair and fur. So I decided to go with a blonde head which was mostly a dirty blonde. I know air is on the agenda and perhaps i’ll learn how to do different colors better this year. I also wanted to try to contrast the bright blue of the skin and went with a dark black, grey fur for the areas of clothing that had fur. 

I then started to work on details such as leather work, skulls, pouches, etc but… I got worn out. I spent several nights at this point painting the figure and I walked away from it. And it sat on my shelf for probably about two weeks before coming back.

Just Calling it Done

Seeing that all motivation to keep pushing through the model and feeling a significant thread of diminishing returns I decided to base the model, varnish, and flock with snow to call it done. At this point I was truthfully disappointed with myself because I always feel like I can do better. I could catch more detail, improve a highlight but there is a point when you should just call it done. 

Frost Giant final paint job
Frost Giant final paint job

It all comes together!

Know how I mentioned that I want to improve my basing game and telling a story in my basing. Well I feel like this model is  the perfect example for that. I felt for so long that the figure was missing something and that wasn’t until I added the snow. And oh boy did it feel great to see everything just slowly come to life. Adding the snow to this model and its base really had a great marriage between the two. However I couldn’t fully realize it until a friend recommended that I add snow heavier on the feet like he has been wading through the snow. Boy did it really make a difference. I think the snow was one of the most commented aspects of this paint job.


Final Photoshoot

A benchmark would not be complete without a good ole photoshoot of the figure. And this has been an aspect of the hobby that I think is super important to capture the full detail of the model to convey to readers, inspire others, and capture mistakes. I worked on taking photos of this model in both black and white backdrops (poster paper). I think the black backdrop was the better choice in the final shots. What do you think?

Frost Giant Final Photo Black backdrop
Frost Giant Final Photo Black backdrop

On to 2022

While I am happy with this model and would be a fantastic figure to put on my table I still desire to grow and improve. I tried many new things and even color choices on the figure such as the skin, fur and hair that were well outside my comfort zone. Now that the benchmark is set. Lets see what we can accomplish for the rest of 2022.

Happy Hobby,
Carrie, Crazmadsci the crazy mad scientist


2021 Benchmark Model Showcase Featured Image

How To Gauge Growth in Miniature Painting


2021 Benchmark Model Dwarf final paint job
2021 Benchmark Model: dwarf final paint job


2021 Benchmark Model Comparison

When working on improving any skill or hobby, oftentimes it is hard to gauge personal growth. You can become so deeply focused in your task that having the capability to step back and gain a larger perspective is difficult. Or in some cases the improvement may be so small or subjective it is hard to determine any improvement at all. This can lead to frustration, lack of motivation or even burn out.

How can you to solve this problem?

Last January I set out to try to solve this issue. I painted a benchmark miniature figure so that I may judge my improvement over the course of one calendar year. This benchmark was at that time the very best I could do in painting a miniature. I set no time limit and poured myself into it. The primary goal was to test if I could see a before and after of how far I developed as a miniature painter. 

So what is a benchmark?

Something that can be used as a way to judge the quality or level of other, similar things.

Merriam Webster Dictionary

So in this situation I used the same model painted a year apart to test their different quality levels.

Setting the Baseline

Here is an image of the model painted January 2021. If you want to read more about my thoughts about it at the time and painting read the 2021 Benchmark Model.

Painted dwarf miniature figure. Final collage of  painted 2021 Benchmark Model
2021 Benchmark Model: Dwarf

So the million dollar question, have I improved a year later?


Have Others Give Their Opinions

When I finished painting this model last week I will admit to feeling a bit deflated. I attempted to focus on painting the new model using a similar paint scheme in hopes that the comparison should not be influenced over preferred color. However when I placed the paint brush down at the end I was not Wowed. I felt no immediate pride or even noticed any significance in difference of my model. In my mind I could only envision where I wanted to go with the model and yet didn’t have the skill (seeing only the flaws not the victories). I couldn’t step back and admire what I could accomplish in the today.

So I decided to ask for help to take a photo to my friends, family, and fellow members of the painting community. The question was simple. “Which model is the newer one and why?” Could people see my improvement where I could not? Could people actually see the areas in the hobby I desired to improve upon in that year?

