Miniature Painting – How to Paint A Female Face

Miniature Painting – How to Paint A Female Face

What’s up guys, welcome back! Today we’re going to be starting a little
series on this elf I painted. I tried to apply some interesting colour tricks
throughout so that you’ll have some cool new ideas to try out. As usual we’ll be starting off on the face. For the base coat I’ve used some GW Cadian
Flesh tone and to that I applied a very small amount of black. This is Valejo Model colour black but the
brand you use wont have that much effect on the outcome so you can use whatever you have,
without an issue. Then we’ll slap that onto the face. You can
see it covers a lot better than the Fantasy & Games paint that I usually use. The reason I add to black to the base coat
is because I want to desaturate the paint slighty, or dull it down. That’s going to make the colour that we add
later on, seem more intense which will allow us to get more definition in the details. Alright so the next thing we’ll do is apply
some initial shadows. For that we’ll use some GW Doombull Brown
and we’ll mix some of that into our base colour. It gives us this nice reddy brown tone. We’ll paint that into the eye sockets. Now this is a female face so we don’t want
our shadows to be too dark. Women have softer features than men so they
tend to have less harsh shadows. I’ll put a bit of that shadow under the nose. And up here into the recesses of the ears. So at this stage we’re just mapping out where
our shadows are going to be, don’t worry so much about getting this all perfectly blended. I’ll also add a shadow under the chin and
on the neck. And that’s about it for the shadows for now. For the highlights we’re going to use some
Fantasy & Games Moonray Flesh and mix it into the base colour. I’m not sure if there’s an exact match in
the GW line but if you add some white to kislev flesh you’ll get pretty close. You want the consistency to be fairly thin,
with a bit of elasticity to it, it should react similar to the way it does here on my
palette. We’ll push the highlight into position, drawing
it up over the forehead towards the top of the hairline. Don’t worry about hitting the hair, you can
clean it up when you paint that section later on. Then we’ll do the same sort of thing under
the eyes just picking out the top of the cheekbones. On the other side there’s actually a strand
of hair that overlaps onto the face. If you’re ever painting something like this
and there’s a detail from another part of the model covering it, don’t try and paint
around the detail, just paint over as if it wasn’t there. I’ll also do the top lip, pull the paint into
the centre. So you can see the general process I’m using
it pretty similar to what I did on the twilight detective. But we’re going to end up with quite a different
look, once we get to some of the later steps. I did the ears by pulling the paint up to
the tips of the ears like this. I wont bother showing the whole process on
the ears because it’s essentially the same as the face, just building up the highlight
towards the tips. I don’t want to bore you too much. Mix a little bit more Moonray Flesh into your
highlight. And we’ll go back to push the highlights a bit more. And you can see I’m hitting the same areas,
towards the top of the head, the top of the cheek bones, and the middle of the face, so
the tip of the nose and the middle of the upper lip. Just ignore the jaw line and the chin for
now. Add a bit more Moonray Flesh into your mix
and continue the process of building up those highlights. So the reason I’m using the Fantasy And Games
paint here in the highlight is that it has a really transparent quality to it, more so
that in GW or Valejo paints. so I find getting those smooth transitions
on such a small area much easier. You can start to see the details on the face
getting more defined now. For the last highlight we’ll use Moonray Flesh
on its own. I try to be pretty careful for this last step
so that I keep the highlights quite small. If you find when you place the highlight that
you’ve left with a bit of a hard edge on the lower side of the highlight, you can quickly
grab a second brush and gently tease the lower edge of the paint away from the highlight
just by moving the tip of the brush into the paint, then drawing it backwards with a bit
of a back and forth motion. The face will start to look a bit pasty and
pale at this stage but don’t worry about that. We’ll add some colour soon and that will give
a lot more life to it. Alright so that’s the highlights done, next
we’ll sort out the shadows. To do that we’ll add a bit of water to our
shadow colour, thinning it down to a glaze consistency. Then with hardly any on the brush I’ll pull
it down over the jaw line to help blend out the edge of the shadow under the chin. I’ll also put some of the glaze here under
the check bone, pushing it towards the neck. That’ll help to give some more shape to the
cheeks. I’m not going to spend a lot of time on that because we’ll be going back later
with another colour. I’ll do the eyes now, we’ll start with the
whites and for that we’re going to mix up a light green colour by mixing some of that
Moonray flesh into some P3 Underbelly Blue, which is just a light blue colour, you could
mix any random blue into some white and get basically the same thing. Notice I’m reusing one of the colours we’ve
already used elsewhere on the face. It’s not so important to do it on such a tiny
element as the eyes but reusing paints for different parts of the model is a good habit
to get into. If you want your paintjobs to have a cohesive
look to them. The reason we’re using a light green is because
