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To further what David said - basically when you have only a tiny amount of paint on the brush and lightly brush it across a surface - the paint goes onto areas that are higher and stays out of recesses.  This is a technique to highlight areas that may normally reflect more light.



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I use drybrushing on all on my warhammer stuff.

For instance on a stone wall..

Put on the background colour.

Then drybrushing the surface. Using a lighter colour.

Use a very fine brush.

Put some paint on the brush then remove 90% of what you just put on by brushing it off with a cloth or paper towel.

Test it first on some scrape to get the right texture/finish.

Then brush it lightly over the stonework. The high spots will be highlighted with the drybrush colour.

It takes a little practice to get it right But the effect is outstanding.

it's what the name implies Dry Brushing.


There are a few good videos on Utube.


Regards Antony.

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Dry powders, like those need an overcoat to seal them, and they are specifically for weathering.

The pigments tend to be coarser than that in mixed paint, and having experience with Tamiya powders and the like, it comes out clumpier. With paint, you have very fine control over the amount of colour applied.


Dry brushing, as has been stated, is used for highlighting raised features, or in some cases making a 3D effect, not necessarily weathering. For example, on my Pegasus build, when it came to doing the photo etch friezes I first sprayed them yellow ochre, then dry brushed them white. Had I had my head a bit more about me at the time, I should have done the white highlights from the top, and used blue to dry brush from the bottom. This would have produced light/shadow effects over the flat surface.



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  • 2 weeks later...

Here is my take on drybrushing: You have to think of two spectrums of the condition of the paint you are using. One spectrum is the degree to which the paint is either wet, right out of the container, or dry, where it is set up and hardened. The other spectrum is how much paint is on your brush, with one end of the  spectrum being a fully charged brush ready to drip paint, the other being a brush that has given up all it has to give in terms of leaving a paint mark on a surface.

In order to drybrush a surface you should have a solid base coat of one color already on the model and the color you are drybrushing over this should be different in terms of tone or vibrance, usually this color is a lighter color.

Your brush should be a crappy brush, one that has seen the last of its days as a pointy neatly bristled brush. What you want is an ugly mop of a brush a signpainter would forsake, one  with bristles like a bad hair day.

You want to get to the far end of each of the spectrums I mentioned above. You want some paint in the bristles of this brush but you don't want that paint very wet nor do you want very much paint charging up the bristles. 

You get to this happy place by dipping your brush then wiping the brush on some scrap material, you wipe this mopy brush around on a scrap of cardboard or something until you got 80 to 90% of that paint out of the bristles.

When the brush is hardly leaving any paint marks your just about ready to drybrush on the model.

The feeling you want is that feeling you get when you have a used up felt tip magic marker that is out of ink, you can't write your name  with it but you could still ruin a white linen tablecloth if you pressed hard enough.

THIS is the brush you now drag across your model. Depending on where the brush exists straddling both of the two spectrums ( and it will be shifting on these spectrums as you use it) you will see for yourself how hard you need to press and in which direction you need to brush. Lightly at first and brushing in one direction, pressing hard and scribbling in all directions at the end when the paint is all but gone. Its this last stage where you get the best drybrushing effects as the paint is only adhering on the higher points of the surface you are scumbling over.

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"....The feeling you want is that feeling you get when you have a used up felt tip magic marker that is out of ink, you can't write your name  with it but you could still ruin a white linen tablecloth if you pressed hard enough."


LMAO....that line is priceless...and accurate...real experience by chance????




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  • 2 months later...

Q.A Revenge the same weathering stuff by Tanmiya can be found in Dollar stores in the makeup section,I make sure my wife is with me, also pastels can be found in many,  many shades  in art supply shops and work well. Using a small brush that looks like a hair comb ,Wisp brush, also helps with some great coloring.

Edited by mischief
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