UMS "Agram" : Quest for my new favourite washes < Articles < Hobby

Quest for my new favourite washes

Ana Polanšćak, 22nd January 2025

Note from the editor: This is an article published on Ana’s blog that she kindly agreed to share on our club web pages. If you like the article, go for more on her site Gardens of Hecate!

Sometime in November I had reached the end of my stock of old formula Agrax Earthshade and Nuln Oil, and cracked open the new ones (I say new, but they’re a few years old by now). I was disappointed with the currently standing product… I’ve been steadily using Citadel washes since they were first introduced. Originally it was Badab Black and Devlan Mud, and they were fantastic (yes, there were inks before that - but I never used those). At some point they got replaced by Nuln Oil and Agrax Earthshade, respectively. Frankly I don’t recall how big of a change that was; it was a fairly long time ago. However, I know that I’ve gradually phased out most Citadel paints from my arsenal in favour of other brands (predominantly Scale 75, but there are several others represented) - while still continuing to use and recommend Citadel’s black and brown wash. However, now they’ve changed too far for the worse that I decided it’s time to look elsewhere.

I asked my Instagram audience for viable alternatives on the market and I got 60+ responses with suggestions. Based on that I purchased a variety of options for brown and black washes and inks to test. Additionally, a significant number of commenters expressed they were in the same predicament, so I promised to share my findings in a blog post. This is it.

Since making the purchases I’ve made swatches, tests in controlled conditions, and tried them out in real situations on whatever painting projects I was working on at the time.

Disclaimer: I am not sponsored by or affiliated with the manufacturers of any of these products. They were purchased with funds contributed by my Patreon supporters (thank you!). I’m honestly looking for a better alternative for myself and taking you along for the ride.

I’d also like to thank @noe.hammer and @hinter_light for sending me bottles of unused old Agrax Earthshade they had lying around.

What am I even looking for in a wash?

I use brown and black washes frequently. It’s normally for shading things such as leather, armour, fabrics, wood, human skin, and more.

My ideal wash would be well pigmented acrylic, usable out of the pot but dilutable with water if I want a less stark shade, reliably matte when dry, and not brazenly overpriced.

INTENSITY and HUE

Of the above, the current Citadel washes only fulfill the first thing on my list. They do still provide a good shade to those recesses and details on the sculpt. I also like the colour of the brown. Not too intense to be used as is, but often I want to dilute them slightly. I expected some brands of washes would be less intense, and if I wanted something stronger there are inks.

Inks definitely need to be combined with a medium for two reasons: they’re glossy and they’re too highly pigmented to be used straight out of the pot. I have the following three inks: AK Wood Brown, Vallejo Sepia, and Scale75 Inktense Wood. They all behaved as predicted, working nicely with Lahmian Medium. A little ink goes a long way and the medium successfully mattes out the ink’s original gloss. Each has its own hue, my favourite of the three being Vallejo’s.

Army Painter Warpaints Soft Tone, Strong Tone, and Dark Tone are overall the most similar to Citadel’s washes, including the intensity. ProAcryl and Two Thin Coats are the least intense, but ultimately they’re all acceptable.

Each brown wash has a slightly different hue, as you can see on the tombstone swatches basecoated white. They all work fine and the difference was less apparent when I applied on a brown basecoat.

ACRYLIC

Some of my Instagram friends recommended oils to me. I do occasionally use oil and enamel washes when I paint scenery. They’re effective and cool to play with. However, they don’t get along with other paints I use - meaning varnishing in between and thinking several steps ahead. They also have annoyingly long drying times. This is ok for terrain, but simply doesn’t work for the way I paint miniatures and I don’t want to drastically change my process right now. I like how it is. Same reason my airbrush sits in the drawer seldom used. Their time may come, it’s just not today.

That’s why there are no oils or enamels in this story.

BEHAVIOUR WITH WATER

Mixing a wash with water can leave a cloudy/chalky residue in the recesses (see image below for examples). Of the washes I've tried, most experienced the chalky residue when mixed with water at some point. Sometimes it happens, sometimes it doesn’t. I hear hard water makes this worse. In any case, it’s safer to use an acrylic medium rather than water. With older Citadel Washes I usually used water and it would occasionally result in a nasty surprise. With the new formula the clouding happened most times I did it.