the rest of the paint on the face are quite warm so I’m making the eyes cold to get decent
contrast. You could also use a light blue or purple. Alright so we’ll paint that colour onto the
eyeballs. And like I’ve said before, when I’m painting
eyeballs I like to target the left side of the eye and draw the brush to the right as
if I was painting a small line. Then I go back in and try to refine the shape
of it. The key thing is to make sure you leave a
dark outline around the eyeball to frame it. That way it’ll stand out from
a distance. Alright now that the shape is ok. I’ll grab a pretty bright blue, this is Adriatic
blue from the scale colour line. I want her to have quite a suspicious shifty
sort of a look so I’m going to target the right side of the eyeball to make it seem
like she’s looking off to the side giving someone the sly side eye. So that’s ok, but I want to be able to place
a highlight on the pupil so I’ll make it slightly bigger than that. Notice I have quite a lot of paint on the
brush, that’s so it doesn’t dry out on the tip while I’m trying to get the brush into
position. Here I try to do the other one but end up
painting half the eyesocket blue. When that happen, quickly grab a second damp
brush and use it like an erasure. Rubbing it over the surface, to pull the wet
paint away so it doesn’t have time to dry in place. I had to do this eyeball off cam so I could
get the angle right but I thought I’d leave this part in so you can see how to employ
a bit of crisis management. Alright so her forehead is looking a bit like
those blokes off the old tefal adverts right now. So we’re gonna fix that by taking some of
the shadow glaze we used earlier and we’ll draw the down towards the eyes just at the
base of the forehead. Using a second brush to draw the edge of the
glaze away. So the goal here is to just add some colour
to the lower half of the forehead to help break up that massive expanse of smooth highlight. Ok, so I’m liking how that’s starting to look
but the forehead is still looking quite barren and massive so we’ll take that same colour
with a slightly thicker consistency and add a few little dots on that right side of the
face, to simulate freckles. That should help to make it a bit less bruh,
and a bit more awwwwwwhhhh awhhhhhhh. Yep I think that looks pretty cool. To continue we’ll keep adding more colour
to the face, this time a more obvious red tone. This here is Deep Red from Scale Colour and
I’ll add some water to it, thinning it to a glaze consistency. Now we’re going to use that here on the underside
of the checkbone, pushing it back towards the ears. That helps to make the face more interesting,
as it adds an extra colour. It also helps to better define the shape of
the cheek. To continue we’ll introduce another colour
to the face, this time a light Turquoise. This is Carribbean Blue from scale colour
and we’ll again thin it down to a glaze consistency with some water. And with very little on the brush we’ll draw
the glaze down over the lower third of the face, down towards the jaw line. And we’ll do this over a few layers until
we like the look. Now, you have to be careful here that you don’t make this look like she
has a beard. What you’re going for is a subtle colour shift
and a bit of a shadow. It is going to look slightly like a 5 o’clock shadow on the video
but that’s because you’re going to be viewing it in isolation. Later on we’re going to be blocking large
sections of the model with that same turquoise and that’s going to make it fade back and
the colours will make more sense. So why does this happen? Well, lets say you
have a light background colour like this, quite similar to the skin tone we’re painting. And you add in a subtle but quite differrent
colour on top, in our case a turquoise. That colour stands out a mile because your
eyes have nothing to compare it to other than the colours that are already there. But if you place some more of that colour
in a more obvious in your face way. Suddenly that subtle flash of torquoise is
no longer as obvious. Because your eyes have something to compare
it to. However, even though it’s not that obvious, you would still notice if I took
it away. So if we have a look at the face on it’s own,
she looks like she’s got a 5 o’clock shadow. But as we begin to add the surrounding areas
in using way more intense versions of that colour, it seems to disappear. Colours are not static, the way we perceive
them can change based on the context of their surroundings. Let’s look at another quick example of this
sort of thing. Look at this green square, nothing out of the ordinary. Now look at this green square, again, nothing
to report. However when we view them both together, it’s
pretty obvious that the green square on the left is darker than the one on the right. But.. if I take the surrounding colours away,
we can see, that they’re actually exactly the same. This is because the way our eyes experience
the green is relative to the context we are viewing it. A colour surrounded by lighter hues will appear
darker. And vice versa to it’s when surrounded by
darker colours. We’ll look at other ways to apply these kinds
of ideas in future videos. Alright guys so that is another approach to
painting a face, I hope you give it a try. Just a wee bit of colour theory shennanigans
at the end there to keep you on your toes. I quite like the idea of adding the odd bit
of theory to the end of videos, we’ll see if I can keep that going. In the next video we’ll have a look at how
to get that vibrant blue on the hair, then we’ll be going over how to achieve the coloured
white shirt and the Turquoise dress. Stay tuned in the mean time and thank you
once again for all your generous support. Take it easy.. Bye for now…


