Zenithal Highlighting vs. Volumetric Highlighting in Painting Scale Figures

When we paint scale figures in any of the variants associated with modeling, we are likely looking for the result to be a figure that shows vitality and dynamism, and that also helps us, at times, to contextualize the figure itself. The expectation of achieving a finish that reflects this can lead to some frustration when we see the final result and it does not correspond to what we had in mind.

Techniques for simulating light and shadow with airbrushing ultimately enhance the figures we paint and help us find that dynamism and vitality that you want to obtain in your miniatures. In this article, we will explain two of the most popular techniques to achieve this effect, with the intention of providing you with the most suitable, simple, and clear guide for each one so that you can decide which best fits your projects. Additionally, we will explain how the needle size of your airbrush can impact the final result.

Zenithal Highlighting: Simulating Natural Light on the Scale Figure

What is this technique about?

This technique involves painting the miniature in such a way that light and shadow are created as if a source of natural light were coming from above, without the need for a real light source. This quick and effective method enhances contrast and defines shapes, making the figure take on a more dynamic and realistic appearance.

How is it done?

1. Apply a base coat: First, before painting anything, make sure to have a clean figure, completely free of dust and grease, as this will ensure better adhesion of any paint you apply to it. Then, apply a dark primer (you can choose between black or deep gray), which will establish an appropriate contrast base that also ensures the details that should appear with more shadows on the figure.
2. Use Midtones: With your airbrush, spray a lighter tone (generally a gray or a desaturated version of the base color) from an angle between 30° to a maximum of about 45°. This step helps to “highlight” the raised and protruding areas of the figure, leaving the more hidden areas with a “shadow.”
3. Highlights: Finally, apply a bright color (such as white or a very light version of the base color) directly from above the figure to create a gradient that looks natural at the highest points of the miniature.

The Best of This Technique:

• It is a quick and efficient way to establish basic lights and shadows on your miniature.
• With this technique, you can easily highlight the details of your figure, which ultimately helps to improve the definition of these in the final result.
• The preliminary definition of the figure's details achieved by applying this technique will help you apply transparent paints or glazes that intensify the effect or add color to different parts of the figure.
• Best used for painting minis in a simple and quick way (Infantry, Bulk, etc.)

Some Details to Consider:

Despite its virtues, you should consider this particular technique if your intention is to create a basic “lighting” in the figure, as it mimics a fixed light source, which could be from above the figure or from above but from one of its sides (it all depends on what you wish to represent). This method may be less precise in highlighting specific shapes or achieving unconventional effects, such as side lights or lighting coming from below.

Volumetric Highlighting: Highlighting the 3D Shape

What is this technique about?

Unlike the zenithal method explained previously, volumetric highlighting focuses on emphasizing the true three-dimensional shape of the miniature. In this technique, it is not assumed that the “light” being represented on the figure only comes from above; rather, this technique allows you to naturally highlight the reflections or lights on the curves and volumes of the figure as they would naturally be seen on an object.

In the example shown above, I used the natural light around me to better estimate where the paint should go.

How is it done?

1. Apply a base coat: You should always apply a base coat or primer to your figure to ensure the best adhesion of the paints you use, especially if you are using acrylic paint; in this case, you can apply a black or a neutral gray primer.
2. Observe the shape and details of the figure to be painted: First of all, closely examine your miniature to identify where the curved areas, edges, and transitions are, where light would naturally reflect in the composition you have in mind to achieve with your figure.
3. Layer Application: With your airbrush, gradually apply layers of light following the curvature of the model, paying special attention to the musculature, plates, or armors (especially the parts that stand out the most or the contours of your miniature's clothing). The idea is for the highlights to be situated on the contours and to enhance the volumes without relying on a fixed angle.
4. Fine Details: Once the general layer of paint has been applied, you must use a fine brush to go over edges and details, further accentuating the effect and giving the piece that final touch that enhances its realism. At this point, you can use a synthetic brush if that’s what you have on hand, but we strongly recommend using a natural hair brush like those made by Marta Kolinsky, for example, to achieve the best possible result. These brushes ensure better precision in the strokes and leave the least amount of brush marks on your piece. Also, in diluting your paint for brush application, you can use a bit of acrylic paint retarder, which will help further minimize the marks left by the brush strokes and make the transitions between colors smoother.

Advantages of This Method:

• With this method, you can emphasize depth and volumes, making the figure have a quite realistic and convincing effect.
• It is a very good way to achieve dramatic and stylized effects, especially on reflective surfaces or unconventional materials.
• It offers greater control in the application of specific highlights on each part of the model.
• Best used for painting minis you want to be eye catching (Leaders, HQs, etc.)

Anything to Keep in Mind?

This technique requires more patience and skill, as you must understand how light behaves on different surfaces to achieve a convincing result.

How Does the Size of the Airbrush Needle Affect It?

Considering which needle size will give you the best results at any stage of the light simulation process using either of the two previously described methods is a necessary task if you want to achieve a good outcome; not every needle size will be suitable for both techniques. See examples of brush and needle size above. Therefore, here we explain which is the best option for each case:

• 0.5 mm needles or larger: These are most appropriate for applying the primer in both techniques; they are also ideal for creating wide transitions, but they are not the best choice for working on or recreating fine or small details on your figure.
• 0.3 mm needles: This needle size on your airbrush will offer a good balance between control and smoothness in the airbrushing process, and they are perfect for medium-sized scale figures where you can use both methods.
• 0.2 mm needles or smaller: Using these needles will allow you maximum precision control, which is essential for easily achieving fine details and highlighting specific areas in volumetric technique.

Ultimately, which method should I use?

Mastering both techniques will allow you to adapt your work based on your requirements. That is to say, the use of one or the other will depend on what you seek to accomplish in the end. In any case, using a good airbrush with the right needle will allow you to transform each model into a piece full of life and personality.

Generally, you could use the overhead light simulation technique if you want to achieve quick and acceptable results for most figures where you do a prior shading and use the volumetric lighting method if you’re looking to have more control over the lighting on the piece.

Whatever you decide, one fundamental thing is that before applying either of the two, it’s most appropriate for you to practice and experiment with each so you can discover which of the two techniques is best for what you want to create.