I can absolutely live with using medium instead of water to make sure the results are consistent. This is the part of my ideal wash I’m ready to forfeit easiest. Any matte medium will be more expensive than water, but there are way more affordable options than Citadel’s Lahmian Medium I currently use. It’s something to look into next.

MATTE FINISH

New Agrax and Nuln Oil straight out of the pot are glossy and this annoys me to no end. Mixing in Lahmian Medium, which normally does have a matting effect, is a must even if I don’t want to dilute my wash. But often that doesn’t help either. There were times new Agrax Earthshade refused to stop being glossy in the recesses even when I painted matte varnish over it.

Mind you, the shine in the recesses may also happen to other brands if one applies too much undiluted wash, or if not shaken properly before use.

A few people recommended a product called Instar Matte+. It’s a concentrated additive that’s meant to be mixed into paints to turn them matte. I got advice to put several drops directly into my bottle of my Agrax or Nuln. I did just that, and it actually killed the shine. That’s great news, since it means I can save those several bottles of new Citadel washes I stockpiled before I realised they were no good.

When playing around with Matte+ I tried mixing it with inks to see what happens. It does make them matte, but they get a similar residue problem washes get with water. In this case, though, the result looks like a decent rust effect. I’m not sure if it’s worth exploring further, but below is what it looks like.

PRICE

Price is not something I thought about too much before I started crunching these numbers. It was interesting and eye-opening.

Shipping is not included in the prices. Local tax of 25% is included. Keep in mind the price of each product can vary slightly from vendor to vendor. I had to order from multiple webshops depending on availability and stock. They come in different size vials so in order to compare properly I calculated their price per mL (given in brackets).

The most affordable was AK Deep Shade Grime at 4,89€ for a 30mL bottle (0,16€/mL). It’s closely followed by Vallejo washes at 3,10 € for 18 mL (0,17€/mL) and then The Army Painter tone trio at 3,49€ for 18mL (0,19€/mL).

Next tier are Pro Acryl 22mL for 5,99€ (0,27€/mL) and Duncan’s TTC washes at 4,41€ for 15mL (0.29€/mL).

And finally we have Citadel’s 18mL for 6.63€ (0,37€/mL), which makes it double the price of the stuff in the first group. Ugh.

I won’t compare the inks along with the washes because they must to be used with a hefty quantity of medium. A pot of ink will last you drastically longer than a pot of wash, but you need to purchase medium alongside it, complicating the calculation. I didn’t go into it this time. Here are the prices of the inks, though: AK Wood Brown INK was 4,68 € for 30mL (0,16€/mL), Vallejo Sepia Ink 18 ml was 3,10€ (0,17/mL), and S75 Inktense Wood 17mL for 4,04€ (0,24€/mL).

Instar Matte + additive was 2,03€ for their container of 10mL (0,20/mL). It gets cheaper if you buy a larger bottle, but you’re meant to be using it in very small doses anyway.

CONTAINER

This is not a deciding factor for me, but there are differences I can touch on briefly.

To get Citadel out of the way first: pot with a lid. Knocked it over and spilled so many times over the years. One may call that a skill issue. I don’t know. Dipping a brush in the pot rather than squirting it on the palette somehow makes more sense for washes to me, so that’s a point for it. When it comes to Citadel’s other paints I strongly dislike the pots, mostly because their design really helps the paint dry up faster. I’m not sure myself how I feel about it on the washes, though.

AK Pure Grime comes in a bottle with a screw-on cap. I haven’t used it enough to witness how easily it’s knocked over, but since it doesn’t have a lid sticking up my guess is it’s safer from spillage than Citadel.

Army Painter comes in a standard dropper bottle, same as Scale 75 uses. Vallejo used to have something just like it, but these washes and ink come in dropper bottles made of way thinner material. I accidentally squeezed them too hard lots of times, so not a fan. The reason behind it is ecological perhaps?