  • FPS GAMING says:

    Just got here and I already love the video

  • Heroes & Bosses says:

    Fantastic information. Great work!

  • Pas De Chance says:

    Perfect as always !

  • Clone16165 says:

    A yeah, the right stuff for my weekend tea and biscuits. Thanks for this one, it's superb in all aspects, but then all your videos are.

  • Patrick Dickson says:

    F,ing BRILLIANT ! Thank you. This kind of tutorial really brings the art closer to accomplishable.

  • Waylow's Workshop says:

    Love the color lessons at the end

  • Mikey R says:

    Hey Kujo. I've noticed a lot of other painters talk about their process as if it were all planned out from start to finish, and they are just executing on that plan. What I like about this video is it shows how and when to makes changes on the fly, and how to fix things when they don't turn out like you thought they might.

  • Yu Arthur says:

    Will we see how you paint the wooden bow?

  • brewgeek1 says:


  • Pudelino Cacalat says:

    Awesome video like always! The theory bit at the end was like the cherry on a cake … delicious.
    2 Things I want to ask you :
    โ€ขAfter erasing your mistake with a damp brush does it bother you that a slight blue tint remains near the nose?
    โ€ขHow do you address the paint residue that creates a not very smooth 3d texture after building layers over layers? Other areas are more forgiving but on the face it's very obvious. I noticed it a bit on your model too but it's not showing anymore on the finished product.

  • Antonio says:

    I always feel good about my work, until I see your videos. Then I run into the shower crying and try to wash away my shame.

  • Dark Highwayman says:


  • Col Penny says:

    Love your work

  • Swell says:


  • Jinx Panduit says:

    Nice tutorial, would you ever consider painting in eyebrows?

  • seanylewl says:

    Your videos motivate me to paint so much. I'm not good enough to use your techniques, but just seeing the tip of your brush wiggle around the mini makes me want to paint.

  • Chand says:

    Not much to say today. Besides BibbidibebbidiKujoyou'resexitty.

  • Neil Mackay says:

    Beautiful work as usual I got given a 1/10 scale bust and I'm about to paint all the flesh and I'm bricking it LOL kutgw take care my friend ๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ‘๐Ÿ˜โœŒ

  • ikkiiiieee says:

    Those brushes seem excellent ๐Ÿ˜ฎ my winsors don't have such tips

  • Phil R says:

    Truly impressive…and magnificient!

  • onei says:

    Really great video!

    Thank you!

  • Max Brandt says:

    Most excellent tutorial, so glad I discovered this channel! Nice music too, light jazz is an interesting choice to ease us into the project.

  • Squig says:

    man ur tutorials are allways very impressive, they way you use models and such to show the effects is amazing. I bet uv been a teacher at some point. what brushes do you use?

  • Charles Nelson says:

    Great work and good information as well!

  • IDICBeer 40k says:

    Excellent work mate

  • Yann Channac says:

    To reduce the size of the forehead, you could have painted eyebrows. Why do so many minis don't have eyebrows? And so many painters don't paint them? They are a part of facial expression.

  • Manymatt says:

    how are you priming these minis? they seem to have an almost speckly look

  • Johnnyboi1971 says:

    15.40 what is this new devilry.

  • Red Rooster says:

    Awesome! Love the part with the turquoise on the cheekbone and the theory part at the end!

    Will the other tutorials be on YT too or do you need to be a patreon?

  • Chuck Ster says:

    AS always full of great information and very cool music

  • Small Soldier says:

    Excellent tutorial. Your knowledge of colour is very good and you really simplify it making it easy to understand. I like the comparison at the end with using the green square surrounded by darker and lighter tones, very well illustrated. I've just subscribed, I like what I see here. I too have a Youtube channel where I mainly concentrate on military modelling… figures, armour, aircraft etc. If you have a minute pop by and check me out. Thanks, Scott.

  • Jeffrey Dempster says:

    How would you so TMM

  • Daniel Major says:

    Honestly Kujo. Youโ€™re the best teacher for painting on YouTube. Your detailed explanations are knowledgeable but you donโ€™t leave your audience overwhelmed. Plus, mad skills dude.

    Now I just need some talent.

  • Rage Against The Dice says:

    Fantastic video definitely a must watch, I totally suck at faces lol

  • Eri Nagai says:

    I've just started painting minis, and after having painted five minis, I'm over the blank flesh faces. But I can't decide if this video makes me more afraid, or excited to attempt the faces. Lol

  • Mathieu Avisse says:

    great work / great video i've leaned a lot thanks

  • Blaine Griffeth says:

    Kujo! I freaking love your videos. I especially love the inclusion of color theory. My favorite videos of yours' are the kujo critiques where you're fixing the colors on a mini. I would love to see a video on why certain colors DON'T work together. I've been all over youtube and haven't found any that focus on this. Anyway, Keep up the fantastic job!

  • Valhallas Guard says:

    What size brush are you using and is it synthetic or hair?

  • Rob Harget says:

    Thank you for the video and for leaving in the error correction on the eyes. Messing up can dishearten a lot of painters and knowing you can fix it prevents panic.

  • Guillermo Gonzalez says:

    What model is this?

  • Drybrush Everything says:

    This is a fantastic video

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