The conclusion was simple. Every single person who guessed my old model vs my new model was correct. No matter their background or skill set there was not a single person who guessed was wrong. Even non-painters saw growth.

Here are some of the various pieces of feedback and comments I received from different platforms:

Basing is fancier, the skin is smoother. In general fewer visible brush strokes.


The metal looks more like metal, than “gray”. The skin looks more natural, and less glossy. The basework is more complex. The eyes look more natural too. Overall, just appears to be a higher quality paint job.

Both are better than my painting. They look great, but skin on the right looks way better.

Looks like smoother coats. The eyes are better. Cleaner paint work on the rims of the pauldrons. Just all around more attention to detail on it. Some blending on the cheek bones it looks like


The Consensus

Significant areas of improvement were the base of the model which was vocalized as was fancier, more adventurous, and more complex.

It was also noticeable on my improvement with skin & eyes. The skin did not have a glossy appearance (Nuln Oil has a gloss version by the way). Also the layering of my skin was better. My work at setting a baseline with skin using the Hill Giant last year really paid off here.

Lastly my metallics appeared to be better. Did not appear as a basic gray but had sharper lines and better brush control with edge highlighting.

However there was also a repeated opinion that it appears that I am also making a stylistic change. Moving away from washes in the beard and cloth perhaps took away from the contrast and did not push the highlights as much as I did a year ago. Check out the comments.

I feel like the right one has sharper lines and colors so my instinct is to go with that one being the more recent one, but it almost feels a bit like a stylistic choice between the rougher more blended palette and the sharper more distinct style

This comment also gave some feedback on potential improvements with washes which I absolutely agree with.

Looks to me like the one on the right is the more recent one. The one on the left you used more washes, the one on the right more highlighting. There are things about both that I like. With the washing, I’d say try and go a little less wet, you have a lot of the ‘coffee stains’ where your wash dried to the edges and makes your ‘creases’ a bit of a mess. Less paint on the brush. BTW, a wash that is dabbed on a paper towel till mostly dry is essentially a glaze technique which looks like you did on the right guys face, looks great! One thing I like about the wash is you maintained a lot of contrast. To tighten up your highlights, thin the paint, dab from brush, and do multiple passes if you have to. Overall, I like the composition and I think with just a few tweaks you’ll have some new things to explore.

My husband even agrees that the beard in particular he prefers on the old model than the new one. This is something that I need to go back and work on for sure.


More Detailed Comparision

One thing I absolutely forgot I did when I wrote the 2021 Benchmark write up is I included specific areas of desired growth. Listed below. Lets go through and see which ones I succeeded in.


Aspects of Desired Growth

  • Fur: Can I learn to paint fur better that it could even dictate the type of animal it comes from? Potential area to improve skills and knowledge in drybrushing?
Benchmark comparison of personal growth for painting fur from 2021 to 2022
Left 2022 fur, Right 2021 Fur

No Change. This aspect I consider no growth. They were essentially the same with contrast paint used on the newer model and more drybrushing and colors used on the older model. None scream as a better approach but rather just different approaches.

  • Armor: Methods and ways of painting True Metallics in miniature figures. Can I make armor shine? What are the different types of metals?
1 year growth comparison of painting metal armor on miniature figures 2021 to 2022
Left 2022 metal painting, Right 2021 Metal Painting

Success! This area was commented numerous times as significant areas of improvement. Use off better metallics along with selective use of washes and significant improvements on brush control & edge highlighting shine here.

  • Weapons: How do I make metallics & weapons look more battle worn and dinged?
1 year growth comparison of painting swords on miniature figures 2021 to 2022
Top 2021 sword, Bottom 2022 sword

Fail? (Just Different) I personally think that the weapons look less battle damaged in the new model vs the old. The use of the wash on the sword really helped give more of an aged aesthetic.

  • Skin: Starting completely from scratch. Largest desire is to have growth and variety in skin tone for my miniature collection.
  • Hair: Much like skin I have not put much effort into growing or researching this area in miniature painting.
Side by side comparison of painting faces on miniature figures from 2021 to 2022
Left painted face 2022, Right painted face 2021

Success and Fail. In this aspect my skin and eye are significantly improved but the contrast off the beard was preferred on the old model. I am proud of where I started with skin but want to research hair more.