Two Thin Coats - bottle is fine but something is funky with the cap. The wash always heavily leaks inside it. Perhaps it must be screwed on 100% tight to stop doing that? Not happy about the mess. Again, you may say it’s a skill issue, but I haven’t had that problem with any other brand’s dropper bottle.

PorAcryl’s bottle has a special cap I hadn’t encountered before. It slightly twists off to allow drops to get out of the bottle. I’m pretty sure this is well resistant to clogging (which is an annoyance with dropper bottles) and doesn’t allow any air to get in. But it’s sort of messy to close it since there is always some paint stuck near the tip that has to be wiped off.

Finally, the AK Ink comes in a glass bottle with a dropper cap, and the Matte+ comes in a tiny dropper bottle with a safety cap. Works fine.

CONCLUSIONS

After this I’m definitely saying goodbye to Citadel’s washes. I’ll rescue the pots I already have with Instar Matte+ and never buy another again. The price is severly inflated when compared to any other brand, while the quality is poorer in most aspects and it requires me to spend even more money on third party products to make it work.

TwoThinCoats washes were a very common suggestion. It’s among the pricier options, but doesn’t stand out enought to compensate for that. It’s fine, but won’t be my new brand of choice.

Army Painter washes are a really popular option. They’re on the more affordable end and my LGS stocks them, making them extra accessible. They are also among the least matte ones, but matte medium consistently fixes that. Fine, but not a favourite.

Vallejo washes are high on my tier list. They’re nicely matte out of the pot and I rather like the hue of their Umber wash. The price is also among the best.

ProAcryl is also a good one. Nice flow, matte finish. The hue and price place it beneath Vallejo for me, though.

AK Deep Shades Pure Grime is quite a bit more viscous than the others. It stays where you put it, which usually means it will harder stain the areas you don’t want shaded. It was the least costly. The hue is nice, but the intensity feels lighter. Overall for me it’s mid.

The inks - AK, Vallejo, and S75 all three act the same in my limited experience. When it comes to hue I’m partial to Vallejo’s Umber. I’m actually interested in using them further in combination with matte medium. They are better value for money than an out of the pot wash.

Along similar lines, I tried to mix my own wash by combining Scalecolor Artist Burnt Umber with Lahmian Medium. It was prety good, and once again much cheaper than any out-of-the-pot wash.

If I had to choose which wash was my favourite I’d say Vallejo. But I think my future may be finding a decent but not overpriced matte medium and mixing my own washes. I already have to use a medium if I want to dilute a wash, so I migh as well get my pigment from an ink or a quality acrylic paint in the first place.

I’ll continue to use a selection of these washes further until they run out. If I change my mind about something I may revisit this topic in the future.

Everything in this article is my own opinion based on my experience trying the products.

Što uopće tražim u washevima?

Često koristim smeđu i crnu boju. Obično je za sjenčanje stvari kao što su koža, oklopi, tkanine, drvo, ljudska koža i drugo.

Moj idealan tuš bio bi dobro pigmentirani akril, koji bi se mogao koristiti i iz bočice, ali bi se mogao razrijediti vodom ako želim manje jaku nijansu, pouzdano mat kada se osuši, a ne drsko precijenjen.

INTENZITET i HUE

Od navedenog, trenutni washevi od Citadel ispunjavaju samo prvu uvjet na mom popisu. Još uvijek daju dobru sjenu u udubljenjima i detaljima na skulpturi. Sviđa mi se i smeđa boja. Nisu previše intenzivni da bi se koristili takvi kakvi jesu, ali često ih želim malo razrijediti. Očekivala sam da će neke marke washeva biti manje intenzivna, a ako sam htjela nešto jače tu su tinte.

Tinte svakako treba kombinirati s medijem iz dva razloga: sjajne su i previše su pigmentirane da bi se mogle koristiti izravno iz posude. Imam sljedeće tri tinte: AK Wood Brown, Vallejo Sepia i Scale75 Inktense Wood. Svi su se ponašali prema predviđanjima, dobro surađujući s Lahmian Mediumom. Malo tinte ide daleko i medij uspješno matira izvorni sjaj tinte. Svaka ima svoju nijansu, a meni je od te tri najdraža Vallejova.

