KDM Twilight Detective – SKIN Painting Tutorial

KDM Twilight Detective – SKIN Painting Tutorial

Hello boys, I’m back. What’s up guys, welcome back! This is kind of a historic video for me. It marks my first time painting a Kingdom
Death model. It’s a pretty cool miniature but I found it
weirdly challenging to paint. It’s quite blocky and sparse on the detail
front so I found myself having to add a lot of little extra elements to flesh it out a
bit. Speaking of flesh, for the skin I started
off by mixing some GW Screamer Pink into some Fantasy & Games Resurrection Flesh. Then I added a touch of Scale Color Graphene
Grey just to dull it down slightly. Careful you don’t add too much of that or
it’ll end up looking quite muddy. Alright so we’ll use that as our base colour
and you can see it’s pretty transparent so I had to paint this on over a few layers. I think it was about 3 or so until I got it
opaque. For the first highlight I’ll mix a little
Scale Colour Light Skin into the base tone. We want the consistency to be pretty thin
for this. We’re not quite in glaze teritory, it should be thin enough that it’s transparent,
but not so thin that it looses elasticity. You need to have a fair amount of control
over where the paint is going, especially when you’re painting the face. Ok. So I’m using quite a standard layering
technique here. Just pushing the paint over the surface up
to where I want the highlight. So I’m drawing the brush up over the cheek
and lifting it when I reach the underside of the eye. More pigment is left on the model at the point
where you lift the brush so it’s generally good practice to move the bristles in the
direction of your highlight. It’s pooling slightly too much on the right
side there so I’ll use a second, clean brush and just use the bristles to draw that off
the surface so it doesn’t dry funny. Yep that looks decent. Same again now on the chin, pulling the paint
across the surface towards the tip of the chin. And again on the upper lip. And on the nose. We’ll do the other side as well. Later, we’ll make this half of the face quite
dark because it’s going to be covered by a hat but I’m just doing this so you get another
look at that highlighting process. It’s important that you resist the urge to
go back and mess with the paint after you lift the brush. You want to mimimize the amount of time spent
moving the paint, so that you don’t interrupt the drying process. If you start fussing with it, you run the
risk of ripping the paint as it dries, and that’ll give you an uneven surface making
it impossible to get a smooth finish. Alright, so we’ll do that again with the same
colour, just applying another layer on top. This helps to ensure our highlight is nice
and strong. We don’t want the paint to be transparent
at the highlight, adding a second layer of the same colour reinforces the highlight and
stops us getting a washed out look. Mix a little more Light skin into the highlight. Adding the paint will thicken the consistency
so make sure to check if you need to add any water to maintain that thin layer quality
to the paint. Much like before we’ll push the paint over
the surface of the skin, towards where we want the highlights. So, under the eyes, and towards the centre
of the face, and by that I mean, the tip of the chin, the middle of the upper lip and
the end of the nose. If ever you place the paint and it looks like
it’s too opaque at the edge, just quick grab a second, clean brush and using the tip of
the bristles, pull the edge of the paint away to the side. If you’re fast enough at getting the brush
it should still be wet enough for you to manipulate the edge without it messing up your paintjob. Usually I have a second brush held between
my lips so I can grab it and fix any little mistakes as I go. I should have done it there under the eye
too, that was a mistake but I can show you a technique to fix that later. You can see that highlight under the eye doesn’t
really have much of a transition now. But if we take that same paint, with hardly
any on the brush we can place a few little dots just around the edge of the highlight,
and if we do that in a couple of layers we should be able to blur out that hard edge. You could also use a glaze but I quite like
to use a bit of subtle stippling on skin because it gives you a slightly less smooth finish,
which I think gives you a more natural appearance to skin. For the last highlight we’ll use Light skin
on it’s own, again, keeping the consistency fairly thin and apply it to the usual spots. So the tip of the chin, the middle of the
upper lip and just underneath the eye. Now that we’re essentially done with the highlights
we’ll fill in some of the details. Mix a little Bright red into your base colour,
I’m using Fantasy & Games Baal Crimson because it’s nice and vibrant. And we’ll use that to paint the bottom lip. You can see I’m using a decent sized brush
for all of this, that’s so that the paint stays wet on the brush so I don’t have to
rush between getting the paint off the palette and putting it on the model. As long as it has a good tip you should be
able to paint small details without swapping to a smaller brush size. Alright now we’ll take some Scale Colour Black
Leather, with is a really dark purple colour and we’ll add a bit of water to it to make
a glaze. With a small amount on the brush I’m going
to glaze this over the left side of the face. And I’m going to do this over a few layers,
letting the glaze dry each time. This is going to darken that side down quite
a bit. The reason for this is the model wears a hat
and the peak on it comes down over that side of the face, which would put it in shadow,
so we want to darken it down in order to have the colour make sense when we put the hat
on. There you can see with the hat on just how
much of the face is actually going to be covered up. To continue we’ll take some more of that Black
Leather, but with a thicker consistency this time and we’ll block in the eye sockets. You might find it easier to do if you hold