  • Cloak: Layering and contrast. Can I improve my layering? Make smoother transitions in blending the layers? What methods & techniques work best for me?
Painted cloak comparison of Benchmark 2021 model. Left 2022 cloak and Right 2021 cloak
Left painted cloak 2022, Right painted cloak 2021

Success. Improved blending was definitely an area off focus here. I worked quite a bit last year on glazing and next year hope to grow in wet blending. Also work towards improving those highlights.

Technical aspects I seek to improve upon

  • Improving Brush Control. Success
  • Zenethial Highlighting & Source Lighting, Success
  • Basing. Can I make the miniature tell a story, Success

Adjacent Goals

  • Improve my miniature photography, Success

3D Printing the Figure

  • Can I improve the state of the print itself? Success
  • Methods to improve post process clean up, Success
  • Note I did break a hand/weapon joint and had to use green stuff to clean it up again. Success no breaks

Of all the other areas I wish to grow I definitely feel like I hit improvements on each single one. This is a really good feeling.


Final Photographs


Paints Used

Not only did I improve in some painting skills, I also am happy that I have started a paint journal to keep track of paints used, notes, and thoughts during a project. Sometimes those notes are simple such as here.


Conclusion

I am super glad that I took the time to paint this model and do a benchmark test. Although I was disappointed the moment of completing the figure looking back only a few days I am excited about my growth in the hobby. This write up has also been immensely helpful to show me that I am indeed getting better.

One thing I definitely take for granted and need to articulate is the fact that along with improving my painting skill, I have sped up tremendously. While the original model was painted over 5 painting sessions this one was over 2. This is also an area of hobby growth.

I highly recommend a benchmark model if you ever feel like you are stagnant in your hobby or skill growth. This was a fun experiment and I am definitely going to be doing another one for this year and perhaps make it an annual thing. If you want a sneak peak as to what I’m working on make sure you follow me on Instagram.

Have you ever painted a benchmark? Can you see a difference? What should I focus on for the next year?

Thank you for sharing this journey with me. As always happy hobby.

Carrie, crazmadsci the crazy mad scientist.


Past Writings

Contrast Paints: Understanding Their Usage


Last week I posted I paint job of the Hill Giant Tyrant Ogi Skullcrusher and my experimentation for painting skin. While it was setting my baseline for skill and observing room for improvement when painting skin I also really wanted to finish the model.

Since I already spent quite a few painting sessions on the miniature and already am behind schedule in painting my Frostgrave game with over 15 miniatures over the next month I decided to try in more detail the usage of citadels contrast paints. I am still very much new to using contrast paints and acknowledge a lot to learn. However here are some of my first experiences and observations using the paint.


What Are Contrast Paints?

Contrast paints are a paint formulated by Games Workshop to help assist new painters or even those who choose to speed up their painting process. Contrast paints are designed to base coat, shade and highlight the miniature in a single coat and most commonly used over a light undercoat. By suppling so many steps in a single application it can help a novice painter glaze over some technical steps and save valuable time going back to apply multiple coats or even colors to achieve similar effect.

The largest benefit of these paints can be used in tandem with a zenithal highlight (light color prime over a dark like the sun is shining at its zenith). Contrast Paints appear similar to a wash or shade but also appear somewhat thicker to allow for full coverage in painting the model.

While there are other companies who have created paint similar to the contrast paint, access to Games Workshop paints are widely available in my area and are considered by some to be the best of their type.


My Bias

Since the release of contrast paint in 2019 into the hobby space, I admit I’ve avoided buying and using a them. Having watched many YouTube channels during their release reviewing the product line the consensus was along the lines of interesting but not necessarily valuable to the experienced painter. You see the market of contrast paint was aimed towards the new painter as a way to do several painting techniques in one; base coat, shade, and highlight. Why would a experienced painter want to use them? An advanced painter has significantly more control and finesse doing these things the old fashioned way. As for me, why would an aspiring painter use them if it takes away from the practice of other techniques. I aim to grow not necessarily avoid tasks.