Army Painter Warpaints Soft Tone, Strong Tone i Dark Tone općenito su najsličniji Citadel washevima, uključujući intenzitet. ProAcryl i Two Thin Coats su najmanje intenzivni, ali u konačnici svi su prihvatljivi.

Svaka smeđa boja ima nešto drugačiju nijansu, kao što možete vidjeti na uzorcima nadgrobnih spomenika s osnovnim bijelim premazom. Svi rade dobro i razlika je bila manje vidljiva kada sam nanijela smeđi bazni lak.

Što uopće tražim u washevima?

Često koristim smeđu i crnu boju. Obično je za sjenčanje stvari kao što su koža, oklopi, tkanine, drvo, ljudska koža i drugo.

INTENZITET i HUE

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Making of MUMMY dioramas

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I recently was approached by the Historical Museum of Oslo to make three miniature dioramas for their exhibition MUMMY - a display of ancient Egyptian artefacts and mummies. Their requirements were that each of the three dioramas would portray a part of the life of one of the mummies from the exhibition, Dismut, a temple guardian’s daughter. Her Life, her Death and her Afterlife. In addition, they gave the maximum size of the display. This left me a lot of freedom for interpretation and to make the dioramas in my own way and style. In this article I’ll take you through part of my process for developing the three concepts. For a more detailed breakdown of the steps it took to complete the dioramas, see the videos.

My first focus was on the miniatures required. I searched online 3D-file shops to see what was already available. I knew this would be one of my limitations as there was no time or budget to 3D design all objects and characters required for all three dioramas. I found a pack of ancient Egyptian field workers, and so the Life diorama was created with this pack in mind - a tranquil scene by the Nile River, with workers harvesting wheat as Dismut observes from a higher vantage point. This diorama was also an opportunity to include some of the animals featured in the exhibition, so I found a cat and a mouse STL (and later a crocodile as well). As Dismut is not a famous pharaoh, there were obviously no STLs available of her, so I commissioned two 3D sculpts of her, giving me the chance to have her in the exact positions I needed for Life and Afterlife. In Death she would only appear as a mummified figure, easily available online.

I wanted the diorama to read from left to right, as the three dioramas would be displayed one next to the other, so as well as reading the specific Life diorama from left to right, I also wanted the entire display of all three dioramas to lead from left to right. I decided that from left to right the dioramas would also go from light to dark, Life being the lightest in tone and colour and Afterlife the darkest, reflecting the dioramas’ subjects. I decided on the scale for the entire display, around 50mm for humans, as this would be small enough to fit all the elements I needed, but large enough to fill up the dioramas with the amount of elements I found as STL’s and save me some time on not having to paint too many tiny details. I adjusted all STL’s to this scale, and found some realistic wheat plants online at the correct scale as well. And so the concept sketch for the Life diorama came together.

I knew that the Death diorama would be a burial ritual underground. I found a STL pack of several of the objects found in Tutankhamun’s grave, a burial ritual STL pack with two workers carrying a mummy and an ancient Egyptian priest. This would give me the scene. As the dioramas were going to have to be made as cubes, closed on all sides with walls, except for the front, as opposed to the open dioramas on display bases that we are used to, a part of planning each scene was also figuring out how to make the two sides and back panel a natural part of the dioramas. In Life this was an impossible task as no outdoor area is a cube, but I decided on making each side a rocky cliff and hoping the illusion of the scene would make the unaturally geometrical shape of the landscape become less visible. For Death my solution was a roller with Egyptian hieroglyphs. With this I could fill out each wall with historically accurate symbols and this way create interest in the surroundings of the scene as well. And for Afterlife, as this is already a “supernatural” scene, the walls would be bricks, extending the typical art found in Egyptian tombs portraying the Egyptian afterlife of Duat, into a 3D space. Generally I found a lot of inspiration and direction for this entire project from ancient Egyptian art and wall paintings.