the model on it’s side like this. It’s less awkward to get the shape right from
this angle. For the eyeball itself we’ll use some Valejo
Ivory. When I’m doing this I try to target the left
side of the eye and draw the brush to the right. As if I’m painting a line. You don’t have
to get it right in one go, I usually mess about for a while trying to get the shape
right. Just try to retain that dark outline around
the eye. That’s the most important thing. For the Iris I used some Scale Colour Borel
Green and I mixed in a small amount of black just to darken it slightly. Usually I have the eye looking off to the
side but on this one I just went for a straight ahead look. When you’re doing this, try to paint it so
that the iris cover the whole of the middle part of the white. By that I mean you don’t want to have a white
outline around it, because that will give you the creepy 1000 yard stare look. Try to have it touch the top and bottom edges
of the white. I went in off cam with some ivory and added
a tiny highlight onto the iris. I can to do that off cam so I could see what
I was doing. It’s not 100% necceesary to do it but it does
add a bit of extra detail in there. I’ll put the hat on to see a better idea of
how it’ll look. It’s a little hard to tell still, without
the surrounding areas being blocked in but I can tell the lip needs to be more prominent
so I’ll take soe of the Baal Crimson on it’s own this time and just apply it to the lip
to bump the colour up a bit. Then if we mix some Ivory into the red we’ll
get a nice pink and we’ll use that to add a small highlight. Wehn I’m doing these small highlight I aften
rotate the brush, looking at the very tip of the bristles to try and find where the
sharpest point is. Then I gently touch it against the lip and
hopefully we leave just a little dot of colour on there. Yep that looks ok. Alright so that’s the face pretty much done,
we’ll go back later and add some colour to the cheeks but it’s fine for now. For the rest of the skin we’re going to use
the same highlight tones we used on the face. For the chest we’ll pull the paint down over
the surface, there will be more light hitting the skin on the chest the further away we
get from the face. Try to use the transparent nature of the paint
to create your transitions. I’m not using any kind of fancy technique
here I’m just pulling the paint over the surface to where I want the highlights. It’s ok if it’s rough for a few layers, we
can always tidy it up later with some glazes. Each time I go back to work on an area I try
to increase the brightness of the colour slightly, I keep the paint thin and I do my best to
move the paint around as little as possible so that I don’t overwork it. I just push it into position and then leave
it. Try to resist the urge to fart about with
it, if you want a smooth result, the less time your brush is on the model, the better. If you keep moving the paint about on the
surface it will begin to dry while you’re moving it about, and that results in little
balls of dried paint forming on the model which can be very annoying to remove. On the chest here I’m trying to pull the paint
down on either side to help form the shape of the breast, leaving a bit of a hollow in
the centre. Once I’ve built up the brightness of the highlight,
I’ll often use stippling to give a bit of subtle texture to the skin, and also to help
blend out any areas where the paint hasn’t gone on as smooth as I’d like. When you’re doing this you essentially want
it to be a medium glaze consistency, and with very little of the paint on the brush you’re
going to look over the surface for any little inconsistencies in the blend, and just apply
some little dots of the glaze over those spots to help blend them out. I also apply them more generally over the
strongest part of the highlight just to give the surface a bit of texture. Skin is rarely perfectly smooth so it’s nice
to add a bit of stippling to help bump up the realism. Now that we’ve built the highlight up I’ll
add a subtle shadow in the middle of the chest. For that we’ll use some Scale Colour Black
Leather, which we’ll thin down to a glaze consistency with a bit of water. Then with a small amount on the brush I’ll
glaze down between the breasts, just where the chest meets the cloth of the jacket. I’m not going to go crazy here, I’ll only
do a few glazes, I don’t want it to be all that dark. Alright ,so, that’s the chest basically done,
we’ll revisit it later once we’ve blocked in some of the other areas but for now we’ll
finish off the legs. Generally we want to try and match the shape
of the highlight to the shape of the surface we’re working on. So if you look at the legs, you can see they’re
slightly tapered cylinders, a bit like a carrot or a parsnip. When you’re building up your highlight, try
to be mindful of that shape and push the paint over the surface so that it conforms to the
contours of the leg. I build up the highlight on front of the legs
over a couple of layers with that first highlight tone. You can see that the paint I’m using is really
quite thin and transparent. That lets us build up a smooth transition
quite naturally without a lot of going back and forth with glazes. On the back we do a similar sort of thing,
matching the highlight to the shape of the leg. For now we’re just putting in a general highlight
over the whole of the leg, but when we finish, the highlight will be strongest at the top
of the leg and also in the centre of the cheecks. I’ll do another layer with that same colour. Because we’re using quite thin layers we want
to do a couple applications before trying to increase the brightness. That way we ensure the paint is opaque at
the highlight. Notice I’m pulling the paint up from one side
of the leg, stopping around the middle. Then I pull it up over the otherside, again
stopping around the middle. I do this fairly quickly and just let the
wet paint collesce at that middle point of the leg. Again, it’s important that you resist the
urge to go back and mess about with the paint. Just pull the paint into position and then
