Celestial Lion

LION
CELESTIAL
VOL III ENGLISH

SUMMARY
SERGIO CALVO MINIATURES - CELESTIAL LION VOL III
CELESTIAL LION 03
SHOULDER PAD 03
FACE 07
NMM 15
FINAL TOUCH UP 27
COLORS 34
2
GALLERY 35
06
CELESTIAL LION Water Light Prussian
Blue
Ultramarine
SHOULDER PAD 06/20 3 4

This is the final tutorial of the series and I want to focus on how to paint dark skin using
desaturated colors.
Before we do this however, we are going to finish the main area by creating a light texture
with a stippling technique.
1 2
3
06
CELESTIAL LION Water Ultramarine
SHOULDER PAD 06/21 3

For the second highlight, we will apply the color closer to the edges in shadow so that the
texture will be below the first highlight.
4
06
CELESTIAL LION Water Ultamarine Deep Sky Blue

With a brighter mixture, we will now focus the highlight on the top of the shoulder pad.
5
06
CELESTIAL LION Water Ultramarine Deep Sky Blue

Just with this texture and two highlight layers, we have effectively defined the shoulder
pad. We can now proceed to tidy up the transitions between each layer so that everything
ties into a single gradient. We can even add some freehand or a decal for the finishing
touches to this area.
2 3
6
06
CELESTIAL LION Water Rhinox Hide Hexed Lichen
FACE 06/24 3
As you can see, I have decided to paint the head separately from the body because I want
to show you how to paint faces when working with small scales like these (28mm), and
also to impart my methods for painting dark skin
1 2
7
06
CELESTIAL LION Water Rhinox Hide Purple Purple Purple
FACE 06/25 4 5
The basecoat will be a very dark color, but I want to play with some violet and orange tones
to desaturate the overall look. They will also help us to define the facial features and lights.
1 2
8
06
CELESTIAL LION Water Mix Purple
FACE 06/26 3 4
Using these colors will give us a warmer color temperature, which will result in a paler skin
tone. I know this sounds confusing at first, but it will help you to understand that human
faces are shiny, and skin is never completely uniform. There are several areas on our faces
that shine, such as the forehead, cheekbones, and chin. Consequently, these areas are
also known to produce the most oil. The quality of our skin also affects the tones found
on our faces, like the fact that we tend to have more purply areas under our dark circles
because the skin there is much thinner. We also have a slightly red tone in the cheeks
or nose. In short, skin cannot be represented with just a single color because it will look 5 6
artificial.
1 2
9
06
CELESTIAL LION Water Saddle Brown
FACE 06/27 4 5
Now that we know this, we will have to build our highlights all the way to the brightest
lights found on the cheekbones, tip of the nose, chin and especially the forehead. We will
also have to pay attention to the darkest shadows found under the cheekbones, the sides
of the nose and the jaw. We can also visualize the head as a cylinder that is attached to
a sphere. The sphere will be the round skull, and the cylinder will be the forehead that
protrudes past the sphere to the jaw. Therefore, we will have to place the highlights along
the cylinder, from the chin, to the nose, to the forehead, and then finally the hairline. 6
1
2 3 7
10
06
CELESTIAL LION Water Saddle Brown Pastel Pink
FACE 06/28 5
Once we have placed our lights, we can change the temperature by introducing a color
closer to violet to desaturate the skin.
1 2
3 4
11
06
CELESTIAL LION Water Saddle Brown Pastel Pink Pastel Pink
FACE 06/29 4 5
Although right now, there looks to be too much light and the skin looks grave, you must
understand that the key to painting any type of skin is to first get the volume and light
right. Only then can we add as many shades as we want.
1 2
6
3 7
12
06
CELESTIAL LION Water Mahogany Brown
FACE 06/30 4 5
Just as we did with the non-metallic metal (NMM) armor, we can add mid-tones that
transition between layers or even lower the intensity of our highlights. Notice how the skin
tone has changed as soon as we add the mid-tones.
1 2
6
3 7
13
06
CELESTIAL LION Water Mahogany Brown
FACE 06/30 10
14
06
CELESTIAL LION Thinner Sun Yellow
NMM 06/31 3
We are approaching the end of this tutorial, so we will focus more on airbrushing and the
NMM. We will begin with a cooler yellow to add variations to the color temperature. This
may not be the predominant color for the NMM but we can use this yellow on all three
different tones: the dark, intermediate and light. This way, we can produce three different
gradients that boost the richness of the metal.
1 4
5
2
15
16
7
6
NMM
06
CELESTIAL LION
06/318
9
Thinner
Sun Yellow
06
NMM 06/31 12
10
11
17
06
NMM 06/31 15
13
16
14
18
06
NMM 06/31 19
17
18
19
06
CELESTIAL LION Thinner Hot Orange
NMM 06/32 4
Next, we are going to use an orange color to deepen shadowy areas even more and to vary
the intensity that was created previously with our brushwork.
2 3
20
21
7
6
NMM
06
CELESTIAL LION
06/328
Thinner
Hot Orange
06
CELESTIAL LION Thinner Hot Orange
NMM 06/32 10
11
22
23
12
NMM
06
CELESTIAL LION
06/3213
Thinner
Hot Orange
06
CELESTIAL LION Thinner Escorpena
Green
NMM 06/33 4
I am now going to introduce some green to the gold NMM for a slightly aged look. On some
of the areas that has a browner tone, the green will create a greater contrast between the
shadows and the lights.
1 3
24
06
CELESTIAL LION Thinner Mahogany Brown
NMM 06/34 3
Creating depth in the shadows is a process that we can repeat several times until we
eventually include black in our mixture. We should be focusing on the areas where the
shadows meet the mid-tones, which is what we have been doing all along with our brush.
Because we are using an airbrush, the transitions will be even smoother.
25
06
CELESTIAL LION Thinner Mahogany Brown
NMM 06/34 7
26
06
CELESTIAL LION Thinner Mahogany
Brown
Black
FINAL TOUCH UP 06/35 3

