A set of tinted washes. The paint is thin enough to run off the raised areas and settle only in the hollows, where it draws out shadow and dirt.
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A wash has the opposite logic to an opaque paint. It does not lay an area down but spreads across the surface, and a drop drawn by water carries it off the bulges into the grooves, the joints and the corners. The tone therefore does not appear on a model whole but as a darker line along every edge. One pass thus replaces an hour of picking detail out by hand.
The choice is not arbitrary, because every position carries a different story. A black wash gives a hard, technical contrast and suits robots, weapons and machine components. Sepia or umber plays into the warm and sits on wood, leather and canvas. A green-gray dirties a position the way moss and damp do, whereas a rusty brown works on iron. On flesh the finest tone of the whole set proves itself: a strong contrast ages a face and dirties it more than is desirable.
The ground should be smooth and rather matte, or the wash has nowhere to run. It is applied with a full brush on a small area at a time, and the surplus is drawn off with a dry brush before it dries. Layering works: two weaker passes give a cleaner result than one heavy one, because no dark puddles with a sharp edge form in the corners.
A dried coat is matte and will take a further coat as well as dry brushing with a lighter tone.
The degree of darkening is governed by the size of the subject. On a small figure the eye needs a marked difference to register the detail at all, whereas on a large hull a fine suggestion is enough and a strong line would look as if drawn with a pencil. A set of several positions allows you to reach for a different strength of tone each time instead of thinning a single bottle.
Naši poradci a znalci sortimentu jsou připraveni odpovídat na Vaše dotazy (Po–Pá, 8–18 hod).
Zeptejte se na co potřebujete, odpovíme co nejdříve.
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