This one is a real mystery to me; I just can't remember where I got this guy from. I flipped past this model so many times in my bits box wondering what I would ever use it for. I always assumed it would be a secondary element to a larger model, floating next to a techpriest, inquisitor, etc. But in typical fashion, a much more interesting idea was spawned from a conversation with a very good friend of mine.
I mean really, even the greasy spoon has to advertise in the 41st millennium somehow, right?
Micro-Lesson: Source Lighting
A lot of people will tout this technique as a indicator of a higher level of skill. Don't buy into the hype. This is an easy step you can take with any model that adds to the result without requiring hours of your time or an MFA. The first step is to get your model painted up like you would normally. We're going to built this effect layer by layer.
Layer 1: Ambiance
When you've gotten all the basic colors down, your first choice is about the environmental or ambient light. Subtle shadows will push the highlights back resulting in a more balanced look to the model. Here I pushed the shadows way back to illustrate how far you can take this technique. The other consideration is color of the ambient light. Think about the world that you're putting this little guy in. In this example I wanted him to be on a lonely cold street well after dark, so I added a ton of blue to the shadows.
In practice, what you'll be doing is washing/dry brushing (your choice) with the colors you've established. Here I was drybrushing successively darker layers of a mix of Chaos Black and Necron Abyss. I also gave the underside of all the surfaces a wash of Asurman Blue.
Layer 2: Shadow
This is where you really push the dark parts back, all the way to pure black if you want to. The key to a good shadow is knowing where the light is coming from so you paint only where it isn't hitting. In this case the light source is a obvious one, which makes it simple to see where the light would and would not hit.
The execution of this layer is the same as the previous one, you'll just be doing heavier coats with more repetition. It's always good to go less subtle on a given pass of the brush. You can always add more pigment, but taking it away is nearly impossible without some amount of destruction.
Layer 3: Light
Here's where it all comes together. With successively brighter pigments, work your way closer to the light source. Every time you switch to a brighter pigment for a new pass, try to cover a smaller area inside the one you just completed. You will create some nice gradients that get brighter as they approach the source.
Like any technique, this requires practice, but if you keep it broken into these three steps, you'll have it down in no time.
And don't forget to Eat at Joe's. Every Thursday they have Hamburger and Egg for a nickel.