leave it to dry. I think we could do with another layer of
paint so I’ll do the same again, just pulling the paint up one side of the leg, and then
pulling it up the other side so it meets in the middle. Also notice I’m making the highlight a little
wide at the top of the leg. remember we’re trying to match the highlight
to the shape of the leg, so because it’s wider at the top, we want our highlight to match
that. On the back we’ll do the same again, applying
another layer of that same highlight colour, just to make sure the paint at the strongest
points is nice and solid. We’ll move on to our second highlight now,
taking some of that slightly brighter mix we used on the face. Again, keeping it quite thin. And we’ll apply it in the same way as before,
pulling it up one side, and then the other. And again on the back. We also want the highlight to be a little
brighter at the top of the calf muscles so we’ll pull the paint onto those two areas
aswell. That’s because the surface goes from concave
to convex, so the light would be hitting that area as it begins to curve upwards. Alright so, we’ll go back with that same colour
and do another layer. And then again on the front, applying that
second layer. So there’s faster ways to do this but I’m
trying to show different approaches for things throughout the videos. That way you get exposed to a wider array
of techniques and hopefully that’ll allow you to see you don’t have to get trapped into
a certain way of painting something. We’ll take a little brighter paint and again,
apply the highlights in the same sort of manner. Focusing more towards the top and middle of
the leg this time. And the same on the back. And then we’ll apply a second layer of that
highlight. So each time I take a slightly brighter paint
from the pallete I apply it thinnly to the model, over a couple of layers. I think you get the idea now so I’ll speed
this up a little until we get to othe next technique. You want to keep applying thin layers, taking
slightly brighter colours each time, until you get close to using pure Light Skin. Alright, so now that we’ve built the colour
up a bit, we’ll take some of that Scale Colour Light Skin on it’s own, and using that same
thin consistency we’ll go back and add some final highlights while adding a subtle texture
to the surface. So what I’m doing here is apply little small
dots over the surface. I’m going to do these mostly at the top of
the leg where the highlight will be strongest, but also over the rest of the leg. Because the paint is quite thin these fade
out as they dry and leave you with quite a subtle effect, but when you apply them over
a few layers the paint gets more opaque, so you want to do the dots fairly sparcely the
further away from the highlight you get, then cluster the dots in a tighter group around
the highlight at the top of the leg. Skin never perfectly smooth so adding these
subtle little dots lets you develop quite a natural look to the skin. It’s really important when you’re doing this
that you keep the paint thin, so that the dots fade out as they’re applied, if they
go on thickly, it will end up looking really bad. You can see the skin is starting to look quite
natural now. On the back I’ll just make that highlight
at the top of the leg, underneath the butt cheeks a little brighter. And now to finish off we’ll make a thin glaze
with some Scale Colour Black Leather and with a small amount on the brush we’ll glaze that
on the inside of the legs to darken that down a little. We’ll also apply some on the side of the thigh
here. Once I attach the other arm the sword will be covering this area so it’s going to
be in shadow. We’ll do the same sort of idea on the back,
just glazing that dark purple colour into the darker areas. And I’ll apply that over a few layers until
I like how it looks. I realized at this point that I wanted to
add some more depth to it, so to do that we’ll add some water to a bit of Scale Colour Black
Leather, thinning it down to a glaze consistency. And we’re going to glaze this up here between
the legs. and then use a second, clean, damp brush to draw the edge of the glaze away to
the sides, this stops you getting any kind of staining on the surface. We’ll do the same thing at the other side
here, pulling the glaze down to the bottom, then using a second brush to feather the edge
of the glaze away. And again on the other leg.
We’ll do this over a few layers, building up the shadow. I’ll do the same sort of thing on the chest
aswell, this time pushing it up towards the neck. Using that second brush to draw the
glaze away, in the opposite direction. Just to make sure you don’t get any coffee staining. I’ll put a litle on the bottom of the face
too, just to give it a bit more shape. To finish the face off, we’ll use a bit of
Scale Colour red ink, and I’ll thin it down with some water. Now I’ve said this a few times, but when you’re
working with inks make sure to thin it down more than you think you’ll need to. Inks are really strong, even when you thin
them. So with a small amount on of the thinned ink
on the brush I’ll glaze around the cheek area of the model to give it a bit of a rosy glow. I want it to be fairly subtle so I’m not going
to go crazy with it, just a few applications should do it. I’ll also glaze that ink down over the chest
to give it a bit more colour. So yeah, I think that looks pretty nice now. It’s a little more interesting. I’m not sure how well it shows up on the video,
in real life it’s much more obvious. Alright guys so that is another way to approach
painting skin. I covered quite a lot of techniques so I hope
you found it useful. If you have a question or you want to let
me know what you thought drop a comment down below and I’ll get back to you. I read every comment, and it’s always interesting
to see what you have to say. If you want to check out how I painted the
rest of the model, the full two and half hour video can be accessed through my patreon feed
for as little as $1. Alright guys, that’s all from me. Thanks again. Bye for now.