The Afterlife diorama would have to have an Osiris character, the Egyptian God of the Dead, overseeing Dismut’s journey to Duat. As all STLs I could find of him had warrior poses, I instead commissioned a seated Osiris figure, as well as the scale that would measure Dismut’s heart against a feather, and thus if she is worthy of the Afterlife. I found a STL of Thoth, taking notes, and thought it suitable for the God judging the dead - in this case Dismut.

After the concepts were approved by the museum, so started a several months long process of getting the MDF walls for the cubes, cutting, carving and gluing XPS foam at the correct angles, sizes and shapes, painting around 40 miniature characters and objects, with airbrush and brush, creating and painting the landscapes, pouring epoxy resin for the Nile River as well as many other smaller and larger tasks. Of the many ideas that came during the making of the dioramas (not reflected in the concept sketches), one that I think especially contributed to the overall look of the final display, was the fact that I decided that each diorama would have its own main colour. Yellow for Life, sun and desert, Red for Death, underground an earthy, and Blue for Afterlife, cold and melancholic. This would differentiate the dioramas from each other even when being viewed from a distance, as well as give a natural progression from warm to cold, another way to add contrast and make the dioramas read in my preferred direction, from left to right. This was achieved most obviously through the choice of oil colours used to shade the three dioramas. Apart from that, the acrylic paints chosen are the same for all three dioramas, giving a cohesion of colour as well as being based on the available pigments they would have had at the time in Ancient Egypt - mineral pigments like lapis lazuli, red and ochre, soot for black, copper compounds for blue and green and synthetic pigments like Egyptian blue.

The final result is displayed here and will also be on display at Oslo’s Historical Museum for the foreseeable future. If you visit the city, make sure to stop by and have a look at the final display.

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Nedavno me kontaktirao Povijesni muzej u Oslu da izradim tri minijaturne diorame za njihovu izložbu MUMIJA - prikaz drevnih egipatskih artefakata i mumija. Njihovi zahtjevi bili su da svaka od tri diorame prikazuje dio života jedne od mumija s izložbe, Dismut, kćeri čuvara hrama. Njezin život, smrt i zagrobni život. Osim toga, dali su maksimalnu veličinu prikaza. To mi je ostavilo puno slobode za interpretaciju i izradu diorama na moj vlastiti način i stil. U ovom članku provest ću vas kroz dio svog procesa razvoja triju koncepata. Za detaljniji pregled koraka potrebnih za dovršetak diorama pogledajte videozapise.

Moj prvi fokus bio je na potrebnim minijaturama. Pretražio sam online trgovine s 3D datotekama kako bih vidio što je već dostupno. Znao sam da će to biti jedno od mojih ograničenja jer nije bilo vremena ni proračuna za 3D dizajn svih predmeta i likova potrebnih za sve tri diorame. Pronašao sam skupinu drevnih egipatskih poljskih radnika, pa je diorama Život nastala imajući tu skupinu na umu - mirna scena uz rijeku Nil, s radnicima koji žanju pšenicu dok Dismut promatra s više točke. Ova diorama bila je i prilika za uključivanje nekih životinja predstavljenih na izložbi, pa sam pronašao mačku i miša u STL-u (a kasnije i krokodila). Budući da Dismut nije poznati faraon, očito nije bilo dostupnih STL-ova za nju, pa sam naručio dvije 3D skulpture, što mi je dalo priliku da je imam u točnim položajima koji su mi bili potrebni za Život i Zagrobni život. U Smrti bi se pojavila samo kao mumificirana figura, lako dostupna online.