Over time however I’ve begun to notice an increase of usage of contrast paints in various applications for people. Many paint models for their games and are absolutely happy with the tabletop standard contrast paints provide. There is a growing category of people who have begun to use contrast paint as a unique tool in various situations providing yet another SKILL to use rather than a shortcut. Due to the increase in the latter I’ve decided to over come my prejudice and try them for myself.

I will also admit the that cost of contrast paint is something that has turned me off over time as well. Contrast paint can be roughly 40-50% more in cost than a standard container of paint.


My First Use of Contrast Paint

I was inspired to use contrast paint for the very first time during my woodworking deep dive color palette test. I saw several people in the painting community painting wooden objects such as doors and barrels with contrast. I absolutely loved how they turned out and asked “What was your process?” “Did you use a particular color?” The response: Contrast Paint.

Since contrast paints are commonly referred to as a “transparent filter” I loved seeing the difference in behavior using the three different undercoats: white, gray, and black. The biggest difference was noticed in the Gore Gunta Fur Contrast Paint. With a white primer the paint appears more red as opposed to brown.

I absolutely loved these colors and to be honest testing contrast myself on these tavern tiles made me excited to use contrast paint in my arsenal for other projects.

Contrast paints tested for Wood painting deep dive

My First Real Application of Contrast

After the wood working testing and not knowing how I wanted to finish painting the Hill Giant after my experiment with skin I realized that there were three areas on the Hill Giant that I technically had contrast paint for: Wood, Leather, and Fur. This was the perfect opportunity to see the contrast paints in a real application for a three dimensional miniatures instead of a relatively flat base. This distinction is valuable as contrast paints are intended to help add shade to a model.

For this test I attempted to experiment with three different starting processes to see how they responsed and behaved.

  • Tree Trunk: this tree trunk is mostly white but technically a zenithal highlight and would represent the most default usage of contrast paint. This would ideally produce shadow and contrast upon the addition of the contrast paint.
  • Fur texture: I painted a light grey color as a uniform bright undercoat to see what would happen. With a consistent color and not preshaded. This would be most similar to the white primed Gore Gunta Fur painted base from above.
  • For the leather I wanted to try to use two pre toned colors and see if the contrast paint was transparent enough to be impacted by the contrast paint and therefore potentially produce two variants of leather.
Hill Giant Prepped for Contrast Paint

The Leather

When I applied the snakebite leather contrast paint to the leather you can absolutely see below that the contrast paint completely over powered the under coat color of the hill giant. There is zero indication that any work went into painting the leather differently. This was by far the most disappointing portion of my testing with contrast paints. In order to fully use them the way I want to in the future I will have to learn more methods to thin down the contrast paints or mix them to increase the variety of color and tones for the paint itself.

To help compensate for this singular hue in color I did end up dry brushing and a small amount of edge highlighting to try and get more of that worn leather look.

Close up to the Leather work after Drybrushing

Fur and Wood

Applying the contrast paint to the wood and leather also yielded interesting results for me. While the fur behaved approximately as expected with darker recesses and lighter tops the wood overall did appear very splotchy. While this works very well for a tree trunk as there is no uniform color to the bark of a tree I am left frustrated in the consistency of the paint and my skill working it. I found the paint pooling in locations and not applying in a smooth layer. Again learning how to thin out the paint would be ideal.


Highlighting

At this state of using contrast paint I was largely disappointed. I know I am not the most skilled of painters but was frustrated that I could not move the paint in the direction I wanted to go and could not anticipate the results. Which is of course silly because the whole purpose of using these paints was to see how they behaved and to learn and grow.

Deciding to move forward and see what would happen I decided to apply more dry brushing and highlights to the contrast areas of the model in order to get more areas to pop and add variety of color. I added some of my original light gray color to the fur and some light brown to the tree. Overall I am really happy. I do and think overall there is much more life to the model and applying highlights yourself over the contrast paint is a necessity.

Perhaps I just need to learn more to add skills of contrast paints to my arsenal overall? What else could I have done?

Hill Giant with Highlights

Painted Hill Giant

In the end I am really happy with this model and the quality of its paint job. This is a fantastic tabletop standard piece and looking at it across the room brings a smile to my face. There is always aspects of any project you want to grow upon but in the end I think this figure is a great representation of my current skill and knowledge.

