Painting & weathering model figures (RPG minis, soldiers, etc.)
CostHigh
Includes: Paint range, Kolinsky sable brushes, miniatures Example: A full paint set €50-150; brushes €30-80; miniatures €3-15 each
What it is
Take a monochrome grey plastic figure barely 28mm tall and turn it into a convincing tiny person, skin tone, fabric weave, metal gleam, the grime of a long campaign, all rendered in paint at millimetre scale. That transformation is the heart of painting and weathering miniature figures, whether fantasy RPG models, historical soldiers, or wargame units.
It is one of the most technically demanding and artistically rewarding corners of the miniature world, with a vocabulary of its own. Non-metallic metal painting simulates the look of polished steel using only ordinary colours and carefully placed highlights, no metallic paint at all. Layering builds smooth gradients from dark recess to bright edge. Washes flow into crevices to create instant shadow. Each technique takes practice, and the gap between a first attempt and a confident one is visible across the table.
What hooks people is how fast small skills compound. The first time you successfully drybrush a chainmail cloak or land a clean eye on a face, the whole craft opens up. There is also an enormous, generous community sharing techniques freely, which flattens the learning curve considerably for anyone willing to ask.
How it works
Prime the figure before any colour goes near it. A thin coat of grey or black spray primer gives the paint something to grip, and without it acrylic beads and rubs straight off the smooth plastic or metal. Grey primer suits bright schemes, black suits dark and metallic ones, since the primer colour shows through thin paint and influences everything above it.
Block in the base colours next, in two or three thin coats rather than one thick one. This is the rule beginners break most often. A single heavy coat clogs the fine sculpted detail that makes a 28mm figure read correctly, while thin coats build even colour without drowning the texture. Thin every paint roughly 1:1 with water or a medium like Lahmian until it flows like milk.
Then comes the wash, which does an astonishing amount of work for the effort. Flow a dark wash like Agrax Earthshade across the figure and it pools into every recess, creating instant shadow and definition. Suddenly the chainmail has depth and the folds of the cloak read clearly.
Highlights go on last and reverse the wash. Drybrush or layer progressively lighter tones onto the raised edges, catching the light the way real surfaces do. Final details, eyes, insignia, gems, painted source-lighting, are what separate a tabletop figure from a display piece.
Benefits
What you need
Here's what to gather before you start. The essentials are marked.
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FAQs
Contrast or Speed Paints over a primed figure. Prime in white (or zenithal, white sprayed from above over a black base), then flow a Contrast-style paint over each area, where it pools in the recesses and thins on the raised parts to create instant shading. A light drybrush and one bright highlight finish it. This method gets a tabletop-standard figure done in 30 to 45 minutes instead of hours.
Three sizes cover almost everything: a size 1 or 2 for base coats, a size 0 for detail, and a size 000 for eyes and the very finest work. A Kolinsky sable brush (Winsor & Newton Series 7) holds a far better point and outlasts cheap synthetics for fine work, so two good sables beat a whole pack of bad ones. Wash them properly and they last for years.
Acrylic figure paints from Citadel, Vallejo, or The Army Painter. These are formulated for miniatures, thin well with water, and cover in thin coats, which is exactly what you want. Start with a small core set: a few base colours, black, white, a brown wash, and a couple of metallics. You can mix almost anything from a dozen well-chosen pots, and water-based acrylics clean up with plain water.
Paint applied straight from the pot, too thick. Miniature paint needs thinning with water or a thinning medium until it flows, then building up in two or three thin coats rather than one heavy one. Thick paint clogs the fine detail that the sculptor worked hard to put in, drowning faces and folds. Thin coats are the single biggest leap in quality for almost every beginner, even though it feels slower at first.
Restraint and layering. Sponge chipping (dab paint with a torn sponge), pigment powders for dust and mud, and oil washes for grime all build realistic wear, but the trick is applying less than you think you need. Real wear concentrates in specific places: edges chip, lower legs get muddy, exhausts streak. Weathering everything evenly is the giveaway that ruins it. Reference photos of the real thing beat guessing every time.
A varnish coat once everything is dry. A matte or satin varnish (brush-on or spray) protects the paint from handling wear, which matters a lot for gaming figures that get picked up constantly. Spray varnishes give an even coat but need warm, dry conditions, because spraying in cold or humid air can leave a white frosted bloom that ruins the finish. A common approach is matte varnish over the whole figure, then a dab of gloss only on the eyes and any wet-look details.
⚠️ Spray primers, varnishes, pigment powders, and some weathering products release fumes and fine particulates. Spray and airbrush in a ventilated space or a spray booth, wear a mask rated for fine particles when handling pigment powders, and keep all paints, solvents, and washes away from food, skin contact, children, and pets. Follow the safety guidance printed on each product.