Želio sam da se diorama čita slijeva nadesno, budući da bi se tri diorame prikazale jedna pored druge, pa sam, osim što se specifična diorama Života čita slijeva nadesno, također želio da cijeli prikaz sve tri diorame ide slijeva nadesno. Odlučio sam da će diorame slijeva nadesno ići od svijetlog prema tamnom, pri čemu će Život biti najsvjetliji po tonu i boji, a Zagrobni život najtamniji, odražavajući subjekte diorama. Odlučio sam se za mjerilo za cijeli prikaz, oko 50 mm za ljude, jer bi to bilo dovoljno malo da stanu svi potrebni elementi, ali dovoljno veliko da ispuni diorame količinom elemenata koje sam pronašao kao STL-ove i uštedi mi vrijeme jer ne bih morao slikati previše sitnih detalja. Prilagodio sam sve STL-ove ovom mjerilu i pronašao sam neke realistične biljke pšenice na internetu u ispravnom mjerilu. I tako je nastala konceptualna skica za dioramu Života.

Znao sam da će diorama Smrt biti pogrebni ritual pod zemljom. Pronašao sam STL paket nekoliko predmeta pronađenih u Tutankamonovoj grobnici, STL paket pogrebnog rituala s dva radnika koji nose mumiju i drevnim egipatskim svećenikom. To bi mi dalo scenu. Budući da su diorame morale biti izrađene kao kocke, zatvorene sa svih strana zidovima, osim sprijeda, za razliku od otvorenih diorama na izložbenim postoljima na koje smo navikli, dio planiranja svake scene bio je i smišljanje kako učiniti dvije strane i stražnju ploču prirodnim dijelom diorama. U filmu Život to je bio nemoguć zadatak jer nijedno vanjsko područje nije kocka, ali odlučio sam svaku stranu napraviti kao stjenovitu liticu i nadao se da će iluzija scene učiniti neprirodno geometrijski oblik krajolika manje vidljivim. Za Smrt moje rješenje bio je valjak s egipatskim hijeroglifima. S tim sam mogao ispuniti svaki zid povijesno točnim simbolima i na taj način stvoriti interes i za okolinu scene. A za Zagrobni život, budući da je ovo već „natprirodna“ scena, zidovi bi bili od cigli, proširujući tipičnu umjetnost pronađenu u egipatskim grobnicama koje prikazuju egipatski zagrobni život Duata u 3D prostor. Općenito sam pronašao mnogo inspiracije i smjernica za cijeli ovaj projekt u drevnoj egipatskoj umjetnosti i zidnim slikama.

Diorama zagrobnog života morala bi imati lik Ozirisa, egipatskog boga mrtvih, koji nadgleda Dismutovo putovanje u Duat. Budući da su svi STL-ovi koje sam mogao pronaći o njemu imali ratničke poze, umjesto toga sam naručio sjedeću figuru Ozirisa, kao i vagu koja bi mjerila Dismutovo srce u odnosu na pero, te time utvrdila je li dostojna zagrobnog života. Pronašao sam STL Thotha, bilježio i smatrao sam da je prikladan za Boga koji sudi mrtvima - u ovom slučaju Dismuta.

Nakon što je muzej odobrio koncepte, započeo je višemjesečni proces nabave MDF zidova za kocke, rezanja, rezbarenja i lijepljenja XPS pjene pod ispravnim kutovima, veličinama i oblicima, oslikavanja oko 40 minijaturnih likova i predmeta airbrushom i kistom, stvaranja i oslikavanja pejzaža, izlijevanja epoksidne smole za rijeku Nil, kao i mnogih drugih manjih i većih zadataka. Od mnogih ideja koje su se pojavile tijekom izrade diorama (koje nisu odražene u skicama koncepta), jedna za koju mislim da je posebno doprinijela ukupnom izgledu konačnog prikaza bila je činjenica da sam odlučio da će svaka diorama imati svoju glavnu boju. Žuta za život, sunce i pustinju, crvena za smrt, podzemlje i zemljanost, a plava za zagrobni život, hladnu i melankoličnu. To bi razlikovalo diorame jednu od druge čak i kada se gledaju iz daljine, kao i dalo prirodan prijelaz od toplog prema hladnom, još jedan način dodavanja kontrasta i da se diorame čitaju u mom željenom smjeru, slijeva nadesno. To je najočitije postignuto odabirom uljanih boja korištenih za sjenčanje triju diorama. Osim toga, akrilne boje odabrane su iste za sve tri diorame, što daje koheziju boja, a ujedno se temelji na dostupnim pigmentima koje su imali u to vrijeme u drevnom Egiptu - mineralni pigmenti poput lapis lazulija, crvene i oker boje, čađa za crnu, spojevi bakra za plavu i zelenu te sintetički pigmenti poput egipatske plave.