I also am really happy with the usage of some vallejo earth texture paste and a mixture of grass toughs to add final touches to the base. I tried to add the tuffs in between the rocks where grass or shrubbery would grow.


What’s Next?

While I have learned to no longer write off contrast paints and consider them a valuable tool. I definitely realize that I want to do more with them. Talking to some other hobbyists and watching more videos I realized that the use of Contrast Medium or some water will help thin down the contrast paint. I think perhaps the use of thinning down my contrast paint could help me unlock its potential. There is also different types of contrast paints. There is so much I can do and learn!

Maybe contrast paints deserve their own deep dive? Do you use contrast paints? What has worked for you and not? Lets start a dialogue to add this tool to our range of skills. How do you feel the model turned out?

As always Happy Hobbying.

~ Carrie the Crazy Mad Scientist


Previous Writings

Skin Deep Dive Part 1: Setting a Baseline


Recently on my hobby desk I picked out the Hill Giant Tyrant Ogi Skullcrusher from the Lost Adventures Volume 1 Kickstarter to paint. This was largely before I decided to dive into my Frostgrave series and I decided to attempt to work towards paining some of the models that I have printed. I refuse to call it a pile of shame but rather a collection of opportunity since I am really proud of my printed model collection. 2022 I’m looking at you as a major shift towards painting my backlog (already thinking of next years goals).

Hill Giant Printed Model

One of the things I wanted to do and focus on with this model was to set a baseline for myself and figure out what kind of questions I had when painting skin on models. You see in the past I have almost only used a flesh skintone paint and a wash in the past and call it done. This results in a glossy dirty finish of my miniatures. You can see the image below of some of my past painted models (2018-2021). Some of these represent models that I’ve painted perhaps only 20 miniatures ago (took a long break in 2019-2020) this does not include any of the terrain and building painting.

Previously Painted Figures

This collection showcases two 3D printed models and 3 figures from Reaper Bones. Other than the lack of depth of expression, and in the case of the bugbear on the far right any facial features painted what so ever. You can see I have quite a long way to go for improvement.

Other observations I can draw from these are a few things.

  • Even though I have painted very few models I feel as if my skill has grown tremendously
  • The skill sets and tools I have at my disposal for painting miniatures have grown.

So it is the perfect time to attempt to gauge my current baseline of skill for painting skintones. As I want to document my growth in the hobby more and current understanding to watch my growth of long period of time these baselines are incredibly helpful. I also attempted to dig more into contrast paints, how to use them and expectations of the paint but there is enough there that I am going to release a contrast paint deep dive part 1 from this model next Monday!


The Research

Around the time I really wanted to do more research around painting skin I was listening to a fantastic miniature painting podcast. I love to listen to and highly recommend: Paint Bravely the Podcast. In their July 5th episode “The Best Primer is NOT Black, White, or Grey” they discuss that using a red brown primer on models is great on showing the blood flowing through the figure. It is incredibly rare not to see a red or rosy hue on people of skins somewhere.

I also watch Squidmar Miniatures youtube and keep going back to one of his “Professional Painting Secrets – Squidmar Masterclass”. I have continuously watched the first 20 minutes of him painting the muscles of the bust. I really appreciate him breaking out into photoshop and explaining more about muscles. However in some ways I am still confused (more of that to come).

Regardless, this is a great spring board for me starting to do more.


The Inspiration

Now that I have more knowledge as to the mentality of painting skintones the second thing I struggle with is what colors to use. However as I was going through the Shadowfey Kickstarter updates for my Frostgrave buildings I noticed that they included a painting guide for the giants they released. I used their guide as the initial color reference and found paint similar in my collection although not perfect (thats ok).

Printable Scenery’s Giant used as inspiration

Paint In Progress

Using the Printable Scenery guide as a starting point I used paint conversion charts online to attempt to get as close as I could. The largest challenge for me is that I did not get a large chunk of time to paint and constantly had to remix the same tone since my workspace can dry out my wet pallete if i’m not careful and its been incredibly dry lately. This is when my paint journal came in really handy, I would commonly paint small squares next to my “official” mix to see how it compared before placing on the model. If you don’t keep a paint journal I highly recommend it. You can actually see all my “test” mixes next to the original as tiny dots clustered around a main one. I really struggled with my mix when I started using Elf Skintone.

