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FineScale Modeler 2020-11!16!17

The document details the process of painting a limited-edition 1/4 scale bust of Batman, focusing on techniques used for airbrushing and hand-painting. It describes the materials and colors employed, including Vallejo and Scale 75 paints, as well as specific methods for achieving realistic skin tones and highlights. The author shares insights on the application of glazes and final touches to enhance the overall appearance of the model.

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zio_nano
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256 views2 pages

FineScale Modeler 2020-11!16!17

The document details the process of painting a limited-edition 1/4 scale bust of Batman, focusing on techniques used for airbrushing and hand-painting. It describes the materials and colors employed, including Vallejo and Scale 75 paints, as well as specific methods for achieving realistic skin tones and highlights. The author shares insights on the application of glazes and final touches to enhance the overall appearance of the model.

Uploaded by

zio_nano
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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FORM & FIGURE

By Joe Hudson

Batman: Unmasked
Airbrushing and hand-painting the face of Michael Keaton as the Caped Crusader

I
was able to get ahold of a
limited-edition 1/4 scale
Alter Ego bust of Batman,
produced by Paul Gill of
Gillman Productions.
The bust is a three-part resin
casting. Due to the large size
of this model, I painted with
both an airbrush and paint-
brushes.
I used Vallejo paints unless
otherwise noted. I primed with
Tamiya sky gray followed by
Scale 75 flat black (No. SC-00)
on the right side, which was
more in shadow.

Painting the cape


Go online at FineScale.com/Batman
to see how Joe painted the sleek
black cape from start to finish.

16 FineScale Modeler November 2020


1 2 3
For the flesh base mix, I created an orange-red Extra burnt sienna was added to the right side I used a technique I had seen before but never
hue of Scale 75 yellow ochre (No. SART-20), of the face and the eye areas. tried called “sketching the flesh”. I added blocks
burnt sienna (No. SART-24), and small amount of highlights using beige red mixed with Scale
of Vallejo beige red (No. 70.804). 75 white (No. SART 01).

4 5 6
This lighter hue on the pronounced areas of … over the entire face. This toned down the I then did a second sketch, though not as bold,
the face was left unblended and intentionally bold highlights from the sketching. Then with using beige red mixed with sunny skin tone
noticeable. Next, I took my airbrush and my paintbrush, I added deep shadows of (No. 70.845).
sprayed a light mist of beige red … mahogany brown (No. 70.846) in the creases.

7 8 9
Glazes of red and purple (any brand works) Now I could hand-paint extra highlights with a Here I am painting on these final highlights.
were applied to the cheeks, temples, and eye mix of beige red, sunny skin tone, and basic The lips are a mix of purple and beige red. The
areas. This added life to the monochrome face. skin tone (No. 70.815). eye balls are base-coated with burnt umber
(No. 70.941).

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Very carefully, I painted the eyes with basic flesh … then gradually circled out, trying to keep Initially, an even lighter blue came next, but I
followed with burnt umber along the top and the iris symmetrical. A lighter shade of the blue thought the result was too blue — thin glazes
bottom eyelashes. Andrea blue (from set No. 2) filled in the center, leaving a ring of darker blue of the original darker blue took care of this.
came next. I started with a dot in the middle … on the outside. Pledge Floor Gloss gave a realistic shine. FSM

www.FineScale.com 17

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