03 BLACK STAR - COLOR MODULATION TECHNIQUES ZENITHAL LIGHT.pdf

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I grew up in San Sebastian, but now live in
Madrid. My first kit was a 1:48 scale Tomcat
that was a present from my father. I'm sure
he always regrets this present as I have
always asked for one thing since then:
more models! I then became interested in
1:35 scale, and later on I discovered the
possibilities of dioramas with the Verlinden
books, which are currently my main focus
of interest.
Panzernet and my model club “Mochus”
have made this hobby a constant in my life.
I have met a lot of wonderful people in this
circle and learned a lot from all of them.
Modeling is currently only a secondary part
of our relationship. The main part is the
friendship we hold, and the nice time we
spend together when we go to a show, to
purchase some models, or simply to have
some beers together.
I want to dedicate this handbook to the
“Mochus” and, especially, to Rubén, who
has always helped me to take the next step
in modeling.
José A. Azorín
Editor
Javier de Luelmo
Designer assistant
Matthew Malogorski
English revision
Black Star #3
Color Modulation Techniques: Zenithal Light
© Xtreme Modelling Publications, 2009
info@xtrememodelling.com
www.xtrememodelling.com
A new way of making models more eye-
catching by playing with the highlights and
shadows in the base coat of paint have recently
become popular amongst modelers. The
potential of this technique has been extensively
developed in figure painting. I have liked this
effect ever since the first time I saw it, and most
especially when I saw Jaume Ortiz's beautiful
articles in Xtreme Modelling. His technique
influenced me to try painting my own figures
this way.
of 1/72, 1/48, and 1/35.
Airbrush makes it possible to steer the
point of light, making the audience focus on a
specific area. This can also be enhanced with a
paintbrush by varying the color shades with the
brush, but the base of this effect is accomplished
by the airbrush.
Adam Wilder´s wonderful articles and
models have livened up this discussion lately,
reaching a point where we can even identify two
different trends in painting the base coat of a
Zenithal Light
Different spots of light
Zenithal Light
Instead of highlighting the figure volumes
from different spots of light, we illuminate them
from the upper side, emphasizing the light on
the upper part, and the shadows on the lower
part. This makes the maximum lighted area in
the torso, the shoulders, and the neck, and the
maximum shadowed area the armpits.
To use this technique with effectiveness,
the highlights and shadows must have different
intensities. It´s more or less as if we put a light on
the upper part of the figure and we check the
way all the folds have a shadow below.
But, can we transfer this technique to the
painting of a model vehicle? I think that it is a
valid and effective technique for the usual scales
model: one more conservative, and another
more risky, which explore these effects.
We can call these paint effects by several
names. Color Modulation is the fancy name due
to Adam Wilder's technique, but from my point
of view, the most eye-catching of these kinds of
effects is the Zenithal Light Technique: The light
comes from one point, in this case, from directly
above.
Regardless of the name of the technique,
and the discussion of whether or not it looks
realistic or effective, I will show my approach to
it. I will paint four different models with different
camo schemes and in different scales to explain
the techniques in detail.
1/35 PANZER GREY
Considerations on color
After several discussions about
the scale representation of the German
camouflage colors and schemes, my
conclusion, learned from the Master
Rodrigo, is that almost anything is
possible. It´s possible to see pictures
with a variety of Panzer Grey color
tones from very dark to a very clear
g
r
e
y
.
These can be caused by the effects of
the elements after a four months
campaign, or by accumulated dust.
When we paint several highlights
and shadows to a base coat of paint,
the final color is unavoidably changed.
That´s why it is really important to think
about what the final color you want to
achieve will be from the very beginning
of the painting process.
When painting figures there is a
general rule: The base coat should be of
a color similar to the final shade that we
want. By doing it this way, after making
it lighter with the high lights and darker
with the shadows, the final shade will
remain quite similar.
However, it´s always possible to
use a general filter on the entire model
to change the shade of the whole thing.
Zenithal Light
Let´s consider that the light
comes from the upper side. This is a
general rule that we will punctually
break to make the model more
attractive. There are some light angles
that change when we go around the
4
model and it is impossible to recreate
this effect in a perfect way. For
instance, check the armored turret:
each armor panel has a different light
plane, in addition to the upper light.
STAGE I
BASE COAT AND HIGHLIGTHS WITH AIRBRUSH
Sd.Kfz. 221 Bronco
Base Coat
I chose Gunze´s #401 Dark Grey for the base
coat. I prefer a slightly bluish shade, so I
mixed it with a bit of light blue. The light
blue lightens the shade, so I added a bit of
black to darken it.
I did not paint any shadows as the base color
is quite dark. I painted three different
highlights by adding more clear blue each
time. I added a bit of white for the last high
light. I have started from a dark color to
lighter without making it too light.
The objective is to achieve a lighter and more
bluish shade. I made this picture next to a
finished Krupp Protze as a reference to
compare the shades.
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