WHITE COLORS SET

White is never painted with white

Painting a white surface is one of the hardest disciplines, because whiteness on its own, without gradation, looks flat and the model is lost in one shapeless blur. Experienced modelers therefore work with a whole group of broken tones and save pure white for the final highlighting of edges.

That is exactly what these six shades are for

The scale opens with a pure white, followed by an off-white, a silvery gray, a warm gray, a gray with a cast toward red and finally a dark basalt. The intervals between them are small enough that they can be lined up one after another without mixing, and at the same time large enough for the transition to be visible on a model. There are more grays with a warm and a cool cast in the set, which helps to distinguish surfaces according to where the light falls.

Where it pays off most

The winter camouflage of vehicles, light naval finishes, white ceramics and bleached wood on dioramas. The procedure tends to run counter to habit: first the darkest gray into the recesses, then gradual brightening toward the surfaces exposed to light, and at the very end a dry brush with pure white on the edges. Anyone painting the winter finish of a vehicle will appreciate that the broken tones can be applied dry and rubbed back, so that the original camouflage shows through beneath them.

• Six tones ordered from white to dark gray
• Warm and cool grays make it possible to distinguish lit and shaded surfaces
• Suitable for winter finishes, naval schemes and bleached wood
• A water-based acrylic, with a flat surface once dry
• Each shade is also available on its own