Finally, we add black to our mixture to fade our shadows to black. This is a perfect way to
work with this color without having to worry about turning our miniature completely black
or staining the surrounding areas that we have worked so hard to achieve.
I hope you enjoyed this tutorial and I’ll see you in the next one!
27
06
Brown
Black

28
06
Brown
Black

12
10
29
06
Brown
Black

13
30
06
Brown
Black

15
31
06
Brown
Black
FINAL TOUCH UP 06/35

17
32
06
Brown
Black
FINAL TOUCH UP 06/35

18
33
07
COLORS
31 - 35
20. 21. 22.
23. 24. 24 - 30 20 - 23
25. 26.
27. 28. 29.
30. 31. 32. 33. 34.
35.
20. Light Prussian Blue and Ultramarine 21. Ultramarine

22. Ultramarine and Deep Sky Blue 23. Ultramarine and Deep Sky Blue
24. Rhinox Hide and Hexed Lichen 25. Rhinox Hide and Purple X 3
26. Mix and Purple 27. Saddle Brown
28. Saddle Brown and Pastel Pink 29. Saddle Brown and Pastel Pink X 2
30. Mahogany Brown 31. Sun Yellow
34 32. Hot Orange 33. Escorpena Green
34. Mahogany Brown 35. Mahogany Brown and Black

35
08
GALLERY
36
08
GALLERY
37
08
GALLERY
38
08
GALLERY
39
08
GALLERY
ENGLISH
CELESTIAL LION
VOL III
CREDITS
sergiocalvominiatures.com
Paint
Sergio Calvo
patreon.com/sergiocalvominiatures
Edition and Correction
Vanessa Sáez y Marta Torres
instagram.com/sergiocalvominiatures Design and Layout

Antonio García
www.facebook.com/sergiocalvominiatures Translation
Shannon Siow

Celestial Lion

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LION

VOL III ENGLISH

SHOULDER PAD 06/20 3 4

SHOULDER PAD 06/21 3

SHOULDER PAD 06/22 2

SHOULDER PAD 06/23 4

FINAL TOUCH UP 06/35 3

FINAL TOUCH UP 06/35 6

FINAL TOUCH UP 06/35 11

FINAL TOUCH UP 06/35 14

FINAL TOUCH UP 06/35 16

FINAL TOUCH UP 06/35

FINAL TOUCH UP 06/35

27. 28. 29.

30. 31. 32. 33. 34.

20. Light Prussian Blue and Ultramarine 21. Ultramarine

instagram.com/sergiocalvominiatures Design and Layout

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