  • Cookieskillchildren says:

    FINALLY! You've been missed!

  • Katheryn Royer says:

    Hey! We missed you, this was very informative.

  • Chris Shaw says:

    I have noticed that you use all different makes of paints, what are the reasons for this
    other than getting the colour that you require ?

  • Vermillion Hugh says:

    Welcome back Mr K.
    Great work.
    A fantastic tip too, you mentioned, Brush movement. Usually & often overlooked in painting but it is, one of the core ingredients of ………..the Art & the ‘look’ of a painting, as a whole etc.
    Have a good weekend.

  • David Kinniburgh says:

    Dat wet palette layout tho. I love it!!

  • DAZSD WTP says:

    a like for the intro alone

  • AddyC says:

    Thats a huge Wet Pallet, where did you get it?

  • frank blaker says:

    Yup….love it!

  • IDICBeer 40k says:

    Just awesome

  • Clone16165 says:

    Welcome to 2019 where I hope you keep delivering the awesome!

  • borna1231 says:

    Ah, it seems my mastrubation material and painting tutorials are starting to merge. Nice. Much more efficient.

  • Maxim Siliprandi says:

    What a pleasure to see one of you videos in my feed. I can’t decide if how easy you make it look is inspiring or infuriating. This is an excellent video and brilliant paining thank you for sharing.

  • Hawken Valhalla says:

    I really appreciate these detailed and slower paced guides; they are fantastic as learning tools. Often I find 'how to paint' videos go too fast, or they apply a few brush strokes and then immediately skip ahead to a finished step.

  • Colour of the Gods says:

    Great job man!

  • Jacob Billingsley says:

    Your a bad ass thanks for the great vids 🙏🏻

  • Dwayn Wyley says:

    Any plans to put your Twitch channel to use? You got a Day 1 subscriber right here. Absolutely love everything you do.

  • Michael Galitzyn says:


  • Antonio says:

    Welcome back, thanks for the video. You are absolutely my favorite painter on youtube. I would consider your videos to be "Masterclass" level. Can you maybe do some intermediate level painting tutorials? I'm not looking to win competitions, I'm just looking improve my models or even just to paint faster.