For the very first base layer I used Citadel’s Deathclaw Brown, Terracota & Scarlet Red from Vallejo Game Color. I attempted to mix it so that way it had a strong red brown tone and after painting it on the model I actually really loved it. It felt like I already had great variable of the skin tone and a color I really appreciate.

Layer 1 (Mix #1): Deathclaw Brown, Terracota & Scarlet Red

I then used this layer and mixed in more Deathclaw brown to lighten it up and painted on top. This was the beginning of my first area of confusion. Watching the Squidmar master class it showed that I was supposed to paint the lighter tone into the muscle recesses and use the dark I believe only for the underside of the muscle. This is what I attempted here but do think it was the beginning of just “dark in the recesses” painting behavior.

Layer 2 (mix #1): Mix #1 + Deathclaw brown

I began to then continue building up and attempt to slowly paint less and less on the model to give it a better transition. This time my mix included the Vallejo Game Color Elf Skintone

Layer 3 (mix 3): Mix #2 + Elf Skintone

I then built up two more layers and the 5th layer was barely applied.

Layer 4 & 5: Elf Skintone & mix of Elf Skintone and Beast Hide

At the end of the skin I was torn on using a wash and for the sake of this experiment I decided against using a wash. Perhaps it would have lent itself to more depth? I have been attempting to improve my skills with layering and am finding myself using washes less on my paint jobs. I will definitely need to back to using shades and washes and attempt to use them in more sophisticated ways.

There was definitely a small bit of painting fatigue due to the number of painting sessions this took, getting large chunks of time to paint is really hard with small kids. While I would have liked to put more time on his skin I was happy. Also the six foot rule for how it would look on a game table told me it looks awesome enough to play with. The one benefit there is that the more definite and darker muscle is visible across the table and showcases him well.


Quick Reference

One thing I made for future reference was a handy quick reference of my layers, its overall transition, and ratios of paint mixed in my painting journal. I actually really loved how it came out and let me know if this would be useful for you and if I should continue to include my reference guides.


Painting After Skin

After I finished painting his skin I still felt the need to experiment. The first experiment that I did was to see how I felt about using a blue linen or leather on his waist.

After throwing on some paint I realized it was absolutely not what I wanted on my model. Also thanks for the conversations and ideas from the 3D Printed Tabletop Discord.

I decided to revert back and paint his clothes a classic leather color. I wanted to showcase two colors of cloth with a reddish fur. So instead of trying a new color I decided to try some of my contrast paints which I do not have as much experience with. However II think a conversation about my obversions and questions around contrast paints deserve their own separate discussion, stay tune for next week on that!


Areas of Improvement

As for the skin there are definitely areas where I feel like the darker recesses on the model are too thick and transitions too short. I feel as if I should have had more visible transitions. Several of my middle layers such as #2 and #3 are not nearly as visible.

The lighter color paint and layers definitely overpower the red hue of rich living flesh I was going for. While I did end up with a Caucasian skintone it was not as rosy or red hue as I wanted. This made me remember at the very end that I should have used more of a glaze of thinner consistency which would help the transistions as well.

Lastly I realized I have no idea how some muscles of the human body actually work. For example I had no idea how to appropriately paint his back and hands. You can see that the transitions in muscles are very thick, not as well definite and look kind of goofy.


Finished Image

While I do admit I need to take more photos of this guy I am extremely happy with his final result. Check it out and let me know what you think. Biggest highlight is that these are probably the best eyes I’ve ever painted.


What’s Next?

I definitely want to continue focusing on improving my knowledge and experiment a whole lot more with different skin tone colors and also increase the amount of diversity in my models. Learning more about the skin of different people around the globe is going to be a ton of fun and I want to see if I can truly capture peoples heritage in color.

Next step in this experiment is my testing of different base colors for undead flesh before I paint models for the Necromancer Warband.

As always Happy Hobbying.

~ Carrie the Crazy Mad Scientist


Previous Writings