Acrysion - tělová

A base under every face

On figures, the flesh color is the most closely watched area of the model. The viewer's eye always goes to the face first, and when the tone is dead or flat, no uniform however well done will help. This light flesh shade is built as a starting coat on which the volume is yet to be built, not as a finished skin color.

How to turn one shade into living skin

Thin glazes are applied over the base: a tone warmed with red or brown goes into the hollows of the eye sockets, under the cheekbones and under the chin, while a little light goes onto the forehead, the nose and the cheekbones. The key is that no transition should be sharp. Thinned coats are built up gradually and the paint is left to flash off between them.

Application

The line is built mainly for an airbrush and in thin coats it preserves even the small wrinkles and features modeled on the surface. It is thinned with water, which makes controlling the consistency easier on small parts. Stir the contents of the bottle to a uniform consistency beforehand, otherwise the paint dries lighter than you intended.

The labels on the bottle

The number in the frame at the top places the shade, the name below it names it. The left side carries the information about the gloss, the right about the typical use. Colors tied to period hardware additionally have the country and the period, and with general tones this information is not written.

What comes after the skin

Once the face holds its shape, the small things come next: the eyes, the eyebrows, the hairline and the lips. It pays to paint them last and with heavily thinned paint, because every correction in these places reaches into the transitions that are already done. A smaller number of accurate strokes therefore usually turns out better than repeated overpainting.