  • Jamie Laing says:

    Great video as usual 👍
    "Farting about" one of the best Scottish descriptive phrases ever, can be used in so many situations

  • Lucas Maia says:

    I feel like i've learned so much by just watching how you move the paint, and you explained very well pointing it out the different techniques! Thank you!

  • Kultek Discordia says:

    Happy new year, and thanks again for your techniques.

  • First Last says:

    Kujo x Dank crossover when?
    Also welcome back, good to see you posting new videos. 🙂

  • Humakt Sixtysix says:

    Capital stuff, as always!

  • Maelstrom Master says:

    como te sales papi

  • Leo Nidas says:

    Awesome job and tutorial really enjoyed it and hopefully I can apply these techniques myself !

    I was wondering if you can tell me what scale colours or other sets/paints I should buy, If I already have the full vallejo game colour range ? I heard that warcolour paints were good too.

    I have bought extra matte medium and flow improver to try and bring up the quality/usability of the game colours, but I was under the impression that some of other ranges far surpass vallejo… for example the skin tones aren't the best.

    Your help and expertise would be greatly appreciated !

  • Karl O'Toole says:

    Such a clean and tidy wet palette.. Nothing like mine 😀

  • Brigand Boy says:

    Best opening ever.

  • WartimeConsigliere says:

    thanks for sharing these hawt techniques. using dots to form the outer layers of the skin is a revelation.
    I think I must be improving thanks to your help and this community.
    as always, please keep up the excellent figure painting and vids.

  • Handy Dandy says:

    Heya bid, just want to say your videos are amazing and tour talent with a brush and ability to translate your actions into something I can understand, thankyou. Operation wet pallet is in effect. And I shall be religiously using your videos to improve my painting. Thank you for using your time to make these videos

  • JK Yoo says:

    That is definitely lovely work. So inspiring!!

  • Red Rooster says:

    I always like to see different approaches. Each time I learn something new.
    To move the paint as less as possible I will focus on in the future. This wasn't new but always good to hear and bring it back to my attention.

    Glad you're back!

    On the last step, why did you use the ink instead of a 'normal' red?

  • Bernd says:

    I love your tutorials and they are so upped by your accent! Looking forward to more kingdom death.

  • OursGroumy says:

    Really good tutorial, i would love to have the same kind of content for the blue leather. I also would like to know how you decide what color to use to make the gloves, the jean and leather in the same hue but with still distinct.

  • William T. says:

    Do Nemesis aliens next!

  • World of MONSTERS says:

    Well done!

  • Time and Money says:

    Holy crap… that takes a longer time than I thought heh…

  • johnymybob says:

    Hi KujoReally love your work. You make it look so easy so am giving it a go. My main barrier to getting better seems to be decent paint brushes at an affordable price. Do you have any suggestions?Thanks againJohn

  • Eric Splittgerber says:

    Any advice on thinning paint? I’ve never really felt like I’ve gotten complete control over my ratio. Yours always seems to be at that sweet spot of thin but smooth

  • Kang Ker Soon says:

    Might i ask, do you ever use stuff like flow improver or retarder mediums? If so, when do you use them?

  • Gar Zinski says:

    After watching pro painting vids all year l have learnt a lot, but l have learnt more than them all put together watching Kujo for a weekend. Best painting toots on utube by far. Thank you for your work.

  • Mentoliptus Banko says:

    The Shoot 'em up carrot scene brought back so many memories….
    Great video Kujo!

  • Trevor Croft says:

    Favorite take-away from this video: stippling the highlights, gotta go try it now! Thanks!

  • paul sims says:

    i screw up the eyes so much i started painting them first, then the skin around it.

  • Amaterasu7799勇弥 says:


  • D P says:

    I think I watch this video more than any other. I'm determined to paint skin this well. Well, near enough will do. Thanks for all your content. I've learnt so much from it all. I wish you (and youtube) were round twenty odd years ago when I started. And then I wish I hadn't stopped painting for twenty years.

    Anyways, is the choice of grey important in the initial basecoat?

  • big chungus says:


  • dave stroud says:

    amazing work, have you ever done a tutorial on painting the stockings? that would be great to see

  • Yu Arthur says:

    is there a pdf guide for this model if I become a patreon ?

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