Konačni rezultat je ovdje izložen i bit će izložen u Povijesnom muzeju u Oslu u doglednoj budućnosti. Ako posjetite grad, svakako navratite i pogledajte konačni postav.

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Sebastian Søgård, 17th June 2026

Miniature Painting Workshop - 75mm Dwarf

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    string(40) "Miniature Painting Workshop - 75mm Dwarf"
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	On 09-10.05.2026. we held a new weekend miniature painting workshop. This time it was the turn of a dwarf in 75mm scale.

	

	




The workshop was held over two days (a whole weekend) and the participants painted a 75mm miniature dwarf. The focus of these lectures was painting various textures - metal, human skin, textiles and leather. Water-based acrylic paints were used in the workshop. For this purpose, the workshop leader, Ivan Knezović, chose a 75mm miniature dwarf from Durgin Paint Forge, sculpted by Carlos Perez Bugedo. The lectures were adapted so that the leader devotes equal time to all participants and can be adapted to all categories of miniaturists (from beginners to slightly more advanced).



	

	

	

	


The workshop took place as follows:

	First, the lecturer sits at his desk and explains and demonstrates each step in painting a miniature/model on his specimen. His work is displayed on a screen via a camera and projector, which the participants listen to, watch, and ask questions about.

	Then, the participants sit at their desks and apply the knowledge they have gained. The facilitator circulates among the participants and checks how each participant is doing. This way, he or she can adapt to each participant individually.




	

	

	

	The workshop will include the following thematic units:

	1. NMM (Non metallic metal)

2. Reflections of ambient colors on metal

3. Steel / gold

4. Face painting (male)

5. Adding vibrancy to the face (filters)

6. Extracting textures from fabric, metal and leather

	

	

	POWERED BY: Carta Magica, Fireball Figurines, Durgin Paint Forge, Playsupport
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	09-10.05.2026. smo održali novu vikend Radionicu bojanja minijatura. Ovoga puta na redu je bio patuljak u 75mm mjerilu.

	

	Radionica se provodila kroz dva dana (cijeli vikend) i polaznici su bojali 75mm minijaturu patuljka. Fokus ovih predavanja bilo je bojenje raznih tekstura – od metala, ljudske kože, tekstila i kože (leather). U sklopu radionice korištene su akrilne boje na bazi vode. U tu svrhu, voditelj radionice, Ivan Knezović, izabrao je 75 mm minijaturu patuljka tvrtke Durgin Paint Forge, koju je sculptao Carlos Perez Bugedo. Predavanja su prilagođena tako da voditelj posveti jednako vrijeme svim polaznicima i može se prilagoditi svim kategorijama minijaturista (od početnika do malo naprednijih).

	

	

	

	Radionica se odvijala na sljedeći način:

	Prvo, predavač sjedi za svojim stolom te objašnjava i demonstrira pojedini korak u bojanju minijature/makete na svojem primjerku. Njegov rad se preko kamere i projektora prikazuje na platnu što polaznici slušaju, gledaju, ali i postavljaju pitanja.

	Potom, polaznici sjedaju za svoje stolove i primjenjuju stečeno znanje. Voditelj kruži između polaznika i provjerava kako svakom polazniku ide. Na taj način, može se prilagoditi svakom polazniku ponaosob.

	

	

	

	Radionica će uključivati sljedeće tematske cjeline:

	1. NMM (Non metallic metal)

	2. Refleksije boja iz okoline na metalu

	3. Čelik / zlato

	4. Bojanje lica (muškog)

	5. Dodavanje živosti na lice (filteri)

	6. Izvlačenje tekstura tkanine, metala i kože (leather)

	

	

	POWERED BY: Carta Magica, Fireball Figurines, Durgin Paint Forge, Playsupport
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